It reads:
HOUSEWIVES
...unfortunately mean we miss the first half of Housewives set. They are dressed in white t-shirts; at a glance they hold the form of a rock band but they are not rock. They’re playing something slippery and improvised. A shirtless sax yogi wails on the far side of the stage. It’s percussive, abstract and rhythmically compelling. And then they’re done. It’s all too brief but it’s a fine start.
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GUM TAKES TOOTHH
...By comparison Gum Takes Tooth is like watching the world cup of Battleships. They’re joined by Wayne Adams (Big Lad, Death Pedals etc) another of the Moog residency artists, forming a trio of men in caps bent over a table of switches and wires. One day they might ride a bathtub down a hillside. What they lack in performative spectacle they more than make up for in their music – a soaring, rough-and-ready jumble of techno and krautrock. It gets so wild, a man throws his crocs on stage comically highlighting the gap between the rushing abandon of the music and the gentle afternoon swaying of the assembled. In the oppressive heat of the Warehouse, an unlikely looking congregation are about to take this issue on.
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GNOD
GNOD are riding a wave at the moment. Long-serving, shape-shifting, sonic explorers they may have assumed their ultimate form. There’s been no shortage of noise over the weekend, but when they open with ‘Donovan’s Daughters’ it’s clear the dial’s been turned right up to 11. The volume hits you and pushes your internal organs about; when they reach the drop into the last section they properly shake the walls, raining dust and flaking paint down on us like Swans a few years back. It’s a wall of crushing sound but they work depth and breadth and texture into it; it’s not just sludge. As you start to wonder if they should ease off the accelerator or press down further, they drag out the central section of ‘Bodies For Money’ into something open and exploratory without dropping the intensity. It spirals out and washes back and forth creating space and expectation for that massive riff to come crashing back in. When it does, it’s just ridiculous; an intense and joyous storm of noise. They’re magnificent, and before they can spoil it they’re gone.
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Read the full write-up here: E&D
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