Category: SOG-BLOG

Midnight in a very slow universe

Posted on by Spirit of Gravity

March 2024
The Rossi Bar

With travel home to Worthing being what it is, Olivia Louvel wanted to go on first, so we start the evening with a mix of her songs on Doggerland, Barbara Hepworth and older pieces. It’s her first show since before the COVIDs, it starts with a recording of the voice backed by thin washes of synth, joined by a percussive jab stabbing in fours or fives. Olivia interacts with her projected visuals (herself, lines). Doorbells. The next starts with a much warmer drone and typewriter bursts. Again, Olivia’s voice. A breathy stab. Olivia briefly sings her voice soaring above the mix. Mostly she speaks, her voice warmer. There are layers of vocals. A breathy synth riff plays against her speaking. The third starts with a more insistent mid-range riff that she sings against. Some proper sub bass and synths curl around this. A nice sonic rhythm to start the next one, a foghorn and two whistling steam escapes, strings join in with Olivia’s voice; all interlocking. No drums yet, but this the most rhythmic piece so far. Insistent. Vocal hi-hats: Chssssh ch-ch-ch. The next song picks up vocally from the end of the last, acapella. She tweaks the feedback on the delay, riding it just the right side of feedback, a gurgling bass starts and a slow bass drum on the ones. The gurgle evolves to a judder with a full strength bass drone building underneath. She sets up some kind of stutter on the vocals and it stops. Computer jabs preface a drone and speech, vocoder-y whispers, its very machine language. Modem, rewinds. Card readers; teletypes. The last song starts with a percussive interplay between bass and pinging trebles under Olivia’s singing.  The bass bends. Her voice loops and layers up. The bass line develops and warps

[Something’s Happening] are seated facing each other on the stage across a table. Iris reads and Daryl plays. Well, they start whispering, sound creeps down from understairs, it takes about 5 minutes before something like audibility is achieved. Slowly the electronics come in, or is that the fridge, no it’s definitely from the stage. A snatch of words, back and forth jagged hum, phrase, jagged hum, phrase. I believe she’s reading from a book on critical theory from a conversation after. After reading a page she tears it out of the book. Or did I imagine that. Other sounds come in, a pinging bell. The buzz shifts pitch. Iris’ voice is warm enveloping, I can’t yet make out words, but it’s a comfort against the coldly formless electronics. She applies affects to her voice. A subsonic thud about 30bpm starts, and she bounces off it. A feedback emulating synth tone starts, a gentle melodic clattering rises underneath the electronics. The words are now completely lost to me, its just a human tone, with the rhythm of speech, or something like it – messed up by delay and reverb. Communication is lost. The drum has faded. There are layers of clattering now. A guitar based drone slowly comes into our awareness and the clattering fades to be replaced by a slow chime. “Stop”; a word breaks through, but then its lost again. More notes are added to the chimes loop. It turns out to be the guitar again. Iris just lets her voice loop now against dystopian discords and buzzes. The thud has returned almost building to a perceptible rhythm. The guitar is more guitar-y now, pinging away through languid delays. Iris starts to layer her voice. The beat goes and it winds down, her voice stuck in luxuriant Max Headroom stammers.

Finally, Automouse to bring down the house. Its starts with a buzz, then more buzzing, a distorted doorbell riff, a crunching  bass drone. Then the beat thunks in bass drum staccato, switching to white noise snare, the drums drop for a nasty bassline. This is generally pummelling, bursts of white noise. Then a switch to a faster dancehall bass drum, driving, driving along. Tearing synth stabs build it up, then swamping everything brings in a synth scale up and then into another hammering beat. A double time bass line, and the bass drum is back to a 4/4. A sweep of a synth again and switch the beat up and then down to half tempo. Full on buzzing bassline that pushes forward then veers into randomness briefly before veering back, then switching again. How many synonyms for driving forceful exciting distortion can I come up with, I’m not even halfway through and the energy levels just keep going up & up. It’s a frenzy of sound, it’s not a wall of noise, everything has its place, it’s an overloaded place, but oh, how distinct every sound is. There’s a bit where it all breaks down to more or less one note quadruple speed pulse like someone thrashing the bottom e on a guitar on the 12th fret as fast as they can, blam into a new bass drum. Syncopating in, this ones dropped the tempo, a bit of relief, hi-hats ticking, then a maelstrom of nastiness, then back to the groove. A winding noise like a Monotron delay (I don’t think it is, but has that energy) that pulverises the rhythm, then its all back again to the groove. The next goes in with a tuneful bottle clank. There’s a bit of breakcore-ish switching up the beats. And we’re into the last number the tempo is back to the max, the bass is switched to destruction, the bass drum is all thud and the snare is an assault to the back of the head, energy levels are through the roof, then the bass drum doubles up, the tempo increases even further and boom, it slams into sweeping delay feedback and end.


