the spirit of gravity is 25

Brighton's long-running electronic music promoters Spirit Of Gravity started as once-a month residents at the much missed grassroots music venue The Freebutt, tucked away behind Phoenix Art Studios and Gallery way back in 2001.  They have continued to present an exciting variety of underground - and not so underground - electronic live music in various venues since then, and what a spicy odyssey.  As an organisation of like-minded electronic musicians, they saw a need for a regular space for the more experimental type of electronic music makers in Brighton and have released compilations involving such luminaries as Scanner, Pilote, Multiplex, Henry Collins (Shitmat), Urban Myth, minimal impact, Terror Wogan, Andrew Greaves, Nil, Spheress and Noteherder & McCloud. 

As it's a milestone birthday this year, Spirit of Gravity have chosen to celebrate it with a twenty-fifth anniversary compilation cd.  Here are my highlights:

Chris Cook - Crows Part 3

Veteran Spirit of Gravity collaborator Mr Cook, (previously Hot Roddy, Remote among other projects), constructs this piece using strings, sitar and synth.  He concocts a flavour of Mick Karn and Peter Murphy's 1980s artrock sideline Dalis Car, but without referencing Karn's fretless bass machinations.  I particularly like the peculiar take on on the minor pentatonic scale played on sitar at one point.

Rashamon - Argent Vulpis

Deep synth blarps vye for supremacy against North African style machine drums and relentless hi-hats. But Mapanta this ain't. Vocal sample is ''...silver fox...'' which may or may not describe the demographic of high-end electronic music equipment buyers.  Roland TR-1000 owners, I'm looking at you.

Alien Alarms - Still Holding You

To me, this feels 90s drum n bass inspired. The vocal samples used: ''it feels right'' ''it's alright'' ''it was meant to be'' help this feeling along, putting this listener in mind of old Moving Shadow 12's.  However, this production may in fact be bang up to date given that there seems to be no end to the d'n'b scene in the UK and abroad.  Which is a good thing.  Ends with an unexpected drone synth crescendo.

Spheress - I saw Glimpses

Oh yeah; banging nosebleed techno keeping it in the family. Spheress is the offspring of one of the Spirit of Gravity co-organisers apparently.  Talking of the 90s, is that a sample of SMPTE timecode at the start of this track? Who else is old enough to remember that sound?  I like that there are some suitably harsh white noise hi-hats just to keep you on your toes.

Automouse - Blood And Stone

More nosebleed techno but with a glitch sensibility, making this offering quite minimal overall.  It reminds me of wishing I wasn't stuck in a tent between three different soundsystems at a 24 hour a day festival in France in the late 90s, but that's probably a story for another time.

Lewis Clay - Party Some Of The Time

Let's get slicey! The aural equivalent of a Jamie Hewlett cartoon.  Loads of style; just enough substance.

There are also tracks from Screaming Alice, ZIZO, Multiplex, Rackets, Meljoann, This Sound Bureaucracy, Noteherder & McCloud, Parz Permillion, minimal impact, EM and Cour'en.

It's true that Spirit of Gravity has become a Brighton institution; the kind that appeals to a wide audience despite its ''underground'' reputation, and with its strong group identity and multiple adherents involved in its organisation, will hopefully continue on for many years yet.

https://spiritofgravity.bandcamp.com/album/25

https://spiritofgravity.com/

Thirty six hours of HÁKARL

 

A continuous 36-hour improvised performance recorded live at Supernormal festival 2011 (Braziers Park, Oxfordshire). No loops, no sleep, maximum music. Released 15 years to the day and hour.

Instigator, Kev Nickells, drove the performance with the following premise:  ''My basic proposition: what happens when musicians enfeebled by sleep deprivation try to play?''   The musicians involved were Kev Nickells himself, Seth Cooke, Clive Henry, Jamie Glew-Osborn, Huw Webb and Barnabas Yianni.  The following instruments were made available: guitars, violin, percussion, drums, piano, sax, clarinet, toy piano, glockenspiel, ukulele, voices.  Apparently these players were joined by random festival goers from time to time.

