Archive | September, 2019

October 2019 (and onwards) – various upcoming jazz gigs – Yazz Ahmed’s Electric Dreams, Rosie Turton Quintet, Alina Bzhezhinska in London (3rd October); Electric Dreams in Newcastle (4th October); Forq and SEN3 in London (30th October); SEN3 in London and Brighton (1st & 8th October); Jim Rattigan’s October-to-January Pavillon tour of England (6th October onwards)

29 Sep

At the start of the month, a Women In Jazz summit in London brings Yazz Ahmed’s Electric Dreams, the Rosie Turton Quintet and Alina Bzhezhinska to the Jazz Café.

Trumpeter/flugelhorn player Yazz Ahmed has been covered in here before (thanks to Polar Union’s Jazz Herstory series) – a young British-Bahraini already being dubbed “the high priestess of psychedelic Arabic jazz” thanks to her exploration (across two previous albums) of her mixed cultural heritage, and via the use of a custom quarter-tone flugelhorn which enables her to explore the microtonal pitching within Arabic music. Electric Dreams is her electrophonic/acoustic multi-textural tie-up with drummer Rod Youngs, guitarist Samuel Hällkvist and “vocal sculptor” Jason Singh. Emerging from Yazz’ interest in spontaneous composition, “these free-flowing and conversational improvisations make use of electronic effects, sound design, live looping and sampling, in an exploration of contemporary jazz from a different angle.”

Trombonist Rosie Turton is usually to be found as part of all-female Tomorrow’s Warriors-linked octet Nérija alongside other expanding-profile bandmates including Nubya Garcia, Cassie Kinoshi, Zoe Rahman and Shirley Tetteh (the latter of whom, not content with being a jazz guitar name to watch, also operates as one-woman pop project Nardeydey). As I’ve noted before, Rosie’s own leanings are towards Alice Coltrane and Pharoah Sanders, with digressions via hip hop and Himalayan ragas; and her quintet (sometimes known as 5ive) “works around a sensually airy intertwining of Indian violin (played by Johanna Burnheart), trombone and electric piano (from Maria Chiara Argirò), in which adventurous tunes effloresce and sway around light-on-their-feet rhythm grooves: a clever, flowing, flowery architecture.” The quintet’s completed by drummer Jake Long and bassist Twm Dylan.


 
The orchestral harp is always a potentially explosive instrument. Particularly so when it’s under the fingers of Alina Bzhezhinska – a soulful beast of a player who steps easily between classical demands and jazz immediacy. She’ll be playing a solo jazz set to open the evening.

 
Yazz and Electric Dreams will also be playing – on their own, this time – up in Newcastle the day after the London gig.

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At the end of the month, New York new-school jazz rock quartet Forq also play the Jazz Café. Fluid, grooving and highly accessible improvisers, they’re strongly Snarky Puppy-affiliated. Two of the current Forq-ers, plus the band’s departed co-leader Michael League, also play in the celebrated Brooklyn jam family, while keyboard-playing Forq leader Henry Hey is even something of a Big Apple mentor to League, having first convinced the Snarky Puppy leader to move and set up shop there.

As originally conceived by Hey and League, Forq’s music doesn’t stray too far from the Snarky blueprint (dextrous young super-sidemen put together a fizzy stew of everything they’ve learned from playing jazz, blues, rock, funk, etc), but according to League “we had the idea to start a band that was bi-i-i-i-i-ig on groove and sonic exploration, without getting caught in the snags of the modern jazz world. We want to play shit with personality, character, and not nerdy, brainy stuff. Also, we want people to shake their asses. I think the band has a very hard, NYC-style sound that is industrial but also innovative, but also has some serious Texas flavour…” League moved on a couple of years ago, replaced on bass by Kevin Scott, but the band, currently completed by Snarky guitarist Chris McQueen and drummer JT Thomas, continue the initial work.


 
In support is London trio SEN3: in some respects, a transatlantic Forq mirror image. They’re another grouping of top-notch overtrained pop and rock sidemen who fancied doing something fun, immersive and different. Citing “Pink Floyd’s ethereal epic-ness, Thundercat’s psychedelic soul-funk, a touch of J-Dilla/Madlib beat conducting with a twist of Led Zeppelin riffs” as inspiration and aims. Max O’Donnell (on guitars, synths and assorted tuned percussives), Dan Gulino (on bass guitar and synths) and Saleem Raman (on drums) put together something jazzy, dubby, reverb-y and floaty: very much a product of the London melting pot they’re proud of.


