Halifax's Menz and Mollyz Bar is made up of a number of rooms, my favourite of which is this study-like library room, which contains among its adornments a bookshelf (rocking some anachronistic encyclopaedias), a bamboo centrepiece and several couches. It's a great place to hang out between bands at something like OBEY Convention, particularly because the venue likes to play its between-set music at a rather absurd volume — often louder than the performers themselves.
But Red Schofield, the Rhode Island techno artist better known as Container, proved a worthy match, volume-wise. In fact, it took me a second to realize his set had even started: it seemed to pivot from the venue's house music without missing a beat. The slight difference, though, was force: Container's beats have EDM heft but with a harshness of tone that made the floors and speakers shake with extra weight.
As a live experience, the textures of Container's recordings don't quite come across as clearly as on records like last year's Adhesive, but the brutality of sound was met with enthusiasm by a crowd eager to dance.
But Red Schofield, the Rhode Island techno artist better known as Container, proved a worthy match, volume-wise. In fact, it took me a second to realize his set had even started: it seemed to pivot from the venue's house music without missing a beat. The slight difference, though, was force: Container's beats have EDM heft but with a harshness of tone that made the floors and speakers shake with extra weight.
As a live experience, the textures of Container's recordings don't quite come across as clearly as on records like last year's Adhesive, but the brutality of sound was met with enthusiasm by a crowd eager to dance.