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August 2018 – more Woodburner world-acoustica sessions at Dalston Eastern Curve Gardens – Solomon’s Garden, The Hungry Mothers and Miranda Joy (7th August); Sannie Fox, Harvey Causon and Gus Harvey (14th August); Whiskey Moon Face, Meïkhâneh and Tommy Ashby (21st August); Gnawa Blues All Stars, James Riley and Michael Sebastian (28th August)

2 Aug

More outdoor summer Woodburner gigs at Dalston Eastern Curve Garden, as the season moves into its third and penultimate month.

Here’s what they say they’re offering…

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The 7th August show features neo-soul collective Solomon’s Garden, Brighton-based Americana band The Hungry Mothers, and the singer-songwriter Miranda Joy.

Solomon’s Garden is a collective of three university friends who came together to make music with cleverly worded and thought-provoking lyrics, and soulful, catchy, head-bopping beats. After spontaneously releasing their first song ‘Sand Dunes’ in January 2016, the group had an incredible reaction from the general public and within a short period of time the song hit its first thousand plays. It was then that the group knew they were on to something special. Two years, one hiatus and three EPs later the band continues to thrive as a dynamic four piece. Between landing a slot at Latitude festival ‘17, being chosen for BBC Introducing’s record of the week, and becoming a favourite with Sofar Sounds London; the band are fast becoming a name to be recognised on the emerging music scene, with a distinct and resonant sound that continues to evolve.


 
“Producers of feelgood Americana residing within the south-east of the UK, The Hungry Mothers immediately began winning fans since their birth last year as a four-piece comprised of warming harmonies, laid-back roots and country blues. Their debut single Tiger Song (released on At The Helm Records) is the confident and mature start for a band who are inviting everyone on their journey.


 
Miranda Joy is a twenty-two-year-old singer-songwriter currently based in London. She performs her meaningfully-written songs with a powerful and soulful voice with moving piano accompaniment. She has performed at many venues, festivals and events, including the Vortex Jazz Club, The Village Underground, Rye International Jazz and Blues festival, the Great Escape Festival and Nasty Women UK. Last year one of her original songs, The Fall, was featured on BBC1’s coverage of the NFL Super Bowl highlights. Currently, she is continuing to perform at venues across the UK and working on releasing her first EP.”


 
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The 14th August show features South African blues artist Sannie Fox, electronic/jazz from Harvey Causon, and trip hop act Gus Harvey.

Sannie Fox is a singer and guitarist who has released two critically acclaimed albums and will release her third studio album ‘My Soul Got Stranger’ this year. With her voracious voice, and her fingers to her electric guitar, Fox sways across an evolving sonic tapestry of desert blues, soul and psychedelic rock sounds. Last decade, Fox formed the blues-rock 3-piece Machineri and released a self-titled album in 2010; in 2015 she released her debut solo album ‘Serpente Masjien’. She has toured South Africa, the UK and Asia and is currently based between the UK and South Africa.


 

“Calm and understated, Bristol’s Harvey Causon is turning heads with his deft take on contemporary R&B and percussive electronica, and with the powerful, brooding vocal that sounds far more world-wearied than his twenty years. After moving to Bristol last year, Harvey quickly released his ‘Introspect’ EP’, a collection of songs that he had been sitting on for a while. Eclectic but polished, the stand out song from the release, ‘Systems’ was given a remix from rising hip hop duo Cabrakid (earning Harvey an appearance at Cabra’s support slot with Loyle Carner after the rapper heard the track).

“In October, Harvey released his single ‘Frisson’ with local Bristol label Leisure Records: ‘Worn You’, his most recent release with production collaborator Gabriel Gifford, was playlisted by Radio 1 as the BBC Introducing Track of the Week and added to the Burberry and Radio 1 Spotify playlists. With nods to other contemporary artists the ambient piano ballad has a nervous energy but its dub tinged rhythm, clever lyrical content and fragile yet soothing vocal set it apart. Having already played sold-out shows supporting Tokio Myers, Puma Blue and Porches as well as Dot to Dot and 2000 Trees festivals, the summer bookings are shaping up to be just as imposing with The Great Escape, The Downs Festival and All Points East all in the pipeline. His impressive live set features both Gabriel Gifford and drummer Ben Toon.


 
Gus Harvey is a London-born soul singer with roots in hip hop and jazz. This August she releases debut EP ‘? History (1 of 4)’ on her own label. Her first single – Witches – was pure hip hop and received radio acclaim from DJs including Lauren Laverne and Nemone on BBC Radio 6 Music, as well as being Clash Music’s Track of the Day. The new EP exhibits four different styles; acoustic soul, jazz-hip hop, trip hop and bi gbeat (from collaborations with Audiobullys’ Tom Dinsdale). ‘? History’ is Harvey’s self-portrait and DIY protest against an industry squashing emerging artists into one genre. As sole mistress of all her ships, Harvey creates her visuals with close friend and London visionary Netti Hurley. Tonight she performs a unique, stripped acoustic soul set especially for Woodburner.”


 
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The 21st August show features transcontinental jazz-folkers Whiskey Moon Face, Persia/Mongolia/Eastern Europe-influenced folk trio Meikhaneh and sessioneer-turned-ancestral-folkie Tommy Ashby.

“The result of a thousand drunken nights, countless dreamy days, and years of musical adventuring, Whiskey Moon Face take you on a voyage into a bohemian underworld which you never knew existed. Born into a puddle of whiskey beneath a stark winter moon and raised by cold winds, schooled in the warming spirits and hungry for more, Whiskey Moon Face manage a natural, graceful sound built from many ports. Always innovating and improvising with stark originality, Louisa Jones’ troupe of underground musicians play with a virtuosity you could never expect. Songs which speak of the unspeakable, with understated humour, captivating storytelling and a transcendent spirituality. ‘Folk Radio UK’ compared them to “having been at one of those wild and joyous youthful parties in somebody else’s parents’ house that you’ll remember for years.”


 
Meïkhâneh’s compositions are fed by imagination, improvisation and traditional music from Europe, Mongolia and Iran. The luminous and captivating voices carry the power of East European singings, the aerial melodies of the great spaces, as well as the depth of the khöömii, Mongolian overtone singing. One can hear traveling cords recalling the steppes of Asia and Andalusia. The chiseled rhythms of percussion draw on the Persian tradition. Meïkhâneh takes us to the heart of a music without borders that caresses the soul. Its name borrowed from Persian poetry means the «House of Intoxication». We let ourselves be carried…


 

Tommy Ashby’s childhood was always going to be musical. Travelling the country playing guitar in his father’s traditional blues band and raised on the Scottish pub singaround culture, his initial musical experiences were immersive and natural. His teens were spent pouring over his parents record collections of American songwriters such as Neil Young, Simon and Garfunkel, Gillian Welch and Dave Rawlings and Jeff Buckley. The eclectic mix of American roots, blues and country, combined with his Scottish folk roots, all seeped into his music.

“After acquiring a PhD focussed on studying and modelling the human perception of sound, Tommy cut his teeth behind the scenes as a session musician for the likes of Nina Nesbitt and Holly Macve, toured the UK and Europe as support act for Rhodes and Tom Speight as well as playing a number of headline sell-out shows in London this year including events curated by Communion, Never Fade and the Southbank Centre. His debut EP, produced by Chris Bond (Ben Howard) was self-released in late November 2016 and entered at No.5 in the iTunes singer-songwriter chart. His new EP, Restless Love, was recorded and mixed with Grammy award winner Sam Okell in his home studio near the wild North Cornwall coast.”


 
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The 28th August show features Moroccan guimbri sensations Gnawa Blues All Stars, Anglo-American guitarist James Riley, and improvisation/loop wizard Michael Sebastian.

“Simo Lagnawi is an ambassador of Gnawa culture in the UK. This charismatic creator is the leader of Gnawa Blues All Stars and has featured on BBC World service, CNN World, BBC 3, Vox Africa, & many more radio shows and magazines around the world. He has performed at a host of festivals including Glastonbury, Secret Garden Party, Latitude and Boom Town. Playing traditional Gnawa music from Morocco, this sacred trance music forms the core of his work with his bands Electric Jalaba, Gnawa Griot, and Gnawa Blues Allstars. Simo continuously pushes new boundaries fusing Gnawa with music from countries such as Gambia, Burkina Faso, Senegal, Guinea, Mali, India, Japan, Venezuela and the Caribbean. Look out for special guest musicians playing with the band!


 
Born of a transatlantic relationship, James Riley grew up in south-east London listening to the folk and soul sound of ‘70s America and wrote his first melody at the age of four. His first guitar, acquired at the age of nine, became the tool for surviving the tumult of a nowhere place, and helped James find somewhere he felt he belonged. In his early twenties, he took off, alone once again, hitchhiking and busking through Europe from Amsterdam to Istanbul, writing songs along the way. Back in the UK, these songs became a band, but eventually James had to shed another skin, and disembarked in Nashville, Tennessee. Here he found his producer and they set about making the album which had travelled with him to his maternal homeland, where it could finally get free.


 
South African-born, Edinburgh-educated, and living in London, Michael Sebastian is a musician and loop-artist who improvises to uplift the capital. Whenever possible, Sebastian is on the streets of London, improvising with a loop-pedal, a mic and a bright pink guitar. He will attest that this has been the most important part of his musical education, and has taught him to speak to people through his instrument. he creates music from a broad range of experience and styles. His affinity for groove and feel allows for conflicting styles to fluidly co-exist, feeling human and natural. His most recent album, ‘Kayanda’ demonstrates him harnessing live, improvised looping onto record. After developing the recording software himself, Sebastian went into a shed in the country for two weeks to improvise an album, and came out with fourteen tracks. The album is written with the sensibilities of modern dance and electronic music, and retains the freedom, rawness and depth of world music and jazz, while still creating melodies that are hard to forget.”


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

  • Solomon’s Garden + The Hungry Mothers + Miranda Joy – Tuesday 7th August 2018, 7.00pm – information here and here
  • Sannie Fox + Harvey Causon + Gus Harvey – Tuesday 14th August 2018, 7.00pm – information here and here
  • Whiskey Moon Face + Meïkhâneh + Tommy Ashby – Tuesday 21st August 2018, 7.00pm – information here and here
  • Gnawa Blues All Stars + James Riley + Michael Sebastian – Tuesday 28th August 2018, 7.00pm – information here and here

 

August 2018 – upcoming London gigs – flexi-clectica at Apple Tree: The Live Lounge Vol II with Rudi Douglas, J. Aria, Awkward Ndure, DJ Sonikku, Martell O’Neill, Daryl Fox-Huxley and DJ Kevin Morosky (2nd August)

31 Jul

Apple Tree: The Live Loung Vol. II, 2nd August 2018Since its launch earlier this year, broad-based London music-and-performance event Apple Tree has set itself a bold framework. Curated by tireless promoter and club personality Mark-Ashley Dupé and by cross-disciplinary designer/film-maker Samuel Douek, its Live Lounge event is dedicated to celebrating LGBTQIA musicians and artists from across the city (that’s lesbian, gay, bisexual, trans, queer, intersex and asexual/allies, for those having trouble keeping up with those ever-burgeoning inclusive acronyms). It’s also happily intersectional in both intent and in entertainment. The convergence of queerness and blackness already seems to be a specialty, offsetting the compressive grinding of racism and the bristling aggression of homophobes by providing a stage for some fiery and assertive performers.

If this is starting to sound too specialised, too academic, or too much like a sexual/political cul-de-sac, I should reign things in a bit. In fact, the backbone of the debut Apple Tree evening back in June (which I only caught up and heard about recently, several months after the event) seems to have been electric/eclectic soul, provided by singer-songwriters Miggy Dela Rosa, Albert Gold and Awkward Ndure. Gay electro-acoustic composer Daniel McBride was also on hand, his work bridging that gap between the capital’s young classical scene, its queer-arts scene and the electronic music continuum which unites (in both work and play) pop, dance culture and high-art experimentalism. Bringing the words was topical poet and fervent discursor Black Ops Poetry; bringing the costumes and personae was queer cabaret sensation Rhys Holis (performer of Rhys’ Pieces and founder of Dalston cabaret night Queefy); and bringing damn near everything was operatic/discursive costumed electro-acoustic performance artist Oberon White (who considers himself “part of an eclectic tradition incorporating shamans, clowns, automata, cyborgs and drag artists”).

In other words, Apple Tree’s shaping up to be an event that’s equally comfortable with party pop and far-out high art concepts, unifying them through a flexible, diverse queer lens. There aren’t that many places where you can see a happy, possibly camp singalong immediately followed by a text-spouting man dressed as a mythical Greek bird-god.

The upcoming second Apple Tree Live Lounge show at the beginning of August is perhaps a tad less adventurous than the debut was, but it’s all part of the ebb and flow, and comes packaged with dinner care of Shoreditch’s Hoi Polloi brasserie and a DJ set from photographer/film director Kevin Morosky. As for the performers, Awkward makes a return from the launch event with her Latin-tinged folk-soul – at least I think it’s her, since some of the publicity suggests that it might be Evan Williams from MTV teen comedy ‘Awkward’ (which in turn makes me feel as if I’m slipping down some rabbit hole of an involved in-joke). Assuming that I do have the right Awkward, here’s a clip of her performing with guitarist Sim Chappelle a couple of years ago. I’m on more solid ground with the billing for accomplished soul’n’stage singer Martell O’Neil (whose past and current work includes the travelling Motown revue ‘How Sweet It Is’); and for Daryl Fox-Huxley, the current/former guitarist for house-tinged indie pop act The Hook, now concentrating on solo work with a folk-pop base, “his own East London twist and lyrics to match” and probably at least a few other hints and approaches brought in from his abiding love for reggae, techno and techhouse.



 
Headliner Rudi Douglas is a onetime ‘X Factor’ contestant (he was in the 2006 series when he was nineteen) but don’t hold that against him, or allow it to constrain him. Instead, take a look at and have a listen to this – ‘He Won’t Swim In My Ocean’, a four-year-old but evergreen song which proves that Rudi doesn’t need the Cowell circus to help him make grand heartbursting pop, with a gay theme but a universal touch.


