Scandinavian Church 19/2/16

Anticipation. Beauty and a sense of adventure. These thought run through the minds of spectators as they stroll through the doors of the Scandinavian Church for this show, the first-ever performance of OVVLS. The two-piece band formed at the tail end of last year, quickly asserting themselves with online posts that caused a pretty immediate buzz throughout Liverpool, dropping their atmospheric, brooding tracks on social media.

Their EP launch event is drawn together perfectly, each minor detail picked upon by our hosts. Visual artist GRAN TORINO provides projections that envelop the stage and audience alike with a majestic backdrop to accompany the dark undertones that lurk throughout this stunning venue. The combination of visuals, sounds, backdrop, ambience and venue is remarkable. Initial impressions are something to behold.

Dim and gruesome undertones vibrate through the wooden oak fixtures in the church as OVVLS take to the stage, two ominous silhouettes glaring out into the deepest, darkest depths of the old haunt. The gothic nature of the show is hitting all the right buttons as OVVLS loom through their set, looking almost curious as to what’s happening in their surroundings.

The band are poised in front of a giant stained-glass window, framed with a phenomenal arch that seems to heighten their stature as Grand Torino’s eccentric visual art plasters itself directly into the epicentre of the performance.

As the duo drop their most renowned track, Pain Is Beauty, the realisation of something greater at play comes to the fore. From working in a disused garage the group had converted, it’s evident that they draw inspiration from dark, untouched voids of the world that people wouldn’t dare disturb. Their musical experimentation demonstrates various concepts, rhythm and sonic tones. This is a fantastically mellow evening, arranged and executed by one of Liverpool’s most exciting and industrious acts.

Sam Banks

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