… and it all started out so nice

July 2017
The Rose Hill

minimal impact

minimal impact

So, a little holiday from The Green Door Store, but we will be back there for this month. But it was a lovely trip out to The Rose Hill. Where Steve started with a remarkably bucolic start to a minimal impact set, with his Indian drone box and harmonium, slowly dredging up the trademark thickening that we’ve come to know and accept… weird wandering resonances, fuzzy tones warming imperceptibly, like a small guitar propped in a corner. About 5 minutes in its starting to sound like a normal, if slightly chilled, minimal impact set. Shortly thereafter the bass begins to kick in, heralding the start of proper density, the sound begins to properly thicken up, the sitar-y tones disappearing in the murk, as creepy judders, and hisses wash across the tonal base. By 10 minutes it’s properly intense, and just continues to build, peaking at about 18 minutes. At some point he starts spinning in 2 copies of “Metal Machine Music”, adding an unsettling note of familiarity, a little relaxation before the ending back with MMM overlaying the drone box.

To go with the holiday theme, Toby from the 55th Flotilla was kind enough to run the electrocreche for us this month, bringing in a fine array of properly mangled, way beyond merely bent, toys. Lovely.



Ræppen was next up, Tim becowled, with his Sami drum, looped some throat singing into a pedal, a fairly lengthy set of phrases, with some whistling and proper bass end notes. Over that the drum was rattled along with some more singing, before it faded out over some Brighton beach pebbles he’s been touring with for a few years, rattling and thumping on the stage floor. Again looped with sparse bells and chimes. Wind breaths add a chilling edge, before he brings in the throat singing as a top line this time -almost like an SH101 synth line wah-ing over the backing. Unhuman, and definitely uneasy stuff.

Far Rainbow

Far Rainbow

Third up we had Far Rainbow, Monster Bobby on noise making devices and Emily on drums and percussion, she has a great way around a drum kit, slipping between regular sticking and extended techniques and mousetraps. They start with the sound of the steppes again, wind and rattling bits and pieces, a bass pulse very slowly cycles underneath as Emily builds up work on the cymbals and it drops away to eeriness. An organ cycles in, it sounds Casio, with a slow vibrato, field recordings playback through cheap speakers, slowly rhythms emerge from the electronics, the drums comment on it without joining them, circling round the kit in the opposite direction. It hits peak treble before decaying to a tape loop of a diesel boat making little headway on the Norfolk Broads. It has a monstrous quality to it as it gurgles away the birds slowly coming to the fore as again Emily rattles distractingly on the kit. Slowly Bobby brings drones in and it cascades out in washes of pure reverb and drum, emptying down to gong and triangle.

Annie Kerr, Kev Moore and Gus Garside

Annie Kerr, Kev Moore and Gus Garside

And to round off the four acts of the evening we have Annie Kerr, Kev Moore and Gus Garside, on respectively violin & piano, electronic devices, double bass and words. Annie starts on violin, there is a general trebly hubbub of chirruping electronics, Gus and Annie sliding strings around, it’s slippery, elusive. Rather lovely. Sounds wash in and around, it falls out at one point to Gus bowing his bass endlessly with the side of the bow, strings resonating through his effects chain. Overtones and undertones sliding in and out, Kev and Annie conjure almost human voices to hum alongside it. And then Annie goes and picks out some notes on the piano at the side of the stage, small flourishes, space, more notes. Gus and Kev bring a tension under them as Annie gets stuck in leaning over the keyboard hammering a longer series of notes up and down the keyboard, then slowly falling away, picking out a few odd notes. The room is enthralled. From somewhere in the electronic murk it sounds like East Croydon announcements, Gus starts telling one of his stories, Annie punctuates his lines with hard notes. At the end of that Kev gets a feedback vocal tone going and this is matched by a high line from Annie, they circle each other before Gus brings in a lower bowed drone and Annie gets a bit more lyrical, slurring a single note for several minutes up and down the neck of the violin wringing some harshly melancholic tomes from it.

Birdsong and red noise

March 2016
Green Door Store

I love the first Spirit of Gravity show of the year that I get to walk to with a bit of daylight. This was it, just. There’s something of the light that gives me a right proper buzz. Even if it did herald a cold spell then some more rain…

minimal impact

minimal impact

We managed to prise Steve away from the Electrocreche for a minimal impact set. He’s doing a series of ten, each building on recordings of the previous one. In this case, enhanced with what he calls “Black Box III: the uncontrollable”. The sound comes in three layers, there is a background of deep bassy washes, indistinct murk hummering around the stinky corners, then digging into that are these vibrantly gritty buzzing chunks of sawtooth bass, then a mantle over that, separated by some distance of foggy treble. The uncontrollable device does plenty to keep it interesting, before I think, exasperated, he decides he’s had enough and abruptly truncates his set.



