IKLECTIK curated an evening to the highest of standards. Bringing together three artists that poignantly posses the drive and sonic presence that makes them leaders in their field—each in their element whilst on stage.
An evening to the highest of standards
Original Newswire — Photography by Matteo Favero
The last show I went to was to see Ryoji Ikeda in a low-key basement in Kyoto, October 2019. It was such a good gig I knew I would need a short break to digest and re-calibrate as to not compare artistry, venue (and most notably) moment in time—but two years is taking the piss, right?
Obviously, a lot has happened and continues to do so across the world. In the UK and across Europe we have seen venues shut their doors, unfortunately some have succumb to permanent closure. Thankfully there was a summer resurgence in live shows. I was not there though. Apprehensive of our country rushing back to normality had me take a step back. I missed live music and wanted to support the returns and openings, but videos of people crammed together once again felt unsettling. I could wait, patiently.
Corsica Studios is based under the bridges of Elephant & Castle and is one of my favorite London venues. Generally considered a small place, the rooms make up for with quality sound systems and friendly staff in this intimate setting. With a requirement to show proof of a negative lateral flow test also (as much as that is an easy work around)—I finally take a step forward. After a beer I find myself a suitable spot as DJ OBEL winds through atmospheric gestures of what to expect this evening.
First up is Finnish sound artist and producer Joonas Siren aka FORCES. My introduction to their music was via the SFX Compilation XquisiteForce.collection/01 that came out last year. Likened by the alias, they enter in brute with an off-kilter hard beat excursion. Throughout FORCES displays a varying rhythmic onslaught of low end kick drums and granular crushed samples crashing through the mid and high end. Moments catch on beat before cascading through dynamic glitches. For majority of the set was raw, yet FORCES demonstrates a handling that is both experimental and delicate even if just for a moment—in both directions it is delivered with confidence. This was FORCES debut UK performance and I’d certainly recommend for anyone to see them at future shows.
Jonnas Siren noted recently, “I’m a so called livecoder, so my sets consists of algorithmic systems built with SuperCollider language of extreme granular synthesis and VST use/abuse. The codes are getting pretty long and abstract, so my sets are always a kind of navigation through the uncertainty/chaos and trying to wrangle interesting moments out of it :). This time I decided not to project the code, as I don’t feel it’s always necessary.”
Shortly after the next artist to hit the stage is the Copenhagen based sound project of Linn Hvid aka ANA FOSCA. Having no real prior knowledge to her works, this is the reason I love live shows, catching those artists that you might not of necessarily gone to seek yourself. A much more progressive set compared to the high octane act before, using a mixture of cassettes, CDs, synthesis, contact microphones and vocal performances—we are thrown deep into a crevice that ANA FOSCA excavates in person. A mixture of dark ambient, death industrial and drone. Hard to pinpoint exactly which made for an exhilarating experience; a unique layering that demonstrates the multitude of ANA FOSCA’s sound practices. Often we are confronted with harrowing movements as feedback loops encapsulate tensions within the smoky shadowed room of Corsica Studios. Very much in control, but allowing for free flow experimentation ANA FOSCA guided us through worlds unknown that was both hypnotizing and haunting.
Closing the performances comes Parisian artist Aho Ssan. Following their most recent Simulacrum Remixed EP on Subtext, this was a chance to hear the forward-thinking producer deliver their take on post-club music. After all, in my head, that is kind of where we dwindled for a bit over the past 18 or so months. Replenishing a life-time of anguish through pounding sonics, Aho Ssan unfolds dramatic forays that are harmonious at times, yet abrasive undertones carries emotive points from distant vocals drenched in saturated reverb. Defining stances come together in various drum shuffles and boosting kicks that solidify Aho Ssan as not just a contemporary producer, but performer also.
IKLECTIK curated an evening to the highest of standards. Bringing together three artists that poignantly posses the drive and sonic presence that makes them leaders in their field—each in their element whilst on stage. There is a real focus on booking quality acts and hosting in great venues, even more so that they have chosen intimate settings over larger rooms.
Friday Nov 26 :: IKLECTIK was back on their home turf at Old Paradise Yard hosting Farwarmth and Meemo Comma.
Dec 2-4 :: Looking further ahead will be a 3-day festival called Otherness that will play host to panel discussions, A/V performances and screenings to collide and abstract multiple conceptual ideas and social debates around the topic of Otherness in a peri-pandemic context.
Photography by Matteo Favero.
Visit IKLECTIK at iklectikartlab.com.
