October 2016 – upcoming London gigs – Mr Bowler’s ‘Music to be Murdered By’ at Crazy Coqs (30th-31st)

27 Oct

Here’s something for a London Halloween. In all honesty, I’m not sure what it is yet. I’ll try to work it out as we go along.

Mr Bowler's 'Music to be Murdered by', 30th-31st October 2016Mr Bowler presents:
‘Music To Be Murdered By’
The Crazy Coqs @ Brasserie Zedel, 20 Sherwood Street, Soho, London, W1F 7ED, England
Sunday 30th & Monday 31st October 2016 (4.00pm & 7.00pm Sunday, 7.00pm Monday)

Multi-media music and dance team Mr Bowler are bringing a “sexy, slick, seductive and thought-provoking” show to the Zedel’s glamorous Art Deco basement just off Piccadilly Circus, promising their audience “a treat for both their ears and eyes” and “a thirst for comedic murderous thoughts”.

I do know that this is not the first time that they’ve done this and gotten away with it.

Alfred Hitchcock's 'Music To Be Murdered By'I know that it involves “lights out”. I know that it’s named after a macabre easy-listening album which Alfred Hitchcock put out towards the end of the ’50s, and that Mr Bowler somehow dug up the old Master of Suspense to narrate the show (more likely via the edit suite than the ouija board).

I know that ‘Music To Be Murdered By’ is intensely choreographed, working around a close-to-the-bone male/female dynamic and reversal of power; that the score is “classical” and the mood “seductive”. I also know that there are original songs written and performed by DriscAL, the dark-cabaret/slashing-rock crossover duo of James O’Driscoll and Alexia Leontiou-McAvoy (whose ‘People Conversation Occupation’ album sounds like a little like Shirley Bassey marshalling The Cramps into grand kitchen-sink drama, and who might be tugging the show towards its apparent flipside, ‘Music To Be Haunted By’).

Within Bowlerdom, Alexia doubles as Mrs Boa (or Mrs Bower), who might be the troupe’s dark mascot, their frontwoman or possibly their dominatrix. To be honest, this is where things get a little murky.

Other than what’s above, I know nothing.

Let’s face it, I don’t know what’s in there. I’m out of clues. We’re going down into that cellar blind.

Well, there’s one more thing. Here’s a lengthy snippet of the Bowlered hordes in action. That will give us some idea of their aesthetic… or when and how they’re going to strike.


October/November 2016 – upcoming gigs – Pierre Bensusan’s autumn tour of Britain and Ireland (30th October to 20th November)

26 Oct

Pretty much a year to the day since his last appearance in London, French-Algerian acoustic guitar master Pierre Bensusan is returning to town this Sunday for the start of a British and Irish tour. The tour will be taking in a delightfully broad sweep of venues both grand and humble, rowdy and formal, from pubs and multi-utility community rooms to concert halls. Most of them will have little in common at the start of the show. By the end, they’ll all be sharing the particular warmth which Pierre brings to his expansively intimate music and performances.

World music’s an often-abused term, especially when you can see crude joins within it. Yesterday’s exotic-record discovery shopped and slopped onto whichever beats selling; or the sound of one particular city’s overbearing acquisitiveness, engulfing and pickling the music of its immigrants rather than fostering it. Pierre’s music is an example of how you can revitalise and justify the term. I’ve spoken before about the French-Algerian-Sephardic background which gave him a head start as regards polycultural vision, but perhaps what he actually embodies is the mixed grain of musical acceptance: the travelling tunes and the more intangible freight of cultures soaking and blending into his playing without strain. Neither jazz nor folk nor Spanish classical, neither rai nor chaabi, nor flamenco (old or new), it nonetheless contains all of these – a translucent, fully-realised and seamless chamber-acoustic melange, played softly and without affectation.


Full tour dates below:


October 2016 – upcoming gigs – a busy Saturday (29th) – Vels Trio + Adam Betts + Sneaky at Jazz Market (London); Lucid Brain Integrative Project + PREHISTO’ZIK + Georgina Brett at Tuesdays Post (London); The Travelling Band + A. Dyjecinski + Arch Garrison + The Great Western Tears via Tigmus in Oxford

25 Oct

Well… another busy Saturday if you’re in London or the Home Counties. Sorry – despite the past weekend’s splurge on Bristol, I need to pick up on more of my coverage of events outside of the south-east. In the meantime, though, there’s these…

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Jazz Market, 29th October 2016Chaos Theory Promotions presents:
Jazz Market: Vels Trio + Adam Betts + Sneaky
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Saturday 29th October 2016, 7.30pm

“We’ve got some stunning gigs coming up for all tastes, and this one is no exception. The Jazz Market at New River Studios features world-class musicians bringing us their brands of electronica, math rock, jazz, hip hop, fusion and serious grooves.

