Category: SOG-BLOG

ElectroSoG?

Posted on by Spirit of Gravity

May 2023
The Rossi Bar

While we were sleeping starts with glitches redolent of a record kept in a damp corner of a cellar for 10 years. Some crackling bass washes slide in with ghost cars and distant bombers heard through ears dropping out from sound pressure. It’s an oppressive start, terrifying. Eventually one of the washed out sounds starts to modulate into something with pitch and we get some drones starting to evolve. A shortwave radio scan of “I am sitting in a room” brings us from behind the settee, and as the fear subsides, the drone subsides, Guy messes with the speech, in non-resonant ways tape winding, slowing it down, pitching it up. We get some heavily delayed intermittent synth line. The speech devolves into noise and acoustic grit and eventually bass pulse. Odd slurs of sound slip around it and the speech comes back. White noise percussion forms a pseudo beat about the pulse which modulates through various stages before settling on something like a bassline. Ah drums. A brass riff stolen from the mid ‘00s makes a surprising appearance dragging the beats down to a virtual deranged standstill. Lucier’s words return over bits of burnt brass, and shiny little slivers of distortion.

Tullis Rennie is next up, in another life he is a tromboning free-improv-er, and the brief disappointment I have for him turning up trombone free soon disperses once he starts. A lovely pulsating shimmer of a brisk arpeggio’s synth kicks off his set. A space whine sees this off; modulates around us briefly and the arpeggio returns. A deeper synth line unfolds and subsumes everything, there are slight flourishes hinting at what we’ve heard before. And now everything majestically stills and our vistas seem to expand, and then we’re suddenly returning home from the environs of Jupiter. Back on to Rock-a-nore beach in Hastings in 2021. The sea laps and a pointillistic synth note carries us along into another trip. We have percussion on this one, subtle a-go-go, perhaps. Lopsided unassuming synth riffs propel us. Interlaying lines build, the odd bass note, perhaps a dulcimer line. A quiet bass drum. Its given a good amount of time to gently evolve. The next section has a sharp stabbing line overlain with thick washes of sound, some detuning goes on and then an impossibly fat bassline runs through us several times and stops. We then get into a set of uneven interwoven lines a lurching rhythm, sharp synths, scurrying bells all weaving lines around each other.

Johanna Bramli’s set starts with a slowly blistering bass drone, superfast subliminal morse staccato blips run over it until eventually her piano and vocal comes in. A drum threatens to start, a slow oceanic scrape and the sound of swimming. The bass has slowly become threatening, a loping rhythm track skips underneath, the drone oppression slowly lifts as a piano starts afresh wordless vocals make us wistful, elegiac, the sounds of the pool become ghostly, distant. Some bursts of distorted bass, bring a different less threatening drone. Hi-hats seep in from a door opening onto a grime party in another building. There’s a grinding. Slow organ, a description of another room, a bass drum throbs, literally rumbling under it, then stops, returns. A counter melody to the organ and a nasty jet noise.  Again half heard distant things add depth and mystery. A male humming, the grime party door and the bass throb are linked… another organ line heralds the next section. Drums and sub bass form a line galloping towards us, a softer organ line and layered up vocals, male female, not unison, but united. Indecipherable sounds block around the singing, Johanna now, through effects. We get a low key percussion workout which slowly evolves into the final section of her set, the drones slowly return, layering, warm and enveloping and not threatening this time either. A click, spool winds, short busts of static, or morse. And finally falling into the Stargate for close.



