As both excitement and myth continues to spread around the Invisible Wind Factory, Getintothis’ Joe Giess, gets the scoop from the second leg of the sensory feast.
On the desolate drive down the docks, there sits the Invisible Wind Factory. Invisible – it isn’t, but it’s most definitely unassuming. With most of the derelict buildings on this row are tumbling in on themselves, the door to the Wind Factory stands like an oubliette into a hangar of mystery.
The venue itself seems to retain an air of certain magnetism, a feeling lingering around the cavernous space, it could be remnants from last weeks curio sci-fi bedlam Energy Eternal: Omphalos or it could be just simply built on an Indian burial ground.
Art deco props sit around the building, like haunted trinkets from the former fun night of pseudo science and divinity. Tonight however, we see the team showcase the ability to combine the site for performance art and a venue for a concert space.
In amidst people aimlessly pottering about around the curios, a gentlemen takes to the stage, this man was Paddy Steer, the spangled sultan, who takes his place in amongst a clutter of synthesisers and glockenspiels, then proceeds to play his catchy cataclysmic pop.
“That was a song about road safety.”
Meagre words were spoken by the funk noise genie, who for duration of the set, sat twiddling his contraptions like a troubadour from court of Alejando Jodorwosky’s, Holy Mountain. Half way through, almost unsurprisingly, he dons a papier mâché hat with rutilant teeth carried, and carried on the ceaseless dance.
As the room starts to swell, Philip Jeck spins his disco, hip hop mash up jams to a heaving room. The room getting a vibe of a LGBT disco from the future, mermaids, geishas and drag queens flitting around the dance floor.
As the night ticks down, the darlings of Heavenly Recordings, Stealing Sheep, take to the stage, with pink beards and lycra, appearing like an effeminate ZZ Top, behind keyboards and tambourines. They reel through hits with harmonies; spacey big beat pop tunes from their sterling album, So Real.
Much anticipation has been building up to the second instalment from the former Kazimier team, with tonights main feast being billed as Dogshow Vs Omphalos; Dogshow, being a sonic spectacle that had its IWF premiere in the first breath of the 2015. This event being a a redux in collaboration meeting it’s latest art performance, Omphalos.
As the spotlight turns onto the numinous stage, guardians of the future are illuminated on the back wall like an Elysian choir. People swarm to the stage, half the audience captivated in an exhilarated fantods, and the other caterwauling in feverish excitement.
It carries on in all its theatrical splendour, Mayan and celestial beings chant at the feet of the harmonising sirens, all adorned in elegant outfits. A histrionic show carries on at the centre of the stage, with the accompanying music becoming reminiscent of a duet of Tim Hecker creating a piece for the angelic voices of The Dirty Projectors.
As the plumes of the smoke machines peter out to a cough, and the pagan futurists turn to the bar, the mischief and revelry only carries on towards the dawn with the heady tunes of the Rome DJ’s.
As you step out of the experience, it’s clear to see the beguiling creative collective have raised the bar, the majority of us are clueless to what’s going to come up next, but it’s guaranteed that something substantial, innovating and unprecedented is going to marvel us.
Photos by Getintothis’ John Johnson