Joined by a trio of musicians adding cello, viola, clarinet and bass clarinet to his violin and electric guitar, France's Louis Warynski sent the Café-Bar l'Abstracto down the Chapelier Fou (Mad Hatter, in English) rabbit hole for an hour of music that was less mad tea party than enchanting wonderland.
Despite its solo composer status, the project's translation to a live context extended the experimental maximalism of Warynski's recorded output by drawing on the potential of all of its parts, crafting an elaborate sound environment that was a delight to get lost in. Positioned behind tables supporting a computer, keyboards, synthesizers and sample pads, all four spent time contributing to both sides of the intricate electro-acoustic productions Warynski's been celebrated for. And in case anyone was cynical about their reliance on synthetic process, for the encore, the group left their processors behind and stood in front of their table gear for two acoustic performances that were just as curious and outwardly pleasant as the hybrids that preceded them.
Despite its solo composer status, the project's translation to a live context extended the experimental maximalism of Warynski's recorded output by drawing on the potential of all of its parts, crafting an elaborate sound environment that was a delight to get lost in. Positioned behind tables supporting a computer, keyboards, synthesizers and sample pads, all four spent time contributing to both sides of the intricate electro-acoustic productions Warynski's been celebrated for. And in case anyone was cynical about their reliance on synthetic process, for the encore, the group left their processors behind and stood in front of their table gear for two acoustic performances that were just as curious and outwardly pleasant as the hybrids that preceded them.
