Thanks to an invitation from Henry Liam Collins, I had the pleasure of joining a great line up for the February edition of Club Quiet in the old police cells at The Island, Bristol. I brought along Piano Migrations – to perform with live, which was hanging ominously at the back of the room, while I got to enjoy great performances by Hacker Farm, and H, and precede the amazing performance by Acid Mothers Temple’s Kawabata Makoto. A great evening … video to follow soon (hopefully).
I thought Michael Rodham-Heaps crafted a particularly poetic response to Piano Migrations in his review (extract below) which can also be read in full here
“An electro-acoustic honey pot in which projected birds leapt the piano’s wires, creating delicate gamelan-like falls of tapped timbre, the sudden flurries of hammer mimicking the light-boned transits. The accompanying rubbed acoustics jigsawing that prepared percussiveness beautifully in a rich stream of layered strata, texturally alive, a clatter of somnambulistic arrows weaving in thresholds of curling abrasion. An oddly orchestrated soup, occasionally peaking in feedback , the fibre continually fed, punctured in cheeping toy and toiling metallics. Flickering motorised beaks on the wires, a clang of Javanese flavours. A unique, inventive and highly enjoyable set.”