Snowmen and black hats

February 2015
Green Door Store

Thanks to everyone who came out on such a cold and miserable evening.

Special words first for the combination of Matt the sound man and Steve minimal impact who between them get this weird delay on the electrocreche that delays a piano sound by 5 seconds and turns it into a human voice. Quite freaky and excellent.


Inwards The first act in at short notice for Guards! Guards! who can’t get their vocalist across the north sea, is Inwards – Kristian from the [beep] collective, with visuals from Irie pixel. Inwards is set up on the floor of the stage under the projections, he has a flight case with a modular synth and a drum machine. Interestingly he goes for an almost Baion rhythm with the bass drum, giving the start of his set a latin feel while the analogue synths cascade around it. He tweaks and turns at the knobs filtering and bringing the drums in and out. The visuals are good, mirrored lines, geometric tunnels, occasional blocks of code. Constantly flowing alongside the changes in Kristian’s music.

The Organ Grinder’s Monkey

The Organ Grinder's Monkey Second up is The Organ Grinder’s Monkey, Ben with his shiny guitar and helter skelter rhythms. I’m still not used to anyone being organised enough to monitor their set with stereo headphones while they play and he displays some nifty footwork controlling things with a midi footpad. He starts with an old song and belts through the first half at a pretty snappy pace ending up with the song where he hands a gameboy controller out to the audience (this time Kristian) who really gets into it, chopping and filtering stuttering and laughing like a drain playing havoc with Ben’s tune while he thrashes away on stage. Its a nice juxtaposition and you can really see the advantage of headphones for this one as he’d be lost trying to play along to what’s issuing from the speakers.

Olivia Louvel

Olivia Louvel If I always say that Ben sounds like Brian Eno circa 1980, then Olivia Louvel has something of the De La Salle of the 21st Century, thick warm beats and lovingly extended bass. One definite advantage she does have is a hell of a voice, which even on this outing you feel you’re only really getting a mild taste of. She does have quite the best mic technique I’ve seen on the stage of the Green Door Store at our nights, controlling volume, timbre and tone impeccably. Starting slowly with deceptively stately beats and long bass tones, she was peaking in the middle of a set with choppy pop song with circling multiple voices and warbling tones and trailing off with a drivingly insistent number with an on off bass that almost felt played with a switch.