Always

Always is Sydneysider Alex Vivian, hunched over two effects pedals, eyes glued to his gear, with a microphone fixed to his lips. His act is a capella with a twist: his vocals are fed through a short live-negotiated loop, so that every noise he makes is locked into a dizzying rhythmic pattern. There are no lyrics, only the rapid accumulation of odd vocal contortions that fasten into densely complex textures, containing apparently accidental rhythms and occultist chants.

The result is breathtaking at times; especially when the sounds attain an astonishing resemblance to painstakingly structured electronic music. The vocal melange can take unexpected turns: often it only requires one grunt for a rhythm to split in two, or for previously stifled subtleties to leap to the forefront. As well as being technically impressive, it’s totally danceable: the unabated repetition provides for the same undulating, hypnotic effect as techno, and surprisingly – being the Hopetoun – one or two audience members let these strangely compelling textures get the better of their bodies.

If it lacks anything, it’s the ability to maintain your attention, especially when, during glimpses of brilliance, Vivian will pop or click into the microphone and the aural tide will change, leaving one stranded for a few moments before the mess pulls together again, a bit like a Transformer’s ineffectiveness mid-transformation. It’s a concoction Mandelbrot might be proud of though: the music is widely governed by the machines, to the point where Vivian might be unaccountable for some of the results. There is a sense of artistic control however, though the extent to which Vivian pre-plans these sounds is interesting to consider – the truth could blunt the alchemy.

by Shaun Prescott