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Rafael Toral, Anthony Pateras & Robin Fox @ The Toff In Town. [27 Aug 2008|06:04pm]
Sun 6 Jul – Rafael Toral, Robin Fox, Anthony Pateras

At the ever loverly Toff in Town, we were to sample the delights that are Anthony Pateras & Robin Fox , followed by Rafael Toral.

Anthony Pateras & Robin Fox laid out a wonderful set, filled with a mix of old and new. The old preformed flawlessly but with that live vibe we all know and love. The new comprising of more samples and synth, have a much more complex textural sound, varying more you could say. Pateras's macbookair was reall getting a work out with all the crazy typing/sampling. Anthony was also using his new Doepfer A-100 modular synth, along with his contact and dynamic microphones. The mess of cables and equiptment was beautiful.

Rafael Toral. Interesting and intriguing that's for sure. The control he has over his (self made) instruments is quite astounding. Especially considering most only respond to touch or rely on controlled feedback.
The first instrument was a handheld marshall mini stack with a filtered microphone attached to it. This is the one that suprised me the most, the range of sounds was quite vast, almost sounding like a trumpet at times.
There was also a large spring on a stand that was running through some modular synth modules and a few effect pedals (most notably the Boss DM-2 Analog Delay). It sounded as your would expect; nice none the less.
Hiss next instrument was a small box with many body contacts, it seemed the body contacts shaped the waveform, controled the pitch and possble other things, it sounded all rather organic and spaceious. Most theremin like but more textural and varied. It was also running through the synth/fx.
His final instrument was what appeared to be a circuit bent mini Fender twin amp, which had many body contacts, this made all maner of hissing, white noise, grinding and ground hum type noises. Interesting; the least musical but a very large selection of available sounds.
A very pysical performance, every (most often very slight) movement obviously being transferred into sound.
Very calculated; yet gentle...

Here is an article avout Rafael Toral that was in The Age around the time of the gig.Collapse )
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Grey Daturas, Budd, Hotel Wrecking City Traders, Absoluten Calfeutrail & Blarker @ The Arthouse. [27 Aug 2008|06:02pm]
[ mood | complacent ]

To start the night Absoluten Calfeutrail & Blarke Bayer.
Solid set, ripped into it just like their latest colaborative release. Absoluten Caufentrail with the noise vocals and microphone/electronics rumble and grind. Blarke Bayer whipping out the no-input mixer and electronics hiss and washes. Combining to make a rath full and varied wall of noise; each of the three peices varieing considerable.

Hotel Wrecking City Traders were next with their take on thr trancey sludge 5ive are so well know for. Good progressions, and riffage, although sometimes it felt like they were heading for the next big heavy dirge movement, and it wouldn't come. Rather upbeat considering the style of music they were playing. Considerably entertaining.

Budd, local stoner rock veterans ripped it up next. Not much can be said. Good solid psychedelic stoner rock. Also I missed half their set...

Finaly Grey Daturas, great as always. This time with drums. One Rob setting up a loop then popping off to the drumkit for a hit, as the other takes the lead. Then they swaped. All the while Bonie making her noise, and building the backdrop. Excelent as usual.

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Defektro, Oren Ambarchi/Robbie Avenaim/Rob Mayson trio, & The Donkey's Tail @ The [good old] Toff. [15 Jul 2008|11:58pm]
[ mood | anxious ]

Sun 22 Jun – Defektro, Oren Ambarchi, Robbie Avenaim, Rob Mayson, The Donkey's Tail

Got there a tad late missed half of The Donkey's Tail.
Messy free-jazz, using junk instruments, brass, guitar, pecussion etc.
Interesting, with moments of greatness, but sadly seemed to get lost often.

Oren Ambarchi / Robbie Avenaim / Rob Mayson (of Grey Daturas fame) trio. This was an interesting one. A bit of a diversion for Oren, psych-drone-rock. Oren Wasn't using his usual guitar instead opting for a lefty Les Paul and a small table for his effects/mixer.
Anyway. They started off in a big cloud of smoke as the curtains were drawn. Oren started to lay a few low drones as Rob slowly began droning in, with warm dissonant tones, almost swirling, once this foundation was set the trio journed off into psych-rock territory as oren brought out the fuzzy delay/reverb drenched guitar melodies and riffage, and Rob low rumbling bass riffs and drone, while Robbie pummeled his kit into a a cataclismic wall of noise (some of the best drumming I've seen in a long time). The peice built and traveresed through almsot post-rock moments to drone doom power riffage, and at one point guitar and bass solo's. An amazing journey to be part of.
I wish they had (or will) recorded this.

And to end Defektro. Much the same setup as last time, except for one extra device, which to my eye looked like a large flamethrower. One large barrel with a gas bottle/hose attached and a few springs.
The set progressed in the usual Defektro fashion, Rumbling industrial loops with buiding and falling washes of textured feedback etc. More varied and textured and less all out harsh noise than last time. The set covered a lot of sonic ground, and flowed like chapters in a story. Except for when one of his power supplies became unplugged (over and over) and we were plunged into almost silence. But somehow I found this almost added to the preformance.
The best part came at the end, as the lights dimmed (lower than their already dimness), and Defektro turned on the gas bottle, as you heard the gas rush out, he poised himself above the contraption...
Crashing sounds and a ball of flames left from the (obvious at this point) flamethrower. After several more combustions, the set ended on a final bang.
Leaving you wanting more...

