Archive | June, 2018

July 2018 – upcoming London classical gigs – Jennifer Ames Alexander and Colin Alexander play new music by Eva-Maria Houben, James Luff, Alex Nikiporenko, Amanda Feery and Garrett Sholdice for viola and cello (7th July); the London Symphony Orchestra present new works by Robin Haigh, Lillie Harris, Yvonne Eccles and Nick Morrish Rarity at Soundhub Showcase Phase I (14th July)

30 Jun

Two more quick boosts for imminent concerts…

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London-based concert series 840 specialises in new experimental and minimal music. Here’s what they’re offering this month:

'840: New Music for Violin & Cello', 7th July 2018 “840 presents an evening of new music for viola and cello, performed by Jennifer Ames Alexander and Colin Alexander (Tre Voci). Showcasing the versatility of this duet format, the programme will feature intimate, resonant pieces from Eva-Maria Houben (Wandelweiser) and Marc Sabat alongside brand-new works from Colin Alexander and from 840 curators James Luff and Alex Nikiporenko.

“We are also excited to be featuring work by two wonderful Irish composers, with a piece from Amanda Feery in which disjointed fragments replace seamless transitions, and a newly-composed work from Garrett Sholdice, known for writing music of “exquisite delicacy” (‘The Irish Times’).”

840 presents:
840: New Music for Viola & Cello
St James’ Church Islington, Prebend Street, Islington, London, N1 8PF, England
Saturday 7th July 2018, 7.30pm
-information here, here and here

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And a week later, there’s this…

LSO Soundhub Showcase: Phase I, 14th July 2018

London Symphony Orchestra‘s Discovery’s Soundhub programme presents new music by first year composers, performed by LSO musicians and guests.

“Join us to hear ‘Twenty One Minute Pieces’, Robin Haigh’s survey of nine hundred years of musical language and instrumentation alongside Lillie Harris’ ‘My Last Duchess’ an interactive insight into coercion and control in a Gothic-Romantic monologue. Then take the fragile journey from sorrow to hope through music and dance with Yvonne Eccles’ ‘Towards hope’ before Nick Morrish Rarity explores ghostly sounds etched into the brittle grooves of shellac records in ‘the traces left behind’.”

Here’s the opening section of ‘My Last Duchess’:

 
The evening’s ensemble includes Early Music recorder specialist Tabea Debus, flute and piccolo player Stuart McIlwham, flautist/bass flautist Carla Rees (who’s appeared plenty of times in here with her ), clarinettist Heather Roche, percussionist Paul Stoneman and viola player Anna Bastow. Broadening the sonic perspective, violinist Julian Gil Rodriguez and cellist Jennifer Brown will both also be playing Stroh versions of their respective instruments, and acoustician Aleksander Kolkowski will be playing a phonograph and an assortment of antique shellac discs for the Rarity piece. (Presumably, that’ll be Rarity played using rarities. Don’t all of you laugh at once, now.)

A quick note – this is one of the few times I’ve heard of Stroh string instruments being used in classical concerts, although a century ago they’d have been quite common. Late Victorian devices, they’re trimmed-down solid-body versions of acoustic instruments (mostly from the orchestral string section, but also sometimes guitars and lutes) with their sounds amplified by built-in metal resonators and horns, like early phonograms. Designed to replace traditional string instruments which might be drowned out in noisy environments, they were used in early recording studios before being killed off by amplification technology and better microphones.

These days the ones which aren’t in museums or the backs of cupboards are mostly used to lend antique sonic retrofitting to experimental rock and pop songs. My guess is that for this concert they’re being used alongside the shellac to add compression and metal plating to the Rarity piece…

London Symphony Orchestra presents:
LSO Soundhub Showcase: Phase I
LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England
Saturday 14th July 2018, 7.00pm
– information here, here and here
 

July/September 2018 – upcoming electronic gigs – Jim Thirlwell’s Xordox goes out in New York, London and Dublin with The The, Teeth of the Sea and Faten Kanaan (variously 2nd, 5th, 7th July and 17th September). Plus an awkward Foetus reminiscence from my past….

29 Jun

Jim Thirlwell, 2018

Jim Thirlwell (either that, or it’s Quentin Crisp’s dark twin…)

Long ago in 1988 (during my gawky teenaged years) I helpless, hopelessly, stupidly loved a girl. One of her responses was to play a trio of Foetus tracks at me an hour or two past midnight, in a room tinged with other people’s dope smoke – first Asbestos, then English Faggot and finally Hauss-On-Fah. I think she was trying to prove a point about her own wildess and non-conformity as compared with my teenaged uptightness: a point seasoned with an extra tint of sadism.

Filtered through unrequited sexual longing and sleep deprivation (plus some secondary stonedness) the music took on even more of a nightmarish aspect. First the screeching, ravening wall of post-Penderecki horror-strings; then a crawling, banging, hate-crime narrative rising to a lustfully murderous snarl; finally the compulsive dance track, enough to have you ricocheting round a warehouse in the dark before realising that you’re slam-dancing to a gonzo tale of racist murders, cocaine-fuelled gang-rape and of lighting out for the outlaw territories.

