March 2018 – upcoming London folk-plus gigs – MacGillivray, The Doomed Bird of Providence and Harpoon Group (20th March); India Electric Company (23rd March)

17 Mar

MacGillivray + The Doomed Bird of Providence + Harpoon Group, 20th March 2018

MacGillivray + The Doomed Bird of Providence + Harpoon Group
The Horse Hospital, The Colonnade, Bloomsbury, London, WC1N 1JD, England
Tuesday 20th March 2018, 8:00pm
– information here and here

For anyone who missed MacGillivray‘s performance at the Antigen evening in Ipswich last night, she’s headlining again in London on March 20th, formally launching ‘Watermarked in Flame’ (her latest mini-album of scarily reworked traditional folk songs via “sea-wrecked electrics and salt-luck vocals”). For anyone who missed my summary prior to the Antigen show, here it is again.

“When she’s out and about playing music, writing or committing performance art, Kirsten Norrie goes by her ancestral Scottish name MacGillivray, pulling her matrilineal Highland heritage over her head like a mask. With many wannabe artists, this kind of method ends up as no more than an affectation: people short on colour, scraping at the bottom of the pot of history in a vain attempt to garner the last scraps of savour. With Kirsten, it’s different: if it’s a mask, it’s the kind that renders everyday matters and habits transparent, allowing her to express deeper and stranger ideas and fancies fervently. What emerges is startling. MacGillivray it is, then.

“Discovering her is a little like being startled by a slow-motion jack-in-the-box: she’s already got eight albums behind her, a couple of soundtracks and poetry collections, and a collaborator roster which bags a list of left-field folk musicians of all strands and odd definitions, including The Fall (yes, folk, really), The Pogues’ Jem Finer, Dead Rat Orchestra, Trembling Bells and Current 93. Her performance art involves powerful weird rituals – furiously smoking cigars in Sigmund Freud’s garden; conflating mediaeval stocks and death metal; eating chandelier glass in an abandoned shopping centre; carrying a dead sheep on a pilgrimage. As a musician (both recorder and performer), she’s similarly unnerving: experimenting with loudness and quietness via folk drones, piano, savagely distorted electric autoharp and vocal wails, but refusing to hide behind them. Slender, still and intense, she rules a stage, dragging up distressed ghosts and the aftermath of harsh laws and bare beliefs. On this occasion, she’ll be performing tracks from her forthcoming mini-album, ‘Watermarked in Flame’.”

Since I wrote that, ‘Watermarked in Flame’ has surfaced on Bandcamp and revealed itself as a superb live document (akin in certain respects – technological approach, transformative preoccupations and feminist undercurrents – to Kerry Andrew’s similar reinventions as You Are Wolf), in a variety of voicings from softly accessible to eldritch croons and stifled screeches, all filigreed by sparse and singular piano, lap steel guitar, harmonium or electric autoharp (plus some electric guitar apparitions from Primal Scream’s Henry Olsen).

Support comes from The Doomed Bird Of Providence (replacing Mark O’Pilkington & Michael J. York’s Strange Attractor/Coil spinoff, Teleplasmiste) and from Dead Rat Orchestra’s Robin Alderton ( under his Harpoon Group alias.

The Doomed Bird Of Providence was initially the vehicle for the dark songs of Australian émigré Mark Kluzek, who lurched from memories of baked red soil and the bleakest of Aussie colonial Gothic in 2011 with ‘Will Ever Pray’: comically grim and overwrought, it was enough to make Nick Cave sound as cuddly as Burl Ives, and was a furrowed coffin-moan too far, even for me. A second album, ‘Blind Mouths Eat’, arrived in 2013, in which Mark honed and solidified his compulsion to tell stark, painful accounts of cruelties and injustices at the ruthless edge of Victorian Empire.

Following a relocation from London to Manchester, ‘Burrowed Into The Soft Sky’ arrived in September 2017, displaying a shift from songs into twenty-minutes instrumental narratives. Rather than using words, Mark currently bears harsh witness to Australian history via the sifting, blaring reeds of his accordion and a shifting band including percussionist Ian Hothersall, Current 93 violinist Joolie Wood, Extreme Noise Terror bassist Stafford Glover and SOUP/Croft’s Drew Barker; its folk-drone rattle and far-adrift traditional melodies creating a subtly nightmarish, primeval, post-Godspeed depiction of hot sun, hard deeds and fraying roots.

As Harpoon Group, Robin Alderton performs in an arc of creaky audio technology – “Dansettes spinning dubplates, reel-to-reel recorders flailing, dictaphones dying, overdubbed cassettes and bust samplers”. Drawing on found sounds and fragmented antique recordings filtered through or played on these contraptions (and processing them his fine arts background), he endeavours to craft new collaged compositions in a spirit of benevolent, sympathetic audio necromancy, via “ideas of sound recording technology, nostalgia, memory and place – the processes of deterioration, and of the failure of (or grasp for) memory.” There’s not much on him so far, but I did dig up these two brief phone-filmed fragments from gigs in recent years.

