Archive | 1985 music RSS feed for this section

June 2017 – upcoming English gigs – the return of Pram with the immersive ‘Under the Blossom That Hangs On The Bough’ event in Birmingham (June 3rd); Zarjaz Baby and Jon Slade/Night of the Comet in London (June 3rd); Arthur Russell’s ‘Calling Out Of Context’ revisited in London (June 7th)

23 May

Some shows and events to start June off. In Birmingham, experimental dream pop/post rock band Pram (one of the most original and charming groups ever to work in either genre) have resurfaced and are taking over an Edgbaston park for a very different kind of performance. Back in London there are opportunities to catch up with Zarjaz Baby (one of the wilder characters from the original wave of British post-punk) an acoustic set from Jon Slade (who’s navigated his way through a heap of scenes from art-punk to Riot Grrl to a thousand indie DJ nights); and a recreation of the cello/pop songs of Arthur Russell, one of the darlings of the 1980s New York loft music scene.

* * * * * * * *

Pram: 'Under The Blossom That Hangs On The Bough', 3rd June 2017

for-Wards, MAC Birmingham and Pram present:
Pram: ‘Under the Blossom That Hangs On The Bough’
Martineau Gardens, 27 Priory Road, Edgbaston, Birmingham, B5 7UG, England
Saturday 3rd June 2017, 4:30pm
– free event – information here, here and here

“Composers and sonic artists Pram have been exploring south Birmingham with the help of local community groups to uncover the sounds of the locality. The results are both familiar and surprising.

“Let Pram take you on a journey through the city, a sound trail through the four wards of Birmingham’s Edgbaston district. Hear the world from the perspective of a bee as it flutters and forages. The snuffles of a tiny baby become the snores of a lion, the gurgle of a stream a mighty cataract. Come along and follow the woodland trail, bring a picnic and settle down for a performance inspired by the sound of the city as you’ve never heard it before.

“Set in the magical surroundings of tMartineau Gardens, ‘Under the Blossom that Hangs on the Bough’ is an installation and performance by Pram, celebrating the sounds of Edgbaston. It will take place at Martineau Gardens on the afternoon of Saturday 3rd June, concluding at 6.30pm with a Pram performance inspired by sound recordings made in the wards of Quinton, Harborne, Edgbaston and Bartley Green. Free admission if you register at Eventbrite…”

This isn’t quite the same Pram that charmed us and subverted pop for a surprisingly long stint in the ’90s and noughties across a string of albums which included ‘Dark Island’ and ‘Sargasso Sea’ and a sound that seemed to be part child’s murmur, part clinking post-kosmische stroll and part friendly haunted house. Most obviously, singer and lyricist Rosie Cuckston (she who used to mount her keyboard on an ironing board at concerts) is absent, having moved on into academia and a more direct form of the social activism which the band’s eclectic inclusiveness and tendency to take philosophical side roads only hinted. That said, the rest of the band’s original creative core (multi-instrumentalists Matt Eaton, Sam Owen and Max Simpson) are all present, having spent the interim years of Pram downtime working with wonky loops as Two Dogs, creating film and theatre sound and making sonic art out of books with the Sound Book Project.

This also isn’t the first time that the post-Rosie Pram’s reappeared. Earlier in May they made an appearance at Imaginary Musics in Switzerland, playing a “music for Kopfkino” audio-visual set in a festival dedicated to “cinematic, recomposed and fictional musics”, and it seems as if losing Rosie’s quiet reflective voice and cocooned lyrics has shifted them further over into the areas suggested by Matt’s sound design and by Sam and Max’s live sound art. On-spec, it seems as if they’ve succeeded in becoming a kind of “post-band”, with a foot in their old live work, song-structures and performance coherence, but leaning towards something far more abstract and ego-free. ‘Under the Blossom That Hangs On The Bough’ sounds as if it will be something fascinating to be immersed in – an urban psychedelic afternoon stroll with the family, an aural refraction of Birmingham through leaves, greenery and company.

* * * * * * * *

Zarjaz Baby + Jon Slade, 3rd June 2017

Zarjaz Baby + Jon Slade
The Horse Hospital, The Colonnade, Bloomsbury, London, WC1N 1JD, England
Saturday 3rd June 2017, 7.00pm
information

“An existentialist extravaganza featuring a solo acoustic set from Zarjaz Baby (Freakapuss and former Tronics). Zarjaz will be performing dark atmospheric songs, full of imagery, with jazz, blues, early ’60s beat and pop influences, with live performance artists, in a style not seen since the basement and candles days of Beatniks.