“After we saw the three young experimental jazz musicians of Vels Trio playing with Mouse On The Keys and Luo for Small Pond, we knew we needed more. Born out of collective obsession, emotion and improvisation, Vels Trio sculpt contagiously frenetic composition, channelling ingrained deep grooves, progressive soundscapes and contemporary hip hop productions. A band to challenge the psyche of jazz lovers and curious, broadminded and savvy music lovers.

Adam Betts is the drummer behind phenomenal math rock pioneers, (and Brian Eno’s favourite experimentalists) Three Trapped Tigers. Watch Adam flawlessly play intricate beats to perfection, while triggering his pre-programmed instruments live via Ableton: his appropriately titled album ‘Colossal Squid’, recorded in one live take, is out at the end of November, with a single out in October.

Sneaky (an extraordinary upright bassist who plays a gorgeous instrument designed by Mo Clifton, who also designed one for Lamb bassist Jon Thorne), was classically trained on double bass and cello and completed a music degree before getting involved with Manchester’s club scene alongside musicians like James Ford of Simian Mobile Disco, Mr Scruff, Andy Votel and Mark Rae. After moving in with DJ, turntablist and beatsmith Peter Parker, various jam sessions led to them forming the unlikely band Fingathing, playing with beats, basslines and electronics to make ultimately danceable music.

“After seven years of worldwide touring, three albums, several singles and EPs released through Grand Central and Ninja Tune records, Sneaky moved to Berlin in 2007 to further his musical inspiration and has been making his solo mark ever since… ‘Feel Like A King…Pluck A String’ was released in 2009 on the Big Chill Label and follow up ‘Feel Like A Remix’ in 2010. Whether you’re after impeccable playing or a headnoddingly groovy beat, Sneaky and accompanying drummer Gianpaolo Camplese will deliver.”


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Tuesdays Post, 29th October 2016

Tuesdays Post present:
Tuesdays Post: Lucid Brain Integrative Project + PREHISTO’ZIK + Georgina Brett
The Muse Gallery, 269 Portobello Rd, Ladbroke Grove, London, W11 1LR, England
Saturday 29th October 2016, 7:30pm

“Emmanuel Reveneau is a French artist involved in music, video and theatre, whose work is deeply informed by self-organization theories, situationism and irony. As The Lucid Brain Integrative Project, he currently uses self-designed looping software, Noundo, to improvise wacky atonal groovy soundscapes influenced by free jazz and and the Canterbury scene. Emmanuel headlined at the Y2K International Live Looping Festival (Santa Cruz, California) in 2014 and curates loop festivals in France since 2013, notably the Loop Jubilee series.

“Before being a clarinetist, Nelly Meunier was an archaeologist: ever since, she has been searching for links between past and present. She currently plays with the collective Orkestronika and the circus company Tewhoola (amongst others) as well as developing her solo project PREHISTO’ZIK, in which she makes her own instruments (based on actual archaeological and ethnological knowledge) and loops them with a RC505 to create ancestral landscapes. As she puts it: ‘In music sets of PREHISTO’ZIK, I try to create an anachronistic mixture: one side is the looper, modern ethnocentric equipment of occidental culture, and the other side the timeless and universal sounds of materials like clay, wood, stone, bone.’

Georgina Brett’s music is created using her voice and effects pedals, creating instant choirs of sound, often in an hypnotic style. Georgina’s music adheres to some avant-garde principles, using harmonious parameters instead of the more dissonant style of its post WWII exponents. Georgina’s music is also gradually becoming a great vehicle for more experimental work, delving into expressive work which plays with the rich world of the media, politics and history using matrices, semiotics and phonetics. Her latest release, ‘The Eclipse Collaborations’, is an album featuring sixteen collaborative pieces: Georgina’s work also features in the recent movie ‘The Killings of Tony Blair’.”

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Finally, various Tigmus-affiliated artists (on tour or fancying a one-off) coalesce in Oxford for an evening of latterday folk directions.

