Archive | April, 2018

May 2018 – upcoming London gigs – SOIF Soiree in Wood Green including John Moore, Society Of Imaginary Friends, Magdalena Grabher, John Glyn & Richard Bolton, Circulus’ William Summers and assorted poets and spoken-worders (May 4th)

29 Apr

It’s always nice to have free events bob into view, even if it’s at short notice. Into my face blows a excitable new balled-up missive from operatic art-pop auteurs and eclectic monthly salon curators Society of Imaginary Friends. Once I’ve opened it, smoothed it out and vigorously curry-combed it for loose grammar and punctuation, I’m offered a remarkable selection of goodies: a webbing of poetry and musicality which links together Shakespeare, The Jesus & Mary Chain, psychedelic folk troupe Circulus, Black Box Recorder, Rosa Mota, autism, X-Ray Specs and vegan cuisine.

I’ll let him/her/them do the talking:

SOIF Soiree, 4th May 2018

“I was taking the escalator over the hill… hang on… something’s burning… It’s our Beltane Birthday Soiree on the 4th May!!! The extraordinary Alfie Thomas (SOIF has hit a very significant number of earth years… Oh, what a dancing dragon of a party we have in store for YOU… Yee…


 
“Hah!!! Our star-studded night includes the fantastic John Moore (Black Box Recorder, Expressway and Jesus & Mary Chain) performing a couple of his hits from his new album ‘Knickerbocker Glory’ (“couched in shimmering rock, Sixties girl-group pop and even a touch of operatic soprano on Anne of a Thousand Days, this is a literary pop gem” – ‘The Times’) – guess who the operatic soprano is? Punk legend virtuosic saxophonist John Glyn (X-ray Specs and Wreckless Eric) will be astounding us with his magical improvisation, weaving his beautiful tones with the incomparable virtuosic guitarist Richard Bolton. Their inspiration is the vibe of the night: we all have a part to play in creating something totally original.


 
“The beautiful, soulful Magdalena Grabher will be looping her intricate musical motifs to create ethereal soundscapes and gorgeous songs; the wonderful highly acclaimed poetess Lady Amy Neilson Smith and master of woodwind Sir William Summers (Circulus, Princes in the Tower) will be astounding us with their Shakespearian-inspired set.




 
“Award-winning spoken-word performer Cian Binchy will be making us think (catch him before he takes his sell out show ‘MADHOUSE re:exit’ to Manchester for a month), urban punk goddess I Am Her will be performing songs from her brand new album; the superb Math Jones will be sharing his Beltane musings; welcoming to the Soiree mystery new poet Charlie and author Samuel Bates. Special guest DJ t.b.a, and special birthday songs from Society Of Imaginary Friends. Fabulous vegan cuisine by Roger and Kathy – it is also Roger’s birthday!! So much to celebrate. FREE ENTRY: Looking forward to seeing you there… xxx”

Society of Imaginary Friends presents:
Beltane Birthday Soiree: Society Of Imaginary Friends + John Moore + John Glyn & Richard Bolton + Magdalena Grabher + William Summers & Amy Neilson Smith + Cian Binchy + I Am Her + Math Jones + Charlie + Samuel Bates + others t.b.c.
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 4th May 2018, 7.30pm
– information here
 

May 2018 – upcoming London and Brighton esoteric heavy rock gigs – Memory Of Elephants, Codices, Rad Pitt at Facemelter (4th May); The Display Team, Magnus Loom, Ms Mercy (11th May); Poly-Math, InTechnicolour, Thumpermonkey (12th May)

27 Apr

Making a temporary shift from their usual Camden base at the Black Heart, the upcoming month’s Chaos Theory gigs continue to showcase colourfully noisy guitar rock of the post-, math-y and metallic kind (at the Facemelter nights) and mushroom outwards into avant-rock territories elsewhere.

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Memory Of Elephants + Codices + Rad Pitt, 4th May 2018

Chaos Theory Music Promotions presents:
The Facemelter: Memory Of Elephants + Codices + Rad Pitt
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Friday 4th May 2018, 7.30pm
– information here, here and here

Bristol trio Memory Of Elephants are “insanely brilliant at making technically perfect math-rock sound like noise and making noise-rock sound like progressive perfection”. Already an established Facemelter act, their music’s a welter of restless multipolar mood changes and psych-cyclones with a bewildering delightful stockpile of guitar tones; from mechanistic hissing growls, fire-ribbon swishes and sudden injections of Detroit proto-punk to great woozy carousing fuzzwalls of MBV dreampop, Chinese orchestras and – at one point – what sounds like a gnarly old organ playing itself.


 
Codices (spotted by CT last year playing with Lost In The Riots) offer more pared-down, quick-on-its-feet, jump-and-feint riffage. Studded with bursts of spoken-word metaphysics, they’ve got an appealing heavy/light touch; changing between tearing distortion and sighing post-rock chimes like a rapier fighter who suddenly brings out gobbets of flamethrower blast.


 
Opening (and replacing Midlands slamcore duo A Werewolf!) are the gnarly pop-culture bawls and in-jokes of Colchester post-hardcore rabble Rad Pitt. Showcasing the Facemelter’s more mischievous side, they’re described by ‘Louder Than War’ as “like Enter Shikari without the disco beats and Extreme Noise Terror with some catchy verses attached to the mayhem” and by Chaos Theory’s Kunal as “plenty of screams and big riffs. Ridiculous fun, awesome lyrics, and a band we’ve been dying to work with for ages.”


 
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The Display Team + Magnus Loom + Ms Mercy, 11th May 2018

Match ‘n’ Fuse & Chaos Theory Music Promotions present:
The Display Team + Magnus Loom + Ms Mercy
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Friday 11th May 2018, 7.30pm
– information here, here and here

A week later, Chaos Theory team up with Match’n’Fuse Festival (long-standing promoters of avant-garde jazz, prog and all manner of genre-colliding music) to bring you “a one-off event, a lineup of audio oddities filled with weird and lively sorts. Just because.”

Chaos Theory call London trick-rock squad The Display Team a “prog-punk orchestra creat(ing) a heavy assault of surprisingly upbeat, melodic nonsense, resulting in something like a cross between The Specials and Mr Bungle”. Certainly, as they tumble through their brass-plastered tunes (like a Blackpool drunk being cannon-fired, with suspicious accuracy, through a line of deckchairs), they initially seem like another entry in the long roll of prodigious Zappa-esque loon bands, employing powerful and assertive technique in a circus-act of absurd flamboyance.

Beyond the parping and razzing, though (and beyond the slightly unhinged yell-singing of drummer-leader Chuckles), there’s a steely assurance to them; a determination to navigate to the end of the tangled charts and wrangled music, and to triumph. Ironically, this makes them more Zappa-esque than they’d be if they just larked around. Despite the ska breaks and the post-prog riff blitzing, the looning is secondary – to the point of almost being invisible – and what you’re left with is the vigour of the loops, feints and dives. Regular readers may be surprised to hear that I’m actually quite skeptical about these kind of bands. Not this one. Eyes on the prize.



 
In the middle there’s something similarly diverse but riddled with deliberate cracks, as sometime Echo Pressure saxophonist Joe Murgatroyd provides “avant-glam-punk cabaret” in his solo guise as Magnus Loom. His songs are a tossed salad of art-rock, post-punk, bizarre ’60s pop and Moonshake-style post-rock: some of them blurting skeletons of manically yawing subbass, oil-tub drum rattle and glockenspiels that sound like eighteenth-century jailers’ keys); others acidic sheets of synth buzz and guitar snag, generally carrying a topping of samples like a small tsunami that’s swept though a warehouse for unwanted toys.

Joe’s voice and songwriting match the vim and brittle wit of his instrumentation. Defiant, slightly lost and only slightly tongue-in-cheek, all of it filters honest angst through defensive satire; capturing the mixture of listlessness and energetic restlessness that gets us through the day while our consumer anxiety, our boredom, our mortality, our unsureties and our appetites keep bouncing off our own noggins.



 
Launching at this particular gig, show openers Ms Mercy are “a new noise project of total chaos, rock, metal, noise, prog, punk and more…. a brilliant Faith No More/System Of A Down/Bungle-esque experience.” It’s hard to disagree with that as you hear them hurtling through their cut-and-shunt of hard-edged musical fragments; their vocals a pugnacious, hard-eyed, Patton-ish pummel of semi-operatic theatrics through to rap. They sound like a snarling, barking pack of rabid wolves, but one that’s rather enjoying its own crazed death spiral.


 
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While Chaos Theory aren’t organising the third gig in the post (that’s down to the folk at the Brighton Electric studios) their cheery collective thumbprint’s certain on it – all of the bands taking part either fit the Facemelter template or will do, and Kunal is heading down to run the DJ sets…

Polymath, 2018

Brighton Electric and Chaos Theory Music Promotions present:
‘Help Dan Beesley Beat Cancer’: Poly-Math + InTechnicolour + Thumpermonkey
Brighton Electric, 43-45 Coombe Terrace, Brighton, West Sussex, BN2 4AD, England
Saturday 12th May 2018, 7.00pm
– information here

Well-loved guitar-messer Dan Wild-Beesley (from Cleft and GUG) has recently conquered the mountain by apparently winning his battle with stage four brain cancer, but he’s still got the journey back down to contend with. There’s ten grand’s worth of medical bills, for which he’s only got about eighty per cent of the costs covered. With a JustGiving campaign in full swing (more on all of that here), quite a bit of what Dan’s needed has been raised by his friends in the math-rock and post-progressive rock community, and the efforts continue with this Brighton show.

Homeboys Poly-Math headline with their cosmic post-prog instrumental landscapes. While it’s tempting to tag them as something like “colourful, heroic NASA-metal”, I should be more careful before flinging the space-rock adjectives around. 2015’s mini-album ‘Reptiles’ implied themes of evolution and metamorphosis and more recently Poly-Math have been turning their impressionistic attention toward the hard knuckles of history. As of the end of last week, they’ve got a new double album out – ‘House Of Wisdom | We Are The Devil’, for which this show is the formal launch.