 
For this session, the more experimental kudos is provided by DJ Sonikku (who mashes ‘80s house into chiptune with the aid of the purloined and repurposed guts of Sega Mega Drive consoles) and even more so by Jacob Aria – a.k.a non-binary soundscaper J. Aria. Interested in “tension, desolation, morbidity and eroticism”, J. creates intricate, absorbing musical washes, beats and tapestries via sampler, turntable and voice in which hauntology, psychedelic ambience and hints of house engage in a spectral, full-bodied mysterious dance: a ghostly neighbourhood of percolating histories for “a world of heterotopic ‘otherness’, pushing senses of horror and psychosis within queerdom and the incidental beauty of the fractured”.

https://soundcloud.com/j_aria/pigs
 
Apple Tree Live presents:
Apple Tree – The Live Lounge – Vol. 2: Rudi Douglas + Jacob Aria + Awkward Ndure + DJ Sonikku + Martell O’Neill + Daryl Fox-Huxley + DJ Kevin Morosky
Miranda @ Ace Hotel London Shoreditch, 100 Shoreditch High Street, Shoreditch, London, E1 6JQ, England
Thursday 2nd August 2018, 6.00pm
– information here and here
 

August 2018 – upcoming London folk gigs – Nest Collective’s Campfire Club shows – Kaia Kater and John McGrath (3rd August); Cath & Phil Tyler and Marisa Jack & Davy (3rd August); Get Cape. Wear Cape. Fly. and Felix MB (9th August); Fellow Pynins and Jack & The Arrows (10th August)

28 Jul

More in the ongoing string of unamplified outdoor folk gigs in London parks and gardens, courtesy of Nest Collective’s Campfire Club.

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There are two simultaneous concerts on 3rd August, the first of which features “African-Canadian roots phenom” Kaia Kater and experimental folk guitarist John McGrath.

Kaia Kater couldn’t have come on the scene at a better time. As a new generation takes the reins, American roots music is needed more than ever to remind us of the troubled pathways of our own history. Born of African-Caribbean descent in Québec, Kaia Kater grew up between two worlds: one her family’s deep ties to Canadian folk music in her Toronto home; the other the years she spent learning and studying Appalachian music in West Virginia. Her acclaimed debut album ‘Sorrow Bound’ (May 2015) touched on this divide, but her sophomore album ‘Nine Pin’ (May 2016) delved even further, and casting an unflinching eye at the realities faced by people of colour in North America every day. Her songs on Nine Pin are fueled by her rich low tenor vocals, jazz-influenced instrumentation, and beautifully understated banjo. They earned her a Canadian Folk Music Award in 2016, and they’ve got as much in common with Kendrick Lamar right now as they do with Pete Seeger.

“As a concept album, ‘Nine Pin’ weaves between hard-hitting songs that touch on modern issues like the Black Lives Matter movement (Rising Down, Paradise Fell) and more personal narratives speaking to life and love in the digital age (Saint Elizabeth). And while these larger stories are deftly crafted, this is really an album of moments. Kater’s a cappella voice speaking to the loneliness of a city in Harlem’s Little Blackbird while solo dance steps echo in the background, the muted hesitancy of Caleb Hamilton’s trumpet breaking the trance of Little Pink, the smoke of electric guitar that cuts through Saint Elizabeth, the wave-like ebb and flow of piano behind the plaintive love poem Viper’s Nest… All of these moments point to an artist wise beyond her years.


 
John McGrath is an Irish guitarist, composer and author based in London. His music explores the boundaries of the ancient and modern as traditional elements meet improvisation and experimental tendencies. Rich harmonics, intricate finger-picking, static drones and glitches combine to glorious effect.”


 
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The second of the two 3rd August concerts features some neo-traditionalist groupings in the form of Cath & Phil Tyler and Marisa Jack & Davy.

Cath & Phil Tyler play Anglo-American folk music using guitar, banjo, voice and fiddle. Cath was a member of the band Cordelia’s Dad in the 1990s when she lived in Massachusetts, USA. Phil (from Newcastle-upon-Tyne) has played in various folk, rock and ceilidh bands for many years. Coming together musically through a shared love of traditional narrative song, full voiced sacred harp singing and sparse mountain banjo, they have performed on stages as diverse as the Royal Opera House in London and a dank tower in the old city walls of Newcastle. Taking a more minimal approach to their material than some, they have been described as “one of the most compelling musical partnerships on the scene”, their music being “a highly concentrated and intimate musical experience that penetrates to the very rawest essence of folk tradition.”


 
“Bedford-based folk trio Marisa Jack & Davy formed in 2015 in order to play at the DIY shows and house concerts they were organising. A floor spot for Stick in the Wheel’s folk night on The Golden Hinde encouraged them to further explore British folk music and they were soon seduced by the music of Shirley Collins, The Young Tradition and Nic Jones. Their unconventional interpretation of the tradition is shaped by the harmonic blend of their three unique voices, acoustic guitar styles and their music backgrounds. Marisa Straccia is an illustrator and plaintive finger picking guitarist, Davy Willis a singer and artist from Tonbridge via L.A. and Jack Sharp is best known as the singer for psych rock band Wolf People. They also run a nomadic Bedford acoustic folk night called Mill Race Folk in various locations including an 18th century watermill, a museum, a community boat and a 15th century timber-framed market hall.”


 
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The 9th August concert features acousti-pop star Get Cape. Wear Cape. Fly. and rising folk-pop sensation Felix MB.

“A veteran at thirty-two, Sam Duckworth has been releasing music under the moniker Get Cape. Wear Cape. Fly. for 12 years. His catalogue includes collaborations ranging from Baba Maal, to Shy Fx, Kate Nash to Jehst. It includes four top 40 singles, tow top 40 albums, a German Club Number 1 and a gold-certified plaque for the seminal ‘Chronicles Of A Bohemian Teenager’.

Having spent three recent years working under his own name, Duckworth returned to Get Cape. Wear Cape. Fly. work in January 2018 with a new album, ‘Young Adult’, which includes the Shy Fx collaboration “always.” Mastered by T Power, this is Duckworth back as a folk artist, but still keeping parts of the electronic experimentation of his “solo” work. Sam debuted a new band at his recent Village Underground show, hearalded by the Independent as a “triumphant return.”


 
“Growing up in Derbyshire amongst actors and musicians in his parents’ touring theatre company, Felix M-B began gigging in Derby, Nottingham and then across the UK; playing shows with the likes of Lorkin O’Reilly, Alasdair Roberts, Lucy Ward, Josh Wheatley, Daudi Matsiko, Joel Baker, The Slow Show, Monica Heldal, and Georgie. His latest EP ‘The Pipes’ (released on 10th March at a sold-out concert in London) saw Felix co-producing, recording the five-track record with Ben Walker in Brighton in December 2017. It is a particularly raw and intimate record, featuring elements of self-recording and the use of reel-to-reel tape.”

(I’ve had plenty to say about Felix previously…)


 
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The 10th August gig features Oregonian folk duoFellow Pynins and Oxford harmony-folk trio Jack & The Arrows.

Fellow Pynins is a tender folk duo birthed out of years of traveling, farming, child-rearing, and touring as part of six-piece folk orchestra Patchy Sanders. Their songs tell of stories old, dreams of death, frolicking through pastures of sheep, and entering the chasms of the human experience. Their repertoire consists of original songs and traditional European ballads collected during their travels. Wielding clawhammer banjo, bouzouki, mandolin and guitar, Ian Van Ornum and Dani Aubert pour their hearts into the sounds of their whimsically-woven folk tales. These two will lift you up with their ridiculous stories and then transcend you into their emotive songs.

https://vimeo.com/210281565
 
Jack & The Arrows are a London-and-Oxford based trio with dashes of folk, Americana and blues and strong close-harmonies. Jack Durtnall, Joe Hasell and Edmund Jones met through a capella singing and the band crystallised around their shared musical passions and longstanding friendships. ‘The Oxford Student’ dubbed them “an enthralling blend of impressive vocal harmonies complimented with rich instrumentation”…”

 
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Full dates:

  • Campfire Club: Kaia Kater + John McGrath – Spitalfields City Farm, Buxton Street, Shoreditch, London, E1 5AR, England, Friday 3rd August 2018, 7.00pm – information here and here
  • Campfire Club: Cath & Phil Tyler + Marisa Jack & Davy – (secret location t.b.c.), London, Friday 3rd August 2018, 7.00pm – information here and here
  • Campfire Club: Get Cape Wear Cape Fly (solo unplugged) + Felix M-B – The Calthorpe Project, 258-274 Gray’s Inn Road, St Pancras, London, WC1X 8LH, England, Thursday 9th August 2018, 7.00pm – information here and here
  • Campfire Club: Fellow Pynins + Jack & The Arrows – Oasis Nature Garden, Larkhall Lane, Stockwell, London, SW4 6RJ, England, Friday 10th August 2018, 7.00pm – information here and here

More August Campfire Club concerts shortly….
 

July 2018 – upcoming gigs – V Ä L V Ē, Stef Ketteringham and Lily Buchanan (of The Graphites) in Margate (29th July)

24 Jul

V A L V E + Stef Kettering + Lily of The Graphites, 29th July 2018Details on a show this coming Sunday in one of the smallest, most enchanting venues in Kent (Margate’s Tom Thumb Theatre), featuring an mostly-female bill with three different projects (all adventurous; all, in their way, visionary).

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I feel as if I’ve covered V Ä L V E what seems like innumerable times this year. Reedswoman/composer Chlöe Herington’s synaesthesia-slanted experimental music project has spent a year or so evolving into a live collective trio of herself, harpist Elen Evans and bass/synth player Emma Sullivan. Previously known for her bassoon, clarinet and saxophone contributions to Chrome Hoof and Knifeworld (and more recently to The Lindsay Cooper Songbook and Hirvikolari), Chlöe’s solo work has involved shed-tinkering as she builds unlikely instruments from scratch and scrap; and the pulling in of compositional ideas from medical charts, found patterns and (literal) rubbish.

On record, the results have percolated around the realms of electric art-rock experimentalism (post-Zappa, post-Henry Cow), parping chamber wind music intimacy, playfully baffling bouts of improv and bewildering schematics. Live, V Ä L V E has mutated further, drawn on by Chloe’s interest in finding out how to trigger her audience’s minds with an evolving toolkit of sensory input, and by the different dynamic of three women involved in discovery together (happy bouts of lateral thinking, plus moments when they combine in obliquely touching bouts of harmonizing song). It’s a winning combination that’s taken the band all the way to airplay on BBC Radio 3’s ‘Late Junction’ – care of ‘The Quietus’s John Doran – and to the Barn stage at the Supernormal festival.



 
Formerly with abstract noise-blues trio Shield Your Eyes, guitarist/bass-drum booter/occasional vocalist Stef Ketteringham now works alone. His improvised solo music is a guttering, chattering, restlessly emotive take on exploded electro-acoustic blues, integral to which is his brawling, brutal and fearless guitar technique.

Elastic and vocal, with a gutting-knife timbre, its passing similarities to the pitch-bend avant-howls and tremolo-purrs of Henry Kaiser and David Torn is probably pure coincidence. Stef’s wildly gestural guitar-playing sounds like an instinctive discovery: more punk than professorial, bursting from his gut via his heart to tell its shattered, hollered, mostly wordless stories and personal bulletins without the constraint of manners or moderation. For all that, it’s still got the skeleton of blues rules – the existential moan, the bent pitches and percussive protest that demand attention and serve notice of presence.


 
Guitar in hand, Scottish singer-songwriter Lily Buchanan usually fronts and voices interesting south London pop-punkers The Graphites (who in turn were formerly her solo project The Graphite Set). The Graphites’ lilting jig rhythms, their echoes of girl groups and Lily’s subtly unorthodox song-structures (recalling both Chrissie Hynde and Nico, but with an understated elliptical focus that’s all Lily’s own) put them several cuts above the competition.

This is hardly surprising: Lily’s work springs out of both folk music and a life spent painting. But while many art-school music spinoffs are happy to lose themselves in arrogant vagueness, vacuity and sonic scurf, Lily’s half-spoken songs make much of their clarity of line; their deceptive ability to digress and orbit while never truly losing sight of the core matter, casting new light on it with each pass.

All by herself this evening, Lily will be performing something new – “a series of folk songs inspired by her recent intrigue into collecting sea fauna.” She’s being billed here as “Lily Of The Graphites”. Such a shame that’s not the actual project name. There’s not enough courtly allotropic geology in the world.

Meanwhile, here are a couple of Graphites songs…



 
NFA presents:
V Ä L V Ē + Stef Ketteringham + Lily of The Graphites
Tom Thumb Theatre, 2 Eastern Esplanade, Cliftonville, Margate, Kent, CT9 2LB, England
Sunday 29th July 2018, 7:00 pm
– information here, here and here
 

July 2018 – upcoming London gigs – Léscines, Oscar Mic, Crooked Weather and Rivers Johansson & The Deemed Unrighteous at Paper Dress Vintage Takeover (26th July); Alexia Chambi, Charlie Draper, Jared Rood, Johnny Crooks, Tom Bright and William. at BOX Live (27th July)

22 Jul

A couple more London gigs in small places…

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Paper Dress Vintage Takeover: Léscines + Oscar Mic + Crooked Weather + Rivers Johansson & The Deemed Unrighteous, 26th July 2018

A distorted rootsy evening, first, at Paper Dress in east London. Léscines have been stirring up and churning out mongrel reggae-rock, cartoon Americana and scrawny blues licks for about five years now, throwing in a touch of psychobilly noir and webbed folk. Jay Fraser’s joyously unhinged songwriting pulls in a palette of people and extra instrumentation from banjo to brass, Wurlitzer organ to djembe, and songs about wolves, crows, border country, assorted dooms. If Ted Hughes and Nick Cave had run away to be cowboys, shared a bottle of toxic mescal together and then co-written a stark children’s book a couple of days later, it might have ended up a little like this. With a new album in the can and expected soon, they’re headlining with gusto.


 
Expansive rock-tinged folk group Crooked Weather hail from east Yorkshire. Their multi-instrumentalism, and their willingness to take a song idea for an introspective yet expansive run, has seen them compared to The Incredible String Band; but perhaps that’s a bit of a stretch in the wrong direction. For better or for worse, Crooked Weather conspicuously lack several of the ISB’s more outrageous qualities, both good and bad (the saucer-eyed eclectic musical grabbing, the eccentric psychedelic perspective, the baffling sectional song-mozaics… the poisonous family antagonism).