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India Electric Company, 23rd March 2018

Nest Collective presents:
India Electric Company
The Foundling Museum, 40 Brunswick Square, St Pancras, London, WC1N 1AZ, England
Friday 23rd March 2018, 6.30pm
– information here, here and here

Coming from an altogether less murky zone, singing multi-instrumental duo India Electric Company (Cole Stacey and Joseph O’Keefe) perform at the Foundling Museum as part of their promotional jaunt for their ‘Seven Sisters’ album. Expect explosively emotive folk-pop, weaving in Irish and Eastern European content to spin out and enrich their songs.


March 2018 – upcoming London gigs of various kinds – folk-jazz and loop-tinted songcraft from Gabriela Eva and Yasmyn Hendrix (20th March); post-blues and wakeful dream-pop from Cavey and Moon Panda (26th March)

16 Mar

Woodburner presents:
Gabriela Eva + Yasmyn Hendrix
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Tuesday 20th March 2018, 7.00pm
– information here and here

On video, Gabriela Eva is a colourful explosion of appropriated and deftly spun images. In many respects she’s a tourist, but the kind who pulls off her acquisitive magpie business to perfection – a keen eye for the fabric she can repurpose, the hairstyle she can adapt, the body-paint or tattoo that can be repositioned. A globetrotter and a photographer’s darling even before she dropped her debut EP last month, she’s a natural at the subtly chameleonic star act; the dance of other people’s veils illuminated, assimilated and penetrated by her own charisma.

Gabriela Eva + Yazmyn Hendrix, 20th March 2018I’m hoping that this translates well to the stage once Gabriela’s tucked under the stairs at Servant Jazz Quarters – belatedly launching that selfsame EP, trapped behind her guitar without access to the self-edit suite, the quick-change boudoir screen and the magical boxes for makeup and jewels. That’s when it’ll either all fall apart or show its core roots. She doesn’t lack courage: previously part of Colchester duo Passive Passengers, she’s busked alone, braved the stage at Ronnie Scott’s and she’s certainly thrown her meme-anchors down (while “future organic” could mean bloody anything from cottage-industry world-changers to rich hippies with busy self-aggrandising Snapchat accounts, “driven, dyslexic, dreadlocked” is as good a packed’n’loaded personal tag as I’ve heard recently).

As for the music, there’s skipping rhythmic and harmonic footwork from jazz, some rhythmic echoes from hip hop, some party looseness from the breezier end of soul and R&B. You can trace your fingers through Gabriela’s songs and tease out strands from clear forebears – Erykah Badu, Astrid Gilberto, Van Morrison, Minnie Riperton (for her part, she claims Nina Simone, Little Dragon, Alanis Morrisette and Incubus) – yet her prime musical descent (probably through accidental parallels) seems to be Eva Abraham, the acoustic London jazzfolksoul luminary who, despite having boiled up cauldron after cauldron of superb transfigured rootsiness for twenty years now, seems doomed to remain a perpetual (though beloved) secret.

Setting aside the quick visual fix of a memorable video, though, that’s not a bad place to be, musically. Close your eyes and you’re still left with Gabriela’s rolling carpet of songcraft: just picking three, there’s her conversational, hip-hop storytelling cover of Estelle and Kanye’s American Boy, the airborne soul-jazz of Sailing Over The City and the twinkling Rise Up (heading that first EP – a light-touch groove salute to advance-and-reclaim, flickering through a clutch of delicate psychedelic changes and nodding to the short-lived but renewable hopes of the Arab spring).

In support is Yazmyn Hendrix, whom I last saw four-and-a-half years ago providing guest-vocal accompaniment to What?! (a long-dispersed jazz-rock trio). Nowaday’s she’s still most visible for further collaborations (with Euro-soul act Retrospective For Love and with jazz-rapper Mrisi) plus a smattering of Soundcloud cover versions (including Laura Mvula’s Green Gardens, John Legend’s All Of Me, Adele’s Chasing Pavements and Massive Attack’s Teardrop). By herself – armed with a microphone, a loop station, and assorted live percussion and beatboxing – she creates layered a capella choirs and vocal ensembles out of herself: either simple classic sounding pop songs, the cover versions mentioned above, or assorted vocalese experiments.

So far there’s not much direct evidence of the harnessed synaesthesia which Yazmyn claims shapes her music-making (and which means that she “associates each song, each word and each instrument with colours and textures”). Let’s assume that the full breakthrough in that direction is still working its way through development and caution, and that one day she’ll be giving us her own ear-boggling parallel to ‘Medúlla’ or ‘Starsailor’ or Todd Rundgren’s ‘A Capella’. Given her tunes-over-weirdness tastes, I’m guessing that we can rule out a head-to-head with Mike Patton in more tangled territory. For now, she stands as a capable one-woman Manhattan Transfer (or a sleepier, slowed-paced Grace McLean) for contemporary pop songs; and that’ll do in the short run.

