Container, Dalhous and The Orpheus Choir set for Glasgow club night Collapse
Off-beam US techno producer Container makes loud, rhythmic techno
Young promoter Kenny Love was on a personal mission. Following on from noise gigs he organised in his own flat and the Interzone exhibition he arranged with his partner Diane Edwards at The Whisky Bond earlier this year, booking up Container (aka Nashville’s Ren Schofield) is a substantial coup.
The result of this ambition is Collapse, one of the best nights of electronic music happening in Scotland this month. ‘There’s been a lot of good noise stuff in the past ten years,’ says Love, who used to sing with Gropetown, ‘but it had all slowed down a bit until Container came along. I listened to him obsessively last year and I got to see him live at a summer festival in Poland. He’s great live, and for this guy from quite a humble DIY background playing in noise bands getting good press from places like Resident Advisor for playing this loud, rhythmic techno is really good to see. I just emailed him, he’s a pretty straightforward guy like that, and he said he was really keen to play Glasgow.’
The rest of the Collapse bill involves an early performance by The Orpheus Choir, the new synth techno project from Aleks Jurcyk of The Guild of Calamitous Intent, old school minimal drum machine surges of Glasgow’s much-admired Silk Cut, as well as a DJ set from sound engineer and obscurist Mother aka Mark Maxwell (‘expect Sunn 0)))’ amidst the techno, says the blurb). Diane Edwards will also be creating a special installation for the party.
Almost as exciting as the headliner will be an appearance by Edinburgh duo Dalhous, who are signed to the high quality London electronic label Blackest Ever Black. Following a change of identity from their previous alias Young Hunting, they release a new album, An Ambassador for Laing, this May. ‘We won’t be releasing any further material under the Young Hunting name,’ says Marc Dall of Dalhous, the pair’s preference for being interviewed by email adding a sense of mystery to some statements. ‘We moved onto the Dalhous project through a need to escape some of the restrictions we put in place with the last project.’
Dall’s partner Alex Anders continues: ‘We’re having much more fun with the arrangements and production of the Dalhous tracks, doing things we would have never attempted in the past. I suppose we’re informed by our own curiosity for exploring new sounds and ideas; we’ve always been more interested by music when it sounds human and organic. We don’t really listen to strictly electronic-sounding music, I like music to still have grit and an acoustic vibe that comes across with a human touch.’
With a second album almost finished already, the pair promise previews of new material and ‘projected cut-up visuals from the 1972 British documentary Asylum, using audio from the movie blended into the mix’ in their live set. ‘I like music that works around mistakes, that’s improvised or that makes a lot of the live format,’ affirms Love of the currently one-off Collapse’s aesthetic. ‘But it’ll be loud too.’
Collapse is at the Glue Factory, Glasgow, Fri 19 Apr.