Instead, they’re a soberer breed of folk mystics – content not to burn out their inspirations, and to be diverse while being careful with their craft. It’s difficult to imagine them vanishing down the Scientology manhole, or losing shedloads on money on theatre dance projects. Searchers they may be, but they keep their vision handy and controlled; like a lens tucked away into a pocket, always available to focus in on a subject.Though they’re prepared to pursue a history or a batch of intimations to the horizon, Crooked Weather are less inclined to drop over the edge into another country.


 
Crooked Weather’s fellow east Yorkshire band, “deathblues collective” Rivers Johansson & The Deemed Unrighteous (at one time “compiled of a villain, a heathen, and a velvet doll” and apparently still “God-fearin’ nectophiles”), are coming down from Hull, bringing their gutter slide, buzzsaw punk bass and preacher warnings of imminent doom. Also racing into place is Seamus Hayes, a.k.a Oscar Mic dubbed “the freakish love-child of The Beastie Boys and Little Richard, birthed at a grunge orgy” and bringing assorted busker-hip-hop ideas to the stage with his verbal flow, his cartoon-spattered guitar, his pedal-board and his beatboxing.


https://www.youtube.com/channel/UCtNU4ZhhsiunEN711FHY2ow

https://soundcloud.com/oscarmicmusic/noise
 
Roundtable Collective presents:
Paper Dress Vintage Takeover: Léscines + Oscar Mic + Crooked Weather + Rivers Johansson & The Deemed Unrighteous
Paper Dress Vintage Bar & Boutique, 352a Mare Street, Hackney, London, E8 1HR, England
Thursday 26th July 2018, 7.45pm
– information here and here

* * * * * * * *

BOX Live: Alexia Chambi + Charlie Draper + Jared Rood + Johnny Crooks + Tom Bright + William., 27th July 2018About twenty minutes walk from ‘Misfit City’, Crouch End-based recorders and artist developers BOX Recording Studios are coaxing their clients out into the nearby, freshly-refurbished pub for performances this coming Friday.

London-based Danish-Cypriot singer-songwriter Alexia Chambi is just twenty years old, but has already fitted in six years of round-the-world travel, This in turn inspires her footloose songs, with their tussles between fluid freedom and rooting oneself, and her dark-toned jazz guitar. Following previous collaborations with Ralph Taylor and Hotel Avra, Alexia will be releasing her debut solo EP, ‘Bolivia’ in the autumn. Juice You (below) may well be on it. Meanwhile, Tommy Hill (a.k.a. William.) floats in the space between singer-songwriter guitar rock and contemporary R&B, his beat-slink punctuated by bursts of flammable fretboard. He, too, has an EP due for release later this year.



 

Two members of London urban rockers Tom Bright & The Dynamite – lead singer/songwriter Tom Bright and lead guitarist Jared Rood are also playing. It’s unclear whether they’re going to be working separately or whether this is going to be a two-piece Dynamite: meanwhile here’s the parent band playing a couple of their pieces, demonstrating their upfront protest songs and their growling skimming of the edge of folk punk. A grain of Rory McLeod, a dash of Richard Thompson or Tom Robinson; perhaps a twist of Jason Feddy.



 
A key member of Bruce Wooley and Andy Visser’s “modular space-age pop ensemble” Radio Science Orchestra, Charlie Draper is a British specialist in the gestures and techniques needed to control the antique electronic whoops of theremin and ondes Martenot. He’s played with just about every theremin/ondes-requiring orchestra and ensemble in the country. Come and hear him extract various classical and pop tones from each of the instruments. German-based beatmaker Johnny Crooks is also going to be playing a separate set of his own aural confections.


https://soundcloud.com/charliedrapertheremin/dissonance-quartet-w-a-mozart

https://soundcloud.com/charliedrapertheremin/why-fumth-in-sight
 
BOX Recording Studios presents
BOX Live: Alexia Chambi + Charlie Draper + Jared Rood + Johnny Crooks + Tom Bright + William.
The Harringay Arms, 153 Crouch Hill, Crouch End, London, N8 9QH, England,
Friday 27th July 2018, 7.30pm
– information here and here
 

July 2018 – some post-Doran thoughts on smaller music festivals; and next week’s EppyFest in Cheltenham (27th & 28th July)

21 Jul

John Doran of ‘The Quietus’ wrote a pithy, on-the-nose article a while back about the ongoing corruption of big music festivals, lambasting them as “unsatisfying money hoovers designed to deplete your bank account for minimal return… a heavily branded and patronisingly over-mediated experience – with little in the way of the rough round the edges, unexpected, challenging or genuinely exciting experience that makes being a music fan worthwhile; just a massive spoonfed dose of the ubiquitous, the hyped and the monolithically popular.”

As a follow-up punch, John slashed a hole in the backdrop in order to expose the ethics behind the festival business: how, even as you’re frolicking in a ludicrously overpriced facsimile of countercultural free-spiritedness, your ticket money wriggles its way into the war chests and “shockingly regressive campaigns” of suspect billionaires intent on crushing any genuine counterculture that’s little more than a cheery mask on a product, funding a host of life-killing causes including anti-LGBTQ, anti-union and anti-immigration initiatives. Unsurprisingly, he concluded “personally I’d sooner go to a smaller, more grass-roots independent festival and have a clutch of genuinely odd, uplifting, joyous and memorable experiences on a smaller, freer scale.” He lists plenty of smaller, more conscientious festivals which might better suit your ethics or your conscience – Supersonic, End of the Road, many more. Modestly, he didn’t mention ‘The Quietus’s own efforts .

I might lack John’s edge, but I’ll still say amen to all that. There’s also always the option of going further off the map, seeking out festivals beyond the tents’n’burgers belch. I’ve covered some such here… Marchlands’ annual musical/theatrical celebration of reaching across borders and understanding history; the composer-driven London New Wind Festival; New York’s wonderfully brainy and diverse Ecstatic Music Festival. On a more domestic level, there’s next month’s Whole World Window 2 in Preston, raising urgent money for psychedelic hero Tim Smith’s health care while also functioning as a focussing lens for assorted rock and pop acts existing in a rowdy, complex continuum outside ot the mainstream. The staunchest supportive and communal ethics, unsurprisingly, still hover around punk events, those pass-around-a-donation-bucket battles for big values in small places (I might often be bored by the music, but I profoundly admire the commitment and the generosity of spirit).

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As regards the coming week, Gloucestershire’s EppyFest – just a week away now – is the epitome of a pocket festival. Now heading in its seventh year, it also pretty much defines “boutique”. Its amiably knitted-together selections of psychedelic rock and pop, folk, electric and acoustic chamber music and accomplished instrumentalist is undeniably cosy, but in the right way – unashamed and unaggressive, slightly specialised while toting an inclusive audience ethic. There’s a rosy English glow to it, alright, but not the kind which shoulders out differences while indulging a truculent and moneyed bucolic fantasy. The Eppyfest England is one which is comfortable in itself, but not too smug to look outwards: mostly white, but not bleached and angry. In the best sense and intimation, it’s a liberal parish.

Gong, 2018

The Friday lineup, starting in the evening – is the briefer concert, with just two sets of performers. The headliners are the current and ongoing version of cosmic-rock libertine troupe Gong, still romping along after the death of founding holy prankster Daevid Allen. This isn’t the first time there’s been a post-Allen Gong: percussionist Pierre Moerlen floated a de-hippified mid’-70s jazz-rock version around Europe which had little to do with Allen’s mischievous space rock parables, while the band’s original feminine-mystiquer Gilli Smyth led a sporadic Mother Gong version at points in the ’80s. This, however, is the first Gong that’s been a direct continuation of Allen’s work: thumbing its collective nose at his departure from music and from life, and mourning him by celebrating his ethos.

This Gong iteration is helmed by delightfully wayward, larger-than-life Anglo-Persian prodigy (and ‘Misfit City’ favourite) Kavus Torabi, who established himself as one of the premier, most open-eared British psychedelic talents while with The Monsoon Bassoon and Cardiacs, has continued it with Knifeworld and Guapo, and who has in effect been rehearsing for Gong leadership for the whole of his musical life. Expect the same applecart-overturning riffs, the mingled brass and electric strings, the space-dust party atmospheres. The old firm’s still a family.



 
In support, Liverpudlian guitarist Neil Campbell is arguably one of the most gifted musicians still unknown to the general public. An omnivorous stylistic polymath, he’s mastered contemporary classical, progressive rock, jazz and assorted other styles to the point in which he can pass seamlessly between and through them; and he comes trailing awestruck references from guitar scholars and crossover music master musicians alike. Working off nylon- and steel-strung acoustic guitars (with a chain of echoes, loop pedals and other processors) he creates detailed, fiery electro-acoustic tapestries when playing solo: given the opportunity, he’ll also roll out orchestral concerti, small ensemble pieces, vital building-block contributions to the larger works of other, and site-specific concerts in venues of all kinds.



 
North Sea Radio Orchestra headline Saturday’s seven hours of music – as ever, they draw together Anglo-pastoral classical, a stolen kiss or two of folk melody, crossover chamber music and English art-rock. (They’ve covered Robert Wyatt, as well as old Christmas carols and Vernon Elliot). Sixteen years in, they’re a little smaller and tighter than they used to be – the choir is long gone and the ensemble streamlined, with most of the Victorian poetry settings consigned back to the bookshelf in favour of more personal lyrics of chalkhills and children, lost loved ones and the make-do-and-mend of life.

North Sea Radio Orchestra, 2nd June 2018

They’re still a quietly enchanting proposition, gently webbed together by a deceptive fragility, a village-singer tone and Craig Fortnam’s elegant compositions, and they grow ever more comfortable in themselves as the years pass. From German kosmische, they bring in that cosmic powerplant throb: from Frank Zappa and Canterbury, the somersaults of harmony and tinkle of xylophone (with the lyrical coarseness and silly whimsy gently steered out of the picture); from English chamber music, the gentle green ache. All soft borders, all subtle mind.



 
Second down the bill is Doris Brendel. The Vienna-born multi-instrumentalist daughter of concert-piano legend Alfred Brendel, she originally made her mark in ‘90s neoprog and underground AOR providing vocals, guitar, sax and flageolet to The Violet Hour: when that didn’t last, she applied herself to whatever was going while cultivating her own records in her own time. She’s refined her earlier approach, but what you get now is still pretty much what you got then – a singer who can go from a dream-folk murmur to a gutsy rhythm-and-blues blast, who puts on an assured show of muscular rock and costumed pizazz. An old-school rock chick, but one who’s taken control and honed it to excellence. There might be differences in tone, but latter-day ladyrockers like She Makes War and Ciara Clifford might look to her and immediately see a spiritual older sister.



 
Via a shifting gambler’s hand of interrelated projects – and a proven ability to survive practical and artistic disruption – the persistently thoughtful Oxford prog-rock collective Sanguine Hum have explored music for nearly twenty years now. In many respects, they’re a back-to-first-principles prog-initiative. Rather than constructing vast vanity pieces (as if to impress their aspirational Mellotronic forebears), the Hum are based very much in a lush’n’lambent ’70s pop mode – as least as much Neil Young, Steely Dan or David Bowie as Genesis, Zappa or Canterbury – which they can then wilfully and logically expand to bigger and broader things (engulfing and building upon later influences such as Boards Of Canada along the way).

For this acoustic-slanted EppyFest slot, lead singer/guitarist Joff Winks and keyboard player Matt Baber (the latter fresh from last month’s release of his “ambient prog minimalism” solo album ‘Suite For Piano and Electronics‘) will play as a duo; exploring at least one track from each of the project’s scattered albums and personae, with new material as a bonus.



 
Electric chamber group Firefly Burning were to have held the middle of the bill but had to pull out. To replace them, in comes a harder noise in the shape of the explosive wit, ominous chording and multi-layered songwriting of London’s Thumpermonkey. I described them a while back as “the missing link between Peter Hammill and Neal Stephenson”: a tag which they really seemed to like, so let’s run with it. A motley crew of brainiacs, meticulators and fast friends with their heads in lofty places and their toes sunk in dirty post-metal, they have the kind of esoteric preoccupations (and the wherewithal to communicate them) which encourage interest rather than eye-rolling and detachment. Unshamedly weird-fictional, the songs have covered Nigerian email fraud, Aztec hauntings, bizarre medical conditions and Victorian explorers amongst many other topics, all via a rich filter of literary and cinematic techniques and dark, sophisticated humour.

As for the music, Thumpermonkey play within that increasingly rare strata of hard rock in which there’s room to breathe, think, listen and explore beauty as well as nail down a predatory riff. Michael Woodman sings like an athletic college don moonlighting as an operatic priest, while his cohorts Ben, Sam and Rael construct a moving fortress, observatory and interdimensional vessel for him to stand on. They’re the kind of band that either make you proud to be curious, or will magnetize your brain into a state of curiosity. In effect, they’re the ‘Infinite Monkey Cage’ of British post-prog and we’re bloody lucky to have them.



 
Bristolian progressive-grunge rockers Lord Of Worms cite Meshuggah, Soundgarden, Tool and Ufomammut as influences, and there’s certainly some roiling springy punktone bass and restless post-hardcore rhythmic shifts in the mix. Their folk lilts and Zoie Green’s burnished-silver vocals simultaneously tie them into a tradition of female-fronted folk-rock acts like Renaissance and The Morrigan. Judge for yourselves…



 
Like Sanguine Hum, Dutch/American crossover prog poppers Fractal Mirror will be playing under reduced circumstances as regards personnel, but probably not in terms of the music. While the band can rely on the assistance of Echolyn polymath Brett Kull, among others, in the studio, this live date will just feature their core duo of singer/guitarist/keyboard and recorder player Leo Koperdraat and lyric-writing drummer Frank Urbaniak. Expect intimate expansions on their recipe of dove-soft Mellotronics and pastoral post-Porcupine Tree moods, with their hidden freight of darker, reflective lyrics.