Travelling Band @ The Bullingdon, Oxford, 29th October 2016

Tigmus presents:
The Travelling Band + A. Dyjecinski + Arch Garrison + The Great Western Tears
The Bullingdon, 162 Cowley Road, Oxford, OX4 1UE, England
Saturday 29th October 2016, 7.00pm

Manchester indie-folkers The Travelling Band are on an eighteen-date tour to celebrate ten years of existence and to map out future directions following the departure of founding guitarist Steve Mullen. The band have spent much of 2016 touring as support act and backing band to American country-rock singer Lissie.

The band’s main guest here (as on all current tour dates) is London-based Canadian A. Dyjecinski, frontman for garage-rockers Dracula Legs and current purveyor of gnarly backwoods alt.Americana: his debut solo album ‘The Valley Of Yessiree’ is out on The Travelling Band’s own label Sideways Saloon.

A gentler Anglo-psychedelic approach is offered by Arch Garrison, the compact song vehicle of North Sea Radio Orchestra‘s Craig Fortnam, who’s been singing nylon-string guitar songs about lost people, childhood and chalkhill psychogeography for two albums now. Usually accompanied by the knowing baroque-modern keyboard stylings of James Larcombe, on this occasion Craig’s playing solo and acoustic.

The opening slot on the show is taken by Oxford acoustic-country duo The Great Western Tears, augmented by pedal steel player Kurt Hamilton and backup harmoniser Fern Thornton. Expect an authentic dip into American roots music and the Ameripolitan ethos (or as authentic as you can get in Oxfordshire), citing Steve Earle, Willie Nelson, old time country tunes and late ’60s West Coast acoustica as its inspiration.


October/November 2016 – upcoming gigs – a European tour for dEUS-affiliated TaxiWars jazz band (25th October to 14th November) with support slots by fellow dEUS-ers Rudy Trouvé and Mauro Pawlowski plus Olivier Lamblin’s Red project, Tape Cuts Tape, Gianluca Petrella and the Sylvie Courvoisier Trio

23 Oct

This coming week, dEUS singer Tom Barman and saxophonist Robin Verheyen launch a European tour for their art-rock/narrative-tinged jazz band TaxiWars, taking in the Netherlands, England, France, Germany, Austria and Belgium.

Completed by two of Robin’s fellow New York-based Belgian jazzmen (double bass player Nicolas Thys and rising drummer Antoine Pierre) and partially inspired by Tom’s tendency to immerse himself in old Blue Note and Impulse label records when on dEUS downtime, TaxiWars have a motile smooth/gruff sound. They focus on structures, scenes and subleties rather than solos; taking sparks and smoulders from Charles Mingus, Art Blakey, Max Roach, Pharoah Sanders and Artie Shepp (while, on the pop side, padding after the demi-monde restlessness of Morphine and Prince). The band’s second album, ‘Fever’, came out earlier this month.


Here’s a full TaxiWars set from last year:


For most of the dates the band seem to be playing alone (in jazz-friendly mid-to-late night sets), but some of the gigs feature guest performers in support slots. What’s happening at their two English shows remains a bit of a mystery, even a handful of days beforehand. For the tour debut in Lille, they’re supported by Red, the lo-fi Franco-Americana project by genre-restless experimental musician Olivier Lambin, featuring what he refers to variously and obscurely as “unprivate blues” containing ingredients like “hack analog electro, wooden guitar, the noises of planets and stars.” (On record, much of it sounds like home recordings interpenetrated by eerie and slightly disturbing sonic moods, offsetting the gentleness of the singing with a disreputable, disassociative air. I’ve no idea how he’ll work that kind of grubby magic live…)

Back in Belgium, TaxiWars’ show at Evergem will also feature solo sets from two of Tom Barman’s dEUS colleagues – the band’s early-‘90s guitarist Rudy Trouvé and its current-but-soon to-depart guitarist (and Evil Superstars frontman) Mauro Pawlowski. Rudy promises “an intimate set interrupted by animation… something between classic singer-songwriter action and a ‘70s evening with slides”, while Mauro isn’t promising anything in particular besides “new and old work in a crisp, casual and funny way”. However, the two men (both promiscuously-collaborating Belgian art-music veterans who’ve played together extensively in both Love Substitutes and Kiss My Jazz) are holding out the prospect of a collaborative duet – perhaps in the line of their duet set in Oude Beurs at the start of the month. Tasters from both Rudy and Mauro are below.