Given my increasing interest in out-there music, it was a kind of awakening for me, but at the time it was more a kind of uninvited acidic baptism. I’d never heard anything like it; certainly nothing so apparently malignant and evil. I could barely move from my chair. Overlaid on the music, in real time (like an extra overdub, or a cruel remix) was delighted, spiteful female laughter. I’d never managed to make her laugh so much by my own efforts – so there was me told. Perhaps, in a way, it was a slightly twisted message of friendship-but-no-further.

Anyway, it made for a pretty disorientating walk home at half-past-two in the morning. Hornsey Vale’s one of the more peaceful and genteel London neighbourhoods, but that night it felt like hastening through the Haddonfield of ‘Halloween’. Boing, boing, boing…


 
That was a long time ago. The girl’s grown up into a woman and moved to Hove, and we’re not even remotely in touch. I’ve no idea what she listens to now or what she thinks of it; or whether Foetus, for her, is just a memory of a few twisted tracks on a cousin’s long-lost compilation tape which happened to come in handy for baiting an unwanted suitor one bloody-minded teenage evening. As for me – I’ve learnt to appreciate transgressive art a little more, and am less likely to take dysfunctional nights and dysfunctional relationships so personally. I’ve also learnt about the background behind the noise; and have even flippantly bought the odd Foetus record myself, to tease a flatmate with.

Meanwhile, if Foetus’ boiling black humour and theatre of cruelty has lost a little of its edge for me, Jim Thirwell – the man behind it – hasn’t lost any of his. Back then he was already a cutting-edge industrial rock godfather. Now, he’s a long-established sonic progenitor for Nine Inch Nails, Gorilla Black and anyone else who’s picked up an orchestral sampler, a vicious horn section and a junkyard batter-beat with the aim of making mordantly joyous music for a world scripted by the darker angels of our nature.

Over the three decades since his music reduced me to nervy paralysis in Crouch End, Jim’s worked with Lydia Lunch, Electronicat, Nick Cave, Marc Almond and Cop Shoot Cop’s Jim Coleman; and he’s branched his extreme musical satire out across the slow crushing misanthropy journals of Wiseblood (his collaboration with’ Swans Roli Mosimann), the transfer of those flourishing post-Asbestos Foetus instrumentals to the Steroid Maximus project (where they can rant, jazz and gibber in full orchestra majesty without being pinned down by a song) and with SM’s freeform cousin Manorexia. At the height of his performance-art immersion, he wore fake personalities and conceptual skin-suits like all-over psychological scars (Clint Ruin, Frank Want) but since then he’s come to the party as just Jim – behind the music, a sweet kind guy in person and an unashamed music store geek who happens to be drawn to extreme subjects (and into reflecting Western society’s callousness and license for dysfunction back onto itself). For the past twenty years he’s also been part of New York City’s contemporary classical talent pool, writing for the likes of the Kronos Quartet and Bang On A Can, and has also soundtracked cartoon music for ‘The Venture Bros.’ and ‘Archer’ – two parallel endeavours which he takes equally seriously.

Jim’s latest project is Xordox, featuring a new instrumental direction to set alongside Steroid Maximus and Manorexia. Primarily synthesizer-based, it merges his existing electronic production expertise with extended use of the lateral thinker’s dream modular synths by Buchla and Serge. The results were unveiled last summer on the project’s debut album ‘Neospection’, revealing a Thirlwellisation of modular techno. While the hurtling disruptive Alto Velocidad is more remniscent of previous Thirlwell methodology, the only currently embeddable example of Xordox out there is the cosmo-Germanic rush of Diamond. See the video below (it tickles me how different the NASA CGI footage is from the cyberpunk/”Nazoviet”-inspired designs Jim used for the Foetus records).

 
Xordox have secured July and September support slots in Dublin and New York on the comeback tour for The The (with whom Jim was a collaborator and contributor, in particular on 1983’s ‘Soul Mining’). Also arranged are fairly short notice headline dates in New York and London for the first week of July (the latter hosted by top psych/noise curators Baba Yaga’s Hut. For the live sets, Jim’s being joined by an additional keyboard player (long-time collaborator Simon Hanes of Tredici Bacci) and will be playing in front of a visual backdrop by Swedish artist Sten Backman of Great Big Container.

 
At the headliner gigs, New York support comes from synth artist Faten Kanaan who’s “inspired by cinematic forms: from sweeping landscapes & quiet romances, to the patterned tension of 1970s film scores… focuses on bringing a human touch to electronic music.” Her Germanic romantic/horror textural blends are created by “live-looping them, sans sequencers or arpeggiators. In symbiosis with technology is an appreciation for the vulnerability of human limitations, imperfections, and simple gestures.” London support comes from roof-raising underground heroes Teeth Of The Sea who merge extended brass-laden psych-rock voyages with techno and rave methodology, updated for twenty-first century urban impulses.


