Before I get into the show, I want to point out how weird a support act Actress is. I've found his music to be hit and miss and I don't think I really 'got' his third album, R.I.P. I intend to go back to it in future. Still, when he was announced as support I was more than happy to get there early for it. It wasn't even clear when his set started - things were running late and the background music at the venue faded in and out of odd samples which sounded like they could be part of very, very last-minute soundchecking. Things were clearer once the lights dimmed and I was able to appreciate the strange samples of trains on tracks conjuring up images of the inner city to me. Actress then brought some more flow in but most of his set was rather abstract and experimental, pretty 'out there'. I didn't mind this - in fact it seemed apt as this crowd was here to see one of the most experimental acts in electronic music.
Actress spent most of his stage time hidden behind his table. I don't mean hidden behind a laptop screen with his Serato-face on, I mean literally hidden behind the table - except for the occasional moment where a hand would pop up and twist a couple knobs as if he was putting on a hand-puppet DJ show. I'm not sure how much of this was to do with remaining mysterious and making a statement about DJ 'showmanship' in modern times, or simply to do with the fact that he probably had a lot of gear to work with on the floor. Spooky soundscapes haunted the ears of listeners, and every so often a beat would kick in and slowly but surely, the set gained momentum. It all culminated in the perfect mixing into Lost - my favourite track of his. After that the train continued along its tracks as Actress departed in a humble manner. I thought he didn't get enough love from the audience but I suppose you only get out what you put in as a listener and it was 8pm on a Friday so many people were happy to chat through it all.
After many moments of teasing, the enormous safety curtain lifted upwards to reveal a massive structure of cubes and shapes of all sizes. The show uses image projection onto the 3D cube surfaces to provide different viewing experiences for all witnesses from all angles. It's an interesting premise; It almost seems odd when headline DJs don't have visuals to go with their set in today's electronic music climate, and some DJs are taking it to the next dimension through other methods, such as Flying Lotus taking it to 3D by using two video feeds projecting onto different sheets that hang with a gap in the middle to create that 3D illusion. Of course Amon Tobin's ISAM 2.0 is a visual experience as much as it is an audio experience, using its own method to create something 3D. Sitting in the middle of it all is a larger, distinguished box in which the inimitable Amon Tobin makes sounds and songs with his maverick selection of hardware. For the ISAM 2.0 show, the structure was bigger than its predecessor, and perhaps better shaped as a whole. Amon Tobin dons an astronaut outfit, playing protagonist in the story told by the audio-visual experience we witness. Tales from space involving the destruction of a ship and the building and repairing of ships, and journeying through the universe provide context for it all.
The state-of-the-art visual experience is undeniably a highlight - the visuals are programmed to complement the music impeccably. which is a hard job considering the highly experimental nature of the ISAM album. Tracks like Journeyman and Esther's stand out for me. At times the middle cube tones down the opacity revealing the music orchestrator busily showcasing his craft, and at the end of his set, Amon came out to the audience to thank them. He showed a little love to the crowd, and I was honoured to shake the man's hand. He seemed too shattered to continue wearing his astronaut outfit plus the story segment was now over, so Amon Tobin took the opportunity to slip into something casual. Then the next stage of the show was upon us: Amon Tobin's DJ set.
Amon Tobin's DJing reminded me of a few things - the most salient of which being how well-produced his tracks are, how unique and distinctive the sounds he uses are and how well his tracks are mastered. He also reminded me why I fell in love with drum and bass. Cohesively navigating through tracks he made under his Two Fingers project as well as some remixes, he gives the audience something to dance too (which is welcomed as the crowd doesn't really know what to do during most of a show such as ISAM 2.0, but they can figure out this part.) After this he comes to say thanks once again, and then goes on to perform the final segment - a hybrid set that does get people moving once more while enchanting the rest of us with its sheer, overbearing intensity.
The ISAM 2.0 show is a triumph for engineers and electronic musicians who are struggling to find ways to incorporate live elements, showmanship and spectacle into their performances. The popularity and embrace of such a boundary-blurring exhibition is ground-breaking and comforting; Perhaps if there always will be people to appreciate artists that push things forward, artists will continue do so. It was a huge blessing to be able to see the show in the UK before Amon Tobin calls it quits and moves on to something new - An experience I'd be hard-pressed to forget and I remain highly intrigued by the prospect of Amon Tobin bringing even more new things to the table.
Photo by me
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