I went with Dean Chamberlain (thanks for all the pictures) who is a big Luke Vibert fan and manager to spot the man before things got started hanging around the sound mixing booth. We arrived lot long after doors opened. The que was picked at by the mixed carrion of touters looking to buy tickets and party promoters pushing the next gig. It was quite intense which set the mood for the intense evening to come.
The first act up was meccano set. A table was set up with a meccano construction on it and a little Casio keyboard. Wheels and pulleys were set up to turn and hit little strips of plastic that were some sort of trigger for a drum sound. The keyboard was set up like a large wind-up music box which had a long black cylinder rotating over the keys. Little fingers stick out form this cylinder would press the keys down making the sequence of notes. There was also a busted up old toy record player that was playing making a recordy ambient sound continually. At first this set up was puzzling and it sat on the projection screen for the first couple of hours. Once its design was understood the novelty wore thin.
The ‘artist’, Pierre Bastien, made music with this sort of primitive, home made, sequencer drum machine set up which was at first curious and then amusing but wore thin after about 10 minutes. He also played a baby muffled trumpet over the top of this and did achieve a sort of blue melancholy sound for some of it. His sound reminded me of Nils Petter Molvaer but with less energy and sophistication.
Luke Vibert started his set completely unannounced. There was an obvious change in mood and track selection which ranged from some very nice down tempo drum and bass to funk, which was completely unexpected and yet another twist in the course of the nights musical meanderings. It was quite refreshing to hear rhythm and melody again after Mr Meccanos forays.
Squarepusher showed up quite late and the place was buzzing with anticipation by this stage. I was a bit annoyed at him showing up so late to his own gig. He finally appeared on stage at 12 and we’d been waiting since 8. None the less he pulled out yet another surprise: Jazz.
Tom Jenkinson (aka Squarepusher) started his set off with Paul Hession (drums) and Mick Beck (saxaphone). They did a half dozen psychedelic Jazz numbers mixed with some Squarepusher type bass playing. All the pieces were intense, full of energy and showed a completely unexpected dimension to this arts playing that had me completely impressed.
A sentiment not shared by all the audience who where expecting a more bangy start after a long wait and who probably weren’t into Jazz. This just helped to highlight the diversity in the crowd that ranged form nerdy weedy white guys to Camden style Goths to Punks to just average looking middle aged couples who were not used to staying up this late anymore.
Once the Jazz men had taken a bow Squarepusher went solo and did a long hour and a half set with two laptops and switch between three electric bass guitars. He played along to drum sequencing form the laptops that was more the crazy distorted drums and bass you’d expect form Squarepusher.
Up until this point I had never really understood where his bass playing was coming from but I realised as he held a fret down and beat out a sequence on the strings with his right hand that he was using the bass guitar as a percussion instrument! He has a background playing drums and Jazz (I assume) and so his music is not that far off modern Jazz percussion. He has changed to a more electronic instrumentation and is always chasing an intense vibe as found in modern dance music. The compositions are intricate and sophisticated. His bass playing technique is highly skilled and full if energy. An amazing performer and artist altogether.
At this point the dance floor turned mosh-pit and I managed to get close to the front near Dean who as glued to the railing right in front of where Squarepusher was playing. Eventually I retreated to one of the upper tears of Koko.
Koko in Camden is a superb venue. Its huge to begin with and used to be an old theatre I’m assume as it still looks the part. The interior is all a deep red colour and is covered in intricate lace work. There is a 4 meter disco ball hanging from its high roof, the biggest I’ve ever seen, yet it is lost in the feeling of space. There are five or six balconies with two of them sporting small intimate bars (and DJ booths).
The visuals were very well thought out and the most impressive I’ve seen to date. Mostly for their simplicity and effectiveness. The composition during the Jazz set was brilliant. A combination of simple screen wipes and two angle switching of the same shot. There band was emersed in a red wash that didn’t change much and was perfect for the mood. After the Jazz was over they quickly tore down the projection screen which revealed a the second matching box that dominated the stage. Squarepusher was squeezed between these lager rectangles who’s purpose was mystery until he did his first sequenced number, then they lit up jumping with simple white LED lights making patters that rected to the music and wowed the audience.
Overall an fantastic night out. My ears are still rigging and I’m happy to be in London!