 
SEN3 are also playing two dates of their own earlier in the month – at Kansas Smitty’s in London on 1st October, and at The Mesmerist in Brighton on 8th October.

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French horn virtuoso and bandleader Jim Rattigan continues to step up activity with his Pavillon twelvetet, currently featuring Martin Speake, Andy Panayi and Mick Foster on saxophones, Percy Pursglove, Steve Fishwick and Robbie Robson on trumpets, Mark Nightingale and Sarah Williams on trombones, and a rhythm section of Hans Koller (piano), Dave Whitford (double bass) and Martin France (drums).

Pavillon’s new album ‘The Freedom Of Movement’ comes out in mid-October, featuring more of Jim’s original tunes (which have been compared to Charles Mingus, Gil Evans and Duke Ellington). To help it on its way, he’s taking Pavillon out extensively (around southern England and the Midlands) on assorted dates over the next four months, between early October and mid-January.

Previous Pavillon commentary from me – “confident, breezy, swing-happy music seamlessly blending inspirations from different times and places; beery, wise and cosmopolitan but also very English. It’s the sort of sound you’d expect to hear currently curving its way around London’s seawall, if such a thing existed.”



 
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Dates:

Women In Jazz presents:
Yazz Ahmed’s Electric Dream + Rosie Turton Quintet + Alina Bzhezhinska
The Jazz Café, 5 Parkway, Camden Town, London, NW1 7PG, England
Thursday 3rd October 2019, 7.00pm
– information here, here and here

Jazz North East presents:
Yazz Ahmed’s Electric Dreams
Gosforth Civic Theatre, 125 Regent Farm Road, Newcastle-upon-Tyne, NE3 3HD, England
Friday 4th October 2019, 7.30pm
– information here, here and here

SEN3:

  • Kansas Smitty’s, 63-65 Broadway Market, Dalston, London, E8 4PH, England – Monday 1st October 2019, 7.00pm – information here
  • The Mesmerist, 1-3 Prince Albert Street, Brighton, West Sussex, BN1 1HE, England – Monday 8th October 2019, 8.00pm – information here and here

Forq + SEN3
The Jazz Café, 5 Parkway, Camden Town, London, NW1 7PG, England
Wednesday 30th October 2019, 7.00pm
– information here, here and here

Jim Rattigan’s Pavillon:

 

October 2019 – upcoming London experimental gigs – a London visit for Asuna’s ‘100 Keyboards’ (2nd); psychonauts UnicaZürn step up to save the Horse Hospital (5th); Andrew Heath & Anne Chris Bakker play an ambient evening with Matt Atkins, Andrew Sherwell and Kevin Buckland (6th)

28 Sep

As part of London ambient sound festival MODE 2019, Japanese sound/drone artist Asuna will bring the occasional travelling installation in which he arranges a hundred battery-powered budget (or toy) analogue keyboards in concentric circles within a studio space (in this case, South London Gallery’s Clore Studio) and plays, sets up or alters single notes or clusters off each of them (usually sticking keys down with Sellotape) to produce “waves of overlapping sound”.

The results are a chorused spatial drone which you can wander through, in which the intention is to “generat(e) an undulating sonic harmony both mesmerising and mysterious. Sound waves on the same frequency multiply and bounce off in myriad directions, creating a complex sonic field of interference and reverberation that swells and changes over time. Subtle acoustic variations emerge, hover and retreat based on your location in the performance space.” The cheapness of the technology, the variability of battery performance and other factors will also provide additional variations to the setup. The three-minute excerpt below gives an idea of its grating shimmer.


 
On 5th October, psychedelic trio UnicaZürn (uniting members of Coil, Cyclobe, Guapo and Shock Headed Peters) will be playing at Bloomsbury avant-garde stronghold The Horse Hospital, showcasing music from their recent ‘Sensudestricto’ album plus brand new pieces created especially for the concert.

