Peter Rehberg, Geneva Cave 12, 28 September 2016

Since I’m now based part of the time in Geneva, this blog, never frequently updated at the best of times, is becoming more sporadic than ever. There are a few decent venues in Geneva, but on the whole the live music scene is far quieter than it is in Vienna. For some reason there seem to be more concerts in the neighbouring cities of Lausanne and Vevey than there are in Geneva, even though they are both much smaller, which blows.

Anyway, since moving here in July I’ve only been to two concerts. The first of these was Cat Power, which I may get around to reviewing at some point (although I wouldn’t hold your breath). It was a great pleasure, though, to catch up with Peter Rehberg last week on the first date of a mini Swiss and French tour. The venue, Cave 12, seems to be the nearest equivalent to the Rhiz in Geneva, with an impressive roll-call of visitors from the avant rock, noise and experimental music scenes. Centrally located just a few minutes’ walk from the main station, staffed by friendly people and with a PA that has plenty of wallop, Cave12 gets the thumbs up from me.

The last time I saw Rehberg live was back in March at the Rhiz, when he opened for Consumer Electronics – a highly enjoyable evening which I never got around to reviewing for this blog. That evening was notable, among other things, for the fact that Pita had left his Macbook at home and was playing, for the first time I could remember, off some kind of modular synth setup called a Eurorack – an arrangement that he also brought to Geneva. Now I have only the barest understanding of what this means, but speaking as an audience member, the change is dramatic. Instead of staring impassively at a laptop screen, the performer focuses on a range of modules festooned with dials and differently coloured cables, making adjustments to them in real time. From a purely visual standpoint it makes for a far more satisfying experience, invoking as it does the boffin-scientist image that remains key to the iconography of electronic music.

As for the music, that too seemed to benefit from the change in the way it was delivered. Over the course of his 45-minute set, Rehberg generated a single, constantly changing piece that was more variegated and hard-hitting than any I’ve heard him play before. Making few concessions to audience members’ hearing (earplugs were available, although I demurred), Rehberg ramped up the noise levels with explosive shards of frequencies, while deep sub-bass drones threatened to crack the floor open. It could have been the power of suggestion, but I certainly felt that the modular setup brought a more organic, earthier and less clinical edge to proceedings. As Pita busied himself with the plethora of wires and dials in front of him, the music modulated from visceral sludge to moments of Kraftwerkian beauty and proto-Ambient shimmer. For the most part, though, the atmospheres conjured up were distinctly unheimlich, sounding like the despairing cries of some stricken, hydra-headed monster.

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