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The Presets @ The Forum (Sat 27th June). [15 Jul 2008|11:26pm]
[ mood | calm ]

Just over a month after the last Presets gig I went to, and this one nearly didn't happen due to Julian's throat infection (the gig before it was cancelled).

This time in the much larger venue (The Forum), which sort of suited them more, but I prefer the more intimate venues; gone are the days of sitting on the stage...

They played the same set as last time; mostly tracks from the two full length albums. They played a bit better than last time (see previous post), more tight. Croud participation was slighty less, suprisingly, but everyone seemed more into it.

Some highlights:
- Juliens pink jacket (see below).
- "Talk Like That" awesome song, works great live.
- Classics "My People" "Are You The One?".
- Encore "I Go Hard, I Go Home" complete with lazers!!! (al la Robin Fox).


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The Presets for JJJTV @ Ormond Hall. [15 Jul 2008|11:24pm]
[ mood | chipper ]

Thu 15 May – triple j presents The Presets

It's cool getting free tickets to a gig.
It's odd going to a gig with cameras everywhere.

The presets put on a good show as always, with a new set peppered with tracks from the two full length albums and a little revamped snippet off "Beat On Beat Off" for the older fans.

It was interesting seeing how much more the croud as a whole reacted to the new album (especialy "My People" and "This Boy's In Love"), and how much certain people rected to the older songs.

You could tell that it was a new set, as Kim was actually concentrating. He even whipped out a xylaphone at one point. Julian didn't seem to be concentrating as much, still much more than I've seen in the past.

"Talk Like That" was probly the track they pulled off the best of the new album. Complete with pitch wheeled vocal samples. Very nice. My hightlight of the night. That and when most of the croud made that WAAAAAAAAA noise at the start of "My People". That was funny.

A very nice prelude to the real gig on 21st of June.

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Daniel Menche, Passenger of Shit, Jeff Henderson, Valerio Tricoli, Y35.3, Thomas Meadowcroft, Sean.. [28 Apr 2008|08:25pm]
Daniel Menche, Passenger of Shit, Jeff Henderson, Valerio Tricoli, Y35.3, Thomas Meadowcroft, Sean Baxter, DJ Janette Howard.
Friday 28th March.

Y35.3 to begin. Motivational tape running the whole time, with some loops and noises, most of the time overwhealmed by a wall of harsh noise.

Thomas Meadowcroft was next. Slow minimal drone and glitch noises, eventuually weaving themselves into a rich tapestry of subtle drone melodies and texture. Created by organs and laptop/mixer. Quite calming.

Passenger of Shit next with an extremly short set due to a water clogged laptop.

Jeff Henderson was next. Noise-country wall of distroted twangy guitar lazy almost free-vocals over the top. Almost good, but didn't really do it for me.
However after this he whipped out his clarinet, with impressive cyclic breathing and complex melodies weaving in and out of one-another sounded like much more than one clarinet. He wore a white suit.

Then Passenger of Shit retured to finish his set from before sans laptop substituting that with an ipod. Simply singing over the top of his already recorded material. Croud was really pumped for it, went down well.

Next; Valerio Tricoli and Sean Baxter Duo.
Sean Baxter on drums and junk, just like Pateras/Baxter/Brown trio's most chaotic moment. Valerio Tricoli manipulating the whole racket with Tape Echo, and other effects. Kyle sumerised Sean's preformance best: "Sean Baxter assaulted his drums with his trademark mixing bowls, lead pipes, 20 chop sticks, windchimes and at one stage with the floor tom and snare drum themself." All the while Valerio was adding at first subtle echo, which would be pitch bent and warped into otherwordly sounds, eventually building with more ad more echo's getting more and more warped, eventually self-oscillating into it's own instrument, and a beautifully chaotic mess of sound.

Last we had Daniel Menche. Starting in an almost meditative stance crouched next to his pedalboard/mixer/etc on the floor. Slowly he built his wall of noise from residual sounds into his contact mic (which had a metal ruler attached to it), once the wall was built he was really getting into it, he had gone from pensive to enraged, screaming his lungs out, contact mic to his throat, tense, screaming into the noise, adding/building to the horde of fury, moving as if about to battle. Adding other noises with sticks to the contact mic, movements towards overdriven and feedbacking amps, more texture, more nosie adding to the temple of harsh noise loops that has been constructed, ending with all out chaos, jumping headbanging screaming etc.
Ending with it all fading away, Menche exhausted.

DJ Janette Howard added strange mixes of music between the sets.
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Cor Fuhler, Oren Ambarchi, Robin Avenaim Trio, & The Mighty Robin Fox with Lasers! [28 Apr 2008|08:12pm]

Minimalist, textured, abstract, drone, whathaveyou, good, nothing to write home about. Quite interesting what Mr Fuhler can do to a piano with his ebows, and other things. Robin Avenaim also had a rather interesting pecussion contraption. Moving parts and all.

Robin Fox.

Robin Fox's usual lazer extravaganza, slightly longer set than last time I saw him. The way the lazer reacts to the music and the overal intereaction, creates such a transfixing experience. Almost hypnotic. Extremly excelent.
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An Evening With Anthony Pateras. [17 Mar 2008|08:58pm]
[ mood | content ]

16th March @ The Toff In Town.

Not as big turn out compared to all the other maximum arousal/etc gigs, maybe because of the heat. The toff was as nice as ever and a bit quieter this time to boot.

