Is it birdsong, or is it bridge FX?

It was the kind of evening that starts with a walk down the hill that just makes you happy to be out and about, a proper August Spirit of Gravity night.

Resonant Blue

Resonant Blue starts off squatting on the front of the stage, low level drone-stuffs laid out in front of him: keyboard and laptop, it modulates nicely for a while then seems to lift in a rush that precedes a whirr of traffic and field recordings and goes off in a more Ypsilon in Malaysia pale mode, the noise becoming tones and chimes, again it lifts into more digital sounding synths, before thickening up again with more choral drones and heading for deep space. Truly music for Starfelds.

Shinamo Moki

With the busiest stage we’ve had for a while, Shinamo Moki have guitar (!) electronic drums and electronics. Minutes before going on the guitarist’s effects rack goes west, so we have a slight delay while Tim Holehouse sets him up with his array; credit to both of them, I can detect no problem during the set. Shinamo Moki operate somewhere between Cornelius and Japan, the idea of eastern pop and its actuality. With the age and haircuts, it’s tempting to look on them as an indie band born of YouTube, but I think they go beyond that and manage to eschew vocals, which obviously helps us. It’s all bent sounds; gongs, string synths, drums that detune, everything shifts and stutters – a lightness around the rhythm and deftness of touch that make this as far to pop as we’ll go, and we go happily.

Timothy C. Holehouse

Timothy C Holehouse reclaims his effects array and sets up his collection of objects, and starts Ashtoreth Shaman, his new project. He has his effects and is just feeding sound in: throat-sung didgeridoo gurgles, drones and whistles, Brighton beach stones, sticks. And it’s just that: an hallucinatory ever-thickening drone of immense depth. We just soak it up, eyes closed, letting the sound wash over us and watching the internal unfolding.