petak, 15. ožujka 2013.

Cathedral X / Amanda Schoepflin - Child (2012)

Dark ambient muzika i in-karnalni performansi, somnabulni pejzaži osvijetljeni svijećama i elektro-snovima.

Cathedral X - The Return After a Death

Cathedral X-Decades

Ēv of Isis [Amanda Schoepflin + Josefin Hinders]  (2013) streaming



Cathedral X, Child  (2012) streaming

Stream the entire Child release by Cathedral X.

Cathedral X-Immersions


Cathedral X-Night of the Anti-woman Pt 2

Assimilation is a two night performance filmed by Aaron Bermudez at The Lab in San Francisco.

A Happening

Photographs by James Zzyzyx

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CHILD Performance

The Opening Sequence

The Body Arena

Concept / development: Amanda Schoepflin & Jessica Jeffery

Visual Artists: Kelly Einbinder, Morgan Candela, & Drah Hard

Sound Design: Amanda Schoepflin

Ascending Natures (Conferences) Performance

Concept/Development: Jessica Jeffery 

Visual Artists: Jessica Jeffery, Nikki Miller & Col Bordon 

Sound Design: Paul Remund & Amanda Schoepflin


Concept / development: Amanda Schoepflin & Jessica Jeffery 

Visual Artists: Col Bordon & Drah Hard

CHILD Musical Performance

By Cathedral X

SELF is a series of mixtapes
self mix # 1

SELF is also paper book (or) pdf - 32 pages - B&W

email order/ info:

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Hypnotide streaming  Free Download

TWO TRACK SYNOPSIS streaming Free Download



Merging voltaic music with corporeal performance art, San Diego based Cathedral X aims to tear the gossamer veil between interior and exterior worlds. Magnetic charge mixed with ethereal chorals, Cathedral X lend themselves to a place of entrancement. Inhabitants of a varietal of dwellings, their music parallels a transcendent push to overcome barriers.
Walk us through a typical, yet intimate, day in your life.
Well I usually open my eyes and see the house on the other side of the fence. The property over on that side is abandoned. My bed faces the foyer window and the place is suspicious. If I’m working this day, I’ll walk down to the cafe, clock in and start making breakfast for people. On those days I have fun without thinking too much. If I’m not working that day I would probably not leave my backyard, reading or listening to music outside. I’m also finishing up an internship at the Museum of Photographic Arts where I have the great chance to work with kids and help them put together their exhibitions at schools and in the museum. I really enjoy being able to see the pure introspection that a child applies to their art, watching them feeling their impulses without subjecting their work to criticism. So refreshing.
How long have you been involved with music?
My mom said she heard me trying to sing Whitney Huston’s I Will Always Love Youfrom the car seat as a baby which is kind of funny. My first performance was at my Grandma’s church. I was six and they gave me one of those big orange microphones. My mom helped me dress up like a cowgirl because I really really liked Leeann Rhymes at that time. When I was in middle school I took one class in Chorus—but never really had any outstanding parts. When I was sixteen I started writing songs on guitar but quickly became disinterested. 
What does music mean to you?
Music to me is a documentation of time. Without it I wouldn’t understand sense of place or time. I think that music is a dimension of time that is very spiritual and instinctual. Music is an intuitive outlet for me and has become the absolute center in my life.
What sparked your affair with music/propelled you to create. Describe this memory.
Began experimenting with instruments like a theremin I got from ebay or this one autoharp I got from Mexico one time while I was playing with 3 little girls down there. I remember these three girls wanted all of my attention at once, so I willingly gave as they guided me to a trellis, we stood inside and they surrounded me with gleaming excited eyes. Speaking to me—disregarding any language barrier. I gathered that the trellis was a basura (trash) and that we were all in the trash and they started crawling around me, pretending to eat me, laughing saying that they were worms. They were so happy and all personally dancing as one began to lift up her shirt exposing her belly— she was dancing like Shakira—I looked and saw a huge 7 inch burn scar on her belly. That was my first time visiting an orphanage—and upon leaving the next day after I had painted on their faces, I became very realized. I wanted to create a more diary setting for my music. Life experiences propel my creations. 100% 
Tell us about the birth of Cathedral X.
I was singing in a band and still I felt a rising energy. Met a girl named Jessica Jeffery from my work who is a painter, somehow I ended up in a church back yard parking lot throwing weights and dumping black paint on her while she stood in a bathtub. The set was 7 mins long and I began to realize the potential of doing whatever was intuitively trying to escape from my conscious/unconcious mind. 
What inspires the art that you create (now)?
Intimacy with the self makes the most out of my art. Experiments in learning more about what’s behind the human, following that mystery with confidence; exploring the reality of our realm, but also expressing the ability of controlling it. 
Name 3 artists you would like to have collaborate together if you were given the chance to orchestrate a musical mesh between them-and why.
Paul Remund, Josefin Hinders and Jessica Jeffery—my friends. They all work with their heart.
If given a chance to re-score a soundtrack to any film, what would it be?
The Mirror by Andrei Tarkovsky
Do you find that these are exciting times for musicians and/or is there anything you find disheartening?
In my opinion it is now the most essential time to be your self, times are surfacing truth right now. 
How do you wish for your art to transform the world?
The awareness of intimacy and how it becomes key to feeling present in this time we live in. To not be afraid to show your intimacy to others, because there is a unconscious sense of reality that we are all affected by when we cannot let what is inside of us be known. Interpretative display for me is a way to experience a heightened sense of self unaffected by the conscious world around us. 
What is sounding from your speakers these days?
Lena Platonos, The Master Musicians Of Jajouka, Ve Europa 
Do you feel art is vital to survival and if so, why?
Yes because I feel thats a way of life to share with others.
Are there any new projects brewing that you would like to give us a verbal sneak peek of?
There is a Josefin Hinders who is a woman I still havent met—that project is called Ev of Isis. The relationship is subconscious—it being she is in Stockholm and I am in California, very ethereal for my psyche. We are currently working on a release forBeläten 
Paul Remund is Light Vision and I am lucky enough to do visual art for that. Our first show is today with Trust and that’s going to be fun. In this piece I will be building a small house of black fabric and sticks to extrude from and am excited to be using my hands more, its selfish. 
Cathedral X is also doing a release with Beläten this spring with songs from Child 2 an album Paul and I have been working out together. That’s very exciting for us because its going to be a VHS release as well—allowing us the freedom we’ve desired to express visually. 
I give you this scenario, you write a little chorus for it: you are flung into a fit of paranoia.
Yet are determined, untrained.
Could I dare to see you any closer?
Secret and Obsession.
I think my biggest secrets in the past year are the fact that Paul and I had been living in some unconventional spaces. Last year right as I started Cathedral X and before paul and I met, I left my studio apartment for a woodshop/ sculpture studio. Our space had a giant compressor that during working hours would go off constantly. There were no windows or shower, but there was a hose out back parallel to the train tracks. There was a small room that looked like it was an office of some sort that had a door which was my room in the bigger space until Jessica needed a place to live so which then I turned it into her room. Sometimes sleeping in the main area we would hide under our blankets to escape the strong fumes the workers would use on their pieces. That was when It was the hardest when it became too much we would go out in the van and talk or drive around. Or sit and watch the trains pass by I certainly miss some things but the whole thing was a powerful learning experience that pushed the level of our productions to a new rate. 
After a full year there Jessica found a place with some friends and Paul and I were struggling figuring out if we wanted a domestic situation and we landed in an old theater for two months. The people there were very close to each other and ran a circus out of the theater which was about 100 years old. It was very beautiful being able to feel the stillness in an old theater there were very many things that visually I couldn’t trade like the pink walls ripping apart in the bathroom the original tile in the shower. The people of that circus were very active painting over walls multiple times and building props for their shows with all found materials. It was very inspiring to see and be apart of, even for the short time. 
My obsession is creating an environment where I am comfortable to create, Paul and I now have a living and separate workspace and all our struggles seemed to pay off we got to paint our walls black!žž

