Loose Lips

This is it Forever x 3rd & Debut w/ worriedaboutsatan @ Café Kino, Bristol - 10/02/17

Event Review

This is it Forever x 3rd & Debut w/ worriedaboutsatan @ Café Kino, Bristol - 10/02/17

 On Friday February 10th Sunset Graves and duo worriedaboutsatan performed at the intimate Café Kino on Bristol’s Gloucester Road. Previously unfamiliar with their music, I listened to worriedaboutsatan’s 'Arrivals' to prepare myself for what was to come. Given the impression of a band who had dexterously fused post-rock tones with techno kick-drums—at least in the studio—I was keen to experience how well their creativity translated to the stage.   

 Sunset Graves took to the stage first, equipped with a live rig built with his own hands and fresh material from new album Dead City Hymnal. He ably created tension throughout, building grainy atmospheric soundscapes which he would then penetrate with clubby percussion. Each individual track evanescently slipped between conventional dance music structures without fully committing to any one of them; muted breakbeats evolved into broken kickdrums, faded into ambience. Oblique references to established genres were subsumed by the mutability of the performance as a whole. 

Duo worriedaboutsatan closed the show with their fusion of clashing noise and techno bass. Their recorded work demonstrates distinct post-rock influences, but this element was more subdued during their live performance. The post-rock guitar offered texture rather than the grand crescendos and climaxes typical of the genre, a pulsing kick-drum constituting the foundation of their performance instead. Hypnotic walls of noise gave the interludes between rhythms an initial chuggy tempo and a melancholic atmosphere which grew to become more frenetic towards the end. The set transitioned from distorted breakbeats into thumping hardcore, before dissolving from ambience to silence, and finally applause; completely deserved after an astonishingly energetic finale.   


As mentioned, the gig was predominantly seated, which constitutes my only major complaint. The music was dynamic, but the audience couldn’t respond accordingly. Duo worriedaboutsatan cut wild figures as they played, whilst the inhibited crowd simply nodded and toe-tapped along. By providing chairs, the audience were invited to sit, limiting a crowd which, I am sure, would have otherwise reacted with a vigour corresponding to the performance. Just get rid of them! 

It would be unjust not to mention the phenomenal light display which furnished each act and which was controlled via the artist’s A/V performance. Musicians, perhaps understandably, revel in the limelight of their performances, but credit is due where there is a collaborative creative effort.