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Noise of Infinite Dimensions

Alexander / Photography by José Cruzio

Ahead of NoiD's live performance at One.Seventy we explore what 'live' means in 2017. Promotional gimmick or the gateway to an optimal performance medium?

As a teenager, I managed to pick up a job lot of second hand records from the classified section of the local newspaper. On the reverse of one of the record sleeves, in small print it read the simple statement “Hyper-on Experience only ever appear live!”. Being 13 or 14 at the time, this meant next to nothing to me. All I knew about was DJs and MCs. Fast forward most of my life and my awareness of performance mediums has broadened and the possibilities for artistry seem unlimited.

‘Live’ offers an edginess and spontaneity that can’t be replicated, a level of chaos and unpredictability as A Guy Called Gerald describes “a spanner in to fizz it up a bit.” This having been said, live electronics does have to be done right, it can’t simply exist as a spin off from the DJ format, which Attack Magazine’s Kristan Caryl describes as a “clearly defined limit to what’s possible with just two decks.”. In researching for this feature I came across an article by Thump’s Josh Baines. Tongue in cheek as the article was, it displayed a fundamental misunderstanding of live electronics. In Baines’ own words “If an artist's own material is that good, then nothing will be lost, or more importantly gained.” The writer’s inability to separate a record from its counterpart live form left me irate. Playing a record is non-comparable to the sonics of physical instrumentation, signal firing through circuitry, amplified waveform or a human touch, imperfect at the point of execution.

“Improvisation was the best creative process for us. We basically like to be out of the comfort zone and to take risks, and then listen to what happens.” – NoiD

Aside from the purely technical, the live environment offers a physicality and ritualism that traverses into philosophical and even esoteric domains. DAAT insist that their own live act is “better understood as the interface between ourselves and a machine whose properties are unknown - a machine with whom we have been connected since before we knew it existed.” This is more than playing music. In the most literal sense, performance art.

Enter London based NoiD. An acronym of ‘Noise of Infinite Dimensions’, the collaborate project of Nuno Veiga and Ruido Carvalho is a spectacular infusion of sonic blasting, acoustic debris and socio-political pastiche. There are few places that you will find white noise, distortion fuzz and Noam Chomsky pasted together. Nuno explains “People are craving to be surprised sonically. We think this is a reflection on our time. People want changes. Demolish the establishments and jump to the unknown, socially, politicly and consequently musically. This kind of sound gives hope, because you see and feel that change. You feel a rupture, not an evolution with the past.” We’re not merely talking about ‘making tunes’ here, this is interdisciplinary art through an interactive performance medium. As a fan of the music, this is a dream.

NoiD combine Nuno’s background in performance arts and sound design for theatre with Ruido’s expertise in the dynamics of bass music and audio engineering. Far beyond the dance while remaining plugged into the sound system, NoiD represent an unambiguous break from a worn consensus that has kept some facets of 170 BPM music static for years. They can stand confidently back to back with the genre's most enterprising futurists.

You can see NoiD (live) at One.Seventy on 30/07/2017. For more information about One.Seventy please click HERE