Hands on his head and bent down, Sebastian Gainsborough got ready to inundate the Siroco auditorium in Madrid with a live proposal that transcends his recorded material. Right before starting to deafen the entire room, he left his rings right next to the rest of material he used to assemble a project that had a lot of things about rite, from those very first instants of concentration to the emotion he generated in the audience.
Vessel has delivered two brilliant works for the essential label Tri Angle, moving through an industrial and dark sound. Besides, he has been part of the collective Young Echo, agitators of the British scene in past times. Vessel's live performances are famous for being serious, which he made clear at the appointment arranged by Giradiscos. Pedro Maia's projections, which usually accompany his live appearances, were not present. Nonetheless, the audience surrounded Gainsborough, responding to every turn in his music.
It did not lack dense and impenetrable atmospheres, and neither the punctual noisy resources. If there is anything that defines his live session, it is coherence and the continuous flowing of music. There were, that is for sure, two distinguishable parts. After an introduction with sounds which were more ambient-like, he ended up taking his shirt off and deliver his more aggressive part. Excitement got higher as the minutes drew on and it turned out to feel like it had fallen short, leaving us longing for more.
His last album, the solid Punish, Honey, keeps a clear continual tendency, as a complex whole thanks to the virulence of those dark and direct songs. An album which keeps still, without as many twists and turns as the previous one, Order of Noise, that stood out for being a journey between different textures and sounds. After what we have seen in his live display, it seems he is maintaining his stance as for running from that dispersed and uncontrolled expression and walking towards a solid and compact idea.
Vessel's live experience goes far beyond what he has shown in his albums, which do not manage to exhibit that threat to which his live performance alerts. Songs such as Eoui or Anima display live a power which falls short in Punish, Honey. The cover of Red Sex, the star track in his last album, was completely disproportionate, generating a hypnotic feeling. A trance of which we got out perhaps hastily when the last sounds played and Gainsborough ended his peculiar rite.