DAN LEWIS (EMOTIVE WALL OF DRONE SOLO)
Powerful as in, dominating drone, electronics heavy, yet theres a snare-ee rattle that washes over the bed of bass frequencies that are churned from Dan's modest setup. Set gravitates around a chord sequence coloured by occasional stabs of noise. Eleven minutes.
EVERETT TRUE PART ONE (BRITISH MAN)
What would really be a spoken word set is wharped into a borderline 'musical performance with a solo vocal rendition of a young marble giants song, chosen purely on the basis that their band name contains a word that flies in the face of Everett's physical condition. He rocks back and forth nervously(?), yet his confident singing voice belittles the idea that he is at all uncomfortable in this school recital esque deal. Nine minutes.
UR (ACOUSTIC GUITAR TRINITY ASCEND INTO SPACEY)
Set starts off very modestly, with the three members building up a haze with their guitars. Mariachine. Someone mentioned space? Picks up momentum eventually, with each of the guitars growing in prescence, one laying a bed of low notes with the help of some sort of peddle, with the other two darting around picked notes ETC. A recorder is brandished at one point. Set was a little overlong.. Deep space throb like a mexi-beacon for all aliens. Seventeen minutes.
MUTTBOY (SPARSE TEST)
He (Single man) begins his set on the tail end of a particularly low brow joke from apsc mc Jamie Hume (HAPPY BIRTHDAY!). On the table before 'Muttboy lay an array of computers, a travel guitar and chords on chords. But rather than add all these ingredients together to perhaps mesh up a wall of ah, interest, he alternates between each, Subtly testing each element. The height of the set was probably where 'Muttboy plays some shrill guitar briefly. LONG. Artist's intent's a guess, blanket term. FEELS like a term. Twenty minutes.
EVERETT TRUE (MAN FROM ENGLAND)
This time, Everett starts off reminiscing about musical memories, with a story on his perspective on Daniel Johnston's career, Claiming part responsibility for his cult following. Not explicitly. This prompted he mention his asscociation with THE very Kurt Cobain, but rather than name Kurt's name, using the word 'Mother' in the place of Kurt Cobain. Kurt Cobain. More solo performance. CURIOUSLY chose to remain anonymous, until I was prompted to reveal his name+LEGACY to all in earshot. Nine minutes.
CRAB SMASHER (NEWCASTLE, TWO THOUSAND AND TWO)
Dainty guitar intro starts anew from last night's cataclysmic end. Rhythm section reduced to some clicking. Very delicate, Especially for a five piece band. Grant powers up this hummy loop that gets gradually louder through his expanse of pedals and machines. The drummers tease. Nicholas initiates a rhythm with his guitar, and the band whir into line. It doesn't last long though, with the rhythm giving way to a delicate show like there was to begin with. Very admirable restraint. Gets noisier around the end, but never as wild as last night's performance. Eighteen minutes.
JOEL STERN AND TIM OLIVE (SECOND DATE EXPERI-IMPROV(E))
BRUTAL. Joel has a strobe light adourning his end of the table they've set up on. As it flashes, a click corresponds, creating an interesting effect. Flooding noise. I forgot to note that every band that played tonight was set up in their own space, something I'd not seen at Audiopollen before. Ten minutes.
SISTERS GRIMMER (TEEN POETRY)
Theres a guitarist playing atmospherics, a violinist ticking the 'moody box and a girl at a canvas, who makes it through three or so pieces before the end of the set. At the end of each sheet of canvas, the music would hover for a bit, heralding the end of a movement. No vocals at all. Final image was a narwhal, hello BRISBANE. Eighteen minutes.