 
Dates:

July 2018 – upcoming London pop/rock gigs – Velodrome, Hazel Iris and Mally Harpaz at another Blind Dog Studio evening (4th July); Barringtone, Ham Legion and Stephen Evens do art-pop in Brixton (12th July)

28 Jun

Velodrome + Mally Harpaz + Hazel Iris, 4th July 2018

There’s another of multi-instrumental soundtrack composer/Anna Calvi sidewoman Mally Harpaz’s audio-cinematic Blind Dog Studio live events taking place in Dalston at the beginning of July. As with previous Dog days, Mally’s bringing her own small ensemble to play the original pieces she composed in order to soundtrack video artist Clara Aparicio Yoldi’s expansions of fine art paintings, and which win her those comparisons to Steve Reich, Max Richter, and Nils Frahm. Also on hand is another Blind Dog favourite, operatic Californian indie-folk-popper Hazel Iris, who uses “the traditions of romantic lieder, vaudeville, and contemporary styles (to) celebrate the high art of storytelling” and whose vigorous witty songs are fleshed out with cello, accordion, guitar and Mally’s percussion (but mostly by Hazel’s own powerful voice and personality).


 

The newest guest at Blind Dog Studio’s ongoing party is Katherine Christie Evans (previously the bassist for “feminist punk witches” Dream Nails), who’s bringing along her experimental rock project Velodrome. The project takes its cues from various aspects of Katherine’s life and the challenges within it. Musically, there’s her work as a singer of Early Music and her other multi-instrumental skills on guitar, bass and drums (which inspires the music’s layering of choral baroque against lo-fi indie scrawl), while politically and personally there’s the ways in which her determination and talent intertwine with her queerness (and with the more negative elements of her chronic anxiety and fluctuating mental health). As such, she counts herself as an artist “working at the intersections of feminism, social inequality, mental health and queer visibility”, battling the barriers which come with a lack of diversity in the arts while developing her own voice.


 
All of the above makes Katherine sounds furious, but she seems to be fighting her battles with humour, positivity and a gaming spirit. Viz the awkward but cheerfully determined eroticism of last month’s debut Velodrome single His Physique, which makes lustful hay from the epicene figures in mediaeval art (“lean and slender, / no particular gender,”) and sports a witty, low-budget video blending childlike cosplay and jokey New Weird visuals, as Katherine frolics around ruins, green mazes and antique rooms, invades portraits with her bass guitar to “queer the male images”, and dresses up as everything from playgroup knight to Metallica’s Kirk Hammett to towering pagan carnival-stalker. Totally charming – along with Great Dad, she’s definitely one to watch.

Blind Dog Studio presents:
Hazel Iris + Mally Harpaz + Velodrome
The Victoria, 451 Queensbridge Road, Hackney, London, E8 3AS, England
Wednesday 4th July 2018, 7.30pm
– information here and here

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Barringtone + Stephen Evens + Ham Legion, 12th July 2018Down in south-west London, Brixton lurkers Barringtone – presumably recovered from drummer Boomer’s broken wrist – take over the Windmill again for “an evening of left-field pop” as part of the increasing build towards the release of their debut album: a build which has mostly consisted of them playing semi-secret gigs a stone’s throw from their front room and nerve centre. Talk about conquering the world from your bedsit… Here, again, is their most recently released effort Dream Boys, showcasing their switch from motorik power pop towards a Zappa/Partridgean art-pop embracing some greater breadth and complexity: they’ve always had it in them, it’s just that they’ve now decided to be more blatant about it.


 
In support is scowling singer-songwriter Stephen EvEns, whose faux-surly demeanour disguises one of the most slyly humorous British songwriters since the aforementioned Partridge and the previously mentioned Ray Davies. Stints behind the drums for Graham Coxon, The Damned, Charlotte Hatherley and Cardiacs concealed his sharp talent for a crumpled, rumpled song: the two albums he did leading his own band Stuffy/The Fuses revealed it. Last year’s debut solo album ‘Bonjour Poulet’ (“the songs are beautiful and the words are horrible”) dragged it fully into the light, first squinting and then revealing its hulking, deceptive charm. Eyebrow ever-so-slightly raised; a little fang, a guitar, a desultory voice and a crappy little keyboard; a pincushion heart and a wash of downbeat Brit-indie shrug. With the imminent return of The Kinks, he’s probably got a little more competition than he did last week, but trust me, he’ll walk it.


 
Brighton-via-London rockers (and outlying Cardiacs family sprig) Ham Legion complete the bill with their “lo-fi pop… punctuated with proggy outbursts, psychedelic breakdowns and passages of cod-metal joy.” I can’t put it better than that, at least not today.