They’re redeveloping my waste ground

Posted on by Spirit of Gravity

April 2023
The Rossi Bar

Starting with Andrew Greaves & Dan Powell onstage set up facing each other for a run through of the new piece they composed while on residency at The Rose Hill. Dan with his tray of small objects, his laptop and a new tray pf glasses from the location, Andrew with his usual mix of serious synths and trusty Casio. They start with Dan’s glass armonica warblings played against synthesiser drones from Andrew, some gentle clatter and bell chime mutated by MaxMSP and proper bass rumblings. Emergent is a slow haunting, detuning melody first on a synth, then the Casio organ, the clinking falls away and a bassline is revealed, Dan filtering in some subtle scraping of bow on glass. As the melody ebbs away we get some radiophonic beeps and arpeggios blending in, if the first piece felt like Dan, and the second Andrew, this is a nice meld of the two. Andrews repeated organ figures with Dan’s sinuous drones piercing snakelike in between, until overwhelming with a fat bass-y wash, phased in with wind FX and Andrew providing the drone. Plane, car or sea recordings, glass pub clatter, rattle and chime ruler thrum on table. Spacious churn of a bit of a rummage through what’s on the table, roll of saucer, shortwave whistle. Some speech, sounds like my friend Ursula. The organ riffs are back wedded with odd noises and washes again.

Next it was You&th, Maria and violin, field recordings, LoopStation and effects. Starting with a looped bass violin figure playing off against seagulls, Maria winds a melancholic line over it, something about it takes me back to my youth and the sound of the one legged violin player every Saturday playing under the railway bridge at Earlsfield station. Next up is a song called rainbow, I think, a drone underpinning this one, the lead line sliding between notes, I can hear the traffic along the main road behind the man’s back. The melodic line changes slightly; sawing, insistent. The traffic thrumming as it passes. Weird delays spiral off. The third song starts with an aching melodic line, solo, I think this is one of the songs Maria learnt from her Neapolitan father, at the end of the verse a little pizzicato phrase and we can hear the streets again.  Maria sings, birds chirrup, she has some odd double tracking on her voice. There is rain, loud on sheet metal, wind provides bass. It’s beautiful. The violin is back. I can feel the trains riding overhead as I hold my mother’s hand and can vividly see the man’s empty left trouser leg neatly pinned up, the arm holding the violin jammed firmly against the crutch holding him up. It’s amazing the unexpected images great music can conjure. That’s something I haven’t recalled in a very long time. Beautiful set. I wanted to write more but every time I try I’m lost in time.

Finally, it’s a newcomer to The Spirit of Gravity, Pylon&on&on coming to us via our friends at Electronic Music Open Mic. He’s launching a CD. He starts with a continuation of the melancholic lines from Maria’s set, slowly lifting them with some shimmering, shifting pads, everything seems to ebb and flow. An enormous, massive bass block swings slowly in, the pads fade to birdsong. Boom its back slower than plodding, birdsong; BOOM; harmonium; BOOM, occasionally something like a snare. Rattling, a bassline, slow – but double speed of that boom – and an organ part comes in. It’s as if he’s channelling the evening to date into the first few minutes of his set. We get what seems like a breakdown to a detuned synth phrase, bass tomes and mutating buzzing synths swarm around it. We get a distorted bass drum salvo, it almost has the sense of a pattern that’s constantly just beyond comprehension. Some voice then its back again almost breakcore in intensity, then something that’s definitely a drum pattern boots its way in boom clack rattle, some repetition – I can tell, then developing quickly into stop start distraction. There’s a voice, like clipping. rhythmic then nothing, a wash of gentle white noise, a hint of siren, filters, a slow half a bar of recurring beat. The other half filled with typing, the bass drum slowly consuming the whole bar with its insistence then  four to the floor in it comes, bosh, siren flailing. There is some shuffling (the horror) amongst the audience. Arpeggio, breakdown, filtered noise. Clanking and we’re into the next track, half a vocal phrase rhythm against a double beat bass drum in another building and untuned synths. A bubbling line slinks up under everything, then to end it veers off into some grime bass fatness that suddenly shoots off into breakcore crazed beats for the finale.



Endless travelator

Posted on by Spirit of Gravity

March 2023
The Rossi Bar

Will a member of management please go to the security panel.