Rudy will reappear for three of TaxiWars’ four appearances at Belgium’s multi-town, multi-venue Autumn Falls festival, in which he’s playing support again as part of regular improvising trio Tape Cuts Tape. A collaboration with Lynn Cassiers and Eric Thielemans, they’re now onto their third record of kosmiche-and-dub-inspired drone-grooves, re-wrangled baroque chamber influences, spacious experimental sound-stagings and unexpectedly tender tunefulness.

The first of the Autumn Falls shows (in Brussels) also sees TaxiWars sharing the bill with some serious jazz talent. There’ll be a set from the award-winning young Italian jazz trombonist Gianluca Petrella – since he’s playing solo, expect a set with copious loops, processing and effects. There’ll also be one by Swiss-born/Brooklyn-based pianist, composer and improviser Sylvie Courvoisier, featuring her trio with drummer Kenny Wollesen and bass player Drew Gress (a lineup which, in addition to Sylvie’s prolific work as a leader or co-leader, encompasses work with Sonny Stitt, John Zorn, Cab Calloway, Tim Berne, Jack DeJohnette, Tom Waits, Norah Jones, Bill Frisell and Ellery Eskelin).


October/November 2016 – upcoming gigs – a European tour for string trio improvisers In The Sea (25th October to 23rd November)

21 Oct

From late October to late November, improvising string trio In The Sea are out on a European tour taking in the Netherlands, England, Scotland, France, Switzerland, Italy and Austria.

Comprising three French-Canadian musicians – veteran cellist and singer/ranter Tristan Honsinger, double bass player Nicolas Caloia and violinist Joshua Zubot – their music’s a raucous and brainy mashing and grinding of box-battering extended classical techniques, transmigrated hot jazz swing, jaunty folk dances and texts declaimed in conversational squawks. It’s full of both swarming bow torture and tunefulness, continually flickering over the line between impetuous noise and structured, harmonious discipline: something fostered and nurtured by the enthusiastic understanding running between all three players.

Information on the tour dates is variable (some of it’s only up in sketchy details right now) but here’s what I have at time of posting:

  • Oorsprong @ Plantagedok, Dokzaal, Plantage Doklaan 8-12, 1018 CM Amsterdam, Netherlands, Monday 24th October 2016, 7.00pm
  • The Horse Improv Club @ IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England, Tuesday 25th October 2016, 8.00pm (with Adam Bohman/Adrian Northover/Hutch Demouilpied/Sue Lynch)information
  • Safehouse @ The Verdict, 159 Edward Street, Brighton, BN2 0JB, England, Wednesday 26th October 2016, 8.00pm (with Gus Garside/James Parsons + The Wildcard Quartet)– information here and here
  • Xposed Club @ Francis Close Hall, University of Gloucestershire, Swindon Road, Cheltenham, GL50 4AZ, England, Friday 28th October 2016, 8.00pm (with Mike Adcock & Pete Robson)information
  • The Old Hairdressers, 23 Renfield Lane, Glasgow, G2 6PH, Scotland, Saturday 29th October 2016, 8.00pm (with Bravest Boat + Richard Youngs)information
  • Sproggits @ Wharf Chambers, 23-25 Wharf Street, Leeds, LS2 7EQ, England, Monday 31st October 2016, 8.00pm
  • Fizzle @ The Lamp Tavern, Barford Street, Birmingham, B5 6AH, England, Tuesday 1st November 2016, 7.30pm
  • Terminus, 7 Avenue Gare, 57200 Sarreguemines, France, Thursday 3rd November 2016
  • Off-Bar, Offenburgerstrasse 59, Basel 4057, Switzerland, Friday 4th November 2016
  • Jazzatelier Ulrichsberg, Badergasse 2, 4161 Ulrichsberg, Austria, Saturday 5th November 2016, 8.00pm
  • Misterioso Jazz Club @ Das Institut, Elisabethenstrasse 14a, 3. Stock, 8004 Zürich, Switzerland, Tuesday 8th November 2016, 8.00pm
  • La Nef, Rue Saint-Hubert 17, 2340 Le Noirmont, Switzerland, Thursday 10th November 2016
  • Cafè des Arts di Coucourda Luca, Via Principe Amedeo 33, 10123 Torino, Italy, Saturday 12th November 2016
  • Machito, Via Argentero 4/G Torino (piazza nizza), Torino, Italy, Sunday 13th November 2016
  • Musique Rayonnante @ Centro di Ricerca Musicale @ Angelica, Via San Vitale 63-67,40125 Bologna, Italy, Tuesday 15th November 2016, 8.30pm
  • Kulturforum Villach, Postgasse 6 9500 Villach, Austria, Thursday 17th November 2016
  • Hybrida, Tarcento, Italy, Friday 18th November 2016
  • Limmitationes @ Gasthaus Rudolf Pummer, 7561 Heiligenkreuz im Lafnitztal, Obere Hauptstraße 11, Lafnitztal, Austria, Saturday 19th November 2016, 7.00pm (with Trio 876 & Jean Demey)information
  • Fluc Praterstern 5, A-1020 Wien, Austria, Wednesday 23rd November 2016