Hailed by West Midlands zine and promoters ‘Circuit Sweet’ as “thought provoking, intelligent and supremely executed music”, the album’s inspired by the 1258 Mongol siege and overrunning of Baghdad and its caliphate, and the consequential dooming of the enlightened university which lay within the city walls; from which so many pillaged books were cast aside into the River Tigris that the waters turned black with ruined and dissolving ink. Aesthetically speaking, there’s a terrific dark-fairytale ring to that story; but in terms of genuine history it marked the end of the Golden Age of Islam (with its giant forward strides in philosophy, science and cooperation) and the treading under, by brute force and proto-fascism, of its culture of curiosity and education. Bring your own present-day analogy: you’ll have to, since whatever meaning Poly-Math themselves intend is encoded between the notes and sonic surges of their burgeoning instrumentals.



 
Mid-bill comes the grand, quaveringly hallucinatory post-grunge stoner rock of InTechnicolour. Formed by assorted members of math-rockers Delta Sleep, experimental rockers Physics House Band and the live array for guitar-droners LUO, they regularly assemble to play a speaks-for-itself mass of heavy riffs and doodles through a pink haze.


  
I’ve said plenty about concert openers Thumpermonkey over the last few years, but thanks to their unceasing wit and creativity there’ll always be more to roll out. The missing link between Mastodon and China Miéville (or perhaps between Peter Hammill and Neal Stephenson), they play plenty of heavy rock gigs rubbing shoulders with the psych-y, the math-ridden and the screamy, and always fit in well; while simultaneously seeming to float above the fray, looking down with affable amusement at both themselves and their billmates. Partially it’s Michael Woodman’s voice – pure theatrical cordon bleu hambone, from the bottom of its ominous deep-tenor declamations to the top of its horror-struck falsetto. Partially it’s the baffling range of esoteric topics which slow-cook throughout the lyrics: a baroque, tongue-in-cheek, post-imperial melange of eldritch secrets, trans-dimensional catastrophes and strange surreal ennuis being visited on hapless pith-helmeted explorers and unwary academics, seasoned with nightmare flashes into surreal Jodorowskian dreamscapes, angsty post-grunge horror or delicately unfolding post-rock gags about Nigerian scam emails.


 
The music, meanwhile, is an ever-flexing full-spectrum crunch and hush, full of stalking shapes and hovering convoluted melodies. Game-playing geeks for sure, and clearly ones who are proud of their astonishingly broad armoury of sly references, veiled jokes and fantastical imagery; but also geeks who revel in their absolute mastery of those most un-geeky of rock qualities – muscle and poise. 
 

 

May 2018 – Bob Drake’s complicated solo pulp fantasia on tour in England and France (4th-12th May), and details on some of his gigmates en route…

26 Apr

I started mentioning upcoming Bob Drake shows a few posts ago, but wasn’t able to go further than that until they coalesced; now, like spits of mud hitting a wall, they’ve fallen into place.

Born in the American mid-West, forged and frustrated in Denver and Los Angeles, and now living happily in the south of France, Bob’s become an increasingly regular visitor to British shores, able to take advantage of a growing number of friendships and affinities which provide fertile space for his delightfully off-the-wall guitar-and-voice gigs. He’s built on a previous career in heavy avant-prog bands (such as Thinking Plague, 5uus and The Science Group) to kick off and develop his own very specific brand of American musical storytelling. Rather than sombre accounts of depressions and dustbowl, or frontier myths, or urban cowboy ditties, he creates crazy quilts of short-but-complicated songcraft drinking deep from the well of American pulp fiction – specifically, the weird end. Modern (or at least recent-antique) spieling and riffing on monsters and strangeness; never far away from horse-laughs and absurdity, but also a couple of dimensional rips away from the kind of spindle-fold-and-mutilate pocket universe which, one sometimes suspects, he feeds his music through.


 
These days, he’s variously described as “a pop alchemist”, “a multi-fingered, omnipotent, all-seeing instrumentalist”, “a peddlar of avant-garde, individual but always highly melodic tales of bears, skulls, meerkats, griffins and more” and as the player of songs about “anthropomorphic animals, haunted farmhouses, mystical reveries and inexplicable phenomena”. All of the descriptions fit. So does the one that suggests he’s actually a kid’s TV presenter who saw the fnords one day and happily went rogue.

Dates:

  • Le 108, 108 Rue de Bourgogne, 45000 Orléans, France, Friday 4th May 2018, 8.30pminformation
  • The Others, 6-8 Manor Road, Stoke Newington, London, N16 5SA, England, Sunday 6th May at 19:30–22:30 (with Bing Selfish & The Windors + IG Witzelsucht) – information here and here
  • The Harrison, 28 Harrison Street, Kings Cross, London, WC1H 8JF, England, Tuesday 8th May 2018, 7.00pm (with Moliné/Gagarin Summit and others t.b.c.) – information
  • The Cellar Arts Club, 70 Marine Parade (basement), Worthing, West Sussex, BN11 3QB, England, Wednesday 9th May 2018, 7.30pm (with Random Nature) – information
  • The Evening Star, 55-56 Surrey Street, Brighton, West Sussex, BN1 3PB, England, Thursday 10th May 2018, 8.00pm (with Kemper Norton) – free event – information
  • The Urban Bar, 176 Whitechapel Road, Whitechapel, London, E1 1BJ, England, Friday 11th May 2018, 8.00pm (with Bing Selfish & The Windsors + Kazumi Taguchi) – information
  • ‘A Spring Symposium’ @ Coombe Bissett Village Hall, Shutts Lane, Homington Road, Coombe Bissett, Salisbury, Wiltshire, SP5 4LU, England, Saturday 12th May 2018, 2.00pm – information here and here

While the Orléans event is Bob and Bob alone, it’s the only time (bar a quiet house gig along the way) that he’ll will be playing on his own.

Of the three shows in London, the one at the Harrison on the 8th should be of interest to Pere Ubu fans since it also features Moliné/Gagarin Summit, a fresh teaming of Keith Moliné and Graham “Gagarin” Dowdall, musical compadres for two decades who currently hold down/expand on the guitarist and synthesist roles within Ubu. Between them, they can also muster a history of stints with Frank Black, Nico, Roshi feat. Pars Radio, Ludus, Prescott and They Came From The Stars I Saw Them.

What’s likely to emerge may feature some of Ubu’s “avant-garage” touch; the factories, beasts and spill of Keith’s guitar noises; the blend of electronic grain and field recording in Gagarin-sound. Or perhaps none of these things. All they’re promising is “guitars that don’t sound like guitars and electronics that don’t sound electronic, presided over by intense, exploratory artists who have just as little idea where the music is heading as you do.” There should be other people alighting on the bill closer to the date, pulled from the intriguing contact book of organisers Westking Music & Performing Arts… meanwhile, I’ve just dug up something from Keith’n’Graham as a musical pointer.


 
Both of the other two London shows – on the 6th and 11th – see Bob reunited with a regular gig-sharing friend: sarcastic avant-garde underground pop star Bing Selfish, plus the experimental surf/garage-pop of his micro-lounge backing band The Windsors. Also in place are Rotterdam experimental music supergroup IG Witzelsucht featuring guitarist Lukas Simonis, drummer Cor Hoogerdijk and multi-instrumental/polydisciplinary flâneur Ergo Phizmiz, whose work includes singing, sound collage and opera as well as stop-motion animation and radio drama: at least a few of these skills will make their way into the set. The band’s been described as “a rapid-fire songwriting bonanza (with) tunes about mermaids, mistakes, compost manufacture, celebrity perverts, geometry, and so on”, so Bob’s songs will be in good company.


 
I don’t know about the rest of the Depresstivallians on offer. There’s some incomprehensible gargle about “Bill Oddie’s Goth Watch”, “data wrangling”, “an angrier and less prolific Joanna Newsom” and a possible guest slot for the mysterious “guy from the kebab shop”. The last is probably one of many absurdist Depresstival in-jokes; but I’m really hoping that some guy with a greasy apron saunters in and explodes into a sword dance with a pair of those giant doner slicers.

The gig on the 11th also features a set by Kazumi Taguchi. Once she was half of cult/spoof London-Japanese art-popsters Frank Chickens, who sang about ninjas, geishas, karaoke and other aspects of Japan-aphernalia, simultaneously entertaining, mocking, embracing and challenging their Western audience. These days, Kazumi presents and cross-fertilises her home culture more soberly: drawing on Okinawan folk and classical music, Noh theatre and Korean drumming, she performs art-gallery gigs and assorted musical teamups on Okinawan sanshin (a three-string proto-shamisen) and sanba (castanets) and Chinese guqin zither. I know no more than that. It’s quite a turnaround from the old days of pop culture gags, but then the separation between high and low art can be as thin as fine rice paper these days… or cheap bog-roll.


 
It’ll be a more conventional evening at Worthing on the 9th, when Bob shares his stage with the doubled acoustic guitars and easygoing songcraft of the Random Nature duo. He’s likely to make up for that the following night in Brighton, when he’s playing a free/donations-only gig with ambient landscape-folk singer Kemper Norton, a genial lyrical hauntologist with a love of folding noise and field recordings into his songs. Kemper rejoins Bob a couple of days later when both play the Tim Smith ‘Spring Symposium’ fundraiser just outside Salisbury. There, they’ll be joining a host of musicians who balance happily on multiple cusps: folk, punk, progressive rock, psychedelia, dashes of prog and kosmische, and a warm inclusive feel of roots they’ve crafted and grafted themselves. More on that later…



 

May 2018 – upcoming London experimental gigs – a host of intriguing devices and performers at IKLECTIK in a showcase for the Augmented Instruments Lab (11th May)

24 Apr

News on what looks like a fascinating evening at the forefront of new tweaks to music making, via a variety of performers and innovators working with intriguing new instruments and music controllers (plus adaptations of existing instruments)…

 
Xenia Pestova & Lia Mice present:
‘Augmented Instruments Lab – Live at IKLECTIK’: Xenia Pestova + Lia Mice + D. Andrew Stewart + Laurel S. Pardue/Jack Armitage + Giacomo Lepri + Kurijn Buys
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Friday 11th May 2018, 7.30pm
– information here, here and here

Augmented Instruments Lab, based out of the Centre for Digital Music at Queen Mary, focuses on developing new instruments and interfaces for musical expression. Come experience a selection of live performances of the instruments of the lab performed by internationally touring performers and the instrument designers themselves.

The magnetic resonator piano

The magnetic resonator piano

Xenia Pestova (an internationally acclaimed performer of augmented instruments) will perform ‘Glowing Radioactive Elements’, a new piece she composed this year for the Magnetic Resonator Piano. The composition draws on the unique timbres, harmonics, infinite sustain, and pitch bends performable on the Magnetic Resonator Piano. The MRP, invented by Augmented Instruments Lab director Dr. Andrew McPherson, is an augmented grand piano featuring eighty-eight magnetic resonators.



