Photos and article by : Andrew Kopanski
Over an hour before the doors even opened, the crowd for the small Brighton Music Hall already snaked around the block. It seemed as if nearly everyone with a ticket was present in anticipation of getting a front row spot for the show. Upon entering, another unusual sight. Instead of the typical drum set and mic stands that grace the stage for a typical Brighton show, the stage played host to a simple folding table adorned with a pair of laptops and DAWs. Behind stood a wall of lights veiled in thick fog.
Protector 101 opened. Clad in a light up helmet styled like the back end of the Millenium Falcon, the solo act took the stage to a slow ethereal track, slowly adding layers building up to a heavier beat. The helmet worked perfectly on stage with the house lights casting trails through the fog and the read helmet-mounted lasers arcing across the crowd. As much a showman as a musician, Protector 101 was incredibly animated and danced along to all of his songs, often coming up to the crowd to try and get them to join the party. While many of his base samples were simple, it was what he built on top that made it unique. From haunting female vocals to expansive tracks, the variety was endless. Many tracks however felt more pre-recorded than live, with substantial transitions occurring with the artist away from his equipment and down in front of the audience.
Das Mortal was next with an entirely different set. Arriving on stage and taking his place behind the second laptop, he is completely engrossed in the Ableton controller in front of him. Constantly adjusting and hammering away at the controls, the extra works pays off with precise beats and an ever-changing trace, the music was completely immersive. Incorporating more vocal samples, the set starts with a sea of head nods and swaying throughout the audience. And the beat drops. Switching to a driving, throbbing beat, Das Mortal takes the crowd tour throughout his skill as a performer. With samples ranging from “Sunglasses at Night” to Europe’s “Final Countdown” the set is 80’s themed and it’s a wonderful thing.
At this point the house lights and fog machines have been working overtime but the monoliths looming in the background through the first two sets still haven’t stirred. The table and laptops are taken away, to be replaced by a smaller version, this time flanked by a pair of keyboards. A corrugated panel is brought out and envelops the entire set.
Perturbator entered the stage as all of the lights activate, leaving streaks of blue across everyone’s vision. This is the show everyone was waiting for. A departure from the previous two artists, any hints of trance and sexy 80’s beats are gone. Instead the audience is treated to the results of the furious and precise work behind the wall. Perturbator chose many of his earlier and heavier songs for this set, an excellent choice for the crowd. His work was perfectly synchronized with the light show behind him for an immersive experience. With horns and orchestra samples punctuating his tracks, each song sounded like the victory after the march to a heavy drum beat. The work was intense – hunched over his equipment, Perturbator could only occasionally be seen rising above the barrier while working on the keyboards.
