The Dwell Bar at the Broadstairs campus, normally well lit and relatively quiet, is now ready to be a vibrating chamber of bass. Graphics are projected on the back wall, silhouetting a mess of cables, turntables and MIDI controllers setting the stage for what could be one speaker blasting night showing off second and third year talent.
A slower kick snare beat erupts after a short but energetic build; growl tinted bass fills the room to an almost complextro like track, with choppy vocals and complex shifts in sound following the fairly new scene of complextro electro house. Unexpectedly, the Captain merges his choppy style with an acid bass sound that reminds me of the bass from Calvin Harris’s preview track for his latest album, Slow Acid. The track is a great tribute to the TB303 sound, normally replicated in the digital age of synth by the D13 group’s Phosycon. Captain Fabulous continues in this trend, occasionally showing good natured humour with some limb flailing dancing. What follow are remixes of the White Stripes, the Jackson 5 and Estelle, which although are not as impactful as his completely self-composed work, keep the mood high.
The name, the sounds, the dancing and his humour all brand Captain Fabulous, giving him a more humbled look. A nice touch, especially among the self absorbed major producers that seem dominate the complextro scene. However, this doesn’t mean he takes his art lightly, so for those in need of a pick me up, or just damn good EDM, Captain Fabulous’ Soundcloud is one to check out (link below).
Faisal Anderson – Creative Music Tech Undergraduate, Broadstairs
This is the second in a series of posts covering the Oscillate records showcase event on the 27th November.
Here are two of our graduates Ben Steele and Hannah Blackman talking about the Cut Feather Group, part of the Sparkle Thief Cast.
When you ask most Creative Music Tech students what music they make, its normally followed by the same response: “Whatever comes out.” This is I expect going to be exemplified by the range of music I have been informed will be on tonight – house, dub, the dubious other, whatever comes out.
First up is Nick Galley aka Eosvox, performing a DJ set. High pitch swoops and ambient fades build to an explosive glitchy bass beat contrasting reverberated vocals and shuffling syncopated hi hats. And just when you think its reached its peak, the bass kicks in with heavy heaving, almost Neuro in style with its iconic, rapid movement. This is one energetic mix, but like all sets go, we have the down time. Muffled vocals and bass (applied through Nick’s set up) give way to a slower, euphoric blend of harmonised vocals and soft pads. Having befriended Nick Galley personally, I can understand his appeal to this sort of music due to our shared admiration for Alt J, a band that uses similar a cappella motifs and thundering acoustics to make meandering gestural soundscapes. This eventually evolves into a catchy, techno throb of side chained kicks, detuned vocals and granulated pitches, making a nice lead into the more sonically focused dub that follows.
This is the first in a series of posts covering the Oscillate records showcase event on the 27th November.
The Canterbury Catch Club was a musical society which flourished in the city between 1779 and 1865. For nearly ninety years it mounted a series of 30 concerts in the winter months, on a Wednesday evening, which would include the most popular vocal and orchestral music of the period. The Club’s extensive library was bequeathed to the city in 1915, along with the various Minute Books and other records which offer a fascinating glimpse of the backroom machinations of this remarkable society. Without doubt, however, the most intriguing aspect of the collection is the vocal music, which includes about 3,000 pieces ranging from tiny catches (or rounds) to much more sophisticated glees, part-songs, solo songs, and arias and scenas from the popular music-theatre pieces of the mid-19th-century. Read more about this exciting project by Chris Price here: http://press75.com/themes/
two duos and a solo
This Thursday (4th December 2014) Free Range presents two extraordinary duos and a solo
One of London’s busiest improvising bassists, Olie Brice, is currently touring the UK with Berlin-based pianist Achim Kaufmann playing music rooted in the intense virtuosity of Chicago-style free-improvisation.
Also playing on Thursday night are Canterbury Christ Church University Senior Lecturer Robert Stillman (tenor saxophone) and Sean Carpio (drums) who you may have heard in the Leap of Death band that played at Free Range last Autumn. They are just as likely to play New Orleans ragtime or Beach Boys style pop as noisy free improvisation or straight ahead jazz.
I will also be playing a solo set on expanded prepared piano (piano, dulcimer, harmonium, singing bowls etc.).
Where else can you hear such fantastic musicians (two of whom have travelled from Germany and Ireland) for free? Christmas has come early!
Here’s Robert playing some other instruments, drums and piano at the same time in this case. This is a piece of ‘looking glass music’ where music is turned ‘upside down and backwards’ – enjoy!