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Colin Potter/Diana Rogerson/Steven Stapleton

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Friday, May 6th, Anatomical Museum / Narrenturm, Vienna
The organization of the event was perfect, from the presonalized tickets to the special CD-R.
The show took place in a little room on the 3rd floor, no real skeletons there, just same bizarre black-and-white drawings about deformed skulls etc. on the wall. The Little Dipper Minus Two (Echo Poeme Sequence 1), the special CD-R is one track, less than 20 minutes, with a black-and-white cover by Babs. After the first listen I would say it's the usual quality expected from Nurse With Wound: amazing, but at the same time without any big surprises.

Colin Potter started. I was totally unimpressed with his show. His set consisted of some drones, strange sounds etc, with ocassionally totally pointless beats dropped in. There were only a few good moments and lots of commonplaces, without direction or sense. He was standing behind a large electronic rig, and the only visible performing was when he occasionally touched the cymbal-like thing or moved his hand around it (a bit like around a theremin). During his set a window made very annoying sounds, but later the organizers removed it.

Andrew Liles was pretty amazing. He was sitting behind a little table with some electronic stuff and a cymbal with a microphone. He played a lot of prerecorded stuff, but was very busy turning knobs for filtering and effects, and made nice drones with his little synth. He sometimes touched his cymbal and scratched the arm of the mic with a stick. The music was very much along the lines of My Long Accumulating Discontent: very nice, clear yet strange and disorienting at the same time.

After a 30 minute break the NWW members took to the stage, all dressed in medical coats (so the Potter/Liles duo didn't play contrary to what was announced). The line-up was Steven Stapleton, Diana Rogerson, Colin Potter, and Matt Waldron with Andrew Liles (him being the bonus to the announced quartet). Stapleton was sitting next to Potter's large rig behind a table with a discman and a what looked like a Pioneer DJ CD player—sometimes with the latter and sometimes adjusting things on Potter's equipment. Steven didn't appear to do anything spectacular, it was Potter who behaved more like a conductor, but these two talked a lot, so who knows. Diana played the accordion in the beginning, then read something from a paper, than made sounds with a dish, which I couldn't tell if there was water in it or not. Matt Waldron played tabletop guitar with lots of kitchen utensils and other things (including a yellow ballon at one point) while Andrew Liles did basically what he did in his own show. A film of ocean waves was projected behind them, but it was very pale.

The music was droney with the amazingly (un)structured noises Waldron and sometimes Rogerson and Liles added. There were other noises, squeakings, etc. from Stapleton and/or Potter; sometimes it seemed that they used noises recorded during the show itself. There were a few technical mistakes (feedback etc.), a few surprises, but mainly they sticked to the drones and noises structure. For the first few minutes I thought that "it's good, but I have heard music like this hundred times before," but then I found myself totally immersed in the sound, and realized that I could listen to it for hours. It had a strange, subtle, elongated cathartic effect on me. It lasted about an hour.

A lot of people were taking photos, I saw one guy recording the show with a mic on minidisc and one on video. Colin Potter also recorded it (as he told Diana not to start playing the accordion - "I'm not recording it yet."). I took photos as well: see for my set. On the ground floor there was a merchandise table with black & white T-shirts made for the occasion, lots of NWW, Potter and Liles-records (I had to spend a lot of money on them...) and some of Klanggalerie's releases. All the people were very nice.

Last Updated on Monday, 18 July 2005 16:53  


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