 
Sonic Bond Promotions & The Epileptic Gibbon Podcast present:
EppyFest 7: North Sea Radio Orchestra + Gong + Neil Campbell + Sanguine Hum + Doris Brendel + Thumpermonkey + Lord Of Worms + Fractal Mirror
St Margaret’s Hall & Annex, Coniston Road, Hatherley, Cheltenham, Gloucestershire, GL51 3NU, England
Friday 27th July 2018, 7.00pm
– information here and here
Saturday 28th July 2018, 1.00pm – information here and here

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It would be stupid of me to represent EppyFest as some kind of absolute template for festivals. It’s its own little Gloucestershire gem, it has its context and its taste-palette, and while it’s a fine refresher there’s far more to contemporary music – to a nourishing cultural diet – than even a thoughtful slipped-weekend like this one can provide.

What I am advocating is a spreading of its care-filled cottage ethos; its preference for building a relatively equal, mutually supportive community of performers and audients in a warm and humble space, rather than driving a rush of drainable, soakable human cattle through the money-mill. Events like this are worth the seeking-out, worth the effort that goes into their creation. Go find some. Go make some. Come tell me about them.
 

July/August 2018 – upcoming London opera – the rest of Grimeborn 2018 including a baroque ‘Xerse’, a reconfigured ‘Membra Jesu Nostri’, a reclaimed ‘Carmen The Gypsy’, repertoire hits, kids’ shows and jazz-dance (24th July to 26th August)

20 Jul

Grimeborn 2018, 24th July to 26th August 2018

While my previous post on London alt.opera festival Grimeborn 2018 dealt with many of its obvious heavy-hitters (including the revivals of Turnage’s ‘Greek’, Britten’s ‘Rape of Lucretia’ and Ethel Smyth’s ‘The Boatswain’s Mate’, plus its premieres of Keith Burstein’s ‘The Prometheus Revolution’ and a slew of BAME/female-originated one-acters), there’s plenty more to the season. First of all, let’s take a quick look at the reconfigurations.

Most boldly, Opera Louise’s ‘Teenage Bodies’ takes on ‘Membra Jesu Nostri’ – Baroque composer Dietrich Buxtehude’s seven-song five-voice cantata on the body of Christ. In a corkscrew dive from the sacred to the secular, director/lyricist Julien Chavaz, choreographer Oliver Dähler and music director Jérôme Kuhn rework it as a meditation on puberty and development, mixing live music, physical movement and new text. I’m assuming that the original Biblical listing of “feet, knees, hands, sides, breast, heart, and face” have either been replaced or restored to the carnal. Equally, perhaps they’ve turned into a politicized view of the relationship and power dynamics between young and old bodies. The publicity photos and videos show what seems to be a Theatre of Cruelty classroom with an elderly man and several younger figures cavorting around each other. It could signify anything. At any rate, it’s one of the best-equipped operas in the festival, complete with small orchestra.

 
For ‘A Fantastic Bohemian: The Tales of Hoffman Revisited’, Opera MIO & Co-Productions take Jacques Offenbach’s rollicking Victorian fantasy opera ‘The Tales of Hoffman’ and turn it into an Anglo-Spanish immersive theatre piece spread across three spaces, kitting out the Arcola as Mexico City during the 1940s (during its Golden Cinema Age). The original score will be interspersed with bursts of Mexican danzón, all of the music being played by a four-piece band of piano, cello, clarinet, and violin.

Grimeborn 2018: 'Carmen The Gypsy' - 22nd to 25th August 2018In turn, Romani polymath and Romany Theatre Company head Dan Allum has rewritten Bizet’s ‘Carmen’ as ‘Carmen The Gypsy’, setting it within the contemporary British traveller community and highlighting both anti-Romani racism (“when the outside world thinks you’re scum, can you ever be free?”) and Carmen’s own struggle to liberate herself from “a brutal husband and the shackles of tradition.” This reworking features original Gypsy songs played live on guitar, drum, violin and accordion, plus staged cage fighting (presumably replacing Bizet’s bullfighting) and, as with many RTC productions, a combined English and Romani libretto.

Baroque tradition meets contemporary minimalist theatre in Ensemble OrQuesta’s straighter revival of Francesco Cavalli’s ‘Xerse’, directed by Marcio da Silva. The company triumphed last year with their production of Armide, and return with this dramatic comedy of “jealousy and unfulfilled love” set in the royal court of Persia (with a company of eleven singers, baroque violins, cello, lute and harpsichord).

Milly Forrest

Milly Forrest

For repertoire shows, The Opera Box’s compilation piece ‘Recitals’ (performed by soprano Milly Forrest and pianist Alastair Chilvers) features “new spins” on pieces by Richard Strauss, Hugo Wolf, Vincenzo Bellini, Franz Liszt, Francis Poulenc, and Joseph Haydn. In ‘Onegin & Tatiana’, Opera Company director Guido Martin-Brandis presents “an award-winning cast explor(ing) the dramas and psychologies of Alexander Pushkin’s immortal characters”. Centred on the character of Tatiana Onegin (and focussing on female desire, fantasy and personal upheavale) it features music from Tchaikovsky’s Eugene Onegin, plus additional songs by Strauss, Fauré, Massenet, Barber and Schubert.

The remaining pieces might be heading away from the opera template, but seem to be aimed at pulling in both children and the classical-averse, providing entry points to musical drama. Children are catered for via a return appearance by Melanie Gall, with her acclaimed anthropomorphic kids theatre shows about musical animals winning through against the odds (‘Opera Mouse’ quotes Puccini and Mozart, while the scat-happy ‘Jazz Cat’ is built around the music of Harry Woods, Louis Armstrong and Robert Johnson.)

Melanie Gall: 'Opera Mouse'

A more adult-orientated jazz evening arrives with Nancy Hitzig and Cat Foley’s ‘Swing Sister Swing’ “a cabaret-inspired show celebrating female choreographers, kick ass musicians and pieces created and inspired by jazz-greats” (a trinity of Ella Fitzgerald, Nina Simone and Billie Holiday). It’ll be performed by Nancy and Cat themselves with fellow dancers Christine “Tine Machine” Gatchalian, Katie Stotter, Benjamin Cook and Stephen Atemie and European champion chorus-line The Dixie Dinahs, and with recorded and live music by Katie. “Through lindy hop, swing dance, vintage burlesque, song and comedy, performers will explore what it means to be a in a partnership and alone.”


 
All performances at Arcola Theatre, 24 Ashwin Street, Dalston, London, E8 2DJ, England.

Dates:

  • The Opera Box presents ‘Recitals’ – Thursday 26th July 2018, 7.30pm – information here and here
  • Nancy Hitzig & Cat Foley present ‘Swing Sister Swing’ – Sunday 29th July 2018, 4.00pm & 8.00pm – information here and here
  • Melanie Gall presents ‘Opera Mouse’ – Wednesday 1st August 2018, 11.00am – information here and here
  • Melanie Gall presents ‘Jazz Cat’, Wednesday 1st August 2018, 2.00pm – information here and here
  • Opera Louise presents ‘Teenage Bodies’ – Thursday 2nd August 2018, 7.30pm – information here and here
  • Opera MIO & Co-Productions present ‘A Fantastic Bohemian: The Tales of Hoffman Revisited’ – Saturday 4th & Saturday 11th August 2018, 2.30pm / Sunday 5th & Sunday 12th August 2018, 4.00pm – information here and here
  • Guido Martin-Brandis presents ‘Onegin & Tatiana’ – Monday 13th & Tuesday 14th August 2018, 8.00pm – information here and here
  • Romany Theatre Company presents ‘Carmen the Gypsy’ – Wednesday 22nd to Saturday 25 August 2018, 8.00pm / Saturday 25 August 2018, 3.00pm – information here and here
  • Ensemble OrQuesta presents ‘Xerse’ – Friday 24th to Sunday 26th August 2018, 7.30pm – information here and here

 

July 2018 – upcoming London folk and world gigs – Nest Collective’s Campfire Club shows – Abatwa (the pygmy) plus Pete Yelding (26th July); The Young’uns (27th July)

19 Jul

Here’s details on the last two Nest Collective’s Campfire Club shows for July, continuing a season which has already seen a sheaf of singer-songwriters, Western folk traditionalist, griot musicians, choirs, chamber jazz bands, storytellers and folk-rappers temporarily take over London’s more obscure green spaces and playgrounds for various unamplified concert evenings, giving us doses of round-the-globe musicianship, occasional sedition and general acoustic glory.

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Easy bit first…

The month’s sixth and final concert, on 27th July, features Teesside folk trio The Young’uns, who “have cemented their reputation at the forefront of the English folk scene in the last few years. As Colin Irwin put it, in ‘The Guardian’, “the harmonies are glorious, the wit is waspish. The songs are powerful, the banter is relentless and the audience is happy. What’s not to like?” Having taken their uplifting voices, powerful songs, spine tingling harmonies and raucous humour to audiences across the UK and around the world, The Young’uns won the title of ‘Best Group’ at the BBC Radio 2 Folk Award in 2015 and 2016. They returned in 2017 with an extensive October UK tour and an eagerly anticipated new album, ’Strangers’ – a collection of folk songs for our times; a homage to the outsider, a eulogy for the wayfarer and a hymn for the migrant.”



 
The preceding fifth concert, on 26th July, is a little more complicated.

Replacing Anglo-African folk-griot trio Koral Society is Pete Yelding. A cellist and singer-songwriter who grew up as a classical string player, Pete found his true musical self by diversifying into sitar, into playing in rock bands and with rave jam bands, and in his collaborations with Mandinka Griots and Gnawa musicians from west Africa. Rootswise, he comes from a travelling show people background of caravans, off-grid communes and circus pitches. All of this informs the music which he creates now, from prolonged classical-folk song crossovers to jazzy Arthur Russell-ish diary musings to highly processed mingled-instrumental dronework.




 
Headlining is Abatwa (the pigmy), the project name for a group of genuine Rwandan Pigmies – or, more correctly, Batwa people – fitting in a London show immediately prior to their appearance at WOMAD the following Sunday. Both performances have come about due to last year’s release of the album ‘Abatwa: Why Did We Stop Growing Tall?’, Batwa recordings compiled by Ian Brennan – producer, writer, lecturer, activist and self-taught ethnologist and and someone who’s led a broader and more meaningful life than most, in which twenty years of work in anger management, violence prevention and conflict resolution in various places and situations across the world has run in parallel with socially-conscious music promotion and with record production. In particular, Ian’s been an exemplar for capturing unvarnished field recordings of imperfect but natural performers – ordinary people simply singing and playing the music from their own cultures rather than representing it as any kind of cultural stars.


 
This partially (although obviously not wholly) explains why I know more about Ian than I do about the Batwa he recorded; or, indeed, whichever particular Batwa are playing at the west London art studios which Nest Collective have taken over for the evening. The ‘Abatwa’ album itself features Batwa singers, Batwa instrumentalists and (overturning any ideas of hermetic cultural purity) Batwa rappers. Ian has described their nation as “one of the most marginalized, voiceless and endangered populations in Africa. In fact, their name is frequently taken in vain as a slur towards unrelated others. Historically, the tallest Abatwa women have attracted outside attention and then been taken as wives by other tribes. This has contributed to the growth of their tribe remaining limited physically. Though for the most part they were left alone during the (Rwandan) genocide, some members of the tribe actually participated in committing acts of genocide.”.

Nothing’s straightforward here; and while the complexity and contradictions of this story and this music are probably more than a single concert will be capable of revealing. We can hope for some of the album’s original performers – including rapper Rosine Nyiranshimiyimana, traditionalist master musician Emmanuel Hatungimana, and Umuduli music-bow family players/voice harmonizers Ruth Nyiramfumukoye and Patrick Manishimine – but whatever shape the show takes, it should at least provide a window onto a neglected, threatened world, and perhaps more.



 
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Dates and links:

  • Campfire Club: Abatwa (the pygmy) + Pete Yelding – Kindred Studios, 18 Saltram Crescent, West Kilburn, London, W9 3HW, England, Thursday 26th July 2018, 7.00pm – information here and here
  • Campfire Club: The Young’uns – Glengall Wharf Garden, 64 Glengall Road, Peckham, London, SE15 6NF, England, Friday 27th July 2018, 7.00pm – information here and here

July/August 2018 – upcoming London opera – Grimeborn 2018 revives Britten, Turnage and Smyth (plus Ravel, Donizetti and Foreman & Silverman’s ‘Elephant Steps’) and premieres Keith Burstein’s ‘The Prometheus Revolution’ plus diverse-source multi-cultural operas from Ruth Chan, Juwon Ogungbe, Sayan Kent, Daniel Saleeb and Cevanne Horrocks-Hopayian (24th July to 26th August)

15 Jul

Grimeborn 2018, 24th July to 26th August 2018

London’s mockingly-titled ‘Grimeborn’ festival (based at Dalston’s Arcola Theatre) stages opera with a difference: pocket budgets, but broad-field coverage and bold new work both in terms of staging and composition. Amongst the body of work being offered up this summer are premieres (Keith Burstein’s ‘The Prometheus Revolution’ and the cluster of diverse new works which make up ‘Mozaic’); revivals (most prominently the Arcola’s own new productions of Britten’s ‘Rape of Lucretia’ and Mark-Anthony Turnage’s ‘Greek’, but also including Ethel Smyth’s ‘The Boatswain’s Mate’, Gaetano Donizetti’s ‘Lucia di Lammermoor’ and ‘Rita’, and Maurice Ravel’s ‘L’Heure Espagnole’); plus reconfigured Offenbach and Buxtehude, some mixed’n’themed repertoire concerts, kids shows, infiltrations of jazz and rock theatricals and the first British performances of the “occult, surrealist rock-opera extravaganza” ‘Elephant Steps’.

* * * * * * * *

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

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

As with ‘Manifest Destiny’, you can also expect more of the vigorously tonal Burstein approach to music and tunes, with a post-Britten-and-Berg score additionally “laced with the sounds of vaudeville, Broadway musicals and pop ballads.” It’s arranged for piano and singers: you’ll have to imagine the intent of a full hovering orchestra.

* * * * * * * *

Using a mixture of live and recorded music, the Mozaic Opera Showcase stages new works by black and British Asian opera creators (and, it seems, female ones) drawing on stories “yet to be seen and heard in contemporary Britain… from West Africa to Armenia to ancient China and beyond” and encouraging us to “hear opera traditions from around the world mixed with jazz, Chinese orchestra, edgy contemporary classical and more.” Three days of workshops aimed at “empowering BAME artists and associates to create new, diverse operas” will be followed by two days in which six such works are presented.

