Archive | 2019 music RSS feed for this section

November 2019 – three Tuesdays of (mostly) femmetronica in London – Alice Hubble, Blick Trio and Merlin Nova (5th November), Carla dal Forno and Cucina Povera (12th November), Rachel K. Collier (19th November)

2 Nov

Following (and overlapping) the recent/current set of female poptronic gigs in London (with Caroline Polachek, Imogen Heap, Yeule and others), here are some more.

* * * * * * * *

Alice Hubble + Blick Trio + Merlin Nova, 5th November 2019

Alice Hubble (best known as half of tweetronic duo Arthur & Martha) has been striking out on her own this year and is playing at Servant Jazz Quarters on the 5th. Her debut album ‘Polarlichter’, driven by iPad workings on long journeys and transformed at home via Mellotrons and analogue synths, apparently stems from wistful envisionings of faraway places (including Ruby Falls in Chatanooga, USA, Lake Louise in the Canadian Rockies and Dubai’s Atlantis Palm hotel) plus “a desire to work on a project without constraints, to move away from the traditional song writing process and to experiment with the form. Inspired by the ’70s recordings by Tangerine Dream, Ashra and even Mike Oldfield, Alice wanted to take a more delicate approach; a distinctly feminine take on (an) often pompous ’70s progressive synth sound. Other inspirations include Delia Derbyshire, Daphne Oram, Lee Hazlewood’s Swedish recordings and 80’s American synth pop band The Book of Love.”

A good set of reference points, although if you are going to snark about the pomposity of your male predecessors it’s best if you’ve built something startlingly different. Much of Alice’s work still cleaves rather closely to those familiar silvery Germanic/kosmische synth tropes, the cautiousness of several generations of post-Tangerine Dream acolytes, albeit with twists of post-punk melancholy and Stereolab-ilk avant-pop.

As for the femininity, it’s present mostly in the preoccupations of Alice’s lyrics, such as the stern reflections on male gaze and pedestal-placing on ‘Goddess’ (“a man idolising a woman to the point that he doesn’t see her as a person. His ‘love’ is all consuming and the focus of his affection is seen merely as an object. As a result he consumes her and takes from her until she has little left, but thankfully she finds the inner strength to walk away.”). All well and good to state; but, given that the song’s mostly concerned with climbing inside its misguided protagonist in order to critique him from within, leaving the woman in question almost as enigmatic, idealised and unexamined as he did, I’m not altogether convinced. But perhaps I’m snarking now – either way, I can’t help but feel that there’s better to come. Alice has a quiet, determined voice: maybe, at the gig, we’ll find out what else it has to say.


 
Support comes in two parts, one being from jazztronic array Blick Trio, made up of veteran polymathic brass-and-wind-player Robin Blick (from the sprawling Blick/Blake musical dynasty that also includes Mediaeval Baebes’ Katherine Blake), drummer Andrew Moran (who’s put in time in groups including The Violets and Not Cool) and bass player/synth programmer James Weaver (who already plays with Robin in Gyratory System). Prior to Gyratory System, Robin was also in Blowpipe; with both these and the Trio, he’s been building jazz/clubtronic/kosmiche meldings for a good couple of decades. The Trio, however, lean more towards “post-punk rhythms and straight jazz melodies” than the club beats and electrofuzz racket of the previous acts; with Robin’s musicality and wide genre-savviness in particular calling up aural and harmonic/melodic imagery from riffling snake-charmer music to pithead brass band melancholia.


 
The other support act is Merlin Nova, who vigorously straddles the space between musician and sound artist. Too tuneful to work consistently in the latter mode, and too flat-out sonically ambitious and diverse to be restrained by the former, she instead works both of them to the bone. She creates, records and broadcasts whatever comes to her mind, whether it’s surreal foley-bolstered persona narratives, soundscaped poetry or unorthodox fragmented songs across a vocal range from femme-baritone to skyscraping whistle register.

Merlin’s most recent pair of Soundcloud offerings illustrate her restlessness. Just Calling is one of her most straightforward works (a vocal and reverbscape’d love-song of faith, degrees of separation, faith and independence), while To The Sun is a drone-strings-and-vocalise solar prayer half an hour long, equal parts Alquimia and Sofia Gubaidulina. There’s plenty more to find there, evidence of an ambitious sound creator who’s tapping at the heels of multiple precursors… Ursula Dudziak, Cathy Berberian, outer-limits Björk, Maja Ratkje…

 
* * * * * * * *

Carla Dal Forno + Cucina Povera, 12th November 2019On the 12th, left-field synthpop writer Carla Dal Forno comes to Electrowerks trailing her newest album ‘Look Sharp’, in which “the small-town dreams and inertia that preoccupied (her) first album have dissolved into the chaotic city, its shifting identities, far-flung surroundings and blank faces”, thanks to her wanderings from her Melbourne origins to London via Berlin, telling “the story of this life in flux, longing for intimacy, falling short and embracing the unfamiliar.”

Sonically it’s frowning post-punk basslines and pearly sheens around subtle hollows; occasional touches of plainsong; arrangements stroked into shape by psychedelic-via-radiophonic synthesizer bends, swoops and flutters – a big step up from the queasy lo-fi wobble of her debut. As with Alice Hubble, Carla rarely changes tone vocally, etching momentary stories of subtle revenges, covert assignations and bleak reflectiveness with the same abbreviated unruffled whispercroon; delivering songs with the crisp, faux-reticent undertones and hardnosed observation of a finishing-school ace who’s opted to spend the rest of her life speaking softly but carrying a sharp hatpin. Simultaneously minimalist and expansive, sensual and austere, revealing and forbidding, the songs of ‘Look Sharp’ are measured diary entries enclosed in dove-grey leather, giving away little but hinting at much more. It’s as if one of the early versions of the Cure had agreed to back Jean Rhys during a venture into confessional songcraft, with Delia Derbyshire adding sonic filigrees.


 
The whole record sounds attractively antiquated. Not in terms of its harking back to early ‘80s proto-Goth, but in the way it feels as if it’s been written for (and in) a monochrome London of the 1930s: sparser crowds, the hiss of steam trains and the rattle of heels in empty housing courts. In fact, ‘Look Sharp’ functions best when Carla relinquishes the more obvious darkwave thrumbles, loses the bass and trusts to her electrophonic textures and spaces. This lends the instrumentals a touch of 5am light, an air of sneaking out into an unfamiliar town while it’s still slumbering unguarded, with a dream-frown shadowing its features. For songs such as Don’t Follow Me (with its deepening undertone of sexual threat), it allows a more sophisticated atmosphere to build, sound becoming character in the way that scenery and lighting do in film.


 
In support, there’s electronicist, live-looper and spatial explorer Maria Rossi – a.k.a Cucina Povera. As anyone who’s covered Maria before will tell you, “cucina povera” translates as “poor kitchen” – like “poor theatre”, a way of making the most of minimal ingredients and lean times: indeed, of making a virtue of the enforced simplicity, to the point of deliberately choosing it. Maria’s most recent project – ‘Zoom’, released back in January – had her strip back her already-minimal gear choices to just voice and loop pedal plus the digital recorder which gave the record its name: bar the very occasional bit of huffed or clinked bottlework, or synth bloop, that was it.

Last year’s ‘Hilja’ album applied the Cucina Povera methodology to a gaseous, beatless, haunting form of ambient art pop. It was full of folk-ghosts in the machine, bringing along hints of the ecclesiastic, of children’s songs and of traditional song fragments, much of it pillowed on vaporous keyboard textures and meticulous arrangements. In contrast, the Zoom pieces were recorded in “intimate spaces full of acoustic or ideological intrigue” and were a set of impromptu, improvised rituals-for-their-own-sake. Sometimes gabbled, frequently hymnal and monastic, blurring between established language and glossolalia, they build on the mysteriousness of ‘Hilja’ while venturing into more musically naked areas, taking from the previous album’s most cut-down moments without falling back on its cloudy synth-padded comforts or its pleasing banks of harmony.

Whether these pieces can be transported, translated and performed afresh in other locations is not so clear. Perhaps, for Electrowerks, Maria will improvise a new set in honour of the Slimelight’s fallen ghosts.



 
Also stirred into the evening’s menu will be a DJ set from darker techno/DIY/industrial specialist Kenny White of the Low Company record store.