There’s a little information about some of the support acts and bill sharers. In London and Brighton, there’ll be sets by what are effectively the house improv bands. At the Horse Improv Club, it’ll be the free array of Adam Bohman (amplified objects), Adrian Northover (sax/electronics), Hutch Demouilpied (trumpet/flute) and Sue Lynch (tenor sax/clarinet). At Safehouse, it’ll be the duo of Gus Garside (double bass and electronics) and drummer/percussionist James Parsons: there’ll also be a performance by The Wildcard Quartet, Safehouse’s usual four-piece of randomly selected names from the Brighton improv community. (For two Wildcard examples, see the murky video clip I’ve trawled up below, plus the rather more viewable one under that…)

At Cheltenham’s Xposed Club, In the Sea will be supported by the piano duo of Mike Adcock and Pete Robson. In Glasgow, they’re part of a three-act show – the other two acts being Glaswegian-Bradfordian exploratory collective Bravest Boat (longstanding guitar duo Stevie Jones and Jer Reid, plus viola player/singer Aby Vulliamy, trombonist George Murray and violinist Rafe Fitzpatrick) and the quixotic, master-of fuzzy-genre voyager Richard Youngs (whose list of collaborators and fellow-sparkers stretches from Jandek to Skullflower and Acid Mothers Temple, and whose work frequently features soft songs with avant-garde interruptions).

Later on in the tour – in the Austrian town of Lafnitztal, close to the Hungarian border – In The Sea will be playing on a bill with the “close, loose” trans-European Trio 876 (featuring Italian avant-jazz percussionist Marcello Magliocchi, Belgian total-voice artist Jean-Michel van Schouwburg and Swiss violin master Matthias Boss). For the latter, expect a quick, febrile and knowing shuffle of everything from structured tunes, mouth sputters, blind charges, yodelling, singing and elements from both “logic and fantasy”: in other words, a full gamut. Belgian double bassist Jean Demey will be guesting, rendering the trio a full quartet for this particular evening – but for original trio action, see below.


October 2016 – upcoming gigs – this weekend’s Wakizashi music festival in Bristol – two days of underground allsorts (22nd, 23rd)

19 Oct

Wakizashi Festival, Bristol, 22nd & 23rd October 2016There may still be tickets left for the “glut of experimental and cross-genre artists” descending on Bristol this weekend for the two-day, twenty-band Wakizashi music festival.

The shared brainchild of two Bristolian gig engines – PROBO Titans (who incubate and deliver bi-monthly rock, pop and experimental gigs) and Harry “Iceman” Furniss (restless jazz cornetter and leading fringeman within the Avon jazz underground), Wakizashi offers an exciting, intimate and intelligent spill of psychedelia, noise, post-punk, math rock, jazz strains, electronica and much more.

PROBO Titans & Harry Iceman Furniss present:
Wakizashi Festival:
– Get The Blessing + Hysterical Injury + Twin + Iyabe + Iceman Furniss Quartet + Human Bones + Charivari + Luui + Saltings (Saturday)
– Knifeworld + Edward Penfold + Evil Usses + Milon + Halftone + Drone Soul + Rafael Dornelles Trio + Uther Modes + Perverts (Sunday)
The Old Malt House, Little Ann Street, Bristol, BS2 9EB, England
Saturday 22nd & Sunday 23rd October 2016 – starts 1.00pm, Saturday
– information here and here

Harry Furniss makes the most of his own involvement by appearing with his Iceman Furniss Quartet. His flowing cornet leads punk-art jazz moves over dogged springy bass rhythms and shuddering No Wave electric-curtain guitar (care of Danny Le Guilcher from Dynamite Pussy Club, whose other career as a printmaker seems to have literally rubbed off on his playing).

