Taking an early set in a longer bill of experimental acts at Agora Hydro-Québec, a mass of implements spilled off a table onto the seats beside and the stage below as Bristol-based electroacoustic artist Kathy Hinde captivated the room with a freshly conceived improvised audio-visual iteration of her Twittering Machines project.
The kitchen sink performance employed a number of devices — music boxes, bowed toy piano, a gong, radios, bird decoy devices — but Hinde's impulse to place a pair of singing bowls on a turntable was a particular revelation, a pair of tiny overhanging microphones picking up all the Doppler glory of their dance as Hinde periodically bowed, struck and rubbed mallets around their outer rims to coax glowing tones out of the bells, the audience entranced as the song developed a danceable rhythm.
The kitchen sink performance employed a number of devices — music boxes, bowed toy piano, a gong, radios, bird decoy devices — but Hinde's impulse to place a pair of singing bowls on a turntable was a particular revelation, a pair of tiny overhanging microphones picking up all the Doppler glory of their dance as Hinde periodically bowed, struck and rubbed mallets around their outer rims to coax glowing tones out of the bells, the audience entranced as the song developed a danceable rhythm.