 
* * * * * * * *

At the other end of the spectrum, there’s a splash of raucous female colour. Riding the momentum from the release of her debut album last month (if you’re a budding remixer or mash-upper, Bandcamp has it complete with sample and stem packs), Rachel K. Collier plays the Grand in Highbury in mid-November, with live percussion and interactive visuals augmenting her storm of sequencers, keyboards and Abletoning. Her house-inspired, undulating electronic club pop has been evolving over six years or so now, including bold intrusions into the world of adverts, collaborations with garage/house stars Wookie, Mat Zo and Ray Foxx, and more recently her current fearless-sounding solo work.

Rachel K. Collier - 19th November 2019

It’s a powerfully assured and complete pop sound, fusing full dancefloor momentum with righteous girl-power; although one that’s been achieved in the face of considerable bullying, scorn and condescension along the way from male musicians. (If the fuck-you beat and withering dismissal in her Dinosaur single is anything to go by. You can’t say that she didn’t get her own back. Success is the best revenge.)




 
* * * * * * * *

Dates:

Parallel Lines presents:
Alice Hubble + Blick Trio & Merlin Nova
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Tuesday 5th November 2019, 7.30pm
– information here, here and here

Upset The Rhythm presents:
Carla dal Forno + Cucina Povera
Electrowerkz @ The Islington Metal Works, 1st Floor, 7 Torrens Street, Islington, London, EC1V 1NQ, England
Tuesday 12th November 2019, 7.30pm
– information here and here

Rachel K Collier
The Grace, 20-22 Highbury Corner, Highbury, London, N5 1RD, England
Tuesday 19th November 2019, 7.00pm
– information here, here and here
 

November 2019 – upcoming classical concerts – Duncan Honeybourne premieres Richard Pantcheff in London (6th November); Scottish Ensemble’s ‘Elemental’ tour across Scotland with Aidan O’Rourke and Kit Downes (9th-13th November); Joby Burgess plays SOLO in London (13th November)

30 Oct

Duncan Honeybourne, 6th November 2019On 6th November, in London, Duncan Honeybourne – a longstanding specialist in British and Irish piano music – premieres Richard Pantcheff’s ‘Piano Sonata’ at the 1901 Club as part of the English Music Festival. Richard himself will be on hand to introduce the piece.

Duncan is also performing a couple of other British piano works – Frank Bridge’s ‘Piano Sonata’ (from the latter’s later post-tonal, post-impressionist compositional stage), and ‘Notturno’, by Bridge’s onetime pupil and champion Benjamin Britten (a competition piece which, rather than foregrounding performer virtuosity, challenges them to create and sustain an atmosphere involving ever-quieter dynamics). Richard Pantcheff was, in turn, Britten’s pupil – so there’s a chain of learning and of respect being explored here.

Versions of the Britten and Bridge pieces are below…



 
* * * * * * * *

Mid-month, the Scottish Ensemble embark on their four-date Elemental tour through Scotland, accompanied by Aidan O’Rourke (fiddler for striking post-folk trio Lau) and cross-disciplinary keyboard whiz Kit Downes plus guest violinist/director Simon Blendis (of London Mozart Players, Orchestra Ensemble Kanazawa and Schubert Ensemble).

Scottish Ensemble: 'Elemental' tour - 9th to 13th November 2019

The program centres around a new O’Rourke/Downes co-composition ‘There is no beginning’ (written for harmonium, piano, fiddle and string orchestra) which “fuses the visceral energy and haunting beauty of Aidan’s traditional Celtic roots with wisps of jazz, folk, ambient and classical. Surrounding it will come a clutch of contemporary works that speak to us of all things elemental – space, silence, waves and air – intertwined with melodies which echo an ancient Scotland.

“The performance is inspired by Edwin Morgan’s 1984 poem ‘Slate’, generally accepted as a love letter to a politically- and environmentally-battered Scotland. Through music, alongside its two collaborators, Scottish Ensemble will explore themes of time, change and transformation, particularly in relation to our nation and our world; entities that, as with music, are subject to the constant processes of time. Sound will be used to conjure thoughts of the past, present and future of the land we all share – as well as creating a space to contemplate it.”

Several further string orchestra pieces flesh out the programme. Tansy Davies’ ‘The Beginning of the World’ was originally a 2013 BBC Proms piece and is “a variation on Sellinger’s Round, an Elizabethan theme”; David Fennessy’s 2016 work ‘Hirta Rounds’ is an unconducted piece for sixteen string player in small groups with “many different fluctuations in tempo occurring simultaneously”. From earlier on in the repertoire, there’s György Ligeti’s ‘Ramifications’ from 1968 (a “mistuned” experiment for twelve players in two groups, one of which is collectively tuned a quarter tone higher than standard pitch, and within which there are no stresses, meter or specific rhythm) and Ruth Crawford Seeger’s ‘Andante for Strings’ from 1931 (“a study in dissonant dynamics, with the overlapping of crescendos and diminuendos alone creating a sense of melody out of single pitches in each instrument.”)

Versions of the last two are below…



 

* * * * * * * *

Joby Burgess, 13th November 2019Having already made an impression this season at Daylight Music back in October, percussionist Joby Burgess is heading to Peckham’s CLF Art Café for the first in a new round of composer Alex Groves’ itinerant SOLO concerts.

As is the case with performers at all of these concerts, Joby will be playing a brand-new Groves piece (in this case ‘Curved Form (No. 18)’, one of an ongoing series) plus various other unspecified contemporary percussion pieces. There’s not much information on the latter, although there’ll definitely be some Morton Feldman and some Linda Buckley: possibly the latter’s ‘Dischordia’, played on the aluminium harp (as showcased above and below).

 
Meanwhile, there’s a Joby Q&A here, at the SOLO site, for a window into what makes him tick (and rustle, and rattle, etc.); and here are a few more Joby performances recycled from the Daylight post…



 
* * * * * * * *

Dates:

The English Music Festival presents:
Duncan Honeybourne performs Richard Pantcheff’s ‘Piano Sonata’ (première)
1901 Arts Club, 7 Exton Street, Waterloo, London, SE1 8UE
Wednesday 6th November 2019, 6.30pm
– information here, here and here

Scottish Ensemble’s ‘Elemental’ tour:

  • Aberdeen Music Hall, Union Street, Aberdeen, AB10 1QS, Scotland – Saturday 9th November 2019, 7:30 pm – information here, here and here
  • Caird Hall, City Square, Dundee, DD1 3BB, Scotland – Sunday 10th November 2019, 7:30 pm – information here, here and here
  • Galvanisers @ SWG3, 100 Eastvale Place, Glasgow, G3 8QG, Scotland – Tuesday 12th November 2019, 7:30 pm – information here, here and here
  • Assembly Roxy, 2 Roxburgh Place, Edinburgh, EH8 9SU, Scotland – Wednesday 13th November 2019, 7:30 pm – information here, here and here

SOLO presents:
SOLO 07: Jody Burgess
The CLF Art Café, Block A, Bussey Building, 133 Copeland Road, Peckham, London, SE15 3SN, England
Wednesday 13th November 2019, 8.00pm
– information here, here, here and here
 

November 2019 – upcoming London experimental gigs – Janushoved’s fifth anniversary party with Rosen & Spyddet, Internazionale, Yuri and others (1st November); Orlando Harrison goes Orwellian at the Horse Hospital with Tone Generator, Imperial Leather and David Rage (1st November); Paper Dollhouse, Daniel O’Sullivan, Flowers At Night and DJ King Knut at New River Studios (2nd November)

29 Oct

Janushoved 5 Year Anniversary, 1st November 2019Enigmatically romantic Copenhagen label Janushoved are throwing a fifth anniversary party in London at the start of November. Defining a Janushoved release isn’t a precise art – you can throw around the usual reductive tags like “dream pop”, “dance music” and “ambient”, but establishing a Janushoved sound and feel is more of a textural thing. Music released on the label stretches beyond the usual complacencies, suggesting at least one extra dimension. A Januhoved piece is more like enchantment heard around a grey door; intimate and intimatory, already huge yet incrementally growing, suggesting huge technicolour cloudscapes and bioluminescent pagodas.

