Nameless records decided to use the terrific space afforded by the Spitz bar, overlooking the (sadly) soon to be demolished Spitalfields Market, for their first label showcase event - Sonorous. Tonight's three bands afforded the healthy crowd a keen insight into the Nameless mission. Bowed guitars and violins were the mainstay of The Double Life of Véronique's (TDLV) short but impactful set. (So brief was it that I didn't even get a moment to capture them on camera.) Accompanied on the first track only by a third musician who provided added depth to the live instrumentation, this was filmscape music in sensibility if not entirely in execution. TDLV's debut album avec un pessimisme lucide is out now on Nameless.
Loft have already made something of a name for themselves, and specific support for them among the hip audience was readily apparent. With their full band set up they differed dramatically from tonight's openers. So too their post-rock sounds. Influential cues of Krautrock, dub, funk and spacerock all featured during Loft's up tempo set and their keenness for their work spread among a crowd that by now was close to capacity. The assured vocals and occasional rock influences, both in terms of song structure and on-stage attitude were slightly conventional by this evening's standards. At the same time that makes Loft the most likely candidates to go onto wider success.
Top of the bill, Yellow 6 is the project name for one Jon Atwood. Live, he pulls in additional support from guitarist Scott Sinfield, both to add some interest on stage and to bring to his gigs a greater dynamic than just relying upon his own guitar and technology for filling in the substantial backing track. Bringing tonight's showcase almost full circle, and unavoidably initially something of a 'come down' after Loft's power-driven hour, Yellow 6's introspective landscapes of reverb-drenched guitars enveloping multi-layered drum tracks actually provided the perfect chilled-out ambient background to which one could wind down on this late Saturday evening.
Many of Atwood's numerous releases, over similarly numerous international record labels, were drawn upon for this set, although new material from his latest LP music for pleasure also got a look in (telescope peak and order from nothing). Even though the new stuff remains close to the main highway of previous Yellow 6 output there is a natural progression. Unassuming, almost reserved on stage, Atwood nevertheless delivers his lush instrumental agenda with convincing ease. With its oak beams, wooden floor and church-like atmosphere, the Spitz provided the ideal location for this first Nameless evening. Transported by the music, it was hard to believe we were in the heart of London's East End. With three artists like those we saw here on their books, Nameless should see its profile rise to a position reflecting the talent of its artists. Let us hope so.