It seems to me you can engage with this kind of colossal amount of material in one of two ways.  Either you take a purist approach and attempt the entire 36 hours in one sitting or, errr, you don't.  Dipping into one of the 108 twenty minute tracks on Bandcamp yields interesting surprises.  You'd think perhaps a project such as this might have a similar appeal to the prospect of a 36 hour Christopher Nolan film, such is the unavoidable commitment to the concept of time, but letting the whole thing run in the background as you go about your day offers the pleasant auditory experience of attending a Supernormal festival - the microphones pick up as many passing conversations as improvisational gambits. Alternatively, you could try a week of daily 5-hour sessions, or one track a day for an entire season perhaps. I’d go with Winter; to give me a reminder of the pleasure of attending a summer festival.

Kev Nickells has previous experience with long-duration projects; a solo 36-hour improvised piano recital in Bristol which predated (I think) this Supernormal performance, and participation in The Long Half Day; a 12 hour improv collaboration in Brighton also involving Benedict Taylor, Noura Sanatian, Tim Yates, Adam Bushell, Dan Powell and Chris Parfitt.  Nickells says this;

''I had wanted this to remain a transient experience for the festival-goers; after 15 years though the threat of bit-rot leads me to make the record public and available. By necessity this is improvised music; the sextet hadn't played together before, though I'd played with everyone in some capacity. My basic proposition: what happens when musicians enfeebled by sleep deprivation try to play? This release is the answer - again by necessity, it's often not entirely compelling; surprisingly often it's great. My memory is that consciousness slips out from between your eyes and into your hands and ears.''

The album is offered as a download for £3.60, making it 10p per hour of music, which I think makes it a pretty sweet deal.

https://hkarl.bandcamp.com/album/h-karl-communion

Incoming

 

Space(rock) on my doorstep - Mirror System et al in Lewes

Not for the first time, Steve Hillage & Miquette Giraudy bring their ambient techno project Mirror System to The Con Club in Lewes as part of a unique all-dayer, organised by Brighton promoters Om-Rock with assistance from The Electric Salad Co; the people who bring you KozFest, Glastonbury PsychFest, New Avalon Ballroom and other superb events.  This colourful shindig is loosely made up around bands and musicians affiliated with Gong and/or the late Daevid Allen.

Starting the ball rolling is The Gregg McKella Band, playing material from Gregg's excellent new solo album. Onstage, his band for this event includes Martin Litmus on bass and backing vocals - he engineered Gregg's album - Paradise 9 drummer Wayne Colyer, plus violinist Mister Eugene and special guest Cary Grace on modular synthesiser.  The band are super-tight and the arrangements allow room to breathe; particularly on their expansive version of Blind Willie Johnson's "Motherless Children". Gregg's songs hark back to his days busking in London in the 90s but suit the weight lent by expanding his material for a five piece band.

Solo synthesist Jah Buddha is up next. It's always a pleasure to catch Bob Hedger at work behind his fragrant piles of technology, whether he's dishing out Berlin School, techno or floating ambient with glissando played on his white headless Steinberger guitar (a nod to Daevid, perhaps).  Tonight he's playing new material; a construction that instantly energises the room with it's pulsing beats and filigree arpeggios - towards the end of the set he very firmly presses the button marked "RAVE!" but manages to always keep a velvety edge to his machinations.

Due to a vehicle breakdown en-route from Birmingham, there is no expected solo set from bazouki/guitar wunderkind Shankara Andy Bole.  Neither are his intricate improvisations part of Dark Zen Kollektiv's set tonight, which is a shame.  However, DZK comport themselves admirably despite this unfortunate turn of events ably assisted by Cary Grace and her multitude of magical modular devices.  Now on guitar, Martin Litmus references Andy Bole's rembetika-laden style momentarily, but the overall effect is one of brutal psych-jam tonight and that's all good.  The high point for me was the last ten minutes where after the bombast of their motorik jam, rather than lay down and surrender, DZK presented a sudden, challenging change of pace whereby small noises and electro-acoustic artefacts came to the fore, pushing the audience to listen closely.  Very brave and very commendable in my view.