 
“Canadian composer and digital instrumentalist D. Andrew Stewart performs ‘Ritual For Karlax’ – a unique performance with the Karlax digital music instrument (a gestural controller developed by Da Fact). Explore new sonic territories made of real and imaginary metallic ritual bells and electro-winds.



 
“Performing her augmented violin (that uses custom sensor arrangements to detect natural playing techniques to highlight musical and technical expression), Laurel S. Pardue (of Misshaped Pearls) will perform both a solo piece and a collaborative performance with coder and instrument designer Jack Armitage (in which parameters of the augmented violin will be live coded).

“Producer and instrument designer Lia Mice debuts her newest instrument in her ChandeLIA series: the SHIMI (Spiral hanging inharmonic metal instrument). The SHIMI ChandeLIA is a new suspended musical instrument exploring inharmonic resonances and spacial gesture mapping. Lia’s debut SHIMI performance will explore the instrument’s dark sci-fi-esque bell resonances, drones and chimes.


 
“For the first time in London, Giacomo Lepri will perform his set for clarinet and live electronics. The sonic output of this otherworldly futuristic clarinet system features both live processing of the clarinet and pure synthetic sounds. This setup combines algorithms, ideas and practises developed during Giacomo’s research at Amsterdam’s STEIM institute.


 
Kurijn Buys performs experimental electronic music, conjured using an assortment of multidimensional gestural controllers including the Lightpad and Touché to control modular synthesis.”



 

May 2018 – upcoming London classical/experimental gigs – Hen Ogledd’s freak-folk roar plus performances of Conlon Nancarrow, Alice Jeffries and original work by Naomi Sato, Lore Lixenberg and Serge Vuille at Kammer Klang (1st May); Tre Voci & Kit Downes EP launch (15th May)

21 Apr

Kammer Klang, 1st May 2018Kammer Klang presents:
Hen Ogledd + Lore Lixenberg + Naomi Sato + Serge Vuille
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 1st May 2018, 7,30pm
– information here, here and here

Headlining this coming month’s Kammer Klang is the shifting noise-folk improv collective Hen Ogledd: named after the ancient Celtic kingdoms of northern Britain and centring on improvising harpist Rhodri Davies and the distorted bass and acoustic guitar of Richard Dawson (once described as “a one-man Captain Beefheart and His Magic Band“).

Richard and Rhodri initially used the name for a 2013 duo album before expanding it to a larger project. Writer-musician Dawn Bothwell (a sometime video-art-curator who also plays “altered electronic torch songs” as Pentecostal Party and drum machine experiments as half of Blep) joined as an equal partner in 2016, her vocals and electronic instrumentation (synths, loops, delay pedals, telephone) simultaneously pulling the project deeper into freak-noise and adding forthright song structures. On this occasion, Rhodri, Richard and Dawn will be accompanied by a fourth member – frequent Dawson collaborator Sally Pilkington – on keyboard, synth and voice; further thickening a startling brew of sound which seems to excavate, parasitize and transform ancient folk music with a roaring dirty-electric experimentalism.


 
The rest of the bill is solo sets of various kinds.

Outstanding avant-garde mezzo-soprano Lore Lixenberg will be flying in from her Berlin base to perform her own multi-tracked vocal version of Conlon Nancarrow‘s ‘Study for Player Piano No. 31’ (one voice live, the rest on tape). Nancarrow specialised in piano pieces with a forest of ecstatic multiple parts: impossible for one human to generate on a single standard piano with only ten fingers, but more readily performable via the automatic pedal-pumped player piano (whose system of playing programmed music from punched paper rolls like a computer or music box proved prime for hijacking).

Lore’s apparent aim is to demechanise the music – respecting its original method but bringing it closer to human performance. Though she’s jokingly dubbed this “Nankaraoke”, in a recent interview with NMC Records she also revealed “the idea is to keep the consistency of timbre of the player piano but with the liveness that Nancarrow couldn’t find in his lifetime. I was talking to David Alberman about the first time Nancarrow heard his music played in ensemble; apparently he nearly cried, having been told his whole life that his music was unplayable…”

 
Saxophonist and reedist Naomi Sato (of Duo X Project, Karooshi Vlinder Vangers and assorted orchestras) will be performing an unspecified solo set on shō (the Japanese 17-pipe bamboo mouth organ). To complete the evening, the Fresh Klang event of new and rare music will be performed by percussionist Serge Vuille – premiering a new work by emerging young British composer Alice Jeffreys, whose music “explor(es) emergent temporal paradoxes in listening”.


 
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I always seem to be doubling up news of Kammer Klang and Nonclassical events, and this time’s no exception. In mid-May, Nonclassical are putting on another Tre Voci gig as the cello ensemble launch their new ‘Auro’ EP with regular collaborator, jazz pianist and organist Kit Downes. (This follows up their previous shared concert) back in February.)

A quick burst of press release for the unfamiliar:

“Formed in 2012, Tre Voci is comprised of Norwegian cellist Torun Sæter Stavseng and British cellists/composers Gregor Riddell and Colin Alexander. Their repertoire ranges from medieval and renaissance vocal music to new commissions and their own compositions. The trio is also focused on structured improvisation, performing with live processed electronics as well as explorations of Scandinavian folk music.

“Kit Downes is a BBC Jazz Award winning, Mercury Music Award nominated, solo recording artist for ECM Records. He has toured the world with artists such as Squarepusher, Thomas Strønen, Aidan O’Rourke and Django Bates and written commissions for Cheltenham Music Festival, London Contemporary Orchestra, Stavanger Konserthus, Cologne Philharmonie, BBC Radio 3 and the Wellcome Trust.”




 
As is usual with Tre Voci concerts, there will be a mixture of site-specific improvisations plus written pieces, including original works by all performers. Presumably the setlist includes Kit’s Tre Voci ‘Auro’ commission ‘The Cult of John Frum’ plus the fifteenth century Josquin des Prez and Johannes Ockeghem pieces which also appear on the EP.

Nonclassical presents:
Tre Voci & Kit Downes
The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England
Tuesday 15th May 2018, 8:00pm
– information here, here and here

Tre Voci + Kit Downes, 15th May 2018

 

April/May 2018 – some more immersive London gigs of various kinds – brain voyages with You Cry Wolf, Joe Corbin and Bokoyono (23rd April); righteous resistance with ‘Gerrard Winstanley’s True and Righteous Mobile Incitement’ (6th May)

19 Apr

Concerts which go a little deeper… a trip to the heart of the illuminated brain in Brixton and a remounting of past dissent in Poplar, both of which you’re invited to soak yourselves in.

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You Cry WolfMath-rock usually constructs and communicates meaning from the abstraction of numbers, even though it’s generally played to non-mathematical people. Ducking underneath song forms, it communicates less through stories, textures and timbres than through its attempts to mine the ecstatic human response to pattern-building. For Brighton math-rock trio You Cry Wolf this clearly isn’t enough. From the start, they’ve not followed the usual mathy practise of turning their back on vocals and words, with guitarist Owain Arthur delivering a near-continuous murmur of cryptically anxious lyric over the bare-bone instrumental notes.

Building from their earlier, more straightforward mathwork (and from their occasional taste for plaintively en-mathening mainstream pop such as Coldplay’s Trouble), You Cry Wolf have broadened out into their own brand of rock theatre projects – ingenious and immersive low-budget affairs in which projected film, sound, venue decoration and even live scent have become integral to the work; a sort of DIY 4D cinema. Their quarter-hour piece ‘A Fresh Start (for Peter Russo)’ (which toured around various fringe festivals in 2015) delved into the psyche and day-to-day experiences of an obsessive, alcoholic middle-aged gardener.

On spec, it sounds like an earnest ‘70s-to-‘80s collision between a lost piece of melancholic English prog and a stern German art cinema – or perhaps a glummer, hushed take on a Mars Volta extravaganza. The proggy theatrical elements were increased by the fact that the band played inside a pod of angled sheets, obscured from view by projected filmwork (from video artist and onetime Polar Bear collaborator Jacek Zmarz) and bolstered by wafts of floral scent as they tried to induce their audiences into following the story through Peter’s eyes and senses: sharing his day-to-day impressions and actions, coming to understand his personal search for meaning and a possible redemption.


 
From the accounts I’ve heard, it was quite an experience, moving from the earthbound and mundane to the magical. Here’s what ‘The Line Of Best Fit’ made of it during its home stint in Brighton, and see above for a video clip of the film and music content, (though it’s evidently a pale shadow of the mirrored and scented storytelling environment which the band summoned into being for each performance.

Transcendence was the climax and key to the ‘Fresh Start’ show; heartened by the success of ‘A Fresh Start’, You Cry Wolf expanded to a related but even larger conceit for 2017’s ‘Only God’ (which ran to a couple of shows in Brighton and south London in June last year and now makes a return to Brixton as the centrepiece of a three-hour concert tagged as “a new fantasy to lose yourself inside”).

You Cry Wolf + Guests
Upstairs at the Ritzy, Brixton Oval, Brixton, London, SW2 1JG London, England
Monday 23rd April 2018, 8.00pm
– information here and here

In many respects, it sounds like a souped-up twenty-first century take on those 1960s psychedelic gigs which attempted to induce altered states with oil-slide projections and the flickering low-tech visual pulses of dreamachines. With ‘Only God’, the band are attempting to stage “a lurid dream-world, a hallucination comprised of fragments of a waking-life reordered into dreamy irreality… a vivid journey inside the dreaming mind.” As with ‘Fresh Start’, the live band setup is augmented by a custom-designed set (this time devised by club installation specialists Moonstone), video projections (specifically commissioned from Cargo Collective artist Agathe Barré) and scene-setting aromas.

According to the band “the concert marks an exploration of the significance of dreams and their effectiveness as tools for introspective self-discovery. As we are prone to futilely create meaning from our dreams, so too is the audience encouraged to create their own conclusions from the fragments of the story provided in its performance. Making use of pithy and surreal lyrics, sensational abstract imagery and fresh emotive rock-music, You Cry Wolf invite the audience to take centre-stage as they are transported inside the narrative, to see through the eyes and into the soul of the sleeping protagonist. There is no stage, no spot light; You Cry Wolf have created a window into their music and inside their protagonists’ fictions, where human experience and narrative supersede traditional performance convention, where concept and character-construction form the all-consuming conditions for this music-based escapade to unfold.”

