Archive | April, 2016

April 2016 – upcoming gigs – a Chord Orchard evening in Brighton (with The Fiction Aisle, Crayola Lectern and Lutine) and Alexander Ardakov’s classical piano fundraiser in Amersham

26 Apr

I’m still recovering from the aftermath of moving house, but here are another couple of gig posts for shows later in the week. There’s one classical-piano fundraiser just outside London (following up the recent one by Olga Stezkho, and for the same cause) plus an evening of marginal-yet-melodic pop in Brighton (for those who thought the town was all about counterculture…)

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Alexander Ardakov
The Spinney Theatre, The Beacon School, 15 Amersham Road, Chesham Bois, Amersham, HP6 5PF, England
Thursday 28th April 2016, 7.00pm
– more information here
and here

“A graduate of the Moscow Conservatoire and a prizewinner at the Viotti International competition in Italy, Alexander Ardakov has been living in England where, in addition to his performing career throughout the world, he is a Professor of Piano at Trinity Laban Conservatoire of Music & Dance. The move to Britain and to Trinity where he has taught since 1991 has enabled him to develop as an international recitalist of exceptional versatility and musical integrity. Among his notable radio recordings are those for BBC Radio 3 and Classic FM. Alexander feels at home not only with the Russian classics but also with the composers of the romantic period such as Chopin, Liszt and Schumann. Indeed, Alexander’s audiences are never left indifferent, they are swept up in the sensitivity, intensity and passion of his playing that takes them on a journey from the most tender and intimate perceptions to the dramatic peaks of life’s greatest moments. Each meeting with him is a virtuoso performance that leaves the hearer emotionally sated yet still thirsty for more. Alexander’s extensive discography includes Rachmaninov’s Second Piano Concerto with the Royal Philharmonic Orchestra conducted by Sir Alexander Gibson. Further CD recordings are planned.”

Programme:

Johann Sebastian Bach – Ferruccio Busoni (1685-1760, 1866-1924)
Johann Sebastian Bach – Chorale Prelude “Ich ruf zu Dir”
Pyotr Ilyich Tchaikovsky – Nocturne op 19 no 4
Pyotr Ilyich Tchaikovsky – Romance op 5
Pyotr Ilyich Tchaikovsky – Meditation op 72 no 5
Sergei Rachmaninoff – Melodie op 3 no 3 in E major
Sergei Rachmaninoff – Elegie op 3 no 1 in E flat minor
Sergei Rachmaninoff – Musical Moment op 16 no 3 in B major
Christoph Willibald Gluck – Sgambati (1714-1787, 1841-1914)
Christoph Willibald Gluck – Dance of the blessed spirits
Robert Schumann – Warum (Why?)
Robert Schumann – Aufschwung (Upswing)
Ludwig van Beethoven – Seven Variations on the Theme ‘God Save the King’
Frédéric Chopin – Ballade op 23 no 1 in G minor
Frédéric Chopin – Ballade op 38 no 2 in A minor
Frédéric Chopin – Ballade op 47 no 3 in A flat major
Frédéric Chopin – Ballade op 52 no 4 in F minor


 

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Chord Orchard Evening, 30th April 2016Chord Orchard presents
CO.2 featuring The Fiction Aisle + Crayola Lectern + Lutine (+ DJs & Innerstrings lightshow)
Wagner Hall @ St Paul’s Church, West Street, Brighton, BN1 2RQ, England
Saturday 30th April 2016, 7.30pm
more information

The project of Chord Orchard leader Thomas White, The Fiction Aisle is “big, cinematic music that’s hewn in the shadow of John Barry, John Grant, Lloyd Cole and the Last Shadow Puppets, yet is very much its own creature. Much of it is a delicious investigation of old-fashioned pre-rock songwriting, but done from the heart rather than for kitsch kicks…a gorgeous surprise.” (‘The Arts Desk’)

Crayola Lectern released his debut double album, “The Fall and Rise of…” to great critical acclaim in 2013. The work and muse continue apace with the second album nearing completion and the third underway. Piano-oriented songs and adventures which affect people greatly, forming a unique musical world, all of its own, in thrall to nobody, best described as “what psychedelic music would have sounded like had the Edwardians invented it.”

Lutine“occupy the shifting, elemental space of their songs – a space that is sometimes airy, sometimes watery – in a way that is both effortlessly minimal and somehow whole. The result is a beautiful lucid dream of a record.” (‘Folk Radio’)


 

April 2016 – upcoming gigs – two types of British folk tour: Michael Chapman and Moulettes, plus a menagerie of support acts (United Sound of Joy, Richard Moss, Marcus Bonfanti, The Brackish, The Horse Loom, Dirty Old Folkers, Colour Trap)

19 Apr

Two British tours start this week, reflecting – in their way – very different aspects of British folk music.

