The theremin has an undeserved reputation as a kind of musical novelty; its otherworldly sound and rarity are likely to excite curiosity, but its inclusion in an ensemble may come at the expense of drawing the listener’s attention away from a group’s actual artistic merits. Barbez, however, employs the theremin as a core component of its eclectic sound, which is informed by the ensemble’s musical backgrounds in jazz, classical and rock. And the band can hardly be accused of utilizing the theremin as a gimmick when it is supported by the virtuoso musicianship of Pamelia Kurstin, who has appeared on stage and on recordings with the likes of David Byrne and Béla Fleck.

The Brooklyn-based ensemble has a constantly shifting lineup, but performed in its core five-piece lineup at the Cat in the Cream on Tuesday, Nov. 6. The band is currently on tour in support of its new album, A Force of Light, released last September by John Zorn’s prestigious Tzadik record label. Like Zorn’s seminal thrash-jazz project, Naked City, Barbez performs with a traditional rock band lineup, but “avant-garde” or “experimental” rock is only a convenient generic designation for the group, whose eclecticism makes it an exercise for listeners to isolate and recognize specific influences. Barbez’s brand of instrumental rock is most noticeably influenced by contemporary classical, klezmer, tango and Eastern-European folk music, among other musical traditions.

The set consisted mainly of material from the band’s newest album, whose compositions are inspired by the German language poetry of Paul Celan, a Romanian-born Jew who was the only member of his family to have survived the Holocaust. Many of the musical pieces feature Celan’s poetry spoken in English accompanied by spare instrumentation that slowly builds. Guitarist and composer Dan Kaufman’s gentle minor chord arpeggios and Kurstin’s theremin flourishes, which suggest a hybrid of cello and synthesizer, are eventually joined by xylophone and clarinet from multi-instrumentalist (and Oberlin alumnus) Danny Tunick, and bass and drums. The whole band gradually crescendos until chaotic, controlled noise overwhelms the melodies, which are alternatively pretty and haunting. The band is especially impressive when the songs achieve an epic quality from such few instruments.

Though Barbez performed passionately, the seriousness of the material leaves something to be desired in performance. Bandleader Kaufman remained seated at the front of the stage for the duration of the show, even when the band was in its most driving musical moments.

In its current manifestation, Barbez is mainly an instrumental act, but it has only been this way since the departure of vocalist and dancer Ksenia Vidyaykina, who probably added the flamboyance that is now missing. They have probably grown as musicians since they dropped their gothic/Weimar aesthetic and covers of Black Sabbath and Kurt Weill, but it is entertaining to consider that they were once so performance-oriented. Even though Barbez legitimizes the theremin as more than a musical curio, they could afford to take advantage of spectacle for a more exciting live act.