 
Windmill Brixton presents:
Barringtone + Ham Legion + Stephen Evens
The Windmill, 22 Blenheim Gardens, Brixton, London, SW2 5BZ, England
Thursday 12th July 2018, 8.00pm
– information here and here
 

July 2018 – more Woodburner world-acoustica sessions at Dalston Eastern Curve Gardens – Laura Perrudin and Garance & The Mitochondries (3rd July); Muntu Valdo, Dahlia Sleeps and O Matæus (10th July); David Keenan, Lilla Vargen and Stephen James Smith (17th July); Rachel K. Collier, Marble Empire and Alexander Carson (24th July); Roscius, Three Laws and Zoë Phillips (31st July)

27 Jun

With the June sessions of the summer Woodburner season at Dalston Eastern Curve Garden now complete, here’s details on the upcoming July set (bringing further doses of world/international music, acoustic singer-songwriters and bubbling-under internet music sensations to the London summer nights).


 
Occasionally-tweaked official blurbs below.

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“The 3rd July show features sensational French harpist, singer and composer Laura Perrudin, and London’s eccentric genius Garance Louis & The Mitochondries.

“Seeing her harp as both an orchestra and a drum kit, Laura Perrudin creates a powerful personal universe in her compelling live performances utilizing an arsenal of laptop, sound-effect pedals and multitrack loops. Using her voice like an instrument, she believes that harp and voice are each an extension of the other. Brought up on a diet of jazz, she studied classical music in addition to composing and producing music using her home studio (influenced by a wide array of genres including electronic and traditional music, soul and hip-hop), and trained with many musicians from her birth region of Brittany to New York and Paris. A harpist from childhood, her mission became to open up the possibilities of the instrument to a richer harmonic language: she plays a custom-built electric chromatic/pedal-less harp with a single row of strings, constructed by harpmaker Philippe Volant and allowing her to give free rein to the sinuous harmonies and rich soundscapes of her unclassifiable compositions.​

“Upon the release of Laura’s debut album ‘Impressions’ in 2015, ‘Les Inrockuptibles’ proclaimed her a “young iconoclast blends jazz (playing) the thousand games of a tightrope artist (with) cheerful and spontaneous radicalism, definitely modern.” while ‘France Inter Paris Radio’ wrote “it’s rather as if Björk had chanced upon Herbie Hancock in a Dublin pub. Laura Perrudin is only at the beginning of her artistic career, but she has already redefined the framework of the harp and we are sure that her singular universe will become an example.” Laura recently released her sophomore album ‘Poisons & Antidotes’ on Volatine Records.


 
“Since moving to London from Perpignan in 2010, extrovert, eccentric composer, singer and accordionist Garance Louis (now usually seen fronting Garance & The Mitochondries) has established herself as a powerhouse of the underground live music scene. Her surreal performances have featured bizarre costumes and otherworldly themes, perfectly complementing songs about absurd abstraction, procrastination, star-crossed open relationships; intoxicating love, plus rebirth in the Amazonian forest. The playful Garance always wears a smile, finding humour in physical theatre, funny faces and the clown inside us all.

“Growing up in the independent ‘Cinémaginaire’ in the South of France, Garance spent her childhood travelling the world, her head filled with the sights and sounds of the movies. The nomadic spirit stays strong with her, with an impulsive trip to New Orleans on the cards, and her past history of running away with the circus. Continuing the creative journey, her current record ‘Balance L’Aurore’ shows off Garance’s discovery of music production, bringing a new vitality and direction to her sound, while staying rooted in French chanson, psychedelic folk and old Venezuelan mambo.


 
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“The 10th July concert features Cameroonian blues-and-jazz player Muntu Valdo and melancholic electronic group Dahlia Sleeps, plus the moody electric guitar stylings of O MATÆUS.

“Hailed as “the prince of Sawa blues”, Muntu Valdo says “my passion is African history; its past glory, present fragility and diverse riches. My ambition is to increase awareness, enlighten, empower people and invoke a positive future for Africa with the rest of the world. My music is a result of all of this; rooted in the blues, mixing African traditions with striking modernity and technical mastery.” The Cameroonian is indeed a master and his performance will be a rare treat for those present to experience his music.


 
“Over the last couple of years Dahlia Sleeps have risen from being Soundcloud sweethearts with over half a million plays on the platform to the UK’s next big pop band, stacking up almost 1.7 million Spotify streams and three million YouTube views in that time. Their second EP ‘After It All’ showcases their increasing pop sensibilities whilst retaining the intimacy and endearing fragility of their original Soundcloud demos. They continue to show a willingness to tackle difficult subject matter with grace and poise. Lucy Hill’s song writing is even more poignant than ever before, with the record covering deep and personal themes from grief and loss, to love and homophobia.

“Despite the EP’s tough subjects, the band delivers some of its most upbeat efforts to date. Rise – a future LGBTQ+ anthem saw success on Spotify when released as a single last year, which has as much to do with its addictive chorus and epic guitar melodies as its important message. Only You, an intoxicating fall into luscious synth arrangements and furiously catchy vocal samples, shows a band hurtling full speed towards mainstream success.