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Cavey + Moon Panda, 26th March 2018

Decave Discovers presents:
Cavey + Moon Panda
The Waiting Room, 175 Stoke Newington High Street, Stoek Newington, London, N16 0LH, England
Monday 26th March 2018, 7.00pm
– information here and here

Young post-blues singer-guitarist Luke Cave – a.k.a. Cavey – is already known as half of stoner-fuzz rock duo Rad Frü. He’s already engaging in some solo wing-stretching, parking the Zep-happy Rad in favour of collaborating with Blaenavon bassist/producer Frank Wright, laying down songs with junior Wrecking Crews full of heavy-duty young session dudes. Not far out of his teens, it’s as if he’s trying to echo Robert Plant’s career development, while simultaneously crushing it down from fifty years to a mere decade.

Perhaps that’s a bit glib of me, as well as overstating the classic rock thing. Similarly, I’m not sure if he’s the same Luke Cave as the one who sprang (literally) from Nick Cave’s loins back in 1991, but even if he is, there’s not much trace of Cave the Elder here. Cavey himself cites Jim O’Rourke, T-Bone Walker, Hamilton Leithauser and Grizzly Bear’s Daniel Rossen as influences; and in his light-touch songs I can also hear a dash of Gomez. Here’s a live performance of his recent Living Room Parade single, plus the studio take of its predecessor Day And Night.

Born in Boston but currently London-based (and sporting members coming in from Denmark, Sweden and Scotland), dream pop band Moon Panda will inevitably always ring Californian, not least because of the sheer sun-kissed San Diegan beauty of frontwoman Maddy Myers. A blonde, delicately-freckled photographer’s dream on honeyslide vocals and soft dots of bass guitar, she probably finds this kind of objectivifying attention a damn nuisance. For one thing, it distracts from the thoughtful, intricate details of the songs she writes: just as there was always more to Stevie Nicks than posturing and chiffon, there’s more to Maddy than blank-canvas prettiness or swoony lashes.

Let’s be honest – most dream pop bands think it’s enough to deliver blank blocks of navel-gazing noise and dirty snowplough billows: retrodden, remasticated sub-Lushness. Moon Panda don’t. Their songs are constantly, carefully changing beasts: encapsulated within their yearning melodies and taffy-stretched hooks, they have finely honed choral a capella parts, strange and revelatory key changes, sudden pauses and unorthodox shifts of time and dynamic. As with Gustav Moltke’s carefully-placed, only-there-when-you-need-them tidal smooshes of guitar, Maddy’s keen awareness of structure – of spectral drama, of just how softly and subtly you can make a jump-cut work – has a tendency to shatter the mood from within with a hard-hook shift in rhythm and intensity.

The lyrics too, eschew the cough-syrup blankness and drunken, dissolved sensual dazes of the genre; in effect, avoiding its copouts. Instead, Moon Panda are dream pop on the verge of waking up, or of piecing together the dreamwork. Shades of vulnerability, disquiet and suspicion run through these words: I’m still processing them, in the way that one works over the puzzling gristle of a dream, but I’m suspecting that these are songs for the gaslit, the fearful, the unwittingly immured: that they’re the etchings of the beginnings of an escape kit. Their videos, too, have an awareness to them – the disassociative motion, fall and sleep-roll of severed doll parts, ever-so-slightly reminiscent of Todd Haynes’ ‘Superstar’ and its Barbie-puppet retelling of the Karen Carpenter story; the road trip photography with its trapped, continuous-loop feel; Maddy’s own blank-faced ballet moves in which limbs stretch or a back twitches into restless determination.

It’s a shame that ‘Twin Peaks’ appears to be over and done now, and that Moon Panda are a year or two behind its production curve. In some respects they’d have made an ideal Roadhouse band. On the other hand, perhaps I’ve missed the point. Perhaps they wouldn’t have fitted the bill: not quite suited to the seamless and ominous cool, nor enigmatic enough for us to project our hungers, our apprehensions and confusions onto. From here, Moon Panda seem more like a measured curious hand rippling the waters or testing the surface of the mirror, fingertips uncovering and assessing what would otherwise been smoothed away. A band and a songwriter to keep a woken eye on, I think.

March/April/May 2018 – upcoming Manchester classical-plus gigs from Psappha Ensemble – Boulez, Berio, Takemitsu and a new Tom Harrold piece (22nd March); jazz/rock/punk/street music crossovers with Anna Clyne, Steven Mackey, Fausto Romitelli and special collaborator Mike Walker (20th April); art-gallery interactions with Judd Greenstein, David Fennessy, Michael Gandolfi and others (17th May)

15 Mar

News on spring concerts by Manchester modern classical ensemble Psappha (one of the more gracefully eclectic groups of their kind). Summary (and slightly tweaked press release mashups) follow…

“In a concert conducted by the dynamic young British conductor Jamie Phillips and featuring the young British mezzo-soprano Jessica Gillingwater, Psappha perform a new work from rising-star composer Tom Harrold alongside Pierre Boulez‘s ‘Le Marteau sans maître’, Luciano Berio‘s ‘Naturale’ and Tōru Takemitsu‘s ‘Towards the Sea’.

“Meaning ‘The Hammer Without a Master’, Boulez’ iconic work is a classic of the twentieth century whose sonority and sense of time and direction were profoundly influenced by music from Asia and Africa: named after a text by surrealist poet René Char, it features mezzo-soprano with six instrumentalists in the unusual combination of alto flute, viola, guitar, vibraphone, xylorimba, and percussion. Berio’s ‘Naturale’ pairs live musicians with recordings of Sicilian street vendors highlighting the contrast between flowing folk melodies and the raw, natural voice of the street singer. Takemitsu’s ‘Towards the Sea’ recalls the ebb and flow of the ocean and was commissioned by the Greenpeace Foundation for their Save the Whale campaign.

