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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.

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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…

 
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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.

 
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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.)




 
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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 – 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.

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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.”


 
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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).”


 
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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.




 
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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’.”

 
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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…
 

April/May 2019 – upcoming folk/experimental gigs – Sam Lee’s ‘Singing With Nightingales’ season

30 Mar

Details on the upcoming season of Sam Lee’s ‘Singing With Nightingales’ – slightly massaged press text follows…

'Singing With Nightingales', April/May 2019

“Join folk singer, song collector and nature lover Sam Lee in the forest, sit by the fireside and listen to intoxicating song, as some of the finest musicians in the land duet with the sweet sound of the nightingale. Immerse yourself in the folklore and ways of our native birds, savour the music of world-renowned guest artists from folk, classical, world music, and jazz arenas. Join us in a rare and thrilling journey as darkness falls upon the springtime woodlands of Kent, Sussex and Gloucestershire from 18th April to 26th May.

“Each year, for a few months from mid-April, a few thousand nightingales fly to the southern UK from Africa. They can be heard in just a small number of special locations, taking up songful residence after dusk. The territorial males serenade loyally each night for no more than six weeks among the blackthorn and forest margins, giving unbelievable privilege to those who know where to go. Inspired by infamous recordings of cellist Beatrice Harrison playing with nightingales as far back as 1924, Sam has been hosting reverent celebrations of this endangered bird each spring since 2014. These events have spanned multiple events at four different sites, a ‘Pick of The Year’ BBC Radio 4 documentary, a critically acclaimed adaptation for theatres and concert halls, and many broadcasts on BBC Radio 3.

“As well as the outdoor night shows, you can also enjoy the sound of the nightingales’ song in the comfort of concert halls across the UK from 14th April. After a hugely popular run in 2018, our ‘Singing With Nightingales: Live’ tour is back, bringing you diverse musicians in relaxed, low-lit settings improvising in collaboration with live birdsong via live broadcast feed from the countryside. Joining Sam on stage will be a duo (depending on the date) of either violin-playing jazz world/folk singer Alice Zawadzki plus kora-playing Senegalese Griot Kadialy Kouyate, or Welsh folk-singer/songwriter/harpist Georgia Ruth plus Bristolian post-jazz trumpeter/multi-instrumentalist Pete Judge. In addition, an abridged version of ‘Singing With Nightingales: Live’ will feature at London’s South Bank as the late show in the ‘Absolute Bird’ concert (a night of classical music inspired by birdsong).


 
“Brand new for this year, we are launching a mini festival experience with the nightingales at Fingringhoe Wick , Essex, on 27th April. Hosted by Sam, the night will feature three performances from Irish 10-string drone fiddler Caoimhin O’Raghallaigh and from experimental songwriters and instrumentalists Serafina Steer and Cosmo Sheldrake, all joined in song with the nightingale.

We’re offering return travel from London for selected events; and we’re very happy to say that we have received some funding from Arts Council England which means we’re able to put a number of concessions tickets on sale for selected events. These are strictly for people on low income. We also have a number of concession tickets available for our Singing With Nightingales Festival event at Fingringhoe Wick nature reserve, Essex on April 27th.”

Other musicians involved in the open air concerts come from a variety of different genres. There are classical and jazz flautists (Paul Cheneour; and Marsyas Trio‘s Helen Vidovich) and assorted polygenre players (eclectic South African cellist Abel Selaocoe, post-classical/post-folk chamberist Kate St John, Globe Theatre music director Bill Barclay, multi-instrumental composer Christo Squier). There are singers from various strands of contemporary folk (Lisa Knapp, Furrow Collective’s Lucy Farrell, ESKA) and soul-jazz singer-cellist Ayanna Witter-Johnson. There’s the choral work of vocal trio Blood Moon Project (featuring Heloise Tunstall Behrens, Tanya Auclair and Luisa Gerstein). There are also representatives of music from further afield (Zimbabwean singer/mbira master Chartwell Dutiro, travelling shakuhachi-ist Adrian Freedman, Afghan music specialists John Baily & Veronica Doubleday and Dublin vocalist Fergus “Faró” Cahillane, the latter known for Irish and Irish/Viking acappella folk work with Anúna and M’anam).