As well as the new ‘Red Seed’ (by rising theatre polymath Sayan Kent), there’ll be Hoc Opera’s production of ‘Occō’s Eternal Act’ by composer Daniel Saleeb and librettist Oge Nwosu. A ‘Huit-Clos’-ian chamber drama for five singers and eight players(previously staged at the Barbican and the V&A) its titular Occō is “trapped in a purgatorial space peopled with four significant characters from his life. He can’t escape them so he makes them perform, over and over again, for his imaginary audience…”

From Sheffield, West African-inspired theatre company Utopia are bringing down their’Pied Piper of Chibok’. Composed by eclectic Anglo-Nigerian composer Juwon Ogungbe, who balances Western opera with Afro-jazz and pop (and with a libretto by Ariya director/writer/producer Olusola Oyeleye), it conflates the European legend of the Pied Piper of Hamelin with the horrific real-life story of the Chibok schoolgirls in Nigeria who were kidnapped by Boko Haram.

The Myaseen Collective is presenting ‘1000 Songs’, a collaboration between visually-slanted harpist/singer/composer Cevanne Horrocks-Hopayian and multi-instrumental singer Ziazan (who’s providing the libretto). In this “story we’re gradually going to tell” (which appears to explore the interrelated contemporary rise of neo-fascism and of woman-silencing), a woman “escapes a mob attack and locks herself away. She speaks to no-one but her tame nightingale, until she forgets how to speak – and only sings.”

 
Film, television and theatre composer Ruth Chan, known for everything from Ghost Orchestra to work with Dario Marianelli and the RSC) makes several contributions. There’s a revival of her 2014 mini-opera ‘Rain’, a collaboration with librettist Elaine Ruth White, in which Barry, the threatened head of an incompetent English water company gets into profound, potentially life-changing conversation with his Sudanese cleaner Asha (a woman from a region “where women have to walk miles to polluted streams and wells, risking the dangers of rape and death to fetch water for their families”).

 
Also being performed is Ruth’s ‘Between Constellations’ on which she worked with librettist Zoë Palmer (Musical Rumpus) and dramatist Jennifer Farmer. This was a semi-finals winner in Pittsburgh Festival Opera’s ‘Fight For The Right‘ initiative, “a global commissioning competition for female composer and librettist teams to create original music dramas inspired by themes of girls and women transforming their lives through education.”

Finally, Ruth’s also contributing a revival of ‘Turandot Reimagined’ – a partly-Mandarin, Yuan Dynasty-set version of Puccini’s opera (which she’s re-arranged to a new libretto mostly by Simon Wu)/ It was originally staged three years ago by Tête à Tête, in association with Portsmouth’s New Theatre Royal and the SOAS Silk and Bamboo Chinese Instrument Ensemble. Hopefully the latter will be up and involved again for the Dalston performance…


 
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Elsewhere, current events and undercurrents are making their presence felt on the Arcola’s two homegrown revivals. Benjamin Britten’s ‘The Rape of Lucretia’ has been in the general repertoire since its 1946 premiere, but the new Arcola version (directed by Julia Burbach of the Royal Opera House, who’s recently made a mark with revelatory productions of ‘Madama Butterfly’ and ‘Tosca’) links its story of decadence, virtue and ravishment to the outrage and repercussions around the #MeToo movement. (The press release reads “in Rome, 510 BC, Lucretia is sought out in the night by the prince Tarquinius. In Dalston, 2018 AD, a man and woman invite you to watch a re-enactment.” I’m not sure where they take it from there…)

Since its own arrival in 1988, Mark-Anthony Turnage’s four-handed multi-character piece ‘Greek’ has also made its own mark on the repertoire. For this year’s Arcola version, original adapter and stager Jonathan Moore returns to direct. It’ll be interesting to see how the piece has aged. Its old, seething vision of the East End (based around Steven Berkoff’s bare-knuckled, gutter-mouthed reimaging of the Oedipus legend) may have been slightly blurred and dissolved by the odd bedfellows of gentrification on the one hand and white flight, but it’s world of territorial café kings and hair-curling working-class invective should have kept some of its dramatic power intact regardless, calling up memories of the 1979 Winter of Discontent and the imminent, bloody birth of the Thatcher era.

Fulham Opera's ‘Lucia di Lammermoor’, 9th/11th August 2018The second of Fulham Opera’s two Grimebourne offerings is a piano-and-voices, Italian-language, contemporary-setting version of Gaetano Donizetti’s ‘Lucia di Lammermoor’ – the repertoire staple (with its famous “mad scene”) of a woman ground up between the feuding rages of men. Perhaps it’s tied in with the fresh feminist reading of ‘The Rape Of Lucretia’, but if operatic narratives of tragic and tormented women (being ravished and/or losing their battles) just gets your goat, you might prefer to see another Donizetti piece, ‘Rita’, appearing as half of an Opera Alegría double bill (with Maurice Ravel’s ‘L’heure espagnole’). Both pieces showcase, via new libretto translations by Lindsey Bramley (who’ll also be performing the piano accompaniment), strong female opera characters possessing both wit and agency. In ‘Rita’, the fiery landlady of an Italian inn and her intimidated husband Peppe find the already fragile state of their marriage further tested by the arrival of her first husband, previously presumed dead. In ‘L’heure espagnole’, Concepción (the cheerfully unfaithful wife of a Toledo clockmaker) embarks on a farcical day of attempts to smuggle her assorted lovers into her bedroom, each wedged into the case of a grandfather clock…

Spectra Ensemble's ‘The Boatswain's Mate’ – 30th/31st July, 1st August 2018

Likewise, you might enjoy ‘The Boatswain’s Mate’. Revered by feminists and musicologists alike for her determination, her musical daring and her fullhearted involvement in the Suffragette movement, Edwardian-era composer Ethel Smyth wrote and staged several of her own operas. Dating from 1914, ‘The Boatswain’s Mate’is a battle-of-the-sexes comedy set in a Margate to which “young and old alike have flocked… for summer loving, healthy air and strolls on the promenade. But, at a quiet pub set back from the seafront, the landlady has a nuisance on her hands. She’s confronted with a suitor who simply won’t take ‘no’ for an answer. When he comes up with a last-ditch plan to win her heart, our formidable heroine gives him more than he’d bargained for…” Spectra Ensemble present a rare revival set during the 1952 coronation and the height of post-war seaside culture, scored for voices and a piano/cello/violin trio (and celebrating, in part, the hundredth anniversary of female suffrage in Britain).

Patrick Kennedy Phenomenological Theatre's ‘Elephant Steps’, 20th to 22nd August 2018
I’ll close the first bit of the preview with a quick look at Patrick Kennedy Phenomenological Theatre’s European premiere/fiftieth anniversary staging of ‘Elephant Steps’, a total theatre work from composer Stanley Silverman and librettist Richard Foreman (whose New York theatrical adventures have been described as “disorientation massage” and in which “music, light, images, movement, graphics, films, incense, machinery, props and performers are incorporated into a spectacular mix.” The first of seven alternative operas which Foreman and Silverman wrote together between 1968 and 1990, ‘Elephant Steps’ is a bizarre night journey following the ailing Hartman, apparently under malign spiritual attack from the suspect guru Reinhardt as he seeks to free himself, is strongarmed into false confessions, and is guided by mysterious Elephant-Angels. Silverman’s eclectic score includes elements of rock, ragtime, madrigals, Roma violins and Rodgers & Hammerstein, while Foreman’s words and concepts make an intoxicating stew of film noir, surrealism, paranoia and dream-logic imagery (all mixed with Kennedy’s new staging inspired by David Lynch, Salvador Dali and Jean Cocteau).

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More Grimeborn to follow in a later post… meanwhile, here are the dates for the shows listed above. All performances at Arcola Theatre, 24 Ashwin Street, Dalston, London, E8 2DJ, England.

  • Arcola Theatre presents ‘The Rape of Lucretia’ – Monday 23rd to Monday 30th July 2018, Wednesday 1st to Saturday 4th August 2018, times t.b.c – information here and here
  • Spectra Ensemble presents ‘The Boatswain’s Mate’ – 30th July to 1st August 2018, 8.00pm – information here and here
  • Opera Alegria presents ‘Rita’ & ‘L’Heure Espagnole’ – 3rd & 4th August 2018, 8.00pm / 5th August 2018, 5.00pm – information here and here
  • Fulham Opera presents ‘The Prometheus Revolution’ – 7th, 8th, 10th August 2018, 7.00pm – information here and here
  • Arcola Theatre presents ‘Greek’ – 8th to 18th August 2018, times t.b.c. – information here and here
  • Fulham Opera presents ‘Lucia di Lammermoor’ – 9th & 11th August 2018, 7.00pm – information here and here
  • Mosaic Opera Collective presents ‘Mosaic’ Creative and Produce-orial Workshops – Monday 13th, Tuesday 14th and Wednesday 15th August 2018, 10.00pm to 6.00pm – information here
  • Mosaic Opera Collective presents ‘Mosaic’ Showcase 1 (‘Red Seed’/’Rain’/’Occō’s Eternal Act’/’Pied Piper of Chibok’) – Thursday 16th & Friday 17th August 2018, time t.b.c. – information here
  • Mosaic Opera Collective presents ‘Mosaic’ Showcase 2 (‘Between Constellations’/’Turandot Reimagined’/’1000 Songs’) – Monday 13th, Saturday 18th & Sunday 19th August 2018, time t.b.c. – information here
  • Patrick Kennedy Phenomenological Theatre presents ‘Elephant Steps’ – 20th to 22nd August 2018, 7.30pm – information here, here and here

 

July 2018 – upcoming avant-pop gigs – Liam Singer in New York and Catskill with Sontag Shogun, Alexander Turnquist and Tim Mislock (12th, 13th July)

6 Jul

Liam Singer, 2018Bar his efforts in assembling a performance of Terry Riley’s ‘In C’ under the Brooklyn Bridge last year, not enough has been heard from Liam Singer since he released his gorgeously limpid ‘Arc Iris’ album in 2013. In fact, he’s quit New York City and moved upstate to Catskill, where he’s now co-running HiLo – a combined cafe, bar, art gallery, and performance space. New responsibilities, however, haven’t stemmed his musical flow. Two imminent shows (one at HiLo and one in his old Brooklyn stomping grounds) mark this month’s release of his fifth album, ‘Finish Him‘, on Birdwatcher Records.

Centred on his piano and the sweet murmur of his voice, Liam’s previous records brought in strings, glass harmonicas and spectral studio reverb; the clink and clatter of gamelan and prepared instruments, Morton Feldman namedrops, and women’s voices shading into birdsong. They sketched out a sharply etched dreamworld which seemed to take place in and on the towns, roads and headlands of a permeable New England coastline – one in which ancient mythology and personal headspace interpenetrated, and danced their way up and down from the seabed to the constellations. Either that, or they evoked loft life in an idealised, slightly antiquated boho New York or upscale university town – Art Deco bannisters, rumpled stockings discarded by elusive free-spirited lovers; mannered speech, books on the Harlem Renaissance.

It was pop, but pop over which Steve Reich and the aforementioned Feldman presided as occasional guardian angels (as did Henry Cowell and Shaker music), amidst a papery flutter of old books and wallpaper witnessings, and of dust being blown off enthralling junk-shop discoveries. Longtime co-producer Scott Solter likes to link it to “Edward Gorey and the Brothers Quay“. The descriptions may sound precious, but the songs aren’t. No showboater, Liam is nonetheless one of those singers whose tones gently, subtly shift and refract between wonder, melancholy, wry self-deprecation and ecstacy: a caster of light upon things, rather than a hoarder or showcaser. The folding of literary and mythical references into his songs – and their subtly eclectic instrumentation – may bring him comparisons to Elliott Smith (especially in terms of the intimate delivery) and to Sufjan Stevens; but to me he’s a far more gentler character, bringing a human fragility and self-awareness to his steps in and out of a numinous music realm. A bit like an American William D. Drake, perhaps; though minus the occasional overt music-hall flourishes.


 
That said, ‘Finish Him’ (described as “a coming-out party”) sees Liam changing tack. Now he’s fully, publically embracing influences he’s previously only hinted at – predominantly colourful 1980s art pop “from a time when traces of the Baroque and avant-garde began to seep into the margins of the mainstream alongside the iconic synths, gated reverbs and big hair.” The science-fiction bacofoil-meets-CGI video, drum machine and layered synths of pilot single Test Tone determinedly sets out this new stall – like Wes Anderson simultaneously taking on ‘Tron’ or one of those Saturday afternoon space operas – and while new tracks like The Devil and I Want To See Sparks are less immediately brash, they’ve set aside some of the diaphanous sound of previously-on-Liam in favour of grander, brighter colourings, scrim-sweeps of noise, and bolder narratives about the struggle between selfishness and connection, the booting over of applecarts.



 
If there’s a new parallel, it’s the latterday work of Paddy McAloon – the revealing of extra bite and sharp points behind the musical meringue, the emergence of perspective and bone-deep feeling that comes with age and gravity taking more of a hold. The magic and mists are still there, just with a little more lightning.

Main support at both shows comes from Liam’s friends in the “lullanoise” project Sontag Shogun, who travel the world and bring back armfuls of noise and aural capturings of different places and times, only to re-knit them into ambiguous/meaningful post-minimalist mood pieces of piano and soundscape. Evoking or manufacturing memories filled with beauty and displacement, they produce music which is part hypnagogic tape, part four-dimensional postcard or souvenir.

For the Brooklyn show, the core Shogun trio (pianist Ian Temple, laptop/field recordings manipulator Jesse Perlstein and tapesman/oscillator operator/microphonist Jeremy Young) are “reformatting and outfitting” the band with a string quartet (thus forming the Sontag String Ensemble) and are playing “all new music, marrying improvisational and experimental sound with composed string arrangements by Ian.” For the Catskill show, they’re reverting to the trio format.



 
Each of the two shows will be bolstered by another instrumental set, each by a different guitarist/composer. In Brooklyn, it’s Alexander Turnquist, whose instrumental reflections on nature and philosophy blend virtuosic twelve-string acoustic fingerstyle with studio-based electronic noise aesthetics, producing a melodious state-shifting thunder of folk baroque/New Acoustic stringwork and reverberant processing which perhaps makes him the heart of an imaginary triangle between Michael Hedges, John Fahey and Jim O’Rourke.