Recently celebrated by ‘Mojo’, Michael Chapman isn’t just one of the sturdiest and most independent of the singer-songwriters coming out of the homegrown British folk revival of the 1960s: he’s also one of the last acoustic guitar masters standing from the generation which included Bert Jansch, Davy Graham and John Renbourne (all of whom are now gone). His playing reveals a fascination with Southern blues, folk, slide and ragtime jazz styles (all of which he’s mastered), while his pursuit of sound and setting has drawn him towards drones, delay, and loop effects (all of which he’s used as an adjunct to his unadorned playing, rather than as a replacement or distraction). As a singer and songwriter, there are parallels with J.J. Cale; and, rightly or wrongly, I can also hear echoes or anticipations of fellow Cale devotee Mark Knopfler in there, in terms of the husk, the fingerpicking clarity and the unprecious observational skills. (For what it’s worth, the two are connected by time in Leeds and both shared, however fleetingly, original Dire Straits drummer Pick Withers, whose jazz-influenced drummer kept the band both grounded and textured in the days before stadiums and weariness).

Here’s the press release for the upcoming tour:

“2016 marks noted guitarist & songwriter Michael Chapman’s 75th birthday and fifty years since he went on the road professionally in 1966. To coincide with the celebrations, Michael’s new instrumental album, ‘Fish’ has just been released on US imprint Tompkins Square & is already gathering much praise. To mark this important milestone in his life and career Michael Chapman tours in the UK as part of a stripped-back trio also featuring two longstanding allies – pedal steel guitarist BJ Cole (whose association with Chapman goes back a long, long way to the early 1970s) and Sarah Smout on cello (Chapman’s favourite musical instrument, which many fans will recall featured strongly on his classic 1970 album ‘Fully Qualified Survivor’.). The trio will be playing material from Michael’s incredible five-decade performing history as well as some new and experimental music.”




 

Dates are as follows:

A diverse set of interesting support acts are showing up at points during the tour, reflecting both the breadth of Michael’s musical references and the way in which venue promoters feel that they can successfully fit others around him on a bill. At Blackburn, the evening will be opened by Richard Moss: Lancashire singer-songwriter, fingerstyle guitarist, mandolin player and member of Anglo-Malaysian guitar duo Squirrels In Space, Irish music band Drop The Floor and the Union Street Country Dance & Ceilidh Band. At the Sinderhope show, support comes from hardcore punk escapee turned folk-baroque guitarist Steve Malley, otherwise known as The Horse Loom.



 

At the first gig of the tour (up in Hull), it’s Bristolian post-punk/psych/jazz band The Brackish who sound like an artfully spilled bookshelf of three decades worth of vinyl. Their muscly, slightly boggled tone mixes in urban blues, Ventures-tinged surf tunes, Frank Zappa air-sculptures and a few of Captain Beefheart’s broader brushstrokes (plus a tooth-in-the wind guitar edge which recalls the rawest work of Adrian Belew, at his analogue-screaming decennial point midway between Zappa and King Crimson).


 

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Although they’re also a product of the British folk tradition, Moulettes come from a different angle – one which is more fanciful and playful, in which authenticity is less the Holy Grail and more of a switchable ingredient. Like Rose Kemp, their take on folk draws on heavier sounds and on nearly fifty years of extraordinary, fanciful rock music. A Moulettes song comes at you like a dose of multi-instrumental chamber prog, adding cello, bassoon and autoharp to the guitars, bass and drums and the triple-decker lead vocals. Their storytelling itch, sense of mischief and enjoyment of each other’s company just glows out of both of these video clips below:



 

Dates are as follows:

  • The Brook, 466 Portswood Rd, Southampton, SO17 3SD, England, Thursday 21st April 2016
  • The Cellar, Frewin Court, Oxford, OX1 3HZ, England, Friday 22nd April 2016
  • Islington Assembly Hall, Upper Street, London, N1 2UD, England, Saturday 23rd April 2016, 7.00pm (with United Sounds Of Joy)
  • Exchange, 72-73 Old Market Street, Bristol, BS2 0EJ, England, Sunday 24th April 2016
  • The Apex, 1 Charter Square, Bury Saint Edmunds, IP33 3FD, England, Tuesday 26th April 2016
  • The Dark Horse, Alcester Road, Moseley, Birmingham, B13 8JP, England, Wednesday 27th April 2016, 7.00pm (with Marcus Bonfanti + The Dirty Old Folkers)more information
  • The Musician, 42 Crafton St West, Leicester, LE1 2DE, England, Thursday 28th April 2016
  • The Mash House, Hastie’s Close, 37 Guthrie Street, Edinburgh, EH1 1JQ, Scotland, Friday 29th April 2016 (with Colour Trap)more information
  • The Duchess, Stonebow House, The Stonebow, York, YO1 7NP, England, Tuesday 3rd May 2016 (support tbc) – more information
  • The Greystones, Greystones Road, Sheffield, S11 7BS, England, Wednesday 4th May 2016
  • Band On The Wall, 25 Swan Street, The Northern Quarter, Manchester, M4 5JZ, England, Thursday 5th May 2016 (support t.b.c.) – more information
  • The Convent, Convent Lane, Stroud, GL5 5HS, England, Friday 6th May 2016more information
  • The Tolmen Centre, Fore Street, Constantine, near Falmouth, TR11 5AA, England, Saturday 7th May 2016, 7.30pmmore information

As with Michael Chapman, the support slot arrangements fan out over a diverse range of styles: in fact, even more diverse than the Chapman tour. The London gig features United Sounds Of Joy, the slow-burn sensual pop-noir duo reuniting Michael J. Sheehy and Alex Vald (who, during the 1990s, alternately spat savage vindictive rock filth or crooned a creased and seedy London romanticism with Dream City Film Club).



