Gravity Waves and the Spirit World
The next edition of the Spirit of Gravity radio show will be broadcast on Saturday 26th March from 8.00 to 10.00pm on ResonanceExtra FM.
https://extra.resonance.fm/
This edition features a new 1 hour commission from Graham Dunning’s AAS collective, “Half-Sun Gift”, plus Olivia Louvel, Gagarin and Map71, amongst others.
“a.a.s 👽 or rather, AAS, presents HALF-SUN GIFT. which is a 👽 radio show about visitors, 👽 hallucinations, tight sub, the stories Anika Jamieson-cookook, and friends, lots of ASMR VYBES, beautiful melody, brutal 👽 melodrama, my 👽 shit Angelo Balladamenti impressionMark JacksonckTom MilsomilAna BenllochllVanessa HPag HGraham DunningnninSam MercerMeJay HarperHarper and enough reverb to cover a multitude of sins/clipping.”
Full details are available at:
https://extra.resonance.fm/episodes/gravity-waves-2016-03-26
The last edition from 27th February, is still online to stream at: https://www.mixcloud.com/resonanceextra/gravity-waves-27th-february-2016/
Resonance Extra is available on DAB to listeners in Central Brighton and online to the rest of the world (how to listen). You can also listen online at extra.resonance.fm and directly using this link. Resonance Extra is also available via Radioplayer and TuneIn.
Elena Desai has assembled a group of guitarists to accompany her film “Micro Infinity”, she’s sat up by the sound desk with her laptop playing the soundtrack and monitoring things. Onstage are the three guitarists, although one has an SH101as well judging from this angle. There’s some suspicious flanger, but that gives things a Twin Peaks creepiness at times, which adds to the films degraded and oversaturated but washed out feel. There is the impression of an unpleasant factory that lurks just out of view of the skies and streets visible through her window.
You can see him onstage with a collection of effects and home-made boxes – a step sequencer and a couple of circuit bent toys. Swarbrooke starts up urgently with an irritated buzz, Harvey enveloped in a comforting darkness, he slashes some chunks of noise across it as the bee starts to warble in a far from idyllic manner. The chunks morph into a machine grind before we drop to something like a live mains applied directly to the head and into a popping rhythm into which he cuts some of the rawest noise I’ve heard in a long time, twisting into an oscillating morphing crush. At one stage you can make him out in the darkness, toy lights flashing as he carries something flashing around the stage screeching. It’s a truncated set, washing out to a thin white noise hiss, but shows how much imagination can be applied to something as seemingly restrictive as noise. Thrilling.
Jeff Stonehouse finishes the evening off in a lovely wash of blue light with a red spot on the screen behind him. He has a long trestle table with his laptop at one end and a novelty guitar stand propping up his 60s Woolworth’s guitar at the other. An office fan blows ribbons gently onto the strings and occasionally he wanders over to it to jangle the bracelets that hang from its head or scrape the strings. The laptop processes all this and has some backing tracks possibly, or field recordings. The whole piece drifts almost in stasis, enveloping and warm. People sit on the floor (in The Green Door Store!) Shimmering developments slowly crystallise from the drones, time passes. I don’t fall asleep this time.