UnicaZürn, 5th October 2019

I’ve previously described their work as a “scenic but chilly slow-evolving boil of waterside atmospherics and psychedelic sound-painting”. ‘Sensudestricto’, explicitly based around situational revolt (“has there ever been a better time to fuck off to the stars? Is a prison breakout “escapism”? Crisis carve some wound-space to let the dreams back in…” ) continues to build on that promise, evoking late ’60s oil projections and space rock, ’70s synth patterning and occult counterculture, and various subsequent shades of psych revolt, dark folk and hauntological weirdness.

The Horse Hospital itself (a twist of history, art and countercultural resistance lurking like a bold and salty tattoo in the heart of one of London’s plushest districts) is once again under threat of being priced out of existence via a rent increase demand of over three hundred per cent, plus other bullying gentrification pressures, so this is a benefit gig. Attend, talk, add some cash to the Kickstarter, etc.

 
Having been releasing ambient/drone/experimental atmospheric music for a little under two years now from its Farnham base, not-for-profit independent tape label Rusted Tone Recordings is starting off a live season at IKLEKTIK with a concert by Aqueous keyboard player/piano minimalist Andrew Heath and Dutch ambient bowed-guitarist/slowcore escapee Anne Chris Bakker.

Rusted Tone Recordings Live #1, 6th October 2019

The duo have recently collaborated on an upcoming RTR release (the north-Netherlands-recorded ‘A Gift for the Ephemerist’) which blends both men’s interest in space, sparseness and field recordings into a record which “is overwhelmingly informed both by an open, minimal landscape and a love of process, allowing lower case sounds to form as you would unfold a map – each section revealing a new and uncharted vista…suspended in time and place, are modulating drones, fragile notes, texture and immersive driftscapes which shimmer and pulse with half-glimpsed melodies that seem to hang in the air.”


 
Support slots come from fellow ambientarians and experimentalists Matthew Atkins, Andrew Sherwell, and Kevin Buckland. Although he’s sometimes a drummer for assorted projects he’s encountered or helped form via the London Improviser’s Workshop, Matthew spends most of his time on sound and visual art. When performing his own music he uses percussion, assorted objects, cassettes and laptop for sound collaging which pursues (or more properly, accepts) elements of “reductionism, chance, repetition and texture.” (Usually he’s working in collaboration with someone else; usually, it also seems, he’s providing the odder or more exploratory parts.) Similarly, Kevin is sometimes a solo bassist, but spends more time outdoors as a traveller, photographer and field recordist intrigued by “the underlying intrinsic musical character that I believe is present within the everyday soundscape; whether rural or urban, indoors or outside.” This in turn takes him back to slow-evolving electronic music of his own, often released on his own Quietest Records label and playing dusky subliminal spells with sound he’s captured along his voyages.



 
As for Andrew, he’s found a niche of his own, and sticks to it; but it’s a particularly cavernous, ecclesiastical niche. He marries field recordings from churches and cathedrals from across Britain and Europe with existing choral recordings, plunderphonicised from random choir albums found in charity shops or, when he can, recording the genuine article first-hand. The results are a devotional post-Christian drone, heavily processed from its source material, flooding through an imaginary nave like a ghostly draught.


 
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Dates:

South London Gallery/Thirty Three Thirty Three/Laurel Halo/The Japan Foundation present:
MODE 2019: Asuna presents ‘100 Keyboards’
South London Gallery, 65-67 Peckham Road, Camberwell, London, SE5 8UH, England
Wednesday 2nd October 2019, 7.00pm
– information here and here

UnicaZürn – A benefit gig in support of the Horse Hospital
The Horse Hospital, The Colonnade, Bloomsbury, London, WC1N 1JD, England
Saturday 5th October, 2019, 7.30pm
– information here, here and here

Rusted Tone Recordings presents:
Rusted Tone RecordingsLive #1: Andrew Heath & Anne Chris Bakker + Matt Atkins + Andrew Sherwell + Kevin Buckland
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Sunday 6th October 2019, 7.30pm
– information here and here
 

September/October 2019 – upcoming singer-songwriter gigs – Holly Penfield unleashes ‘Tree Woman’ in California and London (22nd September, 31st October)

15 Sep

Visibly enjoying her second wind as a singer-songwriter (and still wielding the exuberance that she brought both to her initial shot as such and to her subsequent role as cabaret supernova), Holly Penfield is finally launching ‘Tree Woman’, her long-delayed fourth album of original songs. There are a couple of launch date shows – one in her birthplace of Berkeley, California and the other in her longstanding hometown, London. On both dates she’s backed by a full band.