Organiser Paul Woodwright's psych-rock trio Deviant Amps, fresh from a busy tour schedule over the last nine months or so played super-tight with panache.  You can practically smell the enthusiasm with this trio.  Propulsive meta-rock with ample melody and a big dose of fun.

Next on were NUKLI, whose fusion-style take on psych-rock really appeals to this listener.  You can tell they buy as much soul and funk records as space-rock.  They are notable also for being, I think, the only group to utilise vocal samples on a playback device tonight.  Used to great effect, possibly on an old tune if I heard guitarist Kev Hegan correctly; I know they've re-released some of their excellent early (90?) material recently.  Very much worth investigating.

Always a treat are The Glissando Guitar Orchestra who this evening are made up of Paul Woodwright from Deviant Amps, Kev Hegan and Mark Huxley from NUKLI, Bob Hedger and Gregg McKella all using guitars except Mark who is on bass.  I've seen this project a few times, sometimes with as many as twelve players, including Kavus Torabi from Gong / Cardiacs on occasion.  Initiated by Daevid Allen, it is more therapy than spectacle, you could say.  They play five minute drones, moving through musical keys as the sounds move through the chakras of the body.  You really need to be lying down to get the full effect of this - indeed some of the audience were - but it's an experience which is as much rooted in ritual as it is mindfulness.  Everybody should experience this at least once, in my view.

Steve Hillage and Miquette Giraudy need no introduction, and tonight they present the flip of their System 7 project; Mirror System.  A melange of ambient, dub ambient and techno disciplines,  ably demonstrating the skills and finely tuned ears that have kept them at the pinnacle of live electronic music for so many years.  As I mentioned earlier, this is the second of these all-dayers; the first happened in the same venue in April of last year, which I also attended and was similarly impressed.  These gatherings are full of friendly faces, people who have been part of this scene for a long time and consequently there's a nice vibe somewhat similar to an extended family gathering.  Hopefully this will continue as an annual event.

 all photos by Paul Khimasia Morgan

Jamie Drouin & Lance Austin Olsen - a field far beyond form and emptiness

 

Jamie Drouin & Lance Austin Olsen - a field far beyond form and emptiness

Infrequency Editions 2026

Deliberation, intention and wonder.  Kettles, contrabass, piano and crushed papers, among other things, jockey for supremacy in this fascinating construction by Messrs Drouin and Olsen.  Both veteran noisemakers, both active in the art world - Jamie Drouin is a visual artist, Lance Austin Olsen a painter - the rich palette on offer here shows both at the peak of their endeavours.  There is detail, as you might expect, in this solid 40 minute piece, but also plenty of surprises along the way.  Drones are used quietly to underscore particular passages or sonic events, but I get a sense of propulsion rather than ennui.  These drones are harmonically rich, despite their fleeting presence.  Silence - also as you might expect - fulfils a structural purpose, but the chunks of airy existence that are cut away are not overlong, as is sometimes the case with perhaps certain adherents of Wandelweiser principles, more bookmarking; turning the corner of the page over so that the listener can mentally refer back should they need to.  The recording itself is pristine; elements are close-mic'ed and yet enough space is left so that you can still hear the room.

''...shortages have been fueled by US sanctions...'', a brief burst of humanity at 20 minutes; a female newsreader's voice cuts through with gale force.  Drumskins are rubbed, strings drubbed, a wooden object falls over on a desktop.  A pair of prepared piano notes hang in the air momentarily.  A drum skin activated into a bass sinetone disappears into the distance.  Breath becomes heavy as if readying for sleep.  More vocalising at 29 minutes, but this time male and incomprehensible.  A beautiful mid-high drone, possibly electronic in origin, then a single drop of 1980s digital reverb activated by unseen forces.  A hammer-tap positioned deep within a piano sound-box.  Adhesive tape is removed from an unseen surface as a door squeaks open in another part of the building.  The disparate events start to come quicker now with a wooden, reedy ambience - put the drum down; the sun starts to push through my curtain and I must reluctantly leave...

