One man and a table with the usual tangle of wires and leads, and assorted electronic gadgetry. He’s also got a chunky wooden flute and a tom tom. The set begins with heady, heavy kosmiche hymnals. We’re deep into the dreamy spiritualism of Popol Vuh or Ash-Ra Temple.
The melange of hare Krishna bell rattle, organ tone float and looped flute summon the atmosphere of spirit worship and ritual. Imagine whirling round in a tropical forest, sun light flickering through the tree canopy, colour, motion, blur, undefined, yet fully engaging your senses.
Pascal Nichols is a drummer who plays in lots of different groupings, but most commonly in Part Wild Horses Mane On Both Sides. Tonight he’s playing a solo set using drums and samples.
It starts well with Nichols darting round the sound samples. However, I lose my way with the set. Nichols seems to have a microphone strapped round his neck. This allows him to add low, throat yodelling satellite signals as sonar ping over drumming which sounds like rain on a tin roof. It’s more a set of moments than something that works as a whole.
Concern are the headliners. They’re Gordon Ashworth, one half of noise-nikers Oscillating Innards. In this guise he’s operating in drone mode. A micro sample of a violinist laments faintly in the background while the tonal sound waves quiver gently. But again I’m not engaged by the sounds. Suddenly the music stops. Ashworth waves choppily at the audience and departs. It’s almost as if he was as tired of it as I was.
Preferred drink: Kernel's IPA