Alexander’s counterpart at the Catskill show is Tim Mislock, whose use of simple electric figures and slow, ebbing ambient-country pulses… renders him more similar to Britain’s Rob Jackson or to a Nashville-saturated Robert Fripp, while also dipping into the lonesome romantic post-rock minimalism of Explosions In The Sky. His current album ‘Now Is The Last Best Time’ is “a heartfelt ode to (his) mother, who over the course of the past decade, has been the primary caregiver to her husband and Mislock’s stepfather; as he slowly fades into the ever-present silence of Alzheimer’s disease.” It’s a project encompassing love, regret, compassion and drift, and you can feel all of them in every note.


Dates:

  • Liam Singer + Sontag String Ensemble + Alexander Turnquist – Wonders Of Nature, 131 Grand Street, Williamsburg, Brooklyn, New York City, New York 11249, USA, Thursday 12th July 2018, 8.00pm – information here and here
  • Liam Singer + Sontag Shogun + Tim Mislock – HiLo Catskill, 365 Main Street, Catskill, New York 12414, USA, Friday 13th July 2018, 8.00pm – information here

 

July/October/November 2018 – upcoming jazz gigs – Eddie Parker’s Debussy Mirrored Ensemble make their live debut in Cheltenham (13th July) and play York, Bristol and London in the autumn (24th & 26th October, 20th November); Algerian-influenced world shapes from the Seddik Zebiri Trio in London (13th July); Tori Handsley’s ‘Afro-Harping with Dorothy Ashby & Alice Coltrane’ in London (28th July)

5 Jul

Quick news on three upcoming jazz gigs… well, three gigs and a tour. An impressionist jazz ensemble takes its first assured steps around the country, an Algerian/Parisian veteran brings his trio to the deep East End, and there’s a jazz tribute gig that’s unusual enough for me to drop my usual reluctance to cover such things.

* * * * * * * *

“Former Loose Tubes flautist and composer Eddie Parker and his Debussy Mirrored Ensemble take cues from the important French composer Claude Debussy in a new show.

“2018 is the centenary of the death of Debussy. Eddie Parker’s Debussy Mirrored Ensemble is both a celebration of and a creative response to the composer. Famously, Debussy never wanted followers or imitators, and yet his music is enormously influential and has gone deep into our sensibilities.

“Eddie Parker has spent his life immersed in music – absorbing, creating , teaching, inspiring, and building trust and respect in a wide range of musical genres as a musician and composer. He also has a life-long passion for Debussy’s music. Building on previous Debussy transformations(2013’s ‘Windgames’ for solo piano and 2015’s ‘Snowsteps’, written for the Will Gregory Moog Ensemble, Eddie has now handpicked a unique new twelve-piece ensemble to turn his creative vision into reality.

“These musicians, from classical, jazz and improvisation disciplines, collaborate to transform a dozen of Debussy’s pieces into something incredibly unique, powerful and contemporary whilst capturing the composer’s revolutionary spirit – leading our ears on a fascinating journey while showing how important this influence is, not only for composers but for improvisers too.

“The high-order ensemble features Rowland Sutherland, Gareth Lockrane and Eddie himself on flutes, Jan Hendrickse on vocals and Turkish ney flute, James Allsopp on clarinet and bass clarinet, Alcyona Mick on piano
Imogen Ridge on harp, percussionist/vibraphonist Simon Limbrick and Loose Tubes drum-and-bass team Steve Watts and Martin France, with vocals by classical tenor James Gilchrist and jazz singer Brigitte Beraha.”


 
When presenting ‘Windgames’ four years ago, Eddie reflected as follows:

“My dad, Frank Parker, concert pianist manqué – whose professional career consisted of performing music for variety theatre, musicals and ice skating shows – used to play Debussy on the piano to me when I was a child… then as a teenager my school music teacher Len Sartin would hold one spellbound not only with his prodigious pianistic abilities (he performed ‘Feux D’Artifice’, the notoriously difficult final Prelude of Book 2, in a school speech night, to the utter bewilderment of assembled parents), but his comprehensive knowledge of the art, poetry and literature that each Prelude was alluding to: Baudelaire, Mallarme, chinoiserie, Arthur Rackham, etc. This in a comprehensive school for boys in Liverpool.

“Debussy’s music for piano, especially from the two books of Preludes, went in deep for me and stayed there. The feeling of a kind of kinetic sculpture in sound, involving a synthesis of harmony and sonority, a precise choreography of pianistic gesture, all bound together by an amniotic envelope created by the subtle use of the pedals – “like a kind of breathing”, as Debussy himself described it – these are the alchemical elements that have been infusing in my mind over the decades… One could foresee a series of Debussy transformations (or ‘Busygames’!): ‘Snowgames’, based on ‘The Snow Is Dancing’ from ‘Children’s Corner’; ‘Raingames’, based on ‘Jardins Sous La Pluie’; ‘Soundgames’, based on ‘Les Sons Et Les Parfumes…’ from ‘Preludes Book 1’; ‘Chordgames’, based on ‘Pour Les Chordes’ from ‘Pour Le Piano’… It may take me a while.”

Sounds as if he’s got there.

The Debussy Mirrored Ensemble project debuts at the Cheltenham Festival next week, with further dates in York, Bristol and London in the autumn. Details below:

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This in from Poplar Union in the east of London…

“You’re in for a treat this month! We have the brilliant Seddik Zebiri Trio with us for Live in the Library – Seddik Zebiri on vocals and Algerian mandole, Oli Arlotto on saxophone and Paolo Forcellati on percussion.

“Seddik Zebiri defines himself as a “music activist.” He’s a seasoned and experienced musician – a pioneer and a trailblazer. Since beginning his musical journey in the Parisian scene of the ‘60s, the cultural scenario has deeply changed. But, as he likes to affirm, he is “always the same: for me music is always the same thing, there is no difference between the one which I played during the ‘70s, the ‘80s or the one I’m playing today”.


 
“His sound is closely related to his Algerian roots, fused with modern influences. Seddik continues, “When you listen to my music you can initially define it as traditional, Algerian or Berber, but is has also some classic Middle Eastern elements. Then, when you listen further you can also identify other ingredients coming from rock, reggae, Latin or funk.” The trio will offer a distinctive take on jazz, drawing on Arabic and Afro-blues influences, and creating an absorbing, compulsively danceable sound: a fusion of traditional North African combined with funk, reggae and beyond.”…”

Poplar Union presents:
Live In The Library: Seddik Zebiri Trio
Poplar Union, 2 Cotall Street, Poplar, London, E14 6TL, England
Friday 13 July 2018, 7.30pm
– information here and here

* * * * * * * *

“The sound of the harp has always held a special place in the world of jazz, and that’s down to the work of two artists alone; Dorothy Ashby and Alice Coltrane. Despite both using the same instrument, their music could have hardly been more different. Ashby’s sound ranged from the trad to the plaintive, with standout albums ‘Hip Harp’, ‘Afro Harping’ (celebrating its fiftieth anniversary this year) and ‘Django/Misty’ across her oeuvre showcasing the harp’s versatility. By contrast, the harp for Coltrane worked as an extension of her profound spirituality whilst also indulging her avant-garde tendencies (as heard on her magnum opus, ‘Journey In Satchidananda’).



 
“Putting together the bespoke show will be London based harpist Tori Handsley, who has played with everyone from Nigel Kennedy and Orphy Robinson to Shabaka Hutchings and Moses Boyd and who’s been called “an essential music force that needs to be experienced by as many thinking musicians and audiences as possible” by Orphy Robinson, who’s also noted that she is “without doubt steadily becoming one of the most exciting and original musicians on the UK scene.”

Tori Handsley: Afro-Harping with Dorothy Ashby & Alice Coltrane
The Jazz Cafe, 5 Parkway, Camden, NW1 7PG London, United Kingdom
Saturday 28th July 2018, 7.00pm
– information here, here and here


 

July 2018 – strange folk indeed – Sutari and Dead Rat Orchestra’s joint-headlining English tour through Colchester, Norwich, London, Nottingham, Hull, Leeds and Oxford (10th to 16th July 2018) with The Dyr Sister and Sarsa Awayes

4 Jul

News on an imminent set of alternative folk gigs – eerie, funny, magical and pertinent (aiming as it does at our history of migrations and settlings).

* * * * * * * *

“Two of the world’s most prominent avant-folk ensembles join forces for a joint headline tour of the UK.

“It’s not often that you can say you met someone over a meat cleaver but in the case of Dead Rat Orchestra and Sutari it’s true. Not that anyone who knows the work of the UK’s DRO – or for that matter, Poland’s Sutari – should be surprised. Kindred spirits not only in their approach to free-folk but in their use of unusual objects – including meat cleavers – in their performances, this tour will see them join forces to explore the cultural impact of Polish and European migration in England. Performing in locations across England that have been centres of Polish immigration, and engaging with British, Polish and European communities, the tour will utilise Sutari and DRO’s unique approaches to performing traditional musics to lead audiences in a performative and timely discussion about the cultural impacts of the UK leaving the European Union.

“Formed by Daniel Merrill, Nathaniel Mann and Robin Alderton – and performing internationally for over a decade – Dead Rat Orchestra have gained a reputation as one of the most innovative ensembles on the UK music scene. Raw, elemental and poignant and with a love of adventure, their performances feature flailing axes, salt and sawdust, throbbing harmonium, grinding fiddle and two thousand shards of micro-tuned steel cast to the floor in cascading, shimmering joy. DRO create works that blur boundaries between installation and performance. Activities have included ‘The Cut’ (2014), a site-specific musical tour undertaken by canal boat along two hundred and seventy-three miles of waterway; and ‘Tyburnia’ (2015/17) exploring seventeenth and eighteenth century gallows ballads and their sociopolitical history.

“Dead Rat Orchestra are adventurers adrift in a sea of sound and possibility, plucking textures and melodies to craft their idiosyncratic vision of what music and performance can be. Most often they have steered their ship through the idioms of folk and improv, to shout, sing and glisten at audiences from the UK to mainland Europe, Scandinavia to Canada. They have created music using the architectural surroundings in which they find themselves; coppice woods, abandoned abattoirs, paper mills, churches. Necessity has sometimes dictated duo performances of any permutation, always imbued with a sense of the missing member. Instruments are constantly swapped. Rarely performing in a conventional manner they often step away from the stage, to sing and holler a cappella amongst the audience. Acutely haunting, occasionally brutal and raucously joyous, their music always attempts to enchant and entrance, be it emotionally or physically.

 

“Sutari are Kasia Kapela, Basia Songin and Zosia Zembrzuska – a trio of young singers, instrumentalists and performers, each from different musical and theatrical backgrounds, who come together to continue the tradition of home-made folk music. The Sutari project is a fusion of diverse music experiences and passions: they use a mixture of traditional instruments (violin, basetla and drum), and also make use of everyday objects, exploring their potential as musical devices – for instance, a hand mixer, grater, bottles and a wrench… kitchen avant-garde!

“They explore deep vocal harmony traditions, searching for the essence and hidden character of traditional songs, whilst exploring themes of femininity in folklore. Their compositions are based on Polish and Lithuanian folk songs; and they are particularly inspired by the sound and character of Lithuanian Sutartines, sung only by women in perfect harmony. An affecting and elegant fusion of traditional folk, theatrical flair and contemporary mood music.”



 

There are a couple of support acts along the way. In Nottingham, the support comes from Sarsa Awayes – a Nottingham-based Polish spoken word artist. In Colchester, it’s Sally Currie – a.k.a. The Dyr Sister (where “dyr” is Old Norse for “deer”). A Hull-born “multi-instrumental cervine beat mistress”, she “conjures up surreal tales with the aid of viola, synth, mandolin her voice and an array of DIY samples. Performing her catalogue of haunting, ethereal, modern day folk songs as a one-woman band, she paints a fascinating canvas of sound.”


 
Dates:

  • Colchester Arts Centre, Church Street, Colchester, Essex, CO1 1NF, England, Tuesday 10th July 2018, 7.30pm – information here and here
  • Norwich Arts Centre, 51 St Benedicts Street, Norwich, Norfolk, NR2 4PG, England, Wednesday 11th July 2018, 8.30pm – information here and here
  • (secret location), Bow, London, England, Thursday 12th July 2018, 7.30pm – information here and here
  • The Maze, 257 Mansfield Road, Nottingham, NG1 3FT, England, Friday 13th July 2018, 8.00pm – information here and here
  • The New Adelphi Club, 89 De Grey Street, Kingston-upon-Hull, Yorkshire, HU5 2RU, England, Saturday 14th July 2018, 8.00pm – information here and here
  • Leeds Polish Centre, Newton Hill Road, Leeds, Yorkshire, LS7 4JE, England, Sunday 15th July 2018, 4.00pm – information here and here
  • Holywell Music Room, Holywell Street, Oxford, OX1 3SD, England, Monday 16th July 2018, 7.30pm – information here and here

 

July 2018 – two eclectic London music evenings – SOIF Soiree with Society Of Imaginary Friends, Jennifer Bliss Bennett, Dekay Ex, Stone Deep, Outre Dan Steele and William Summers (6th July); Rude Mechanicals with John Callaghan, Hypnotique and Rotten Bliss (13th July)

3 Jul

SOIF Soiree, 6th July 2018

The last Society Of Imaginary Friends Soiree for the summer is cartwheeling into view. I smashed two or three of their Beat-y burbles together to bring you this:

“Friday 6th July is our 21st Century Avant Garde Soiree at Karamel, N22. We have in store for you a magnificent exploration of 21st Century new and experimental music with incredible performers already lined up. The fabulous, supremely talented Jennifer Bliss Bennett will be performing master composer Martin Gaughan’s pieces for voice and bass viol: a must hear. There’ll be an appearance from the one-and-only Dekay Ex (queen of the underground urban music arena, virtuosic battle rapper superstar) with guest musician Gerard; and brand new dark intriguing soul music from Stone Deep.