 
Update, 13th April – in the latest development, ‘Singing With Nightingales’ is linking up in London with the Extinction Rebellion movement, on 29th April, for a “peaceful sit down intervention” in central London, called ‘A Nightingale Sang in Berkeley Square‘:

“In the midst of the heightened attention to climate change and environmental catastrophe we want to bring people together in celebration of the musical beauty of the natural world. Poets, musicians and nature lovers will join together to perform the most romantic rebellion.

“Written in 1939, the renowned ballad tells of the impossible moment when a now critically endangered nightingale (Luscinia megarhynchos) sings in Mayfair’s famous garden square. Nightingales have not been heard in Central London, let alone Mayfair, for several hundred years. However, through the magical power of people and technology this April 29th, XR, Sam Lee, The Nest Collective and a pop-up flash mob of nature enthusiasts, musicians and supporters will gather to rewild nightingale song back into Berkeley Square.

“Through synchronised streaming of the nightingale’s mesmeric yet seldom heard courtship song via mobile phones and mobile speakers, our pop-up action will fill the park and surrounding streets with the song of a creature nearing extinction on this island. The birdsong will be accompanied by offerings from musicians, singers, poets and anyone who wants to collaborate with the finest singer in the world. This central London rewilding action aims to bring poetic focus to the shocking demise of our own native species and give Londoners the opportunity to hear a once ubiquitous songbird, now near extinct in the UK, in its mythic notional home.”

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Full dates for everything:

Open-air shows at Green Farm Kent, Church Lane, Shadoxhurst, Kent, TN26 1LS, England

  • Friday 19th April 2019, 6.30pm (featuring Sam Lee & Bill Barclay) – information here and here
  • Saturday 20th April 2019, 6.30pm (featuring Sam Lee & Paul Cheneour) – information here and here
  • Sunday 21st April 2019 (featuring Sam Lee & Christo Squier) – information here and here
  • Friday 17th May 2019, 6.30pm (featuring Sam Lee & Helen Vidovich) – information here and here
  • Saturday 18th May 2019, 6.30pm (featuring Sam Lee & Abel Selaocoe) – information here and here
  • Sunday 19th May 2019, 6.30pm (featuring Sam Lee & Blood Moon Project) – information here and here

Open-air shows at a secret location near Spithurst, Lewes, Sussex, BN8 5EF, England

  • Thursday 25th April 2019, 6.30pm (featuring Caoimhin O’Raghallaigh) – information here and here
  • Friday 26th April 2019, 6.30pm (featuring Caoimhin O’Raghallaigh) – information here and here
  • Friday 3rd May 2019, 6.30pm (featuring Sam Lee & Lisa Knapp) – information here and here
  • Saturday 4th May 2019, 6.30pm (featuring Sam Lee & Kate St John) – information here and here
  • Sunday 5th May 2019, 6.30pm (featuring Ayanna Witter-Johnson) – information here and here
  • Monday 6th May 2019, 6.30pm (featuring Sam Lee & Lucy Farrell) – information here and here
  • Saturday 25th May 2019, 6.30pm (featuring Sam Lee + ESKA + John Baily & Veronica Doubleday) – information here and here
  • Sunday 26th May 2019, 6.30pm (featuring Sam Lee & Fergus Cahillane) – information here and here

Open-air shows at Highnam Woods, Highnam, Gloucestershire, GL2 8AA, England

  • Thursday 9th May 2019, 6.30pm (featuring Sam Lee & Pete Judge) – information here and here
  • Friday 10th May 2019, 6.30pm (featuring Sam Lee & Chartwell Dutiro) – information here and here
  • Saturday 11th May 2019, 6.30pm (featuring Sam Lee & Adrian Freedman) – information here and here

‘Singing With Nightingales: Live’ (indoor concerts)