Holly Penfield - 22nd September & 31st October 2019

What I wrote about her return to full singer-songwriter action last year still holds true, so here it is (and you can read all about about her over the years by clicking here)…

“From where she’s standing in her life right now, Holly Penfield can reach out in both directions to touch the passionate, large-lunged ingenue singer of her youth and the salty life-loving veteran she’s transforming into. Of course, she’s got a longer, bolder reach than most. Once tagged as “David Bowie meets Liza Minelli” by a surprised and wrongfooted Simon Cowell, she’s a classic torch-pop singer with a stunning voice who’s also both blessed and cursed with an upsetter’s drive. These days, as she rebounds from twenty years as a leading international cabarettier in order to return to her own songs, it’s more of a blessing.

 
“Raised in San Francisco (and a veteran of the 1980s LA pop scene with the scars to prove it) Holly spent much of the ‘90s writing and performing the psychodramatic one-woman pop show ‘Fragile Human Monster’ in London and elsewhere. A show with such troubled and intense undercurrents that it eventually blew itself apart, it’s now spawned a return… but under very different circumstances. The whirling mirror-glass synths and saxophones of the old days have been replaced by a gritty post-Americana rock band (which growls, gnaws and struts through her songs like a Cash or Waits ensemble) while Holly herself has mostly forsaken standing behind a keyboard (except for when a grand piano ballad calls for that set of skills).


 
“It’s funny, sad, uplifting and stirring all at once. Once the very embodiment of storm-tossed waif and precarious survivor, Holly’s now a wiser and much happier woman. She still absolutely owns the stage, though, helping herself to a big dollop of the jazz and blues flavourings which shaped her initial development, playing a dash of ukulele and engaging in some zestful shimmying (and some delightfully ludicrous party outfits, worn with wit and flair – it seems as if her recent steps away from cabaret involved at least one sly step back).


 
“What hasn’t changed is the quality of her singing, and of her songs. While old FHM standards like Misfit, The Last Enemy, puddle-of-grief ballad Stay With Me, and slinking fingersnapper You Can’t Have The Beauty Without The Beast have shed skins and made the transition to the new show, Holly’s also been dipping into a trunk of neglected and mostly previously unheard work, including the tremendous state-of-the-world song Confessions (based around a lyrical hook she once dangled in front of an intrigued Joni Mitchell) and the vivacious Tree Woman (a more recent effort in which she vigorously embraces both her own ageing and the resilience that comes with it).”


 

Dates:

September 2019 – upcoming opera – Alex Mills’ ‘Dear Marie Stopes’ in London (21st September); Keith Burstein’s ‘The Prometheus Revolution’ on film in Brighton (24th September)

14 Sep

Alex Mills‘s forty-five minute chamber opera ‘Dear Marie Stopes’, originally performed last year as part of the Wellcome Collection’s Tête à Tête opera festival, gets another pair of performances this month at Kings Place. The original performance team (singers Alexa Mason, Jess Dandy and Feargal Mostyn-Williams, cellist Lucy Railton, viola da gamba player Liam Byrne) reunite with director Nina Brazier for a special new staging to suit the new venue.
Alex Mills' 'Dear Marie Stopes', 21st September 2019

Performed by soprano, alto and countertenor in “a mixture of solemn plainchant-style singing and delicate melismatic lines above a soundworld of drones and shifting harmonies on strings and electronics”, the opera is epistolary, built up by from thousands of open and emotional contemporary letters written to Marie Stopes following the 1918 publication of her book ‘Married Love’. The latter was one of the modern world’s first frank sex manuals and the forerunner of much of today’s open sexual culture (as well as a cornerstone of first-wave feminism with its insistence on sexual equality, the appropriate use of contraception and the understanding of female desire), and its impact was both profound and global.

 
There’s a ‘Planet Hugill’ feature on the opera here, written by Alex himself, in which he explores the context and method of the work:

“Each letter is a vivid snapshot into sex lives a century ago, full of unfiltered, raw emotion and moving personal stories, many of which resonate powerfully with life and society today. I felt that an operatic context would provide the perfect platform to explore and unpack the inherent drama and high emotion in the letters, and bring their fascinating content to a wider audience. There is no conventional, linear narrative. Instead, the libretto, by Jennifer Thorp, pieces together vignettes and extracts to form a tight dramatic structure, held together by the central figure of Marie Stopes herself.