“The multi-talented Darren and Isobel Hirst will be performing as the fascinating, spellbinding duo Outre Dan Steele, and the amazing William Summers (Circulus, Princes In The Tower, Mediaeaval Baebes and innumerable period/Baroque ensembles) will be performing 20th century recorder music. Plus us, the Society Of Imaginary Friends, and that’s just for starters. Delicious vegan food and unbelievably free entry.”

Society of Imaginary Friends presents:
21st Century Avant Garde Soiree: Society Of Imaginary Friends + Jennifer Bliss Bennett + Dekay Ex + Stone Deep + Outre Dan Steele + William Summers
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 6th July 2018, 7.30pm
– information here and here

A few examples of the evening’s entertainment:




 
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There’s no August Soiree (since the Society will be either on holiday or concentrating on their appearances at the Green Gathering festival in Chepstow), but there should be more of these evenings in the coming autumn.

However, you can make up for their upcoming London summer absence with an evening of music and video hosted by Cos Chapman’s Rude Mechanicals, and taking place in a onetime Dalston dance school turned into arty pub and hangout space…

Rude Mechanicals + John Callaghan + Hypnotique + Rotten Bliss, 13th july 2018

“The art-rock inspired Rude Mechanicals have been compared to Nick Cave, The Tiger Lillies, early Roxy Music and Can and described as post-punk, swamp blues and dark cabaret – altogether creating a music that was best be described by Tom Robinson (on BBC6) as “wild, wicked weirdness… a little bit Flying Lizards, a little bit Native Hipsters and a great deal like nothing you’ve heard before…” The evening will feature the premiere of MHG Music Videos’s animated video for Rude Mechanical’s ‘Paperwork’.”

Meanwhile, here’s something a little older…


 
“Originally hailing from Birmingham, John Callaghan is an unusual songwriter and performer of thoughtful and spiky electronica. His self-directed video for ‘I’m Not Comfortable Inside My Mind’ aired on MTV. His live performances are energetic and imaginative, and range from one-man auto-karaoke shows to specially-written dancefloor sets. Recent well-received shows have included London’s Spitz, Ginglik and Electrowerks, Cambridge’s Portland Arms, Crystal Palace Bowl and last year’s jaunt around Germany, including Berlin’s Club 103 and Bar 25 and Hamburg’s Golden Pudel. He is 173cm tall, weights 73kg and has a blood pressure of 110/60Hg.”


 
Hypnotique is a thereministe, electronic musician and auteur based in London whose lyrical subjects range from the apocalypse, post-feminism, erotic narrative and allotments. She’s performed solo shows at Edinburgh Fringe, worked with Gong and The Heliocentrics, toured the Amazon and annoyed Simon Cowell. She’ll be performing her live sound design for Georges Méliès 1902 film ‘Voyage de la Luna’ (‘Trip to the Moon’)…”
…which she’s previously and recently also done at a Colliding Lines film evening: find out more about that here.


 
“Described last year as “a thing of disquieting dark beauty rolling in through a ghostly fog on timeless ripples whose ebbing wash peels back the years to reveal a vintage crafted in archaic folk tongues” by Mark Barton of ‘The Sunday Experience‘ (and, by ‘The Wire’ as a writer of “coarse and beautifully heavy songs (betraying) hallmarks of folk, metal and classical without subscribing to any particular tribe”), Rotten Bliss is the violent, warm and weird visions of London based avant-garde electric cellist and vocalist Jasmine Pender. Equally inspired by the wild physicality of Jacqueline du Pre and the shrieking glory of a cello played through FX pedals, Rotten Bliss packs diverse influences into an elemental voyage of outer-limits FX-laden drones, weird folk and sound art, raging from tender a capella lyrical fantasies through to ecstatic nihilism.

“Jasmine performs regularly around London, also playing in 11th Hour Adventists (with Jowe Head, ex-Swell Maps) and False Echo (with Tim Bowen, ex-Chrome Hoof) and has toured England, France, Germany, Austria and the Czech Republic. Her debut album, ‘The Nightwatchman Sings’, was released in October 2017 on the Reverb Worship label.”

 
Also on hand for the inbetween bits are DJs Enri, Blue and MJ Ultra, and Rude Mechanicals are bribing any advance tickets buyers with the promise of a “free unique, special edition CD and badge”.

Rude Mechanicals present:
‘Paperwork!’ – featuring Rude Mechanicals + John Callaghan + Hypnotique + Rotten Bliss + DJ Enri + DJs Blue & MJ Ultra
Farr’s School Of Dancing, 17-19 Dalston Lane, Dalston, London, E8 3DF, England
Friday 13th July 2018, 7.30pm
– information here and here
 

July 2018 – upcoming London singer-songwriter gigs – Ana Silvera’s ‘Oracles’ at the South Bank (4th July) and Holly Penfield’s ‘Fragile Human Monster’ in Piccadilly (9th July)

1 Jul

Ana Silvera, 4th July 2018

‘Oracles’ – the BASCA-nominated song-cycle by Anglo-Portuguese singer-songwriterAna Silvera – already has a seven-year history. Created more or less in parallel with her debut album ‘The Aviary’ (and originally a choral piece for the NEC choir at the Roundhouse), it’s now returning this month, freshly re-arranged for Ana and small vocal/instrumental ensemble, for a full album release and the first of two 2018 live shows.

A response to the pain of intimate family bereavement, ‘Oracles’ “draws on folk tales and myths to chart a transformative journey from profound grief to tentative acceptance.” In some senses it’s a wide-spectrum take on adult pop without a trace of that genre’s unnecessary blandening: an as-it-happens assessment of the dramatic personal shifts in position following the loss of both loved ones and of the relationship one has with them while they’re alive.

What I’ve heard of it so far suggests a similar vivacity as her songs elsewhere on album or in her theatrical work – vividly characterised narratives of internal reflection and of landscapes both physical and emotional, mingling detailed, nakedly honest personal verbal imagery and an influx of Portuguese folk feel in a way which makes her sound a little like an Iberian Jane Siberry.


 
For the live performance, Ana’s six-piece band features her co-arranger – Listenpony curator and singing multi-instrumentalist Josephine Stephenson – plus a wealth of folk-jazz talent in the shape of the string trio of Jasper Høiby on double bass, Alice Zawadzki on vocals and violin, and Alice Purton on vocals and cello, plus Will Barry on piano and percussion.

The concert will feature “specially arranged new songs” for the first half and a full run through ‘Oracles’ for the second: the latter including a specially commissioned dance film by Royal Ballet/’Random Acts‘ director/dancer Kate Church and art director Alice Williamson.

Ana Silvera – ‘Oracles’
Purcell Room @ Southbank Centre, Belvedere Road, Waterloo, London, SE1 8XX, England
Wednesday 4th July 2018, 8.00pm
– information here and here


 
* * * * * * * *

Holly Penfield, 9th July 2018

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

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


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


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

Holly Penfield’s Fragile Human Monster Show
Crazy Coqs @ Brasserie Zédel, 20 Sherwood Street, Soho, London W1F 7ED, England
Monday 9th July 2018, 9.15pm
– information here


 

July 2018 – upcoming London folk and world gigs – Nest Collective’s Campfire Club shows – Chris Wood (6th July); Fire Choir’s ‘Sing The Change’ (9th July); Ewan McLennan and Twelve Dead In Everett (13th July); London Bulgarian Choir and Harbottle & Jonas (20th July)

1 Jul

Following the previous two months of successful unamplified outdoor folk gigs in May and June, here’s a rundown of Nest Collective’s Campfire Club shows for July. (Well, the first four, anyway, to avoid making the post too long).

What’s on offer for the first half of July involves Bulgarian and civil rights chorale, contemporary English folk, seditious workers’ songs and Devonian stomp. As ever, it’s taking place in London’s playgrounds, garden projects and small artist studios (as well as the odd secret location…)

* * * * * * * *

The first concert, on 6th July, features Chris Wood.

“A self-taught musician, composer and songwriter, Chris Wood is a lifelong autodidact whose independent streak shines through everything he does. Always direct and unafraid to speak his mind, his song writing has been praised for its surgical clarity. An uncompromising writer (who cites his major influence as “Anon”), his music reveals his love for the un-official history of the English speaking people: with gentle intelligence, he weaves the tradition with his own contemporary parables.

“Hollow Point, Chris’ chilling ballad of the shooting of Jean Charles Menezez, won a BBC Folk Award (he’s won six). This year’s eagerly awaited new album ‘So Much To Defend’ was previewed at Cambridge Folk Festival last summer and includes reflections on minor league football, empty nest syndrome, learning to swim, Cook-in Sauce and, not least, the gecko as a metaphor for contemporary society.”


 
* * * * * * * *

The second concert – ‘Sing the Change’, on 9th July, is a particularly personal endeavour for folk singer/songwriter/curator (and Nest Collective/Campfire Club promoter) Sam Lee. It’s the inaugural concert of the Fire Choir which he runs in partnership with The Foundling Museum“(a) new, “open to all” community choir… dedicated to revitalising communal singing with political empowerment and a sonorous means to protest at its heart. If you want to channel your love for this world or discontent with it through singing, or just discover your voice with like-minded (or unlike-minded) others, then Fire Choir is for you.

“Highlighting social and environmental injustice, Fire Choir builds on the Museum’s centuries-old legacy of social change, campaigning and creativity. Singers tap into the enormous and ancient international repertoire of songs rooted in social change, justice and emancipation. Material includes folk songs, modern songs, anti-war songs, songs of resistance and struggle, the natural world, songs of love and lost worlds.

“A generous aspect of the Fire Choir repertoire has been specially commissioned from the perspective of contemporary communities struggling for a louder voice in society, written by some of the UK’s best songwriters and composers. Plus to keep the spirits high there is of course lots of good old rabble-rousing, soul-lifting chants and hollers! The choir is a vehicle to take these songs to the streets, the auditoria, the recording studio and many other as yet unknown places.

“‘Sing the Change’ will feature protest songs highlighting social injustice and calling for change, and including the world premiere of a special commission by Dizraeli, and Ayanna Witter Johnson‘s ‘Ain’t I A Woman’ (a setting of a speech by Sojourner Truth). It will also contain contributions from special guests and choir leaders Blythe Pepino (Vaults, Mesadorm), Ben See, Alex Etchart, and Sam Lee.”

If you want to sing with the Fire Choir yourself, they usually rehearse at the Museum on a Monday evening and welcome “absolute beginners” – here’s the link again.

Campfire Club: Fire Choir, 9th July 2018

* * * * * * * *

The third concert, on 13th July, features Ewan McLennan and Twelve Dead In Everett.

Ewan McLennan has come to be known as a guitarist at the very forefront of his generation; a troubadour, balladeer and storyteller cut in the old style; a singer that can move audiences with his passion and pathos; and a songwriter for whom social justice is still a burning issue. From a BBC Horizon Award for his debut album to his performances on the iconic Transatlantic Sessions, recent years have been marked by numerous awards and accolades for his music.


 
“The reception offered to Ewan’s latest solo album, ‘Stories Still Untold’, continued this tradition, while his most recent project – ‘Breaking The Spell Of Loneliness’, a collaboration with renowned author and journalist George Monbiot – seeks to use music and word to open up the issue of loneliness (their UK tour and concept album have received wide acclaim and been featured widely, including live appearances on BBC Two’s Newsnight, BBC Radio 4’s Front Row and BBC Radio 3’s In Tune.)


 
“All of them being members of the Industrial Workers Of The World (a.k.a. the Wobblies), Twelve Dead In Everett are a low-down, seditious trio unearthing contemporary political resonances in the traditional music of England, Ireland, Scotland and the United States. Sweet harmonies of reason in a world deaf to exploitation. Songs to fan the flames of discontent and tell your boss to go to hell.”


 
* * * * * * * *

The fourth concert, on 20th July, features London Bulgarian Choir and Harbottle & Jonas.

“The award-winning London Bulgarian Choir is a vibrant, sociable and open-hearted group of singers embracing all nationalities, ages and abilities. The choir was founded in 2000 by Dessi Stefanova, a former singer with the legendary Philip Koutev Bulgarian National Folk Ensemble in Sofia. Thanks to her patience and dedication this group of largely non-Bulgarian singers has become a performing tour de force, winning hearts and minds from the Welsh valleys to Bulgaria’s mountain villages. From its early days as a handful of singers, the choir has grown into an extended ensemble bringing its repertoire of traditional Bulgarian songs to concert halls, churches, nightclubs, galleries, festivals, embassies, village squares and even a barge on the River Thames.


 
“The songs performed by the London Bulgarian Choir are arrangements of traditional and ancient Bulgarian songs. Some tell powerful tales of love and loss, fighting and celebration, while others are inspired by the daily fabric of life. Sung in a complex and unique vocal style, these folk songs have survived five hundred years of Ottoman rule and fifty years of communist indoctrination to emerge with their extraordinary dissonant harmonies, exotic scales, compelling rhythms and exuberant trills and hiccups virtually intact. The choir’s spine-tingling performance of the songs transcends language barriers, and often moves audiences to tears.

Harbottle & Jonas are a stunning young folk duo based in Totnes, Devon. Their music is eclectic and is always accompanied with a great story. Together the husband-and-wife duo combine the rich traditions of folk music with original and contemporary interpretations, through a blend of closely intertwined vocal harmonies. Their music is performed with integrity and on instruments that include the concertina, harmonium, banjo, stompbox, acoustic and resonator guitars. They can sometimes be found playing alongside their full band – eight members in total (cello, fiddle, mandolin, trumpet, drums, bass). Well-travelled across the UK and playing up to 200 gigs each year, Harbottle & Jonas have managed to establish themselves as one of the most exciting prospects on the folk circuit.”


 
* * * * * * * *

Full dates and links:

  • Campfire Club: Chris Wood – Lumpy Hill Adventure Playground, 15 Market Road, Lower Holloway, London, N7 9PL, England, Friday 6th July 2018, 7.00pm – information here and here
  • Campfire Club: Fire Choir – The Calthorpe Project, 258-274 Gray’s Inn Road, St Pancras, London, WC1X 8LH, England, Monday 9th July 2018, 7.00pm – information here
  • Campfire Club: Ewan McLennan + Twelve Dead In Everett – (secret location t.b.c.), Friday 13th July 2018, 7.00pm – information here and here
  • Campfire Club: London Bulgarian Choir + Harbottle & Jonas – Phytology, Bethnal Green Nature Reserve, Middleton Street, Bethnal Green, London, E2 9RR, England, Friday 20th July 2018, 7.00pm – information here and here

* * * * * * * *

More on the last two July concerts later….
 

