The main reason I came to this show was to see Cured Pink, who’s solo-mode output of late has rapidly shifted from harsh industrial ramblings to heavily house-influenced dance music. This isn’t actually as out-of-the-blue as it at first appears; Andrew has for some time now shown his enthusiasm for the genre through his 4ZZZ radio show Bastard Theatre – but I’m getting ahead of myself; I’ll talk more on the Cured Pink set below. Abstract Mutation and Nathan Gray were also each equally interesting in their own ways. All three sets sound great.
Abstract Mutation is one of the monikers of electronic musician James Grant. As somebody who was peripherally aware of his cassette Fake Keygen (released through 1080p), I was surprised at how this set began, with a wall of subtly shifting, heavily distorted bottom-end rumble. This surprisingly abrasive start soon shifts into house-y techno (please forgive my inability to articulate the style properly, I simply don’t have enough exposure to electronic music to be as clear as I would like). Perhaps it’s simply themes planted in my head by the title of Fake Keygen and words spurted by labels and critics, but Abstract Mutation seems to quite accurately reference/worship/draw images from some of the seedier pockets of the internet circa 2003. Memories of “dumped by Mode 7” hacked-on splash screens and nocd-crack.exe come to mind.
Total time 22mins.
Nathan Gray is an artist and experimental musician of whom I’m probably most familiar with as a member of band/visual art duo Snawklor (occasionally growing into a trio with the addition of Duncan Blachford on drums). This set was staggeringly good, as Gray slowly built layer upon layer of wonky screeching and twisted tones to create something genuinely beautiful. I find this set is best listened to extremely loud in order to get the full experience.
Total time 20mins.
This was billed as a Cured Pink show, but shares little in common with any Cured Pink releases most people would be familiar with. This set was Cured Pink driving force Andrew McLellan solo (unlike recent releases, who have most recently featured Glen Schenau and Mitchel Perkins as band members), and as I said before was a purely electronic affair. Some research I have done points to evidence that McLellan has been recently operating under the name Enderie Nuatal, of which I am assuming he is performing this material. I first saw McLellan performing solo at a Make It Up Club show earlier in the year, in which he performed a set of harsh, broken techno on aging equipment. This set further shook off the filth that seems to pervade Cured Pink releases, and for the most part is (at least to my untrained ears) fairly straightforward techno. What makes this set incredibly interesting though is that McLellan is undeniably still approaching techno from an industrial background, and elements of the set still retain a harshness and aggression that is completely foreign to any dance music that I have encountered. This, for me at least, resulted in a comparatively shocking and affecting listen to McLellan’s other output as Cured Pink. Perhaps even more so; this set has a habit of luring you in, making you comfortable, and then stabbing you in the fucking face.
Total time 43mins.