Launching the debut of new Christchurch music venue (and top-notch bar, stocking only local beers, wines, liquors and home-made food) Darkroom was a great dose of acerbic synthesized noise – from the controls of Rainbow Beast. The place was packed, and not with the usual Borderline Ballroom audience, a few of whom didn’t really seem to get what was going on.
Dave Khan played a more tranquil set, utilizing his sampling keyboard to flesh out layers of sound. Dave’s set was a very calming, melodic performance; a shame a few patrons didn’t seem to appreciate it…
C Spencer Yeh took two different approaches – firstly a frantic performance on violin, producing often atonal, but frantic sounds. He then followed this with one of the more unusual human beatbox performances i’ve seen; with 2 microphones in hand he bounced sounds around this lovely, but crowded space.
Co-founder of the Krkrkrk label (along with David Khan) and a prolific member of a number of Christchurch underground bands dating back to the early 90s, Peter Wright is also an exceedingly prolific solo musician, releasing material under multiple guises on Krkrkrk (Bent Gastropod Omnibus, In Vitro, Coitus) as well as on his own label, Apoplexy. Wright is also one of the creative minds behind the brilliant Krautrock superstars Beautiful Losers.
Discography (picks in bold)
Wank [As Bent Gastropod Omnibus 1993 Krkrkrk Krk003]
Expresso Spasm [As Bent Gastropod Omnibus 1993 Krkrkrk Krk004]
Haggis [As Bent Gastropod Omnibus 1994 Krkrkrk Krk010]
from krkrkrk‘s website: “the drawing room marked a significant departure from david khan’s earlier work with the leonard nimoy & vaccine projects. gone were the machine-like constraints of electronic rythms and the distinctive sonic textures of droning, multi-layered guitars. in their place was a more spacious & intimate music, created with the aid of an ensoniq asr-10 sampling keyboard. piano and voice were soon to become the essentials of david’s post-nimoy song/lyric material – lending, to his compositions, an unprecedented elegance and subtlety. at the same time, a growing arsenal of drones and sound effects – meticulously recorded, processed & constructed from a variety of natural sources – served to enrich his continuing experiments in the ambient/industrial realm. these songs and soundscapes defined david’s mature musical sensibility: a somewhat moody and melancholic romanticism, combined with a yearning for transcendence & release. the drawing room also introduced krkrkrk to the world of digital recording, with all of its rewards (pristine sound) and penalties (greater expense and complexity).” discography picks in bold