Warmer than April….

Posted on by Spirit of Gravity

February 2024
The Rossi Bar

Tam Lin starts the evening off with a watery field recording a slight pinging and a terribly quiet drone. Hum. A terribly quiet hum. Dulcimer notes and a slow knocking bass drum. Abstracted percussion: knitting needles on tobacco tins, the noises slowly change shape into strange forms, morphing buzzes, unfocussed digital washes. The bass drum is back as a more insistent booming monster, the dulcimer a softer plucked arpeggio, a bassline, the drum track is fuller. The drums drop away and we get the plucked arpeggio driving us on in hypnotic repetition, it then mutates slightly and some drums come back with yowling cat melody and ill timed piano. A baion bass drum propels out of this through some more strange melodic lines. Then another percussive interlude, fast pulse low toms and flapping bass drum that slows it all down. Scissor hi-hats erratic snare. An undulating line of machine dialup feedback gives us a pause before a monster descending drum cascade introduces Tam singing for a few bars, a brief pause. Delay feedback starts the second part. A muffled vocal loop, the thud dancehall bassdrum, delayed sharp  metal pinging chords. A bassline like a warehouse wall collapsing, The final track starts with bass line swirling between notes. The bass drum a counterpoint indicating rhythm but not necessarily providing the full thing. dustbin a bowed lid synth melody along with some deliriously detuned synths alternate parts to provide some head nodding sparkle. Everything is full of gaps; pauses, brief halts. And then a stop. Mesmerising.

Geraldine Snell was second, down from Hebden Bridge for the evening. Starting with sounded like a 60 year old drum machine’s bossa nova setting and a keyboard part that sounds uncannily like a celeste from a Casio MT40 with Geraldine channelling Edda Dell’Orso’s wordless vocals, the monstrous wobbly  bass and lyrics kick in at the same time, the wordless vocals looping below providing a cinematically epic backing track. The backing switches suddenly to a shimmer synth for a wind out of layered vocals. Her shoes come off for the second song – “I need to get more grounded”. The second track is slower with a bassline so deep its almost gloriously shapeless. Vocals and harmonium drones. After a while her voice pitches up significantly and the effects give it a sparkle, then the looping starts its magic and the layers of vocals thicken everything up while a weird fairground organ line plays subtly in the background. The third song starts off with an insistent heartbeat and a very 80s sounding bass synth line. Some Lynch-ian reverb-y guitar parts, more wordless vocals to start, then words almost drowned in reverb, the breakdown filters everything down and then when it comes back the vocal multi-tracking starts its delirious work again. Before the next song we get some Yorkshire banter with the audience. The final medley of songs starts with more Casio-ish sounding beats, and a fabulous warbling bassline that spans about 3 octaves, “Breath in” counting, her voices weaving dream states. Sparkling chimes scatter to move on from “Epiphany”, the bassline less obtrusive, a little acapella segment and it all goes into a dub segment everything shifts slightly, settles back briefly into something like a slightly disturbing Beatles nightmare and it shifts off again for my favourite piece of her set, psychedelic, on the verge of breaking into something deranged but just holding back, there are odd sounds, backwards bells and finally you can feel rather than hear the backing vocals emerging from the background, a modulating synth swallows everything and then its just back to the circling voices.

