New Zealand sound artist Phil Dadson, and London-based soundscape musician Rosy Parlane performed at Stark White last night to a full house. The pairing was a good one - active versus passive, old skool versus new. Dadson roamed around the room, slamming away on metallic coils, dropping chains and pumping bellows of organs furiously. Parlane was consumer and filter - recording and looping Dadsons efforts, building up soundscapes of drones, glitches, adding Vangelis-like synths into the mix.
The performance worked best when the distinction between the two grew less - one of the high points occured when Dadson placed a simple $2 fan against taut wires, producing a pulsating percussive backbeat. The ability to replay loops from 10 minutes ago created a much more complex, wholistic piece than Dadson could have performed solo. Unfortunately it's all too easy to create monstrous, piercing tones with a laptop, and Parlane overpowered the piece at times, obscuring whole passages of Dadson's sensitive reed organ work.
Note: images of Parlane and Dadson shown were not taken from performance
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