A boom arm full of loops of quarter inch tape hangs obscuring our view of Ascsoms as he sits at his tape player and effects. He introduces the pieces tonight as being from a work in progress called “A state of emergency”, a homage to klaxons, alarms and such. And it’s full on radiophonics, a lovely cascade of beeps and whirrs spills out of the PA, occasional tonal swirls, that are eventually swallowed up by a quiet repeating rasp. A fuzzy ill-defined drone hovers away in the background as the swirls occasionally continue and a Tuxedomoon shimmer whooshes through. A buzzing fly eventually realises itself as a thinned-out air raid alarm, pocket calculator tones away. Adam occasionally gets up to refresh the tape he’s using as a sound source. The tones vary, there’s a descending run that ends in bassy delay feedback. A circular saw seems to have defined pitch, everything slurs. One tape seems to have oud playing on, that he picks notes of particular frequencies to highlight that give us a rhythmic patter. Car horns unobtrusively provide a honking beat. A laser battle breaks out in the quietest traffic jam in the world. Stereo sonar pings!  It’s all surprisingly warm & emotional.

Jo Thomas is sat behind a Chapman stick laid out horizontally on the table in front of her. She plays with by hammering on to the strings, her hand like a piano player’s; reaching for the widest chord, she has some field recordings which come in under her sparse bass lines. Rhythmic leaf crunch, gives way to something ill-definably thumpier. I think of the Chapman stick as being a bass, but she gets some nice high notes out of it, including some nicely sustained feedback, which she distorts into a penetrating grind. Jo is also not immune to a little radiophonic warble here and there. Starting subtly then amping it up to overwhelm the field recordings. All the time making runs & rumblings on the stick. She runs for a while on a really nice abstract loop given rhythm by repetition, its quiet with a few notes, rumbles and whistles. We have walking / raindrops / knocking giving a counter beat, then a sudden rush of sub bass and take off rumble evolving into wind-tunnel  roar and improv rattle. Everything drops away leaving the sub-bass to loop away with sparse chords layered over.

Simon James rounds off the evening with his famous Buchla synth, once again the synth set up facing the audience and he sits with his back to us – we can see him working away: patching; adjusting, tweaking. He has programmed up a lot of sounds from his neighbourhood in Shoreham, the harbour, the beach, the wind, the occasional chime. The wind gradually becomes tuned and effected, a drone underpinning it. It drops away to the wind again, lock sirens, the distant warehouses. Distant foghorns boom gently, as we enter a factory, metal is dropped and lifts hum. We enter a world of water, waves against a wall, and Simon in his car talking about the wind of the sea buffeting his car. Lorries running past the bass off their exhaust enhanced by the Rossi bar’s PA. The final section starts with what sounds like a small wind turbine judging by the pitch, tuned up and down and briefly sawtoothed, ghosted with delay and some more proper bass and it suddenly stops to general laughter before recommencing back in the watery pool. Sirens woop and a ship engine throbs and vibrates past


Nocturnal Lee

Posted on by Spirit of Gravity

Febrary 2023
The Rossi Bar

The first act of the evening is Alien Alarms, he’s set up with his launch-pad angled towards us so we can get some idea of what’s going on, and it’s really interesting you can get a much better feel of the way Jim is interacting with the rhythm tracks when you can see what’s going on, beats starting, chopping, and he seems to be really going to town with it for us, stammering the vocal parts and really getting into messing with the beats. The first track is quite slow, tooth rattling sub-sonics and eerie synth, someone deep voiced talking about the wheel of life, the beat almost stalling. The second uses Sun Tzu read by a woman, guitar parts by his son, and singing by Jim. There is an early 2000s nu jazz feel to the top layer undermined by the intricacy of the beat and the dubbing fx. The third is “Less of almost Everything” off the album, again Jim sings, it seems slow, the bass is vast. The fourth track is his track for the upcoming Spirit of Gravity compilation, its starts ponderously, pianos come in, the beat stops and starts becoming more energised each time, the bass turns to a buzzing drone and the beats get almost up to DnB levels underneath. No hi-hats to make it take flight, big piano chords break it up. The vocal samples speed up and it ends on a lovely piano figure. The Aphex Twin cover he dedicates to Lou, it’s even more frenetic than usual as he gets right into the beats and doesn’t have vocals to distract himself with. It ends up with him chopping up the melodic line as well as the rhythm. The final track is the last one he did before getting into his AI work, strings, breaks, bass: a kind of frenzied tribute to Shut Up And Dance, in my mind at least.