For a project very experientially immersive, the work of the performance project known as Cathedral X, really appreciates when it is received as both a product of theory and intuition. Glean something of what they do from our conversation with them below in anticipation of their weekend residency at The Lab this Friday and Saturday evening. Cathedral X preforms with TINT on 10.19 and with Straight Crimes 10.20 as a two part expression of their production entitledAssimilations.

Deacdes Contributor Griffin Madden lives and works in Berkeley, California where he is currently studying philosophy as a student at UC Berkeley. This conversation took place earlier this week and has been edited and transcribed for Decades Magazine 0nline.

Cathedral X is Amanda Schoepflin, Paul Remund and Jessica Jeffery.  †††

GRIFFIN MADDEN: Where are you guys from, where does Cathedral X come from?

AMANDA SCHOEPFLIN and PAUL REMUND: San Diego. We all met here.

GM: And you guys are on Dream Recordings, how has it been with this label?

CATHEDRAL X: It’s been good, not only is Dream putting out our first release but Mario who runs the label will help us with shows as well.

GM: Right, your shows can be very involved from what I gather. I got to see you guys earlier this year in SF with Goth Chix and Artificial Blood. How do your goals for your releases compare with what you try to achieve with performances?

CATHEDRAL X: As far as musical releases and live performances go, t
hey are totally separate worlds. They reside as two understandings of self; sometimes it seems the music releases are the effect created from the performances we experiment with.

GM: That said, it seems to me there’s a lot more going on with your performances than most people think of when they think of a band playing a show. In fact, that sort of description might be downright inaccurate for what Cathedral X does… it seems. What can be expected of this weekend’s shows at The Lab?

CATHEDRAL X: It is true. We don’t consider ourselves a band in our approach to our work. The work is based on individual expressions and concepts. Each piece has a connection to some part of our experiences currently happening in our lives and in that there is no formula. People can expect an accumulation of everything we’ve learned and gone through. This is only our third production of this level. What people could expect… I don’t know. We [each] individually expect to have a release and a growth experience with this performance.


GM: This element that’s transformative with respect to the self, does this include those who witness Cathedral X perform, or is it primarily your own selves experiencing this?

CATHEDRAL X: Thats a good question and we’ve always wondered. But it seems from the reactions that we’ve received, they feel a sort of psychedelic visitation. But we really can’t say how someone reacts to anything.

GM: Is any significant bit of your performances improvised?

CATHEDRAL X: Yes. Many parts of our performances are blended with things we have only thought about not rehearsed. Our music is structured yet still free so yes, it is a blend of worked through concepts and but also improvisations.

GM: M, mhm

GM: Some of your concepts, if not many, involve the “self,” seemingly as a kinetic object, or, subject to change and alternate. I was wondering how you two view the self, abstractly. For example, as something latent to be brought out, as an ID to be made/obscured and so on. What are you thinking when you mention the self? 

CATHEDRAL X: The self as the true intimacy that powers individuals to follow their inner wisdoms and most sacred expressions. The self is a connective gift but it is also a very one-of-a-kind interpretation. The self is the tool to intuitively explain the minds interactions and experiences.

Words by Griffin Madden

Images courtesy of the artists, Cathedral X

Cathedral X preforms October 19th and 20th at The Lab 2948 Sixteenth Street in San Francisco. On Friday October 19th Zane Morri’s TINT opens with DJ sets by Mashi Mashi. On Saturday October 20th Erin Allen’s Straight Crimes opens with DJ sets by Amber Waves. More on the weekend residencyhere.

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