The last night The project is nowhere He took place on Saturday (October 4), the third iteration of the festival ended with a lot of noise and even greater dances. What could be better than on a wet autumn night?
Toronto Salon He began the Angia-show in Parish Hall of St. Anna With their rhythmic, angular compositions, with floating visual effects provided by Oscillitarium, perfectly complementing the technical dance prospects of the group. Calling the images of “Trippi”, he will provide them with a bear’s service, because they were much more organic and impressive than that. They practically breathed.
Judging, driving the song Luge that I can describe only as an art-atonal post-punk,-very impressed me and made the crowd move. There were sharp starts and stops, excerpts of almost Balear reverie and a general sense of musical achievement from all participants: Kayva Gotham vocalist-Klyche, Drummer Stuart Maine, Basist Cameron Fraser and guitarist Tobias Hart.
They played with Sonic Space and strange keyboard settings, while the Bas Barabans combination was outside the charts, so they never go out in their pocket. Gotham vocals ranged from nervous screams and screams outside Kilter, to the soaring of Breesheno, Skating and a processed, distorted vibration. It became dreamy, it became inconvenient, he became draenoni, but it always fascinated. The sections and signatures of time constantly changed, and all this was completely unresolved; Even the way they were located on the stage was outside Kilter. The track from the beating “I love him here, I live here” was outstanding, and … wait, was it grindcore?!
Her new knifeThe sound owes a more rigid, noisiest Shoegaze, designed and interacting in groups such as Swervedriver, Deftones and the most loud MBV parts, with some Alex G, SLINT and other Philadelphians, they turn off the water body set for a good measure. It was not the most vivid or dynamic set that I have ever seen, but it was also not the most inadequate, even if the group was very intentionally antisocial (and against the movement).
Photo: Her new knife Atsuko Kobasigawa
The guitars were called and shouted, melodies dedicated to feedback and noise flows, but, unfortunately, it was also too repeated. It was certainly loudly, and one song at the end of the filming forced me to nod, but it is also very “just excellent” production of many other actions with greater charisma and the best songs that ultimately feel like Shoegaze 101. At some point I thought that they finally stopped the fluctuating Tremolo ARM sanctuary -but then, of course, it was. Considering her new knife live, I could also consider their album: this is the same inert experience.
Under the dome of blue irises, Water from your eyes He went on stage in a packaged parish and immediately hooked the meeting. The group playing on the air as four people is formidable, the duet of the songs of Rachel Brown and Nate Amos, growing over samples and triggers.
Group set, including a high “barley” since 2023 All are fragmentedHe was simultaneously dense, but free and definitely hypnotic. The variety of their influences and sounds is dizzying, styles and genres mix and disappear with irreconcilable ease. Whether the songs were subordinates, etheric or pompous, dexterous Amos, sometimes a promising game, often was a vivid event, so there was a shame that sometimes they heard it.
There were moments calm and respite, moments of bubble noise. The Rhythm section – consists of Al Nardo and Bailey Wullowean, which also play together as a fantasy of a duet of a broken heart, – added weight to execution and sound, the vulloux swayed and waving the bass in the sequential arch.
Double blows of NARDO and garbage guitar lines of Amos abound, but, unfortunately, the acoustics of the church were not always kind, which makes their sound a little thin when it was supposed to be reliable; The bass of Wullouts is a flash when he was supposed to be a roar. Amos’s guitar was noticeably buried, especially in the center of the room, although the sound was much better in the back in the middle.
Photo: water from Atsuko Kobasigawa
Visual effects were added by a stunning and alarming background to music, giant eyes were approaching until they squeezed the figures and crawled. They worked well with dilated psychedelic jams and dances. Launching and stopping “nights in the armor” this year This is a beautiful place He was overwhelming into the bouncing jam, which the floor itself forced, and ultimately the sound seemed to be balanced, the group played and risks when the crowd burst out and danced.
The vocalist Brown was friendly and locked, telling the stories between the songs, recalling how someone in Toronto asked if she was a young boy who led himself away for himself. She also turned to all the atrocities taking place everywhere in a simple but pointed statement, before the group played during the wandering, behind the wheel of a “true life”, a certificate of dancing, which was electrified to the room and forced the bodies to move. Brown also praised the visual effects, saying that although she could not look at them, because she would rudely return it back to the audience, she keenly realized them in her body.
Photo: water from Atsuko Kobasigawa
The songs grew and expanded, natural rhythms, which seemed to pass through the cerebellum and the central nervous system. Brown danced and stood motionless, walked around and locked himself with the crowd, by force even in the quietest, most dominant moments. The crowd was also very good: it was very hot in this place, and at some point someone gave my wife his fan for several songs after she thanked them for a constant wind. Good people around.
The bombing ending was worthy of the club moving and pulsating, the crowd rotated something cruel! The first few rows became especially vertical, and then there was a break for BIS in about 12 seconds before the group returned and played another ecstatic song, and then sent the crowd to the night at night. When the neono -green generator pulsed through the eyes, I went to my last stop, the place where it all began: garrisonField
Salinas on the road Mysterious lights Play the united form of rock of the 60s, which is equal to part of psychedelia, clogged with stones and garage. As a night group, they are an ideal example for the last beer. In the whole crowd there were many deep backed backs that were distorted clearly, while a group of five parts, crunching on this stage, was a bubble loud in the form of bay canyon at a distance.
He was RAWK in the best, shameless in his swagger and formula, the group pierced dozens of tracks during their set. I could not decipher any lyrics, but, being closer, it was without a coin, shameless fun; Right good time, even during lower songs, small key. Farfiza (which Lily plays Lilcifer Rogers) is certainly strong with this.
The most important thing is that the group itself seemed to have a great time, and the vocalist Mike Brandon especially entered it. He jumped into the air, fell to his knees, talked with the crowd and made fun of his head, his head passed the ceiling by millimeters every time he went out into the air. At some moment, he raised beer to the choir of cheers. A person knows his audience.
Photo: Mysterious lights with a strange attorger from Atsuko Kobasigawa
The mysterious lights played for more than an hour, and the energy did not hesitate, even for some time when Brandon asked us at some moment: “What about the sound of Mercy? How about this show? ” There was a terrifying, convulsive hellish rock and the maximum R&BB, and there was a zero claims, and even less misconception and presentation: this is a serious, shameless love letter to the sound and sensation taking place in the screen.
Since this was their last show of the year, they played “all the shit [they] I know. “The train held A-Rollin, and it was blues, dark, and sometimes almost fun, but, most importantly, it was a good time. With its link, vibrato-rifs and possession of the caterpillar“ flowers in my hair, demons on my head ”were built before a delusional jam, which ended much more suddenly than it began. Strange riche For several songs that they read with feverish intensity. When Hawl left the stage, Brandon called him the “kingdom of Sadbury” – I did not even know that there was such a thing!
Photo: mysterious lights from Atsuko Kobasigawa
During the “cerebral crack”, expanded jams, shutters and an echo and noise, all this perfectly led to a burner with a fried desert, which “what happens when you turn the devil” with all its chubby and slippery riffs. He fell, rose and exploded, a group of illuminated in red. The set was jubilant, nonsense, and it ended in a penny.
The group left the scene after thanking us for the fact that we left, but then – will, like all the other actions that I saw – they returned a few seconds later for a steep, panting to the BIS, which became evidence of the diversity, energy and fearless attitude of the festival itself. And so, until next year: keep the noise, we’ll project it anywhere – we welcome you.
