September 2024
The Rossi Bar
Armatures started the first track with watery whistles and strings before long bass vibratos tucked in under an arpeggiated piano. Moving on with staccato piano and noises which nearly get overwhelmed by this vast squelching noise that mutates as it sounds into liquid mud. The third track segues straight out of that with an Orbital-ish repetitive stabbing, eventually joined by synth-y water and a half time kick. The drums get all glitched and we get a bit of filter on the synths. The fourth starts light, interweaving high synths pinging about, featherweight pads swirl and a fast beat kicks us off into space, planets spin past… mmmm arpeggios breakdown, then it gets a bit tougher, filtering and such, harder sounds. More pinging arpeggios and strings on the fifth. The sixth starts again watery this time aquatic piano, bubbles and an emerging rhythm track that dances around the synth parts and the rhythm., before a stammering pointillistic superfast synth part. The final track starts with wind synths, seagulls, and a deep Edgar Froese arpeggio and string synth combo. Nice. Mid-tempo, a breakdown brings in the drums, some really great development on this track and a great rounding off for the set.
Due to stuff we had a bit of a sneak preview of the start of Yewen Jin’s set as a line check, but that didn’t matter, as it meant we got to hear it twice. She starts with nicely textured drones and a very digital sounding synth taking a bagpipe like line around it swirling up and down through several octaves. There’s repletion, almost, things drift, the drones slowly move in pitch and timbre, the synth line misses notes. Add new ones. Splits notes. Almost merging with the drone and shooting off again at tangents. The drone hitting a churchy tone. A single not leads us out of this, passage, then does that same thing of sliding up and down its melodic line, a melancholic counter line, low, reflects back weeping. Some mutating bubbling bass monster comes up inside this sound – dragon in a cave-like, the melodic lines get subsumed by abstract beeps and detuning tones. Suddenly there’s reverb and cavern feelings. And amazing levels of sub-bass. For something that comes across as simple superficially, there are amazing levels of sonic detail. Rumbles, pencil swishing, reverbs and slapback delay. Swipes, bells. There’s a lengthy passage of chiming piano. More detuning synths, some kind of tacking machine, melodic burbling delay feedback. There’s some weird point where Ennio Morricone gets munged with John Carpenter in a nightmare fairground. Her set ends on drones then Casio notes and delayed synth meeps.
And rounding off the evening we had Bantu, Gary testing out a new set and some new kit for a show in Finland. It’s a pretty low key start, some whirring, some humming, he has a bell which he processes and loops through the synth, there’s a slow bass drum that slowly fades up and modulates into a tone, then back again. Other synths spin off, some radio interference, delay whirrs, horror sounds, chirping. The first half of the set continues like this, that pulse that goes through the whole thing morphing away, sometimes fading to nothing, but always seemingly returning. There’s a lot of space, and not much bass. Odd radiophonic interludes of clanger conversation take over, watery burbles, robot dogs barking. Slowly it gets more structured, a stepping fuzzed synth line build in intensity, getting thicker and noisier, faster and more intense. There’s a short break and we get a perhaps more usual “Bantu” set of tumbling basslines, thick and raucously burbling away, the final piece starting again as some nightmarish radiophonic set of beeps and tones that slowly takes on more and more disturbingly loud forms, some ghoulish humming and resonance whistling. Emerging from inside this we get some hard bass tone slapping, everything converging into the upper registers for the end.
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