To start the night.
The trio of Pateras/Baxter/Brown.
Prepared piano, prepared guitar, drums and junk.
Four pieces, moving from the most minimal creaks and scratches to all out sonic clutter. Each musician getting their time to shine. Wether it be David Brown's subtle and meticulous plucks, twangs and scrapes, or wether it be, Pateras's Discordant noodles, or the erratic yet precise treatment that Sean Baxter gives to his drums and junk.
A truly great live band.

Anthony Pateras's new solo electronic project; The Good Doctor.
Pateras utilising his new Doepfer A-100 modular synth. Pateras looked quite the madman hunched over his silver box, endlessly tweaking knobs, slowly adding patch cable by patch cable to the already confusing looking mess of wires. Blending from sound to sound, dense, complex tones, with great clarity, going from very hi-fi to very lo-fi. One continuous peice ending in probably the most strange feeling sound I have ever heard.

And to end.
Maxximal Patterrorist; a free-grind duo consisting of Max Kohane of Agents of Abhorrence and Pateras. Basicly instrumental grindcore played with piano and drums, moments of soft noodleing and subtle peccsuion, instantly jumping into frantic drumming and frenzied piano keyboard bashing. Complex rythems and break-neck speed playing, off set by sensitive moments. Immensely entertaining. I hope they release a cd in the near future.

A top knotch night of entertainment.

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Yasunao Tone with Natasha Anderson. [17 Feb 2008|11:24pm]
[ mood | tired ]

(Toff in Town, Sunday, Febuary 10th, 9pm onwards.)

Again the seren environment of all the Maximum arousal shows. Nice.

Natasha Anderson up first.
With her usual setup. Contrabass recorder & garklein recorders through contact mics and directional mics into Macbook Pro via mBox, running mainly delay, reverb, and bit crushing effects.
Difdn't seem to play as well as the last show I saw her at, but still presented a nice peice with a variety of sounds from the most minimal acoustic sounds to abrasive digital sounds. Must say I'm quite a fan of the bit crushed pecussive contrabass recorder slapping sounds.

After quite a wait Yasunao Tone slowly stepped up onto the stage (Understandibly having a bit of trouble, what being 73, 4foot something and all.) Looking rather dapper in his smart suit, glasses (Complete with neck string.) and white hair.
Once on the stage Tone sat down in his chair and made himself comfortabe behind his table, atop of which was sitting his old cd player, and a small mixer. Unexpectedly some very harsh loud glitch sounds burst from the speakers, seemingly startleing Tone as well as the audience. After the moment of suprise he fixed up his glasses, readied himself, and started playing the most harsh music I have ever heard. Pure uneffected glitch, complex abrupt random glitch, from tampered cd's "played" and mixed by Tone. A seemingly endless barrage of abrupt forceful glitching noises some sounding lick stuck/skipping cd's other mroe like exposions or concrete ripping. Some glitches racing up and down in pitch like spiral staircases, others solid blocks of noise. Every few seconds a new glitch always differnt, occasionly quite "musical" or "nice" mosly harsh as hell and grating, yet amazingly complex, tonaly rich, and extremly interesting. I was transfixed. Till the cd stopped.
Tone sat for a moment looking a little confused. Then took out the disk and put in another.
The barrage was on again, a lot more glitches this time not as many harsher ones and more drone (if you could call it that considering how long most were) and mellow. While this was going on Tone is sitting hunched in his chair concentrating on his cd player and mixer carefully adjusting this a little hear pressing this button there, occasionly looking a little lost.
After another 30ish minutes the second cd came to another abrupt stop.
After much applause Tone stands up gets the microphone from the side of the stage and announces he will preform a peice he composed in 1982. This turns out to be a sung/yelled (almost like throat singing in parts) poem type of thing, very powerful, the passion and volume out of his lungs was astonishing. Quite moving.
After this short peice Tone sits down, makes himself comfortable and inserts his third compact disk. The battery of glitch is on again, this disk more like the first but more high end.
Unfortunatly some idiots decided to get up infront of the stage and dance like idiot during this peice which evidently Tone didn't care for with his gloriusly grumpy glare he gave them. I'm pretty sure everyone was annoyed by them. Eventually the pissed off to wereever it was they came from and we could enjoy our glitch once again.
And for a final time the 3rd compact disk came to a sudden end, Yasunao Tone removed his last disk, bowed for his many applause and walked offstage disks in hand.

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Oren Ambarchi, Matthieu Werchowski, and Robin Fox and Dave Brown @ The Toff. [17 Feb 2008|09:57pm]
[ mood | calm ]

(Feb 3rd. Sunday Night. Toff in Town.)

Red, moody lighting and intimate seating, just as it was the sunday before.
Short wait.
Robin Fox & Dave Brown casually strole up onto the stage. Place their beers down. Pause.
A low wailing fuzzed up drone builds from Dave Brown's guitar. Robin Fox subltly processing it, adding nuantic little soft glitches and texture, with his tradmark Macbook Pro. While Dave adds effects (Boss RT-20 rotary Sim, Pro Co DueceTone Rat, Digitech Whammy Wah, Snarling Dogs Mould Spore, etc.) (dis)harmonies building up, layering drone upon drone, almost melodic in it's drawn out texturaly rich rum. All the while Robin Fox adding extra texture, glitch, and flair. Until finally a glorious wall is built; for moments this wall stands before being felled to a stampeding onslaught of imensly glitched up fuzzed out guitar. Pitches of extreme hight and depth and tones of confusion as the heavily effected guitar is scattered around the room. sometimes drifting off into low drone, or minimal moments, between the multitudes of patterned glitches.
At a time that seems too soon, while also just right, it ends.
A way better than their already awesome set at Horse Bazaar.