In support – and perhaps at least partially integrated into the bigger idea – are Bokoyono (an “instrumental psych/desert/surf-rock band, ready to rip you a new one”) and modern electric blues guitarist Joe Corbin (on this occasion armed with “a set specially prepared to rip open the doors of perception until all inhibitions disappear and your mind is malleable for the moulding!” Moonstone member Cal Lewis (also of and loft-party specialists Solis and Palooza) pulls double duty by taking over the DJ slot, which is intended to be as immersive as the rest of the evening…


 
* * * * * * * *

From psychedelic innerspace to direct action and a spot of tea… a change of tone.

Over at Poplar Union in early May, there’s what appears to be an insurrection boutique. Deptford’s Black Smock Band (“South London’s premier gay socialist folk band”) are collaborating with Bethnal Green’s Daedalus Theatre Company to revive a spot of English radicalism and invite you to participate.

'Gerrard Winstanley’s True and Righteous Mobile  Incitement', 6th May 2018

“The Black Smock Band and Daedalus Theatre Company have worked with Tower Hamlets residents and students from the Applied Performance course at Queen Mary University to create a truly unique, local gig-theatre performance, teaming up with a seventeenth-century rebel to uncover England’s history of protest and ask what it all means today. Expect a song, a dance and perhaps the start of the revolution! They also invite you share your thoughts on East London life over a cup of tea at their pre-show tea party, along with a spot of placard-making and protest-song writing too, if you fancy.

“Part of a long-term project to explore past and present stories of protest and dissent, this performance has been made with a special focus on current and historical protest and dissent in Tower Hamlets. It was developed at Ovalhouse in South London through a series of scratch performances leading to a commission to create a full production for Brixton City festival. The project is an ever-changing, locality-responsive piece of gig-theatre using historical texts and songs alongside new material, using gatherings over tea with local people to inform each new version of the performance.”

The piece is inspired by Gerrard Winstanley, an oft-obscured figure from English history. As one of the founders of the Diggers movement, he led the squatting and constructive reclamation of enclosed private land during that seventeenth century period in which England teetered between the traditions of monarchy and the possibilities of communitarianism. Viewed back through the lens of a twenty-first century London (one being gradually consumed by the kind of landgrabs and land-banking which insidiously push out and exclude its long-term occupants), he and some of his arguments have gained a new resonance and timeliness.

Expect current issues to seep into the story, primarily the erasure of working-class home neighbourhoods and the displacement of their communities by gentrified developments (the transformation of the Heygate Estate into the gentrified Elephant Park, the looming threat of a similar outcome via the Haringey Development Vehicle, and – for Poplar residents – three decades’ worth of the marginalisation of poorer householders and tenants by the glittering elite massing of the Dockland developments).

Travelling around with band, actors and crew is The Mobile Incitement Unit – “a portable installation by artist Andy Bannister containing everything needed to stage a performance, run participation workshops and, of course, foment revolt”. Art is a hand grenade, but sometimes it’s a tea urn.

All going well, the piece should tour nationally in 2019 – for the moment, you can be a part of it here in London, or get more involved by inviting them over to your neighbourhood via the page here.

Black Smock Band & Daedalus Theatre Company present:
‘Gerrard Winstanley’s True and Righteous Mobile Incitement’
Poplar Union, 2 Cotall Street, Poplar, London, E14 6TL, England
Sunday 6th May 2018, 1.00 pm-2.30pm (tea party), 3.00pm (performance)
– information here and here

Here’s a video explaining some more about the project (and offering a peek at the M.I.U.)…


 

April/May 2018 – Worthing worthies – upcoming gigs at the Cellar Bar for The Golgis and My Giddy Aunt (20th April) and for Bob Drake (9th May) plus William D. Drake, Crayola Lectern and the mysterious Drones For Tim play St Pauls Church (19th May)… and a Gothic film showing for ‘Deep In The Woods’ (19th April)

18 Apr

I mentioned the burgeoning ambitions of Worthing’s Cellar Bar Club a few months ago. It’s been quietly setting itself up as a plucky regional rival to the riot of venues in Brighton ten miles away. I thought it was time to revisit it.

Fruitcakery first. Playing in a couple of days time (on 20th April) are The Golgis, described both as “an outrageous alt.folk pantomime band” and as “a revamped version of a band that were almost popular fifteen years ago”. All very Worthing so far, and we’re told to “expect catchy songs, a spot of juggling, audience participation, and some interesting and unique wind instruments.” Among other tunes, they’ll be playing their recent online single debut ‘Mr Fisher‘ and celebrating its failure to chart. There’s not much to link to yet, but here they are running through it live for the benefit of a phone cam.

 
Support act My Giddy Aunt features the singing and songwriting of Sue Chewter, who (back in the 1990s) was once the wildly imaginative pint-sized driver of ideas behind the remarkable, mostly-female London psychedelic-acoustic band The Wise Wound). Also featuring Shirley Paver, Luke Pritchard and another former Wise Wounder, Brian Madigan, My Giddy Aunt’s a lighter undertaking than Sue’s old firm, playing up the angle of yer ageing, slightly glammy relatives enjoying cake, sherry and semi-retirement by the sea.

The following promo gabble got tossed my way in a battered toby jug – “Come and listen to the Aunties and Uncles you prayed would never kiss you. Proudly we are supporting The Golgis. More fool themin order to get that authentic Friday feeling you must drink vodka from a teapot and get touched up by the Giddy Aunts . We are the lipstick on your teeth; a mental wet-patch of entertainment. David Bowie had Ziggy Stardust and Sue has Giddy Ass Dust. Bring on the talcum powder, it’s Friday night. Line ‘em up. Monty!” Sodding nonsense – and it tells me nothing about what they sound like. But anything with Sue’s songwriting attached is worth a listen.

On 9th May, the Arts Cellar sees something simultaneously more serious and even further off the wall in the shape of Bob Drake. For more ‘Misfit Cit’-tery on Bob, click here, but in the meantime, it’s enough to know that Bob was “a founding member of the band Thinking Plague in 1978, and has been a member of the 5uu’s, Hail, and The Science Group. He has engineered and mixed many albums on the Recommended and Cuneiform labels, and has worked with artists ranging from Ice Cube to the Art Bears, but it is with his series of solo recordings made between 1994 and the present that he has really found his own voice with individual, always highly melodic tales of unusually intelligent animals, hauntings, chemistry, geology and who knows what. He began doing solo shows in 2015, and is currently at work on what will be his tenth solo album.”

Here he is solo and live in London in 2016 – filmed all dark and grainy, but shooting off songs like a batch of crazy fireworks.


 
Both gigs are at The Cellar Arts Club, 70 Marine Parade (basement), Worthing, West Sussex, BN11 3QB, England. Times and links as follows:

  • The Golgis + My Giddy Aunt, Friday 20th April 2018, 8.00pminformation
  • Bob Drake, Wednesday 9th May 2018, 7.30pminformation

* * * * * * * *

Also coming up in Worthing…

Expect to see a warm exodus of psych-speckled enthusiasts swimming over from Brighton on the 19th May when singer-songwriters William D. Drake (no relation) and Crayola Lectern‘s Chris Anderson play St Paul’s Church for a Tim Smith benefit gig promising to be full of pianos, wistful humour, soft voices and romantic drift. Bill will be bringing his own songbook of material criss-crossing his solo career and his work with Cardiacs and Sea Nymphs, with steepings of old poetry, Neverland folk and classical billows. Chris is celebrating the release of a brand new Crayola album, ‘Happy Endings’, which ought to build on its predecessor’s mixture of post burn-out hopefulness, psychedelic throb and sweet songs from the end of the road. All show profits for this show are going to the fundraising campaign for ailing Cardiacs leader Tim Smith’s ongoing care, which has achieved startling successes earlier this year since belatedly jumping into the world of crowdfunding.

Both Chris and Bill usually have friends in tow to help fill out the sound. These are all most likely coming together as part of “niche supergroup” Drones For Tim, specially conceived and formed for a one-off performance to make this particular gig special. Previous Drake and Crayola onstage allies have included Joss Cope, trumpeter Alistair Strachan, former Cardiacs Christian Hayes and Jon Poole, the Rodes brothers (from CLOWWNS and Spratleys Japs), ubiquitous art-rock drummer Damo Waters and the Larcombe brothers (Stars In Battledress, Lost Crowns, Arch Garrison) so you can make an educated guess as to who might be in the ranks, but you might still be surprised… Further standalone guests and DJs to be announced in due course, so keep an eye on the event pages…

Alternative Worthing and Musica Lumini present:
‘A Very Special Evening Beside The Seaside’: William D. Drake + Crayola Lectern + Drones For Tim
St. Paul’s Church Community Centre, 55B Chapel Road, Worthing, BN11 1EE, West Sussex
Saturday 19th May 2018, 7.00pm
– information here and here





 
Fans of the Cardiacs/Brighton psych crossover may also be interested in yet another Cellar Arts Club occasion – a showing of Button Pressed Films‘ recent comedy short Deep In The Woods (written by onetime ‘Doctor Who’ writer Simon Messingham, directed by Mark Tew) on 19th April. According to the synopsis, the film also sports a “gothy rock/4AD type” soundtrack composed and performed by Chris Anderson and Christian Hayes, with additional spooky singing from Jo Spratley of the revived Spratley Japs.

The film showing is the jewel in the setting of a one-night-only goth shindig, with dressing up and wild-waif dancing encouraged to the usual soundtrack – early Cult, Cocteau Twins, Sisters of Mercy, Bauhaus, Ghost Dance, Sex Gang Children, the lot. Perhaps inevitably, they’re calling it the ‘Sea Shells Sanctuary’… which is better than ‘Hair Of The Downs’, ‘She’s In Patching’ or ‘Tarring Couple Kill Colonel Mustard’, I guess.
 

 

April 2018 – upcoming little London gigs (21st April) – folk & country with Horatio James, The Beare Sisters and English Weather at St. Moritz Club; assortments with Ben Duff, Tapemonkey and Margate Book Club at The Harrison

15 Apr

More quick signal boosting on a couple of out-of-the-way London gigs, both on the 21st – a contemporary folk evening in Soho from the Wheel Tappers promoters, and a small sprawl of a Tigmus bill up in Kings Cross.

