Dream Sequence: Karen Gwyer at OT301

A chunk of the OT301 crowd stands in front of the stage looking quite unsure if to dance, a few others stare meditatively at Karen Gwyer, who has just begun her set. The London based electronic experimentalist was part of this year's line-up for the Sonic Acts festival opening party, alongside other musically adventurous producers of late such as TCF, Vessel, Minor Science, M.E.S.H and trio Killing Sound. After a somewhat long warm up, Gwyer's music quickly builds up in density. Her long, house-flecked, fluid compositions exhort the audience to come forward and dance, and listeners are immersed in what turns out to be an overall hypnotic set. Karen Gwyer performing at OT301 during Sonic Acts. Photo by René Passet Across her output for labels No Pain In Pop and Opal Tapes, Gwyer has developed a distinctive sonic approach, honing her craft at producing expansive, wide-open pieces that are nonetheless rhythmic, and mix elements of house and techno. Gwyer's long-form, fluid productions sound all the more impressive when improvised in a live setting. Her deft drum programming drives the set from the start, while eluding the confines of regular patterns. Tracks flow into each other and expand organically, allowing sonic motifs to seep in and take shape before they progressively evaporate. The result is an immersive soundscape that envelopes listeners until the set closes, in slow-motion, the music dissipating into gradual decay.