  • Ropetackle Arts Centre, Little High Street, Shoreham-by-Sea, West Sussex, BN43 5EG, England – Sunday 14th April 2019, 8.00pm (featuring Sam Lee + Alice Zawadzki + Kadialy Kouyate) – information here and here
  • The Old Fire Station, 40 George Street, Oxford, OX1 2AQ, England – Tuesday 23rd April 2019, 8.00pm (featuring Sam Lee + Alice Zawadzki + Kadialy Kouyate) – information here and here
  • Warwick Arts Centre, University Road, Coventry, CV4 7AL, England – Wednesday 24th April 2019, 8.00pm (featuring Sam Lee + Alice Zawadzki + Kadialy Kouyate) – information here and here
  • Dartington Hall, Totnes, Devon, TQ9 6EL, Tuesday 30th April 2019, 8.00pm (featuring Sam Lee + Alice Zawadzki + Kadialy Kouyate) – information here and here
  • Wyeside Arts Centre, Castle Street, Builth Wells, LD2 3BN, Wales – Wednesday 8th May 2019, 8.00pm (featuring Sam Lee + Pete Judge + Georgia Ruth) – information here and here
  • St Laurence’s Church, Church Street, Stroud, GL5 1JL, England – Wednesday 15th May 2019, … (featuring Sam Lee + Pete Judge + Georgia Ruth) – information here and here.
  • Gulbenkian Theatre, University of Kent, Canterbury, Kent, CT2 7NB, England – Wednesday 22nd May 2019, 8.00pm (featuring Sam Lee + Pete Judge + Georgia Ruth) – information here and here
  • Junction II @ Cambridge Junction, Clifton Way, Cambridge, CB1 7GX, England – Thursday 23rd May 2019, 8.00pm (featuring Sam Lee + Pete Judge + Georgia Ruth) – information here and here
  • ’Absolute Bird: Translating Nature’ Queen Elizabeth Hall @ Southbank Centre, Belvedere Road, Waterloo, London, SE1 8XX, England – Friday 24th May 2019, 8.00pm (featuring Sam Lee, Alice Zawadzki plus selected members of City of London Sinfonia) – information here and here.

Singing With Nightingales: Festival (with Sam Lee + Serafina Steer + Caoimhin O’Raghallaigh + Cosmo Sheldrake)
Visitor Centre @ Fingringhoe Wick Nature Reserve, South Green Road, Colchester, Essex, CO5 7DN, England
Saturday 27th April 2019, 8.00pm
– information here, here and here

Extinction Rebellion: ‘A Nightingale Sang in Berkeley Square’
Berkeley Square, Mayfair, London, W1J, England
Monday 29th April 2019, 6.00pm
– information here
 

February 2019 – upcoming London experimental gigs – drone evenings – NYX & Iona Fortune plus Flora Yin-Wong (3rd February); Matthew Shaw, Anji Cheung and English Heretic (7th February)

29 Jan

A couple of evenings of drone and weird noise for you, here in the Smoke.

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Electronic drone choir NYX and Glaswegian electro-acoustic drone instrumentalist Iona Fortune join forces in Bethnal Green during the coming weekend, for what they’re calling “a liminal ceremony” based on an exploration of the I Ching. The latter’s a particular interest of Iona’s – she’s already released the first of a planned octet of releases on the subject. Live, she blends instrumental performance work on the gamelan percussion set and guzheng zither with vintage electronic textures generated by the EMS Synthi AKS (the same early-’70s suitcase synth that’s responsible for early Pink Floyd sequencing, mid-period radiophonics and various Enossifications), via a composition technique which “involves inner cultivation”. For their part, NYX (eight veiled women singing together from behind two tables strewn with vocal sound processors) stress “mindful experiences, psycho-acoustics and sound healing through an immersive exploration of ambient, noise and electronic music”. Expect a mixture of avant-garde eeriness and ancient intimations, then, mixed with a fat emollient smear of New Age healer atmospherics: something silkily psychoactive.

The focus on I Ching divinations might be Iona’s choice, but the sonic method is NYX’s, who are leading a series of similar concerts (this is the third of four, it seems) in which they coax a collaborator to let go of some of their own battery of electronics and/or field recordings and allow NYX to replace it with their own poly-chorused vocal blocks and twinings. A recent ‘If Only’ interview with NYX’s Sian O’Gorman has plenty of talk about mother principles and the like, but it does make them sound genuine: intrigued by the interaction of specific voices with specific bits of electronic kit, and well aware of different vocal practises delved into across hundreds of years and thousands of miles.