Wrong Côtes Wrong

 

Wrong - Wrong Côtes

UK - dl/cd - self-released 2026

Perrenial pop-noise purveyors and Brighton UK-based trio of TJ Cottrell, jimwg and Karl M V Waugh present their latest six slices of cosmic/psyche/blart pie; their first since 2024's Ect and sure to hit the receptive nerve-endings of the most demanding gourmands.

Another Side Of Another Side hits like The Myrrors meets Eno & Byrne's My Life In The Bush Of Ghosts.  Optimum psyche vocals lacerate propulsive psycho-Surf guitar and a juicy, repetitive rhythm section.  Are You Out Tonight begins with spiky skanking guitar and a monolithic bassline. Then goes on to pit Gang Of Four -style guitar against 1960s Tropicalia vocals to strafe your mind and your feet.  Puts me in mind of early Here & Now almost.  Imagine hearing this drifting over a meadow near a stone circle in the early 80s... Never Again features a staccato approach to snare drum performed with a vigour seldom seen this side of Drumbo's finer moments in The Magic Band.  The pace slows down a bit with Irreversible; a weird amalgam of Parquet Courts and Marvin Gaye's What's Going On. A beautiful drone in the background that becomes clear at the end.  In fact this and Never Again heard together could be read as a Wrong Côtes' protest song.  "...the damage we have done...is irreversible..."  Picking the knees up again forthwith the boys launch into Super K, an update on the Neu brand of motorik but with catchy vocals.  Finally, Unhelpful takes the best new bass riff from VB's Henrik ''Benke'' Höckert's cryogenically frozen brane and slathers tape murk and lavishly overcompressed fx over the ending.

Peak dancefloor psyche - Wrong Côtes could sell this entire collection of tunes to The Oh Sees and buy a yacht with the proceeds.

Nandi – a concert film

 

Suriya Sweets – a fascinating fusion

Nandi – a concert film

Acoustic bassist Pascal Lovergne recently got in touch after I reviewed his trio Nandi’s 2017 album Mylapore for The Sound Projector magazine, to tell me about a new film documentary about his extended visit to South India. Documentaries about improvised music are occasional, at best – the last film specifically about improvisers I saw was part of the Meandre(s) set from 2023, which I wrote about here:

https://www.thesoundprojector.com/2025/08/06/canoe/

- so this film project directed by Ben Flinois is welcomed by this observer.

In it, Lovergne travels to South India to study Konnokol under the guidance of his bandmate; percussionist Suresh Vaidyanathan. They put a version of Nandi together with pianist Stefan Orins, percussionist Zohar Fresco and flautist Amith A Nadig and, naturally, play some shows. The viewer makes the assumption that Lovergne’s aim is to submerge himself both in the country of origin and the study of the music to better understand the nature of their Indo-Francais project. As well as the music culture and history, we learn a lot about Suresh Vaidyanathan’s background and Lovergne’s motivations, although Orins, Fresco and Nadig remain largely in the background.

The film is beautifully shot with plenty of travel footage and interesting sites alongside serendipitous encounters with local musicians and people going about their everyday business. It is relatively pacey, so one can only imagine the sheer quantity of footage the film-makers came away with. The edit ensures the material is accessible though - at one point, Suresh says “...but Konnokol, actually, is the easiest form of rhythm to enter your heart.” This is contrasted with Pascal Lovergne sat in the audience practicing counting out the rhythms with his hand. Elsewhere, we also see Pascal in his hotel room practising with earbuds in. Later, Suresh adds this observation: “Sometimes a wrong note is a blessing, because perfection is only for gods, right? Humans should have some faults.”

For those interested in fusion or improvisation – for the record, Nandi refer to themselves as a ‘’jazz band’’ – this film supplies a good hit. I found the travel footage fascinating as well. The director attempts to thread in a kind of ‘’pilgrimage’’ device by following Lovergne along a quiet beach as he carries a bag of marigolds looking for presumably a suitable potentially moksha-inducing location along the waters edge where he can commit the flowers to the waves. The full significance of Lovergne’s actions are not immediately apparent, but perhaps it acts as a way of introducing a further non-Western flavour into the film. It is a nice contrast to the many recordings of the group performing threaded throughout. On the whole, a solid, beautifully shot and engaging documentary.