What a night Saturday night was. The original planned show at Invention Studios in Bath was ill fated and eventually, as with most things these days the council well and truly put the kybosh on further 'loud music' events there.

So, a last ditched attempt to find a home for the night for three bands went ahead smoothly in the end thanks to the incredible and professional organisation of AMO's Si Matthews. Those of you may also know Si as part of local band Fabric who are extremely talented musicians in their own right.

I remember reading a review many years ago for Tangerine Dream's Zeit album, released in 1972 and in contrast to their heavy rock Ultima Thule Part 1, released around the same time as the LP it was then described as the furthest departure from rock which is basically what happened 36 years on in a live sense at the Junction in Bristol, on Saturday night.

From a photographers perspective I wanted to get one or two clear shots of the bands and for the first time some experimental work which I thought would compliment the music. I've never worked to this level in a live situation before and I am inspired by the work of Lasse Hoile who is perhaps better known as the artist for rock band Porcupine Tree. He once did an experimental portrait of founding member Steven Wilson for his Bass Communion project entitled Drone Work and this is where my inspiration was drawn for this night.

I expect every 'classical' live photographer to throw their arms up at the work I have created but it is, for me the way I remember the show and the way I intended to capture it as a moment of obscurity within obscurity - A spontaneous reaction between music and photographer at the time of creation.

Although last minute promotion (no fault of anyone and due to unavoidable last minute changes) did little to pull the crowds in it was a night that certainly opened up my eyes to a genre of music I never realised existed on the local scene. Having been brought up with the likes of Stockhausen, Schnitzler and other avant garde experimentalists it was incredible to be a part of this style of music not only in a live sense but also as part of the local circuit.

PART 2: The Return Of The Korg!


Rarg - Photography By Dave J. Cable 2008

The event kicked off with Rarg, a duo from Bristol, smartly dressed and with an equally smart equipment setup, which at first seemed like the great divide between analogue and digital. Their set comprised of one long piece created almost as if in some retro style to the ambient improvised experimentalists of the seventies with a decent slice of analogue noodlings, digital ramblings and modular testiculations.

Rarg's Inner Sanctum - Photography By Dave J. Cable 2008

The piece moved through into more cosmic territory but managed to avoid all of the clichés found with other artists of the genre. Soft sequence loops and lead lines, from the old Korg merged into the melting pot of sound and I found the music became more effective as the piece progressed.

Connectivity - Photograph By Dave J. Cable

Even the tie played a part in the performance. Static from the microphone at one point was used to create a steady beat alongside the multitudes of cosmos that surrounded it.

PART 3 - Hobbits & Heretics


Dimensions - Photography By Dave J. Cable 2008

Next up were (or should I say 'was') Team Brick who is a sole creator of all things esoteric. He was so off the wall I believe he never knew it ever existed. His music is to experimentalism what Bjork's Medulla album is to pop commercialism.

His performance started off with gentle birdsong and I thought we were being lead down the chilled avenue of new age. A clarinet appeared from the table which confirmed my thoughts and gentle harmonics were looped creating a musical euphoria of sound that emanated from the squat but effective PA system.

Suddenly he went completely off on one, a bit like the impromptu rants Robbie Williams is famed for during his live performances but it was in part harmonic, and a part of the music. There seemed to be so much pent up aggression from the introduction sequence and this must have fuelled the rage that erupted inside the musician for the next section. Obscure chants and warped electronica surrounded the room and at some point I lost my hearing which returned when the noise faded only to disappear again just when I thought it was safe.

Strapping on a bass guitar this brought the music down to some level of sanity but there were still moments of obscurity thrown into the mix as the piece trundled along to its climax and eventual dissolve.

After the performance I remember spending the next half an hour trying to work out exactly what had happened.

PART 4 - Leaving An Imprint


Martin & Sin (Imprint) - Photograph By Dave J. Cable 2008

Imprint were headliners for the night and they provided a set that was awe inspiring and memorable.

After performing a few original compositions the audience was then treated to Imprint's minimalistic and darkly beautiful cover version of Joy Division's Love Will Tear You Apart which for the first couple of minutes seemed to ride on a delicate wave of delayed and decayed piano.

Martin Bowes (Attrition) - Photo By Dave J. Cable 2008

You are unlikely to ever hear a cover version like this anywhere else and I am sure that if Ian Curtis was alive today he would embrace this excellent tribute.

As Imprint's first live performance both Martin & Sin proved effective and confident on stage as the set floated through darkland and seascapes encapsulating perfectly the darkness and beauty to be found within.

The battery of synths were no-where to be seen but this was far from a performance of minimalism and Martin seemed as satisfied twiddling and noodling behind an old Korg as what Sin appeared to be behind the mic.

This was brilliant music that begged to be heard and I am personally looking forward to future releases and performances.

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