 

At Birmingham, support comes from straightahead London blues guitarist Marcus Bonfanti and from wisecracking locals The Dirty Old Folkers (who describe themselves as “a Viz comic, being narrated by the Pogues” and deliver a raucous, sometimes smutty set which might be good-time but which still draws heavily on bad times and working-class resilience).



 

In Edinburgh, Moulettes are joined by local trad-indie rockers Colour Trap, who look back to golden-age British rock and Britpop scenes of the ‘60s and ‘90s.

 

April 2016 – upcoming gigs – London rock entanglements this week: mystery superstar(s) sneak into Deptford, supported by Nøught, First and The Kill Raimi’s; Knifeworld go acoustic in Shoreditch; The Display Team, Thumpermonkey and A Formal Horse twist some metres in Bethnal Green.

18 Apr

The folk running the Birds’ Nest in deepest Deptford are wildly, inordinately excited about whom they’ve got to fill their postage-stamp-sized stage at the start of this week, but they won’t tell us who it is

Nøught + First + The Kill Raimi’s  + mystery guests, 19th April 2016Birds Nest TV presents:
(extra special guest band) + Nøught + First + The Kill Raimis
The Birds Nest, 32 Church Street, Deptford, London, SE8 4RZ, England
Tuesday 19th April 2016, 8.00pm
– free entry – more information

“A marvellous occasion is about to happen at the Birds Nest pub, Deptford. We cannot express the sheer excitement at being able to host a night of great local bands and international legends: music conceptualists that have inspired countless bands and still continue to inspire generations of new talent. This is the event we have been waiting for. Get down early to this one as once the venue is full we won’t be letting any more people in.”

We do know that Nøught are playing. After years of being mostly out of the picture while leader James Sedwards ran around playing with everyone bar his main band – including work with shapeshifting prog confounders Guapo, improv blaster Alex Ward, Country Teasers spin-off The Devil, and Thurston Moore (…hmmm?…) – Nøught plunged back into action earlier this year with a Café Oto headliner and a Lydia Lunch support slot, continuing to demonstrate their one-band-fits-all approach of wedding classically precise John McLaughlin/King Crimson-esque jazzprog riffage to blocks of Sonic Youth/Big Black/post-hardcore noise, and how it bridges a stylistic credibility gap which others founder at or don’t even dare to take on.

Filling out the bill are two Deptfordian power trios. First are a third-decade third crack at warm, crunchy Bolanesque grunge-pop by former Stony Sleep/Serafin singer-songwriter Ben Fox Smith (a.k.a. “Young Sawbones”), while The Kill Raimi’s last showed up in here as part of a Thumpermonkey support in December. First’s drummer Jim Devese also happens to play guitar for The Display Team, which ties nicely into events later in the week… read on…



 

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Knifeworld (acoustic set)
Flashback Records, 131 Bethnal Green Road, Shoreditch, London, E2 7DG, England
Friday 22nd April 2016, 7.00pm
more information

Knifeworld: 'Bottled Out Of Eden'

Knifeworld: ‘Bottled Out Of Eden’

I hardly need to introduce Knifeworld these days. They’ve never been strangers to this blog (ever since their first releases, and further back if you’re counting coverage of head Knifer Kavus Torabi’s 1990s work as half of the mainspring of The Monsoon Bassoon), but an ever-building profile is beginning to make them, if not a household name, at least not the kind of name which you end up repeating to a succession of nonplussed faces. The world seems to be waking up to the cartwheels and streamers of their music, their meticulous complexity and at least some of the elusive substance lurking behind Kavus’ daffy freak-flag charm.

To celebrate this week’s release of ‘Bottled Out Of Eden’ – their third album proper, and the first to be group-composed – Knifeworld are playing a special acoustic gig at the Shoreditch branch of Flashback Records: perhaps a nod, in part, to Flashback’s role in nurturing that effusive London psychedelic rock tradition in which Knifeworld swim (and which they themselves have a strong role in promoting and sustaining). For plenty of bands, an acoustic session is an excuse to steal a little bit of Proms respectability – some string quartet garnishing, a dig at some previously scorned rootsiness. For Knifeworld, it’s simply a matter of bringing forward what’s integral to the group already. Effectively an electrified chamber octet transfixed by a flaming psychedelic spear, they’re already half-acoustic with their three-line, reeds’n-air whip of saxophones, clarinet and bassoon, with Ben Woolacott’s spacious airy drumming and with their chatty, ever-expanding cloud of harmony vocals. It’ll be interesting to see how full acoustica works on recent tracks like High Aflame, but I can already imagine how it might add a new glint to older songs like The Prime Of Our Decline…

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For the fleet-footed, there might be a chance to catch both the Knifeworld show and part of this next one, which is just in the next neighbourhood over on the same night. Knifeworld finish at 8pm, so the chances are high (as are the chances that you’ll be racing the band – fans themselves – along Bethnal Green Road and Squirries Street to get to the second gig).

