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Silent something, encouraging shock Athel canA stretch of his visit to London in London contains five sold nights in Hammarsith’s Eventim Apollo, playing for around 25,000 fans in total, A sea of people, most of the card-carrying members of the Generation Z, for the first of these nights, a pile of music in the West London site for the first of these nights, which is raw, slow and almost clearly unknowingly, pounce between large, churning Gathagit and Domi atmosphere.
But this is the contradiction of Can-or to use his real name, 27 years old Hayden Enheedonia – An artist who has somehow hit the larger time with a sound that seems to be opposed to pop success. For the entireity of the set, the enhedonia performs in the shade, masked with dry ice, or backlit in the moody silhouette. For a song, the stage is immersed in the dark, its singing continues as an unseen, disgruntled voice. It is a terrible ambiguity, confessional song writing provided with music that has somehow been immediate and removed.
The set begins patiently, with the “Willobiz theme”, an instrumental number from him The most recent album, Wilobi Tucker, I always love youEnhedonia then launched in the “F *** mi eyes”, a complex attractive shoulege with colors of Kim Corner’s “Bette Davis Eyes”. The sound of enhedonia, depressed and strong, revolves around the installed raga of the song, which glides in new and interesting streets. His music seems to be, many times, indebted to Faebe bridges, never more than Frath and Folki “Natals”; Unlike bridges, she is largely cleaned by breathing falesato, which is on the side of a tone which is cut and full-edged.
The set of enhedonia is not so much choreographed, as arranged: it spends a lot of standing performance before a large wooden cross, while there is considerable change in light for each song. This is a visible experience, not just a frightening. When she deal with songs like “commentator” – a prediction, atmospheric track from January drone records Employee – The whole thing takes on the spirit of performance art: music that is less pleasant than provocative, and has been brought into life with a real focus on stagecraft.
They revolve around the Ballpark of Avant-Guarde Only the following types of the specific type of enhedonia – young, shouting with the song in the united when indicated when indicated – all more inconsistent. (This is partly arrest, pseudo-lingon aesthetics, I doubt, and the cutting candor with which the enhedonia dissects teenage experiences.) Only when we begin to coincide with the electrical energy of our audiences to our audiences: carefully freed from the pose burned.
Whatever we get is three first cuts: Powerful, Crassendoeing “a house in Nebraska”, porous, fierce “crush”, and, finally, performed as an animated around the front of the stage as a synt-pap banger “American teenager”, enhedonia struts. It is a release, type, and the most purely fun section of the night. More than anything, it shows what kind of artist can Cain be if she bows into her popper impulses. But what she wants to do instead is still attractive.