And for the final act of the evening we have a familiar face to SoG regulars playing his first live show in over 10 years, Drass. This was an AV experience, if you’re unfamiliar with his work the visuals are disturbing AI animations, childishly malevolent, a bit gothy. They stare and blink at us. I’m not going to describe the visuals, I’ll be awake for weeks if I get too involved with them. Watch on YouTube. Drass himself stands to the side of the stage singing into a pencil light that looks like a microphone, the mic cunningly hidden on the side of his face effectively an uplighter. Theres a lot of pitch shifting of vocals, mostly down. Again, to greatly creepy effect. Slow squelching one note bassline and rolling drums start us off. “I fell flat on my face”.  A stately three note bass line rolls off the second song, offset by detuned chimes and old style string stabs. String synths and sparse military snare rolls. The third pitches the vocals up the cartoony effect is not comforting “Play your part and serve my purpose” a piano staggers erratically and cavernous bass envelopes us.  the drops provide no respite from the tension. Kettle drums bring in the next song and the voice drops again. Rattling snares and jabbing violin parts vibrate above the formless bass and a drone slowly descends then brings back the threatening vocals. The next song carries on from the last, double pulse drums, or is it bass. Menacing piano, jabbing string parts, a sudden burst of Drum n Bass shifts things up a gear without lightening the mood. The next one starts off with what sounds like mouth drums and western guitar and a litany of names (influences?). The visuals have their faces parading behind him. Again the tempo is up to Drum ‘n’ Bass scatter. Halfway through the bassline drops to half the bar, with a much lighter backing, floating strings and flourishes, (‘Shrigley’?). The last one is genuinely more uptempo rather than relying on double speed drums, a terrifying/hilarious version of “The Ace Of Spades” the AI Lemmy I think would be even more scary in person than the real one. The guitar solo is pretty tasty, too. Theres something of The Residents about the theatricality of the presentation and the pitch shifted voices, but I imagine that’s mostly my vexation at them cancelling their tour of the UK.



Strange qualities

Posted on by Spirit of Gravity

January 2024
The Rossi Bar

So January, starting the year with super-droners Plurals, down to core members Dave and Daniel  and as usual set up on the floor, a bit of a trickier proposition for the low stage at The Rossi Bar with the start the year audience jammed in. I cannot see the kit, I recall a broken cymbal, keyboards, guitar, vocal mike and an array of effects pedals. The set starts with a shimmering lofi pulse enjoined with a submarine ping. Bass winds blow slowly into the frame and a slow loop of a throat clearing bashes in and fades quickly, the bass drone mutates slowly into a nice sawtooth buzz that takes precedence in the mix. I think there is some bowed cymbal scrapes through loads of delay while the buzz becomes ominous. Wed can feel the sound thickening up as other sounds get into the delays. bassy hums, crystalline shards of tight cymbal bowing, that wind returns. Something resembling a strangled guitar figure (that could also easily be a voice) comes in as the build really starts to take hold. The room is really starting to buzz, but there’s more to come. Tractor engine judders, more drones, squeals of feedback. Vocal squeals. Still its building, people can see how its going and come to the back for earplugs. You can start to feel the volume in your viscera. The cymbal is crunched, the only description, it sounds destructive. The guitar seems to be feeding back in three different ways at once. I can hear a violin. I haven’t seen a violin, I don’t think there is one, but it sustains a drone and a scurrying figure of scrapes across its strings, I’m sure it isnt there. Things thin out a bit after this ghost. Strands of thin feedback over chuffing steam train. Its calmer, still loud, but somehow less intense and rather lovely in spite of not actually being pleasant sounding. Space returns in the middle of the mix as the drones drift basswards and everything else fades away leaving a modulating guitar line to hold things together as intensity build again for Boom! The end.

Quite contrastingly we had Expedient Self, guitar loop pedal and effects. Shorter tightly composed pieces. A brief setup of a rhythm track, an intense lead line that multi tracks up quite quickly and suddenly drops down to a arpeggio, quickly builds again in a quite different direction, drops again then more slowly build back up to the first melodic line again, which is allowed to develop more before dropping again to a choppier section that build into delay feedback then drops again to end. The second piece starts really quickly with about 8 loops banged into the looper really quickly. Over this a melodic line reminiscent of Snakefinger writhes its way, tremeloingly away before heading off into a lurid fever dream of pigeons and fake Farfisa solos. Again the third is quickly off the mark, the melodic elements coming from layered arpeggios. We get into some pumping delay feedback while he trills small guitar runs over the top, the drop comes briefly leaving the trilling guitar running and we lose the whole thing to swirly string wipes.