After a (ear)short rest/break, a man comes out from behind the stage and starts moving tables and chairs, then heads back stage. He comes back moments later holding two violin cases; places these each on two chairs. Removes one violin and readies himself, Oren anounces that this is Matthieu Werchowski and he is going to be playing acoustically. And could you please keep the talking to a minumum.
Interesting I think.
Then he starts playing...
Some of the most beautiful noise I have heard, and by noise I mean like harsh electronic type textural noise, but comming acoustically from a violin.
The sounds that he could coax from that violin were amazing. Beyond explanation.
The first peice went for maybe 20minish.
Then the second peice. For this he got out the second violin and bow.
This was a more typical (classical) peice with tradtional playing techniques. Well it began that way. As the melodyies developed and expanded, he went from a single melody to multiple siultanious melodies, at one point he was playing 4 simultanious melodies (one on each string) while tapping a beat on the body of the violin. The sound that came out of that one violin was massive. Sounded like a full string ensemble.
This peice concluded at ruffly the 25minish mark.
The whole audience was silent. Then moments later launched it to raucous applause.

Finally there was Oren Ambarchi. Begining with his tradmark low soft drone. Adding addtional sympathetic and melodic drones slowly and subtly. Slowly building the intricate web of looping frequencies and intertwine to create some of the most pleasurable sounds my ears have ever heard. Nothing new or amazing from him, but it dosn't need to be. He's already struck gold.
The peice evolves and winds it's way in and out of it's subtle melodies, while low drones build and build in volume, more droning notes added all the time. After some time Oren started fading in the three guitars he had sitting on tables with eBows attop of their strings, they added a ressonant chiming buzz to the ever building wall.
As this all built to a stupendous tower or sound, oren started taking peices away fading out certain things, until we were left with mostly oren droning "Sunn O)))" style fuzzed up the wazoo with his vintage big muff. Working the whole amp-feedback thing. Playing the feedback.
Eventally working back to a minimal drone{s}, that would end the peice.

His gear that I remmber:
Normal modded guitar
Telecaster (on table with eBow)
Another two guitars on table with eBows
Normal largish mixer
Lovtone ringstinger
That rack unit ^ sits on
Triangle Big Muff
Volume Pedal
Boss PS-2
2x12 combo amp
Bass amp with 4x10 cab

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Snawklor (album launch), Fabulous Diamonds, paeces @ The Toff. [01 Feb 2008|12:18pm]
[ mood | contemplative ]

An evening it was.
Thur 31/01/08.

To begin: paeces.
A somewhat vocal based "noise" quartet, that used some pecussion (such as bells and sticks) and some electronic things (such as kiddie keyboards and effects). Everything drenched in delayand reverb.
The had moments of greatness but seemed to fall apart about 1/3 of the way through their peice.
If they'd stuck to the effected vocals and the odd bit of pecussion, it would have been better; I think.

In the middle:Fabulous Diamonds..
Two people. One girl on drums and vocals, one boy on organ, synth and vocals; all through quite a bit of delay.
Most quite psychedelic, other parts almost pop, others almost noise. Nice improvised-esq progressions and quite good vocals, and overall a most enjoyable act to watch.

Last: Snawklor.
One table, two people, one guitar, one synth, many effects and a mixer.
Very drone and loop based, with synth and guitar melodies intertwined. They were good, and I couldn't fault them, but for some unexplicable reason it didn't do it for me...

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Psychedelic Desert, Dave Brown & Robin Fox, + Buttress O'Neel. [01 Feb 2008|11:52am]
[ mood | contemplative ]

Wed 23/01/08
@ Horse Bazaar:
a cosy little bar with most of the walls covered by projector screen, with differnt (moving) visual art being played on it.

Buttress O'Neel:
Pop songs through a lot of effects, so that it becomes noise, interesting.

Dave Brown & Robin Fox:
Dave Brown playing seriously fuzzed up guitar, Robin Fox processing that guitar with his laptop and self written programs. This makes for some seriously crazy sounds, super high pitched blips and squeels, super low pitched rummbles and plently of abrupt glitch type noises, then some nice looping thrown in for good measure. Really really good.

Psychedelic Desert:
Japanese Ambient/noise Duo, heavenly washes of super effected (Rotating speaker sim, delay, reverb, pitchshifter, looping) synth, drowning samples and effected buddha machine. Could have listened to them for hours.

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Pelican, Stockholm Syndrome, These Hands Could Separate The Sky. [20 Nov 2007|10:51pm]
[ mood | exanimate ]


These Hands Could Separate The Sky started the precedings with yet another solid set, post-rock, good instrumental post-rock with hints of mathrock and metal. These guys have potential...

Stockholm Syndrome were next, they took way too long to set up and seemed to be plagued by technical problems, which didn't help the fact that they were a grindcore band playing at a postrock/postmetal gig. That being said they were ok, guitars a bit chunckier and melodic than your average grindcore, bass more deep and pronounced than your average grindcore, vocals more screem/noisy than your average grindcore (The singer looked in pain most of the time). Had their moments, a few good riffs here and there, pretty good stage presence, amusingly by the end the bassist had broken all his strings (only one on purpose, that being the last one). The rest of the croud definatly didn't appreciate them.