* * * * * * * *

Horatio James + Beare Sisters + English Weather, 21st April 2018

I don’t usually bother with British Americana. Too many wannabes, too much music which slides off the stage like a pile of knockoff jeans; too many association with people wandering around Hackney with “I Love New York” sweatshirts on. I make a definite exception for Horatio James, who don’t ostentatiously grub for American roots but slip smoothly into the lineaments of bare-bones country folk – its work clothes, its dust layers, the anthropomorphic antagonism of its landscapes – like a collective tool which knows its trade.

Bolstered and muscled by mandolin, fiddle and grindstone harmonica, they have an uncanny ability to inhabit dirt legends and narratives without turning them into gaunt theatrics or Southern Gothic kitsch. Here are two of their songs: a rambling Dylanesque hoedown and a softly tragic hickory reminiscence which, strictly speaking, they seem too young to be have had.



 
Sororal acoustic folk/R&B duo The Beare Sisters (a.k.a. Char and Abi) were born in Luton, but have been honing themselves in Brighton. It’s early days for them yet, without much out in the public area bar assorted live videos and personal memories from whoever’s been fortunate enough to catch them onstage. Still all of the initial pieces are there – a fine song sense (with the innate sophistication of born arguers), peas-in-a-pod harmonising, an innate toughness and a bubbling raucous sense of humour. Check out their YouTube channel: in addition to their musical connection, they’re a finely-tuned comic double act: a two-girl gang of naturally funny deadpan snarkers playing off each other with deft rudeness, mutual affectionate baiting and a welling mischief which could set them up as internet personalities regardless of how their music goes.

As regards the latter, here are two doses of Beare-ery: a ravishing free-spirited sapphic love song, and a dash of dreamy acoustic soul with a hook and a slap in it.



 
Gig openers English Weather are a London voice, fiddle and guitar folk trio in their very early twenties. They’ve started as they mean to go on, acknowledging their lack of life experience and their vulnerability to predation and to con tricks, without giving any ground as regards how they reflect on it. They bear witness to errors and hoodwinkings and to bad treatment without self-pity or rage; listening to their songs of development and perspective, you get the feeling that they’ll collectively make a mistake once, and then never again, and that they won’t let others fall into the same mistake or (with a hint of stern, steely witness) let others make use of that ignorance.

They might be green, but green is for growing. If they stick together, they’ll end up formidably wise.



 
Info below:

Wheel Tappers present:
Horatio James + Beare Sisters + English Weather
St Moritz Club, (basement of) 159 Wardour Street, Soho, London, W1F 8WH, England
Saturday 21st April 2018, 8.00pm
– information here

* * * * * * * *

Ben Duff + Tapemonkey + Margate Book Club, 21st April 2018

Tigmus have a bit more to say about their own gig, so I’ll turn the text over to them:

Ben Duff has estimated he has 1000+ short video clips of song ideas. He writes all the time. The best bits of these have ended up as a set of songs influenced by Low, The Beatles, Bela Fleck, Robert Schumann, Rush, The Beach Boys, Slayer, Boards of Canada, Bach, Metallica, Zakir Hussain, Neil Young, Kraftwerk, The Strokes, Le Mystère des Voix Bulgares and pop. Ben has played loads of gigs, huge and tiny. He prefers tiny. 2018 sees Ben’s return to the stage after years of procrastination.


 
Tapemonkey is the name given to the solo output of Daniel Woods who has been writing music under this name on and off for 13 years. Alongside this project Daniel has been involved in several bands; Bringoutgrandad, Vague Arrows and currently The Yellow Kings, playing lots of gigs and writing loads of songs. Tapemonkey’s music is approached from a Lo-Fi perspective and is influenced by a wide range of artists and bands from many genres, like 60’s pop, psychedelia, grunge and indie. The overall effect hopefully being an intense, idiosyncratic, immersive wall of sound.

 
Margate Book Club started when a human being from Glasgow met another of his species from Buenos Aires in a bar in Madrid, Spain. It’s a long story. But it’s easy to become a member… To join you need at least one of the following – an interest in books (fiction most helpful); a love of music (stuff that hits you in the solar plexus); an ability to stand upright on a raised platform in front of an assembled audience (no drinking before the show). Margate Book Club is based in Margate, Kent but has regular meetings in London and Madrid too. The meetings usually take place in a music studio or a pub. MBC have just finished writing, recording and mastering their first ever collection of songs. Some of this was done at Abbey Road Studios in London – which is nice!”

 
Info below:

Tigmus presents:
Ben Duff + Tapemonkey + Margate Book Club
The Harrison, 28 Harrison Street, Kings Cross, London, WC1H 8JF, England
Saturday 21st April 2018, 7.30pm
– information here, here and here
 

April 2018 – upcoming London gigs – the BABY clubnight launches in Walthamstow with Warm Brains, David Callahan and ex-Evans The Death member’s Clingfilm project (18th April); 3Peace, Gentle Stranger, Great Dad and Suitman Jungle at DIY Space (26th April)

14 Apr

Warm Brains + David Callahan + Clingfilm  @ BABY #01. 16th April 2018

Eleanor Payne used to run the ‘Candyskin’ art/indie zine and its corresponding music night in Walthamstow – she’s now taken both of them away, shaken them out and restored them with a new name. This coming week’s debut BABY music night will also launch the brand-new ‘BABY’ zine (“featuring writing and art on culture from all kinds of cool people”) and carry old ‘Candyskin’ issues for those who want to catch up on the past. Eleanor and others – including Liberty Hodes from ‘A Comedy Night That Passes the Bechdel Test’ – will be DJ-ing with an inclination toward “the best of indie pop, disco, post-punk, pop and girl groups (and) the best songs for dancing”. The live acts, meanwhile, have a pleasing feel of reviving that envelope-pushing Too Pure ethos from the more wide-thinking end of 1990s British indie: the samplers, the wrenched guitars, the sharp non-conforming anti-complacent lyrics and the broad bench of snatched and recombined elements.

Top of the bill is the urban-psychedelic post-punk of Warm Brains, a.k.a. Rory Atwell from Test Icicles, KASMs and Die! Die! Die! We hadn’t heard much from the Brains since 2015’s ‘Big Wow’ album, but last month’s new Circles Of The Scythe single (Rory’s first Brains material for several years, following his relocation to current London creative hotspot South Tottenham) – really ups their game. It’s a sardonic study of cultural and personal immolation: Rory whistling as he walks into the darkness, kicking a sardonic rolling can across a pile of gasping, trash-spawning consumerism and asocial/dysfunctional personality disorders, while marshalling a washing-machine judder of half-hinged guitars and rhythm pulses.


 
Although indie pop heroes Evans The Death called it a day last autumn, former guitarist Dan Moss has quickly whirred back into action with Clingfilm, who make their live debut here. Over the course of their three albums, his old band weren’t short of ambition and seemed increasingly eager to evolve and to unglue themselves; but they could never quite wriggle more than an arm and a shoulder out of the indie straitjacket. That said, the increasingly belligerent, beautiful, noisy gesturing they managed with that one free limb suggest that anything which sprouts from an ex-Evans will be worth paying attention to.

Dan isn’t the first to surface – that’d be his brother Olly, who started his work as Smiling Disease while still in the band – but the debut Clingfilm EP (which popped up at the beginning of the month on Bandcamp) is a fascinating thing. Collisions of Motown, pitchbend My Bloody Valentine wail and experimental noise planecrash; industrial broadsides and glocktinkles, electro-noise shotgun pop and dry sneers. At points a pocket Foetus dancing with Pere Ubu, at other times sounding like a more meticulous-aimed junior PiL, Dan’s subject matter includes nightmares, secrets, and friends with misogyny problems.


 
At points, Clingfilm sound like nothing so much as the early ‘Eva Luna’-period Moonshake; so it’s appropriate that Moonshake’s own David Callahan is also on hand, representing the older guard and providing a link with the original Too Pure attitude. Coming fresh from a support slot with The Mekons last week, David’s historically a ludicrously undersung hero of that brief phase when British post-rock meant more than endless, blanked-out repetitions of FX aurorae and crashing guitar cadences; when it focussed instead on powerful welds of motivating force, a revolving palette of jabbing noise, and lyrics which locked and engaged with complicated inner and outer worlds. Not that he sits and mopes about that. While he may be gradually incubating a fresh batch of post-Moonshake sampler-churn on the quiet, David’s solo sets are currently acoustic or near-as-dammit; focussing more on the bristlingly intelligent, if more conventional, breed of art-pop which he continues to hone with his other band, the revived Wolfhounds.

Here are some songs from a Callahan appearance at The Hangover Lounge a few years back. They’re brisk acoustic skeletons compared to his bandwork and his past recordings, but they reveal an artist who’s not hung up on either style or reputation, and who still steers his exploring curiosity through whichever mood and influence inspires him. In this case, the piquant satire of Thanks; the surprising journey into ancient-sounding dronefolk on She Passes Through The Night.



 
Whatever David’s got in mind for the BABY evening, he’s promising plenty of new material… plus appearances by assorted and unspecified special guests. One advantage for people with impeccable work behind them, who were active at pivotal times, is that they tend to have interesting contacts lists. Start speculating now.

If you want an even fuller evening, Eleanor and co. have timed the BABY gig to fit around Walthamstow Rock n Roll Book Club’s event, earlier on the same evening at the Walthamstow Waterstone’s. Journalist and cultural commentator Jeff Evans will be reading from and discussing his book ‘The Story Of Rock & Pop On British TV’, a study of the blossoming and withering of pop music programmes which offers “some warm memories and some surprises” from a time when culture was about deferred anticipation and the thrill of events fixed in time, rather than a vast body of instant downloadables. Jeff starts at six, the BABY live sets at nine.

BABY presents:
BABY #01 – Warm Brains + David Callahan + Clingfilm
The Victoria, 186 Hoe Street, Walthamstow, London, E17 4QH, England
Wednesday 18th April 2018, 8.00pm
– information here and here
 

* * * * * * * *

3Peace + Gentle Stranger + Great Dad + Suitman Jungle, 26th April 2018Assuming that you don’t already have a date with the industrial dub techno world of Justin Broadrick and Kevin Martin by treating yourself to the Zonal and Moor Mother gig in Elephant and Castle on 26th April, it might well be worth your while casting a little further south-east to the Bermondsey/Peckham borders and the DIY Space. Two sets of promoters (Parallel Lines and GLOWS) are pooling gig resources on the same night: the first of two “Middle of the Room” shows blending all manner of musicians and art sparks…

Saxophonist Nat Phillips, drummer Pike Ogilvy and synthman Sam Bates make up the jazztronic trio 3Peace, merging semi-minimal pop electronica and jungle/techno/ambient club beats with jazz ideas. So far they’re just scratching in the sandbox of their potential talent: on their demos, they sometimes sound like bedroom dreamers on grey English days, dreaming of sunswept bay beaches and trying to conjure them up by making downtempo grooves on a phone.