Rounding off the evening with a banging set was Xylitol, eschewing the toys and J-Pop of olden times Catherine was laptopped up. Starting with a whooshing hardcore breath riff with birdsong that morphed into hard chimes and when the drums boomed in went again to pinging arpeggios. The drums hyperactive, everything almost in slow motion against them until a super distorted bassline/bassdrum and whistle melody showed up. Then the full on hardcore breaks. The whistle melody comes over all beautiful to compensate. The drums shift again savagely jungled up. They keep shifting. The breathy riff has gone replaced by an evolving 80s synth descending part. Things shift again, the rhythm carried by a frantic, disturbed frog and snare that turns into buzzing, and again pinging. Shifting again, this one beyond my descriptive powers, again channelling early 90s hardcore, almost lovely detuned synths, fierce drums and a melodic line like a doorbell on the dregs of its battery. Finally a breakdown, into a simple synth line that fills out and wanders away from the tune into pure modulated abstraction. Drums, a bit slower (the ballad?) start up and after a while a massive sine bass slows in in a deranged homage to GLR. Interplanetary hisses, beauty, horrifyingly out of tune synths all merge into something quite wonderful. Then there’s a distinct change to the next tune, harking back perhaps to the bent toys, with a childlike, almost Moog demo line, against which everything else builds in intensity. The last piece starts with a fast high synth riff not unlike chime under which speeding snares and high hats clatter. The synth riff obviously evolves into something else, the drum intensity builds, pads appear, horrible noises emerge and disappear. Half heard piano riffs. Nasty drum bangs, and sudden drops. A pulsing staccato one note bass. Ghostly whoooo noises. My goodness, so much going on, a fever delirium. The first half of the set is a single piece has everything shifting so much the points where songs merge are all but unknowable as it’s just another change in a constantly drifting sea of sound.


White crusty muffins

Posted on by Spirit of Gravity

December 2023
The Rossi Bar

Starting with Llaabb wwoorrkk, white coated boffins surrounded by an array of identifiable and unidentifiable objects, things to rattle, buttons to push, things to bash and things to gong. An array of percussion, from the tiniest up to a meter wide gong and an East European clone of a Putney VCS. What’s not to love, it’s the first outing for Dolly’s new project with an old friend Simon, and it marvellous, short vignettes of synth business and percussion and whistling, starting with what sounds worryingly like feedback to the sound engineer, but is in fact deliberate, that gives way to a lovely pulsing, with the mentioned whistling. The next piece is chimes and enveloping swoops of synthy-ness. Some lovely modulations unfolding. I’m going to concentrate inevitably on the showy synth, but it’s all really well framed by Dolly’s subtle percussive accompaniment. It’s all marvellously radiophonic as can’t be helped given the sound source, filmic and science fiction-y at times, wailing and droning buzzes in the wind. A set for closing the eyes and waiting for the pictures.

Second up was Secret Nuclear; and it’s not just me that thinks this was a cracking Secret Nuclear set, it’s now available via Bandcamp if you get the urge to listen to it in full. Dorking’s finest. Outflanking us at the start with a white noise/ blasting wind sound (field recording? Noise set?) before settling into a bug buzzing bass and ticking drum machine. The melodic sounds are John Carpenter-ish, OMINOUS. And slowly developing. It’s nearly halfway into his set before we hear a bass drum, and that provides rhythmic punctuation rather than an obvious beat. Even the arpeggios are unnerving, the audio samples murky and confusing sounding like they’ve been ripped from VHS.  The second song breaks into an orgy of glitchy bitcrushing before hitting a fat drone. About 20 minutes into the set a full rhythm track gets in under the heavy drones to push us along with the melody line. Then everything really comes together for the last song, the beats are suitably propulsive, the melodic lines hooky, the bass monstrous, it’s all just creepy enough, it even has a little dub version of itself in the middle. It’s another set with film score undertones.

And finally we have The Yorkshire Modular Society, he has inevitably a racked up modular, in a case that slopes up away from the table with a DR-9 drum machine underneath it, that’s sole function as far as I can tell is to have its light on so it looks nice reflected off the shiny brushed aluminium bottom of the Rack case…. and what he plays is a slowly unfolding generative drone set, ish. Is it constant enough to be drones? I’m not sure, it has high levels of almost repetition, the sound is enveloping and at a volume that it’s almost physical and warm; something to wallow in. At points Dom, ex of Brighton, gets up from his kit and wanders around to ensure the sound is right out in the room. There are sounds that come and go, a whistling wind, a washing swooshing synth, a thrum, a bass that sneaks in rattles everything and then slowly fades away again. Mind rinsing. It’s constant and constantly shifting, a drone, not a drone.



