The precise and metallic techno sounds of Daniel Avery’s Drone Logic in 2013, were a potent a gateway drug for the genre. But with five full length albums since then, it is clear that Avery is more than just a producer for the club. Not least on Tremor, his new release, which spans dark wave synths and shoegazey guitars, and features vocals from the likes of Ellie Rowsell (Wolf Alice) and Alison Mosshart (The Kills).
Tonight, it was an auspicious start: Ben Klock-esque graveyard chords rang out as Avery took centre stage under pulsing strobe light. He was joined on stage by an acoustic drum kit, bass and a hooded guitar player cutting a cult-like silhouette against the flashing white lights. The band ripped into ‘Greasy off the Racing Line,’ my favourite off the album, which chugs along dirtily and feels like early noughties deranged horror sci-fi. In my notes I wrote “orc-like vocal.” Some luscious ambience gave way to the buoyant breakbeats of ‘New Life.’ In some impressive moments, Avery raised his arms as a self-congratulatory Jesus on the cross, which people didn’t find irritating but I could see how one might.
After about half an hour, the band left the stage and the lights dimmed to signal the solo interlude club session that the crowd appeared to have been waiting for. Thunderous kicks and rolling bass lines were greeted by woops and cheers as the aficionado audience came alive to a choice selection of Avery’s straighter techno tracks including: ‘Dusting For Smoke’ and old classic ‘Naive Response.’ Avery worked choppily between tracks which kept the energy high even in the deeper moment of ‘Clear’ from his 2018 album Songs for Alpha, of which the loopy dystopic pads recall Prince of Denmark’s output from that era. There were high impact breakdowns and it was pretty cool to witness that sumptuous concert hall in full flashing beast mode; its state-of-the-art acoustics and sound system would give any club in the world a run for its money. The vocal motif of ‘Drone Logic’ was intermittently teased but the dancers were kept waiting for full satisfaction.
It felt like good form for Avery to leave the stage and return for a sort of encore effect with the full band, reintroducing themselves with some quite beautiful piano work, throbbing electronics and crashing cymbal crescendos, reminiscent of Radiohead and holding tension in the listeners. ‘Rapture in Blue’ was a lovely ethereal synth-pop moment which features ‘Cecile Believe’s’ almost catchy chorus set against the harder edged percussion.
The show culminated with Avery delivering the Drone Logic goods to get the dads on the balconies moving spectacularly, and then the band added thrashy nu-metal guitars to live remix the track into some experimental rock number. There was one last juicy breakdown with the bands whirring guitars in tow to Avery’s throbbing synths which made for an electric moment and ecstatic audience as the band ultimately left the stage to a wall of fuzz.
That last song of the night typified the mastery of Avery, who by now calls upon such range as to impress fans across genres, and perform his music in a slick live show. It was an excellent night.
Charlie Mackenzie