Sound and light out

I just caught a snippet of the long set, but it was intriguing.  This was a SoundOut gig located in the middle of Civic in an ex-hair salon (sounds the part!).  Bright lights and colour outside through the glass; colour projections inside from a series of film projectors of 8mm variety.  Authentic analogue, Interestingly complete with authentic analogue film loops.  Two projectors mostly, sometimes superimposed, otherwise side-by-side.  Seven musicians responding to this, in lines seated at the opposite walls.  The whole was noise, repetition, squeaks and sparks, drone noises and the like.  Two guitarists, trumpet, three winds of various persuasions.  There was an intriguing home-built synth, too, with pitch and modulations controlled by hand movements and a chip to respond to it all; small and mounted on a rough timber stand.  Unique.  This is the nature of SoundOut, that experimentation and noise that makes music with closed eyes for inquisitive audiences.  Sadly, not too many of them.

SoundOut presented Louise Canham (experimental film projection) with the Noise Floor Ensemble comprising George Kay, Jamie Lambert (guitars), Rhys Butler (alto), Richard Johnson (wind instruments), Rory Villegas (trumpet), Tom Fell (saxes) and Brian McNamara (invented electronic instruments) at Antics Hair in Civic.

SOSat arvo 1-2

Next up, Annette Krebs dancing her way through delicious tones, gathered from various noisemakers and metal sheets and even clockwork toys, all designed within MaxMSP (if I have the conceptualisation of process right) and controlled by a pair of tablets. The sounds were intriguing and delightfully modified and Annette's frolicsome accompaniment was engagingly par for the course. Then a few Aussies again: Canberrans Ben Drury and Brian McNamara with Queenslander Michael Norris on electronics. All drones and hits and noises and sonic presence and some explosive bass from Ben. Then, for me, the unexpected excitement of the day: a performance of the Workshop ensemble. I had little awareness of the session and no expectation to play, but I'm easily convinced (just ask!). For me, it was the excitement o returning to the wonderful Alex Steinback grand, just tuned. Whatever consonance or otherwise, it just sounded a dream. The problem I found was to play it quietly amongst quiet passages. My approach was advice from the previous day: know when to end; respond to others; show dynamics. My input was somewhat minimalistic, with a recurring line to pull a piece together and some daring to play in response. So tune no.1 was formed around a Cmin pattern with moves to D; Tune no.2 was a fast-repeated F note with patterns through the octave and later flourishes over white and black note for tonal colours. Much fun and thanks to my co-conspirators.

Continuing ... Annette Krebs (objects) played first. Ben Drury (bass), Brian McNamara (invented instruments) and Michael Norris (electronics) played second. The Workshop Ensemble (vocals, piano, flugelhorn, guitar, electronics, invented instrument) played third. SoundOut 2020 Saturday afternoon at the Drill Hall Gallery.