“Tom Harrold’s new work ‘Dark Dance’ (supported by the Fidelio Charitable Trust) has been commissioned by Psappha to complement the Boulez. Psappha’s Artistic Director Tim Williams says “Tom has more than risen to the challenge… his piece is exhilarating and full of rhythmic energy across its eight-minute span”, while Tom himself adds “this is perhaps one of the most unusual pieces I have ever written. I’ve really taken the opportunity to experiment. It’s been a cleansing and enlightening experience for me and I’m enormously grateful to Psappha for commissioning me to write the piece.”

Here are two previous examples of Tom’s work to provide some pointers: his chamber ensemble piece ‘Bone Meal’ and his bass-trombone-and-tape duet ‘Hard Hit’, both of which demonstrate the lively, dancing wit of his writing and sensibilities.


Psappha will continue their ‘Demystifying New Music’ initiative by screening Barrie Gavin’s 2005 biographical film ‘Pierre Boulez: Living in the Present’ prior to the concert: ticketholders can turn up to this free event at 6.00pm.

In April, Psappha will stage ‘A Wonderful Day’, exploring the connections between jazz, rock, classical and street music, and teaming up with conductor Stephen Barlow and with “the best jazz guitarist this side of the Atlantic” – Salford’s own Mike Walker. Mike (plus his reeds-playing cohort Iain Dixon and drummer Mike Smith) will play alongside Psappha on the premiere of a new Walker ensemble composition ‘Autonomy’, which “combines classical music with the improvisation and rhythmic drive of jazz”. Mike Walker also returns as the soloist on Steven Mackey’s classical/rock fusion piece ‘Deal’, while Psappha play alone for the late Fausto Romitelli’s palindromic work ‘Amok Koma’ (which draws inspiration from German punk rock).

The event as a whole is named after the Anna Clyne piece which completes the programme, in which a small ensemble play a hushed, affectionate supportive structure to the integrated tape of the songs and conversation of a Chicago street musician “whose natural, slow voice conveys a sense of both joy and struggle” (and which, much like the fragment of tramp-sung hymn in Gavin Bryar’s ‘Jesus’ Blood Never Failed Me Yet’, gives the work its emotional core and its sense of small, fragile, hopeful humanity persevering against a largely indifferent world).

Here’s the previous Psappha-commissioned Walker orchestral piece ‘Ropes’ (featuring the ensemble’s “22 strings” in collaboration with his jazz quintet); plus other recordings of the Romitelli and Clyne pieces.

For May’s ‘Here and Now’ event, the audience is invited to “take a tour of the Whitworth art gallery through music and art. Promoted by music therapist Rachel Swanick as part of the ‘Here and Now’ wellbeing project this is a unique event where visual art and music sit side by side, sparking your imagination and enticing you to look again, with new eyes… Psappha invites you on a musical adventure through the gallery, stopping off along the way to experience each new work performed live by world-class musicians.

“Played alongside Joshua Frankel’s award-winning film, Judd Greenstein’s ‘Plan of the City’ imagines the architecture of New York blasting off into outer space and resettling on Mars! David Fennessy’s ‘5 Hofer Photographs’ takes inspiration from Evelyn Hofer’s eclectic photos of 1960s Dublin which will be projected as part of the performance, and Michael Gandolfi’s ‘History of the World in Seven Acts’ prompts the viewer/listener to experience the natural ebb and flow between colourful geometric animation and music.”

In addition, four new pieces inspired by items in the Whitworth Collection are being contributed by “young, upcoming composers”David John Roche (a duo piece), Dani Howard, Will Frampton and Bethan Morgan-Williams. Information on these is still scanty, but here are samples of previous compositions by the four (two of them performed by Psappha):

Full dates:

  • ‘Boulez – Le Marteau sans maître’ – Hallé St Peter’s, 40 Blossom Street, Manchester, M4 6BF, England, Thursday 22nd March 2018, 7:30pm – information here and here
  • ‘A Wonderful Day’ – The Stoller Hall, Chetham’s School Of Music, Long Millgate, Manchester, M3 1DA, England, Friday 20th April 2018, 7:30pm – information here and here
  • ‘Here And Now’ – The Whitworth, The University of Manchester, Oxford Road, Manchester, M15 6ER, Thursday May 17th 2018, 6:30pm – information here and here


March/April/May 2018 – upcoming classical gigs in London and Oxford – three evenings of chamber music by female composers courtesy of the Scordatura collective (25th March, 20th April, 19th May), including a Polly Virr guest slot in May… plus the London New Wind Festival’s ‘New Music by Women Composers’ concert (23rd March)

10 Mar

From March to May, women’s music collective Scordatura continue their mission to present, perform and illuminate work by female composers, via a series of monthly concerts in London or Oxford.

