Green Door Store
The last SoG of the year, its a bit of a crisp evening when I arrive to set up.
Noteherder & McCloud
Starting the evening were Noteherder & McCloud, who based their set off some recordings of trains and then more notably Tube recordings as we got into the set. It was a slow start with quite a bit of tape hiss delayed and whined up by a bitcrusher into a distant alarm. Chris Parfitt’s soprano sax shouts jumped across that until a rolling, almost swinging bass sequence started up and he got into some really lyrical playing for about ten minutes until it all shredded out into noise and clanging rail screech and than toned down into breath hiss and gurgle.
Steve has some new light sensitive toy on the electrocreche and this provides him and Matt the soundman with some noisy fun in the intervals until it’s time for ….
map71, who have been one of the best things I’ve seen this year, and this was another good one. They took a little while to get right into it, but once they did, it was right there. Andy Pyne’s drumming and synths (a backing track rather than his old keyboard – I couldn’t see) were rock steady, as he takes some Jaki Liebezeit channelling tight beats. Lisa Jayne was a little more animated than sometimes, her left hand flicking as she held her book of spells in the right dexterously turning pages with her thumb. The highpoint came with some DNW buzzing synth, Andy on beaters, pattering out a steady toned rhythm on the toms (even the snare drum has the snare dropped for extra note) while Lisa Jayne intoned her deadpan words.
Matawan are all about the textures, the shimmer. I originally thought one of them had a keyboard on his table initially, but he seemed to have an unused guitar propped against the stage side wall there, while the chap in the middle sat stooped down guitar mostly across his lap as he muddled with his racks of effects at his feet. It was a slow drone build, layers modulating back and forth between the pair of players in what initially seemed an improvised set until you noticed that one of them was loading some pretty specific chords into three tiny Mooer loopers he had at his feet, not that when he played them back it sounded like strumming, but the triad of washing layers they produced as he faded from one to another gave clear indication of an compositional element unexpected in a drone environment.
When we left it was clear it had rained while I wasn’t looking.