Further jazz directions are provided by Saturday’s headliners Get The Blessing (founded sixteen years ago over a mutual appreciation of Ornette Coleman,) provide rumbling, doomy trip-hop-tinged jazz-rock. They boast a rhythm section of art-rock/trip-hop/drum & bass go-to-men Clive Deamer and Jim Barr (who between them have kept the pulse going for Portishead, Radiohead, Hawkwind, Peter Gabriel and Roni Size) plus saxophonist Jake McMurchie (of Michelson Morley) and trumpeter Pete Judge (Eyebrow and Three Cane Whale), with another Portisheader, Adrian Utley, sometimes guesting on guitar. Their music brings along some of the flash and flair of jazz pioneers, but also the sense of being trapped in a small room with a lumbering, powerful inscrutable beast – with an equal chance of being either impressed or squashed.


Post-punk bass/drums/voice duo Hysterical Injury have a toe in the improv scene and a touch of folk. Their recent press tagging as some kind of “better version of Savages” belies the hovering thoughtfulness and the gentle dignity in their music beyond the softly roiling industrial bass textures. Singing bassist Annie Gardiner has a way with the writing and delivery of a surreal, conceptually suggestive lyric which baffles and entrances.

There’s something similarly compelling about the voice of Sophie Dawes, who sings for Iyabe further down the bill. As it was with missing-in-action Delicate AWOL singer Caroline Ross, Annie and Sophie’s voices and words are clear, weightless and elusive – keeping you listening while you try to figure out the messages and hidden narratives floating past in slow streams of isolated moment and fleeting detail.

Regarding Iyabe – considering that they’re a five-piece, they sound remarkably skeletal. Soft pings, drum clicks, bass shadows. At their most expansive, they’re a pencil-sketch ghost of Seefeel’s dub-rock dreaminess: other tracks are a hypnotic rain-drip of slowly growing consciousness. Recent moves towards alliances with remixers, further fleshing out the band’s sound, may point the way forward: but, as with Hysterical Injury, there’s already plenty in place.

Two more of Saturday’s bands provide further dispatches from rock’s dissolving, dreamier side. The mystery brainchild of Christelle Atenstaedt, Twin’s drawn-out one-woman Gothpop offers a wealth of detail in its hypnotic overlaid folk drones and its reverberant, tangled-roots guitar chug, which seems to reference both Cranes and Sandy Denny. With electric cello adding occasional extra texture to a droning, crashing armoury of blood-stained guitar fuzz, Bath-based post-rockers Charivari have a sombre lysergic depth; plus a repertoire of zurna-like Mediterranean melodies to add to their gloaming-murmurs, their evenstar twinkles and their post-Mogwai cascades of noise.


Begun as a solo project by Andrew Cooke (inspired by ancient ghost stories and the concept of the English eerie), Saltings has evolved into a three-piece drone collective. Andrew (plus string players Liz Muir and Caitlin Callahan) gradually unveil an occult soundtrack full of marine and maritime references, maybe as much inspired by Andrew’s origins in the port of Dublin as by the current trio’s Bristol harbouring. Sampler-moulded sounds (noise-grates, hull-knocks, whistles, water-throbs and motors) are enfolded with double bass and cello parts – whispered, minimal elegies for the undetermined; or baleful shadings; or queasy, discombobulated, John Adams-styled loops both shaken and slurred.


The sole hip hop representative on the bill, Luui, rolls out complex, constantly unfolding raps over seductively silky, time-flexed instrumental samples: slurred, narcotic Rhodes piano doodles, bits of glowing solo jazz guitar smeared into something blunted and sinister. Arced out in short, enveloping doses – most of his tracks are over and done in a couple of minutes – it’s both intimate and claustrophobic: a growing autumnal darkness, a slowly moiling confusion.

As Luui harmonises with himself (in subtle dischords), his flow folds over and over onto itself like piling lava, journeying from memories of childhood cheeriness into an increasing broody adult disaffection, shot with regrets, spiked with quick vicious jabs of obscenities and flashes of temper. As with the best, most unsettling confessional rap, you get a crooked window onto Luui’s unresolved world, see him wrestle with his conscience and his instincts and, though you see a little too much of him for comfort, for a while you’re matching breath with him too.