“The three singers have their work cut out for them – taking on multiple roles and characters, sometimes within the same section, to show the very wide spectrum of opinions and attitudes to sex and birth control in 1918. The intention was to draw out the emotional content of the letters while being sensitive to the original context in which they were written – very private missives in a time of need.”

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For those who missed seeing Keith Burstein’s opera ‘The Prometheus Revolution’ while it was being performed at last year’s Grimeborn, there’s an opportunity to catch it again. Admittedly this will be on film – one particular evening of the run was recorded by Jason Harris of Piñata Studios, the footage has now been edited and subtitled, and the results are premiering at Brighton’s Verdict Jazz Club later this month, preceded by a short introductory talk by Keith himself.

Here’s what I wrote about ‘The Prometheus Revolution’ when previewing it last summer:

Fulham Opera's 'The Prometheus Revolution' - 7th/8th/10th August 2018Fulham Opera are premiering ‘The Prometheus Revolution’, the first new opera by composer/librettist Keith Burstein since his anti-War On Terror work ‘Manifest Destiny’. The latter blew up a pile of controversy at the 2005 Edinburgh Fringe with its suicide bomb-vest scenes, its agit-prop metaphysics and its pungent criticism of Western motives, and eventually led to a wrangle over free speech and alleged promotion of terrorism at the Royal Courts of Justice.

‘…Prometheus…’ looks set to extend at least some of the ideas behind ‘Manifest Destiny’. Like the earlier piece, it’s a politically-heated metaphysical examination of where we are as a society, and what we might do about it, It’s set in an alternative present which closely mirrors our own, with democracy decaying into corrupt war-mongering authoritarianism and economic meltdown, with a peace movement “standing between tyranny and chaos, (although) they too are cleft by internal struggles.” Inspired by the 2012 Occupy Movement’s “99% versus the 1%” ideology, it’s billed as a “dark parable” of “star-crossed lovers, rebellion and revolution against the backdrop of a corrupt political class… shot through with pathos and ironic humour.” As with ‘Manifest Destiny’, you can also expect more of the vigorously tonal Burstein approach to music and tunes, with a post-Britten-and-Berg score additionally laced with the sounds of vaudeville, Broadway musicals and pop ballads.”

Arranged for solo piano (played by Ben Woodward) and presented in a minimal-stage manner by director Sophie Gilpin in one of the Arcola Theatre’s stripped-brick-box performance rooms, ‘The Prometheus Revolution’ was sung by Alex Haigh, Caroline Carragher, Robert Garland, Olivia Barry, Gerard Delrez,James Schouten, Christie Cook, Lucie Louvrier, Nick Dwyer, Luci Briginshaw, Ian Wilson-Pope, and James Bowers. At the time, the reception and reviews were mixed: Burstein’s always been a polarising artist, and you either buy into his passion for vividly revived tonalism, torrents of romantic futurist melody and illuminated left-wing metaphysics, or you don’t. Personally, I remember it as being an interesting fable: a contemporary political fantasy with a dash of both verismo and Verdi domestic drama crossing through.

Here’s the promotional video for the original production.


 
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Dates:

Alex Mills: ‘Dear Marie Stopes’
Hall Two @ Kings Place, 90 York Way, Kings Cross, London, N1 9AG, England
Saturday 21st September 2019, 4.00pm & 7.30pm
– information here and here

Keith Burstein: ‘The Prometheus Revolution’ (film premiere)
The Verdict Jazz Club, 159 Edward Street, Brighton, East Sussex, BN2 0JB, England
Tuesday 24th September 2019, 7.00pm
– information via email request to Anna Beketov @ Damson PR
 

September-November 2019 – upcoming post-folk, electrop, electronica gigs – tAngerinecAt on tour across Britain (5th/7th/14th/20th September, 17th/18th/26th October, 16th November) with Flange Zoo, DIANE, Experimental Sonic Machines, Ed Dowie, La Rissa, Yorkshire vs. Essex, Factory Acts, Slow Knife, Harbingers Drum Crew, Tin Mole, Clusterfuck, Hallulugenia, SIN/RED, Hypnotique, Otis Jordan, Saint Bernadette and She Robot

