It was appropriate that Piano Circus should end their concert, the last in the British Music Information Centre's inaugural series at the Warehouse, with the work which inspired their formation 10 years ago: Steve Reich's seminal Six Pianos.

On digital instruments, Piano Circus emphasised the obsessive, funky rhythms of Reich's minimalist tour de force. But whether it was the fault of the amplification system or the touch-sensitivity of the keyboards, the subtle inventiveness of Reich's music was lost. The gradual build-up of rhythmic patterns, the technique that drives the piece, was obscured beneath a monotonous, cloudy din. Reich's waves of tension were replaced by a wall of sound.

However, this was a reading of Reich's masterwork that chimed with the groovy tenor of the rest of the programme. Most of the other pieces took after the high-velocity, high-volume percussiveness of Six Pianos. Huw Warren's Riot was a chaotic mélange of jazzy polyrhythms and pianistic bravura which incorporated sampled drums and percussion, while Nikki Yeoh conjured a convincing fugal riff in Six as 1. Kate Heath's Red was a brief but incandescent blast of colour.

But Geoffrey King-Gomez's Movements, a world premiere, showed a serious case of the post-minimalist, post-Stravinsky and pretty well post-everything blues. Based on Chopin and Tchaikovsky, and with references to baroque suites, neo-classical syncopation and jazz, this piece fiddled around with dissonance and finally fizzled out with the same bland energy with which it started.

Gomez's piece also suffered from a condition which afflicted much of the music: by writing for all six pianos nearly all of the time, he created textures which could have been achieved with greater precision by fewer instruments. But at least Peter Bengtson's Carillon made idiomatic use of Piano Circus's assembled electronica, employing an eerie microtonal tuning to suggest the inchoate pealings of battalions of bells.

Whatever the industrial sound and fury of Sarunas Nakas' Merz-machine, it was the simple, tonal charms of Max Richter's Nigeria-inspired Mazuzu Dream that seemed to reveal most cogently the special abilities of a six piano ensemble.