Bible are next up, Graham Zygotic drumming, Chris Parfitt switching between standard and alto flute. They start off with some pattering drumskins and the alto’s resonant tones entrapped by some fairly roomy delay. This naturally gets going into some fuller battering from the pair of them, Chris switching to the normal flute to get some squeal into things. Then G gets out his selection of pound shop sex toys, various bits humming and vibrating on the cymbals and strung up rattling the piccolo snare. We get the drum kit as a generator of tones and drones, with a different scape for Chris to work against.



Al Strachan sets up his Antipattern kit on the floor. No Volca sampler, so we’re bereft of an obvious rhythm, but we have not so obvious rhythms, plenty of them, as we’ll see. He starts with the trusty Strachan Cornet with some octave effects and gets the aquaphone into a glass of water, blowing bubbles through a pipe into it – pop pop popop pop, before wandering through the audience with it, still piping, swirling whooth whooth around his head, and then getting the aquaphone into the gob with a load of space dust, crack crack pop crackle. I’m glad I don’t have to clean up his kit. He never did get round to using the little wooden bird cage.

Resonant Blue with Lucy Day

Resonant Blue with Lucy Day

Finally Resonant Blue with guest Lucy Day on vocals and percussion. They set up on the floor, Jake with his laptop and keyboards, Lucy to one side with singing bowl and gong. They start off with things pretty electronic sounding, some filtered backwards sounds looping casually, some gentle brass washes from the percussion and Lucy’s breathy singing dreaming its way into your subconscious, then slowly they start drift off into fractioned shimmering acoustic guitars, microscopically dismantled into tiny fragments of light with Lucy’s vocals drifting effortlessly across them.

Wearing the speaker wires

October 2015
The Scope XV

Barnabas Yianni

Barnabas Yianni Back to a full strength roster tonight, and we got off to a good start with a set from Barn, with a laptop and controller plus some bits and pieces, his set seems to be in five sections, with a foil. The first reminds me somewhat of my airboat ride from last month, a nice gritty sound, but his properly generated. This breaks into pulses and thence into something that has washes of almost sea like noise, before the final section leads onto a cascade of electronic tones.
He has a release that’s similar on barnabas-y.bandcamp.com apparently.


Quinta Quinta is accompanied by two other keyboard players, who also double up on saw and stylophone and laptop. This as you can imagine pushes the limits of the Caroline’s setup pretty effectively. They start with an unaccompanied vocal piece about Boudicca, before moving into a song with some Nyman-esque very rhythmic interlocking piano parts all three of them intricately locked . They then get stuck into the peripheral kit for an uncanny waltz before coming back to, I was going to say orthodox, but perhaps a more finely structured piece of tightly knuckled piano. A really good mix of modernist composition and sub five minutes pop song lengths.

The Oneirologist

The Oneirologist Rick is down in Brighton for his first solo set as The Oneirologist, which is (I think) a live soundtrack project. The film is called something about moths and has two lights (from a boat, maybe) to which he makes some quiet noise or drones – its too fierce for a drone, but too quiet for noise – so work that out yourself. Strongly textured tones, and resonant knocks from séance next door. Overall, unsettling, I think.

Dan Powell & minimal impact

Dan Powell & minimal impact And to round the evening off, Dan Powell plays his final collaboration of the series, this one with minimal impact. it was supposed to be acoustic, so he has his Bontempi reed organ mic’d up to a fuzzbox and delay, Steve minimal impact has his plastic harmonium from India, through a new Space Echo pedal he found somewhere and is rightly very pleased with. I found some old visuals by Karl so turn the projector round to play them over the duo while they hum and drone pleasingly.

Fame at last

In December The Dome asked us to play as part of their Earsthetics season. By all accounts Ryoji Ikeda’s amazing show was far and away the best thing, but we can put in a good case for coming second…

You can read about our day out on the Dome website.

minimal impact

minimal impactMinimal impact came onstage bang on 8:15, seated at a tiny coffee table concealing his kit, a massive video of degraded VHS feedback washing in blue/yellow arcs across the giant screen behind him. Starting with a coarse buzz that thickened out into a full spectrum wall of noise before being slowly washed away in stately swathes of phaser and jets of steam as the buzz reasserts itself as a massive insectoid whirr. A low fidelity immersive experience.

