Bracken @ Packhorse
By Kate ZezulkaIt's usually the way that those who are the most lacking in self-confidence are usually the more talented with the least to worry about - take it as a good omen, then, that all of tonight's acts are surprisingly self-deprecating.
The Declining Winter's mastermind Richard Adams is probably the clearest example of this, where everything from press shots to his vocals give way to a multitude of anxieties, albeit endearingly so. In addition to this is a malfunctioning projector (all of which allow for the ultimate in humility) but this doesn't diminish the effect of The Declining Winter at all: the music paints its very own stunning, earthy soundscapes. The attention to detail in all the instrumental lines is possibly its most winning attribute. Subtle, dynamic drum parts, unassuming finger-picked acoustic guitar parts matched with intricate, resonant electric guitar and some highly expressive violin contributions, all beautifully performed. The predominant warmth of sound is also enormously appealing and almost comfortingly organic.
What can only be described as a small guitar orchestra then amass onstage for Sketches for Albinos. That Matt Collings' solo project can accommodate and even benefit from so many guitarists is surely a testament to his brilliance. His style has its own distinct character; very glossy and legato, with astonishing purity of sound. The heterophonic texture created by the largely improvised live guitar work also contributes to this shimmering, asymmetrical movement and some of its unusual, colourful personality. What could easily come tumbling down spectacularly - by Collings' own modest admission - is held together in a perfect balance between faltering yet inspired ad hoc and meticulously planned performance, and simultaneously manages to be a unique and lovely live experience.
Gareth S Brown brings yet another perspective on ambient experimental to the whole shebang, with crisp, percussive sounds and an almost folk ethic. Perhaps rather in the same way the minimalist movement took influence from rootsy, traditional folk sounds, Gareth Brown mixes this driving, rhythmic dance-like feel with light, chiming melodies and even occasional off-kilter takes on impressionistic-esque harmony. The blend of heavily electronic and synthesized sounds and natural musical and percussive samples layered up is also an extremely successful contrast, creating a disarming mismatch. The set bodes remarkably well for the double album release, which promises to be every bit as engaging as the musically assured live counterpart.
Rounding off the night nicely is Bracken, playing a conglomeration of completely solo material and a more DJ-oriented set. Chris Adams fends for himself remarkably well - he's devoid of his backup band today - and provides as engrossing a set as ever, also demonstrating his innovative proficiency with remixes (as well as substantial volume!). And it stands as proof that a room full of people will happily bop along to something more than a little extraordinary.
It would seem appropriate to point out that all these self-effacing musicians are over-estimating their shortcomings - but then creativity and humility always went together, and you wouldn't wish it upon any of them to lose their creativity.