Janushoved label curator Mikkel Valentin Dunkerley will be playing a strong role in the show. Unsurprising, since many Janushoved artists are him in some form or another, with or without assorted collaborators. Certainly he’s bringing the expansive, heroic ’80s electronic crownings of Rosen & Spyddet (also featuring mysterious sidekick P.E.) and will be returning for a second go onstage with the incandescent, sighing minimalism of his solo project Internazionale. His Shell Fantasy bandmate Susanne Mouritsen will also step up with the plaintive trance/found sound gush of her own work as Yuri. Various DJs should be playing but are yet to be announced: if nothing else, the three Janushovedians will probably be stepping up to the decks themselves and presenting various influences and inspirations.


 
* * * * * * * *

On the same evening, you’ve also got the opportunity to go to something much more abrasive, as the Horse Hospital plays host to an evening of assorted noise and audio mysteries. It’s centred around the ‘Tape 313‘ project by Orlando Harrison (who plays keyboards for Alabama 3 under the alias of “The Spirit”, has touched on work with Coil, Red Crayola, the Amal Gamal Ensemble, Dr Miasma and the Carousel of Headless Horses, Guapo, and The Daughters of God and who puts out strange semi-occult radiophonic collages of music, found speech and rants on Resonance 104.4 FM as ‘The Wrong Show’). Best to let the press release inform… or disinform:

 
Orlando Harrison, 1st November 2019“Reworkings of long thought lost audio tapes obtained on the premises of Senate House, ‘Tape 313’ interrogates two dissident voices, uncovering hidden meaning and deciphering coded messages.

“Stammheim Prison, 1975 — Gudrun Ensslin outlines the political position of the Red Army Faction, eighteen months before her alleged suicide, her voice a ghost in the machinery of the German state. The perpetual revolution of helicopter rotors over the prison house echo the grinding of the wheels of justice below, and the relentless rotation of the swastika at its heart.

“Trafalgar Square, 1956 — Nye Bevan delivers a speech attacking Sir Antony Eden’s Conservative government following the seizure of the Suez Canal. Twenty thousand people heard Bevan speak, after which a crowd marched on Downing Street. Harrison’s deconstructions transform Bevan’s words into air-borne weapons, soaring over the equestrian bronzes of Nelson’s Column, drowning out the death rattle of the British Empire.”

Contributing to the evening alongside Orlando are various people from around the Wannamarchi Club disorganisation (in their own words, “a multinational cabal centred around the labels Broken Britain Cassettes and NKT encompassing events, radio shows and visual art activities.”) Making assorted sounds and projecting visual are assorted industrialists and other noisemakers – S.P.K. visualiser and synth player Dominic Guerin in his Tone Generator persona; Imperial Leather (industrial tapesmiths setting growling toolwork against cutup echoes of rabble-rousing speeches – he/she/they seem to have a particular fascination with Brexit dyspepsia); and David Rage. It’s tricky to track down much of anything about what anybody’s doing, some of them may be working together and some of them might be employing a single-use-then-throw-away name for the evening; but here’s a bit of Orlando and a scrap of Leather.

 
* * * * * * * *

Orlando’s Dr Miasma colleague Daniel O’Sullivan has been pretty active recently, gigging his ‘Folly’ album and his Dream Lyon Ensemble around London and Europe. The night after Orlando’s gig, you’ll find him reviving his occasional, unorthodox performance piece ‘The Honourable Daines Barrington’ – trumpeted as “an ecstatic sound and movement ritual heralding the inner succession of the hypostasis and a channeling of musics from the vegetable kingdom… based on the cryptographic responses to the letters of eighteenth century parson-naturalist Gilbert White (but which he’s also revealed, in an M Magazine interview a couple of years ago), as being about “an atavistic vegetable man” and involving “a very, very awkward costume that’s very difficult to see and perform in.” Here’s just under a minute of him doing it in Moscow back in 2016…


 
Paper Dollhouse + Daniel O’Sullivan + Flowers At Night + DJ King Knut, 2nd November 2019
This Daines Barrington revival is part of a similarly unorthodox evening, centred on the release of ‘The Walled Garden’, the brand new album by Suffolk audio-visual experimental duo and “radioactive ambient pop” creators Paper Dollhouse. Daniel will be using the same garden-themed stage set which PD have assembled for this show, upon which they’re promising a “special, spectral, 3D performance” of “the follow up to 2018’s neon-lit ambient pop album ‘The Sky Looks Different Here’, and its sister release ‘All The Colours Align’, to form the final part of a triptych set across the plains of rural Suffolk and London. Inspired by surrounding nature, domestic routine, Maggi Payne and Henning Christiansen’s ‘The Executioner’, the release was recorded on a portable twenty-four track recorder and holds up a mirror to autumn the dawn and early hours, an exploration of synthesiser experiments, field recordings and snapshots of conversations that quietly define areas of personal growth, patience, curiosity, understanding and freedom… Where the group’s previous album explored an audio journey from the rain-soaked streets of East London out to the now fast eroding landscapes of Suffolk, The Walled Garden captures the after-hours ambience that falls across Astrud’s childhood surroundings within the ancient London borough of Southwark, an area with a rich but hidden music landscape home to the outer edges explorations of Coil and Derek Jarman. While field recordings from Nina’s studio in the rural yet equally meditative oceanside pepper the long-form synth transitions and blurred recollections of conversations and early morning reflections.”


 
Irish looper/layerer Juno Cheetal – a.k.a. Flowers At Night – will also be performing her own audio-visual set, droning away on vintage analogue and digital synthesizer, pulling in rural and urban field recordings, and adding live drums, vocal harmonisations and autoharp. The visual aspects are drawn from her Sherkin Island homeland, near Cork – possessor of a wide variety of spectacular shapings from woodlands to sea views.


 
The evening’s further expanded by Yorkshire sound collageist Lisa Lavery, who’ll be presenting her soundwork ‘The Valley’ (inspired by the changing social landscape and preoccupations of the Yorkshire Dales, it’s “made up of ‘sounds of the salon’ put through a harsh bleaching process… obsessed with the sheer number of salons in the valley and how that reflects the work opportunities available to women there and their existence as a safe space for women,” and realised with various salon accoutrements – hairdryers, clippers, hair foils and polystyrene wig heads. (Originally commissioned by the Calderdale branch of Yorkshire Sound Women Network – well worth checking out if you’re a sounds-and-noise girl of any age, and you want some active support – she’ll also be playing it as part of YSWN’s Hebden Bridge concert on 5th November.)

Finally, Soho radio show producer and haunted-beatsman King Knut (Knut Jonas Sellevold) will be offering up DJ sets containing “an instinctive, psychedelic mix of private press rarities, industrial electronic work, rock, unearthed 70s library music, Eastern-European folk, Algerian pop, jazz and hip hop” aiming for “a MoonDome garden ambience”


 
(UPDATE – it seems that Daniel O’Sullivan has in fact now cancelled, but everyone else is still playing…)

* * * * * * * *

Dates:

Janushoved presents:
Janushoved 5 Year Anniversary (featuring Rosen & Spyddet + Internazionale + Yuri + DJs t.b.c.)
The Glove That Fits, 179 Morning Lane, Hackney, London, E9 6LH, England
Friday 1st November 2019, 7.30pm
– information here

Broken Britain Cassettes & Wannamarchi.Club present:
Orlando Harrison: Tape 313 Launch
The Horse HospitalThe Colonnade, Bloomsbury, London, WC1N 1JD, England
Friday 1st November 2019, 7.00pm
– information here and here

Paper Dollhouse + Daniel O’Sullivan + Flowers At Night + DJ King Knut
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Saturday 2nd November 2019, 7.00pm
– information here and here

November 2019 – Daylight Music 2019 autumn season continues – Bex Burch with Beanie Bhebhe and Tom Herbert, Çiğdem Aslan & Tahir Palalı, Maria Chiara Argirò & Jamie Leeming (2nd); New Music from Wales with Gareth Bonello, Toby Hay, Georgia Ruth, Accü and Richard James (9th); jazz strands with Nils Økland, Kaidi Akinnibi & Lorenz Okello-Osengor, Helena Kay & Sam Watts (16th) and with Jherek Bischoff, Robert Stillman & Anders Holst and Rosie Frater-Taylor (23rd); Matthew Bourne’s vocal showcase with Seaming To, Keeley Forsyth,Polly Gone Wrong, Andrew Plummer and Dorothy Lehane (30th)

27 Oct

Daylight Music 10, 2019

Moving into its final half, the Daylight Music autumn 2019 season reaches November with a selection of duo/trio encounters (both longstanding and spontaneous), October Daylight’s piano star Matthew Bourne returning to curate and direct his own positional/vocal-orientated event, and an afternoon of current Welsh music.