 
“Operating as O Matæus, Mat Roberts is a young singer-songwriter from Canterbury, an ex-chorister and classically trained cellist, exploring and developing his emotional connection to a life surrounded by music. Influenced by the likes of Daughter, Ben Howard, Marika Hackman, Lucy Rose, Enter Shikari, Bring Me The Horizon and a wide range of classical composers, O Matæus wishes to create a unique style of material to hear, whether it be heard in a small bedroom or echoing concert venue, music is his life, and he wants to share it with the rest of the world. Dark undertones and words filled with passion and trouble rule his creative style with every note being connected to a moment in time that has passed. He wants to make you feel what he has felt, and with soaring falsetto lines, simple yet intricate guitar licks and raw intensity he brings those feelings back to life in the short time-span a song gives.

 
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“The 17th July concert features an all-Irish lineup featuring rising star David Keenan, electronic/acoustic songwriter Lilla Vargen, and poet Stephen James Smith.

“An obsession with words and melody took hold of David Keenan at a very early age. Exposed to the writings of Behan, Yeats and Wilde (with a soundtrack of Dylan, Buckley and The Dubliners), his formative years were inspired by the storytelling and character creations of his grandfather. Later he took the boat over the water and gathered tales and tunes of his own, learning his craft and to express his love of language. Having been asked to play alongside the likes of Mick Flannery, Hothouse Flowers, Damien Dempsey and Glen Hansard, David is fast becoming one of Ireland’s most talked-about young artists.


 
Lilla Vargen is a singer-songwriter from Northern Ireland. Her name means “little wolf” in Swedish – an alias which encapsulates both her strong, soulful, evocative voice and the vulnerability in those honest, minimal songs of love and loss. Two years after her first couple of demos emerged online, she returned with her debut EP – the three-track ‘Hold On’, including an astonishing cover of Downtown (by Majical Cloudz) and the quietly memorable torch song title track (which showcases her beautiful vocal, offset against producer Nick Rayner’s warm, gently-building production). The critically acclaimed EP racked up just under a million listens online in a month, alongside plays from KCRW and further support from BBCR1. Live, she plays as a two piece alongside Derry composer and electronic musician Ryan Vail. Recent shows include supports for Lisa Hannigan and Newton Faulkner, with her debut UK dates happening in February 2018.


 
Stephen James Smith is a Dublin poet and playwright central to the rise of the vibrant spoken word scene in Ireland today. His poetry videos have amassed over 2.5 million views and he has performed at high profile events and venues such as the Oscar Wilde Awards in Los Angeles, Electric Picnic, other voices, Glastonbury Festival, the National Concert Hall in Dublin, the Barbican in London, Vicar Street and the London Palladium (alongside Oscar winner Glen Hansard). Stephen facilitates poetry workshops in schools around Ireland and is artist in residence with Dunamaise arts centre & Laois arts office. His poetry is included on the syllabus at Western Connecticut State University and his work has been translated into multiple languages. His debut collection, ‘Fear Not’, is published by Arlen House and will be launched on 14 June 2018 in Dublin at Poetry Ireland on Parnell Square.


 
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“The 24th July show features singer/producer Rachel K. Collier, synth collective Marble Empire, and downtempo songwriter Alexander Carson.

“A one-woman electronic production machine and die-hard Ableton enthusiast, Rachel K. Collier is known for using a multi-instrument technical setup to enable her to perform her song-focused, high-energy studio productions in a live setting. Performing on stage together with a live percussionist and interactive visuals, Collier has built and refined her live show throughout 2017 including sold-out shows at KOKO, Camden and 93 Feet East, headlining the Beats For Love Festival in the Czech Republic and participating in the Ableton Loop event in Berlin. With a string of high profile shows line up this year (including SXSW and BBC Radio 1’s Big Weekend as well as The Great Escape) Collier will follow up with her debut album, set for release in autumn 2018.


 
Marble Empire is twenty-one-year-old singer/songwriter/producer Matt Berry from north London: a multi instrumentalist who writes and produces all his own material, which he describes as a blend of “gritty bass-lines, jazz harmony and guitar lines soaked in effects.” Influenced by the likes of Ben Khan, Jungle, SG Lewis and Frank Ocean, tentative early single releases last year quickly gained him much attention. He invites you to celebrate the upcoming release of ‘Marble Empire & Friends’ a seven-track compilation mixtapes written and produced by Marble Empire himself with six featured artists. He will be welcoming many collaborators onstage with him and his band throughout the evening, including Katya DJ, KarimThaPeasant, Milo Gore, Kate Lomas, Tchengiz and Natalie Green.


 
Alexander Carson is a neoclassical/downtempo composer and songwriter, based in London, who has spent the better part of seven years as the lead singer, and songwriter for genre-fluid quintet Wooden Arms. Since Wooden Arms went on Hiatus in March of 2018, Carson has embraced solo work, with his debut single ‘Lovers’ being released on 4th May and being hailed as “a perfect blend of modern songwriting and classical musicianship” by ‘The Line Of Best Fit’, as “sounding at times like an Irish prayer and others a bit Bowie-ish, but never dull or less challenging” by ‘Where The Music Meets’, and by ‘Outline Magazine’ as possessing “a distinctive timbre and delicate working of the keys that always reminds slightly of Anthony and the Johnsons… the fragile vocals and piano playing are unmistakably Alex.”