The Display Team + Thumpermonkey + A Formal Horse, 22nd April 2016

Chaos Theory presents:
The Display Team + Thumpermonkey + A Formal Horse
The Sebright Arms, 33-35 Coate Street, Bethnal Green, London, E2 9AG, England, Friday 22nd April 2016, 7.30pm
more information

Over to the Chaos Theory publicity factory:

“A frenzied night of prog, punk, ska and rock madness, with bands hiding immense technical prowess under gloriously unhinged music,

Local heroes The Display Team are a band we’ve loved for years but found really hard to place on a lineup! Sounding like a cross between The Specials and Mr Bungle, this prog-punk orchestra create a heavy assault of surprisingly upbeat, melodic nonsense. They’ve impressed DIY audiences all over the UK and beyond with their riotous live shows and their last album ‘Drones’, so after seven years it’s high time for their latest sounds to be captured on another album – ‘Shifts’, which they’re launching this evening.


 

Thumpermonkey are a hugely-acclaimed band who’ve spent years arguing between themselves about whether to play prog, punk or art-rock, and never seem to have quite settled. This creative process somehow produces music that is heavy, delicate, classically and dramatically influenced, sardonic and divisive.


 

Nominated for a Progressive Music Award, A Formal Horse are a progressive quartet hailing from Southampton with a thoroughly uplifting rock sound, playing dense instrumental passages inspired by the sonic worlds created by Mahavishnu Orchestra and Queens Of The Stone Age, whilst still taking cues and colours from twentieth-century art music.”


 

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Next time, some latecoming news on various folk-related tours in England which kick off this week…
 

April 2016 – upcoming gigs – Olga Stezhko classical piano fundraiser (London lunchtime, 21st April).

17 Apr

Just quickly mentioning this solo fundraising event initiated by Olga Stezhko: a forty-five minute late-lunchtime piano performance on the north side of central London, this coming Thursday…

Olga Stezhko, 21st April 2016

Olga Stezhko
St Pancras Parish Church, Euston Road, St Pancras, London, NW1 2BA, England
Thursday 21st April 2016, 1.15pm
– free entry (with fundraising donations encouraged)

Olga: “Please join me at my lunchtime recital in aid of the Friends of the Belarusian Children’s Hospice (UK). I have been a long-time supporter of this amazing charity that provides children’s hospice-at-home care in Belarus. Their comprehensive palliative care creates positive experiences for terminally-ill children and precious memories for their families.

I will be playing two Debussy suites – ‘Suite bergamasque’ and ‘Children’s Corner’ – and Prokofiev’s ‘Tales of an Old Grandmother’. The event is free and all proceeds from a retiring collection will go to the FBCH. Your support will be greatly appreciated!”

Here’s Olga playing another Debussy piece:


 

April 2016 – upcoming gigs – two for April 16th: the third Festival Ambient de Paris with Ujjaya, Asmorod and others; and roaring about in London with Godzilla Black plus cohorts.

15 Apr

Tomorrow – two cities, two gigs. In Paris, people will be filing into the mediaeval cellars, all serious and attentive, fascinated by texture and the warp and weft of sound. In London, it looks as if they’ll be torn between wanting to be handsome psychotic brutes in sharp suits or shabby, demented hermits in bird masks.

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3ieme Festival Ambient de Paris, 2016 3ieme Festival Ambient de Paris
Crypt du Martyrium de Saint-Denis, 11 rue Yvonne Le Tac, 75018 Paris, France
Saturday 16th April 2016, 4.00pm
– more information here and here

From the organisers…

”Crypt du Martyrium is the most mystic and secret of Paris crypts (the head of the first bishop Denis was found here in 300 AD, and it was also the birthplace of the Jesuit Society). For one night only, artists from Paris and its suburbs will enchant this unique historical place with the kind of music you will hardly hear anywhere else in France.

The festival welcomes :

Ujjaya – an French ethno-ambient veteran, deeply influenced by Robert Rich, Steve Roach, Jon Hassell and Jorge Reyes. With his new found interest in suspended gamelan (which he’ll be enchanting the crypt with tonight), Loren Nerell has become another point of reference for his ongoing work. (For more information, try one or both of his two free-to-download albums: ‘De Retour’ and ‘The Master of Crossroads’.)


 
Onde Poussière – an experimental duo specializing in hypnotic minimalism and controlled chaos, and featuring Doedelzak (synth) and Kecap Tuyul (table-top prepared guitar). Think an ambient version of Jim O’Rourke , Taku Sugimoto or even Autechre.


 
Patrick Wiklacz – also known as Prats – is influenced by Terry Riley, Klaus Schulze and Bernard Parmeggiani. He will unleash his own electronic universe on synth and MIDI controller – a mix of repetitive minimalism, ambient and electro-acoustic music.


 
Archetype – an heir to Oöphoi, Alio Die and Mathias Grassow (and performing on guitar, synth, voice and table harp)Archetype makes deep listening music and also plays some ethno-ambient music not unlike Dead Can Dance.


