Tag: Lorah Pierre and Andrew Jarvis

A noise sandwich in beaty bread

March 2014

Nuclear Whale

Nuclear Whale Nuclear Whale was half hidden behind a keyboard stand (we don’t see many of them do we?), with a couple of small synths on that and a laptop off to the side. He started off nice and early with some chopped vocal drones that evolved into a slowly evolving stately theme, beats building underneath, before moving on in with percussive meeps and bass buzz, moving onto to a relentless grind. The voices come back, to be washed away by a shimmering wash and mid tempo beats, and science fiction sounds detune their way to a climax. It was a nicely constructed set complemented with a fast moving visual collage provided by Boo Cook.

Lorah Pierre and Andrew Jarvis

Lorah Pierre and Andrew Jarvis Lorah Pierre and Andrew Jarvis did a good impression of a Health & Safety nightmare, set up on two oil drum tables in the middle of the cobblestone floor. Lorah had strung two bulbs on cables over a pipe overhead and had scattered boxes with lights and light sensitive equipment dotted about. Andrew had a laptop and a Copycat that he de-tracked with a couple of knitting needles playing with the tape, lifting it off heads and playing with the speed. Their set began with a slow throb that seemed to be set off by the glowing light bulbs brightening and dimming, with a static screech of shortwave stammer twittering away in the background. The throbs change nature and detourned to some kind of aeroplane buzz before squalling out into two kinds of harsh noise and falling away to the pulsing lightbulbs again. It went a bit radiophonic before we had some really nice noise interplay between the pair of them, taking apart the sonic spectrum piece by piece until we get TARDIS’d away.

Wrong Signals

Wrong SignalsWrong Signals wrong footed me by avoiding the full radiophonic sounds I associate with him, by starting with a glitchy rhythmic synth pattern that developed a string melody and wax cylinder crackle. This faded into a shifting pad with an insistent warble melody, that gave way to one of the few beats of Toby’s set: densely structured, stereo denatured snares almost washed away by sonar pops and bass bops. After this we really get stuck into some radiophonic frenzy, Raymond Scott-ish repetition, with some crazy playing over the top, before ending on a slow moving piece of sci fi bliss that conjured blade runner cityscapes.