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)
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