They’re also determined – and proud – to promote the female voice, skills and mindset. All performers in the concert series have been women: unsettling folktronica performance artist Gazelle Twin following operatic chanter Hatis Noit, with layering classical/noise minimalist Alicia Jane Turner scheduled for the next event.

Meanwhile here’s a little of Iona working on her own, plus a snippet of NYX working with Gazelle Twin. Chop, edit and remix in your mind’s eye as appropriate.


 
As a kind of counterbalance to the concert’s Orientalist leanings (for all the sincerity, with this amount of New Agery it can feel as if it’s an act of looking in rather than belonging), the support slot goes to an actual Asian diasporan musician: electronicist Flora Yin-Wong, Chinese-Malaysian by roots but London-born. With an outright interest in club culture and dissonance, Flora seems to be more futurist than tourist but touches on the evening’s mystical tone via her use of field recordings from south-East Asian temples, re-brewed and teased within electronic processing and contemporary beat frameworks. Some of what she does twinkles, but other parts form arresting fields of explosive ritual noise right from the first note – see below.

 
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The following Thursday, up in Manor House, New River Studios plays host to the London launch event for Matthew Shaw‘s “debut” album ‘Among The Never Setting Stars’.

Calling it a debut is a little disingenous, since Matthew’s been putting out music for two decades now. At the turn of the century he sat somewhere between Bark Psychosis, Mojave 3 and a sedated Mike Oldfield, releasing soft-edged, deeply rural dream pop as Tex La Homa. At the start it was murmured acoustic-indie guitar folk – equal parts Drake and Velvets – expanded by synth rills, echo and field recordings; but gradually the singing diminished and the backing tracks became more interesting, the sounds took over and the local Dorset landscape (both physical and psychic, stone circles and solstices) impressed itself ever more deeply on the music. Though Matthew was also spending time helping to add sonic depth and audio subtext to folktronic pop band Sancho, in his own work the pop structures were dissolving away to allow the other ingredients to billow forwards.

By the middle of the decade Matthew was carrying out duo work: bizarre electrophonic ritual music with Nick Grey as 230 Divisadero and theosophical dronery with Andrew Paine as The Blue Tree. Since 2010, he’s run the limited-edition experimental label Apollolaan Recordings and issued a couple of Cornish/antiquarian-slanted location music releases in collaboration with Brian Lavelle as Fougou. Suggesting that he’s only officially going solo now is also a little disingenous – there have been releases under the Matthew Shaw name since he started Apollolaan, with a host of them still on Bandcamp. They’ve explored the usual territories of the recurring mystic tradition – alchemy and magick, psychogeography, cosmic astrology – but without the pomposity that’s usually bundled into the package.

Generally speaking, Matthew comes across as a listener rather than an imposer; travelling from temporary cottage to temporary cottage and from site to site with his guitars, sampler, KAOSS pad and electronics as an itinerant tinker would carry his tools. His work often sounds like an attempt to fuse an English pastoral tradition with spiritual/kosmische protractions and with occult/avant-garde post-punk aesthetics, blending in a folk-inspired interest in the cycles of seasons and life plus the rituals one makes to mark them. Typically New Weird Britain, then – and ‘Among The Never Setting Stars’, true to form, is apparently based around field recordings of “occult landscapes”. I would have expected the resulting pieces to have been more alarming, or at least more disorientating in the standard dark-ambient style (in which thunderheads mass like war in heaven and nature is overwhelmed by random electricity and ferociously foraging ants). On this occasion, however, Matthew seems to have been brought to a pitch of innocent (if slightly eerie) pastoral serenity – his source material buried to the point of absolute dilution or effective erasure beneath a gentle edgeless electrophonic skirl, like a cloud-organ recital in a roofless, open green church.


