LOU Reed Drones sometimes sounded like the guttural roar of a spinning star about to go supernova, occasionally like the cryptic chanting of monks, at times they resembled whistling of a sandstorms, and on occasion it was just buzzing guitar feedback.

Based around Lou Reed's fourth record, the often derided but unquestionably influential Metal Machine Music, the piece featured five of the late singer songwriter's guitars sitting in an open horseshoe of amps in a feedback loop.

Walking and tending the equipment was his former guitar tech Stewart Hurwood, moving between the gear as a silent curator making minor tweaks to allow the modulation of the strings to rise and fall.

Sitting cross-legged on the floor of the chapel you found yourself utterly immersed in a rising and falling soundscape, with the tolling drones almost being hypnotic in nature.

Melodies and symphonies sometimes breakout in the wave of noise which is at times beautiful siren-song and at times ugly as the guitars scream and growl.

Each person who stepped through the door of St Mark's Chapel into the darkened chamber which housed the drones can probably tell a different tale of what they experienced.

Music distilled to noise, the result was both fascinating and awe-inspiring. Lou would have loved it.