Green Door Store
Tim and Dylan have found some new synths dumped outside, one in particular has some fine fine settings, but some busted keys. Let’s ignore those – we have Hardcore stabs to the max!
The first act of the day proper is Dolly Dollycore who has a new thing with laptop drones, field recordings and her array of small percussions. She starts with a verse, setting the scene before a recording of water, with layering in over the top transport and rumbles, bells recycling backwards under newer more personal words. The second piece seems more celebratory, the words looking forward where the first piece looked back. The backing is more tonal, there are notes and music and (even) beats. It’s pretty psychedelic, slow backwards gongs evolving into a foghorn climax and winding down in spaceship whirls and tambourine.
Sexton Ming and Jason Williams
The second act is Sexton Ming and Jason Williams, which is idiosyncratic and very personal in a quite different way. Jason comes on first with the green first aid box belping and blooping while Sexton skulks up under a sheet in his underpants. There’s some growling and then he gets dressed and Jase switches to guitar while Sexton tries to light his farts. There is a bash through a Buddy Holly number that warps into “Addicted to Love” all in 90 seconds. Sexton then throws a mixture of Naphthalene and Dettol around while Jason plays bass oud and an ending falls into place quite perfectly.
Some Some Unicorn
Some Some Unicorn are in informal gathering of musicians led by Shaun Blezard who came down last year on his tour of seaside towns. On this occasion the Unicorns were all local:
Annie Kerr – Violin;
Gus Garside – Double Bass;
James Parsons – Drums
Andrew Greaves – Synth
Daniel Mackenzie – Synth
Chris Parfitt – Soprano sax
Jamie Sturrock – Shakahuchi
And Shaun Blezard on phone electronics.
They start with a composed piece of music called “Sustained Piece” by John Stevens – part of his book “Search & Reflect” that sets up the rest of the set quite nicely, it’s slow and evolving and gets everyone into the headspace that Shaun wants. That piece is about four minutes long and after that it breaks into a short duet by Gus and Annie, before switching back to drones. Even the occasional flurries of percussion or flute seem to be soft and loquacious, as the music fades in and out and I’d say most people spend around half of the set one way or another listening rather than playing. It’s all rather lovely.