* * * * * * * *

Daylight Music 320, 2nd November 2019The first of the gigs, on 2nd November, involves a number of collaborations. The headlining ensemble is a trio put together by percussionist Bex Burch, a specialist in the gyil (or Ghanaian/Dagaare xylophone) and the bandleader for the Ghanaian minimalist/jazz/post-punk group Vula Viel. She’s picked “soulgaze” drummer Beanie Bhebhe (whose roster of colleagues and employers across dance, funk, indie and dream pop includes Rudimental, Bastille, Paloma Faith and Action Beat) and former Polar Bear bassist Tom Herbert.

Bex says “I wanted to curate a band to play together for the first time. Tom is a bassist I’ve known since watching Polar Bear as a teenager, and we will both be meeting Beanie for the first time on stage. I’m excited to play with two incredible voices in the U.K. scene. This will be a one-time performance: the music that comes through never to be heard again.”



 
Three Strings & Two Breaths is the duo of Çiğdem Aslan (voice and frame drums) and Tahir Palalı (Turkish kopuz and bağlama lutes). They focus on Alevi songs from Anatolia – mostly songs of love and mysticism from the fourteenth to the twentieth century.

“As a belief system, the Alevi path is based on love and respect for all people, attitudes, knowledge, sharing and science. Oral tradition is directly relevant… an important source of Alevi beliefs and thoughts are the mystical poems and musical ballads (deyisler, nefesler) that have been passed down from generation to generation, many of which have not been recorded in writing. Alevis believe that one must respect and have knowledge of nature, and the principles of love, tolerance and humanism are significant to Alevi philosophy.


 
“A meeting of kindred spirits, the music of pianist Maria Chiara Argirò and guitarist Jamie Leeming is a dialogue between two unique artists inspired by jazz, Latin, classical and folk music. At the heart of the duo is a vibrant sense of spontaneity, which embraces the myriad of colours, textures and sounds they create between them. Combined with free improvisation and an intuitive level of interplay, each performance is a one-off experience. They will be presenting music from the upcoming duo album entitled ‘Flow,’ which will be out in 2020.”


 
* * * * * * * *

The 9th November concert provides “a rare opportunity to hear new music inspired by the landscape and culture of Wales. Expect an afternoon of carefully crafted pieces that blur the boundaries between contemporary Wales and the otherworldly delights of Annwn.

“Based in Cardiff, Gareth Bonello is and has performed for over a decade under the stage name The Gentle Good. Known for his intricate guitar playing and captivating acoustic arrangements, Gareth was awarded the Welsh Music Prize in 2017 for his fourth album ‘Ruins/Adfeilion’. This concert sees him working in a new trio project with fingerstyle guitarist Toby Hay and singer/harpist Georgia Ruth.



 
“Toby writes beautifully evocative instrumentals that instantly transport the listener to the mountains and rivers of mid Wales. Twice nominated for the Welsh Music Prize, Toby has toured the UK and Ireland extensively over the last few years and has built a reputation as a captivating live performer. Georgia is a songwriter and musician from Aberystwyth in West Wales. A skilful harpist with a voice of silver, Georgia collaborated with the Manic Street Preachers on their ‘Futurology’ album and was awarded the Welsh Music Prize for her debut album ‘Week Of Pines’ in 2013.”



 

Also performing is “half-Dutch, half-Welsh singer-songwriter Angharad Van Rijswijk, a.k.a. Accü (who) has been involved in production since her teens and collaborated with writer and comedian Stewart Lee, Cornershop, and Richard James, as well as producing a collage radio series for the BBC. In her music, she brings together a love of production and a turbulent approach to song-writing – which earned her debut album ‘Echo The Red’ the title of ‘Welsh Album of The Year’ by Wales Arts Review. She will be joined at Union Chapel by long-time collaborator and exceptional Welsh songwriter Richard James (formerly of Gorky’s Zygotic Mynci).”


 
* * * * * * * *

The next two Daylights are being done in collaboration with the EFG London Jazz Festival and present various Daylight-friendly spins on jazz and improvisation.

Daylight Music 322, 16th November 2019On the first of these two shows, Norwegian Hardanger fiddle player Nils Økland will be playing “instrumental melodies (which) will react and resonate with the chapel’s nineteenth-century space, taking us on a hushed, deep journey far beyond our resting place in the pews.” From Tomorrow’s Warriors, improvisers Kaidi Akinnibi (saxophone) and Lorenz Okello-Osengor (piano, keyboards) “constantly search for new inspiration, as can be seen in their recent collaboration with the Urdang dance company. They will for the first time incorporate the chapel’s Henry Willis Organ.”




 
Opening the show, saxophonist Helena Kay and pianist Sam Watts “marry their wildly eclectic backgrounds and influences and give us an opportunity to eavesdrop on a conversation between their two instruments.”



 
On the second show, Jherek Bischoff will be headlining: “a Los Angeles-based composer, arranger, producer, and multi-instrumental performer whose numerous collaborators include the likes of Kronos Quartet, David Byrne, Neil Gaiman, and Robert Wilson. Bischoff is currently composing music for two new theatre productions and scoring for film and television. His most recent album Cistern, released on the Leaf Label, contains a suite of string-drenched instrumentals.”

Daylight Music 323, 23rd November 2019

One of the latter, from a previous Daylight Music visit, is showcased below.


 
Also on the bill, the performance of saxophonist Robert Stillman and 12-string guitarist Anders Holst “will draw upon the chapel’s resonant acoustics as a platform for their own works alongside those of Ornette Coleman, John Fahey, and Moondog”. Rosie Frater-Taylor (singer-songwiter, jazz guitarist and ukuleleist) will provide lapping, warm, skilful songcraft to warm everyone up.




 
* * * * * * * *

Daylight Music 324, 30th November 2019Much is made of the Union Chapel’s terrific acoustics: pianist and improviser Matthew Bourne (relatively fresh from his recent Daylight collaboration with Keith Tippett) is intending to make full use of them on the 30th November when he presents his “voix outré” project of handpicked collaborators, stationing them at different points throughout the building (to present a concert that’s as much about sound spacing as the notes produced) while acting as both audience guide and artist accompanist.


 
Seaming To is a composer, vocalist and multi-instrumentalist who has performed and recorded with Robert Wyatt, Jean Claude Vannier, Punchdrunk, Leila, Leon Michener, Larry Goves, Snack Family and Matthew Bourne. She has studied opera at the Royal Northern College of Music and began her career as part of Manchester supergroup Homelife and Graham Massey’s Toolshed.


 
Keeley Forsyth is a composer, singer and actor from Oldham. Built upon sparse arrangements, her music is centred around a singular, emotionally raw and magnetic vocal delivery, by turns devastating and uplifting. The characters who populate her songs tell stories of the high and low tides; of freedom and entrapment, of hard won triumphs and the darker corners of domestic life.

 
Polly Gone Wrong is an all-female vocal trio singing original songs baked with folk, blues, elements of playful obscurity, and close harmonies. Sometimes they are accompanied by a saw, a bass, a drum, or even beatboxing; sometimes they’re just three female voices in harmony and unison.


 
Andrew Plummer is a vocalist, guitarist and composer-producer from Exeter, Devon. Plummer has been the creative force – composing, performing and touring nationally, producing nine albums under his own name, with his musical leviathan World Sanguine Report and with Snack Family (the avant-rock trio co-founded in 2011). He draws on a wealth of influences and pens music that reinterprets musical genre, loaded with visceral tales from the dark side of life, love and death.



 
“Poet Dorothy Lehane (the author of three poetry publications and a Lecturer in Creative Writing at the University of Kent) will read selected sonnets from her latest publication, ‘Bettbehandlung’.”