 
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“The 31st July show features live producer Roscius, electronic/classical ensemble Three Laws, and singer/pianist Zoë Phillips.

“French-born/London-based underground composer, producer and live performer Roscius has spent the last year building an enviable reputation with the release of his debut EPs ‘WMD#1’ and ‘WMD#2’, as well as successful tours in France, the UK, the Middle East and Asia. Composing through improvisation, personal recording, live vocal sampling, bass looping, special percussion and piano skills, Roscius creates a unique and absorbing soundscape, genuinely innovative and emotional; a mixture of acoustic and intelligent dance music, organic techno and ethnic deep house.


 
“An electronic band from the Big Smoke, Three Laws draw inspiration from the city, art, science, nature and the people they meet. Their first EP, ‘Convalescence’, combined haunting female vocals with classical piano, cinematic/military percussion and electronica. Three Laws have been compared to outfits such as Daughter, The XX, and London Grammar.


 
“Distinguished by haunting vocals and emotive sounds, Zoë Phillips is a vocalist and songwriter from Hertford. Her music is hard to box up, as she has dabbled in dance music but her ambient piano-based approach can nod towards the likes of Birdy and Rae Morris. Now gigging live with a full backing band, her music has previously been supported by BBC Introducing and BBC 6 Music, whilst live performances include Glastonbury Festival.”


 
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All events are at Dalston Eastern Curve Garden, 13 Dalston Lane, Dalston, London, E8 3DF, England on Tuesday evenings. Dates below:

  • Laura Perrudin + Garance & The Mitochondries, Tuesday 3rd July 2018, 7.00pm – information here and here
  • Muntu Valdo + Dahlia Sleeps + O Matæus, Tuesday 10th July 2018, 7.00pm – information here and here
  • David Keenan + Lilla Vargen + Stephen James Smith, Tuesday 17th July 2018, 7.00pm – information here and here
  • Rachel K. Collier + Marble Empire + Alexander Carson, Tuesday 24th July 2018, 7.00pm – information here and here
  • Roscius + Three Laws + Zoë Phillips, Tuesday 31st July 2018, 7.00pm – information here and here

 

July 2018 – upcoming London classical gigs – the three nights of the Music We’d Like To Hear 2018 series, with The Mark Knoop Supergroup, Apartment House and others playing Catherine Lamb, Kevin Volans, Laura Steenberge, Martin Arnold, Hermann Meier, Johanna Beyer, Robert Ashley, Gyrid Nordal Kaldestad, Michael Parsons, Georgia Rodgers and Maya Verlaak (6th, 13th, 20th July)

26 Jun

Music We'd Like To Hear, 2018

Since 2005, annual London concert series Music We’d Like To Hear has been offering “three concerts on three Fridays” curated by composers John Lely and Tim Parkinson, and performed in a City of London church. The 2018 season begins on the first Friday of July.

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The first concert, on 6th July, features The Mark Knoop Supergroup (led by pianist Mark Knoop and featuring flautist Ilze Ikse, trumpeter Chloë Abbott, cellist Alice Purton and electronics specialist Newton Armstrong).

Catherine Lamb’s prismatic music is becoming better known in the UK. In this programme we present her 2010 piece ‘nodes, various’, an early work in her continuing exploration of the behaviour of frequencies throughout an open space.

“The remarkable work of Swiss composer Hermann Meier (1906–2002) has been gaining attention following a recent exhibition and symposium at the Hochschule der Künste, Bern. As far as we know, this may well be the first presentation of Meier’s direct and uncompromising music in the UK. Thanks to the assistance of Meier’s archivist Marc Kilchenmann, we present ‘Klavierstück 1968’ alongside a realisation of ‘Flecken’, a 1980 work of cluster fields and static blocks of sonic material for eight electronic sound sources.

“Perhaps best known as a composer of operas, Robert Ashley composed his flute concerto ‘Superior Seven For Barbara Held’ in 1988. After releasing a version with MIDI orchestra on New World Records, Ashley toured a live version. Thanks to the assistance of Mimi Johnson and Tom Hamilton, we have reassembled the score of this beguiling and mysterious work for this concert.”

Previously performed versions of three of the four pieces:




 
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The second concert, on 13th July, showcases four solo or duet works for which (in two cases) the composer is on hand to perform (and which, in all cases, are too recent or rare for me to be able to offer soundclips).

“We are very fortunate to be joined by Laura Steenberge from Los Angeles, who leads a performance of some of her ‘Byzantine Rites’, a rich ongoing collection of performance pieces for music and actions drawn from fascinations with myth and ritual.