 
Also on board for the New River concert are the harsher drone-and-sample-scapes of Anji Cheung. Sometimes these are unnerving, frowning amplifier buzzes rolling over the listener like a gigantic clumsy wheel, with dramatically chopped/distorted/otherwise incomprehensible vocals implying pirate-radio-eavesdropping on a covert ritual. Sometimes they’re car-boot clatter under a lowering sky; sometimes they’re beautiful lost female murmur-melodies stalked by drainage-ditch fuzz. If Matthew’s work remains rural (and white), Anji’s is another aspect of NWB: ambiguously multicultural and urban, mixing and obscuring London and Chinese references, but sounding mostly as if it stems from a place where jerry-built tower blocks break up old fields around the city’s tired periphery and where unknown syncretic practises are carried out (perhaps only half-understood even by the people involved).



 
Playing hosts are English Heretic, the multimedia collective who for fifteen years have been self-appointed English psycho-historical curators, magickal Situationists and NWB forerunners. They’ve always carried their enthusiastic immersion in all things Britannic, eldritch and peculiar with warmth and wit, embracing the absurd without turning it into a cheap laugh; and putting a more inclusive and welcoming face onto the uncanny, sometimes belying the depth of their work. If I ever need an exorcism (or, more likely, some kind of psychic mediator) I’ll probably give them a call.

Plenty of music can be fed into the English Heretic stewpot – they’ve cited “psychedelic folk, ritual ethnographic recordings, electronica” as part of their fuel, and they’re very happy to drop into thrumming cusp-of-the-’70s psych rock at any opportunity, but in many respect the music’s secondary to the tales and the texts, the visual images and the intimations. Head Heritageur Andy Sharp has mentioned, in ‘The Quietus’, his tendency to extrapolate scraps and findings into something bardic and numimous – “reading around, something will catch your attention, and then I treat it in a magical context: taking the view that restless spirits or troubled souls inhabit the environment.” Sparks from hidden resonances (including those which are actually in plain sight and hearing) permeate the work.

For this particular concert, English Heritage is airing part of the ongoing audio-visual project ‘London’s Imagined Dead: Cinematic Deaths in London’. The section they’ve picked takes its cues from the Brit-horror era of the late ‘60s and early ‘70s: the era which spawned ‘The Wicker Man’ and ‘The Blood on Satan’s Claw’, although they’re focussing on a lesser-known Hammer offering, ‘The Asphyx’. A 1972 tale of horribly botched Victorian research into the transmigration of souls, the film’s final sequence features the cadaverous, wandering-Jew meanderings of the story’s main character, still alive in the 1970s and condemned to a hateful, decrepit, guilt-ridden immortality. That last sequence was filmed at Battersea’s Winstanley Estate, later briefly notorious (in UK garage circles and in tabloid-land) as the home turf of So Solid Crew.

The finale of 'The Asphyx'. (Well, it was the early '70s and they'd run out of budget. Just concentrate on the concept...)

The finale of ‘The Asphyx’. (Well, it was the early ’70s and they’d run out of budget. Just concentrate on the concept…)

Visiting the present-day location, EH have taken note of the estate’s mysterious-looking murals (actually reliefs, carved into the Winstanley’s concrete walls) and have drawn from them to create new visual scores. Full of primal symbols and strange abstracted geometries, the carvings have an ancient air to them; but actually they’re early ‘60s commissions from William Mitchell Design Consultants, formally put up as part of the refurbishment during the estate’s post-war rebuild, and not even a decade old when ‘The Asphyx’ was filmed. English Heretic know this, of course, but are well aware that the ideas which places, objects and initial associations trigger off are at least as important as the actual truth. In this case, they’ve intersected film and building fabric to inspire literal musique concrète. Their pun, not mine. Not that I’m sulking about having been beaten to the punch…

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Dates:

comm-une presents:
NYX with Iona Fortune
The Pickle Factory, 13-14 The Oval, Bethnal Green, London, E2 9DT, England
Sunday 3rd February 2019, 6.30pm
– information here and here

English Heretic presents:
Matthew Shaw + Anji Cheung + English Heretic
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Thursday 7th February 2019, 8.00pm
– information here
 

January 2019 – upcoming London folk gigs – Laboratorium Pieśni (5th January); Sincere Deceivers + Amy May Ellis (18th January); Shirley Collins in the round (31st January)

1 Jan

Premiering last month’s new album ‘Rasti’, heady world-folkers Laboratorium Pieśni make one of their regular returns to London at the start of the month, playing the grand octagonal space of the Union Chapel. Entering their sixth acclaimed year as a band, they’re an all-female seven-piece of polyphonic harmony singers and multi-instrumentalists from the Tri-City district of northern Poland, cooking up a stew of song with traditional material (initially from the Ukraine, but with a songbook now swollen to incorporate music from Poland, Belarus, Bulgaria and Turkey among others).