The March date in London is “an evening of wind chamber music from some of Europe’s most exciting female composers.” Living composers will be represented by Judith Weir’s ‘Mountain Airs’ (a free adaptation of two traditional Scottish melodies, which dates back to 1988); but there’ll also be wind quintets by a pair of bold and prolific twentieth-century French composers (Claude Arrieu and Hedwige Chrétien) as well as by English serialist grande-dame Elisabeth Lutyens.

In addition, there’ll be a performance of ‘Trio For Winds’ by the late Prague-based Scottish composer Geraldine Mucha, whose work was obscured for much of her lifetime (partly due to Cold War politics and partly due to so much of her energy and social value having being subsumed into other work as chatelaine and foundation head for her talented father-in-law, the Czech Art Nouveau painter Alphonse Mucha).

In April, three Scordatura members – cellist and artistic director Rachel Watson, clarinettist Poppy Beddoe, and pianist Cecily Lock – will be playing a set of chamber trios in Oxford. Two are by living composers – ‘Arenas d’un Tiempo’ by Cuban-Afro-American Tania León and ‘Canta, Canta!’ by Thea Musgrave.

The remainder are historical – ‘Passacaglia on an Old English Tune’ (by the slim-catalogued but accomplished post-Impressionist Rebecca Clarke); ‘Sonata for Clarinet and Cello’ (by the smart, witty and superbly spirited Phyllis Tate); ‘Andante for Clarinet and Piano’ (by the elegant twentieth-century neoclassicist Alice Mary Smith); and ‘Three Pieces for Cello and Piano’ (by Nadia Boulanger, whose exemplary work as a teacher of other composers from Philip Glass and Elliott Carter to Aaron Copland tends to overshadow her own compositional reputation).

Scordatura return to London (and the Old Church) in May for an evening of cello ensemble music. This will include pieces composed and performed by a guest – Manchester cellist Polly Virr (another latter-day tech-savvy polydisciplinary, who works with Rachel Watson in flashmob ensemble The Street Orchestra of London and whose work outside of the immediate classical sphere covers the string loop pedal duo Täpp as well as work with indie-folk band Ideal Forgery plus various Manchester singer-songwriters).

Landscape- and travel-inspired, Polly’s pieces include standard playing and cello-body percussion plus occasional extended technique and voice, in a similar manner to other post-classical/pop-friendly solo cellists like Laura Moody, Philip Sheppard, Zosia Jagodzinska and Serena Jost. She also draws additional inspiration from post-classical electronic dance artists such as Phaeleh. I’ve pasted in a couple of her Soundcloud shots below.

The other items on the programme include the Cello Quartet by Grażyna Bacewicz (a violin soloist and onetime Boulanger student who became one of the first internationally-recognised Polish female composers) and ‘Chant’ by the humble, undersung Scottish composer and multi-instrumentalist Marie Dare (for whom I’ve found a lone biography here) As with the other two concerts, there are a couple of pieces by living women, both of them cello quartets – the slow windings of Tina Davidson’s ‘Dark Child Sings’, and Gabriela Lena Frank’s ‘Las Sombras de los Apus’ (an early piece rising from dark tones to swarming explosions and dance rhythms, balancing – as with most of her music – the European and Latina aspects of her own multicultural heritage).

Dates as follows:

  • ‘The Grand Tour: European Music for Wind Quintet’ – The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England, Sunday 25th March 2018, 7.30pm – information here, here and here
  • ‘Scordatura at St Michael’s’ – St Michael & All Angels Church, 33 Lonsdale Road, Summertown, Oxford, Oxfordshire, OX2 7ES, England, Friday 20th April 2018, 7.30pm – information here and here
  • ‘Celli! Music for Cello Ensemble’ – The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England, Saturday 19th May 2018, 7.30pm – information here, here and here

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UPDATE, 16th March 2018 – …and, if you can’t wait that long, I’ve just found out that the people behind the London New Wind Festival are staging a London evening of new music by women composers, as part of International Woman’s Month; a couple of evenings before the first of the Scordatura concerts.

A loose on/off quintet of Simon Desorgher (flutes), Catherine Pluygers (oboes), Ian Mitchell (clarinets), Alan Tomlinson (trombone), and Robert Coleridge (piano) will be playing the following pieces:

Yuko Ohara – Rising Eels (for oboe & trombone)
Margaret Lucy Wilkins – “366” (for solo trombone)
Dorothee Eberhardt – Campion (for bass clarinet & piano) (UK premiere)
Violeta Dinescu – Lichtwellen (for solo B-flat clarinet) (UK premiere)
Michiko Shimanuki – First Snow (for solo piano) (world premiere)
Catherine Pluygers – Japan (for ensemble)
Janet Graham – From Dawn to Dusk (for flute, oboe and piano)
Erika Fox – Remembering the Tango (for flute and piano)
Ming Wang – Die Verwandelten (for solo bass flute)
Enid Luff – The Coming of the Rain (for solo oboe).

