Petra Glynt (aka Alexandra Mackenzie) gets her share of Grimes comparisons — both women are visual artists with a penchant for out-there sounds — though sonically the two have little in common. Glynt's fresh brand of tribal (blame the floor tom) noise focuses less on hooks and more on density. A solo setup with a dash of sequins, Glynt's show was mesmeric from the outset, all canned noisescapes and haunting, echo laden vocals. Early on, she was at her best when she amplified the percussion, blending the aforementioned floor tom with pre-recorded beats. And then she hit a technical snag with her microphone cutting out entirely.
Given the short set — and an already-delayed start — it was an unfortunate blow. After a brief intermission, which Glynt handled with poise, she returned with gusto, delivering the finest cut of the evening, "Sour Paradise." An insistent and enchanting number, it writhed and ran and provided Glynt with an opportunity to show off her vocal dexterity. Glitches aside, it was a solid showing from an emerging talent.
Given the short set — and an already-delayed start — it was an unfortunate blow. After a brief intermission, which Glynt handled with poise, she returned with gusto, delivering the finest cut of the evening, "Sour Paradise." An insistent and enchanting number, it writhed and ran and provided Glynt with an opportunity to show off her vocal dexterity. Glitches aside, it was a solid showing from an emerging talent.