Pelican, ohh how long I had wished for them to come to Australia, and there I was front (well close enough to front) row. They defniatly rocked. Plenty of power and skill to go round. Nice selection of songs, all the best songs from all the albums, sadly missing the two songs I wanted them to play most. Drought & March Into The Sea. Still The Woods, Bliss in Concrete and Dead Between The Walls ripped. They also added a few little bits of flair here and there while keeping the songs verymuch like the recordings. The playing was very good, the sound was big but not as big as I was expecting.
Amazing gig, sadly I had my expectations set too high.

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Les fils de la Messe Peste + Pita. [20 Nov 2007|09:39pm]

Entered The Toff. Waited speculated, admired the loverly stage setup, complete with added stage area addorned with two backwards facing drum kits, a wall of amps, two tables of effects and mixers, a couple of laptops and plenty more effects on the ground.

After a small amount of time. A man named Peter Rehberg (a.k.a. Pita) stepped up onto the stage. Took his position behind his elustrious macbookpro, there he stood still, as the announcer (Same guy from the night before.) told the background story of the peice he was to preform (something about mould and wine, I don't remmber). Suddenly waves of startleingly clear electronic pulses and resonations eminated from the P.A. and that was what continued for the next 25ishmins as the peice built and resonated it's way to it's end.
One of his best works to date I'd say.

After some time, and a lot of pissfartingaround on the stage. The lights dimmed all the way to darkness, the musicians took their places:
Oren Ambarchi - guitar
Stephen O'Malley - guitar
Marco Fusinato - guitar
Matt "Skitz" Sanders (Damaged) - drums
Max Kohane (Agents Of Abhorrence) - drums
Robin Fox - computer fuckery & laser

Les fils de la Messe Peste was to begin:
Oren began by slowly layering his tradmark drones into textural bliss, he then added some sublime wobbly pitch drones as O'Malley built up his own pile of droning loops beneath. The two went on like this for some time as Marco added to the collage small amounts of no-input-mixer and his own brand of guitar noise.
This trio built up their collection of drones, loops, and noise into one hell of a wall (almost into Sunn O))) territory) while Robin Fox joined the party with his trademark lazers and realtime sampling/remixing, adding subtle abstract noises and additional drones. As the subfrequencies interacted and the layers of drones danced around oneanother, you could see the two drummers getting edgy, tapping things that made no noise and genrally looking damn edgy. Very slowly and subtly the two of them built their way up into a frenzie almost as if they were attempting to droun out the wall of sound from the guitars. This they did not achive but add to this ressonating mass they did, a clammering shimmer and almost melody did they add. Interestingly their individual styles and sounds shone through quite a lot, weaving an incredibly dense intricate tappestry. As time went on and the drummers had played off each other had their own solo's and genrally ripped all hell out of their kits, they had well and truely stolen the limelight. Then as the as the ten tonne wall of guitar drone fadded away into the distance we were left with two drummers frantically fighting each other to be the fastest and most technical while still tastfully comming to a close of the preformace. Once all this was done, you knew you had been one of the lucky few to witness a true spectacle; a true spectacle.
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KTL_+_Defektro. [12 Oct 2007|11:23pm]
[ mood | cranky ]

To begin. The lights went out, all but for a few small blue LED's; as the curtains were seperated. (This after quite a wait in the quaint Toff in Town.) ...a slight pause... Building harsh industrial sounds emminated from the sourounding speakers, knobs were tweaked and the mechanical fury was but only heightened.
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Contact mic's attached to tubes, aluminum spring/box/bar/wheel-guitar contraptions were weilded to unruly destructive effect.
Here's the contraption.Collapse )
Mechanical noise fun for all.
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Style all the way too.

So the curtains closed.
They opened 30min later.

To a wall of dense slightly glowing smoke/fog, and the MC man yelling things about "make music tangible" and that the most violent member of an audience member’s family would be represented by the contents of a suitcase at the end of the show (As Kyle said.). This all made for much confusion especially when PITA and SOMA started bringing the noise, subtle dark drones slowly built to drown out the silly mans rambling, and withing moments he's disappered. Good old smoke. You couldn't really see anything...
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...but it sounded so good, loud disturbingly dark ambeience drenched the air, air that you would be luch to see 30cm's through. Which is why the guy standing next to me got face-bashed by a bag. POW Right to the kissa! This you could tell he was not happy about as he quickly regained his footing and hurled the bag back at the stage. BaDiinnng! Broken string for O'Malley, and angry bag back in the croud. Then back at the stage; where it sat for the rest of the show. One man with a bloody face never to be seen again, another with a broken string, left to make some of the most menacing sounds I've heard in some time.
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SOMA & PITA pushed on building and growing their maleficent sounds, incorporating sounds/samples from "Theme" "Estranged" & "Abattoir". Only occasionly would you see someone's head or anything other than PITA's apple. But the foggy haze was clearing.
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Interestingly O'Malley's guitarwork started out much smoother then became almost uplifting (For Dark Ambient) and overall much clearer and more defined than the recorded works of KTL. What PITA was doing also seemed to be a bit differn't to the recordings. After the first peice had willed it's way parts the half hour mark, it died away to silence.
The two men left the now almsot smoke free stage...
...and moments later came back.
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This peice started abruptly and sound very blackmetal. But soon it built to a wall of drone and noise, layers apon layers of metal licks can have that effect, and once there are so many layers of loops all you can do to build is but to drone; a deep dark heavy, loud drone. All the while PITA adding grating harsh digital loops, etc.
This peice weaved it's way to near on the half hour mark too, this time ending in the usual sunn O))) style wall of drone/feeback, but with addition of menacing digital loops. Once the two men had finished they left their equiptment to continue on without them for a few minutes before coming back to let the song die, and take in the applause.

moreCollapse )

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These Hands Could Separate The Sky World's End Girlfriend Mono. [28 Sep 2007|11:45pm]
[ mood | chipper ]

Friday 31 August 2007 - Corner Hotel::

These Hands Could Separate The Sky:
Openers quite a typical post-rock (no not Radiohead!) band. Follow the usual formula, with occasional differnces. Overall quite good, definalty have the genre down (No Mono though.), interestingly they were using Marshall Mode 4 amps (they are meant to be for nu-metal, and are renouned for sounding terrible) and they made them sound quite good, they really seem more suited to post-rock than nu-metal. Overall very good band, might need to keep and eye on them.