Live – when they have space and time to work their way out of the cramping effects of budget recording – it’s a different story. Perhaps it takes a while to build (and perhaps there’s still a little too much chill-station reticence to their current chemistry), but whenever Nat’s saxophone kicks in with its cryptic Wayne Shorter commentaries, 3Peace take a step towards becoming a squat-scene Weather Report, with rolling grooves in the vein of a MIDI-ed-up ‘Sweetnighter’. Someone needs to tell them to cut loose from the easiness: to start scaring a few horses, start jousting each other, allow themselves to burn a little. There’s the option for so much more here.

 
Enigmatic, extrovert and deep underground, Dada jam band Gentle Stranger don’t give out much in terms of information bar their gig dates, their deliberately ludicrous attempts to tag themselves as “post clown”, and a succession of bungled, enigmatic, absurdist haikus about television, teething or caterpillars. I’ve not seen any of their gigs yet, but ‘Subculture‘ webzine – quicker off the mark than me, or just, with its Fred Perry tie-ins, better connected) tells me they’re dressed all in white… the Gods’ jam group, the Mount Olympus house band. Sprawling prog riffs meet footloose brass motifs and contrapuntal vocals from each heavily made-up member. A spectacle, to say the least”, while UCL’s ‘Savage’ reports back with “brash brass shenanigans coupled with shout-pop spleen“, and ‘Gigsoup‘ has them down as a performance-art blend of megaphone chanting, furious singing, folkiness, free jazz, no wave and funky noise”.

Billed like this, they could be a jazz-rock Fischerspooner, a post-Gentle Giant/Zappa/Zorn cataclysm, or a London take on – say – the art-prankery of a.P.a.T.t. I’ve seen photos of them gallivanting about in white burnouses and giant dunce caps; they’ve sometimes been part of the wave of cunning bacchanalian art-gigs hosted by the shapeshifting HMLTD… and here’s the video evidence. A trio (or trio-plus – it’s difficult to tell who’s in the band simply from who’s onstage) with a Jesus-robed drummer and a pair of ADHD multi-instrumentalists continually swapping between saxophones, trombone, flutes, guitar and bass. One of them regularly grabs an accordion, to wander the venue like an amnesiac busker. There are frocks and yelps and tinkling bells; there’s what looks like a stage invasion by a Riverdancer; and the music itself follows a curving, crazed path like a growing flood in a gutter, catching up little singalongs, burst of death metal and Balkan folk, nursery ditties and hornpipes along the way. They may well do everything differently next month.


 

Two-thirds of promising genderqueer alt.punk band Worm Hears also operate as Great Dad. It’s an excuse for the former band’s drummer and their singing guitarist (both currently broadening their horizons on the Popular Music course at Goldsmith’s) to set guitar-rock approaches aside in order to investigate a subtly disorientating slew of experimental pop. They played support to Charles Hayward last year; this year ought to see them getting recognition in their own right.

For my money, their electronic bricolage and sparse bleat-burrs of guitar make for a far more interesting, far more transformative project than does Worm Hears. It frees up singer Charlie, in particular, to apply those plaintive epicene Belfast-punk tones (a transitioning choirboy enraged by a broader world) across a variety of pedal-assisted pitches and registers including R&B queen, lonely Autotuned cyborg and cynical grouch-rock baritone. The songs, meanwhile, phase through walls and frameworks in a series of weird, wide-awake narrative arabesques – the glitchdream of Spanish pop in Wasp Honey; the seasick blippery, ringing organ shadows and voice-tweaking of Walk Around are free-associating mashups of love, political paranoia, consumer anomie, salty language and an ever-strange out-of-step physicality half-trapped between distress and wonder.



 
Suitman Jungle’s particular schtick is that he’s a humble financial-sector worker consumed by a rabid love of jungle/drum and bass beats. In character, decorously sheathed in formal jacket and tie, he’s meek and sweet-natured; eager to make a connection with his audience but just as eager to let rip on a set of stand-up drums and a sampling pad. Suitman sets are semi-theatrical performance pieces, crossing gently satirical spoken word with hammertastic live-beat mash-ups and a rave aesthetic. Through all of this, he threads sound pictures of London life – the rituals and private rebellions of commuting, the bearpit bellicosity of the Houses of Parliament, and so on.

He’s an oddly-positioned character: a kind of pre-escape, post-millennial Peter Pan, musing quietly on the absurdity of adult life and office etiquette, one ear constantly cocked to the utopian call to fly away into the heart of the drumming. I’m not sure how far all of this develops, or if (like 3Peace) Suitman’s being held back by format; but on spec he’s worth checking out to see how far he’ll go, and to see just how those frictions are going to play out.




 
As with the BABY night, there’s more here to make it more of an event – an in-the-round setting, DJ sets from organisers GLOWS and from electronic musician Lucaufer, plus presence of various kinds from zine/radio/gigzone gender-egalitarians The Femme Collective, haunted electronicist GG Skips, design company Spit Tease and Slow Dance, Autre Half and Grandma (the last three of whom operate in the blurred imprint area between, and encompassing, gigwork and record release). There’ll also be “a continuous circulation” of art – films, objects and images – curated by Felix Bayley-Higgins and finding room for material by Luis Jacobs, playful designer/repurposer Harry Grundy, irreverent sculptor/former ‘Spitting Image’ headbuilder Wilfrid Wood, and theatrical designer Willa Hilditch among others. And if you like the sound of all of this, it seems as if they’re repeating it a month later on 24th May; but for now, see below…

Parallel Lines & GLOWS presents
3Peace + Gentle Stranger + Great Dad + Suitman Jungle
DIY Space For London, 96-108 Ormside Street, South Bermondsey, London, SE15 1TF, England
Thursday 26th April 2018, 7.00pm
– information here, here and here
 

April 2018 – folk-theatre in progress in London and Bristol: ‘Travelling With Thomas’ (12th, 23rd, 24th April)

8 Apr

I can’t believe that, up until now, I’ve managed to miss news of this. A team gradually workshopping a brand-new folk musical and bringing it to the public in Bristol and London this month – a folk opera, really, based on an old, old story (in fact, one of my favourites of its kind, about a man given the twisted gift of prophecy along with the inability to lie, often with the proviso that the results will come back and hit him).

'Travelling With Thomas', 2018

“An ancient tale. A new twist. A musical journey. ‘Travelling With Thomas‘ presents an interactive gig that presents beautiful new songs, music and artwork to explore the legends and folklore of Thomas the Rhymer. Forced to travel to Fairyland, Thomas is helped and hindered as he tries to find a safe way home. It is a tale of fairness, love, truth and time. Come and join the journey!

“Composer Laurel Swift and designer Lizzie Watts invite you to share their journey with some of the finest performers on the scene as they start to create a new folk musical, and conclude their first year-long collaborative project. This fourth and final showcase is a summary of the perilous journey so far and a tantalising insight into what’s to come. It’s a unique, behind the scenes insight into the artistic development of ‘Travelling with Thomas’. Through an exhibition and concert, view Lizzie’s distinctive artwork and hear Laurel’s contagious music performed by a captivating cast of leading folk performers.”

Laurel’s already an inspiring (or intimidating) talent – the founder, leader and choreographer of the self-explanatory Morris Offspring dance troupe; ceilidh fiddler and singer in The Gloworms; double bassist in Gadarene; and clogdancer in pretty much everything she does. She’s dipped into storytelling before, telling a semi-improvised selkie tale as the instrumental/dancing half of the ‘Under Her Skin‘ team (alongside performance storyteller Debs Newbold). Lizzie is even more deeply embedded in tale-telling, probably being best known as a third of the three-woman core of Thimble Theatre who assemble physical theatre out of circus, music and traditional arts.

In addition, the ensemble putting the music together is a pretty fantastic cross-section of British folk, classical and theatrical crossover. It features singer and fiddler Ben Moss (Lauren’s partner in both Ben & Laurel and the spring-themed touring show ‘A Branch of May’), plus Lizzie’s Thimble Theatre cohort Harriet Riley (marimba and percussion, also in Spindle Ensemble and Tezeta). Other members are Hazel Askew (voice and flute, from Lady Maisery and The Askew Sisters), Nick Janaway (a.k.a. Newton Disc, voice and guitar), Deb Chalmers (fiddle and viola, from Stepling, The Mystery Fax Machine Orchestra and innumerable sessions), Sarah Moody (cello and voice, from The Devil’s Violin), and finally the Bellowhead/Faustus duo of Benji Kirkpatrick (voice, bouzouki) and Paul Sartin (fiddle, oboe, voice).

Dates and places:

  • Horsefair (formerly the Alliance Boots store), 49 The Horsefair, Broadmead Shopping Centre, Bristol, BS1 3JY, England, Thursday 12th April 2018, 7.30pm – information here and here
  • Gunnersbury Park Museum @ The Small Mansion, Gunnersbury Park, Acton, London, W3 8LQ, England, Monday 23rd April 2018, 1.00pm – information here, here and here
  • Cecil Sharp House, 2 Regents Park Road, Camden Town, London, NW1 7AY, England, Tuesday 24th April 2018, 7.30pm – information here, here and here

Sadly, I’ve picked this up too late to bring news of opportunities for you to get involved in the early developments, but at least you now get to see the work in something close to a finished form. Here are a couple of videos to explain more of the concept…

 

April 2018 – upcoming London experimental/electronic/hip hop gigs – Zonal (Justin Broadrick and Kevin Martin) with Moor Mother (26th April)

7 Apr

Baba Yaga’s Hut presents:
Zonal with Moor Mother
Corsica Studios, 4-5 Elephant Road, Elephant & Castle, London, SE17 1LB, England
Thursday 26th April 2018, 7.30pm
– information here, here and here

Zonal + Moor Mother, 26th April 2018Back in 2003 – wracked from crises of confidence and mental stability, and apparently sick of playing to the same audience every night… white dudes dressed in blackKevin Martin and Justin Broadrick put the cap on twelve years of playing industrial dub and hip hop charge as Techno Animal. Simultaneously, they were suspending a decade-and-a-half of mutual appreciation and collaborations: omnivorous industrial noise-rockers God, free-jazz/hip hop/sound garglers Ice, the sax/breakbeat/datascreams of Curse Of The Golden Vampire…

Techno Animal had begun in 1990: a response by two English Midlanders to the barrelling drums, noise-volleys and unsettling atmospheres of the international industrial movement (at the time, exemplified by the varied but mutually steely work of Tackhead, Swans, Foetus and The Young Gods). Over the course of the following decade, they travelled from the boulevard screeches, Penderecki string-squeals, found broadcasts and tangled jazz steals of their ‘Ghosts’ debut through the squidgier, more meditative tones of ‘Re-Entry’ (dropping much of the hardnut New York door-hammering en route) and the chilly, minimal, irritated illbient moods of the ‘Symbiotics’ album (split with German dub techno duo Porter Ricks).