London New Wind Festival presents:
‘New Music by Women Composers’
Schott Music Ltd, 48 Great Marlborough Street, Soho, London, WIF 7BB, England
Friday 23rd March 2018, 7.30pm
– information here, here and here

This music’s currently so obscure that this is the only soundclip I could find for it…


March 2018 – upcoming experimental music gigs in London – Tehran electronic music showcase with Hadi Bastani and Pouya Ehsaei (14th March)

7 Mar

IKLECTIK and Kate Carr present:
Hadi Bastani + Pouya Ehsaei
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Wednesday 14th March 2017, 7.30pm
– information here and here

Hadi Bastani + Pouya Ehsaei, 14th March 2018For this event, London-based sound artist Kate Carr curates a showcase of Iranian experimental electronic music, centring on artists from Tehran: a scene mapped and logged by by sound artist and anthropologist Hadi Bastani (via the Digital Arts and Experimental Music Scene of Iran Facebook page from his own base in the Sonic Arts Research Centre at Queen’s University, Belfast).

For all of the focus on Tehran, everyone involved in the concert (from Kate on down) seems to be a diasporan: Hadi living and working in Belfast, gigmate Pouya Ehsaei based in London, and even Kate’s an emigre from Australia. As for originally scheduled third act and “chaotic worlds” envisioners 9T Antiope, in spite of their Iranian origins they’re actually based as nearby as France… and can’t make it as planned, since it seems that even pre-Brexit, visas can be as hard to get in Paris as they might be in Tehran. It all adds a slightly mournful sheen to the occasion. Tehran may have been the original testing ground, but it’s not sending any immediate representatives; and leaving it doesn’t always seem to have made things easier.

Maybe I’m splitting hairs too much. The scheduled appearances by Hadi and Pouya are still on track. In addition to his own sonic contributions, Hadi will be providing an introduction to (and discussion of) the Tehran scene; while Pouya (already a veteran collaborator with dancers, performers and filmmakers as well as other experimental musicians) will be displaying his mixture of “found sounds and folkloric music… focusing on their aesthetics and cultural significance and how these can be applied in modern experimental compositions”. Meanwhile, if you’re curious about what you’re missing due to the absence of 9T Antiope, see below:


March 2018 – upcoming gigs – Echo Trails and Djanan Turan in London (10th March); Echo Trails, Ingrid Plum, Kyriakides and Polbrone soundtrack old Russian animations for Colliding LDN in London (8th March); Antigen night in Ipswich with MacGillivray, Sealionwoman and Polly Preacher (16th March)

6 Mar

Echo Trails + Djanan Turan, 8th March 2018

Echo Trails + Djanan Turan
The Betsey Trotwood, 56 Farringdon Road, Clerkenwell, London, EC1R 3BL, England
Saturday 10th March 2018, 7.30pm

This month, the roiling, thrilling, mostly-acoustic post-folk band Echo Trails resurface for a Clerkenwell gig in the vaults of the Betsey Trotwood. If you missed them a month ago (at the Magic Garden), here’s what I said about them back then:

“Selling Echo Trails as being some kind of hopeful mashup of “epic groove and post-rock” is a massive undersell. Just because they’ve got a little Godspeed string thunder in them on occasion (and know a thing or two about old-school jazz’n’R&B propulsion) doesn’t mean that they’re one of those bands that milk the juice out of other genres and feed it into papery approximations.

“A well-honed acoustic band is like a set of unhindered precision muscles, able to flex rhythms on the fly and dance in unexpected curves, and this is just such a band. Fronted by Dimitra Tzanakaki (a ballsy, smouldering Greek blend of Beth Gibbons, Tori Amos and Bette Midler) they’re a supple alliance of guitar, voluble double bass, viola and drumkit, the song undercarriage slipping easily from Mediterranean folk to psychobilly to a salsa set-to or to shedbashing Led Zeppelin thrills. Since their arrival in 2014 they’ve phased out keyboard and phased in pedalwork, enriching texture even as the instrumentation shrank: hence the post-rock tag, but there’s Schönberg, Piaf, Korn, Temper Trap, bebop and Hidden Orchestra tucked into their bag of influences along with Godspeed.”

In support is Turkish singer turned Egg collaborator and London bandleader Djanan Turan, who specializes in light, chatty near-acoustic party pop with a timeless perpetually-youthful feel. Into the pot – along with her own warm and garrulous vocal – go Turkish beats, cabaret pop, mellow synth riffs, raga, woody spiralling clarinet lines and slithering Romani/Med-jazz guitar (the latter courtesy of Funkshy’s Fatih Ebrem).

Djanan’s also known for organising one of London’s female artist platforms (the Anatolian/Middle-Eastern-flavoured Hura Nights). In keeping with this, her own songs always sound and feel as if she’s invited you back into her kitchen to keep you abreast of developments and to talk a friendly blue streak about whatever’s crossing her mind – world peace, personal disagreements and reconciliations, the position of women, youth recalled and put into deeper perspective. Despite the hints at New Age positivity (I suspect that that kitchen has a couple of crystals hanging in the window), underneath that loquacious flow is an accomplished songwriter with her dancing feet firmly in touch with the ground. There may be gush involved, but it’s never flippant.