Monotron bridges

Posted on by Spirit of Gravity

November 2023
The Rossi Bar

Cour’en start with laughter, and then whistling, slowly out of nothing a two note bassline starts to form,  drum machine follows, a fizzing distorted organ and Louise’s voice through loads of delay. Thoughts Collide, shouting “Broken!”, an organ solo. Brief. Back to words again and pitch bent organ and end. Some banter. The second song starts on an altogether more buzzing tip, they turned it up and the volume gives an energy to the bass. The organ this time is used for slicing punctuation. An evil guitar solo, feedback and screwdriver fuzz. Back again to words. Then everything stops into delay and guitar feedback “Wot-ot-ot-ot?”. Next one starts on bass drum, then a moodier bassline, less buzz. A spooky organ riff as it’s just after Halloween, the guitar played with an electric toothbrush this time. It drops down to drums and voice for the final voice and stop. The next one starts with an indistinct bass and strident rhythm. The bass suddenly bursts into a pinging acidy burble. The guitar on this one a filthy deep churn. Filtering synth, another one burbling. An exchange of heckling and a proper full throttle bouncing bassline, the vocals come in before the drums, “Who the fuck are you?”, a nice B52s fuzz organ riff. A guitar burst channelling Andy Gill then down to a bassline stomp to end. The last song starts with a rubber band bassline, and a weird CZ101 backwards detuned riff that warps into a modulating drone during the verses. The weird riff to end into reverb and noise and laughter.

Karl M V Waugh next up. A very different type of set, sound-tracking an op art video he’d made. “Watch this, don’t watch me”. A buzzing drone murks up out of the silence, modulating deep layers building up under it. A higher buzz sneaks in, slowly the sound develops, thickens. Still builds nothing lost, more layers; more, more layers. Nothing lost, the top layer warps out into a top buzz. Constantly shifting. A delayed keyboard clanging riff. Still building. A big Tardis modulation enfolds everything as it sweeps into existence. There’s a sound like someone struggling to shut down a feeding back 500w Marshall stack in the dark warehouse next door. It floats along like this for a while, then continues to build as a sea-swell roar swoops in. A synthetic pterodactyl can be heard over this as everything reaches the peak. I can’t see the visuals properly from where I’m sitting, God knows what’s going on there. The storm breaks into fierce acoustic winds that batter the room. Eventually it the wind dies and the bass drone slopes back in, the sea recedes and a nasty buzz envelopes everything. A distant choir, the bass splits into a thrumming bass and circular saw. There’s a lost swirl of synth and slowly everything mushes up into white noise then back down to the buzz to wind out as a single drone from a long lost set of pipes.

Finally we have a new set from Rashamon; vocals he promised us, but the lack of a mic wasn’t promising. The first track starts with what sounds like a recording of Christmas heard coming from a mall. The bass drum kicks in a marching beat, Monotron delay, staccato synth ping. A high melodic line filters between the beats and the rest of the rhythm kicks in.  Some pads before it finally breaks down for the bassline. A nice heavy filter on that. And to make up for the lack of basslines to this point we get a second and a third. A female vocal comes in, ah, its pre-recorded, its provenance unknown, we’ll find out. Hooky, mind. Some synth spirals and what sounds like the chorus and another breakdown into some squelch. Some nice little flourishes of the Monotron, it’s easy to go overboard with the filter and delay, so it’s nice to see it used in such a restrained fashion.  This is pumping. The next starts with an old style breakbeat, booming away in the largest room. Ratchets down sparse drums and a melodic mid synth line and Monotron squelch swoop. It builds up around that, layers of pads and drones, sirens, bells. No vocals on this one, just layers of dark intensity. The next one starts with a nicely modulating squelching arpeggio. Drums and whistling drones gather around. Pointillist synth lines complement it and a rolling beat gathers momentum, an interlocking track of total dynamics, suddenly it shifts and we get a melodic line over a popping rhythm. Again this one just turns into a driving stomper of interlocked rhythmic parts. The final track starts with a voice from a film, a classic bit of Rashamon, something about Halloween and Christmas, a bit funny a bit dark. The final track starts with a monster beat, not so fast, big, jingle bells like some 1990 hardcore tune from before the race to 180bpm began, the bassline is melodic rather than pulsing, swooping under another female vocal, bells, counterpoint it.  Again its intensity to the max, unsettling.



Surprisingly heavy on ordinary instrumentation

Posted on by Spirit of Gravity

October 2023
The Rossi Bar

Ron Caines, Andrew Greaves & I’m Dr Buoyant: if you don’t know him, Ron was the saxophone player with the near legendary prog rock band East of Eden, long before half of us in the audience could walk. He’s been playing with both Andrew (and with his band Broken Star) and I’m Dr Buoyant for a number of years, but this was the first time they’ve played as a trio. The set starts with some layering up of synths by the electronicians but when Ron starts they drop away leaving him to lay some plaintive lines before a thin stream of near feedback creeps in and ever so slowly swells to some lovely swirling, echoing space noises. Ron starts to bounce back off this; trilling and parping, Andrew responds with a flurry of notes and then slows it down to another deep space tone. As things progress Tony starts channelling Ron’s saxophone back through the effects chain, which is nice. Andrew gets into some synth runs, then back into the spacey washes and occasional organ scurry. About 20 minute sin Andrew starts a much effected drum pattern, pinging echoes and squelchy reverbs all over. Ron switches to slight, tremulous bursts until everything starts to thicken out and he gets into some harder blowing. And then it all winds out in light arpeggios and looped sax breath.

The Organ Grinder’s Monkey, it’s the first time we’ve had Ben back in a while, and he’s changed things around a bit, the lovely Black and Chrome Jaguar guitar has gone to be replaced by some multifunctional high end (but at least black) modern thing. He’s also changed his set around a bit, gone are the tight punchy songs and he’s loosened up a bit, but there’s still plenty of structure. No singing though. The first song he starts by getting some guitar loops going through Bill the laptop. There is some odd glitching and you can visibly see him deciding on whether to restart or use it as feature, he decides to forge ahead. When the chiming interlocking guitar loops are cycling away, he gets the guitar to show some of its other features, messing with things, triggering midi sounds, the wayward glitches mostly fall away leaving on the deliberate ones. And thankfully for his stress levels the rest of the set seems devoid of issues. Apart from the unexpected triggering of an amen break. The next one starts with one of his pop guitar riffs, there’s some madness noises and the amen break. The whole thing has that clarity and lightness that reminds me of my favourite of Cornelius’ work. He gets really into messing with the beats at the end, building on his work with the games controller the last time we saw him. The next one starts with the messed up beats. Slower and rather chunky, he plays in a bassline and some more nicely interlocking guitar parts and glitchy frills. There are some great guitar controlled breakdowns on here. Theres a really quick switch into the next song, it’s almost completely formed. Guitar and rhythm doing what I can only describe as tripping along with extraordinarily filthy noises over them. Unless its some kind of dub of the previous song. Organ Grinder’s Monkey on the Version. It does go through a quite expected silly breakdown/chop up at the end. But a great example of what can be done with a bit of imagination on how to do things. An interesting experimental approach to playing, with a great ear, combining to make something really out of the ordinary.

Nina Kohout starts with heavily affected multitracked vocal, thick and well layered. We fall silent, piano comes in and she sings on, simply and alone. Electronic bass tones well up, and a fairly brutal waltz beat starts. The sound is surprisingly spacious after that heavy start. The next song is deceptively simple with an electric guitar and voice. Followed by something that starts with some deep electronic pulses, and slow dread-full beat. Some nice use of a what sounds like a scrapingly bowed cello sound. The beats pick up, heavy on the toms, intensity ramps, yowling backing vocals add to that. And it rounds off with a nice drop to a spooky ending. The next song is about consent, pretty dark, angry and as it’s new I guess raw. Intense, something of Kate Bush about the way the vocal lines interleaving. After a light break for a middle eight we get some seriously heavy synth riffing, deep and ponderous. The next song is much lighter, starting with vocals of a high thin drone before a piano line comes in. There’s a really nice string synth interlude before things go off at a bit of a tangent with interplay between pre-recorded and live vocals and back to the piano line. The next song is a song for waking up and in Slovakian. Multi-tracked and affected vocals start with drones, and a bass pulse “hah!”, church organ washes and reedy pipe melodies follow with synthetic bird whistles. The final song starts with a plonking marimba pattern, the vocals come in, everything fades briefly then a deranged Latin rhythm starts, with some proper sonic bass. Its almost channelling a gothy Herb Alpert, only without the trumpet.