“The second half of the concert features the UK premiere of ‘Music for Boxes’ by Norwegian composer Gyrid Nordal Kaldestad, an arresting sonic environment created in close collaboration with violinist Mira Benjamin.” (Gyrid herself will be performing the electronic half of the duet.)

“As a first interlude to these sets, keyboard players Francesca Fargion and Tim Parkinson give a rare performance of Kevin Volans’ ‘Matepe For Two Harpsichords’, a 1980 work which the South African composer has referred to as “invented folklore”, marrying African and European techniques and aesthetics.

“Our second interlude is an exquisite 1971 piano miniature performed by Francesca, ‘Variations’ by Michael Parsons, who celebrates his 80th birthday this year.”

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The third and final concert, on 20th July, features acclaimed New Music ensemble Apartment House playing four works for string quartet.

Johanna Beyer (1888–1944) is chiefly known today as the composer of one of the first electronic works, 1938’s ‘Music Of The Spheres’. She was one of the most colourful and individual voices of the early American avant-garde, yet long under-represented in concert programming. Recently, though, Beyer’s work has been enjoying a renaissance. This evening’s selection is ‘String Quartet No. 2’ from 1936.

Georgia Rodgers’ shimmering ‘Three Pieces For String Quartet’ is a 2015 work supported by the Sound and Music Embedded Scheme, and premiered by the Bozzini Quartet at Woodend Barn, Banchory, Scotland for their Composer’s Kitchen project.

“We are delighted to commission a brand new work from Maya Verlaak, curator of the Post Paradise concert series in Birmingham, which has exploded onto the scene in recent years with fascinating programmes of new sounds and voices.

“To end the 2018 series, there’s a performance of Canadian composer Martin Arnold’s 1997 reinvention of the string quartet – ‘Contact; Vault’. With its long, delirious melody and quiet intensity, this singular work will play us out as the sun sets on this summer’s selection of music we’d like to hear.”

Again, some previous performances…

 

* * * * * * * *

All concerts take place at St Mary-at-Hill, Lovat Lane, City of London, London EC3R 8EE, England.

Dates and links:

  • Music We’d Like To Hear 2018 I (featuring The Mark Knoop Supergroup) – Friday 6th July 2018, 7.00pm – information here and here
  • Music We’d Like To Hear 2018 II (featuring Laura Steenberge, Gyrid Nordal Kaldestad, Mira Benjamin, Francesca Fargion and Tim Parkinson) – Friday 13th July 2018, 7.00pm – information here and here
  • Music We’d Like To Hear 2018 III (featuring Apartment House) – Friday 20th July 2018, 7.00pm – information here and here

 

June 2018 – upcoming experimental gigs – Darkroom in Letchworth (24th June) and at Ambience Chasers in London with Kieran Mahon (26th June)

17 Jun

Darkroom gigs have perhaps become a little rarer since bass clarinettist/modular synth master Andrew Ostler dismantled their shared Hertfordshire base by moving wholesale to Edinburgh (where he’s currently and happily troubling Auld Reekie’s experimental scene on his own).

That said, geography’s really the only working challenge that Darkroom currently face. The electronica duo are a tight, happy and assured unit who, for over twenty years, have continued a well-paced, well-knit career entirely under their own control; happy to lurk a hair’s breadth under the radar while wedding Os’ fluttering flexing rhythms, synth drones, thoughtful reed interjections and dancing timbral adjustments to Michael Bearpark’s powerfully brooding guitar (a sound and approach which blends a thorny, unsettled widescreen texturalism to the muscular, compelled melodic drive of a Neil Young, a David Torn or a David Gilmour). The results have been labelled as “a crossing point between avant-free jazz improvisation and Fripp/Eno-style ambient looping”, compared to Photek, Paul Schutze, Michael Brooks and supernovae, and described as “by turns beautiful and beautifully ugly… a very human music despite the inevitable technology that produces it.”

Darkroom, 24th June 2018The first of this month’s two gigs is back in their previous Letchworth home, in the Arts-and-Crafts-Movement embrace of the town’s reknowned Cloisters venue, as part of the Letchworth Festival. They’ll be part of a Cloisters afternoon of “amazing pieces of art work, live performances and (information) about the alternative history of Letchworth”. This is more interesting and less parochial than it sounds, given the town’s influential status as the world’s first self-sufficient garden city design as well as its links with Theosophy and British astronomy and its hordes of sinister black squirrels. There’s no info on who else is playing or exhibiting, nor what times Darkroom are scheduled to have sets in place, so either watch the webpages or just turn up in the early afternoon and let the Letchworth experience wash over you.

Darkroom + Kieran Mahon, 26th June 2018Darkroom will also be playing in London a couple of nights later, when they perform at Sonic Cathedral‘s Ambience Chaser electronic night on a bill with minimalist drone-loop-echo man Kieran Mahon. Keiron’s music (informed by hallucination, “acid-drenched dronescapes” and “time and space being ripped apart”) sometimes sounds like the stern ghost of a Highland bagpipe possessing a power sander and then imposing its will on a Tangerine Dream session. For all of the noisy loomings, drapes and abrasions, there’s a sturdy romantic grandeur to his textures and to his constructions: listening to him is never a chore. In addition there’ll be DJ sets from an actual Tangerine Dream-er (Ulrich Schnauss) and from Sonic Cathedral label head Nathaniel Cramp.