 
* * * * * * * *

All gigs are at Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England, with a suggested donation of five pounds. Dates below:

  • Daylight Music 320: Bex Burch/Beanie Bhebhe/Tom Herbert Trio + Three Strings & Two Breaths + Jamie Leeming & Maria Chiara Argirò – Saturday 2nd November 2019, 12.00pm – information here and here
  • Daylight Music 321: Atsain Priddin: New Music from Wales (featuring Toby Hay + Georgia Ruth + Gareth Bonello + Accü) – Saturday 9th November 2019, 12.00pm – information here and here
  • Daylight Music 322: EFG London Jazz Festival (featuring Nils Økland + Kaidi Akinnibi & Lorenz Okello-Osengor + Helena Kay & Sam Watts) – Saturday 16th November 2019, 12.00pm – information here and here
  • Daylight Music 323: EFG London Jazz Festival (featuring Jherek Bischoff + Robert Stillman & Anders Holst + Rosie Frater-Taylor) – Saturday 23rd November 2019, 12.00pm – information here and here
  • Daylight Music 324: Matthew Bourne presents ‘voix outré’ (featuring Dorothy Lehane + Seaming To + Keeley Forsyth + Polly Gone Wrong + Andrew Plummer) – Saturday 30th November 2019, 12.00pm – information here and here

More on the last two DM gigs of the year will be posted up closer to December…
 

October/November 2019 – upcoming London gigs – (mostly) female pop and poptronica and dance – Caroline Polachek (30th November); Kin Leonn and Geiste (1st November); Imogen Heap and Frou Frou (15th November); Kedr Livanskiy and Detalji (21st November), and Yeule at nearly all of these…

23 Oct

Some interesting technological pop shows (at various scales and predominantly female-driven) are arriving in London shortly.

First of all, Caroline Polachek is playing a small show at Hoxton Hall on 30th October. Though she spent her first musical decade as the leader of clever, multi-media-aware New York pop band Chairlift (best known for their Bruises single) she’s overlapped this with forays into ad hoc/lo-fi/female-fun supergrouping (the Girl Crisis cover band) and pastoral/theatrical electronica (from 2013 to 2015, as Ramona Lisa) as well as being the prime writer and arranger for (if we’re being honest, being the creator of) Beyoncé’s ‘No Angel’. Along the way, she’s established herself as a signally complete and disciplined performer, profoundly hands-on-involved with her own image and how it relates to her music, from designing her own choreography and makeup through to choosing all aspects of wardrobe and video presence.

It seems that in her mid-thirties – and after six years of releasing music on her own in various shapes and forms – Caroline’s starting to settle into the idea of a solo career. Her latest album – this year’s ‘Pang’ – is the first to emerge under her own name: a well-packed set of contemporary R&B/alt.pop with the same kind of expansive ear and mind for exploratory forms as peak works by Kate Bush, Jane Siberry or Björk (or, more recently, f.k.a. Twigs and Jenny Hval). Calling it some kind of solo revelation is over-simplifying; Caroline’s use of various pseudonyms for her one-woman projects always seems to have had more to do with creating useful self-eliding masks in which she can unselfconsciously explore different musical ideas. Like Björk, she’s also a frequent, restless and productive collaborator with others (most recently, with PC Music’s Danny Harle), and like Bjork similarly firm in that she’s ultimately the person in control and making the choices.

The ‘Pang’ singles so far, both musically and visually, show a talent and imagination at a comfortably full (and wide-ranging) stretch. Here are three of them in video form, showing off Caroline’s particular vision.




 
Playing support at Hoxton is Yeule – a persona project by visual artist and sometime synth builder Nat Ćmiel. A Singaporean-born nomad “obsessed with tinkering and discovery” and currently settled in London, she’s taken her talents for construction, reconstruction and textural explorations of the subconscious deep into her own music. The latter, merging a kind of transplanted Chinese pop with a slippery international EDM lucid drowse and sugary whispery vocals, sometimes makes her resemble an East Asian Julee Cruise settling, like a dreaming moth, into clubland’s sensuality and wilfully fluctuating identity space.

Certainly there’s plenty of surreal Lynchian lushness and reverie to her sound, complementing the smoke-and-mirror verbiage which she generates and which one has to stumble through while trying to get to the bottom of what makes her tick and flutter. Yuele characterises the main component of her work in terms both sensual and psychological (“(a) stifling psychological haze turned into perfume”) and adds, Sybilline, that “it’s difficult for my mind to stay in one place. I can go back to revisit the person I was in my dreams. I see them as multiple people. Sometimes they talk to me, but I’ve cut most of them off because they start screaming in my ear.” All of this inspires her ongoing fluid and successional approach to performance personae, which she continually tries to break down and move through in a series of metaphorical deaths and album tracks exploring the hinterland between death and rebirth, awareness and oblivion. The aforementioned Twigs might be a closer comparison than Cruise: there are similarities in the wispy softness of tone, the lightly assured stepping between different art forms, the moving body as creator’s canvas, the simultaneous exposure and walling off; the final definitions which slip through the fingers of any external searcher.



 
* * * * * * * *

Yeule is also playing two further London shows in November. The first is her own – a headliner down in the basement at Servant Jazz Quarters in Dalston on 1st November, at which she’ll have a full chance to stretch out and take control of proceedings.

Ijn support is French-born Geiste, who creates her own dramatic, multi-instrumental pop: compelling undulator songs containing slow-burner stories. Also around is Yeule’s fellow Singaporean Kin Leonn, extending the warm, blipping, ambient/electronic instrumental side of the pillowy dream-pop he’s known for back home as a third of Midst. His debut solo album, ‘Commune’, deals with “longing, nostalgia, revelation, and other curious introspections… a dive into the subconscious and a documentation of the sensibilities encountered along the way.”



 
The second Yuele appearance during November is another support slot nearly three weeks later, over in Hackney Wick, supporting Moscow EDM-er Kedr Livanskiy at a Bloc night. A onetime Russian punk turned electronica explorer (and a member of Moscow’s Johns’ Kingdom collective), Kedr embodies a particular Russian spirit at the moment: the outward reach in collision or contradiction with its own bullish sense of identity. Her wavering vocals are distracted white dance-diva slipping into semi-operatic chant phrases: since it’s all sung in Russian, it all sounds strangely ritualistic and ancient to the ignorant or linguistically challenged (so that’ll be me and most of the rest of us, then). The music itself sometimes summons up some classic old London dance tropes of jungle and drum’n’bass; sometimes lonely analogue darkwave contortions and streetlight synth pads; sometimes international techno blurb and dubby keyboard clanks rebounding off blippy little traffic bleeps and horns.




 
Also supporting Kedr is Finnish techno diva Detalji (a.k.a. Krista Myllyviita), the night’s smoothest and most direct proposition. Making her UK live debut, she creates a mixture of cellar throb and of clear and arresting pop songs around a sleek IDM chassis, preoccupied with intimacy and detachment, with their overlap with sexuality, with the ups-and-downs of clublife friendships and power games and with the struggling state between urges and self-awareness. You can get suckered in by the cruising beats and the urgent electronic slither: afterwards, you may be nagged and haunted by the words that have slid across your eardrums, carried by the pulse and the needing.

 
* * * * * * * *

While looking into the Caroline Polachek date, I couldn’t help but notice how her recent single So Hot You’re Hurting My Feelings has certain similarities with Imogen Heap’s similarly sweet’n’horny Goodbye and Go, from fifteen years ago. Most people probably know – and knew – the latter from last year’s slice’n’dice acquisition and remodelling by Ariana Grande. It’s all amicable, all supportive, all respectful – Immi and Ariana are mutual fans, share assorted tips and in all respects are the model of a supportive cross-generational female friendship. On top of that there’s still plenty of Heap sales, shows and activity (more of which in a moment).


 
Yet it still sometimes feels as if Immi herself has slipped through a crack of public awareness. A fully self-contained female writer, singer, producer and instrumentalist almost a generation before it became commonplace. Known, loved and worked with by other musicians from Ariana to Joshua Radin to Jeff Beck. A polymathic grafter with plenty of industry success over two decades plus a field of work covering theatre, film and classical concert hall as well as pop songs (that’s her score you’ll have heard in the Harry Potter play)… For all that, still in too many respects a cult artist, at least in her home country. I was trying to work out why this was, and whether it was in part the twists of image. While Immi was being overshadowed by fellow BRIT School graduates like Amy Winehouse, it can’t have been because her own songs lacked spirit or immediacy: anyone who thought that couldn’t have heard the suspended tech-apella heartache of her other best-known song, Hide And Seek (or can’t have caught up, later, with the deceptively dense lines of her mother’s-lullaby Tiny Human).



