Hogwash #17 @ The Fox & Newt, Leeds

Posted by vibrations on 21-06-15

After a significant, for unspecified reasons, absence, Dave Proctor’s regular collection of noise makers and fringe dwellers is back. This is good news.

Proctor’s own solo noise persona
Legion of Swine fittingly kicks off the night with an insidious slow crescendo gradually drawn out of his laptop, that feature violins, bagpipes, a Russian choir, and other ghostly auditory presences along the way that may or not have actually been put there by Proctor. His LoS garb of plastic pig head and white lab coat, and occasional ‘trotter salute’, is amiably sinister.

The general theme of stripped down utility is continued by Italian
Lorenzo Abattoir who has rigged up an ordinary looing pub table to look like some kind of booby trapped device. The immediate sound source is a roughly bundled up handful of thick wire that’s fed through small number of FX boxes. The wire is crushed, crumpled, breathed on and screamed and then Lorenzo drops to his knees to manipulate the fine wire that’s been wrapped around and between the table legs. Its short, interesting but not particularly evocative.

York/Leeds duo
Orlando Ferguson buck the stripped down theme by filling the stage with a van load of equipment, including a full size double bass. The par’s game is ritualised drone generation, with Ash Sagar mildly abusing and wrestling with the bass to summon up some fine eardrum oppressing low end frequencies, while John Tuffen manipulates electronic devices and loops monastic vocalisations. There’s a mic stand draped with genuine temple bells and there may well be a kitchen sink behind Sagar’s bass amp. The first half is mesmerising and works fantastically well, but the set runs out of steam towards the end.

Clive Henry pops two contact mics in his mouth, rocks backwards and forwards while breathing heavily and very deeply, and eventually begins to summon up animalistic and unearthly noises that seem to be coming from deep in his guts. Henry is in fact amplifying his own body, the visceral nature of the sound that emerges probably unlike anything I’ve ever heard before. It is intensely physical and its hardly surprising Henry can only keep it up for 10 minutes or so. The second half was more conventional effects box derived noise and shouting, the impact of the latter impaired because the microphone he was using didn’t seem to be working.

Finnish solo artist
Raeppen does little more than layer and loop deep monastic chanting, interspersed with basic percussion and effects pedal manipulation, but the results are stunning. The simplicity the tools used did not undermine or inhibit the quality or execution of the musical ideas on display.

Steve Walsh

More info at www.facebook.com/pages/Hogwash/459669037406324?fref=ts




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