World's End Girlfriend:
One man, one guitar, one macbookpro, one mixer, a few effects pedals and one amazing preformance. The mixing might have been a bit bad and it might have been a bit quite and idiots might have been yelling behind us but standing right in front of this guy flailing all about his stool fingers ablaze was definatly something to see. The amount of sounds he conjured out of that setup was quite something, true samples were to play a part, but it was all executed with true poise and brilliance. Everything from whisper quiet clean guitar, to glitched up noise beats, string sections, horn stabs, found sounds, crazy loops, virtuoso leads and solos, wall of noise guitar chaos and everything inbetween; amazing simply amazing.
The one song went for around an hour, and encompased so so many sounds. The compostion alone was comendable; The execution...!!!

Album perfect, amazing amount of feeling. The emotion just oozes out of those amps. Subtle then ohh so not. From whisper quiet to beyond metal loud.
First you start whisped away on an almost nonexistant cloud, moments later things take a turn for the worst, that cloud turns nasty black and brooding, you know there's a storm brewing and nothing you can do about it. Then before you can flee all hell breaks loose winds fom all directions blacnkets of water drowning you, lightnigh crashing everywhere it's comming to an all mighty end. An ALL MIGHTY end!
All you can do is try to hold on...
Many great songs of You Are There and a few of the older albums. All flawless. Litrally. Played with a little more passion and ending with a little more distortion though.
You really can't fault these guys they are the masters of this genre.

How to play a mono song with your feet.Collapse )

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Clutter In The Strings, Lasers On The Wings. [07 Aug 2007|11:17pm]
[ mood | excited ]

On the 31st of JULY, myself, Karl, & Kyle headed down to the Corner to check out some local experimental music, a collection of artists, all getting together for the launch of Anthony Pateras's latest album ((which consists of entirely prepared piano; which is basicly piano with crap in it)).

First: Johnny Saw Horses Interesting mix of goth, folk, post-rock, etc. The folky numbers with the low female vocals were the best.

Second: Natasha Anderson who plays a contrabass recorder and garklein recorders through a laptop; for crazy sound textures and manipulation. Not the kind of sounds you'd expect from these instuments, sometimes truly haunting at other times almost commical. Some of the best part were funnily-enough not done by her though. As what she was playing had many moments of silence or quietness broken up by louder parts, it always seemd that the cashregister at the bar would go off in those quieter bits, and somehow it just added so much to the music, it was truly excellent.

Third: Marco Fusinato a harsh noise guitarist (Very little "Playing" of the guitar take place, mainly effects tweaking.) produced somewhat usual harsh noise, very textural, more broken than usual, with moments of very interesting sound. Interesting setup: Gibson LP, MoogerFooger something, two big black knob covered effect boxes, Boss Pitchshifter/Delay, 2X Black DOD pedals, Boomerang, all into a musicman amp.
Overal nothing amazing, but some of the moments in his peice were brillant.
Again the cashregister played an entertaing role in the preformance.
Most amusing though was, when he started all the old fogies got up and left...

Fourth: Robin Fox. This was the best preformance for the night, and all the guy did was sit a laptop in the corner, in the dark.
That said he was producing some very interesting electronica on his self-programmed laptop. Also this was all controling a mammoth green lazer that was pointing out through the billows of smoke from the smoke machine to the audience. Because of the way that the music was composed it caused some incredible patterns and movements from the lazer. It was one of the most hypnotic things I've ever seen truly psychedelic, the way it would cross section the puffs of smoke, then twist into almsot spirals then transform into a giant malfunctioning lazer cannon; all controlled by the sound of the glorious music being generated by Mr. Fox's laptop, as he sat still, hidden in the darkness and haze behind the lazer.
Robin Fox (myspace).

Fifth, and Final: Anthony Pateras preforming his new new album; Chasms in it's entirey. Having bought the album, I can say that it was quite a faithful portrayal of quite a hefty peice of music, 40odd-min of genrally very fast technical pianist work, with pretty much no breaks.
It sounded quite good live, if you couldn't see him there playing a piano, you would sware it was a a collection of pecussion instruments, such as tambourines, marimbas, xylophones, clocks, etc.
Really something you need to experience to understand.