 
In keeping with the group’s identity as a “song laboratory” – as well as with their connection to instinctive responses and to healing processes – the songs which Laboratorium Pieśni play are festooned with flutes, violins, rebabs, shruti box drones and a web of tuned and untuned percussion (from chimes, gongs and rattles to shamanic drums), adding a mystical cosmic-feminine shimmer to the music’s existing roots. You can listen to an interview with the Laboratorium women (conducted by Canadian television station TVNR) here.



 
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Closer to home and further forward in time, propulsive electro-acoustic folk-pop trio Sincere Deceivers (with roots in Yorkshire but now resident in London) return to action via a new semi-live EP of original songs – their first in half a decade. ‘Hot Handed’ is the lead-off track – a yearning, Martin Furey-esque song of romantic obsession, full of chiming guitar and swirling cello.




 
For their Sebright Arms gig, Sincere Deceivers will be joined by another Yorkshire friend: emergent singer-songwriter Amy May Ellis. She’s touting last autumn’s debut EP ‘Weathered By Waves’: five dreamy ukelele-driven, water-fixated, altered-state song musings on youthful restlessness and the dislocation of emotion (orchestrated with shruti drones, harps and the soft echoing ghosts of guitar strings).




 
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A cornerstone figure of living English folk music is appearing at the Roundhouse at the end of the month, as part of the venue’s extensive In The Round concert season. Back in the mid-’60s Shirley Collins was one of the main exponents of the English folk revival: in her case, a revival drawing on a childhood fascination with the old folk songs which emerged from underneath the blanket of popular culture at times of stress or memory, as well as spells learning and researching alongside voracious American folk curator Alan Lomax and reconstructive British rule-setter Ewan MacColl (both of whom, to put it mildly, didn’t always credit or respect her for her own work, intelligence or contributions).

Shirley Collins, 31st January 2019

Beginning her career at the cusp of the ’50s and ’60s by taking Pete Seeger’s vocal-and-banjo American revival model of old and new work (and transmuting it into a more transatlantic mode), Shirley gradually worked her way deeper back into English forms. Along the way, she recorded the benchmark guitar-and-vocal album ‘Folk Routes, New Routes’ (with folk baroque guitarist Davy Graham) and a number of albums featuring the startling arrangements of her own keyboard-playing sister Dolly, plus foundational ’70s folk rock and Morris revival records with the Albion Country Band, the Morris On project and others.

Over the years she has inspired plenty of other musicians, be they the crop of folk-rockers who sprang up in her wake at the time, or more latterday disciples including alt.folk and alt.country explorers (such as Angel Olson and Josephine Foster), square-peg rock musicians with broad listening habits (such as Blur’s Graham Coxon and Radiohead’s Jonny Greenwood), off-beat songwriters who delightedly snag themselves onto folk ideas (such as Richard Larcombe of Lost Crowns and Stars In Battledress) or folk-tinged textural experimentalists like Current 93’s David Tibet and eclecti-ambient duo Cyclobe (the former of whom coaxed her back into musical work in 2006, and the latter of whom produced her 2016 comeback album ‘Lodestar’). Most recently, she’s been embraced by various exponents of the New Weird Britain musical movement, drawn to her songs by their archaeological texture and their frequent accounts of dark psychological swells, stark menace and human injustice.


 
Yet Shirley’s spiritual legacy resides most purely in anyone (particularly, any woman) who picks up the thread of folk archetypes, winnows out any temptations towards twee fluffery and glib romantic posturing, and returns to the unadorned human grain of the music. Her own personal commitment and connection to the work, and to living the work honestly, is absolute (for good or ill – assailed by a traumatic late ’70s divorce from the Albion Band’s Ashley Hutchings, the impact of which slipped in under her staunch guard, she was physically unable to sing for the best part of thirty years). Shorn of the halo of veneration, her recordings are sparse and matter-of-fact, her voice that of a neighbourhood teller of tales (many of them harsh) rather than some fluting bel canto feelgood exercise. The natural habitat and venue for her work would seem to be some stone-flagged kitchen or ancient pub space rather than a concert hall: perhaps the focussing-lens effect of the Roundhouse’s setting and seating will meet that need halfway.