 
It’s probably more that, in a country that likes its imported and its homegrown pop divas to fit specific strands of celebrity (the light entertainment celeb sprung from national reality TV, the party provider, the own-brand corporation juggernaut selling scent and other beauty-myth trapping, the icon playing out huge-scale soapy stories in public, or a combination of all four), Immi has never really fitted the measures. There’s that lack of mystique, for which she’s happily substituted an affable beanpole strut combined with a chatty, cheery, Essex duchess-next-door poise. There’s that wild sense of dress-up that’s ultimately more about the laugh and the moment than it is about eight hours in wardrobe.

Then there’s the way in which, rather than stamping her name on perfumes and couture, she’s enthusiastically and publicly involved herself in ambitious, constructive and practical tech geekery which is all about shifting control into the hands of artists: investigating blockchain, developing and marketing ungimmicky wearable MIDI instruments and, more recently, putting together the cloud-based Mycelia Creative Passport (which streamlines a user’s digital credentials and payment channels, bringing the workings and remunerations of their career directly into their own hands). Finally, there’s the fully-integrated talent: as well as the dancing and fronting, the skills which guarantee that (Prince-like) she’s responsible for every single note, noise and shaping on her own records – and that its happening at a level which could challenge any other pop producer or instrumentalist, rather than simply being a make-do necessity.

In some respects, then, Imogen Heap symbolises a kind of drive, inquisitiveness and achievement which we don’t associate with (or encourage in) women enough – in or out of pop. A bright, squirrelling intelligence. I’ll admit that such things won’t necessarily smear much righteous mascara; it’s unlikely to fuel and enable some cathartic life-changing bawl’n’bitch right at the moment when you really need one. On the other hand, she won’t sell you crap and you don’t have to trail in her glory: you never have to be the friend who’s ultimately just another fucking minor courtier.

In short, beyond the songs and sounds there’s something about Imogen Heap that makes her seem more like an inclusive brilliant friend than an out-and-out pop goddess. Perhaps in some respects, that’s all for the better. I don’t know whether her model of self-sufficiency and practical enquiry has influenced the other, younger women mentioned here. I’d like to think that in some ways it has.


 
At any rate – Immi’s ongoing year-long Mycelia world tour touches down at the Roundhouse in London for one of its three British dates during November (the others are in Gateshead and Manchester). Thematically and practically, it links in with the ongoing Creative Passport project, using workshops and talks alongside the concerts to build a canny community of new tech-savvy users.

In addition, this particular tour sees Immi re-united with her old friend and fellow instrumental/production boffin Guy Sigworth, for the first time since their short-lived/one-off album and tour in the early 2000s as Frou Frou (in the meantime, Guy’s busied himself working with a bevy of other singers including Alanis Morrisette, Bebel Gilberto, assorted Sugababes and Chinese electropop chanteuse SingerSen). A new version of Frou Frou takes over part of each of Immi’s shows to resurrect old Guy-and-Immi collaborations. Here’s a live rendition of their old album-launcher Let Go from earlier in the tour, plus a rare of-its-time Frou Frou video from the old days.



 
* * * * * * * *

More on other upcoming November femmetronica soon…

Meanwhile, dates for now:

Parallel Lines presents:
Caroline Polachek + Yeule
Hoxton Hall, 130 Hoxton Street, Hoxton, London, N1 6SH, England
Wednesday 30th October 2019, …pm
– information here, here and here

Parallel Lines presents:
Yeule + Kin Leonn + Geiste
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Friday 1st November 2019, 7.30pm
– information here, here and here

DHP Family presents:
Imogen Heap & Frou Frou
The Roundhouse, Chalk Farm Road, Camden Town, London, NW1 8EH, England
Friday, 15th November 2019, 7.00pm

information here, here and here

Bloc presents:
Kedr Livanskiy + Detalji + Yeule
Bloc @ Autumn Street Studios, Unit 3, 39 Autumn Street, Hackney Wick, London, E3 2TT, England
Thursday 21st November 2019, 7.30pm
– information here and here
 

October/November 2019 – upcoming London classical gigs – ‘Venus, Women And The Guitar’ (27th October); Emily Howard curates ‘Ada Lovelace: Imagining The Analytical Engine’ (2nd November); Echo Collective present Jóhann Jóhannsson’s ’12 Conversations with Thilo Heinzmann’ plus Félicia Atkinson (3rd November)

21 Oct

‘Venus, Women and the Guitar’, 27th October 2019As part of London Guitar Festival 2019, the International Guitar Foundation presents ‘Venus, Women and the Guitar’ towards the end of October. A concert celebrating women’s relationship with the guitar, and featuring a wide roster of performers including many significant current female classical guitar players, it also showcases an entire programme of guitar compositions by women.

Of the two main composer contributors, Errollyn Wallen has written plenty of works for guitar over the past two decades as part of a career which includes seventeen operas, music for television and assorted works for chamber instrumentation and large-scale ensembles (as well as a musical willingness to explore both standard classical settings and experiments with tape, placement and other media, plus continual rearrangements of the ideas of how we think about music and its intersections with a broader, more diverse culture).

In addition to the IGF-repertoire Wallen pieces which are being played, she’s contributed two new commissions/premieres. The Housden-Tarlton Duo will be performing ‘Two Guitars’, while Tom KerstensG Plus Ensemble (a two-guitar, string quartet and percussion group, eschewing piano parts in favour of “the unique combination of the guitars’ quickly decaying plucked sounds, the sustained bowed string sound (and) a wide range of vibraphone, marimba and other percussion sounds”) will be performing ‘Road to Strathy Point’. As regards the repertoire pieces, Tom Kerstens returns later in the program to perform the solo Wallen piece ‘Canciones’ while up-and-coming classical guitarist Shannon Latoya Simon will perform a triptych of ‘Three Ships’, ‘Walking Me To Work’ and Night Passage’ (meanwhile, here are the Kerstens versions of a couple of these).



 
The other dominant composer of the evening, Laura Snowden, hasn’t been working for nearly as long but her career’s already moving from strength to strength. Also reknowned as an exceptional and versatile performer on guitar, she’s been described by ‘Classical Guitar Magazine’ as “linking guitar’s past, present and future” and will be performing her own solo piece ‘Anpao; L’étoile et la Rose’.


 
As regards her other pieces, the Mēla Guitar Quartet (Matthew Robinson, George Tarlton, Daniel Bovey, Jiva Housden) will play ‘My Clock Is Broken’ (which they premiered at the Purcell Room earlier in the year); VIDA Guitar Quartet (Mark Eden, Mark Ashford, Amanda Cook, Christopher Stell) will be joining up with concert saxophonist Amy Green to perform ‘Light Perpetuum’; and two VIDA members will be returning in their other configuration as the Eden Stell Guitar Duo to play ‘Damn everything but the circus!; The Snow Globe’.


 
The work of five other female composers will be performed as part of the concert. VIDA’s Amanda Cook will team with violinist Liz Cooney for Effy Efthymiou’s ‘Two Reflections’ of which “(the) elliptical movement and improvisatory feel are designed to create a seductive ambience – almost like being in a dream. The lilting phrases move easily from one time signature to the next, producing a free flow of sound and a subtle feeling of repose. Light interweaving melodies rotate with rough, percussive sonorities to evoke the whole spectrum of feelings that one might experience through reflection.”

Rather magically, Effy is half of a mutually supportive duo of composing twin sisters, along with Litha Efthymiou, and the two compose both together and apart. Litha, too, is represented in this concert. Her piece ‘States Of Ice: Diamond Dust’ (like ‘Two Reflections’, originally a 2012 IGF commission) will be performed by Johan Löfving. It’s “a poetic representation of the ice phenomenon “diamond dust”… its light, ponderous beginning exploits the guitar’s delicate timbral qualities, while the second, more aggressive section is quite percussive in texture, depicting the full gamut of elements that constitute this elusive state of ice.”

Johan will return with his Flauguissimo Duo partner, flautist Yu-Wei Hu, to play another previous IGF commission, Charlotte Bray’s ‘Here everything shines’ (apparently “largely inspired by Cesaria Evora’s ‘Petit Pays’, sung in Cape Verdean Portuguese. The title comes from the translation of the line ‘ki ca ta brilha’, an idea which resonates throughout. A gritty and impassioned fast section opens the piece, the non-stop flute/violin line dashing around being punctuated by stabbing chords on the guitar/piano. The intensity grows until a lush slow section takes over, the melody singing vibrantly over an arpeggiated figure. Similar material to the opening then returns in an extended version, with the piano taking on the fast energetic figure and violin interrupting. Expressive and very free, a quiet section follows. The pace slows and lines glimmer as if caught by rays of sun bouncing off the ocean. Abruptly, the opening material intervenes one final time, with the lively melodic line heard once again in the flute/violin part, the guitar/piano seemingly edging it on.”)