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A few days earlier, Echo Trails are making another London appearance at New River Studios as part of a film evening. As well as closing the show with a full set of their own songs, they’re one of four artists/bands performing live soundtracks to existing silent films. More below…

Colliding LDN, 10th March 2018Colliding Lines present:
‘Colliding LDN: Reanimation’
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Thursday 8th March 2018, 8.30pm
– information here and here

Live cross-disciplinary art promoters Colliding Lines begin “a new, bi-monthly night of live art, sound and vision, presenting experimental collaborations and post-label projects from select performers. ‘Reanimation’ (is) a live re-scoring of mostly Soviet-era cartoons and surrealist animations by four different artists).”

The programme features two shorts by veteran Russian animator Andrei Khrjanovsky (1968’s anti-bureaucratic musical fable ‘The Glass Harmonica‘ and 1972’s ‘The Butterfly‘), as well as alternative 1968 tellings of Hans Christian Andersen’s The Little Mermaid (‘Rusalochka‘ by Ivan Aksenchuk) and Lewis Carroll’s Alice in Wonderland (the National Institute of Mental Health’s polemical ‘Curious Alice‘, which took a somewhat counter-productive slap at the early ‘70s drug culture by making it look even more fascinating to children).

In addition to Echo Trails, live soundtracking will be performed by extended-voice improviser and soundshaper Ingrid Plum (who blends and savages her own glorious clear vocals with sound processing and field recordings, and stirs in influences from neo-classical and from Scottish and Nordic folk music) and by two different sets of electro-acoustic music-making brothers. In-demand collaborators for film, dance and installation work, Kyriakides (Reuben and Jacob, to their mother) build “expansive, enveloping soundworlds” from live instruments, field recordings and found objects across a wide spectrum of musical and stylistic options. Electro-acoustic fraternal drone duo Polbrone are an alternate workframe for Andrea and Simone Salvatici of Glasgow avant-folk minimalists Clorinde, who in this project loop and gradually destroy their own sonic textures (and on this occasion will be aided by improvising cellist Derek Yau).

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A little later on, inspired East Anglian “marginal musician” label Antigen are running a concert over in Ipswich…

MacGillivray + Sealionwoman + Polly Preacher, 16th March 2018

Antigen Records present:
MacGillivray + Sealionwoman + Polly Preacher
The Smokehouse, South Street Studios, 6 South Street, Ipswich, Suffolk, IP1 3NU, England
Friday 16th March 2018, 8.00pm
– information here and here

When she’s out and about playing music, writing or committing performance art, Kirsten Norrie goes by her ancestral Scottish name MacGillivray, pulling her matrilineal Highland heritage over her head like a mask. With many wannabe artists, this kind of method ends up as no more than an affectation: people short on colour, scraping at the bottom of the pot of history in a vain attempt to garner the last scraps of savour. With Kirsten, it’s different: if it’s a mask, it’s the kind that renders everyday matters and habits transparent, allowing her to express deeper and stranger ideas and fancies fervently. What emerges is startling. MacGillivray it is, then.

Discovering her is a little like being startled by a slow-motion jack-in-the-box: she’s already got eight albums behind her, a couple of soundtracks and poetry collections, and a collaborator roster which bags a list of left-field folk musicians of all strands and odd definitions, including The Fall (yes, folk, really), The Pogues’ Jem Finer, Dead Rat Orchestra, Trembling Bells and Current 93. Her performance art involves powerful weird rituals – furiously smoking cigars in Sigmund Freud’s garden; conflating mediaeval stocks and death metal; eating chandelier glass in an abandoned shopping centre; carrying a dead sheep on a pilgrimage.

As a musician (both recorder and performer), she’s similarly unnerving: experimenting with loudness and quietness via folk drones, piano, savagely distorted electric autoharp and vocal wails, but refusing to hide behind them. Slender, still and intense, she rules a stage, dragging up distressed ghosts and the aftermath of harsh laws and bare beliefs. On this occasion, she’ll be performing tracks from her forthcoming mini-album, ‘Watermarked in Flame’.

Like Kirsten, Colchester’s Ashleagh Claire Hurren immerses herself in a performance persona, although Polly Preacher‘s “wonky folk troubadour” act is a good deal more comfortable than MacGillivray’s harsher hauntology. That said, the original tag makes her sound a lot kookier than she is. You don’t get cute acoustic numbers about spice racks, paintings and milky heartbreaks. Instead you get a crepuscular, witty electric folk with a homemade feel and a few echoes of lo-fi indie rock. There are a few shades of Kristen Hersh, perhaps even a little Lupen Crook, but for the most part a Polly Preacher song follows its own pattern: cryptic feints into storytelling where the supernatural rubs shoulders with grit, and in which haunted cutlery drawers and fairy tales cross imperceptibly over into stories of how to navigate a female life… or at least how to begin the journey and begin mapping the hazards.

Sealionwoman slightly buck this gig’s tonal trend of “folk meets New Weird Britain”, being much more of a dark-dusk monochromed blues-and-jazz basement affair, albeit filtered through loops, noise and the canny restrictions of being an unorthodox duo. The bare bones and wizard’s brew of Tye McGivern’s effects-laden double bass steps in and out of the shadows with subtle changes of raiment, sometimes clean-limbed and sometimes masked; Kitty Whitelaw ‘s vocals stretch from distracted torch singer to ghostly and mischievous jazz acrobat, running deft arabesques around the shape of the song.