TR Agency

TR AgencyTony Rimbaud’s hand picked quartet, TR Agency, where second on stage for a commercial break. Ron Caines sat on a chair at the front of the stage, nick stalking behind looping collages, breathy sounds, synthy washes and swirling alto, while nick talks about Stuff. And chewing gum (http://www.bbc.co.uk/news/entertainment-arts-24518203). The visuals were from a fantastic set of Black and White slides of broken mannequins. Nick discusses advertising, consumer goods and even recalls when everything around here Was All Fields. Staying pretty solidly away from rhythm it gets pretty spooky at times.

Static Memories

Static Memories 2Static Memories’ Gus and Dan set up right at the back clearing as much space as possible for Mirei Yazawa to dance. She took up most of the attention of the players and us, lit from a lamp low at the side of the stage, with a pale blue block of ice slowly melting across the background. The music was typically beyond description: scraped bow across double bass, chimes and delays, Mirei twisting in response and driving changes in what they were playing, its all Very abstract. Dancer and musicians interlocked tightly.

Noteherder and McCloudNoteherder & McCloud had Bartosz Dylewski who had booked the projector and built the screen supplying visuals, and Chris Parfitt came roaring out in a storm of soprano notes primary geometries sliding around behind him. It took me a while to get up a similar head of steam, but there was some grinding sequences I enjoyed and a section in the middle with me howling through the bitcrusher while Chris circular blew squealing overtones on the sax that still sounds pretty damn intense.

HL Collins

HL Collins (3) cropHLCollins starts his set in a rattling trio with Nicholas Langley and Hassni Malik from The Vitamin b12 sat in line at a metal baker’s tray, scraping metal objects of various sizes about. Its theatre and oddly musical, and very funny. After a quick session with Henry up a set of steps banging a mic’d metal bin Nick and Hassni leave the stage and Henry moves onto a didgeridoo coffee machine that spits water but makes amazing sounds, he then moves onto a turntable and some balloons and effects for a comedy improv session that gets slowly creepier with a slurring hum playing back against clicks and bumps and occasional bird call for an ambient music for hell’s ante-room.

the subtlety will out

Somewhere I have a picture from tonight of Bartosz tweaking the code for the _minimalVector software during a performance.

Thats cool for you.

OK we have a feast of noise this month.

And well.

here it is

The king of emodrone – first we have Slow Listener.

On a special and long overdue visit from London its BBBlood!

And with Sound of the Planets 2 its the Spirit of Gravity’s very own minimal impact for his first headliner.

ANd videos

minimal impact live at SoG sept 2008

look you can just see BBBlood at teh front on the floor!

bbblood live @ SoG sept 2008

Slow Listener Live @ SoG


stay out of the woods

Due to a catastrophic system failure at 10pm the previous night (oh the joys of ‘just doing that final tweaking to the set’) Rekalix had to withdraw at the last minute, which is a shame as we were really looking forward to his set.

So minimal impact stepped in with a refined minimalist minimal impact set. Not as expansive as the uberdrone of legend, it was an exploration into the detail of what makes him tick. Illuminating.

We’re very pleased to have hosted Misha Begley’s first live show. A tour de force of Vocoder, distortion, strange loops and abrasive noises crowned with a creepy version of one of my favourite songs (its from “the wicker man”, the scariest film ever).

And bringing things to a chaotic and imaginative close was a collaboration between Eastbournes finest and a another group making their debut we had Deepkiss720 featuring Meat Dream. Beyond description as anything that involves Deepkiss720 seems to be it featured home made suits and masks; an electronic mug tree, unplugged leads and all manner of butchered devices.
deepkiss_720_feat_meat dream-35to40mins.mp3

There is some video, too at the
myspace page

Visuals by _minimal vector.

november will be magic again

As close as we’ll get to a Christmas show I reckon, the November show was indeed magic.

The Reasonable Men displayed simple virtuosity on guitars, keyboards laptop and some strange tone generator that I was quite enthralled by (More! More!). And they played for 45 minutes. Good job they started early.

Monster Bobby played his guitar, Dr Sample and Casio keyboard (“The hiss? I could get rid of that, but I rather like it”). He sings songs, including “The burning ambition of early diuretics” and this one, the epic “I heard you’d moved away”.

minimal impact, well, compared to the high intensity version that was to follow on Thursday at Sog@Wrong this was pretty low impact, but still, dronetastic. Echoes, drones, sheep and spacemen.