Opening the concert, G Plus Ensemble will be playing Anna Meredith’s ‘Spook (for string quartet, guitar and marimba); and finally, there’ll be another premiere. Kevin Daniel Cahill (G Plus Ensemble’s other guitarist, and a passionate musical emissary and fosterer in his own right) has commissioned and will be performing a Ninfea Cruttwell-Reade piece called ‘Wallflower’. Unlike the evening’s other pieces – resolutely acoustic – this one will feature electric guitar and electronic looping (perhaps capturing in its sonics Ninfea’s love for composing for “old, new, and damaged musical instruments.”)


 
* * * * * * * *

At Milton Court on 2nd November, as part of the Barbican’s ongoing Life Rewired season, composer Emily Howard will curate ‘Ada Lovelace: Imagining the Analytical Engine’, an afternoon which she devised as “an uncompromising musical tribute to a woman who united the worlds of 19th-century romanticism and cutting-edge science… thinker, computer pioneer and enchantress of numbers…”

The concert will combine words and music to offer a post-millennial perspective on the legacy and achievement of the woman often considered to be one of the world’s first computer programmers and a considerable Victorian mathematician, as well as someone who enthusiastically united the concepts of maths, music and poetry. The Britten Sinfonia and mezzo-soprano Marta Fontanals-Simmons will be performing various specially commissioned works of “scientifically inspired music by Howard and her contemporaries plus music created by artificial intelligence written in tribute to Lovelace.”

‘Ada Lovelace: Imagining the Analytical Engine’, 2nd November 2019

As well as a brand-new Howard world premiere (which I can’t find anything on, but which, under the circumstances, you can expect to be replete with involved and enthusiastic scientific or mathematical references, as much of her other work is), there’ll be a performance of her 2011 speech-song work ‘Ada Sketches’ (for mezzo, flute, clarinet and percussion, with a libretto by Laura Tunbridge in which Lovelace dreams of Babbage’s Difference Engine producing notes instead of numbers).

 
There will also be world premieres of new works by sound artist/composer Patricia Alessandrini, by composer and turntablist Shiva Feshareki, and by Royal Northern College’s PRiSM Team directed by Emily Howard and on this occasion led by Robert Laidlow. There’s not much news or commentary on these either, yet; but you can expect further intersections of orchestral playing with contemporary technology, and with scientific motifs and themes.

* * * * * * * *

 
On 3rd November – also at Milton Court – Belgian ensemble Echo Collective will perform the late Icelandic composer Jóhann Jóhannsson’s ‘12 Conversations with Thilo Heinzmann’.

Unfinished at the time of Jóhannsson’s death last year (although an earler or work-in-progress version does seem to have been performed at Conway Hall three years ago), and exploring “arts, politics and unity” and “the communal transfer of artistic ideas beyond borders”, this string quartet piece was inspired by four years of dialogue with Jóhannsson’s friend and German painter Thilo Heinzmann (a sensual minimalist who works with more reluctant materials than most such artists – including unbound pigment, absorbent cotton, styrofoam, fur and porcelain as well as bursts of feather, fossil or other found and planned-in objects – with the aim of expanding technique and of raising the textured work off the flat plane of the canvas to present its details in a more three-dimensional manner). Unusually for a Jóhannsson piece, it doesn’t incorporate electronics, drones or treated instruments; instead relying on the unadorned strings alone.

The work was finished by the Echo Collective under leaders Neil Leiter and Margaret Hermant. Reviewing their studio recording in ‘The Guardian’ last month, John Lewis noted that “the spartan setting often enhances the grave, stately beauty, particularly when Jóhannsson starts to invokes early music. ‘Shell’ resembles a Bach partita played in ultra-slow-motion; ‘Low’ sounds like a Gregorian chant transcribed for strings; ‘Lacrimoso’ is a heartbreaking, Vivaldi-like canon. There are a few moments where Jóhannsson hints at complexity – the baroque waltz ‘Danse’ sees him shifting time signatures to disconcerting effect – and it’s tempting, if a little depressing, to imagine how he might have developed and matured in this setting.”




 
Opening the concert will be French electro-acoustic musician Félicia Atkinson. Previously known as Je suis le petit chevalier, her own compositional voyage was originally rooted in sculpture and visual arts: it has built up from her quiet near-ambient early albums based around guitar and Rhodes electric piano to more detailed and demanding works involving (according to lastmusic.fm) “concrete music, ASMR voices, minimal electronics, field recordings, improvisation with guitar and piano, abstract distortions and infra basses, always held by a strong sense of musical harmony… The problematics of sound installation, multichannel diffusion, and performance are starting to play a key role in her musical practice.”

 
* * * * * * * *
Dates:

International Guitar Foundation & Kings Place present:
Errollyn Wallen & Laura Snowden (Venus, Women and the Guitar)
Hall Two @ Kings Place, 90 York Way, Kings Cross, London, N1 9AG, England
Sunday 27th October 2019, 3.00pm
– information here and here

Ada Lovelace: Imagining the Analytical Engine
Milton Court Concert Hall @ Guildhall School of Music & Drama, 1 Milton Street, Barbican, London, EC2Y 9BH, England
Saturday 2nd November 2019, 6.30pm
– information here and here

Echo Collective: 12 Conversations with Thilo Heinzmann
Milton Court Concert Hall @ Guildhall School of Music & Drama, 1 Milton Street, Barbican, London, EC2Y 9BH, England
Sunday 3rd November 2019, 7.30pm
– information here and here
 

October 2019 – upcoming London rock, pop, noise, dancetronic gigs – Hurtling, Stephen Evens and Junodef (17th October); Gum Takes Tooth and Hyperstition Duo (18th October); Bunny Hoova, Gribs, J.B. Glaser and Halfs (18th October)

8 Oct

Hurtling + Stephen Evens + Junodef, 17th October 2019

Alt-rock trio Hurtling (fronted by My Bloody Valentine tour noisemaker Jen Macro) have a debut record to offer you – ‘Future From Here’, on Onomatopeia Records – and are launching it at north London’s The Islington in the middle of October. Their sound’s relatively easy to peg – post-Pixies, post-grunge, post-dreampop – but difficult to dismiss. There’s a full cupboardful of familiar indie rock ingredients to hand, but all reshuffled and re-examined via Jen’s particular perspective and inspired by the disorientations of touring, the displacement of emotions, the waywardness of health: the bumps and setbacks of a bright, questioning human organism pushed into too much motion. Sometimes, despite the noisy ethic, it’s surprisingly gentle; sometimes sludgy guitar parts pile up like rainbow cement ooze; sometimes it’s all about the vocal harmonies.



 
Once upon a time, most of Hurtling were part of cunningly witty indie/artpop sloggers stuffy/the fuses, and their glowering former employer (and current Onomatopeia labelmate) Stephen Evens is also on hand for the evening: ostensibly in a support slot, but probably to keep a dyspeptic jaded eye on them and to crush their remaining youthful dreams beneath his tapping boot. He’s playing solo – probably with guitar, microsynth and anything else portable which he fancies and which comes to hand – and is still working his own 2017 debut album, ‘Bonjour Poulet’. Which is fine, since it was excellent: a mordant larderful of creaky treats which revealed themselves to be gappy armour-plate wrapped around a surprisingly tender heart. He’ll probably give you all that sardonic, seen-it-all expression: actually, he’ll be pleased to see you.



 
London-based Swedish “post-death music” quartet Junodef fill the other support slot. Their debut single, a soft-strummed slice of spectral folk with additional Gothic guitar boom and the bleakness of a death metal song, was called Make You Die. Subsequent work hasn’t travelled too far from those initial emotional roots, although they’ve toyed with spooky progressive rock keyboards, acid rock shadings and lingering dark-country embellishments (the latter suiting both the paired vocals of Tyra Örnberg and Karin Grönkvist and their admiration for Emma Ruth Rundle and Chelsea Wolfe).

More recently Junodef have been feeding in noirish elements from trip-hop and droning electronica, citing inspiration by Portishead and Young Fathers. At the same time, they’ve upped their Bad Seeds clang and their clarity and put greater emphasis on their visual work, resulting in their most vividly fleshed-out songs and atmospheres yet. Don’t expect floppy Goth ragdolls: this band has a tough core, and a storytelling streak that’s just beginning to come into its own.