 
Asmorod – the founder of the Snowblood label, synth/keyboard player Asmorod is both very discreet and very influential in the dark ambient scene (he’s an acknowleged influence on Kammarheit’s ‘Hysope’ album).


 

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Godzilla Black + Bobbie Peru + Punching Swans + Mashiro
The Hope & Anchor, 207 Upper Street, Islington, London, N1 1RL, England
Saturday 16th April 2016, 7.00pm
more information

Godzilla Black + Bobbie Peru + Punching Swans + Mashiro, 16th April 2016Godzilla Black have been unsettling ears since 2006 with their own personal brand of depraved heaviness. This is the official launch party for their new album, ‘Press The Flesh’, which was released on 1st April through Quisling Records. ‘Press The Flesh’ is the most ‘normal’ Godzilla Black record to date, drawing on influences such as Cardiacs, Liars and The Jesus Lizard, underscored by feeling of sensuality in all the wrong places. ACCEPT NO IMITATIONS.”

I may have to revise that “James-Barry-in-a-sleetstorm” description with which I always saddle Godzilla Black. Listening through to ‘Press The Flesh’ reveals the band in all of their romping glory, sometimes sounding like gonzo-industrial hero Foetus hijacking a soul revue, sometimes like late Cardiacs channelling early Roxy. Glam-descends meet blaring beefhorns, with lyrics full of dark jokes and carnivorous, cannibalistic disassociation. They’re flowering into something sharky and vivid. Clips below for album opener ‘The Other Other White Meat’ and the first ‘Press The Flesh’ single, ‘First Class Flesh’ (note that there’s a theme developing here…)


In support are Bobbie Peru, whose music is heavily influenced by punk, post-punk, rockabilly and 60’s garage; and who offer “an abrasively grooving electric live show with a vibe somewhere between Sonic Youth, Nomeansno and Groop Dogdrill.” Currently recording their third full-length album in Manchester (and constantly playing live around the north-west of England), the band are something of a fixture in the world of indie and post-punk tours, having racked up road support slots with Black Francis, Buzzcocks, Spear Of Destiny, Killing Joke and The Fall since their own emergence in the mid-2000s.

Medway convulsers Punching Swans are self-described as “thrilling dischordance for fans of Future Of The Left and Fugazi”, although I can hear hints of The Residents lurking in their threshing pop-savvy upending of rituals, and when they’re not hammering alarmingly at a darker idea they’re out on the whoop chasing the spirit of ‘Song 2’. It’s the cryptic strangeness that makes them special, though – they’ve recently brought out a concept album about “a man cast out from society and taking on the habits and compulsions of a depraved bird, gone to seed,”, and are making the woodsbound videos to match. There’s a peek into this particular world below.

Oxford abstract mathcore metallists Masiro bring “heaviness, other-wordly atmosphere and headfuck grooves. Touching on Pelican, Isis and Battles. Don’t expect a singalong.” All right, then. Evidence of their jabbing attention-deficit methods is here:

 
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More shortly…
 

April 2016 – upcoming gigs – London jazz (imminent gigs for Bright Moments Trio with Graham Clark and for Madwort Sax Quartet; plus a crowdfunder for a LUME festival in June).

14 Apr

Two imminent London jazz gigs which might be of interest…

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Bright Moments Trio with Graham Clark, 15th April 2016

Jazz at The Richmond presents:
Bright Moments Trio with Graham Clark
The Richmond Arms, 1 Orchardson Street, Lisson Grove, London, NW8 8NG, England
Friday 15th April 2016, 8.00pm
more information

A low-key concert of “originals and standards” from the Bright Moments Trio (who are Jonathan Cohen on keyboards and vocals, Dave Fowler on drums and Francois Moreau on double bass. At this gig, they’re augmented by Graham Clark on violin.

All of which sounds bland – just another earnest listing at another jazz pub – unless you’re looking into the pedigree of the people involved. With Dave’s involvement with assorted Flimflam acts (such as free-yak London improv favourites Ya Basta!), a near-thirty-year journey for Francois across the New Wave of British Heavy Metal en route to blues and jazz, and Jonathan’s own tireless and enthrallingly broad body of work across multiple genres and instrumentation, theatre and conceptual songwriting (including, for the jazz purists, work with Alec Dankworth and Christine Tobin.) As for Graham – while he mostly presents as an obliging Buxton-based jazz violinist these days, his history takes in a stint with Gong and a long history of hook-ups with fervid Manchester improvisers and London players. Come along to this one: I think that you’ll be surprised.

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Madwort Sax Quartet, 2016

LUME presents:
Madwort Saxophone Quartet
Hundred Years Gallery, 13 Pearson Street, Hoxton, London, E2 8JD, England
Saturday 16th April 2016, 7.30pm
more information

Blurb compiled from various sources:

“We’re very happy to welcome the Madwort Sax Quartet – Tom Ward (alto saxophone/compositions); Chris Williams (alto/soprano saxophone); Andy Woolf (tenor sax); Cath Roberts (baritone saxophone) – to Hundred Years Gallery for an exciting event in the group’s life: the recording of their debut album. Yes indeed, this gig will be expertly captured by the technical wizardry of Alex Bonney for a future release. Having played a sold-out gig at Manchester Jazz Festival in the summer – ably assisted at the last minute by LUME’s own Dee Byrne – the quartet are now back on home turf for this special performance.