Bar occasional gig notifications, I’ve not encountered Sealionwoman much since getting very absorbed in a live performance of theirs in a Hackney shopwindow back in 2013. My negligence, not theirs. Go back and have a look at that review: I’ve just done so myself, and it captures the compelling sinewy distractions of their live presence, the transformative implications of their name and their thousand-shades-of-black-white-and-grey better than anything I could come up with right now.


March 2018 – upcoming London pop/rock/etc gigs – Demons of Ruby Mae, Tonochrome and Daniels Goldseal (7th March); Blind Dog Studio show with Colonial Sun, Mally Harpaz and Naomi McLean/Hazel Iris/Aine Mcloughlin (7th March)

1 Mar

A couple of interesting gigs on March 7th…

* * * * * * * *

Demons of Ruby Mae + Tonochrome + Daniels Goldseal, 7th March 2018

Scruff of the Neck presents:
Demons of Ruby Mae + Tonochrome + Daniels Goldseal
The Sebright Arms, 33-35 Coate Street, Bethnal Green, London, E2 9AG, England
Wednesday 7th March 2018, 7.30pm
– information here and here

Leicester-via-Manchester multi-instrumentalists Jonny Gavin and Adam Rowley – a.k.a. Demons Of Ruby Mae – produce a broad, flowing and assured grand pop, the kind that sounds tailor-made for cinema trailers and box set TV. The mixture of luxuriant instrumental illustration and echoing space – plus Jonny’s impassioned vibrato vocal – results in something like the homeless marine-folk piano ballads of Olafur Arnalds with perhaps a little more contemporary pop underpinning. In existence for six years now, they’ve been on the up since releasing the ‘Someday’ single last year.

I’m not sure which Tonochrome you’re going to get on the night – the brasher, shape throwing pop-rock band which puts out singles like ‘Not Gonna End Well’ while grabbing for burnished hooks and straightforward messages; or the altogether more fluid entity which they present on their debut album which blooms through shades of art-rock and scintillating prog (weaving a graceful dance with vibraphones, string sections, moving jazz chordage and pillowing horns, while staying closer to the inquiring pop-shaded spirit of Field Music, Talk Talk and Dutch Uncles than to the likes of Spock’s Beard). Both versions are current; both are contained within the Tonochrome scope; both currently seem to cohabit without stress.

One thing that’s certain is that, following several promising years of finding their feet, Tonochrome are now stepping with great assurance. How they’re going to carry off these subtler shadings live when cut back to their basic five-piece rock lineup I’m not sure, but there’s enough savvy in them to find a way.

Emerging from roots as a somewhat introverted solo project for songwriter Ian Daniels, Daniels Goldseal has evolved into a canny, effective cinematic song-lens through which Ian can both observe and cast fresh light. With Johnny Cash, Lou Reed, Mark Lanegan and Lambchop as likely inspirations and/or comparisons, Ian operate an absorptive, drifting frame of reference, orbiting the truth in a haze of tequila tones and commenting in a voice sometimes full of sardonic barfly foreboding, sometimes a dreamy Celtic burr.

So far Ian’s got only four publically-released songs behind him, each with a different soundscape – the muttering dusty guitar of Nectarines, the flatlands gospel pining of Out Of the Woods, the barebones electronic R&B, harmonium scratch and Leon Redbone slurs which come together in June, and the hooded country/barstool-folk of A Woman Is, complete with growling electric piano and distant swerves of pedal steel. I’ve no idea what he’ll try to do live: probably he’ll be bringing these and other songs along in fresh sets of clothes.

* * * * * * * *

Colonial Sun + Mally Harpaz + others, 7th March 2018Blind Dog Studio Presents
Colonial Sun + Mally Harpaz + Naomi McLean/Hazel Iris/Aine Mcloughlin
St Pancras Old Church, Pancras Road, Camden Town, London, NW1 1UL, England
Wednesday 7th March 2017, 7.30pm
– information here and here

While still best known for backing up Anna Calvi, multi-instrumentalist Mally Harpaz has been very active with her own music recently. Her multimedia art collective Blind Dog Studio has been going from strength to strength: their biggest show yet, continuing their aims of proving “a musically cinematic experience”, now comes to St Pancras Old Church.

As before, Mally’s bringing her soundtrack compositions – instrumental chamber pop – to sync with the Clara Aparicio Yoldi video animations which inspired them and which expand on classic paintings. Also as before, Colonial Sun (a.k.a. James Marples, will be performing his dark post-imperial Australian ballads with cello and percussion.

In addition, recent Guildhall graduate and budding composer Naomi McLean, renegade opera singer-turned-experimental folk-popper Hazel Iris (whose melliflous EP ‘Misfortunate Tales’ is out now) and accordionist Aine Mcloughlin are teaming up to perform classical compositions – possibly newly written and possibly not. Blind Dog aren’t giving away much beyond expansive murmurs of “candles and viola, mesmerising arias, exceptional guests before the altar”, so while you’re waiting to be swept away by the churchy glamour, here’s a bit of Hazel plus a Mally song from last autumn…



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