Comming up:
Mono (Japan) & World's End Girlfriend
Pateras/Baxter/Brown & Others

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Grey Daturas, etc, in Exile. [01 Jun 2007|11:13pm]
It was the 26th of May, and Kyle and I headed down to "Exile on Smith Street", a quirkily arranged little bar with a tiny stage, a tiny stage that would hold some very large music.
First up there was a two peice drone metal band very much along the lines of sunn O))), but a little bit differnt. Entertaining enough if your sitting down.
Then we had The Truth an interesting blend of Noise and shorter plainer post-rock, entertaining enough. They recovered very well from a guitar dieing out on them mid song, that takes some skills.
Up next was Scul Hazzards, a unique blend of raucous rock al la The Birthday Party with lashings of spaghetti western sounding riffs and post-rock and noise elements. A very tight, and refined (but not too refined) sound that worked well, and was most entertaining, for the hour or so they played.
Finally we had the Grey Daturas, what we had come for. They jumped right into it, quickly building from nothing to full on frantic chaotic noise, so so much going on that it was hard to keep track of what it was that was unfolding before your eyes. Very expressive playing, elaborate textures, endless pedal tweaking, aurally un-noticeable gear failure, and everything you could ask for in a noise gig. Executed brilliantly, with a smashing abrupt stop at the 15min mark with nothing but the very quiet hum, for a few moments before they started packing up their gear.
The shortest gig I have ever seen, but also the most commanding; no ear nor eye was not paying full attention.
I might even go as far as saying the best noise song ever...
Picked up two brilliant live recordings and a t-shirt off them for $35 aswell; awesome.
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Doom Lords & Their Psychedelic Friends. [01 Jun 2007|09:16pm]
[ mood | contemplative ]

On Wednesday the 9th of May, Kyle and headed of to see, a band of three.
They go by the name of Boris you see.
(Also another band; sunn O))); of much more than three.)
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Boris were to start the gig off, after much waiting outside, then much more waiting inside, most of which was spent under depths of fog, marveling at the mass of amps only a few feet away from us. We were up against the stage you know. It was awesome!
Boris started their epic journey out with the long brooding "Feedbacker" which subtly built into a cacophony of psychsludge of mamoth proportions, Takeshi weilding his double neck bass/guitar with prowess and power, while Wata's solid yet sensitive guitar work sang over the top. All the while Atsuo is pounding his gong, or murdering his drumkit, screaming with all limps flailing. After a short pause for tuning, they jumped straight into the demonic "Blackout" which errupted like a volcano. Once that song (Extended a bit.) drew to a close, they jumped straight into Pink with all it's classic rock power and drove it home like a runaway steamtrain. Song's like this one were especially great to watch Atsuo's drumming, It's crazy the amount the man can move while stil ldrumming flawlessly, his knee's get above his head at times! Just when you thought they might have gone to aslower number the launched straight into "Woman On The Screen" guitars, drums and hair flying wildly, screams comming from everywhere, absolute rawk! Conitinuing on the theme with the fuzzed up "Nothing Special", not stopping with the increasingly more ROCK "Electric" before they finally stopped the barrage for a short tuning break, which they moved out of with the softly droning coldly building "A Bao A Qu" which was one of the most beautiful songs I've seen live. Although that was then rivaled by the equally lovely "My Machine", this ambience wasn't to last. When "Just Abondoned My-Self" started with furious intensity, and slowly worked it's way down into a psyhdoom dirge as Atsuo ran about the stage and jumped into the croud, like a madman; finally ending in a wall of warm fuzzy noise. They finished their set off with the aptly titled "Farewell", a perfect ending to an awesome amoung awesome gig.

Foggy Pictures.Collapse )

Then we had to wait again, funnily enough sunn O))) etc, set up thier gear themselves. Also while we were waiting we saw Wata leave with her baby, it was quite cute, the poor baby was sleeping through all that ruckus.

After the fog had built up suitably and there had been silence for some time, the lights dimmed, and a cloaked Oren Ambarchi entered. After a moment of adjusting his table of effects, he picked up his (Oddly unfitting.) childlike guitar and started to build up layers apon layers of his signature resonant drones, adding in subtle touches of glitches and melody. After a few minutes of this, when the layers loops had built enough to start confusing your ears, out comes Attila Csihar (Of Mayhem fame.) adorned in the tradmark black robe, but with a red hood and blackmetal facepaint. You would imagine at this point he would start shrieking like a banshee, but no! He started chanting, quite otherworldly chants too, with some subtle throat singing, I belive some of what he was singing was in latin. Very interesting, and very cool. After he had writhed around, chanting atop Oren's loops out comes Tos Nieuwenhuizen, Greg Anderson and Stephen O'Malley. Thier long black cloaks dragging on the ground obsuring their figures as they shuffle to their altar of amplifiers. As Attila slowly sits down, they slowly pick up thier guitars (Tos stands in front of his Moog Prophecy synth.), and with one allmighty blow the entire hall is vibrating with the greatest display of power I have ever seen. Sound so loud and deep it becomes more than sound. So loud and bass ridden it makes everything vibrate, and resonate. Once that first strike of the picks, you know, you just know, that this is the memory that will stay with you forever, even if your hearing dosn't (Which itprobly won't after this!). The pure power of the amplifiers being controled with nothing but guitars and a few effects pedals, is amazing, the way they can keep the beast in it's place and weild it like a weapon, capable of injuring people (Litrally, several people passed out, got blood noses, other bodily functions going awry, all purely from soundwaves.), the way the soundwaves masage and caress your body is amazing, it's like a crazily intenese massage that gets every little bit of your body. Especially when Tos Nieuwenhuizen, is manipulating all the very very very low frequencies; the one's that you can only feel, and ohh how you feel them. In time Atsuo came out to molester his gong, which he sure did, as well as croudsurfing, at one time with a micstand. After some time of this Sin (Nanna) of Striborg fame, entered and crouched down next to attila, and screamed into a mic which he manipulated with a small green pedal, as the air around was pulverised. As all this chaos was going on, it was amazing how tight Greg Anderson and Stephen O'Malley kept their playing, extremly slowly merging from one riff to another. At one point Stephen O'Malley was holding it down that well that Greg Anderson was able to take a short nap before the big finaly. As this incredibly epic song drew to a close, all instruments near breaking point were hoised into the air and all the sound crumbled away leaving your body soft and numb after the otherworldy experience that had just happened. The one song clocking in at close to 2hrs.
There was nothing but silence, the band left the stage, the fog cleared and the lights came on. It was over.