Following up closely behind we have Hannya White for her Spirit of Gravity debut, she got in touch with us by sending a track for the radio show, which we loved, so invited her down to play. It starts with breath and a mono-tonal, metronomic bass. She murmurs dogs bark. Bits of the room vibrate. Unexpectedly a flurry of drums breaks in and disappears, this becomes predominant. The dog may now be a piano. I can hear her words more clearly. They layer, the drums are constant. The second track starts with drums. Not what you’d call a rhythm, not at first, a very 80s sounding bass synth, the drums like a double time grime pattern. Something erratic is happening over the solidifying drums. The third starts Star Trek-like, a hammering bass drum confuses us and the filters take away the melody, she talks, pizzicato strings, bowed strings. Fire. The fourth starts with slurred strings and earthquakes. Spaceships, vocal drones. Atonal strings and held breaths. The next starts with an organ sound: bass-y rhythms with stabs laid around them, that falls apart to pin point piano and voice, jazzy cymbal, bits of that organ. The sixth steps everything back up with a fat bass-y pulse, rattle-y drums, kettle whistle, woodblock syncopation and voice. Scary sounds come in from the cars in the woods. The bass falls away and all gets proper creepy and we run away. We finish with possibly “Hauling it down to Mexico” which was our choice. A creaking bassline, screams, Bernard Herriman strings, highway running drums. The whole set is a soundtrack of deranged wonder, shifting, powerful & slightly terrifying.

We finish with the return of Rashamon, for his first set at a regular Spirit of Gravity show for around 10 years. Lee starts with a gated shifting synth, big drones underneath, some of his trademark use of film dialogue intact, then off into song-land a repeated intricate synth figure, some Vangelis string synth, before a big bass kicks in. There are some heart-melting melodic lines before the drums roll in. There’s a classic breakdown and everything returns, a bit darker ; a bit more intense than the first time around. The second breakdown is all bass and weird detuned sounds floating around. When everything comes back the intensity is again ramped up, the melodic line subsumed under the newer tonalities. This segues straight into a lighter arpeggiating line, the weird noises tailing slowly off into piano lines and returning first as radio interference then as rhythm. The third track starts with a skipping bass drum and snare pattern with vocal sample, before a monstrous buzzing hardcore bassline comes in. it drops again, leaving just an echoed stab over the drums before returning in a much more subdued form with a melodic line over it; everything locked together, everything rolling. I stop making notes and just nod my head…. The next starts with a piano vamp under-tracked by Trek bridge noises and a high two note motif that gives it just enough melodic structure. Another piano part comes in and the two notes expand out into a full line. There are reverbed drums, unobtrusive; some dialogue I’m not sure is from the room or the speakers. The final track starts by layering up some heavily indistinct drums over that, it keeps the two notes, a swirl of arpeggios twist away underneath, nagging at the shape of the piece, synth-y drones float in, the drums fade away and we’re left with the sequences and bridge noises. Sublime.


I don’t think it’s a sawtooth

Posted on by Spirit of Gravity

January 2023
The Rossi Bar

The first show of the year, its cold, the room is full. Onstage is Iplu returning after a year and a day. He presses play and wanders off into the crowd. A drum and bassy break a descending bass, slowly picks up while we find out about Haribo, pies and non-UK brewed beers from the audience. The melody is nicely detuned and tremelo’d.  By the time he’s finished and returned to the stage, the track is winding down. The second track starts with a 4 to the floor and shiny pad that shifts around, nicely before and old style house pause and off into a slightly more melancholic melodic line. The third starts with a skippy beat with a tasty ping and pitch bending mid line.  Another one of them pauses and the rhythm just churns up into something thicker and much tastier. And eventually we get the extremes and proper (sub) bass line against top end piano. Another change to half tempo. The next song starts with someone telling a story about being an asshole in a car against a really minimal backing, no beats, slow space piano. Next track starts with a flexatone, not a physical one, through many effects and plenty of odd noises. Creepy. Gradually everything is just effected into a mush from which you can faintly hear the sounds of the descent to hell. An organ drone, no two, slightly different organ drones. A deep bass line, a squelchy top line, “excuse me”, murky rhythms. The top line goes down to again a slightly melancholic lo-fi whistle sound.  “Feeling Quirky!” a dirty bass, the dirtiest of the year to date, suddenly its tempo halves and Arthur starts talking over it. “I sit in a café listening to Strawberry Switchblade pretending if the weather’s this shit I’m in Glasgow in the 80s”.

