Gold Panda w/ Banjo or Freakout – Corsica Studios, London 19/11/10

There are certain gigs you attend that strike as more reminiscent for reasons outside of the immediate effect of what you are watching or listening to. They’re nostalgic to a degree where those memories you hold so dearly could either amalgamate, taking you to a new time and space (literally and metaphorically) into something new and utterly amazing or it can give you a completely new insight into the potent polarity between live and record.

Upon arriving at Corsica Studios, the memory fresh in my brain is that of a packed out evening held by James Holden and his Border Community posse. The night was awash with some of the finest sounds both immediately and indirectly, boasting a line up to die for featuring the likes of Luke Abbott, Four Tet and Holden himself – all mashing their way through arguably one of Londons finest soundsystems.

Considering that prior experience, the evening appears on its face to be pretty low key affair in comparison, especially considering the two main acts on display tonight. Smatterings of crowd conjest Corsica’s youth-club darkness from the entrance, but the atmosphere seems somehwhat dulled considering the apparent buzz the artists on show have accrued. Not much may have changed for those memories of the general atmosphere of the venue (save for a four-to-the-floor bass drum kicking me into next week) – but from my memories of Banjo or Freakout, they most definitely have. Exploiting that same beneficial sound system with their old, hypnotic sounds that were driven as a kinetic duo of noise, it may have sent everyone in this shattered disco ball lit room into some state of cataplexy. But now experience seems to have changed them for the better.

That their sound has branched out so dramatically could be a fine case in point of just how their own variations and past work and past lives have been consolidated into a freshly exciting whole. Alessio’s vocals still ache, guitars still soar – just like before – but with an added percussive element, there’s a groove and swing that is easier on a more accessible ear. It’s a very fine balancing act to play – swapping dense, atonal electronics for what strikes as some outstanding three minute nu-gaze gems – but this first taste of material to come seems to show that they’re going to make it to the end of that tricky tightrope with ease, retaining everything that they hold so dear along the way.

It must be said, as well, that tonight’s (sort of) homecoming headliner has had his own fair share of live polarity. Having seen Derwin, or Gold Panda as he is now so affectionately known, in amongst the throng of the same electronic harem as my first visit to Corsica, something didn’t sit quite right. This was in the deepest pit of Fabric’s eventual decline – an arena suited to the sort of yacht baiting dubsteppers and cliches that make the whole electronic business nigh-on unbearable. Luckily for him, what Lucky Shiner has proven is that whilst his textured electronica may bridge the gap for many, something like tonight could prove that he is an entity beyond such introverted spheres of influence.

A hooded Derwin emerges in front of what is now a heaving crowd on the verge of an darkly emotional collapse, and as soon as the first (unbelievably powerful) kick drum emerges from the oceanic build up of ‘I’m With You, But I’m Lonely’, there’s proof in a five minute hurricane of sound and physical vibration of just why his music has managed to catch the hearts of so many across the board. His physical performance may seem muted, but the level of human intricacy applied to his art is second to none. Each clip of string, each placement of kick, each alternation of bass is intricately woven into a new engulfing hypnagogue. ‘Vanilla Minus’ drives a magnificent scenic route through its continuous tempo, whilst older turns in the form of ‘Back Home’ and ‘Long Vacation’ present some of the most powerful bass driven live moments these ears have experienced all year.

The man himself doesn’t spare many breaths for the adoring throng, only a brief interlude to say he’s “really nervous” – but it’s moments like that which further Gold Panda’s reputation as one of the most romantic, heartfelt artists to have emerged his year. But with each song being mutated into 8 minute almost-freakouts of noise, it shows that there is room for his homage as well as his affable originality. Only towards the end points of the set, bringing forward ‘Before We Talked’ and ‘India Lately’, does a refreshing tack in atmospherics emerge – each kick sounding as if it’s trying to escape a vacuous underground lair, leaving you feel haunted by a strange melodic warmth. Not many artists out there can offer such live diversity, so it’s nothing but to his credit that he soldiers on, not giving a fuck about his hype ridden surroundings and doing what he knows and loves best. Leaving a sweeping ‘Quitter’s Raga’ for the finish (as well as brief amen-laden playaround), it leaves nothing less then a feeling of reaffirmation that all of that originality on thought is safe in his ever-experimental hands.

Sure, there will be those who will throw him into a multitude of scenarios on the simplicity of his name fitting the bill – but the experience his music offers, both in unequivocal maturity and universality, just goes to show further how his imperfections and personality will set him out from his counterparts. Tonight felt like some sort of exorcism and, hopefully, an enlightening encapsulation of all of that essential experience Derwin has gained.