Author: Spirit of Gravity

Thursday 6th October at the Rossi Bar: I Am Fya / MelJoann / Gus Garside

I am Fya: From Manchester comes I am Fya, with her low End Textures, field recordings and sound system culture, steeped in Barbadian influences
MelJoann: Creepy avant-pop songs from Ireland’s MelJoann; disorientating AV and wellness cult recruitment are part of her weird world.
Gus Garside: 3 very different pieces for double bass and electronics from the improv and free jazz stalwart, on a solo outing away from Arc and other recent fertile collaborations

With apposite live visuals by Symmetrical Forces, overlaid with out-of-reach memories and vague fragments of lost visions.

Thursday 6th October 2022 | 8pm – 10.30pm | £5 (cash only)
Downstairs @ The Rossi Bar
8 Queens Road, Brighton, BN1 3WA

Next radio broadcast on ResonanceExtra FM: Sunday 25th September – 8.00 to 10.00pm

Gravity Waves and the Spirit World

Sunday 25th September 2022 from 8.00 to 10.00pm on ResonanceExtra FM, DAB radio or online at

Music from around the Spirit of Gravity – compilations from Difficult art and music, Abstrakce Records, along with Shit Creek who played at our last show. The second hour features 2 extended audio works: The Hallucinogenic spoken word ambient essay from Mark Fisher and Justin Barton, and the strange and spectral audio track from Mark Lecky’s (fairly) recent exhibition at Tate Britain.

Elise Plans – Cantoo (Everything Lasts Forever…) / Distant Animals –  Wolfams (Public Sector Prisons…) / Anatomy of the Heads – Drama at Spirit Lake (Everything Lasts Forever…) / Beattie – Canon – Hignell – 48 (Brexshitting) / Shit Creek –  ancestral vision of fibre optic cable / Shit Creek – ash song/ Map71 –  One-Dimensional Bang (Fourth Dimension Dub) / Ariel Kalma – Yin Yang  / Jeff Greinke – Their Secret Game / Noteherder and I’m Dr Buoyant – Restless head / Shit Creek

Mark Leckey – O Magic Power of Bleakness / Mark Fisher and Justin Barton – On Vanishing Land Side A/Side B

The August edition of the Spirit of Gravity Radio show is available on the ResonanceFM Mixcloud page:
This month’s show was taken from music around the orbit of The Spirit of Gravity, friends of friends and beautiful strange music we found online, including Emily McWilliams, Richard Youngs and Phillipe Petit

Thursday 1st September at the Rossi Bar: Electric Ape / Yes Indeed / Shit Creek

The Spirit of Gravity Presents:
Electric Ape: A one off set of drones and beats
Yes Indeed: Fuggy, soaring & out of place
Shit Creek: Happy drone, maximalist pop-skronk freakouts

Ingrid Plum is unfortunately unable to appear.

Yes Indeed are Laurie Tompkins & Otto Willberg. Live, they play keys, bouncy bass and sing over tactile, emotive samples. The music is fuggy and soaring, deliciously out of place. On 2021’s ‘Exorcise’ EP, ratty violin, syrupy bass and foolish voices congealed over a backbone of co(s)mic spinnet and pit percussion. Boomkat rightly dubbed it “proper mad scones”. ‘Rotten Luck’ – a sodden, diaristic epic and YI’s first album proper – is out in September 2022.
Laurie is a composer, helps run the Slip label and has put out CDs on Entr’acte, 33-33 and Hyperdelia this year. Otto is a bassist, plays in groups with Ashley Paul & Charles Hayward and has an LP coming on Upset The Rhythm with his great band Historically Fucked.

Shit Creek are shimmering electronics, gleeful pulsing drone, violin screech and/or chopped-up pop songs. Join psychedelic noisenik Shit Creek on an improvised trip to euphoria town. Probably violin, guitar and some keyboards/pedals in there – it’ll start on a drone and then build

Chris [Symmetrical Forces] creates live visuals for each performance using his own lo-fi footage, dusty VHS tapes and obscure videos from the internet to create futuristic images from the past overlayed with out-of-reach memories and vague fragments of lost visions.

Thursday 1st September 2022 | 8pm – 10.30pm | £5 (cash only)
Downstairs @ The Rossi Bar
8 Queens Road, Brighton, BN1 3WA

The Summer breaks

September 2022
The Rossi Bar

Standing in for Ingrid Plum at a few days’ notice we had Electric Ape, a longstanding audience member and a member of the [beep] group as well as starting his own Kosmische night, I find it hard to believe Simon hasn’t played for us before.

Set up on the stage floor with his modular synth angled up before him with a tidy tray of effects next to him he started off with a lovely unfolding set of drones. Slow chimes, breaths, the occasional wood block. Then there was a subtle shift into almost Martin Denny territory, very exotic mid-tempo percussion, overtaken by an electric hihat and booming bass, a little piano chord here or there and a very eighties sounding string synth. Nice. The next piece is almost all percussion, up-tempo, rim shot, hi tom, shaker, maybe more Afrodesia, if we’re still talking Denny, a wind gets up and a little sonic LFO activity on it, whirling through the slight shift in percussive balance. I can hear what sounds almost like Matt Johnson muttering in the background. The percussion shifts again. Building intensity with little snare roll, then its a drop,  and an end. Theresa little gap for applause. Then a boinging bass drum, hyperactive rattly hi hat, more speedy high toms, woodblock. A little gentle interlude of soft piano, then it’s back into the rhythm, then the interlude again, then a  little unison, and the rhythm thins out, and goes, the interlude takes us to a slow down into the delay tunnel of resonance.

Shit Creek is next, a warm drone from the keyboard starts, soon to be enveloped by a long note off his violin fed into a looper, they slowly rotate around each other; you can feel the beating and modulation in them, rasps and gurgles form and bubble. Some shimmers slowly emerge, what sounds like the Shangri Las “oooohhh”ing in the next basement, it’s all indistinct and revolves very slowly, blissfully, a slight warble of what could be feedback subtly swans about. It’s all very subtle, enveloping, not a lot seems to be happening even though Lewis is very busy behind his bits and pieces, it’s blissful. Marvellous.

In contrast to the apparent near stasis of Shit Creek, we have the hyperactivity of Yes Indeed. My best description of them was “like two seven year old musical prodigies trying to reconstruct ‘Yessongs’ from a single listen”. I still think that’s reasonable. They have a backing track, and play bass guitar, keyboards, and other things over it. Starting with singing distantly off mic and electric piano. It veers between very structured and completely freeform in a quite erratic manner. There’s headbanging and duck calls. Moments sound like Tuxedomoon, then space chords offset by honking, nicely rounded bass runs. Fat organ chords butt up against lead fuzz bass and twinkling lead piano. Is that a kazoo? Remarkable, haven’t seen anything quite that off the wall in a while.