Initially known for upbeat Lou Reed drawls larded with guitar fuzz, Human Bones now seem to be moving towards a languorous cardboard-box take on Americana. Multi-instrumental looper Steve Strong, meanwhile, has set himself up as a one-man trip hop/math rock band, in which much of the emphasis seeming to be on the drum rhythm. See below for his Godspeedian live take on a grim, violent found story of road anarchy, in which his hopeful, orderly and dreamy guitar introduction gives way (under the growing brutality of the tale on tape) to the controlled heat of a drum beat through which he seems to be trying to slough off the increasing horror.


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It’s an odd festival indeed in which Knifeworld (Sunday’s headliners) are virtually the straightest act on the bill. That this is the case says plenty about Wakizashi, but it also says something about where Knifeworld are at the moment. Currently cruising on self-created, sunny psychedelic uplands, the London octet are enjoying a period of relative bliss and (for now) a more familial creative approach, as Kavus Torabi starts to share more of the writing with the crew of expert instrumental heads who make up his band. But if Knifeworld are the closest that the festival comes to pop, it’s still a zestfully spiked pop – brazen and crenellated, filled with monkey panache, their tunes still running exuberantly out of the ears with loopy spirals of melody and unexpected double-backs. If Henry Cow had woken up one morning and decided to steal a march on The Flaming Lips, they couldn’t have done much better than this.


More lysergic hints string through the day via the sleepy, lo-fi acidic pop of Edward Penfold, whose songs and instrumentals halo the everyday with a softly vibrating warmth. Sometimes they hint at a might-have-been Syd Barrett; one who ducked the madness and fled away to a healing West Coast hideaway, sending missives back to Cambridge in a rested, sprawling hand; faint blue ink on pale blue paper. On the other side of the coin are The Evil Usses – a deconstructive, fiercely humorous No Wave jazz-rock quartet, who share some of Knifeworld’s brassy exuberance but take it over the escarpment and down into a stomping, seven-league-booted Beefheart country.

As with Saturday, two fringe full-jazz groups will be taking the stage. Led by saxophonist Dino Christodoulou, Milon are a mostly acoustic quartet, edging into something more speaker-warping via Neil Smith’s electric guitar and Pasquale Votino’s judiciously over-amplified double bass: Eager Legs sounds like Charles Mingus being pursued down a stuck groove by a bounding ball of Sharrock/McLaughlin electric guitar grit, with Dino keeping one hand on the wheel by some riffling, ruffling Coltrane-ish sax lines. While the Rafael Dornelles Trio might have Brazilian roots, don’t expect samba or even Tropicália: electric guitar, bass and drums are aiming for somewhere far more heatedly lyrical and direct. Tunes like Slave’s Escape and Indigenous Mass grab you straight from the title and power off in muscular, quick-sprung directions, with a fierce and formidable vigour (plus a buccaneering hint of the knife).

Saltings’ double bass player Caitlin Callahan returns as one-quarter of part-improvising, part-compositional, female quartet Halftone, alongside two similarly-inclined Bristolians (violinist Yvonna Magda, flautist Tina Hitchens) and a London ally (cellist Hannah Marshall). Formed earlier this year, the foursome play an unsettling, absently beautiful post-classical music evoking wind in the trees, unresolved conversations and difficulties around corners.

Drone Soul boast about their “sheer bleak nihilism” and stake a claim to the abrasive post-punk heritage of The Pop Group. At least part of that’s true – the post-punk bit, anyway – but I’d bat away the nihilistic posturings. This music might be on the dark and cavernous side, but it’s illuminated with a vivid energy which belies the band’s collective grizzliness. If they’re bringing you news of falling buildings or collapsing people, they’re doing it with an exuberant dark snarl. Think of Iggy Pop in-yer-face, think Suicide’s assault-by-sine-wave; and also give a little credit to a lost Bristol band, Lupine Howl, whose gonzo millenial motorik finds a fresh echo here.

Rhodri Karim – the Welsh-Arabian heart of Uther Modes – used to be a mournful pop scientist, making his name with sepulchural computer-pop songs which bobbed gently at the juncture of philosophy, physics and bedsit soul. More recently he’s swapped this for a new kind of songcraft, strapping up a bass guitar and pulling in other musicians. Now he reels out shifting part-sombre part-jazzy mutters, winding slate-grey but sensual vocals around echoing guitar curlicues; like a fresh breed of post-rock which refuses to stagnate and instead flexes its muscles and goes haring around the park.