“Also featured on the night is a solo acoustic Love-Rock revival set from Jon Slade/Knight Of The Comet, incorporating songs from his former bands Huggy Bear and Comet Gain, plus a Fire Department number, some Electric Bull re-workings, as well as songs he wrote with Wolfy Jones.


 
“’60s European pop music in between sets, Francoise Hardy, Brigitte Bardot, Gillian Hills. Expect sombre girls dressed in black and boys in Breton shirts.”

For more information contact incoming@freakapuss.com

For more on Zarjaz’s chequered life and career, have a read of this interview he did with ‘The Quietus’ three years ago, featuring accounts of brushes with mental illness, of releasing surreal post-punk songs with titles like Shark Fucks, of arguing with ‘2000AD’ over his stage name, and of having his image ripped off by Sigue Sigue Sputnik.


 
* * * * * * * *

Arthur Russell: 'Calling Out Of Context', 7th June 2017

XOYO Live and Milestones present:
‘Arthur Russell – A Classic Reinterpreted’
XOYO, 32-37 Cowper Street, St Lukes, London, EC2A 4AP, England
Wednesday 7th June 2017, 7.00pm
– information here and here

“It’s been said that “Arthur’s songs were so personal that it seems as though he simply vanished into his music.”

“Twenty-five years after Arthur Russell‘s death, some of the most exciting, forward-thinking faces in music are set to present a unique rendition of Arthur Russell’s timeless album ‘Calling Out Of Context’. A posthumous album that brought together twelve incredible tracks from across two previously unreleased LPs, ‘Calling Out Of Context’ represents Arthur in his prime. Two decades later and the music sounds as contemporary as ever – a huge inspiration for those performing on the night. We’re very excited to hear this new rendition.”

Bringing together elements of electropop, classical minimalism, post-disco, hip hop and singer-songwriter work, the ‘Calling Out Of Context’ songs span twenty years of Arthur’s composing and creative history while he was battling to fuse the parallel New York worlds of dance culture and art music between the late ’70s and the early ’90s – a pioneer of the freewheeling musical eclectism which today we pretty much take for granted. Take a look at this salvaged 1987 interview feature from the ‘Melody Maker’ for more on the topic, featuring reflections from Arthur and others on Indian music, the pulse shared by formal minimalism and New York dance clubs, and the social and cultural challenges of the time regarding blending “high” and “low” cultures.

The band for this London performance consists of Ashley Henry (keyboards), Midori Jaeger (cello), Alica Higgins (vocals), Sam Gardner (drums) and Joe Downard (bass).


 

May 2017 – upcoming London gigs – Beatrix Players + King Of The Opera (May 11th); Cosmo Sheldrake + A House In The Trees (May 12th)

2 May

A few more warmly off-kilter London gigs coming up in early May: Beatrix Players‘ elegant chamber-pop, King Of The Opera‘s rough-edged alternative folk, Cosmo Sheldrake‘s poly-instrumental Edward Lear-inspired busk whimsy, A House In The Trees‘ oblique chillout…

* * * * * * * *

Beatrix Players, 11th May 2017

Beatrix Players present:
Beatrix Players + King Of The Opera
Hoxton Hall, 130 Hoxton Street, Hoxton, London, N1 6SH, England
Thursday 11th May 2017, 7:30pm
information

“Through their enchantingly dark and evocative melodies, expansive arrangements and empowered orchestral sound Beatrix Players tell stories of real life and fantasy. Citing influences as diverse as Michael Nyman and Regina Spektor and drawing comparisons to the likes of Kate Bush and Einaudi Ludovico, this London-based, all-female trio combine elements of folk, jazz, progressive and classical music.

“In 2015 the band took their unique sound – a beautiful combination of vocals, piano and cello – into the studio to record their self-produced debut album, which has been mixed by two-time BBC Folk Award winner, Jim Moray. That album, titled ‘Magnified’, is now brought to you in an evening with musicians from the album: Robyn Hemmings on double bass, Maria Kroon on violin, Emanuela Monni on percussion, Jez Houghton on French horn. Pop/soul/funk choir Sound will also be joining in.”



 
King Of The Opera (formerly known as Samuel Katarro) is the musical project of Alberto Mariotti – a songwriter from Tuscany, Italy – first introduced to the public at the renowned Primavera Sound festival in Barcelona in the Spring of 2012. The project’s strength lies in its continuous search of the meeting points between seemingly irreconcilable genres: distorted punk-blues, bewildered (and bewildering) folk ballads and digressions into the acid realm of psychedelia.

“In 2016 King Of The Opera released his new album ‘Pangos Sessions’, ten songs that summarize his musical career in a pretty original way, alternating acoustic reinterpretations from the King Of The Opera/Samuel Katarro songbook and five cover songs (originally released in Mariotti’s birth year, 1985), by The Cure, The Waterboys, The Replacements, Tom Waits and Sonic Youth. The collection also includes the unreleased alt-folk-ballad By The Shore.”