More Imagry.Collapse )
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It really was amazing how much the sound made things move, at one point my t-shirt and hoodie were resonating so much it felt like I wasn't wearing them.
The 5cm thick cables that link up the foldbacks on the stage were bouncing about 10-15cm off the stage because it was vibrating so much.
Oren's pedals were vibrating off his table.
Words just can't describe the imencity of the sound, it really was so so much more than sound, it was just crazy!

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Mighty Beast, The Killer & The Plasma Cleaner. [06 May 2007|10:40pm]
[ mood | metal ]

I may have left writing this review a bit late...
So it was the Mastodon and Slayer concert, on the 15th April.
I headed out to Richmond a bit early to meet Tomo and see what the happs was and that jazz. We bummed around and remarked/commented on the varied croud attending the event, the selection of fans was vast, young girls who looked incredibly out of place, emo kiddies pretending to be metalheads, huge burly bald tattooed bikey types the size of houses, old guys (some of which looked like zombies), typical middle aged men, bogans, metros, art/progrock/metal types, goths, punks, even a couple of hippies. It was most interesting. I also saw one of the guitarists from Grey Daturas, hopefully they open for sunn O))) & Boris.

But anyway to the show:
Blood Duster started the show off with their usual brand of piss take metal. Good stuff, songs such as "Myspace Your Face Discrace" were most amusing, and the singers metal bling was entertaining enough to begin with...

Then after a short break we were in for the MIGHTY MASTODON!
The stadium went dark; the soothing intro to "This Mortal Soil" slowly faded into the P.A system, then as the etheral green and red lights writhed, and the band entered, it was obvious, what we were in for, metal!
The stadium filled with red as the pounding intro to "The Wolf Is Loose" escaped. The Wolf sure was loose, and tearing up their collective instruments. Played with majesty, poise and precission, and pure brutal force, the power was unrelenting, linking straight into "Crystal Skull" and then "Capillarian Crest", played flawlessly, even with some added flair and power. After this onslaught of Beasts from "Blood Mountain" we soon bathed in the cool (albiet frenzied) waters of "Leviathan" with "I Am Ahab"; executed brilliantly, complete with guitar tapping added to the solo courtesy of Mr. Hinds, extra string wailing from old Bill, and theatrics (which are quite prominant on all the "Leviathan" tracks they preform) and pasionate roars from Mr. Sanders (who happened to look quite like a mad pirate). One of the best preformed songs of the night.
There was a short pause as a roady brought out a second microphone for Troy, after this little hint I knew "Circle Of Cysquatch" was comming and I was right! As they launched into the shapely beast. executed brilliantly complete with resonant filtered vocals (of the beast), and extra drum fills.
Next was "Iron Tusk" which was much more brutal live, with a distinct dissonance not heard on the album version. "March Of The Fire Ants" was to follow with it's hypnotic intro (which they extended a bit, to great effect). One of my favourite tracks of "Leviathan" was to follow, the epic "Aqua Dementia" with it's awesome little county interlude bit, which just shone like gold live. It's great how they all sing (Except Brann; he is too busy.), it adds so much extra character and power to the live prefomances.
Anyway "Colony Of Birchmen" roared into our ears, and soared with it's beautiful harmonies (although not quite as beautiful as on the reconding).
At this point it was clear that we were nearing the end of Mastodon's reign and we still hadn't heard "Blood & Thunder", then sure enough, that apprehensive intro starts up and we're hunting whale!

"Split your lungs with blood and thunder
When you see the white whale
Break your backs and crack your oars men
If you wish to prevail

This ivory leg is what propels me
Harpoons thrust in the sky
Aim directly for his crooked brow
And look him straight in the eye

White Whale!!! - Holy Grail!!!"

The power, the intensity, the passion, the everything, pure bliss.

Ok, so as we came down from the brilliance of that which is Mastodon, Tomo & I consumed some water, and rested. Then to return to pit (which was spilling out the entrances now {Obviously most people only came for Slayer}, so getting in the pit was difficult, but was done eventually). I didn't have high hopes or really expect anything from Slayer but they were actually really good, I suppose that's why they are still around and still so damn popular, every man or woman and their dog like Slayer these days.
They played all the classics; "Raining Blood", "Angel Of Death", "South of Heaven", etc, as well as a few new songs. It was quite obvious which ones the croud rathered. They played very well, Although "Seasons in the Abyss" (My favourite of their songs.) wasn't that great, and they left all the wailing guitars out of the end of "Ranining Blood", tisk tisk tisk.
The things I found amusing was the sheer size of Kerry Kings neck, it bulges out from both his back and head, from all angles, maybe it's from all the years of headbanging? Also the fact that they all have big pot bellies etc. is quite amusing. They still have the metal in them though, and can put on a good show.

All in all one hell of a night!
Here are some very low quality pictures I took with my phone, heh.Collapse )

Next; sunn O))) & Boris.

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