 

* * * * * * * *

Gum Takes Tooth + Hyperstition Duo, 18th October 2019In the same week, on the following day, relentless psychedelic noise-fosterers Baba Yaga’s Hut are putting on a Bethnal Green gig for block-party-inspired thunder-twosome Gum Takes Tooth. Singer/electronic bombardier Jussi Brightmore and wired-up drummer Thomas Fuglesang have been at this for a decade now, producing a music that’s
grinding and urgent, slow yet filled with unnerving impetus.

As with plenty of British acts on the weird/occult cusp, Gum Takes Tooth are fascinated by ritual (attempting to initiate it in both their recorded output and, more significantly, in their live performances) and with the jarring subconscious impact on the human animal from the mechanisms of technology, hierarchy and blunt cultural forces which surround us. Their last record, ‘Arrow‘, focussed on London gentrification from the perspective of those squashed under or flicked aside by its well-heeled, well-polished bespoke shoes; and on the savage simultaneous pressures from above to indulge the inner beast in competition, in nationalism, in a fracturing of common responsibility and empathy. While writing ‘Arrow’, Jussi saw all of this as a kind of cultural intoxication with the emphasis on toxic: it gave the duo a musical and moral focus which they’ve pursued ever since.



 
A couple of years ago, open-minded Sheffield Afrobeat/noise/dance-pop combiners Blood Sport called it a day. Two-thirds of them – drummer Sam Parkin and guitarist/Octatracker Alex Keegan – have since resurfaced as Hyperstition Duo, a blistering stew of kit-rattles and synth noise smudging and battering the line between live gig and avant-garde DJ electronica. They’ll be supporting Gum Takes Tooth on this occasion: but where the headliners favour slower pace and a ritual weight, the Hyperstitioneers prefer a break-neck-speed informational barrage.

At the end of this past summer, Hyperstition Duo released their debut EP ‘Virotechnics‘. There’s the usual jargonated hype to go with it – “summoning egregors of the Anthropocene, (they) plunge deep to deliver a maximalist collective immersion into their own lysergic phonosphere. Lurching, polyrhythmic pathways crumble and re-assemble; elastic dynamics snap; propulsion sparks from the nerve-centre of machine and corporeal entanglement… templexing, möbius loops and cybernetic subjectivities abound in an attempt to conjure escape vectors in a world of ubiquitous sound.” For once, the texture of the press release – a plunge into lathering, urgent verbalisation – actually fits the texture of the music.



 
* * * * * * * *

Overlapping the Gum Takes Tooth/Hyperstition Duo concert, Ben Vince’s south-east London clubnight Ellipsis (blending strands and clumps of experimental dance and experimental pop) ventures up north to Dalston on the same night for an evening of seamless switching between stage and DJ deck. I’ve not encountered Ellipsis before, but I’m impressed with what I’m finding out now.

Bunny Hoova + Gribs + J.B. Glaser + Halfs, 18th October 2019

To headline this time, Ben’s enticed the perplexing Dutch-born Mancunian Bunny Hoova down for her full-band London debut. Her work is simultaneously delightful and frustrating. At its simplest, it’s a kind of fall-apart dream pop – intermittent rhythms, addled guitar chording and bass thumbing, a cloudwork of woven-in samples, and a constant tripping over unvoiced questions, obscured conclusions and the track-loops of the thought-train. But while most dream-pop sinks into a narcotized structural conservatism (strumming away in the same key while admiring the whorls of sound coming through the pedalboard), Bunny’s material seems constantly uncomfortable, actively intelligent, and hovering at the midpoint between insight and misdirection. She’s been yoked in with experimental pop deconstructors/faux-idiot savants like Tirzah and Micachu, and I can see why. There’s that classical conservatoire training: coyly hinted at in the PR, for extra credit, but in practise forced off into the distance like a spurned aunt (even as it’s being used as the counterweight to punkish anti-technique). There’s the idea that the usual rules of pop song and riff culture are being scorned in a meticulous matter-of-fact way via an admixture of free play and cerebral manifesto.

Plenty of the songs on Bunny’s debut album, ‘Longing’, have the sensual drag-and-tug rhythm of slow jams; but rather than focussing a mood or a regular pace, they wander off at instinctive mental tangents or hiccup into a different arrangement; the instruments and samples entwining in a scratchy, bewildered, irregular intimacy. At times she seems to be taking up an erratic desert map scrawled by Captain Beefheart and attempting to apply it to close urban living. At other times, she seems to be spontaneously transposing into song experimental short stories about offbeat relationships, jolting encounters or small moments which change the course of a life; rich in detail and significance, short on conclusion. Plot and flavour are stretched out and split into gobbets, like odd-shaped beads necklaced on a guitar string. Her most-talked-about song, Lazy_Easy, is a scrubbing, slurred, pointed dissection-tract covering both the implicit and explicit links between consumerist culture and animal cruelty: more of a wall-collage with blended-in musical notes than an actual song. The world she flits through feels as rickety as a condemned flat; one that she’s too good for and shouldn’t have to live with, but which she has to accommodate and fit her voice to.




 
Also playing are a mixed bag of London and Manchester electronic experimentalists with bedroom studios. Gribs is a creative DJ and electronic musician, a label co-boss (Tobago Tracks) who in her own music weaving connections between straight-up dance music (trap, jungle, bass culture) and lo-fi DIY sound-and-voice experiments. There’s a distinct edge of discomfort to her work: not so much or so often that it repels, but her found vocals and implied song characters seem uneasy, morbidly eccentric or disassociated from the music’s rhythmic propulsion or sensual salve.

More DJ-ing and deckmixing comes from J.B. Glazer, another London-based creator of peculiar counter-intuitive dance music: for him, a kind of relentlessly alienated mirror-image R&B, all of its comfort and slickness rusted away into disassociative ennui. In the work of both Glazer and Gribs, there’s an echo of chopped-and-screwed culture: the slowing, the altered-state disconnections and new connections, the sense that they’re using alienation as a kind of gatekeeper (if you like dance but are prepared to discard much of its qualities of release or of socializing, then perhaps you can squeeze through this door).

Rounding things out (or upsetting any remaining unspilled applecarts) there’s the mysterious and performative Halfs – from what I can work out, a try-anything beat-making romper on Manchester’s queer arts scene. I’ve found a very fruity synthdance EP of his/theirs from 2017, so there are a few slurps of its whooping dayglo industrial tones below. There have also been percussion-favouring mixtapes and albums which have been whipped capriciously on and off Soundcloud, but are gone now: other than that, there seems to be involvement with scratch theatre, video and so on. In order to properly keep up with Halfs, you need to subscribe (both literally, and in terms of consistent loyalty) so just consider this vague, semi-accurate plug of mine to be a jumping-on point and take it from there.


 
* * * * * * * *

Dates:

Onomatopoeia Records presents:
Hurtling + Stephen Evens + Junodef
The Islington, 1 Tolpuddle Street, Islington, London, N1 0XT, England
Thursday 17th October 2019, 7.30pm
– information here, here and here

Baba Yaga’s Hut presents:
Gum Takes Tooth + Hyperstition Duo
The Sebright Arms, 33-35 Coate Street, Bethnal Green, London, E2 9AG, England
Friday 18th October 2019, 8.00pm
– information here, here and here

Ellipsis presents:
Bunny Hoova + Gribs + J.B. Glaser + Halfs
SET (Dalston Lane), 27a Dalston Lane, Dalston, London, E8 3DF, England
Friday 18th October 2019, 9.00pm
– information here and here
 

Post-Punk Monk

Searching for divinity in records from '78-'85 or so…

Get In Her Ears

Promoting and Supporting Women in Music

The Music Aficionado

a song a post, for a song

ATTN:Magazine

Not from concentrate.

Xposed Club

improvised/experimental/music

I Quite Like Gigs

Music Reviews, music thoughts and musical wonderings

A jumped-up pantry boy

To say the least, oh truly disappointed

PROOF POSITIVE

A new semi-regular gig in London

We need no swords

Organized sounds. If you like.

:::::::::::: 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

Archived Music Press

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

OLD SCHOOL RECORD REVIEW

Where You Are Always Wrong

Fragile or Possibly Extinct

Life Outside the Womb

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: