by Peter Taylor

Daniel Merrill.
Merrill appeared huddled behind a harpsichord, before standing to address an expectant crowd. Appearing alone, rather than with his usual outfit, “The Dead Rat Orchestra”, he began his explorations of the aforementioned instrument. The set began with a looped circus heavy chord stomp, which created a lively backdrop to his solo Violin effort. Eastern European, gypsy folk melodies ensued, portraying Merrill as a competent and engaging performer. To create further rhythms he utilised less obvious musical properties of the harpsichord by striking the body hard enough to create a rumbling beat. When finally mixed with simple and effective chord layering the end result was a pleasing electro-acoustic pop number, somewhere between the Max Richter’s latest output and the various output from the Moteer label. Watching Merrill compose his pieces via concentrated live looping was a joy, and the output of restrained and delicate minimal electro-acoustic pop fused folk was mesmerising.

Pthhhh.
Experimental chamber collective Pthhhh perform minimal compositions with performance art trappings. The four artists play Cello, Viola, Violin and Flute (respectively); the piano is later accommodated. The show began with a white sheet masking the collective from view. They were then revealed, by two men with paper beards, to be greaseproof-paper people. These extra semi-translucent skins were then removed, one by one, as the players initiated their individual performances. They began like toy music boxes - switched on or wound up. This was full of humour and injected with a focused creativity; taking inspiration from both the Dada and Fluxus movements. The four musician’s playing was stimulating, and took reference from life’s eccentricities and beauty. There was pastoral warmth accompanied by a genuine madness. The four ladies appear as possessed Brontë sisters, teasing an unsuspecting dinner party. The ridiculous and the amusement detract a little from the sentiment of the music – but maybe that’s the point; it levels events, making them sincere. The mix of leaf covered OHP projections, playful props and intricately woven musical passages, left me smiling and wanting more. The sound performed was most reminiscent of the output from Rachel’s, with a sly nod to Charlemagne Palestine.

Mary Hampton.
Brighton resident, Mary Hampton performed quiet folk-rooted songs steeped in history with modern observation. Her voice was engaging and authoritative; its tender, soft pallet acted as a façade, covering a hypnotic and commanding accent. The guitar was strummed with minimal results, which were both controlled and hesitant. A fiddle accompanied many of the tracks, yet faded like a distant droning raga, as her voice erupted in a loud whisper that contorted her surroundings. Moving storytelling is the greatest gift of a lone folk troubadour, and Mary Hampton most definitely has this. She performs folk with an ethic akin to Alasdair Roberts - one of honesty, sincerity and ingenuity. With her fan base steadily increasing with wonderful and stirring live performances, I have a feeling we’ll be hearing a lot more from this fine lady.

The Directing Hand.
The headliners of the event where folk improv duo, The Directing Hand. They opened with a simple vocal duet of one of Alex Neilson’s songs. His tale took the audience on a journey through the Sussex landscape and down to the coast, with Lavina’s cutting voice in perfect harmony. This simple ode relaxed the atmosphere, compelling the crowd’s attention to the blossoming performance. The second number delved into the territory which this pairing have made their own. The culmination of vocal improv, (which scales impressive and harrowing ground), heavy sporadic percussion, (as only Neilson can perform so eloquently), and manic harp strumming, make for the electric eruption that is – The Directing Hand. When playing live, their music is given the space it requires to resonate and explore. This is big music forced upon one with absolute directness and fire. The many-fingered hand is forceful and exploratory, working its way in and out of your sonic consciousness. I can’t emphasise enough just how exciting this band can be. At times the violent percussion seems to overwhelm, when suddenly Lavina’s improbable singing seems to rip apart the procession and truly enrapture her spectators. There is a freedom of expression that allows for a personal connection, even at the most seemingly avant-garde moments. The volume and ferocity teamed with an inconsistency of sporadic freeform music never feels inaccessible. The honesty and deeply human resonances affect like folk music should. This is accessible folk, from the voices of two open persons’, and made for welcoming people. I want more!

Daniel Merrill's MySpace page is here.
Pthhhh's MySpace page is here.
Mary Hampton's webpage is here.
The Directing Hand's MySpace page is here.