Fishtank Ensemble will be playing at the Firehouse 5 on May 18. Photos courtesy Fishtank Ensemble

Los Angeles’ Fishtank Ensemble kicked off a run of California dates on May 12 to support the group’s third studio album, “Woman in Sin.”

Frontwoman Ursula Knudson is a native Sacramentan and is eager to perform with her band at Sacramento’s Firehouse 5 dance studio on May 18.

“We did the Sacramento World Music & Dance festival for two years but up until now, we haven’t found a venue to play,” Knudson said. “There are venues, but they’re mostly for rock. I know, like any town, there’s a decent-sized contingency of people in Sacramento that love world music.”

Knudson said she feels that spaces such as the Firesouse 5 can be the catalyst for a new kind of music scene.

Bands such as Cake helped give Sacramento the reputation of being “the next Seattle,” and Knudson was there to witness it first hand.

“I’m from the 90s, so I loved Cake,” said Knudson, speaking of growing up with the Sacramento music scene. “I remember sneaking out when I was 16 to the Cattle Club for their CD release party.”

Fishtank’s sound, which has been described as cross-pollinated gypsy music, has its feet deeply rooted in world and folk music. Their new album’s eponymous track, “Woman in Sin,” sets things off with a blisteringly fast tempo, bass lines that would melt the face off of John Entwistle (Google him) and Knudson’s fantastic, nearly inhuman vocal range.

Knudson reflected on the recording process of her band’s latest effort. Despite a mastering mix-up, the experience was a positive one.

“Seeing the whole process through the last six months, from the first musical ideas to then executing them,” Knudson said. “Everything came out perfect.”

You can catch Fishtank on their C.D. release tour this Tuesday, May 18, in the Firehouse 5 at 2014 B 9th St. The show starts at 7:00 P.M.

To listen to music from the band, check out their website at www.fishtankensemble.com.

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Every musical performance the music department puts forth has me enticed and longing for more. I, along with others in the audience, are mesmerized by each personality that takes the stage and guides us through a world of music that many people don’t have the privilege of seeing and experiencing.  I can’t say anything less about the City College World Music Ensemble’s presentation of music from Ireland, China and the Caribbean Nov. 2.
One word: phenomenal.
The talented ensemble was directed the energetic Bob Wrenn. As he jumped maniacally up and down, violin strings breaking apart like so many split ends; Wrenn appeared to move as a puppet to a musical puppeteer.
During the performance, it seemed as if Wrenn’s jolly personality was transmitted to the musicians and audience alike.  The entire audience was participating with either their keys jingling, patting their heads, and snapping fingers. The musicians were so rejuvenated and enlivened by their performance they began to stand up and move about the City College auditorium toward the end of the performance.
The musical pieces from each geographical region were just as fun and bouncy as Wrenn’s personality. The Irish music consisted of different styles of music such as jigs, reels and polkas. The music had the big, sweeping feel of Oscar winning scores like of “Titanic”, “Braveheart”, and “The Chronicles of Narnia”.  The polkas had the audience pounding their hands and feet with joy and elation till it seemed there was a stampede to be unleashed. The Irish music was mad hopping brilliant.
The mad hopping elation stopped as Chinese music began to fill the auditorium and thoughtful contemplation settled in. This portion of the performance had dance, poetry and choreography by Allegra Silberstein, a member of the World Music Ensemble.  Silberstein would recite a poem and then do an interpretive dance to accompany the music that sounded like rushing rivers, gusty winds and tweeting birds. The experience was transcendent because the audience was immersed in 4,000 years of tranquil and traditional Chinese history, philosophy and culture.
The Caribbean music was the best part of the musical ensemble and suiting as the conclusion of the concert. The entire spirit of the Caribbean was present and the demented puppet returned and infected everyone. Even the raptors and walls of the auditorium were shaking a rain of dust on the people present singing and dancing to mambo and drumming from Jamaica, Haiti, Trinidad and Cuba.

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