 
* * * * * * * *

Dates as follows:

Laboratorium Pieśni
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 5th January 2019, 8.00pm
– information here and here

The Folkroom presents:
Sincere Deceivers + Amy May Ellis
The Sebright Arms, 33-35 Coate Street, Bethnal Green, London, E2 9AG, England
Friday, 18 January 2019, 7.00pm
– information here and here

Shirley Collins
The Roundhouse, Chalk Farm Road, Camden Town, London, NW1 8EH, England
Thursday 31st January 2019, 7.00pm
– information here and here

September 2018 – upcoming London experimental gigs – Merlin Nova, Bell Lungs and Inchindown at the Horse Hospital (21st September)

15 Sep

There’s an interesting show coming up at the Horse Hospital in Bloomsbury next week. A wilder, more countercultural echo of the ICA, and clinging onto the fringes of the university district and the gentrification around the Brunswick Centre, the place mostly features transgressive films, performance art and sundry esoterica, but it’s always worth keeping an eye on their music schedule. This particular gig is musical fringework: weird and beautiful urban and rural atmospherics, vocal hauntings, transformations of places and times, acoustic folk and electronic noise.

Am hurrying off to do something else right now, but I’ll just give you the press release before I go…

* * * * * * * *

Merlin Nova + Bell Lungs + Inchindown, 21st September 2018

“The Horse Hospital presents a night of expanded musical performance spanning adventures in sound, pop theatrics and psychedelia with Merlin Nova, Bell Lungs and Inchindown.

Merlin Nova is sound, song and movement. Ecstatic energy blast. Clear-cut. Quick fix. Immediate. Set scene sound. Landscape, temperature and feeling. Here with you, together.

“Her debut EP, ‘Protect Your Flame’, celebrates determination and life, a vast and colourful human emotional landscape that explores sounds ability to excite visualisation. Each track is a scene to exist within. Vocal delivery, stripped back instrumentation and use of sound effects convey a state of being as efficient as possible. This way of making music evolved out of her weekly radio show Nova Waves, which broadcasted from Subcity Radio: on the show Merlin would create music, soundscapes and use sound effects to build imagined worlds. It was not until she was asked to DJ at Subcity’s 20th Birthday Exhibition, ‘pure radio sex’, that she chose to combine her own soundscapes, poetry and song – thus beginning the assemblage of this music.

 
Bell Lungs is a one-woman band from Scotland, where she’s been building an excellent live reputation and carving out her unique post-folk sound using layered vocals, electric violin, guitar, tuned percussion, field recordings and effects pedals since 2016. Her music is atmospheric; a shifting soundscape incorporating snippets of songs with field recordings to create inherently transcendental experiences, musing upon rural idylls, post-industrial heartlands and online culture infused with psychedelic, drone, improvisational, jazz, dream pop and folk elements.



 
Inchindown is a collaboration between Tim Garratt (Moon Zero) & Matthew Heywood (Bruised Skies), whose self-titled debut album Inchindown is released by Blank Editions. Their self-titled debut album portrays a powerfully mournful, but beautifully stark work. The soundtrack to walking through a storm of ash, only to realise that the city is on fire and viewing this incredible spectacle from afar. It is a dark, yet somehow hopeful record and a focussed collaboration that expands upon their ambient solo work. Although named after a small industrial town in Scotland, the record grounds itself to their hometown of Hackney. The three-part ‘Ridley Road’, with its waves of distorted bass, metallic synths and detuned vocals could be heard as a tone poem for the rapid gentrification that threatens to engulf the historic market street, before authentic field recordings remind us of what we stand to lose.”



 
Merlin Nova + Bell Lungs + Inchindown
The Horse Hospital, Colonnade, WC1N1 London, United Kingdom
Friday 21st September 2018, 7.00pm
– information here and here
 

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