Yeah, I’m guessing you may know what to have expected from Wednesday night at the Rose Hill.
Warped, mutant retro-futuristic electronica.
Dystopian dancing.
Amplified trombone and object orchestra – this sometimes sounded like someone farting into a wind tunnel, while everyone around kept very straight faces. Either that, or the fellow (Henrik Munkeby Nørstebø) appeared intent on duplicating the sounds you hear within an MRI scanner. I don’t mean to be mean, just reporting. I happen to be a fan of MRI scanner machine sounds, the dislocated noise glitch electronica.
Mostly, the evening was comprised of epic and often solitary journeys into sound and surreal alternative realities. I noticed that when I was pissing in the toilet in between acts, I began to hear beauty and discover rhythm in everything (this is good). The sound of my piss hitting the trough: the hand dryer being momentarily turned on. This sounds feeble, but it was true. My senses seemed heightened in a way that people commonly associate with hallucinatory drugs. Paper-thin posters became inches, feet thick. I couldn’t stop smiling. During a sizeable chunk of F. Ampism‘s set (I may be wrong), it felt like I was living the slow-motion scene from Blade Runner, the one where the AI breaks down and just stops functioning as the rain drips on our faces. Hello? Is anyone there?
P2 = grade 4 or 5 at GCSE, exam board grades. 40% the setting/60% performance.
My only coherent notes taken during The Burbling Mind‘s set state that I think the four-piece could do a killer version of that horrible, horrible schmaltz song ‘Show Me The Way To Amarillo’ because they could fucking loop and loop it, decapitate it and pull it to fucking pieces while all the while reminding us of how sweet indeed Stan Kenton was. Either that, or ‘Big New Prinz’. I know all four of The Burbling Mind, much to my surprise. One of them taught my second eldest how to draw crazy, elongated comic book writing. Two of them own the downstairs flat I did an unexpected shit in, two weeks previous on the school run. And one of them is Brighton’s own reluctant diamante multi-versatile musician interpretative star.
It feels like they should be handing out weird electronica to the entire audience so they can join in on rotation, layer upon layer – but when I mention this to my friend, she just says “you really can’t watch without wanting to perform yourself”, which is true enough. I was singing Gavin Bryars in my head over most of it, anyway.
And Audrey Chen... oh my fucking God, no one warned me about Audrey Chen. My notes have disintegrated into minutiae and incomprehensibility by this stage, probably an indication of how wonderstruck I was by Chen’s incredible, intense, intuitive throat singing, the range of sound and noises she could dredge from her larynx, the way she never stopped moving, never stopped challenging. Here they are. The notes, I mean.
Dislocation dance.
Operation.
Cluedo.
Gloccal (yeah, that’s not the word I mean).
Guttural.
Truncated.
Induit.
Scream.
Million sad sped-up conversations, brutally truncated after micro-seconds.
Turns on.
(Ends)
P.S. DJ Fiery Biscuits, you promised to send me an MP3 of that strung-out Ethiopian-style jazz.