 

 
* * * * * * * *

Cosmo Sheldrake, 12th May 2017

Rockfeedback presents:
Cosmo Sheldrake + A House In The Trees
The Moth Club, Old Trades Hall, Valette Street, Hackney, London, E9 6NU, England
Friday 12th May 2017, 7.00pm
– information here and here

Cosmo Sheldrake is a twenty-five-year-old multi-instrumentalist musician, composer and producer. He regularly performs on banjo, loop station, keyboards, double bass, drums, penny whistle, sousaphone, accordion and many more. He is an inspirational singer and improviser, and much of his work is concerned with play, nonsense and the sonorous environment.

“Cosmo composes music for film and theatre and tours internationally, performing solo and with several bands including Johnny Flynn and the Sussex Wit and the Gentle Mystics. He ran a community choir until 2013, teaches in schools and privately and has facilitated music workshops and youth empowerment and nature awareness camps across Europe and North America.”



 
Support comes from smooth and hallucinatory dark-pop/trip hop act A House In The Trees, the core of New Cross’ Rising Sun Collective.


 

REVIEW – Elinor Armer & Ursula LeGuin: ‘Lockerbones/Airbones’ song-suite 1985/1988, released 2010 (“as hardened and hollowed-out as driftwood sculpture”)

14 Jun

While some of her work has been set to music, Ursula LeGuin is best known for her reconfigurations of science fiction, fantasy and myth. The narratives of her stories sheathe cunning, detailed challenges to race, to gender and to the ways in which one can tell a story. More recently her tales have shaded into a kind of conceptual ethnography in order to build stories almost entirely out of explorations of culture.

Less well known, LeGuin’s poetry initially seems like a different beast. Close examination sees the same preoccupations written in microcosm. Sparse and spare, the words in her poems are the tips of long quills of implied experience; to be drawn out and savoured. In these mid-’80s recordings, Californian composer Elinor Armer has taken five disparate Ursula LeGuin poems and (working in a stark, economical style as hardened and hollowed-out as driftwood sculpture) whittled a musical housing for them.

Assuming that it’s a song-cycle at all, ‘Lockerbones/Airbones’ is a loose one. The poems are taken from three separate volumes spanning thirteen years, and the interconnections in LeGuin’s text are tenuous. There are fleeting references to bodies of water. A falcon links two songs; extending this, references to birds link a full three. Unspecified protagonists (all of them apparently female) are observed via brief passing notes and at various ages, generally in relation to a loaded past or a fervently desired future. The obscure bones of the title transform and recur in the shape of crustacean shells or as feathers or teeth; possibly even in the irreducible state of the lean phrases making up the poems.

Armer, in turn, faithfully honours LeGuin’s verbal economy. Her music stops, starts and leaves prolonged expectant spaces as she delicately feathers the text. For ‘Lockerbones/Airbones’ she uses a quintet: flute, violin, piano and percussion set plus Wendy Hillhouse’s stooping mezzo-soprano. Armer keeps her own compositional liveliness on a tight leash. Nonetheless, she brings her particular yen for musical illustration to the table (as well as leavening touches of humour and compassion). Initially building up from a reserved, near-atonal sketchpad, Armer still works in tinges of modern America, ancient Greece and traditional Japan. Direct musical themes are hidden in favour of attentive, close-bound responses to the emotional charges of the poems. Ultimately, it’s this that provides the cycle’s unifying factor.

Elinor Armer & Ursula LeGuin: ‘The Anger’

In the first piece, The Anger, a young woman’s frustrations burst out. She’s trapped between worlds of experience – one outgrown and chafing, the other filled with promise but sealed away). Rira Watanabe’s chivvying violin and Keisuke Nakagoshi’s piano accents usher in a flare of rage, with the first line sung against tolling, breaking percussion: “Unlock, unlock! / So long a silence / needs shouting / and latches smashed / and the damned hinges broken…” In airier drifts, the middle section dreams welcome and ceremony – “open air, the wine / poured out, the hands / empty: and slowly, / grave, straight, smiling, / to step across the threshold.” It feeds the eventual conclusion, in which that earlier impotent frustration becomes a clear, confident command.

Elinor Armer & Ursula LeGuin: ‘The Child on the Shore’

The Child on the Shore is made up of a split dialogue between a daughter and her dead mother. Neither address each other directly: in the poem, their communications are carried by intermediaries of the natural world, by song, by death itself. The entire piece is a bleached landscape of bereavement rituals. Esther Landau’s lyrical flute-playing embodies the elements into which propitiatory gifts are flung – a ring into the sea, a feather into the wind.