Simon Pyke is next up with his first live performance in 12 years. Not that you could tell, he’d obviously been biding his time. It starts with a 4 note granulated riff, several interleaving kinds of drone, a stuttering piano part on several pianos in different ranges, then filtering nicely away into a slightly simpler riff then a drone that modulates straight up high to a lead melodic line. At the same time a slow, slow bass part creeps in and one of the subdued piano parts comes back in. the melodic line is all over the place tonally constantly modulating timbre and pitch. Now we have a Harmonium line. The final nautical part looped and then chopped. A one note piano on the 8s clears the decks and we hear water. The harmonium comes back with a new, higher line. Almost a concertina. Then again more in the middle. A swirl of many organs, church-ish, flurry around us before settling into a pulsating fat, interlayered pad. Slowly it morphs into an organ arpeggio with a big melodic line, the high notes counterpointing the rhythm. The harmonium is back again. It thins out to a paper fine flutey tremble for quite a while before a simple harmonium figure comes in, then repeats with interesting effects applied before disappearing into some kind of rising motif. A melodic line comes in and everything around it detunes away from it, and it drops done into a fat bassy drone. The harmonium again, pumping against big doomy chords that slur into southern gothic songs before bouncing back as a rhythmic counterpoint to the pumping rhythm that’s still feeding in the background. The next passage starts with what sounds like the dulcimer tones taut snare played with knitting needles, this is enveloped in a massive space reverb, to be subsumed into the sound of crumpling paper and piercing whistles. It ends with each slow note detuning into a an endless pitch drop.

Finally to finish off the first show of the New Year, we have Automouse, Kate Reed in overalls with her head in a box with the single vast blinking eye. The introduction is underpinned by a hammering bass drum and a lo-fi bell riff, snares start to alternate with the bass drum; a bar of each, then a bass, I can’t describe it – deep but with that weird cadence so you could hear it on a phone,  its all dirty and noisy, getting more distorted as the tension rises, then suddenly the noise falls away and it sounds ominous, about to break into something still getting tenser. Then it all falls apart into the next track, slower, a big flapping buzzing bass following the four to the floor, some very nasty noises puncturing the rhythm, it breaks down to gunshot snare and a BitCrusher melody. Not melody; top line, and something broken crunching around in there. The snare and bass drum do that alternating thing again. And then a breakbeat and a horrible murky detuned brass riff like I’m standing outside a Wrong Music night down at the Volks in the late 2000s. Everything falls apart around a rearrangement of the break beat then a buzzing bass brings a break played on a old tobacco tin,  and the filthiest bassline yet flattens everything around it, filling every space in the Rossi Bar with its heavy breath. This one appears to have 3 separate basslines playing at once, then it all gets barged aside by a monster clean loud 4 bar drum riff underpinned by a 2 note bassline topped off by some tasty feedback. We get some mid- range rhythmic stabs interlocked with a white noise percussion part that syncopates like a fever dream JAZZ THING. And we get a breakdown the relief is tangible respite, our delirious minds can rest before the hoover starts to berate us. And back into a slow breakbeat and rumbling bass drone. A squeaking gate counterpoint to the rhythm comes in that seems on the verge of modulating into a melodic line as the drums drop out. And eventually the drums dismember themselves into a 4 note bassline. Again noise, clattering, feedback tonal dropping into great squalls and again the BitCrusher playing a half tune. The drums are almost lost in distortion and general racket, but can be felt. Then everything empties out to a groove, soon to be overlaid by noises that sound sourced in age old cassettes of street vendors cries from the 50s. Then we get into a more insistent rhythm track with 4 bit bowed bell scrapes around it. Roaring bass parts, feeding back delays, doubled up snares, the sounds of short circuit sparks and shocks. Everything becomes part of the beat. At some stage around here Kate goes walkabout into the dancing audience (yes, I know – again!) It ends and I’m laughing maniacally.

What another great night.



Before the chill

Posted on by Spirit of Gravity

December 2022
The Rossi Bar

sThe evening started with Jake Smiths return this time as The Warped Love Group; starting with a bell and tube noises, a shimmery delay, a tonal siney, bass drops with a hint of an organ offbeat. Subtle sonic effects bubble away just drifting in and out of hearing. Is that a guitar strum, a voice, the delay modulates, the bassline mutates slightly. Are we on the second piece. Whistling, the sea. A full blown organ skank. A ticky tack rhythm track. The delay goes full on copycat tape delay and a stripped down new bassline and male vocal comes through. Two note clock organ. Repetition. But not repetition. Always evolving. Shifting. The bassline changes again, the organ only slightly. The rhythm track gets lost in shuffling ball bearings. We lose half the notes in the bassline, new voices. New bassline. Same shimmer. Stray percussion; slow actual drums. Ponderous. Actual singing from the computer. The organ skank is back. This bassline may be from Roots Radics. Everything drops and the last syllable from the vocal is stretched beyond recognition.  New bassline, a rhythm made of breath. Electric piano. A melodic part. A Rockers beat. A clocked snare, double up, a smear of a bassline. No snare. Electric piano, submerged by something that resolves into a two note snare. A vocal snatch from earlier. It builds like something off Dark Side of the Moon. Shiny. Ends on the bell.

Next Emma Papper’s new project with Jason Smart “A Day Trip to Europa”, Emma on laptop and Electronic Wind Synthesiser, Jason on words. Arpeggios start; with warped noises from the EWS swirling round it. There is something of the Space Age Bachelor Pad to the start, when flight was glamorous rather than a threat. Jason soothes as we set off. The second song is thicker more luxurious, the arpeggios muted, surrounding sonics slightly awry, unsettling. Weightless. The third starts with picked guitar, as Jason sings, we orbit Jupiter’s ocean moon. The next one is all drifting liquid. The next one continues like that but vocally goes all Solaris, but with fish. Jaunty guitar chords start the next singalong: “Who put the cosmos in my cocktail” I assume, it has a nice cosmic middle 8. The next track starts more disturbingly- random beeps. Seems to be about Euthanasia, a bossa nova beat referring back to that mid 90s lounge revival again, just adds another unnerving layer. The next one has picked guitar effected to almost harpsichord, and EWS spirals. Jason sings back to earth through bass burbles, swirls and twitters. Or he could be singing from the bottom of the European sea.

And the quite literally finishing us off is Chris midi_error in his Gun Boiler guise, promising us a set starting at 200bpm rising to 1200 at the end. He’s dressed up in a white mask and green spike wig, and in his garish shirt and jacket looks quite alarming. His set is surprisingly melodic and not as jarring as we may have anticipated. Staccato string stabs and superfast washes lull us into a false sense of security before the kick does come in along with the rattling snare, the drum rolls start turning into washes already: Chris has set out his stall. Submarine pings, I start laughing already. The drops to the kick just sound amazing. Some backwards stuff on the next breakdown. Its interesting enough to keep us distracted from what he’s doing. I assumed this would be brutal, and purely percussive, and although melody is going to be scarce it is surprisingly musical. I’m not going to describe each song individually, especially as get into abusing them with his Kaos pad. Sometimes they try and seduce us by pretending to be half speed, so we’re like “Oh, yeah?” before pow, in comes the bass drum again. I wish Wrong Music was still going at this point, this is made for the Volks. The second one has a sound like a hyperactive 7 year old bashing a 6” nail around the inside of a beer tankard. It does indeed get faster as we go, without getting furious or even dark. It’s fun. One track has a vocal sample, needless to say its incomprehensible and reduced to hypnotic percussion, he uses this as an excuse to do a slowdown. It doesn’t help us work out what it is. Is it like a frog in hot water, it seems normal. I can’t really process the differences in tempo now. By the final track the bass drums begin to blur into each other. The hi-hat’s a smear.