Dates:

  • Darkroom @ Letchworth Festival ‘Art, Music & Performance’ @ The Cloisters, Barrington Road, Letchworth Garden City, Hertfordshire, SG6 3TH, England, Sunday 24th June 2018 2.00pm onwards – free entry – information here
  • Darkroom + Kieran Mahon @ Ambience Chasers #16 – The Social, 5 Little Portland Street, Fitzrovia, London, W1W 7JD, England, Tuesday 26th June 2018, 7:00pm – free entry – information here and here






 

June/July 2018 – upcoming London classical gigs – ‘The Women Musicians of Conway Hall’s Past’ (24th June); Gabriella Swallow’s SOLO 05 performance (12th July)

16 Jun

Small, dignified assertions – often backed by blazing indignation. Discreet steps and consolidations, keeping one’s powder dry and one’s skills honed. A land claimed by determination and inches. During the period covering the Victorian era up until the First World War, the fight for women to get their concert music taken seriously was one of stamina rather than spectacle; of battles fought mostly against fathers and propriety and a condescending musical establishment, and mostly behind closed doors. The struggle for space for women to compose in and to be considered ran alongside – and in some cases intermeshed with – struggles for other suffrages.

Today, with the work of women like Judith Weir and Tansy Davies now respected and filling concert halls – Conway Hall looks back at some of their British forebears during leaner and stonier years for female composers, in a concert celebrating those women’s work and Conway Hall’s own part in encouraging it, perhaps retrospectively mining some commonality of purpose from the assorted voices and perspectives (carried in pieces that range from the parlour music which most composing women were restricted to, up to a string quartet by the redoubtable Ethel Smyth, Suffragette and prolific composer of assorted works from solo pieces to full-blown choral works and operas).

'The Woman Musicians of Conway Hall's Past', 24th June 2018

“The Sunday Concerts at Conway Hall have been running since 1887, previously under the name of the South Place Sunday Popular Concerts, making it the longest running series of its kind. This concert will celebrate the special platform that South Place offered to women musicians during the first thousand concerts between 1887 and 1927.

“Victorian London was a difficult place for women to carve a successful career as musicians, particularly composers. However, during this forty-year period a wealth of opportunities emerged. South Place made an important contribution to these improvements by programming a still-small, but significant, number of women composers – many more than appeared at similar concerts in the capital. Their works were programmed alongside famous international composers as well as other lesser-known contemporary British composers, thus offering audiences of the day a unique and diverse breadth of repertoire for their Sunday evening entertainment.

“All of the works in this one-off concert were written by British women and were performed in the early years of the chamber music concerts. Most of the music has been rarely performed since, despite being popular in its day and still offering compelling sounds to a modern audience. For further insights into the history of the concerts, the women and their music, Jessica Beck (a Ph.D student at the Royal Northern College of Music, who’s been researching and blogging about the women in the concert, from the records at Conway Hall) will be giving a free pre-concert talk at 5.30pm.”

The performers for the evening are baritone Simon Wallfisch, violinist Eulalie Charland and Emanuela Buta, viola player Judith Busbridge, cellist Gabriella Swallow, and pianist Maiko Mori.

The works being performed are Alice Verne-Bredt‘s ‘Phantasie Trio’, Maude Valérie White‘s ‘To Mary’, Liza Lehmann‘s ‘Myself When Young’ (from ‘In a Persian Garden’), Amy Grimson‘s ‘Canzona’, Josephine Troup‘s ‘Kleines Wiegenlied’, Edith Swepstone‘s ‘Spectral Hunt’ and Ethel Smyth‘s ‘String Quartet in E minor’.

A few preview versions of pieces in the programme, plucked from various times:




 
Conway Hall Sunday Concerts presents:
‘The Women Musicians of Conway Hall’s Past’
Conway Hall, 25 Red Lion Square, Bloomsbury, London, WC1R 4RL, London
Sunday 24th June 2018, 6:30 pm
– information here and here
 
* * * * * * * *

The evening’s cellist, Gabriella Swallow has her own one-woman concert coming up in early mid-July, when she teams up with Alex Groves‘ ‘SOLO’ concert series.

SOLO 05: Gabriella Swallow, 12th July 2018

Performing in Handel’s music room at Handel & Hendrix In London (formerly the Handel House Museum) she’ll be playing contemporary works by Kaija Saariaho and Helmut Lachenmann, improvisations on baroque works, and delivering the world première of a new Alex Groves piece.

 
SOLO presents:
SOLO 05: Gabriella Swallow
Handel & Hendrix In London, 25 Brook Street, Mayfair, London, W1K 4HB, England
Thursday 12th July 2018, two concerts (6:30pm & 8:30pm)
– information here, here and here
 

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