The band explores irregular grooves and unusual harmonies inspired by mathematics and numerology, framed by the intuitive expressionism of free improvisation. This is a challenging line-up that allows for beautifully blended harmonies, intricate polyrhythms and abrasive dissonances. Inspirations include the movement of the planet earth through space, Steve Coleman, pioneering saxophone quartet Rova, Tim Berne, and transcriptions of bird song. The group also explores contemporary techniques such as complex time signatures and metric modulations without the presence of a dedicated drummer or percussionist, and harmony without a chordal instrument. All of the members bring their own individual, contrasting voices to the saxophone: Andy’s warm-toned, mellifluous tenor; Chris’s assertive, energetic alto (familiar to fans of Led Bib); Tom’s lyrical, passionate but more reserved alto; and Cath’s fluid, assured baritone. When required, though, the ensemble manages to blend beautifully into a homogenous whole that belies these contrasts.”

Here’s a gig recording for you:


 

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While on the subject of LUME gigs, they’ve just put out a call for crowdfunding for their planned end-of-June London festival:

LUME Festival, 26th June 2016

“We’re rounding off our 2015/16 season of gigs with the first ever LUME Festival. On Sunday 26th June we’re taking over IKLECTIK Art Lab near Waterloo for a one-day celebration of all things LUME: original and improvised music from the UK and beyond, friendly vibes and good times. To make it happen we’ve launched a Kickstarter campaign – and we need your support.

After three days of intensive listening and discussion, we’ve put together a day of fresh, cutting-edge new music that your ears won’t be able to get enough of. We had a tough time narrowing it down, but the final lineup is as follows:

  • Ant Traditions (Manchester)
  • Musson/Kjær/Marshall (London)
  • Little Church (Birmingham)
  • Hot Beef Three (Leeds)
  • Blueblut (Austria)
  • Anton Hunter‘s Article XI (Manchester)

Our core programme of LUME gigs this year is supported by Arts Council England, and there will be part of this funding left for the festival. There’s enough to put on about three bands and have a nice evening. But after all the amazing music we’ve listened to, that’s not quite enough for us. We want to do more – and this is where you come in. With your help, we can put on everyone in the list above and pack the day full of music. We’ve also invited Gina Southgate to come and capture the day on canvas, and Alex Fiennes to record the performances!

To make this happen we need to hit a Kickstarter target of £3500, all of which will go towards artist fees and travel expenses. Help us get there by treating yourself to a plethora of exciting rewards including early bird festival tickets and exclusive LUME Festival merchandise: posters, stickers and even limited edition LUME Festival t-shirts. Make sure you’ve got your fix of new original/improvised music sorted for the next twelve months by becoming a LUME member for 2016/17. Join LUME founders Cath and Dee on a special trip to the London Aquarium as an homage to our power animal, the anglerfish. Or for those of you who seek a more exclusive, one-off experience: commission leading avant-jazz quartet and LUME house band Word Of Moth to compose a tune in your honour, perform it at the festival and record it for inclusion on their forthcoming debut album. Yes, that’s a thing that could actually happen. Join us. Let’s do this!”

If you’re interested, here’s the link, and I’ve tracked down a couple of soundclips here.



 

April 2016 – upcoming gigs – street-level shamanism and more at the Gnod weekender in London, April 9th & 10th

7 Apr

In some respects Gnod – who are curating, and playing at, an extended gig in London this weekend – are a dubby Salfordian reflection of Godspeed You! Black Emperor. They share certain working methods – a collective, leaderless initiative springing from communal warehouse living; a passionate ethos of anti-establishment, anti-authoritarian feeling expressed in vast, cavernous and primarily instrumental musicscapes; an atmosphere sourced from circulating cultural-economic ghosts of deprivation and stagnation.

As regards the music itself, the parallels shift a little. Though both bands use drones and scattered, marginal snippets of speech, Gnod’s approach is a good deal broader and looser than Godspeed’s blend of classical/minimal string austerity and wind-tunnel punk rage, seeding itself from a variety of persistently underground forms. In the stew are industrial dance music, noise rock and anarchic dub; mystical hippy staples of overtone chanting and psychedelic ritual music (stripped of their frivolous navel-gazing associations and brought back to their mind-opening sources); free jazz; and a swathe of aural art-punk collagery (the latter of which, in Gnod form, recalls apocalyptic Godspeedian end-of-days graffiti, an approving response to Linder Sterling’s sharp visual comments on consumerism, and diary notes from besieged squats and hermit bedsits).

