March 2016
Green Door Store

I love the first Spirit of Gravity show of the year that I get to walk to with a bit of daylight. This was it, just. There’s something of the light that gives me a right proper buzz. Even if it did herald a cold spell then some more rain…

minimal impact

We managed to prise Steve away from the Electrocreche for a minimal impact set. He’s doing a series of ten, each building on recordings of the previous one. In this case, enhanced with what he calls “Black Box III: the uncontrollable”. The sound comes in three layers, there is a background of deep bassy washes, indistinct murk hummering around the stinky corners, then digging into that are these vibrantly gritty buzzing chunks of sawtooth bass, then a mantle over that, separated by some distance of foggy treble. The uncontrollable device does plenty to keep it interesting, before I think, exasperated, he decides he’s had enough and abruptly truncates his set.

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Bible

Bible are next up, Graham Zygotic drumming, Chris Parfitt switching between standard and alto flute. They start off with some pattering drumskins and the alto’s resonant tones entrapped by some fairly roomy delay. This naturally gets going into some fuller battering from the pair of them, Chris switching to the normal flute to get some squeal into things. Then G gets out his selection of pound shop sex toys, various bits humming and vibrating on the cymbals and strung up rattling the piccolo snare. We get the drum kit as a generator of tones and drones, with a different scape for Chris to work against.

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Antipattern

Al Strachan sets up his Antipattern kit on the floor. No Volca sampler, so we’re bereft of an obvious rhythm, but we have not so obvious rhythms, plenty of them, as we’ll see. He starts with the trusty Strachan Cornet with some octave effects and gets the aquaphone into a glass of water, blowing bubbles through a pipe into it – pop pop popop pop, before wandering through the audience with it, still piping, swirling whooth whooth around his head, and then getting the aquaphone into the gob with a load of space dust, crack crack pop crackle. I’m glad I don’t have to clean up his kit. He never did get round to using the little wooden bird cage.

Resonant Blue with Lucy Day

Finally Resonant Blue with guest Lucy Day on vocals and percussion. They set up on the floor, Jake with his laptop and keyboards, Lucy to one side with singing bowl and gong. They start off with things pretty electronic sounding, some filtered backwards sounds looping casually, some gentle brass washes from the percussion and Lucy’s breathy singing dreaming its way into your subconscious, then slowly they start drift off into fractioned shimmering acoustic guitars, microscopically dismantled into tiny fragments of light with Lucy’s vocals drifting effortlessly across them.

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