- Dawn Ray’d
- Moon Zero
Sound booms and reverberates off the walls, covering the audience in an aural cloak. Welcome to The Kazimier, where each of tonight’s artists fills the space perfectly. As MOON ZERO, producer and composer Tim Garratt creates sonic textures that float in ambient haze. Opening here, he creates a deep, rumbling, entropic resonance of bowed cymbals and searing white noise. This morphs into Mariana-trench ambience with the haunting refrain of synth-clad fog horns, whale song and crashing sine waves over a spectral ocean. His set closes to the wrenching and tearing of metallic sounds. Moon Zero finds beauty in the industrial sounds of inner space and channels them into a dense and dreamlike drone. There is fragility to the sounds as they rumble and swirl as if emanating from the earth’s core. It is enchanting and utterly beguiling.
Formerly We Came Out Like Tigers, DAWN RAY’D, up next, offer something all the more fierce and intense. Their set begins with such ferocity that distortion and feedback ricochet off the walls. This is sound channelled through shredded metal. As a three-piece they make an almighty noise. The crowd nod to the shattering onslaught. Chainsaw guitars, frenetic drums and Simon Barr’s wrought vocals spear song after song, often accompanied by Barr’s own warped electric violin. For the closer, Barr delivers an impassioned condemnation of the handling of the refugee crisis throughout Europe, flaming the authorities. It is met with applause before the band launches into one final audio assault.
Headliner Mario Diaz de Leon, aka ONEIRONGEN, layers sounds that dissolve into blistering infrasonic structures of swirling synths and cavernous bass. Opener Mortisomnia, from his 2013 album Kiasma, is a kaleidoscope of sub-bass, decaying white noise and harmonic synths. This builds, layer-upon-layer as sounds intertwine and blend, creating a tapestry of noise and shouted vocals.
Tracks from his latest EP Plenitude follow; Oxygen bleeds into Collapsing, matching its visceral intensity and stabbing industrial basslines. Diaz de Leon screams over the heat of noise, voice breaking and straining. It is felt, full-force, emotive ferocity. Vessel follows with beats and droning percussive bursts of bass and screaming feedback as he moves into title track Plenitude, with dark demonic voices swirling around the murkier corners of The Kazimier.
Aside from the odd issue with the mics, the set speeds to its conclusion, closing out with the as yet unreleased Bloodlord. Dark, demonic and hypnotic, it weaves extreme industrial noise into harmonic strands so dense they feel physically heavy.
Diaz de Leon creates noise and shapes in the surrounding space that can be felt as much as heard. Rippling booms of bass rip through us as higher frequencies spin out, causing phantom harmonies to coalesce in the burning hiss of static. There are melodies to be found in the sonic waterfalls and Mario seems to find them in the dark matter that exists all around us, extracting them and channelling them into a cohesive whole.
Sometimes you have to see an artist live to fully appreciate the full majesty of what they produce. Oneirogen is one such musician; live he is an immense, hypnotic and immersive experience.