2 Sep

“At three I learned what sex was; /at five – death; / at seven – fascism and violence; /at ten – poverty, labour and hunger…” – tAngerinecAt, I Don’t Want To Be A White Master

Despite best intentions, a lot of folktronica can come across as… well, a bit polite and prissy; as something made by a particular breed of tech-headed enthusiasts, scholars and longtime culture-vultures who wear their tidiness and their geekiness openly. Crinkling synths, and flowery linen, kitchen musings and country walks; deep culture filtered through a tiny screen. It’s not that this invalidates it, as such. Folk culture has been, and remains, a broad cauldronful, as fit for constant renewing as it is for drawing from – and upfront electronics have been part of the tools of the trade for three decades now. It’s just that, as subgenres, folktronica and electrofolk seem particularly prone to diluting message with medium, sacrificing bite for texture; in essence, getting so involved with clubfloor, chillout or culture lab that they lose touch with bones, bothy or battlefield.


 
Fortunately, none of this applies to Anglo-Ukrainian duo tAngerinecAt, who sweep through England, Scotland and Wales for assorted dates across the stretch of autumn this year. After ten years cruising through the underground (five of them under the name of Dark Patrick), androgynous singer/hurdy-gurdy player Eugene Purpurovsky and tin whistle/bagpipe-toting electronicist Paul Chilton are still a constantly creative, intelligent and contrary force. Calling them folktronic, or electrofolk, involves upending the term… or stripping it back to the starting point.

Not that tAngerinecAt wear the label with much comfort themselves. They buck at the “folktronica” tag and, as Paul asserts “we don’t associate ourselves as folk, ever, and there is a good reason for that. We don’t play folk music, we compose our own music – not always based on Western scales but that doesn’t make it folk and neither does our choice of instruments. We often get labelled as this, but it’s a stereotype we are trying to get away from. We are only folk in the broader sense that all music is folk. Also, there isn’t one folk festival that would put us on their lineup…”

Certainly compared to most acts under the name, they’re on another level of impact altogether. An embrace of industrial sound (small keyboards and boxes which shout like giants, plus the rippling scathe of take-no-prisoners effects pedals which they add to their armoury and feed their acoustic instrumentation through) gives them the sonic presence of a no-wave or heavy metal act. They dip into frowning Carpathian mountain culture and various wiry varieties of British heath music, but stir in doses of anarchism, industrial sound and swipes at patriarchal violence. At any given time, in addition to the swirling bare-bones rootsiness you can hear echoes of sounds as diverse as Edith Piaf; the electrogoth stadium boom of Depeche Mode or the targeted upsetter-rants of Crass; the skycracking maximalism of The Young Gods and the angry historical weight of Towering Inferno’s ‘Kaddish’. Bizarrely enough, they also manage to capture elements of both ends of Swans – the booming pallet-drag of the early industrial years, the droning neo-folk of the contemporary band.


 
Then there’s the queer aspect. It’s not brought to the forefront of the band’s publicity, but it ripples through the grain of what they do. Eugene was born Eva, and identified as such in the band’s earlier years; the current tAngerinecAt has a genderfluid air in terms of clothing, movement and expression; and between them Paul and (particularly) Eugene summon up a variety of unexpected vocal characterisations which jolt and yell through the songs, upsetting standard ideas about power structures, protest, sources of ideas and about who might actually be singing. That name, too, queerifys and neonises the concept of a wandering animal spirit as band mascot, inspiration and reflection. tAngerinecAt have already won over gender-studies conferences, folk audiences, experimental-loft huddlers and, strangely enough, prog audiences (who might have a reputation for stolidity, but know and appreciate a good use of musical colouring and form-busting when they encounter it).

Despite the uncompromising drama and starkness inherent in their music, tAngerinecAt exhibit a different aspect when they’re acting as promoters, having run their own Cute Owl evenings and tours for several years now. Maybe it comes from the flexibility of vision and the teamwork ethos which Eugene built up from years of theatre work, but Cute Owl is extraordinarily welcoming to a variety of different acts, approaches and mannerisms when it comes to bringing in gigmates and support acts. It seems that as long as you have a yen for electronics and are sincere in what you do, that you’re part of the family. Hence, a Cute Owl event can encompass calls for revolution, playtime events, glamour stances, inclusive-spirited DIY tinkering and frosted electropop introspection; and hence the pleasing, unexpected diversity of the upcoming tour.

