I feel like I slacked off a bit last week when I missed most of the Wire Festival, a.k.a., “Adventures in Modern Music,” an annual showcase of some of the strangest music around, which the British magazine Wire curates and the Empty Bottle hosts. I’m sure I missed a lot of provocative music during the first four nights of the festival. I did catch the final night on Sunday (Sept. 13). The club seemed less than half full, but it was an excellent night of the sort of challenging music that Wire Fest is known for.
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The next band was the Subarachnoid Space. Never heard of ’em. They put on a pretty impressive set of heavy instrumental rock — heavy metal and art rock without any singing. The music was loud, but it was also fairly diverse within the limits of heavy instrumental rock. The third act of the night, Zola Jesus, was Chicago singer/composer Nika Danilova and two keyboardists, playing chilly techno pop, but with slightly stranger vocal melodies than the usual techno pop.
The headliners were Phantom Orchard, a collaboration between two highly respected experimental musicians, drummer Ikue Mori (who was working a laptop instead of drumming at this concert) and harpist Zeena Parkins. Their music included quiet, delicate tapestries of harp notes dancing over bubbly electronic textures. But Phantom Orchard also cranked up the volume and discordance for some sharp, piercing compositions as well.