Oblation is a mesmerizing audiovisual performance created by Tamil-Australian Vijay Thillaimuthu, known by his moniker Xenosine. This electrifying production, running for only a few short days at The Substation in Newport, seamlessly fuses electronica with Sri Lankan and South Indian musical traditions, enveloping the audience in a hypnotic sensory experience. I attended the performance on March 5 (Wednesday night), and what I witnessed was a transcendent blend of music, visuals, and atmosphere that was nothing short of breathtaking.
Thillaimuthu’s mastery of audiovisual synchronization was on full display, with lasers and trippy visual projections meticulously tied to the soundscapes. The fog-laden venue enhanced the immersive quality, making it feel as though the audience had stepped into an alternate dimension of sound and light.
One of the standout elements of the performance was the laser show, which perfectly synced with the evolving electronic soundscape. The central setup, featuring an impressive array of electronic equipment, added a futuristic and ritualistic aspect to the performance. The use of a theremin, something I have never seen in person before, was an unexpected and delightful touch, adding an ethereal texture to the sonic landscape.
Supporting the performance was Hari Sivanesan’s Carnatic music ensemble, whose contributions brought a deep, organic contrast to the electronic elements. A special mention must be made of the lead male singer as well as the percussionist, who infused the performance with a raw, spiritual energy that elevated the entire experience.
The performance seemed to be structured in movements, though the transitions were fluid and almost dreamlike. Three distinct sections stood out:
- An opening sequence of meditative chants and deep drones, setting the stage for an otherworldly journey.
- A more experimental segment where complex soundscapes intertwined with the laser visuals, creating a synesthetic experience.
- A concluding phase that brought together a multitude of musical instruments, culminating in a rich, textured crescendo.
Visually, the show was just as compelling. Thillaimuthu, dressed in all black, cut a striking figure at the center of the setup, while the ensemble, dressed in pristine white, added an almost ritualistic aesthetic contrast. Above them, organic mandala-like patterns were projected onto cloth screens, reinforcing the cyclical and infinite themes of the performance.
Oblation evoked memories of my youth, when I was deeply immersed in the psychedelic trance scene, following artists like Shpongle and OTT. The intricate blend of sound and visuals in this performance carried that same exploratory, mind-expanding quality.
Oblation was more than just a concert—it was an immersive experience that transcended traditional performance boundaries. It conjured the infinite, weaving together past, present, and future in a sensory spectacle that left an indelible mark. Having never encountered Thillaimuthu’s work before, I will now be eagerly watching for his future projects.
Oblation is part of the Asia TOPA (Asia-Pacific Triennial of Performing Arts) festival.
Tickets can be purchased here:
https://thesubstation.org.au/program/oblation
Dates:
Tue 4 Mar 7:30 PM
Wed 5 Mar 7:30 PM
Thu 6 Mar 7:30 PM
Fri 7 Mar 7:30 PM
Sat 8 Mar 7:30 PM