While he can sometimes be found paddling around in the warm, shallow pools of downtempo electronica, Traces will shake the drips off his feet once he’s warmed up enough. His studio recordings are fine, but it’s his live improvisations that show him at full strength. They’re heart-warmingly intimate and cheery stretches of pick-you-up synthery – like an enthusiastic half-drunken 2am conversation between Max Tundra and Guy Sigsworth, following which they track down Jean-Michel Jarre, drag him away from his pyramids and lasers and force him back into a kitchen full of analogue keyboards. From tabletop synth noodles to Pong blip and cheekily squirting techno, a cunning wonkiness prevails without diminishing the music’s straightforward ambition. Traces sometimes labels it “devotional”, and I’m not entirely sure that he’s joking.

Finally, there’s the fall-apart electronic gagpunk of Perverts, with their squalling songs about angry muppets and guilty onanists; their one-finger clickstab of synth drums; their beady-eyed sampler-shreddings of lachrymose film music. I guess that they’re there to remind musicians and punters alike not to take it all too seriously. It’s just that they’re staring me out a little too intently. On record, at least, Perverts deliver their spoofs and squibs with a crazed and chilly eye: a brattier Residents with a crappier laptop; a young digital Punch waiting to knock everything down.


October 2016 – upcoming London gigs – Her Name Is Calla’s T.E. Morris and Weikie (plus Raf & O) play solo sets at Whispers & Hurricanes (22nd)

18 Oct

Whispers & Hurricanes, 22nd October 2016There’s a little time to mention this weekend’s Whispers & Hurricane’s neo-folk/experimental pop gig in north London. Straight cut’n’paste from Chaos Theory below, plus the usual clips and videos.

Chaos Theory Promotions presents:
Whispers & Hurricanes: T E Morris (final ever UK show) + Raf & O + Weikie
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Saturday 22nd October 2016, 7.30pm

“This edition of Whispers & Hurricanes is a very special one indeed, as T.E. Morris joins us at for his last ever UK solo show, and simultaneously/belatedly launches his fourth and final full-length solo album ‘Newfoundland’. As the multi-instrumentalist, vocalist and songwriter behind critically acclaimed cult post-rock band Her Name Is Calla (with a career spanning well over a decade, extensive tours across Europe alongside such renowned acts as R.M. Hubbert and Willy Mason) he has more than twenty releases to his name, including soundtracks for film and novel, and television credits with Warp Films. Following ‘Newfoundland’ (out via Robot Needs Home Recordings) he’ll be turning his focus to new creative endeavours and future commitments with Her Name Is Calla.

“‘Newfoundland’ is a truly fitting release to mark this momentous juncture in T.E. Morris’ musical journey. Recorded at home in Leeds, and in Brno in the Czech Republic, Tom has enlisted the talents of several world class musicians to record this astoundingly beautiful album. A poignant, elegant, yet dark composer, it will be an honour to finally work with T.E. Morris and have him join us to celebrate his ultimate work.

Raf & O, a duo from south east London, have created a buzz with exciting performances of their unique detailed avant-pop, fusing electro/acoustic drums, vocals, synths and acoustic FX guitar. We’ve previously heard them perform music from their second album ‘Time Machine’ (which was in FACT Magazine’s top 10 albums of 2014), but now Raf & O are back after the release of split EP ‘Sonnet 62/ Ink’ with Grace Jones collaborator Robert Logan, and their third album ‘Portal’.

“Receiving wide critical acclaim (including praise by David Bowieʼs pianist Mike Garson for their unique interpretation of Bowie’s song Lady Grinning Soul and having performed at some grandiose venues including the Queen Elizabeth Hall, this is a chance to catch the duo in a more intimate setting.

“A colleague of T.E. Morris’ in Her Name Is Calla, Adam Weikert (a.k.a.Weikie) also performs powerful solo acoustic music, laden with foot stomping and heart tugging originals. Switching back and forth between banjo, piano and guitar the pace never slows, as he performs a comprehensive overview of the many facets of folk and its modern connotations. His poetry is steeped in Americana, but with an ear for modern songwriting and production techniques.

“We love his album ‘Murder Came Before The Word’, so are keen to see his live performance of his wonderful sounds.”



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