Here comes summer

Posted on by Spirit of Gravity

September 2023
The Rossi Bar

Starting the evening off, Thon is set up onstage with his hand made hurdy-gurdy noise box, effects rack and a couple of other devices that were hidden behind the huge monitor he had displaying visuals to complement the visuals he had projected behind him. Bowing the string on the noise box get this monster drone started, which he then complemented with scratches at this or thrums of that, or something untoward on the hidden kit. The drone seems to constantly morph into human/unhuman screams. Occasionally it feels like a whip of feedback folds in, but the deep undertow of the bass is pretty much constant. Some kind of Godzilla footstep bass drum, reverbed and down-pitched to below sub bass thumps along. I had visualisations of a car accident in a desert, some kind of narrative conjured itself up. Everything starts to drift, the footsteps and unrelenting bass both fade away leaving a Star Trek shimmer from two bowed ruler like bits of metal on the noise box. A new drone is built around this, oscillating slowly with much higher frequency sounds, much more feedback driven. Eventually a shaky hi-hat style patter seeps in, and almost a bassline starts to undulate under the drones, sub bass, the drones growl and work with the bass, switching around, shifting the dynamics and it slowly drops down to a far choir, then a low organ buzz. A low organ buzz with a windy, church-ish ambience. He works again at the noise box, giving texture and scrape-y grain to the sounds and then a roar slowly envelopes everything and we’re done.

So Missing Music, a set up with two very old Apple Macintoshes, one plugged into the projector so everyone can follow what’s going on, which leads to a lot of murmuring throughout his set from certain sections of the audience. To be honest the details go over my head, but a great deal of trainspotting pleasure is obviously to be had. It’s a lovely set, very soundscape-y, spacious, expansive. A nice contrast to the density of Thon. Its starts with big tonal sounds, pure, floating and bending with radiophonic overtones. A staccato bass counterpoints what we’ll take as the melody line,  providing a little drive, to propel things along. Little bursts of notes give way to great slowed loud bell tones. I recognise a piano keyboard when it comes up and a flurry of piano notes runs around our heads. The slowly modulating line continues through. We get a half beat, something of drum and bass about it, staggering in the background it throws the top line into bright relief. Something of the cathedral about it until it slows down to proper bass. We get some glitching and sparkling, a rattle of delayed snare. And breathing. Space. The sound of space in my imagination epic and beautiful, the sound of Jupiter looming into view. A stepped note part gives way to a nice little arpeggio, still situated somewhere in the cold reaches of the outer solar system. And it runs for a nice little while before the sounds suddenly mutate and we get some glitch-y stutters, smeared sounds its suddenly all a bit MaxMSP, I’m not sure as it could have been on the other screen, but whatever it is giving it the improv-y edge it’s counterbalanced  by a nice slow LFO sweep working against it. A one note pulse heralds the end as it slowly unravels.

En Creux has a no input mixing desk setup; feedback loops through effect chains in and out of her onstage mixer, with no initial signal. Her set starts with a low hum which slowly moves to an undulating buzz. There’s some squelching from a delay that disappears quite quickly. Things can move quite quickly the feedback loops are inherently unstable, and we get a staccato of high pitched before a marvellous dotting bass erupts – superfast pulsing that imperceptibly slows, before she gets to interrupt it to get some rhythm, then a subby noisy wash of bass swamps in underneath it. En Creux is very much at the other end of the sonic spectrum to Toshi Nakamuras spectral treble. We do get some blistering mid ranges here though, it feels dangerous, the sub bass is still riding the room, but these switches of deliriously nasty noises wreak havoc with the senses. She can ride the havoc well, letting it rip on, with some really nicely detailed fine control. Eventually she reigns in the noise to a muffled stutter before dropping it altogether. She does some work on the bass for a while shifting it slightly, giving it a wobble, developing it into something raucous, then back again to something more tonal, dropping the buzz and letting it get wafted about by a delay pulse. This runs for a while and then she thickens it up, and allows it to branch off, one strand filtering out into a reverb-y buzz that slowly disappears, and we’re back to a buzzing vibrating pulse again. Then some squeaking, a dog’s toy. No idea where on earth that came from, but it sounds like it brought its dog with it. Then some nice feedback whistles, before its back to the bass and a machine clacking beat, which becomes everything, even crickets. She slows it, brings it back to speed, introduces new elements that add to it, before it winds down to a saw slowly hacking through a giant tree.