Although parallel Kev’n’Justin projects kept popping up, they always eventually seemed to get subsumed back into the Techno Animal mothership. The hip-hop components of Ice, in particular, informed the narcotic murmurs and beat collages of TA’s third full album ‘Radio Hades’: it was even more apparent in the subsequent full-on turntable scratches and furious apocalyptic rap-spits riding the chassis of 2001’s ‘The Brotherhood of the Bomb’ (which featured top-notch MC-ing from El-P, Dälek, Vast Aire and the triple-tag alliance of Anti Pop Consortium). Whether impassive or garrulous, all of Techno Animal’s music sported a vein of austere, dank ambience; a pall of stern, frowning horror. Some of the evidence suggests that this came mainly from Justin, who since the late ‘80s had been exorcising his philosophical outrage and his horror at the world via his industrial metal band Godflesh. Eventually it would overwhelm him, with the disbanding of Techno Animal being just one symptom of a fleeing into temporary breakdown and retirement.

Many musical partnerships, especially those which disintegrate under strain, end with mixed feelings: often a toxic rage which pollutes the memory for years to come. Refreshiingly, for Justin and Kevin, there seems to have been none of this. Techno Animal’s working legacy has been more a mixture of affection, mutual pride, acceptance and bewilderment; plus a sense of unfinished business which neither seemed to be able to completely pick up on. Justin worked his way back up to continue some elements of Techno Animal’s work in his JK Flesh project, while Kevin already had another dance music platform in place in the shape of longterm downtempo/dub/ragga project The Bug (and, more recently, King Midas Sound. Both men also became more and more involved with DJ culture, and in 2009 there was a welcome gesture of common warmth when King Midas Sound supported a revived Godflesh at Supersonic Festival.



 
That said, it’s taken fourteen years on for Kevin and Justin to fully settle back in each other’s pockets and build on what they can do together. For now, at least – it seems to be a comfortable mutual fit. Resurrecting yet another project name (from an obscure CD-R album they spat out back in 2000 – see above), they’re now travelling as Zonal, picking up on old Techno Animal pieces and some of the working methods, but apparently rejecting some of the “bruising” older preoccupations in favour of a “smacked-out hip hop” approach. Whether the minimal electronica bounce of the original Zonal is going to hold any sway over the new work is another matter: the revived partnership made a Berlin debut last year, but under the old Techno Animal monicker (footage below suggesting that whatever they’ve changed they’re still well in touch with the old material). As far as I can tell, this Baba Yaga show is both their British debut and the formal assumption of the new Zonal identity. Possibly a project in flux; more likely a well-established idea trying on a new and better-fitting coat.


 
Whatever they’re calling themselves, they couldn’t choose a more suitable – a more timely – guest partner, than the unflinching powerful experimental rapper Moor Mother, who’ll be delivering a set of her own before joining the Zonal performance. Here’s what I wrote about her back in January:

“Over five dense and rapidly-evolving years of releasing and expressing, exploring and pushing, (she) has become something terrifyingly vital, cathartic and challenging. From the smooth and simple, app-driven, almost homely patchworks of her first EPs, her soundscaping and beat conjuring has developed into a jolting, stirring, often terrifying sonic canvas. Her lightning-raddled masterpiece, 2016’s ‘Fetish Bones’ (hailed at the time as a record of the year by a sweep of critics, from the furious pseudonymous screeders on the most obscure specialised blogs right up to the ponderous proclaimers of ‘Rolling Stone’), could just as equally be record of the year now. Nothing about it has dated, from the explosive Afro-futurist industrial gumbo of its construction to the horrendously untreated, uncorrected misdeeds it chronicles and the righteous rage it swings back with.

“A furious free-electronic beat investigation into the very fabric of American history from its battered black underbelly, the timbre and horror of ‘Fetish Bones’ reveals (her) as a burst but ever-renewing griot – willingly overwhelmed but still fighting the fight that needs to be fought. Her spit of ideas and incriminations are the symptom of an ongoing wound that won’t stop being burst open: “still had enough blood in my throat to gargle up nine words – “I resist to being both the survivor and the victim” – but I know the reality…” A stern, fearless presence, she rides a broken levee’s worth of dirty-historical floodwater and swirling cyclonic indictments, holding American crimes to account – male violence; systematic and institutionalised white brutality against black bodies and souls, or against the nation’s own tormented psyche. Around her voice (sharp beads of slam poetry chorused and gravelled by a flicker of concrete distortion) there’s a massed, jump-cutting collage of industrial-strength beats, chain gang and plantation songs, subway trains rattling into darkness, layered speeches of resistance, samplings of gospel ecstasy crossing into screams of operatic rage.

“What initially seems like a crazed searchlight, swinging pitilessly and furiously from atrocity to atrocity, rapidly reveals itself as being driven by a diamond-hard intelligence as (she) time-travels back and forth across two American centuries of wrongness, relentlessly weaving her case from aural snapshots of black culture suffering and resisting under the heel that hammers it, and never sugarcoating the price and courage of struggle (“like how mama made biscuits outa nothing, all while having a dope needle in her arm…”)


 
Justin and Kevin will also be performing Zonal-toned DJ sets around the main event; as will Bristolian DJ Schwet, who gets the between-acts slot. As BYH are saying, “gonna get HEAVY”.
 

April-June 2018 – upcoming London jazz gigs – Patchwork Jazz Orchestra and Pillow & Kase (7th April); part two of the Jazz Herstory season at Poplar Union with Ruth Goller (19th April), Cath Roberts (17th May) and the Alison Rayner Quintet (28th June)

4 Apr

Briefly boosting the signal for some of the season’s jazz shows…

* * * * * * * *

Patchwork Jazz Orchestra + Pillow & Kase, 7th April 2018

Balabam & Woodburner presents:
Patchwork Jazz Orchestra + Pillow & Kase + DJ Hot Bread
Balabam, 58-60 High Road, South Tottenham, London, N15 6JU, England
Saturday 7th April 2018, 7.30pm
– information here and here

Patchwork Jazz Orchestra are a London-based millennial big band that has no leader but a variety of composers using the ensemble as a platform for fresh sounds and ideas. A factory of sound, materialising the musical fantasies of a new generation of jazz musicians. With such a melting pot of influences and characters, the music ranges from luscious and sweet melodies to broad walls of sound, from drum and bass to funeral marches, from fairytale ballads to calypso. The musical glue binding it together are the seventeen musicians that power the vibrations and their universal passion for improvisation. Drawing on the wealth of history of the big band format, PJO have revamped it into a well-oiled machine that embraces a modern day philosophy of music making.

“Having already met through other smaller ensembles and subgroups, many members of the band had a desire not only to play more large ensemble music, but to have the opportunity and environment to write for it. Ideas for the band began forming in early 2014, and in November that year the seventeen-piece group made its debut to a sell out audience at the London Jazz Festival. After winning the Peter Whittingham Award in 2015, the band have hosted their own “Patchwork” nights, engaging new audiences at unusual spaces in London and turning heads with the sound of fresh original compositions written exclusively by its members. They have just finished recording their first album at AIR Studios, scheduled for release in early 2019.


 
Pillow & Kase are a London based duo born out of the not-so-usual yet distinctive combination of a singer and an electric bass player. Creating a variety of textures using the delicate paring of these instruments with electronic effects, loops and percussion, this duo (featuring Clara Serra Lopez on vocals, electronics and hand percussion and Matt Gedrych on electric bass and electronics) plays original music and improvisations based on the sounds, rhythms and expressive nature of jazz, hip-hop, neo-soul, Latin and African music.”

 
Despite the early start, the live music itself kicks off at nine o’clock with DJ Hot Bread filling all of the gaps before, in between and after.

* * * * * * * *

Just north of Docklands, the impeccable feminist jazz initiative Jazz Herstory continues its rolling series of gigs at Poplar Union featuring top female jazz talents. For information on the previous set of shows, click here; for news on who’s going to see us through spring and into summer, read on…

“In a sudden change of plan, Ruth Goller will be fronting the fourth episode of Jazz Herstory Presents (replacing the originally scheduled Emma-Jean Thackray). Grooving through so many of the greatest bands in London (including this one and Vula Viel), Ruth Goller is one of London’s best bass players.

“Agile Experiments is a project curated by Dave De Rose (Jazz Herstory’s favourite drummer), based around – but not limited by – eight combinations of fourteen musicians based in London, which come together in a genre-defying free improv setting. Initially formed from one-hour concerts in Brixton Village courtesy of The Agile Rabbit Pizzeria (from where the project got its name), the group have just released Volume One of their collective efforts on 12″ vinyl.

“For this concert Agile Experiments presents Ruth Goller (bass guitar), George Crowley (Can Of Worms, Corrie Dick’s Band of Joy, Vula Viel) on saxophone and Dave De Rose himself on drums.



 
Cath Roberts is a saxophonist, jazz promoter, record label manager, producer and composer. She has toured across the UK and Europe, contributing a huge amount to the production of music in and around London. Her music is very spontaneous, drawing on repeated phrases, pulled in all directions by various members of the band at different times, shared and passed around and developed. The music seems to grow out of nowhere and submerges you in a musical journey.

“Her bands (as leader or contributor) include Sloth Racket, Ripsaw Catfish, Favourite Animals and Madwort Sax Quartet; and she’s half of the LUME project (with Dee Byrne) championing fresh improv in a series of gutsy dates and all-dayers. For her Jazz Herstory concert, Cath will be leading a drumless trio completed by double bass player Otto Willberg and trombonist Tullis Rennie (one of Cath’s Favourite Animals collaborators).