The first of the two London dates, on 14th September, is a relatively straightforward headliner but with a performance art buildup. One of the two supports is a previous Cute Owl gig act called Diane (A Walk Through Twin Peaks), in which two musically omnivorous DJs (NikTheDeks from electrobeat punks LOFE, and Andy “Dumb Blonde” McKinna) put down their record crates in order to team up on electronics, devices and effects-laden double bass for a dream-jazz/cryptronic David Lynch tribute (the solo Nik track below might provide a clue or two). The other is “crypto-zoological” animal-masked performance troupe Flange Zoo. Persistently theatrical creators of dank, humming, psychedelic-radiophonic draggings (within which synths rub up against finger bells, zithers, stylophones, turntable tricks and portentous narratives), at the moment they’re concentrating on their Edgar Allen Poe project: a séance-cum-tribute twisted in on itself. Sonorous readings of Poe short stories swim in ponds of improvised electronic twitchings and meditational pings; ritual resurrections turn into mutual back-slapping sessions.

 
The second London date, on 26th October, is a five-act Cute Owl Festival night. Here, tAngerinecAt are joined by flexible and beloved indie/experimental-pop balladeer Ed Dowie (whose 2017 debut album, ‘The Uncle Sold’ involves “a continually evolving, dream-like journey around a non-specified city (and) paints a picture of a range of characters struggling for certainty in a metropolis beset by continually changing forces, be they political, personal or financial”); by Nottingham “eccentronica chansonneuse” Hypnotique (theremins, clarinet and songs about “the apocalypse, post-feminism, erotic narrative and the banality of everyday life”). Also playing is Peter Rollings’ none-more-DIY project in which he ringmasters a clunking song-riot via his own makeshift/make-do invented instruments, robots and other musical machines while dressed in striking homemade ceremonial horned helms, robes and halberds (as if Moondog had been dressed by Mr Maker).

In addition to Peter’s own ESM set, he’ll be sponsoring and guiding another set by ESM’s robot drummer Ernie, a spindly foil-wrapped automaton who plays like a nervous fork-lift truck attempting a Mexican wave and looks like a 1970s primary school project about Martians.

 
The tour’s opening date, in Leeds, features the ominous ’80s synthpop/post-punk revivalist chimes and buzzes of La Rissa, made by “two misfits… in a dim little attic in Leeds” (originator/singing half Larissa Drozd sounding like a Stevie Nicks avatar entirely blanked out by black lipstick) who surface to carry out “dark, spooky” shows wrapped in crepuscular video art.

Also on board, Yorkshire vs. Essex (named not after a north/south feud, but from the founders’ surnames) offer chugging guitars, bass and white-noise synth garlands interrupted by trombones and flutes, all providing rumpled bedding for Simon Yorkshire’s eccentric songspiels on subjects ranging from “fictional toymakers to Sheffield murderers”, as captured on the recent ‘Dismembered Tales’ album. Shades of Peter Blegvad or Tom Slatter as well as YvE’s cited inspiration list of “Robert Wyatt, Current 93, Scott Walker, Miles Davis, Nick Cave, The Residents, Bjork, Death Grips and Iannis Xenakis.”




 
In Manchester, more dark-toned synthpop nostalgia comes from Factory Acts (who sound like Nico fronting a late ‘80s electro-dance outfit). There’s also a prime example of erudite Manc gobbiness on show via Slow Knife’s spoken-word-over-jazzpop- indie scuffle. Initially sounding like The Fall stranded in New Orleans and trying to get in step with the local pimp walk, they finally come across like a sleeker take on short-lived ‘90s beat-dadaists Campag Velocet: Daniel Tasker’s beat-poet outpourings have a similar (though more focussed) effect as he enounces over a cavalcade of horns, double bass, and slack-skinned drums/slide guitar which call up echoes of Can, The The and Dr John while lapsing occasionally into shrieking interludes of tonal and textural anarchy.



