The only introduction I have had to analogue synthesiser music is a friend I made years ago, who tried to convince me Klaus Schulze was the most important composer of all time.  I was nervous that I would hate Electronic Abstractions, however I strangely enjoyed myself. The upstairs of Bar Open was filled with large analogue synths, LEDs flashing: the dreary room had turned into what looked like a budget sci-fi film set.

The first group, Williams and Hayes had a great undulating rhythm through wades of squeals and howls. For the most part it sounded like an intergalactic motorcycle race.  Despite a few nice subtle hooks, the squealing noise became a little obnoxious and unenjoyable.

To follow was VICMOD Ensemble, a Melbourne based collective of synth lovers. The set started with what one may call a three-man battle with incorrectly connecting to dial up Internet. It built slowly and tastefully to a point where it sounded like two aliens on opposite sides of a metallic corridor yelling at each other and then coming to a thunderous end.

Cray was next and was easily my favourite of the night. Starting with a bubbling and bleeping jungle sound, it sounded as if a giant beast was waking. Slowly adding layers and layers over this, the sound morphed into what I could closely describe as haunting classical music. I felt Cray had a method to his madness, and in method, I mean pop sensibilities and a desire for interesting melody.

Next was Cor Fuhler, a Dutch performer, who had an autoharp on one side of his electronics and a small radio on the other. In a creepy yet enjoyable way Fuhler wavered in and out of radio broadcasts and the autoharp chimed on through walls of electronic noise.

Last was the gloriously bearded Robin Fox, who played long wavering synth lines, which rose and fell slowly. It built in intensity like the inner soundtrack for a psychedelic deathtrip until reaching massive shudders of noise working as a beat. The noise was thick and moving, much like a strong motor backing off then coming on harder. This peaked at an almost inaudible bass purr that shook the room.

Electronic Abstractions may not have been the most comfy of performances, but it was certainly interesting. I was surprised to find myself constantly thinking of Electronic Abstractions and now I have a deep urge to play a vintage analogue synth.