Otomo Yoshihide took the stage at the intimate Northcote Social Club with just a weathered guitar, a small amp, and a tray full of objects that he would use to coax howls of noise or demurred whispers of melodic beauty, depending on his mood. Though I’d heard the name plenty of times, often in association with other prominent figures of musicians who not only color outside the lines, they don’t bother sketching any in the first place, this would be the first time seeing him perform.
The structures were actually a lot more rock-focused than I expected, meandering in some Bill Orcutt territory at times, rather than the loose and nebulous clouds of sound I had been expecting. I’d mainly associated him with his work using turntables. His use of the assembled tools changed as the pieces unfurled, and ended his set with a much more traditional song, a Japanese song he said he’d sung as a kid and while he downplayed his vocal abilities before playing it, they fit in perfectly with the song.
Uminari Trio played a spirited version of improv, with James Hullick emphasizing that the piano is a percussion instrument. Tucked away at the back corner of the stage, he spent way more time with his hands inside the instrument rather than playing the keys, with various items splayed across the strings. Cellist Morishige Yasumune played a mesmerizing role in anchoring the purported melody of the compositions, with guitarist Cal Lyall providing icy textures and ghostly sonic puffs in addition to the occasional lighting bolt. A rousing, physical set.
Tomomi Adachi and the Noise Scavengers ensemble kicked things off with an off-kilter and ecstatic performance, featuring musicians who may not get the opportunity to play in traditional outfits. Utilizing instruments and vocals in an unorthodox manner, the quintet was a good match for this experimental bill.
