April 2025
The Rossi Bar
Wasps, Dan and Andrew from the collective are an interesting setup, covering the Glass Armonica, effects, synths and laptop set up across two tables facing each other. The laptop seems to be running some processing software like MaxMSP, rather than a DAW, but we’ll come back to that. Their set starts about 15 minutes before they get on stage with a cheeky speaker hidden away under the benches playing back field recordings quite quietly. Slowly a bass-y synth drone emerges and some burbling from something electronic, slipping backwards. The drones are joined by others: deep space drones, and warbling shimmering drones. Into this come time travellers travelling backwards past us without stopping, the Glass Armonicas scraped and reversed by the processing. Loads of rather lovely detail. I can hear Andrew playing a little part on his synth. Almost everything drops away leaving long strokes of the glasses and Something mimicking humpback whale song. Musical chimes stutter, decay first. There’s a faint hiss of sea. Andrew plays a little motif again, this time it almost repeats, lengthens and stretches and disappears again. Sounds rumble and slur. Some delayed drums slowly rattle noisily about. There’s the occasional hint of a bassline. Another little motif from Andrew, this time as a sequence, bobbing about. The sequence hides again, the drums roll slowly up and down. Odd noises twitch from the depths. There’s the wind (though it doesn’t feel as cold down in this basement). The drums give way to abstractions again, as though the tide flows from Andrew back to Dan. Slowly the drones weird space noises begin to overwhelm the chatter of static and erroring 1950 devices. And again one of Andrew’s exotically scaled keyboard runs leaks into consciousness. And switches mine off, I’m quite mesmerised.
Lee Ashcroft is an imposing figure standing behind his Theremin and black box setup – I never did get round to investigating it. The last time he was in Brighton was for a Wrong Music event down at The Volks. Which is to say quite some time ago. He starts with some slow melodic parts on the Theremin, a voice talks about bus stops and rain. A bassline starts, the woman’s voice continues, as does Lee on the Theremin. A string counter line joins the bass. A walking bassline. There’s some distortion quietening the Theremin, A slow bass drum and chime come on the backing track and the woman’s voice is replaced by a man’s. A piano part. It all drops, there’s some singings and the backing gently re in, the returns parts layering up. A nicely buzzing bassline. There is some Theremin almost birdsong. “I’ll never fight Mike Tyson….. I’ll never play in The Championship…” and some whistling. Its fog music. Disrupted by a vast shivering TD arpeggio that swoops across our vision out of sight then swooping slowly back and forth. The next track starts with a nice harpsichord line, with more singing and Lee getting some nicely atypical drones out of the Theremin. Then swooping Starfighter laser blasts. Beatless and weirdly epic even before a massive wall of fuzz kicks in. The singer on this is quite exercised about something. Slow heartbeat kicks start the next track, with a swelling bass low. A woman singing again on this one. It all finishes on a quite unexpectedly meaty finish, all beats and basslines and counter rhythms. But most of the set is oddly melancholic; reminiscent of Low without ever sounding remotely like them. He must have been exhausted after playing the Theremin for the entirety of the performance.
Finally we finished the evening with R. Dyer. The stage abounding with typical R. Dyer devices from the artfully broken harp held together with a big G-Clamp at the top and strung with a variety of piano/guitar/violin strings, soprano sax, saw, synth, effects and a looper. She starts with the harp and voice, the harp rattle-y, loud and creaking. A séance in a log cabin. Arlen plays a plucked harp loop into a lopsided creaky rhythm then plays a looped sax over the top before singing again. The next song is based around polyrhythms played on the harp. (“This song is about …. 7 minutes long”). The harp is looped then the saw provides a tremulous top line, there’s also something that sounds like vibes to provide the backing track, while Arlen sings and provides more punctuation on the harp. Arlen threatens us with an electric guitar for the next track, which is somehow my fault. And no looping… But there is a key change. Oh, I lied, there is some looping to let the sax be played. The next song is little victories, slightly revamped. Starting with a ticking percussion loop, descending synth part and the looping double soprano lines. It’s more Spartan, Arlen listing the little victories of her own “Spring”, “A new one from someone in Bognor – that I didn’t know!”. We then sang happy birthday to Leanne. There was a lot of back and forth between the audience and R. Dyer that I’ve glossed over, but if you’ve never seen them play, it’s a big thing.
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Thanks to Dan for the photos
Evey: Electro post-punk meets industrial tech-noir
