Last night brought free improvisation to Wimbledon and SoundSpace radiated with intimate, warm and haunting music.
The evening started with Phil Durrant and Phil Maguire making music with modular synths and DIY noise instruments. Maguire’s atmospheric rumbling and gurgling met Durrant’s in-between-radio-station frequencies coming from his 0Coast synth. The layers of sound created an envelope of drones and glitches to wrap the audience in a delightful sound world that was enhanced by the warm ambience of Merton Arts Space.
In the second set, John Edwards fully exploited the wonderful acoustic of the venue, reflecting and expanding the traces of the previous electronic soundscape with his extended techniques. Gently guiding the audience through his unique and personal double bass vocabulary, Edwards brought the space to life. Whispers, clicks, pops, growls and creaks spread out into the room, creating an intimate and exhilarating sound space.
The second half of the evening started with Sue Lynch and Richard Sanderson on flute and amplified melodeon, creating a finely balanced melodic interplay that affirmed their long standing collaboration. After the delicate exchange of the opening duo, Lynch and Sanderson were joined by Edwards, Durrant and Maguire to create a haunting, laminal blanket of sound, with high pitched flutterings peppered with deep drones and trills. The quintet closed the evening with a final short piece of sustained murmurings, percussive smatterings, poignant peals and ghostly howls. It was fantastic.