By David Hensley
Loom II was an invocation of sounds and frequencies theorized to fill the cosmic void, brought to the heart of one of the most culturally and historically richest areas in Austin. Thus, a temporary reality was created, as darkness and silence served as an initial canvas for their antitheses and the two most prominent elements of the typical human perception: light and sound.
The ambiance of the cosmic abyss radiated from the spacious chamber of a repurposed warehouse and into the re-developing streets. A series of light constructs fluctuated between existence and non-existence in idiosyncratic harmony with the varying tones and percussion that was created on stage by Austin’s homegrown world renowned creators, The Octopus Project.
Photo Credit: Amanda Winkles
During this psychedelic performance the audience melted into the canvas, each individual a silent silhouette against a lone neon-blue lit wall in the corner of the building opposite the entrance. Lured in by the extra-terrestrial tones of the theremin, they surrounded the band on all sides of the small square stage, sitting and laying as though gazing at the star covered void from the comfort of a concrete field.
Above the stage hung obsidian chandelier-esque ornaments, two diamonds and an inverted pyramid composed of dangling rectangles, the three of them forming points on an unseen line. They intensified the reach and spread of the piercing light that gracefully alternated between assorted colors.
Various lights draped the audience as a combination of cosmic sounds filled the concrete chamber, immersing the crowd in a seeming simulation of the unknown that surrounds our solar-system. It began with beams of ocean blue falling from the ceiling while beams of magenta rose from the stage, both of them intersecting as though conducted by the soft tones from the band. Gradually, red, orange, and yellow erupted from the back of the stage, bringing the essence of autumn, each shade carrying each other.
Photo Credit: Amanda Winkles
Teal, yellow, and blue suspended like drapery over the audience followed by the initiation of a light percussion. From within the crowd, the same art that was used to make this presentation was the very same light that was used to capture it by a variety of devices.
The hanging obsidian chandelier shortly entered a cycle of luminescence: blue, red, and green. Then red and green. Then Green. Purple began to erupt where red once was, gracing only the top rim. And then streams of pure uncolored light met from several different angles and directions.
These combinations of sound and light changed and morphed, one cycle evolving into another, until the end found itself on a final note and the crowd was left with the echoes of the temporarily reconstructed reality, upon which their minds were more a canvas than even the darkness and silence that permitted the sights and sounds of The Octopus Project.