 
In Bristol, live-looper Suzy Condrad – under her She Robot alias – pulls together glockenspiel tinkles, mbira, bottle clinks, live beatboxing, passing sounds and layered banks of girlpop doo-wop and then weaves them into the bones of pre-written fully-formed guitar songs. Consequently, the looping comes across as more of a kind of graduated scratch arrangement, honed to a high level. A lot of loop songs can sound wispy, or hung up on their own polyphony: but with Suzy’s work, the song is paramount without the embellishments feeling forced. She’s managed to hold onto that spun-spontaneously-out-of-the-air feeling of loopsong while allying it to a penetrating, literate lyrical sense which challenges with questions and sharp observations rather than getting lost in the atmospherics.

Also at Bristol is ruminative electro-balladeer Luca Macchi, a.k.a Hallelugenia, whose material seems to stem from late-night chillout tunes which take a firm left turn, eschewing delta-wave blandouts in favour of expanding, talkative thought-paths sung in chamois-soft tones across shifting, subtly disruptive harmonic changes.



 
Another two acts are lined up for the Cardiff show, the first being agit-minded techno-pop quintet Clusterfuck who (despite the uncompromising hardcore name) spin out a tuneful, smoothly quaking ravepop sound inspired by and birthed within the current free-festival scene, laced with raps and DJ moves, and frequently graced by guest contributors. The second is Saint Bernadette, the latest in a string of projects from cross-genre voyager Francesca Murphy, a mainstay of ebullient Cardiff female music collective Ladies Of Rage and a singer who’s taken in punk, prog, country, jazz-pop, blues, spoken word and hip hop along her way. There are no clues yet as to what form Saint Bernadette will be taking, but Francesca’s Soundcloud page provides mostly-acoustic singer-songwriter-y examples from her recent past as well as a chance to hear her rich, welcoming voice.


 

The final show, at Edinburgh, features celebratory drumcore industrialists Harbingers Drum Crew – an aggregation of twenty or more assorted drummers inspired by “dance music, drum ‘n’ bass, dubstep and industrial metal” and emerging as being somewhere between a taiko squad, a British marching band, a samba party and a crew of No-Wave warehouse threateners. Meanwhile, Jo Hill’s SIN/RED, brings the electronica-spectrum cycle of support acts back to something resembling tAngerinecAt themselves: it’s not a precise comparison, but Jo’s foreboding mixture of noir-ballad pop, synth drone and cloister-echo raises similar anticipatory hackles and hints at skin-terror, raw feeling and ancient stirrings.

 
* * * * * * * *

Full tour dates:

  • Lending Room @ The Library, 229 Woodhouse Lane, Leeds, West Yorkshire, LS2 3AP, England – Thursday 5th September 2019, 7.00pm (with La Rissa + Yorkshire vs Essex) – information here and here
  • Gullivers NQ, 109 Oldham Street, Northern Quarter, Manchester, M4 1LW, England – Saturday 7th September 2019, 7.30pm (w/ Slow Knife + Tin Mole + Factory Acts + Otis Jordan) – information here, here and here
  • The Raven, 218 Tower Bridge Road, Bermondsey, London, SE1 2UP, England – Saturday 14th September 2019, 7.30pm (with DIANE + Flange Zoo) – information here and here
  • Equinox Festival 2019, Chalk Farm, Salters Lane, Wyham, Lincolnshire, DN36 5RS, England – Friday 20th September 2019, 12.00am – information here, here and here
  • The Thunderbolt, 124 Bath Road, Arnos Vale, Bristol, BS4 3ED, England – Thursday 17th October 2019, 7.30pm (with She, Robot + Hallulugenia) – information here and here
  • The Big Top, 11 Church Street, Cardiff, CF10 1BG, Wales – Friday 18th October 2019, 7.00pm (with Clusterfuck + Saint Bernadette) – information here and here
  • Cute Owl Festival @ The Courtyard Theatre, Bowling Green Walk, 40 Pitfield Street, Hoxton, London, N1 6EU, England – Saturday 26th October 2019, 6.00pm (with Ed Dowie + Hypnotique + Experimental Sonic Machines + Ernie) – information here and here
  • Cabaret Voltaire, 36 Blair Street, Old Town, Edinburgh, EH1 1QR, Scotland (with Harbingers Drum Crew + SIN/RED) – Saturday 16th November 2019, 7.00pm – information here and here
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