Opening with an entrancing string profile, Nonsemble produced an enthralling performance for the launch of their Spaceship Earth EP. The band features a quartet fleshing out an absorbing post-rock twist to the delight of engrossed listeners. The tracks from this indie chamber ensemble ebbed and flowed through an engaging set, a little reminiscent of Mogwai with a healthy application of Cinematic Orchestra. The gig was at times intriguing and beautiful, with a rather tastefully instated selection of accompanying components to give some absorbing texture. The group boasted a surprisingly resourceful palette of rotating lead vocalists as well a talented (and freshly enlisted) pianist to underpin the performance, and firmly captured the attention and imagination of the crowd. The set was dominated by the string quartet, which packed an unexpectedly coherent punch and laid down a beguiling counterpoint to the accompanying Bass and Synth.

A big attention grabber of the show was a passionate exhibition from the rotation of the lead vocalist of Banana Claws, almost shaking with emotion while delivering a heart wrenching vocal piece. Nonsemble proclaim they are filling the void between the conservatoire and the underground, and aim to take on a variety of lofty subject matters in their new EP, as with their preceding repertoire. Playing at the Valley’s CUPO in a second-storey stage-less room with impeccable lighting and shiny floorboards, the vibe was somewhat un-underground but, reassuringly, far removed from the QPAC’s Concert Hall. Admittedly, the Mona Lisa-style lighting did indeed complement the experience.

The string quartet was most certainly proficient at soaring to lofty emotional heights, yet still the band as a whole made sure to take a wander through a decent swathe of emotional variety. The sound managed to remain relatable, more often than not drifting back down to earth to rustle up a tender soul-yearning vignette or temperamental jam. Diehard Bach fans might not have dug this either, but the sound didn’t shy away from a tasty beat or two to add further texture, and also employed a seemingly constant rotation of talented vocalists, keeping the audience attentive. The final performance was an epic rendition of a Sufjan Stevens cover, but soon proved to be more than the system was prepared for as the two mics were shared between all of the 6 vocalists.

Nonsemble’s elements mesh together in a surprising display of technical sound quality and confronting emotional beauty. If you have never see the splendour of a string quartet live before, I would have to recommend this act to ease new listeners into the pleasure of ensemble pieces. The crowd was hooked from start to finish, the chatter dying down to nothing as the music took hold, and the applause taking their time to dissipate. Based on a solid turnout and reaction, Nonsemble have already accrued an adoring fan base and it seems only likely for this to continue growing.

– Huon Kane and Coby Healey