Other information is there if you choose to dig it up. We know that Gnod are from the other Islington – that liminal corner of Salford in the elbow of the River Irwell between the rails, the university and the skeletons of light industry, where the Islington Mill Arts Centre (in which the band live and work) has flourished since the mid-‘90s. We know that multi-instrumentalists and producer-theorists Chris Haslam and Paddy Shine have been in the band from the start: we know that the other two current members happen to be Marlene Ribeiro and Alex Macarte. We know that what seems to be dozens of others (but might be the same six people in a constant shuffle of personae) phase in and out of the band according to need, whim and inspiration; and that these include Manchester improv saxophonist David McLean, journeyman keyboard player John Paul Moran and drummer Chris Morley (once of Welsh experimental rockers Klaus Kinski, now propelling no-wave’d punk-funkers target=”_blank”>Queer’d Science).

We also know that the hybrid steam of subcultural influences and spirit of resistance that boils off from all of these ingredients is winning Gnod awestruck acclaim. ‘The Quietus’ (increasingly the British tastemaker as regards bands negotiating that slippery margin between absolute chthonic obscurity and cultural penetration) has not only sung their praises but been seduced into actually recording with them; while digging into Gnod’s web of ongoing connections and activities shakes up all kinds of other possibilities. The Gnod network of fellowship stretches across Europe and encompasses ever-roving Can singer Damo Suzuki, billowing gonzoid sample-psych from the late ‘80s (revived arsequake veterans Terminal Cheesecake sport former Gnoddist Neil Francis as their current frontman), classic British post-punk (via The Monochrome Set and The Blue Orchids), Louise Woodcock’s multi-media feminist art and a Catalonian psychedelic scene which gives a new meaning to Spanish castle magic (a few years ago, Gnod teamed up with Barcelona’s Black Bombaim as “Black Gnod”).

Having been casting out recordings since 2009, Gnod came up to speed with the beefy-but-spectral ecclesiastic dubgrind of 2011’s ‘INGNODWETRUST’ (following up with 2012’s ‘Science & Industry’, a sort of post-industrial ‘Sketches of Spain’ for trumpet, drones, ironscrape guitar haze and indistinct female declamations). They’re currently best known for 2014’s mammoth 110-minute ‘Infinity Machines’, in which their instincts for mood and social challenge came into focus. For that album, Gnod returned to (scorched) earth and conjured up a classic post-war Mancunian landscape of bones, threat and concrete; marrying a bleak Joy Division grind and deadzone chimes with knell-beating Rhodes piano, distorted boomings like rusting gasholders being beaten into dub drums, and aghast chemtrails of free sax which sounded like black-sailed galleons creeping up the Ship Canal and advancing into the Irwell. Amidst the grindings and slithering drones and the pollutant-smeared sleet, vocal samples of resistance and disquiet gave shape to a dawning and outspoken atmosphere of scepticism; in Breaking The Hex, they finally unleashed an eleventh-hour blast of dub/punk/sax/noise rebellion, while the title track was a harmonium keen over dark sonic bubbles.

While it didn’t wear its manifesto in the shape of a set of placardable lyrics, ‘Infinity Machines’ was a work of Salford shamanism, spitting the city’s ongoing gentrification back into its own face. Since then, Gnod have refused to simply rework it – instead they’ve allowed the feelings that inspired it to lead them naturally into new forms. Last year’s ‘Mirror’ album was written on tour in a slew of traveller’s energy and impacted by destructive mental turbulence within the Gnod circle: inspired in part by rage at government austerity programs which apparently declared war on the poor) propelled the band away from grand studioscapes and into a raw, live feel. It’s more personalised, its anger and alienation borne on pendulous and discombobulated noise-punk anti-grooves. Hands slam onto instruments and slip beats; the music flares into outright rage rather than stern painterly stews. Amidst the overtone vocals and chants, there’s persistent raw yelling; while the soundscapes have shifted towards slowed sirens, and a dragging, coshing pace: a clear early Swans influence.

Baba Yaga’s Hut presents:
Gnod Weekender, part 1: Gnod + Blood Sport
The Lexington, 96-98 Pentonville Road, Islington, London, N1 9JB, England
Saturday 9th April 2016, 8.00pm
more informationtickets
Gnod Weekender part 2: Locean + Water + Futuro de Hierro + H.U.M + Dwellings + Negra Branca + Arkh Wagner + Ayn Sof
The Lexington, 96-98 Pentonville Road, Islington, London, N1 9JB, England
Sunday 10th April 2016, 3.00pm to 11.00pm
more informationtickets

Gnod Weekender, 9th-10th April 2016Much of all of the above is going to come together over the course of this weekend, in which Gnod and a host of like-minded friends bring their collective approach to the current homestead of quirky London rock.

Saturday sees a full Gnod performance, supported by Sheffield trio Blood Sport, whose spindly and aggressive style is a ghostly, glassy-toned, black-sun approximation of Afrobeat and soukous. As for what Gnod themselves might be doing, the grind and gnarl of ‘Mirror’ might be their current output but they have a history of changing state and presenting an expectant audience with something unexpected: so be prepared for anything which reflects their history and their potentials (up to and including party blowers, possibly).