In turn, Hillhouse gives voice to two exhausted threnodies, one for each woman. The child’s voice is angry with grief, demanding return of both tokens and parent. The mother’s is windblown and accepting; a thank-you for the gifts, a desire to soothe. Yet there is no confirmation that this message of comfort has been heard. The intermediaries themselves remain silent throughout. Armer divides the two voices with a bleak, unyielding curve of violin melody. Behind them, abrupt traces of marimba and piano stray and hit like bruising raindrops.

Elinor Armer & Ursula LeGuin: ‘Footnote’

Footnote briefly enters the thoughts of a solitary woman. It’s unclear whether she’s an exile or a recluse, whether she’s young or old. Her hints at an aristocratic background could be no more than whim, or the last vestige of hauteur. Regardless of this, she finds kinship with nature in all of its wrack, decay and continuance – not just through the heraldic glamour of the falcons, but via the cast-up seaweed, the scavengers, the passing insects and the weather.

Armer treats this cultivated loneliness (and acceptance of the world) in kind. Still, slow and minimal in nature, the music is pierced and enlivened by visitants. After a drifting reflective start, a shift to a dissonant emphasis and Erica Johnson’s rattling wood percussion greets the naming of “crabs / prancing in the shadow / of fierce, stranded seaweed” while the appearance of bats is accompanied by violin and flute.

Elinor Armer & Ursula LeGuin: ‘Hard Words’

In Hard Words, Armer abandons melody altogether and goes for a plosive, theatrical hayashi approach. Hillhouse speaks and swoops LeGuin’s words like a Noh theatre chanter, springing the rhythms in the poetry, which itself abandons all but the most essential nuggets of phrase in an oblique look at the failings of human language. “Hard words / lockerbones / this is sour ground / dust to ashes / sounds soft / hard in the mouth / as stones / as teeth / Earth speaks birds / airbones / diphthongs.” The instrumentalists respond with zings of percussion; with tongued flutes, piano fragments and instrumental noises (including a short resigned squall of violin like the last gasp of a fax machine). On the final word, a lacuna of mingled flute and gong ends in a sub-audible skirl of breath. Relief and release.

Elinor Armer & Ursula LeGuin: ‘For Katya’

The songs conclude with the wounded, optimistic For Katya. A muted and slender melody – seasoned by anger – fleshes out LeGuin’s words, which reinterprets the struggles for control between men and women in the form of a stark fairytale built from halting, frustrated syntax. “They always shut us up in towers / ever since once upon a…” Comfort arrives in the same mythic form, as a transformation of both sentence and outlook: “So we learn alone there / arts of unlocking / Till the old terrors / shed wolfskin and stand brothers…”

It’s an exhausted comfort: yet it’s indomitable, a long parched resistance holding out for a sane outcome. As Hillhouse sounds out the last word, a capella, its pitch hangs unresolved; waiting for the future to catch up with the hope.

Elinor Armer & Ursula LeGuin: ‘Lockerbones/Airbones’
Private release
Download tracks
Released: 2010 (recorded 1985/1988)

Buy it from:
Free download from Ursula LeGuin’s homepage.

Elinor Armer online:
Homepage Facebook

Ursula LeGuin online:
Homepage

ATTN:Magazine

Not from concentrate.

Xposed Club

improvised/experimental/music

I Quite Like Gigs

Music Reviews, music thoughts and musical wonderings

Make Weird Music

Because 4 chords aren't enough

The Recoup

The 232,359th Most Trusted Voice In Music

A jumped-up pantry boy

Same as it ever was

PROOF POSITIVE

A new semi-regular gig in London

We need no swords

Static and debris. Skronk and wail. This is music?

:::::::::::: Ekho :::::::::::: Women in Sonic Art

Celebrating the Work of Women within Sonic Art: an expanding archive promoting equality in the sonic field

Ned Raggett Ponders It All

Just another WordPress.com weblog

Headphone Commute

honest words on honest music

Yeah I Know It Sucks

an absurdist review blog

Pop Lifer

Waiting for the gift of sound and vision

Good Music Speaks

A music blog written by Rich Brown

Archived Music Press

Scans from the Melody Maker and N.M.E. circa 1987-1996

The Weirdest Band in the World

A lovingly curated compendium of the world's weirdest music

OLD SCHOOL RECORD REVIEW

Where You Are Always Wrong

a closer listen

A home for instrumental and experimental music.

Bird is the Worm

New Jazz: We Search. We Recommend. You Listen.

Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

eyesplinters

Just another WordPress.com site

FormerConformer

Striving for Difference

musicmusingsandsuch

The title says it all, I guess!

%d bloggers like this: