Well hello! It’s the last day of January already where did that go? OscilloScope returns for 2017 and this is a nice thing in a year which so far has been geo-politically bonkers.
Tonight’s lineup included a first time out (as far as I can remember, please correct me if I am wrong) for 2 iconic instruments… The turntable and the modular synth. I genuinely don’t quite know how we have got this far down the line without having either of these make an appearance. I am happy to say that Dafydd Roberts corrected this first with his synth rack feeding back though audio-mulch followed up by Andrew Leslie Hooker on deck with a mix of Elizabethan Madrigals and Elvis.
The evening started with Electric//Coast (AKA. Adam Boyes) doing a set on 4 track recorder and FX based on material from his newly released album (available on floppy disk for those who have a drive for it). Adam has played at OscilloScope several times and it is amazing to see him develop as an artist and performer, constantly trying new ideas within his own method of working and raising his bar each time.
This was followed by Dafydd Roberts creating an intriguing piece with projected visuals, fedback modular synth and live dsp. He created a powerful fusion of worlds with different elements jostling for freedom, shepherded by Dafydd into a multi-dimensional performance.
A fixed piece by Рушания Низамутдинова (who was unable to be here, therefore not in the photos!) brought us up to the break; wonderful balance of clear timbre, more noise-based articulations and formal structure permeating the room.
The second half opened with a powerful piece Andrew Leslie Hooker on Turntable. There is a brilliant physicality that working with analogue equipment can afford and Andrew took full advantage of this to create a thought proving, emotional and incredibly gestural piece.
Following this Alex Bailey stepped up to the desk to diffuse his own acousmatic piece. As a work I have originally hear in an 8 channel mix it was fascinating to hear him reinterpret this in a stereo mix and then diffuse live into quadraphonic. Great work.
Bringing us to the end of the evening was Charles Gershom, with a setup based upon recordings of homemade electronics but sampled onto more off-the-shelf kit for the sake of reliability. Its an intriguing compromise which works well and brought us to the end of a brilliant evening of sound/noise/art/music depending on what you wish to call it!
It was great to be back, and it was a wonderful event, thanks very much to all the composers and performers and also to: Greg Byatt (Lighting & VJ), and Ronan Devlin (Graphic Design) as well as all the members of the audience.
Thank you all!