A bit intense for this time of year

Posted on by Spirit of Gravity

November 2022
The Rossi Bar

A busy night, starting off with a set by Evey, who runs the Electronic Music Open  Mic nights at The Rose Hill. Starting with a harpsicord arpeggio underpinned by a bassy wash, the harpsicord gets filtered out into something slightly spookier, other noises lurk about underneath, ending with a scream/machine noise that just overrides everything before fading off into reverb. The second track starts with a nicely resonant bassline, something picked and ‘Get Carter’-ish counterpoints this before a sub bass line swings in. Our first hint of drums comes in with a nicely reverbed out snare. The resonant bass is constantly moving, hardening the sound. The third track starts with what sounds like a one note bassline repeated on 3 instruments, that resonant picking sound comes back to pick up the melody line again. A full on churning beat comes in, with a noise drone and the lead line fills out, the noise mutates into a pulsating feedback line. The beat straightens out into a driving simplicity and everything else tumbles along in its wake. The next track starts with a big crushing rhythm, against this an electric piano and the chime work against each other to melodic effect. Lovely. The tempo picks up for the next one, a rhythm track working against the lead line, with a nicely detuned space noise doing odd things over it and a hammering riff building under it. The 6th song is short and spacious, just the chiming lead and some simple percussion. The penultimate track starts with a nice drone, before a intricate rhythm part swirls in under electric piano. The final track has the chime playing A Baion rhythm in a lower register than usual, against this percussion parts grind, a staccato bass drum, almost 80s snare sound, and eventually a 3 note pad riff with some squelching.

Ingrid Plum provides the tasty sound art filling in our beat-y sandwich of an evening, it’s the launch for her new album, “Corporeality” (available via Ryoanji Records) and the first time any of it has been played out live. The first track “Corporeality” starts with field recordings  of rain & birds, thunder, big pinging  drips into a metal bucket, elements of this get picked up into a subdued rhythm track and Ingrid exhales, shells scrape and the singing bowl gently bongs. Ingrid sings, somehow double tracking her voice on parts. The second piece features a special synth built for her, its starts with some pretty tortured breathing from Ingrid, breath in and out looped and rattly, some sampled speech on a slow loop, washes of white noise/drizzle, cassette organ with an almost bass guitar fuzz tone. The tape chirrups, some overtone whistling/singing from Ingrid. The third piece starts with a heartbeat, a gentle bassy drone that ever so slowly modulates, Ingrid breathes, a slow piano part, Ingrid sings. It has a real stillness.  The next song (“Stutter”) starts with a rhythm track of more sharp inhales/exhalations, looped and layered up to complexity. Staccato words “Are. You. You” tremulous vocalisations all churn into the mix. The final song (“The inversion of a shout”) starts with a clear almost crystalline tonal drone, it must be two drones as we can hear it beating against itself, shells again, breaths, what sounds like very distant monks, Ingrid is whispering. Spooky.

And to finish us off, we have Dhangsha back again. He starts with what sounds like a loop off his Monotron delay, but I don’t think he’d brought it, its has that murky, noisy quality to it that’s so appealing. Its chopped up into a more rhythmic part, delay added, twisted. A bass drum, kicks, stammers, and finally gets on that dancehall tip while the Monotron sound finally swirls itself into the ether. Bass comes booming through, almost totally out of the subs, near formless (Aniruddha was enthused by the PA at The Rossi, the way you could really get into the subs). And we hit a noisy groove. Squelching resonances come in, the drums drop, we get filtering, constantly mutating top lines before dropping down to a filthy bass drone, filtered up into noise, then a new bassline. The drums kick in again and we’re off into another groove. Insidious noises join the rhythm and fade away until we’re lost in delay feedback. This eventually seems to form itself into the next track. A bass drum and staccato hi hat bosh on, the kick overdriven to produce a bass tone, dry snare. Delay. Distorted voices. Effects units seem to pick up elements of the rhythm track to warp into new sounds over everything. Everything drops out for the fattest bass of the evening, berrooom, berroom, and back come the drums. This is the least cluttered by noise of his tracks, lean, driving. Until the breakdown, then we get a detuned counterpoint to the rhythm. The hi hats go just leaving us the bass elements, then everything’s back, new voices, tasteful delay feedback. “Insurrection”. The distortion levels increase, we lose the shape of the sounds, and they’re back again. Then finally we lose the rhythm track to several different delay decays and noise. Tasty.