 
“Double bass player and composer Alison Rayner has been on the British jazz scene for many years and is well known for being a proactive member of the jazz community, running gigs and touring internationally with the band Guest Stars, as well as being known for Blow The Fuse. As a leader, Alison ties together many of the strands of her numerous musical influences: a long-time Charlie Haden admirer (as well as being a Jaco Pastorius and Stanley Clarke fan), Alison is supported by some of the most accomplished musicians in the UK today.

“Alison’s Quintet (her Blow The Fuse partner Deirdre Cartwright on guitar, The Casimir Connection/Giant Steppes’ saxophonist Diane McLoughlin, Steve Lodder on piano and Buster Birch on drums and percussion) is “purposeful, full-toned and melodic, a beautifully integrated band”. The influences are diverse, with traits of funk, folk and Afro-Cuban dance music. Expect terrific grooves, poignant melodies and fluid improvisation.”


 
All concerts are at Poplar Union, 2 Cotall Street, Poplar, London, E14 6TL, England. Dates as follows:

  • Ruth Goller/Agile Experiments – Thursday 19th April 2018, 7.30pm – information here and here
  • Cath Roberts – Thursday 17th May 2018, 7.30pm – information here and here
  • Alison Rayner Quintet – Thursday 28th June 2018, 7.30pm – information here and here

 
As I did last time around, I’d recommend the burgeoning Jazz Herstory Facebook page as a great place for finding out more – much more – about undersung and/or unfairly neglected female jazz artists in history.
 

April 2018 – London classical/classical fusion/experimental gigs – North Sea Radio Orchestra and V Ä L V E at the Lexington (15th April); Sarah Deere-Jones harp-and-choir song cycle in the heart of Westminster (21st April)

3 Apr

North Sea Radio Orchestra + V Ä L V E , 15th April 2018

North Sea Radio Orchestra + V Ä L V E
The Lexington, 96-98 Pentonville Road, N1 9JB, London, England
Sunday 15th April 2018, 4.00pm
– information here, here and here

Last seen using their classical leanings to command the gorgeous baroque interior of Oxford’s Holywell Music Room, chamber-fusion group North Sea Radio Orchestra are heading back to London to fistbump the other branch of their own roots. Arguably, the Lexington is London’s current home of forward-looking eclectic prog and psychedelia; and the NSRO (whose own moist-aired and mournfully jaunty English psychedelic sensibility is inspired by both Robert Wyatt and Cardiacs) are paying it a visit.

Led, as ever, by the husband-and-wife Fortnam team of Craig and Sharron, they’ll bring along their combination of Anglo-pastoral classical gentility, their London clay bed foundations, their motorik strings-and-reeds chamber-kosmische (equal parts Britten, Neu!, Penguin Café Orchestra and ‘Ivor The Engine’) and their unorthodox vocals (Craig’s vulnerable, transparent murmur; Sharron’s homespun clarion of mezzo-soprano-meets-folk-punk). They’ve always possessed a mingling of the down-to-earth and the numinous, as well as their own spin on English psych’s way of plugging into ancient national myths (the patient ones tucked away in strata far, far below the more prickly, hijackable old pomp-and-circumstances).



 
Yet, in parallel to the Fortnams’ relocation from London to Salisbury, NSRO’s gradual songwriting and compositional journey (especially over the last couple of albums) has seen them move away from Victorian revivals and fine church woodwork; shifting their poetic patron spirit from their early taste for Tennyson (and through a transitional fix on Blake) to end up with Craig and Sharron’s own experiences of landscape magic, familial loss and loyalties. The process has also seen NSRO quietly phase into a worldview that’s less of a beautifully polished bubble of English nostalgia, and is now more implicitly inclusive of gentle acknowledgements of English connections and fallibilities as well as paeans to oak, ash, ridgeways and birds.

To be fair to them (in times when celebrations of antique, semi-rural Englishness can lead to accusation of chocolate-box/mug-of-tea fascism), NSRO have always seemed naïve as opposed to genuinely being naïve. More recent centrepiece songs and pieces have reflected on the balefulness of nationalism, and celebrated more benevolent co-operations such as the Berlin Airluft – the Fortnam’s kinder, fiercer convictions now written more clearly in the texture of their music; a demonstration that that taste for Wyatt goes deeper than just mood-shadings.

In support are the apparently tireless V Ä L V E – click here for a string of recent posts in which I babble repetitively about their bassoonical beginnings, messy play with lost objects, Rock in Opposition links, and current status as harp/bass/reed toting classical/experimental punks. As with many of the band’s recent gigs, this is familial (V A L V E being another branch on the rambling Cardiacs shrub thanks to mainwoman Chlöe Herington’s role as Knifeworld bassoonist), but V A L V E is a far more elusive beast, deeply embedded in avant-garde visual scoring, synthaesthesia and a kind of feminist tyro-science approach to memory and associations as well as an opportunity to make a noisy puckish semi-improvised racket and a group singing session.



 
* * * * * * * *

Sarah Deere-Jones and Cornwall Harp Centre present:
Sarah Deere-Jones: ‘Carmina Iocunda: Songs for the Seasons’
St Matthew’s Church, 20 Great Peter Street, Westminster, London, SW1P 2BU, London, England
Saturday 21st April 2018, 6.00pm
– free event – information here

Sarah Deere-Jones' 'Carmina Iocunda: Songs for the Seasons', 21st April 2018
Harpist and composer Sarah Deere Jones premieres the first complete performance of her new composition ‘Carmina Iocunda (Songs For The Seasons)’ a twenty-two minute song cycle for choir and lever harp which she describes as “a combination of everything I love – mediaeval literature, the English countryside, the changing seasons, choral music and of course, the sound of the harp.” The piece sets eight mediaeval poems (one by Chaucer, one by Shakespeare, the rest anonymous or unassigned) in four blocks of two, or two for each season, in a format which Sarah notes is “similar to Britten’s famous ‘Ceremony of Carols’.”

The concert is free and runs for an hour – there are no details or confirmation yet, but this suggests that Sarah might also be performing other pieces from her repertoire , whether as composer or as specialist player (in addition to her work on pedal and lever harps, she’s currently the only authentic-style performer on the Regency harp-lute and the dital harp).

Below is a video clip of the original choral version (minus harp) of one of the eight ‘Carmina Iocunda’ pieces, ‘Blou northern wind’ (as performed by Exeter University Chapel Choir back in 2015, while the larger work was still being assembled), as well as one of Sarah in action on both concert harp and windblown Aeolian harp out at Glastonbury Abbey and the Somerset Levels.



 

April 2018 – The Ecstatic Music Festival in New York (part 3) with Margaret Leng Tan, ModernMedieval, Julianna Barwick, Patrick Zimmerli, Carla Kihlstedt and others, featuring premieres of new works by George Crumb, Suzanne Farrin, Kelly Moran, Jeremy Flower and Patrick Zimmerli (14th, 19th, 26th April)

1 Apr

During April, New York’s Ecstatic Music Festival comes to an end with its three final events. In the previous six concerts, we’ve seen (among other things) big band music, contemporary classical percussion, slam poetry, choirwork, experimental pop and progressive industrial metal. The closing three shows feature left-field jazz/classical/pop fusions, mix-and-match vocal ensemble music, and a finale of virtuoso contemporary classical piano (including toy piano).

* * * * * * * *

Jeremy Flower, John Hollenbeck, Ethan Iverson, Carla Kihlstedt, Christopher Tordini & Patrick Zimmerli: ‘Clockwork’ & ‘Songs of Mourning’
Saturday 14th April 2018, 7:30pm
– information here and here

“The evening begins with a celebration of the release of composer-saxophonist Patrick Zimmerli’s ‘Clockworks’, an hour-long jazz quartet suite and a musical meditation on time, in all its forms, performed by Zimmerli with former Bad Plus pianist Ethan Iverson, bassist Christopher Tordini and composer-jazz drummer John Hollenbeck.

“In the evening’s second half, pop/art song composer-violinist-vocalist Carla Kihlstedt (Sleepytime Gorilla Museum, Rabbit Rabbit, Charming Hostess, Tin Hat, The Book of Knots, Causing a Tiger and others) and composer Jeremy Flower joins Zimmerli, Tordini and Hollenbeck for the world premiere of ‘Songs Of Mourning’, an exploration of sorrow ranging from the political to the personal, and other works from their cumulative pasts.”



 
ModernMedieval & Julianna Barwick
Thursday 19th April 2018, 7:30pm
– information here and here

“Some of the greatest voices in contemporary music come together! Julianna Barwick’s ethereal, powerfully emotive voice (usually layered on top of itself to stunning effect) is paired with three-member super-group ModernMedieval (celebrated performers of early music, featuring former Anonymous 4 founder Jacqueline Horner-Kwiatek and Roomful of Teeth’s Martha Cluver and Eliza Bagg), ascending into a thrilling and truly ecstatic sonic world.

“Featuring premieres of new works by Barwick, Caleb Burhans (“New York’s mohawked Mozart” – ‘Time Out New York’), and Caroline Shaw (the youngest ever winner of the Pulitzer Prize for Music).”



 
Margaret Leng Tan premieres George Crumb, Suzanne Farrin, & Kelly Moran
Thursday 26th April 2018, 7:30 pm
– information here and here

Margaret Leng Tan — the formidable doyenne of the avant-garde piano — has built a career on upending tradition, pushing her instrument into fresh, no-holds-barred sonic worlds,” raves the Washington Post. Tan gives the New York premiere of ‘Metamorphoses’, a major new work written for her by the seminal twentieth century composer George Crumb, for amplified piano, toy piano, percussion and voice. Metamorphoses is performed with Monica Duncan’s video projections, in which atmospheric visual textures complement the music.

“Tan will also premiere two new EMF-commissioned pieces by young composers responding to Cage and Crumb’s influence: a work for prepared piano by Kelly Moran, and a haunting new piece by 2017 Rome Prize winner Suzanne Farrin that acknowledges not only Crumb’s important contribution to American music, but, in Farrin’s words, “also Margaret Leng Tan’s special role as the artist who has brought the piano’s insides to life on stage.” Works by Toby Twining and John Cage round out the program.”



 
As with all the other EMF concerts, these will take place at Merkin Concert Hall @ Kaufman Music Center, 129 W 67th Street, Upper West Side, Manhattan, New York, NY 10023, USA.

Both the ModernMedieval/Julianna Barwick and the Margaret Leng Tan concerts are co-presentations with New Sounds Live: hosted by John Schaefer, they’ll be streamed live via the New Sounds homepage.

Same again next year?

Ecstatic Music Festival, 2018

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