Keyboard Choir – Holywell Music Room, Oxford 12/12/08

19 December 2008, 09:16 | Written by Sam Shepherd

(Live)

There was a time, not so long ago when Keyboard Choir were considered to be Oxford’s answer to a festival hangover. Early morning slots at Truck Festival featuring poorly made but ultimately endearing robots ensured that Keyboard Choir became a memorable act for many people. The carefully crafted electro coupled with the kitsch resonated with those who remembered the likes of Doctor Who and the BBC Radiophonic Workshop, and basically any one in need of some soothing comedown solace.

Their debut album Mizen Head To Gascanane Sound has found itself warmly received by just about anyone who’s heard it – and rightly so. Devoid of theatrics and tin foil encrusted dancers, it proves Keyboad Choir are more than just a sweet novelty act, and a serious proposition in modern electronic composition.

It’s no surprise then to find the band at the Holywell Music Room just weeks after Murcof played this venue with his particular brand of electronica baroque. Purpose built for classical music performance, it’s the oldest such venue in Europe and was home to the likes of Handel. Tonight sees Keyboard Choir share the stage with a young musician of the year, and a cellist who breathes life into a particularly vigorous piece by Stockhausen. Perhaps a couple of years ago the juxtaposition of modern classical composition and Keyboard Choir’s electronic soundscapes would have been jarring, but they’ve matured over the years. More ambient than usual, these soundscapes find themselves at home in the venue, filling every corner of the room with an array of manipulated sound. Visually, it must be admitted that without the robotic dancers to concentrate on, Keyboard Choir are not particularly arresting. Five guys prodding samplers, stamping on pedals and twiddling knobs does little to hold your attention, but it pays to close your eyes and let the sound engulf you, suggesting images to play through your mind. The highlight of the set comes when Seb Reynolds takes his place at the grand piano to kick off an Eno-esque masterpiece. A beautiful melody expertly played, highlights the similarities between classical music and KC’s electronic experimentation whilst simultaneously proving that it’s not all just prodding, stamping and twiddling; there has to be some kind of musical talent behind it all. Tonight represents a step forward in how Keyboard Choir will be viewed, this is serious music that deserves attention, but we shouldn’t forget that it’s also great for curing hangovers on a Sunday morning.