Little Fox

Little Fox: The concert started with Little Fox (Kathryn Lee Campo), a woman generating music as a solo act. It started with her at the keyboard, barefoot. I was quickly impressed. She started hitting her microphone and clapping. However, this wasn't performance art. It was music! I've never heard or seen anything like it but it was amazingly brilliant. She would record a track and then record over the previous track again and again. She would record layers upon layers of what she would play and sing. She started playing a melody on the keyboard and then would sing or start playing the violin. The music was made by her recording the bits and pieces over one another. She just kept adding layers. It was live and public, yet very private at the same time, like she was recording something in her apartment.

I thought it was cool to see each song being constructed right in front of our very eyes. She would make the harmonies all herself and each layer synced up perfectly. The piece from the keyboard fit with her soprano melody which then fit with the alto part and then into her tapping the microphone. To most people it would seem weird, but to me it was so fucking cool. The awesome stuff Little Fox was doing with the audio reminded me of the ground breaking stuff the 60's band, United States of America, was doing with analog back in the late sixties. Her sound was so trippy and hypnotic; it was very fitting for the soundtrack to a cemetery. The only downside was that the speaker had some feedback issues when the volume go too loud which ruined the moment of some of the songs.

I also liked that the sound was so basic and primitive (in being unpretentious) but yet it was very high tech. You couldn't do this type of music without the kind of equipment that was there but the music fought with both the ordinary and bizarre, the other worldly and contemporary. There was a play of light and dark, and like I said, it was perfect music for a cemetery chapel. Each song fed perfectly into the next and Little Fox was always totally absorbed into her music, and she seldom looked up. It really was like being invited to a private recording, like we were seeing something undramatic yet rehearsed. The dreamy feel of the music transported the listener to a far away land, to the past. In fact, it would be an awesome act to precede Ginger and the Ghost (another recent band I saw). I loved that the nature of the music was unpredictable and fresh; the audience was on the edge of their seat to know what was coming next. It reminded me slightly of Cat Power or Feist but really, Little Fox was unlike anything I've heard/seen. - Verbal Litigation

Little Fox: The concert started with Little Fox (Kathryn Lee Campo), a woman generating music as a solo act. It started with her at the keyboard, barefoot. I was quickly impressed. She started hitting her microphone and clapping. However, this wasn't performance art. It was music! I've never heard or seen anything like it but it was amazingly brilliant. She would record a track and then record over the previous track again and again. She would record layers upon layers of what she would play and sing. She started playing a melody on the keyboard and then would sing or start playing the violin. The music was made by her recording the bits and pieces over one another. She just kept adding layers. It was live and public, yet very private at the same time, like she was recording something in her apartment.

I thought it was cool to see each song being constructed right in front of our very eyes. She would make the harmonies all herself and each layer synced up perfectly. The piece from the keyboard fit with her soprano melody which then fit with the alto part and then into her tapping the microphone. To most people it would seem weird, but to me it was so fucking cool. The awesome stuff Little Fox was doing with the audio reminded me of the ground breaking stuff the 60's band, United States of America, was doing with analog back in the late sixties. Her sound was so trippy and hypnotic; it was very fitting for the soundtrack to a cemetery. The only downside was that the speaker had some feedback issues when the volume go too loud which ruined the moment of some of the songs.

I also liked that the sound was so basic and primitive (in being unpretentious) but yet it was very high tech. You couldn't do this type of music without the kind of equipment that was there but the music fought with both the ordinary and bizarre, the other worldly and contemporary. There was a play of light and dark, and like I said, it was perfect music for a cemetery chapel. Each song fed perfectly into the next and Little Fox was always totally absorbed into her music, and she seldom looked up. It really was like being invited to a private recording, like we were seeing something undramatic yet rehearsed. The dreamy feel of the music transported the listener to a far away land, to the past. In fact, it would be an awesome act to precede Ginger and the Ghost (another recent band I saw). I loved that the nature of the music was unpredictable and fresh; the audience was on the edge of their seat to know what was coming next. It reminded me slightly of Cat Power or Feist but really, Little Fox was unlike anything I've heard/seen. - Verbal Litigation