Sunday’s afternoon-to-late-night show features Gnod side projects and assorted friends in an eight-hour orgy. Some feature current Gnod members. Paddy Shine’s immersive “tantric vocal loop” project Ayn Sof will be opening the show; Dwellings is founder and bass player Chris Haslam doing hard-beat industrial electronica – dull-thud compulsive flesh beats, like the woody rattle of an early S&M loom, played in tandem with dank gothic synth drones. Negra Branca is a Marlene Ribeiro project, expanding on the “melodic and tonal dreamscapes” which she plays as part of the main band, full of squashy analogue synth shapes and temple-goddess vocals.



In Arkh Wagner, Alex Macarte (one of the more directly mystical Gnod members, if his online talk is anything to go by) teams up with Mark Wagner, a London-based multi-disciplinary artist and cybernetic mysticist, whose working practices are steeped in “cymagick” (a visualization of sound which takes in invisible and occult connections and “the vibratory nature of all things”). Their track Turn Off Your Mind (a narrative backed by a deepening pulse-chime in a confusion of noise surf) is a meditation on staring into the void, and on going too far out.


 

Mark Wagner’s also taking the stage as one-third of H.U.M. (or “Hypnotic Ultrasonic Magick”), a merging with two similarly shamanic noisemakers from Bristol’s ZamZam Records (these being the enigmatic surnameless H, or “Heloise”, who slipped into Bristol six years ago from a French fine arts background and has since been bewitching audiences with gigs that fall somewhere between installation and ritual and take place in caves, swimming pools and sundry found space, and fellow émigré and ambient droner Uiutna, originally from Switzerland but making her own way in the Bristolian avant-garde). H and Uiutna relocated to France recently but return to England for this event. H.U.M. present themselves as a kind of psychic cross-cultural art coven, citing “alchemical practice, incantation, chanting, drones, ritual drumming, French variété” as both inspiration and activity… although “French variété” is also on the list, so either a showbiz tinge or a sliver of hidden humour has been worked deep into the atmospheres. Here’s a clip of them in action:


 

Over in Barcelona, multi-instrumentalist, producer and happeneer Víctor Hurtado is the core of a “magic-inspired” scene of ritual psychedelic music. First coming to notice as the man behind acid-assemblage unit Qa’a (a richly detailed stew of lysergic rock and Nurse With Wound noise-and-texture garnishing), he’d soon diversify into a greater spontaneity with Huan (a project which he describes as “animalistic pulsations… almost like a living organism, that is at times sick, dying or excited”). Having collaborated with Jochen Arbeit, Steven Stapleton and more recently with Chris Haslam in the “monolithic, rhythmic, repetitive” Ordre Etern, Victor is bringing his Futuro de Hierro project to London for the Gnod Weekender. His latest musical pathway, it’s an outgrowth of his interest in more extreme and violent forms of electronic dance (such as speedcore and gabba) fused with techno, music concrete and a heightened psychedelic sensibility, featuring “disjointed rhythms” and “destroyed sounds, sonic detritus and live sound manipulation.”


All-female “art-carnage” troupe Water are another part of the Venn diagram which Gnod inhabit. Specifically, they represent the circles which intersect Manchester’s visual arts and multimedia, and the Devi Collective which coalesced around the Mill to commemorate and interpret last year’s William Burroughs centenary. Citing Throbbing Gristle, Wu-Tang Clan’s Rza and “well-witch horror scores” as creative spurs, they’re currently a five piece of multi-media “queen bee” Louise Woodcock, spoken-word poet/noise-guitarist Laura Bolger, visual artists Amy Horgan and Rachel Goodyear, and Emma Thompson (usually encountered as a DIY/punk/experimental gig promoter).

Soundcloud clips reveal something sounding like post-industrial Maenads: eerie threadlike female choruses and Laura’s dub-echo declamations seeping through a freeform background of womb-bass, malfunctioning engine drones, clanks and whistles, piston hisses, machine scrapes and tekiah blasts. The involvement of at least three women from a visual arts background – plus some striking photos – suggests that there’s a spectacle involved. Evidence of lengthy Water performances inspired by Aleister Crowley, by séances and by water rituals suggest that they’re fascinated with rite, summoning and form in a way which spans primordiality, Greek legend and map-fixes on esoterica ranging from Renaissance art to the present day. All of it slips through the fingers if seized on second-hand: it seems as if Water are an experience best soaked up live.


 

Laura Bolger reappears to add smeared, dreamlike vocals and narrations to the final act on the bill, Locean – another full-on Irwellian music collective in the Gnod and Devi orbit (sharing both Louse Woodcock and sometime Gnod tapesman/ranter Neil Francis). Offering another queasy grinding ride of driving punk-psych, noise improvisations and punk wail, their mantric sound binds The Velvet Underground, Mother Gong, Bauhaus and an abrasive Fall-esque groove in with bass-echo and wheel-rim guitar. As with Gnod and Water, they’re technically minimal but build up to a grand scale with their scratching, multiplying sonic detail: Laura’s words and musings, floating on the sound-wash like scraps of diaries and manifestos, ranges from odd and oblique polemics to numinous childhood memories.




 

As I post this, tickets are still available. If you’re spending most of your time trapped in London’s gravity well, this might be your best chance for a while to get something of that Islington Mill atmosphere and inspiration, and to beat along with Gnod’s dark-toned, troubled yet committed heart.
 

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