Festival times

May 2015
The Scope

So due to festival humours we were based down at the Coach House in Brighton’s Kemptown area. It was a lovely evening, balmy even, with a trace of sunlight in the garden.

Wahabi Wimmins Collective

Wahabi Wimmins Collective Inside, we started with Wahabi Wimmins Collective Aharon and Simon McLellan engaged in a conversation about improvisation while Simon improvises on the guitar, including a couple of lengthy periods when he’s too busy talking to actually play. But still all that’s improvising, right? They get everyone involved but we don’t really have the time to go into any kind of depth, so like its origin in the communal kitchen, it could do with the space to really unfold. An interesting idea.

Haz ‘n’ Daz

Haz 'n' Daz Following quickly, immediately in fact, we bang straight into the scarf waving shenanigans of Haz ‘n’ Daz. Dan has a pretty nice looking effects chain, and Howard switches between his full size vintage MS20, recorder and phone. At half time we get oranges. A healthy act. Howard has been at Whitehawk recording crowd noises. Many started by himself. Dan layers on some noise, and Howard synths it up.

Andrew Greaves and Adam Bushell

Micromelodics The second half proper of the evening was opened by a reading of Andrew Greaves’ new piece “Micromelodics” performed by himself and Adam Bushell. The performance has a projection of the score onscreen, a set of coloured rainbow lines (echoed by the cd covers and colour wheel badges) with the instructions. The piece itself has a progression through a number of improvisations in overlapping scales. Some have a couple of notes some seem to have five or more. Adam and Andrew bounce off each other well, the clear resonance of the vibes in the small space counteracting the fuzzier organ arpeggios.

Arma Agharta

Arma Agharta And rounding off the evening with have Arma Agharta. He disappears at the end of the micromelodics to reappear in khaki and red stripped woollen suit. His set oddly reminds me of Friske Frugt in the tones he uses, but he has field recordings, backing tracks, odd cheap Yamaha sounds and loopy effects chains. And he sings. Presumably in Lithuanian through strobing tremolo. It’s a heady murky psychedelia of mysterious northern origins the like of which I really can’t really recall except by Compass.