A summary of the story thus far: David Katz was the lead singer and guitar player of the best band in the Israeli underground of the 1990’s, a trio named The Fluorescents. I think I went to all of their shows except the first one. They stopped performing in the early 2000’s. In their early days they wore suits and ties and played a dizzying mixture of punk, surf, garage and rockabilly. Over the decade of their activity their repertoire underwent an overwhelming evolution, as the exact same songs gradually shifted towards a layered and adventurous post-rock. They released one album, Exposure. Toward the end they added a fourth member who played guitar and saxophone. His Name is Uri Kinrot, whom you know from Boom Pam and Ouzo Bazooka. The Drummer, Ram Gabay, is still active in a variety of experimental collaborations, but his main project—which gave one, unforgettable performance (hint: Tectonics festival Tel Aviv, not the last one, the previous one)—is, according to his dictate, anonymous, and I am forbidden to say that it’s his project, which is really annoying. The Bass player, Yanay Nir, stopped making music. The last time Nir and Gabay worked together post Fluorescents was in Michal Kahan’s backup band, more than a decade ago. David Katz moved to San Francisco and for a time sang Jewish liturgical music. In the last few years he comes to Israel once a year and performs, usually by himself, in vocal improvisation. Yeah yeah, it sounds lame, and I arrive at Levontin 7 fearing that I would have to publicly admit that Mr. Katz has lost his way in the regions of “plinky plonky,” the world of experimental improvisation that is so often plagued with the lethal combination of abysmal pretentiousness, the academism of music for musicians, and a very limited desire to communicate with the outer world, even when it pays a ticket to see you.