Since his clamorously received EP, 'Kiss Me Kill Me', from the tail end of 2001, and the prestigious support slot with John Cale in Cardiff, Christopher Rees seems to have been rather quiet. Despite regular enquiries and the occasional show, his debut album has remained a rumour but tonight we find out what he's been up to. Surrounded by up to fifteen musicians, nestling anything from soprano sax, trumpet, string quartet and a 'massacred piano', it's evident that something different is about to happen.

The evening's first half will be Rees with Dave Stapleton, his business and writing partner in Red Eye Music, liberating their soundtrack compositions for fifteen short films and animations to be augmented by the players. Projected onto a huge stretched-out sheet behind the performers, the evening opens with a line-drawn animation called 'Incubus Succubus' by Virginia Head. Two lovers devour and nurture each other in consuming waves of an animal passion, which is liberally enhanced by a sensuous and undulating string quartet called 'Chorale'. Already, this two-night only event is delivering something highly intense.

The mood changes for the following short, a blunt exclamation of social disappointment from a former miner, before the next clip, 'Erosion', is illustrated through industrialised percussion. Tonight's compositions are as varied as the scope of their cinematic pairings and as each unfolds, the sensation of experiencing the live soundtrack brings the prospect of sensory overload ever closer.

Ross Woodfield's animation 'Alchemy', uses deformed, morphing shapes reminiscent of Tool videos and the free-form sax improvisation that supplements it reveals a similar mind.

Next up, sonorous, deep-felt blues guitar is proffered by Christopher Rees to the award winning animation 'In Periculum'. Eirik Kirkaune's film highlights the world's fascination with technology over nature at its peril, and fast on its heels, 'City Nights' by Gareth Blayney takes a hedonistic voyage though the urban underbelly with the dizzying, full-on jazz onslaught guiding you through every dive.

Owing a debt to Renger-Patzsch and the New Objectivity movement, Rosie Pedlow's 'Entrance' animates arrangements of cogs, screws and other metalware to the accompaniment of discordant avant-garde piano. Shortly, the first half of the show closes. The individual prowess of the various musicians involved with this inspired event is overwhelmingly high and credit needs to be paid to Red Eye Music for their singularly ambitious vision.

Part Two will be the domain of the Christopher Rees Band. Opening with 'Rut', there's no way this March evening will be going out like a lamb, having already arrived like a lion! 'Rut' courts momentarily with gentle voice before Rees' seven strong band add layer upon layer to forge a mighty crashing wave. Following on, 'Kiss Me Kill Me' has lost none of its impact, seeming even more vibrant tonight. Expressive tension balanced with emotional release are trademarks for Rees and his now completed debut album looks set to be incredible. He thinks big and his band follows suit although gentler songs like the glorious 'Until Love Comes Around Again' or 'Don't Let Your Heart Grow Cold' offer a compelling glimpse into a quieter soul but overall, impassioned, almost operatic intensity is the byword. This exceptional evening closes with 'Lobotomy', a song in need of manacles to keep it in the room. Brotherly advice in the lyric becomes some kind of a call to arms and ends with Rees beating the shit out of the 'massacred piano' with his belt. Phew...

At times like this, I'm left thinking why the fuck do I put up with all the mediocrity that boasts of thrills and excitement but always fades away with the dawn? This triumphant landmark event puts so much out there to shame. You should have been there.

(Photo: Chris McFall)