Golden Lab presents a night of Manchester based art rock and noise experimentation, with out-of-towners Anla Courtis and Aaron Moore topping the bill.
Kate, Martin and Nick eased us into the night with a collection of raucous, freak-out folk tracks. Unpolished in their oeuvre, the group compiled an outflow of crude, discordant pop songs that were unraveling at their seams. There was an endearing contrast in vocals between Martin’s unfurling, bluesy sentiments and the wistful, folk melodies of Kate, subdued beneath a shelling of relentless, grinding chords and downcast anti-solos. As yet unnamed, the trio are set to release a tape in the coming months.
Next on with their free improvisations of hyperbolic psychedelia were Chalaque. The guitar-drum duo captivated the audience with their divergent weaves of cascading psych-outs, launching into a sexual fury of guitar licks and turbulent rhythms. The performance ebbed and flowed through lengths of hallucinogenic feedback and chaotic apexes.
Belied Gunaikso, otherwise known as Kelly Jones, one half of ‘Part Wild Horses Mane On Both Sides’, constructed a stand-out set of electronic allure, guiding one through resonant spaces of transcendent praxis. Like an expose of vanguard methods Jones wielded her flute creating spatially situated feedback, leading into gritty, out-there drones and ardent flute expulsions that revealed the darker inners. The performance took the form of a voyeur’s homage to the traversal of electronic sound textures; from her pure, glacial tones of contemplative awareness to the acid-bent clawing of musique concrète samples, related through an echoing hollow of delusional memories. Throughout the ongoing flux of noise, Jones would at times draw back into more subdued sample work, soundtracking unsettling-scapes and mouthing through the flute a eulogy of hysterical murmurs.
The night ended with a sagacious collaboration between Anla Courtis, known for his work in high-concept, Argentinian band Reynols, and Volcano The Bear affiliate, Aaron Moore. Pairing up to form a guitar/electronics-drum/electronics art-rock duo interspersed with jazz inflections. The duo set into practice with obscure vocal sampling and a selection of DIY toys, echoing the whirring drones of the Tibetan ragdun trumpets. The duo exercised their eclectic tastes with their inclusion of grungy interludes, electronic outbursts and extended-technique drum ambience. Aaron Moore concluded the show by introducing a makeshift clarinet made of elongated tubing, parading it through the audience producing an intoxicating stir of lugpa drones and spirited squeals as Anla defiled his guitar, resolving into a brooding outro of doom metal.