Another Immersion, and some excellent repeat performances as well as new faces manning the visuals (for us, anyway). Starting around 7pm and lasting until 11:30pm, on 7 February 2008 Spencer Mash (SS_R) & PixelPusher present a night of soundscapes, experimental music, and visuals as part of the ever-popular, on-going Immersion series at The Flea-Pit, London E2.
If you don’t know what Immersion is about, check out the Visuals section of my site for some little video tastings.
and Pixelpusher (yours truly)
The sonic line-up:
Alex Mein Smith:
AMS has been described as “Rhythm n Drone”. Combining lethargic textures with heavy beats, the result is experimental yet accessible. All drums are analogue – all textures are guitar. Having released an album, AMS has had a year off…. this is his first show in many months.
Con Brio is pure electronica – a sound that glitches through heavenly glances of beauty then yanks you back to reality with cut-up beats dirty enough to make a hammer bleed. Direct to the brain quality melodies laced with clever beats.
Gabriel Da Piaz:
Sounds and noises are organically produced from the guitar using various objects to ‘prepare’ the instrument, and create immersive soundscapes.
grohs is a sound manipulist – taking basic building blocks of sound and warping them into wild structures. Fragments of moments become swathes of sounds stretching into the distance. Whilst his recorded works tend toward the ambient end of the spectrum, his live shows can range from glistening soundscapes to full on noisefear. grohs is a co-founder of doombience duo Regolith, and prefers to describe his work as sound not music.
Presents a series of sound experiments created by building upon non-programmed minimal repetitions of static noise and rhythmic feedback – processed through multiple filters and defined by accidental and reactive parameter interactions.
Suero is not looking for an electronic-perfect-label to describe what it does. Suero does not use computers. Suero builds a real time sound-noise sculpture based on his own sounds, to drive the listener to an analogue extreme and dark field, rather than a “cliche electronic happiness”.