Starting from the physical set and setting—from the venue and the interior to the artistic line-up and their sonic palettes, in addition to the varied methods of sound generation and manipulation, the diversity of elements were all novel juxtapositions that lived up to the expectation of a "deconstructive rave".
Arriving at the grandiose venue of Somerset House, it was evident that this would be different from the usual "rave". Upon through the tranquil garden entrance surrounded by beautiful fountains to the underground area of the house, with its stone-brick walls and industrially-exposed elements covered in fluorescent lights, we were greeted and drenched in high-volume electronics.
The sounds were dense, with a refined sense of electronic manipulation. The stage presented a range of tactile approaches to creating live and improvised electronic music, which included the drum work of performer dtub, Graham Dunning's Mechanical Techno performance and the Algobabez’s live-coding set.
Some performances chose to be more visually-orientated, such as that of curator Graham Dunning, whose tale of the physical means of sound production combined brilliantly with the colourful projections that emphasized the role of mechanical movements. In contrast, others chose to be immersed in dark and heavy visual field manipulation, which was more reminiscent of a rave. Similarly, performances evolved from more ambient and abstract to full on acidic and industrial techno territories. The overtones of various IDM styles were evident throughout.
By the end of the event, the sound was seriously pumping and raving. When it all wound down, the "deconstructive rave" intricacies were again appreciated on the way back through the exquisite setting of Somerset House.
By Ognen Spiroski | Loose Lips