LIVE: NYX at Queen Elizabeth Hall, Southbank Centre, London (25.02.24)

Utilizing the power of the human voice and transforming it to provide a performance of cell-tingling virtuosity; the NYX Drone Choir debuted a darkly sublime electronic-choral composition at Southbank Centre’s Queen Elizabeth Hall last weekend. Performing a continuous 60 minute piece of work to a sold out venue, the choir shared their idiosyncratic sounds which fluctuated in volume and intensity, and shifted from seraphic to seance-like to provide an utterly captivating display.

The last time we saw NYX live, they were performing Deep England at The Barbican alongside Gazelle Twin, as part of the 50th anniversary celebration of the cult folk-horror film, The Wickerman. Despite witnessing this production between the two creative forces many times before, the repetition did not detract from the majestic power of the first listen, which retained its unique nerve-shredding energy. Knowing what the NYX Choir are capable of thanks to these special collaborative performances, it’s no surprise that their new solo work is equally as exquisite.

Developed during their residency as part of the Southbank Centre Studio programme in 2023 (a project which enables creative development and cross-art-form collaboration), NYX crafted an intense, primal, utterly distinctive blend of potent vocals, mesmerising drone sounds and captivating electronic soundscapes. Shrouded under heavy blue light whilst standing in a semi-circle on stage, each member of the choir was clothed in a costume that cut an intriguing shadow. Violinist Alicia Jane Turner was rooted in the centre, with the accompanying members Cecilia Morgan, Phoebe Pimlott, Rhianna Compton, Rachel Oyawale and Shireen Qureshi positioned either side of them, and composer Sian O’Gorman closest to the crowd, standing stage right.

To dissect specific elements of the performance is to do it a disservice. The fluidity that NYX instinctively embody when performing live is a true spectacle and a testament to their passion for using the human voice as a collective instrument. Sometimes their vocals are canonical, and at other points they remain silent to spotlight the powerful solo vocal of a specific choir member. Early on in the performance, one member is hunched over, making heaving motions with their body, expelling strange, guttural whisperings and noises as their fellow vocalists sing in sweet unison around them. This dynamic, shape-shifting style of performance is what makes NYX’s live shows so special.

This shape-shifting is literal too. Choir members assume different levels and positions throughout the piece. Some stand statuesque, whilst another might lay stationary on the ground. One member might be sat facing away from the crowd, whilst another moves slowly towards the front of the stage to stare directly into the audience. The potency of their live show is made all the more palpable by these simple but effective movements. There is an altruistic element to all that NYX do, and that is especially clear during these parts of their performance. It subtly manipulates the attention of the audience, encouraging them to observe the individuals or who working in harmony to create a powerful communal production.

Watching NYX live inspires a formidable level of concentration and deep listening. They have a sound that seeps through the skin and into the bones; amalgamating dense yet atmospheric drone textures with their utterly beguiling vocals. Their new composition is another compelling example of their innovative aural storytelling potential. It is a must see performance; truly eccentric and totally unforgettable.

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Performance Credits
Composer: Sian O’Gorman
Costume Designer: Tom Scutt
Lighting Designer: Philippa Neels
Embodiment Director: Imogen Knight

Photo Credit: Joseph Lynn (@joelynntw)

Kate Crudgington
@KCBobCut

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NEW TRACK: Kim Gordon – ‘I’m a Man’

Following on from her recent single ‘BYE BYE‘ – an eclectic combination of dense beats, brooding basslines and bruising reverb – renowned musician and visual artist Kim Gordon has shared her new track, ‘I’m a Man’. Taken from her upcoming second solo record, The Collective, which is set for release on 8th March via Matador Records, this new cut is a potent blend of grinding guitar FX, slow, sinister beats and Gordon’s distinctive vocals.

Recorded in her hometown of Los Angeles, Gordon continued to collaborate with producer Justin Raisen (Lil Yachty, Yeah Yeah Yeahs, Charli XCX, Yves Tumor) on The Collective, with additional production from Anthony Paul Lopez. The follow up to her acclaimed 2019 debut solo album, No Home Record, on her new full length offering Gordon has retained her idiosyncratic style, remaining eclectic and ambiguous across each of the eleven tracks. She has captured a rumbling, intoxicating sense of unease which is translated both sonically and visually – first with her single ‘BYE BYE’ and now with her latest release ‘I’m a Man’.

Throughout the track, Gordon cogitates on the ways in which capitalism is redefining and ultimately diminishing the role of “traditional masculinity”, pitted against a chaotic backdrop of disarming noise. These ruminations are also reflected in the accompanying video, directed by Alex Ross Perry and starring Gordon, her daughter Coco Gordon Moore and Conor Fay. ‘I’m A Man’ is another exhilarating creation from a musician who immerses herself wholly into all aspects of her art. Watch the visuals for it below.

Pre-order Kim Gordon’s new album, The Collective, here

Follow Kim Gordon on bandcamp, Spotify, Instagram, X & Facebook

Photo Credit: Danielle Neu

Kate Crudgington
@KCBobCut

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NEW TRACK: Vanessa Bedoret – ‘1/2’

An idiosyncratic soundscape that dismantles the binary opposites of selfishness and selflessness, London-based French experimental violinist and performer Vanessa Bedoret has shared her latest single ‘1/2’. Lifted from her upcoming debut album, Eyes, which is set for release on 8th March via Scenic Route, the track is a beguiling blend of shape-shifting string work, eclectic field recordings, echoing beats and soft vocals.

Inspired by the duality of those who are selfless and those who are self-centered, Vanessa seeks to find harmony between these two states on ‘1/2’. Her instinctive ear for emotive instrumentation is something that suffuses her upcoming debut full length record, Eyes. Using her distinctive strings as a foundation, she urges listeners to reflect on their own emotions and experiences throughout the record, with her considered sounds facilitating this process.

Vanessa’s journey with music started in her early years. Her classical music training began at age 6, but by the time she was in her late teens, she was playing guitar in punk bands. From black metal to opera, and eurodance to IDM, Vanessa is inspired by a myriad of genres, all of which have elevated her understanding and intensified her experimentation with music as a solo artist.

Having recently played at Cafe Oto in East London supporting Mark William Lewis, Vanessa is now preparing to play as part of a string trio supporting ML Buch and Astrid Sonne on the 27th and 28th February (tickets here). She will also be playing a solo set at Loki in Brixton supporting Voice Actor on 7th March (tickets here)

Listen to ‘1/2’ below.

 

Pre-order Vanessa Bedoret’s debut album, Eyes, here

Follow Vanessa Bedoret on bandcamp, Spotify, Soundcloud & Instagram

Photo Credit: Buster Grey

Kate Crudgington
@KCBobCut

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NEW TRACK: Fears – ‘4th of the 1st’

A poignant reflection on emotional resilience and self-soothing, Dublin-born, London-based interdisciplinary artist Constance Keane aka Fears has shared her latest single, ‘4th of the 1st’. Taken from her newly announced second album, affinity, which is set for release on 22nd March via TULLE, the track is a delicate blend of soft vocals and hypnotic synth loops that delicately dismantle the duplicitous and intrusive thoughts that follow in the aftermath of a complicated breakup.

On her debut album Oíche, Fears balanced her intense ruminations on trauma alongside dainty synth loops and tentative beats to shine a light on a personal metamorphosis. On her upcoming album, affinity, she continues to create emotive, elegant and enlightening soundscapes, but this time she spotlights the ability to find peace in the often chaotic settings around her. Written and recorded between London, New York, and Dublin, across 10 tracks she shares stories of human connection in its strongest and most fragile forms, something which her new single ‘4th of the 1st’ beautifully highlights.

Fears gives more context to ‘4th of the 1st’, which is inspired by a phone call she had on the same date back in 2022: “It’s about checking in with yourself and reassuring yourself after an experience with someone who denies what you know to be true of your time together,” she explains. “I think it’s unfortunately a pretty common thing to have someone tell you how much they’re into you and then decide that they actually never said that when they’ve changed their mind. I’ve experienced it a few times anyway, so I wanted to write a song for myself to say ‘no you DID actually say that, I didn’t make it up’.”

The single is accompanied by a video, directed and edited by Fears and filmed by Colleen Lee. The visuals aim to subtly highlight the “trust and bond that can be found in sisterhood,” and poetically depicts how women proactively signal to other women information that could help to keep them safe.

Watch the video for ‘4th of the 1st’ below.

Pre-order Fears upcoming album, affinity, here

Follow Fears on bandcamp, Spotify, Instagram, Twitter (X) & Facebook
Follow TULLE on Instagram & Twitter (X)

Photo Credit: Niamh Barry

Kate Crudgington
@KCBobCut

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