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

27 Jun

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


 
Occasionally-tweaked official blurbs below.

* * * * * * * *

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

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

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


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

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


 
* * * * * * * *

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

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


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

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


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

 
* * * * * * * *

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

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


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


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


 
* * * * * * * *

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

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


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


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


 
* * * * * * * *

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

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


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


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


 
* * * * * * * *

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

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

 

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

26 Jun

Music We'd Like To Hear, 2018

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

* * * * * * * *

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

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

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

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

Previously performed versions of three of the four pieces:




 
* * * * * * * *

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

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

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

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

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

* * * * * * * *

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

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

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

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

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

Again, some previous performances…

 

* * * * * * * *

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

Dates and links:

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

 

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

16 Jun

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

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

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

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

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

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

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

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

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




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

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

SOLO 05: Gabriella Swallow, 12th July 2018

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

https://vimeo.com/265148436
 
SOLO presents:
SOLO 05: Gabriella Swallow
Handel & Hendrix In London, 25 Brook Street, Mayfair, London, W1K 4HB, England
Thursday 12th July 2018, two concerts (6:30pm & 8:30pm)
– information here, here and here
 

June/October/November 2018 – upcoming gigs in Bristol, Brecon and Nottingham for The Society Of Strange & Ancient Instruments (15th June, 21st October, 8th November)

13 Jun

Since 2010, performance ensemble The Society Of Strange & Ancient Instruments – led by Clare Salaman – have “explore(d) a repertoire that ranges from folk songs and earthy dances to high art music from the eighteenth century and before, as well as newly composed pieces.”

Initially a violinist, Clare’s also mastered diverse related instruments including nyckelharpa, hardanger fiddle, medieval vielle and hurdy gurdy, and has also attracted other multi-instrumentalists into the group – mediaeval winds player Ian Harrison (on pipe and cornett, whistle, pipes, shawm, tabor and tambourine as well as singing), Jon Banks on harp, gittern, Baroque guitar and percussion (shading eastwards into santur, qanun and santouri) and Arngeir Hauksson (theorbo, cittern and gittern, Renaissance guitar, lute, saz, hurdy gurdy, percussion). Also on board are Liz Kenny (lutes and guitars), Alison McGillivray and Liam Byrne (viols and lirone); and the ostensibly more narrowly specialised players in the ensemble (harpist Jean Kelly, guitarist Clara Sanabras, harpsichordist Terence Charlston, singing citternist Jeremy Avis and bassist Peter McCarthy) all have extended interests, be they “unusual large string bass instruments”, electric harps, ouds, neglected antique keyboards or just raising a tambourine or voice. Even the ensemble’s dancer Steven Player is an occasional lutenist.

Acting in part as a meeting point for people interested in these out-of-the-mainstream instruments, the Society also puts on themed shows in which to showcase them: revivals of three of the latter have been recently announced.

Conceived by Clare, ‘Sound House’ is “inspired by Francis Bacon’s investigations into the magical properties of sound,” and “presents music of the seventeenth century played on extraordinary instruments within an intriguing modern context. Although Francis Bacon, 17th century philosopher, statesman and visionary, is widely regarded as the father of modern science, his investigations into the nature of sound are little known. He was intrigued by seemingly magical effects like echoes and sympathetic vibration and sought to explain them through a series of experiments in, and observations of, sound.

“Combining modern sound technology with ancient instruments, The Society of Strange and Ancient Instruments explore the aural illusions that so intrigued Francis Bacon and our 17th century forbears with fresh interpretations of 17th century music linked to each other by newly composed pieces.”

A five piece lineup of Clare, both Jons, Alison and Jean (bolstered by narrator Terence Wilton) play unusual and historically appropriate instruments including Jon on Gothic harp, Jean on “the jangling bray harp”, Alison on “the mysterious violone and the little known viola bastarda”, and Clare on a strange conical cello/wooden-horn hybrid, the tromba marina or “nun’s trumpet” (common between the 1500s and 1800s but fallen since then into the memory hole of outmoded instruments).

The Society has this to say about their other current show, ‘The Ministry Of Angels’ – “Angels have played a part in human consciousness for as long as we can remember. Their roles in the life of mankind are various; they appear as guardians, counsellors, guides, judges, and interpreters and cross barriers of culture, language, religion and geography. Many are a force for good but there are also fallen angels, angels of death and others who are spirits of wrath, destruction, confusion and vengeance.

“In this programme we explore music associated with angels, the maverick and fallen as well as the divine and perfect. Playing some of the instruments that appear in descriptions and depictions of angels through the ages, as well as other strange and ethereal sounding instruments, we present traditional tunes, dances, songs and carols in a celebration of these heavenly and occasionally diabolical beings.”

It sounds like a mixture of the occult, the New Age crystal shop and the Hallmark card: although probably much more rewarding than any of them.

 
Dates:

 

June 2018 – upcoming London classical gigs – John Sturt premieres ‘Beyond the Cradle of Humanity’ (15th June); The Octandre Ensemble play Frank Denyer (17th June); emerging young Trinity Laban composers storm The Ivy House for ‘Hidden Messages: Contemporary Music’ (18th June)

10 Jun

John Sturt: 'Beyond The Cradle Of Humanity', 17th June 2018

“Earth is the cradle of humanity, but one cannot live in the cradle forever…” – Konstantin Tsiolkovsky

It’s been a highly productive year for emerging Trinity Laban composer John Sturt. His ‘Pulsar’ (for cello and percussion) premiered at the college back in February, several vocal works were also premiered the same month up at the Old Royal Naval College chapel in Greenwich, and his string quartet ‘Volatilis’ will getting its continental European premiere in Switzerland in July.

This month he’s premiering his largest work to date, at the college’s Laban Building in Deptford. Responding to the concept of the colonisation of space, ‘Beyond The Cradle of Humanity’ is a larger scale work for orchestra, chorus and narrator. I can’t tell you much more about it beyond that, or providing the video clip above. There are some five-year-old pre-Laban synthesized symphony demos over on John’s Soundcloud page (along with his cute and deceptively clever experimental faux-muzak effort ‘Space-Lift Waiting Room‘). However, this summer John is also releasing his first record – ‘The Cloths of Heaven: The Vocal Work of John Sturt’ – with a preliminary taster available below: and perhaps this, plus the Soundcloud clip of his church choral work ‘Breaking of the Bread’, are better pointers to what ‘…Cradle…’ might be like.

 
John Sturt: ‘Beyond the Cradle of Humanity’ World Premiere
Studio Theatre @ Laban Building (Trinity Laban University), Creekside, Deptford, London, SE8 3DZ, England
15 June 2018, 6.00pm
– information here

* * * * * * * *

Sticking with Trinity Laban for a moment: three days later, a gang of composers and musicians from the college will be showcasing their own music at a free concert in Nunhead.

“Inspired by Easter eggs hidden in video games, twelve composers attempt to hide references, clues and secret messages within newly written pieces of music performed by three fantastic ensembles. These ensembles will also be performing music of their choice, in response to their newly written works. Come and celebrate the start of the summer and the end of exams!”

'Hidden Messages', 18th June 2018

Event organiser Mikey Parsons explains “most Trinity Laban student events take place on campus at the student union bar. We were frustrated by this, because it meant that only other students or teachers generally saw our work. I also personally was frustrated by the formalities observed in a classical music setting. My background is in performing with rock bands in pubs: I prefer the laid-back atmosphere there and wanted to organise a concert of our work that was for all intents and purposes the same vibe as a rock gig in a pub. In the future I want to organise gigs that feature rock bands and classical groups on the same bill. I’d love to see a string quartet open for a punk band!

“The groups playing at the Ivy House are a brass quintet, a vocal sextet and a mixed group (flute, clarinet, baritone sax, percussion and guitar). We divided the twelve composers across the three groups. The brass and vocal groups are also going to choose some repertoire in response to their new pieces: it’s an opportunity to bring some of their music into a fresh context.

“The theme was inspired by video game easter eggs. My first easter egg was the one in ‘Grand Theft Auto 3’ where you find a hidden area and there’s a sign saying something like “You weren’t supposed to be able to find here”. The thing I enjoy about them the most is the looking for them. For example – when I wrote the brief and sent it to the composers, I told them that I had hidden an easter egg in the message. Some of them went crazy trying to find it and one in particular spent a whole weekend on it, re-reading the message! In the end none of them got it but they came up with some interesting theories. I found it fascinating that they would spend time on a simple piece of text like that, and that they would read all kinds of messages out of it that I hadn’t intended at all.

“So what I’m hoping to achieve with the audience at this concert is the same focused attention of trying to work out what the music is trying to say, feeling delighted when discovering a reference to something, and perhaps coming up with their own theories as to what the answer could be.”

Despite being forthcoming about motivations and inspirations, Mikey’s not sent me composer names and work titles yet. I’ll post some up in a later edit if I get the chance…

Porcine Moth Promotions presents:
‘Hidden Messages: Contemporary Music’
The Ivy House, 40 Stuart Road, Nunhead, London, SE15 3BE, England
Monday 18th June 2018, 7.30pm
– information here

Update, 12th June – the following composers will be having their work performed: Mikey Parsons, Samuel Pradalie, Caitlin Harrison, Aurora Nishevci, James Layton, Theo Finkel, Markas Michmel, Sam Carr, Jess Ward, James Taylor, Haribaskar Ganesan and Marisa Munoz Lopez. Here are some of their past pieces…


https://soundcloud.com/markas_michmel/transparent-bridge
https://soundcloud.com/auroran-2/gesture-performed-by-the-piatti-string-quartet
https://soundcloud.com/james-layton-uk/breathless-for-solo-viola-and-electronics-live
 
* * * * * * * *

Octandre Ensemble

In between, there’s the second in the ongoing run of “composer portraits” at west London’s Print Room, presented by ritual-and-timbre-focussed chamber group The Octandre Ensemble.

Frank Denyer is an interesting contemporary classical contradiction (and marketer’s nightmare) – he’s a dedicated composer, musical thinker and ethnomusicologist who, in spite of having always written for “strange combinations of instruments” including non-Western ones, has declared a lack of interest in hybridization or crossover work. He’s specialised in a knack for acoustics and timbre, for interest in quietness or in “radical melody”, and – according to ‘The Strad’, music with a “semi-theatrical, almost ritualistic atmosphere”; but while he’s composed for non-Western instruments such as shakuhachis and ocarinas, it’s been primarily for their opportunities of tone-colour and readily-available microtonal pitches rather than for cultural histories, which he respects but makes no effort to ape.

https://vimeo.com/271382235
 
Clarifying Frank’s position, the late fellow musicologist Bob Gilmore‘s introduction to the Denyer website asserts that his work “suggests that all instruments bear the imprint of the tradition of which they are a part, whether that tradition be nascent, mature or decaying, and that at the beginning of the twenty-first century we cannot afford to be complacent about which musical traditions we consider to be ‘ours.’…his concern with musical instruments can also be seen as a metaphor for the larger question of what can be salvaged, artistically, from the chaos of civilization as we begin our new century.”

In a 2007 interview with ‘Paris Transatlantic’, Frank himself stated that “many composers seem happy with the inherited traditional models of music making, albeit with the occasional minor modification, but for me, in the rapidly transforming social environment we find ourselves in, this seems woefully inadequate. We urgently need a fluidity that will allow a multiplicity of new models of musical collaboration to emerge.”


 
For this concert, Octandre and guests will perform an hour’s worth of Denyer music (plus interval) spanning from 1972 to 2017. ‘Screens’ (composed in 2017 and being performed by EXAUDI soprano Juliet Fraser plus violin, viola and two percussionists), requires four “visually arresting dressing screens to conceal performers” as well as elements of stage lighting; while 1983’s ‘After The Rain’ (for shakuhachi, three ocarina players, percussion and violin) is “a work of unique beauty… inspired by Denyer’s experience of the breathtaking regeneration of the Kenyan landscape after an extended drought.”

The other pieces in the programme includes some of Frank’s early ’70s pieces – the bass flute quartet ‘Quick, Quick the Tamberan is Coming’; ‘Unison 1’ (for female voice, two flutes, violin and viola) and ‘Hanged Fiddler’ (for violin, sustaining instrument – in this case, viola – and percussion), while his twenty-first century work is also represented by ‘Two Voices and Axe’ (for female voice, male voice, violin, viola, flute, double bass, and doubled percussion).

As with the other Way Out East sessions, the composer will be discussing his work in a pre-concert interview, and socialisation with the musicians afterwards is encouraged.

Way Out East: Composer Portraits presented by Octandre Ensemble – Frank Denyer
Print Room @ The Coronet, 103 Notting Hill Gate, London, W11 3LB, England
Sunday 17th June 2018, 5.00pm
– information here and here

Some assorted Denyer work, for the curious…

 

June 2018 – upcoming gigs – üF-Beat spontaneous experimental night in Crouch End, London on 14th June – walk up and join in…

9 Jun

A passing note that this is happening in Crouch End this coming Thursday, and that if you’re a listener or player of a progressive/experimental instrumental tinge in or around London that night who isn’t already headed to the Lost Crowns or Friends Serene events, this might be for you.

üF-Beat, 14th June 2018“An open mic with a difference. We are inviting musicians (and sound sculptors) to play but not the usual blues and classics you get in pubs but to experiment and explore. It’s a journey. Without judgement. All styles – jazz, prog-rock, fusion, folk, classical, avant-garde, electronic, sounds, welcome.

“üF-Beat is inspired by the German underground clubs that gave birth to the Krautrock music scene (Kraftwerk, Faust, Can, Tangerine Dream and inspired many British bands like Van Der Graaf Generator, Henry Cow, King Crimson, Pink Floyd, etc). As part of the Crouch End Festival Fringe (the more experimental part of the Festival), we are setting up an interesting musical adventure in the Committee Room in the Hornsey Town Hall with grand piano plus PA, mics, amps and psychedelic lighting. And a bar. It’s free too.

“Bring your instrument and an open mind.”

And that’s it. All else will depend on what you yourself bring to it either as audient or player, and on who else turns up…

üF-Beat
Hornsey Town Hall, The Broadway, Crouch End, London, N8 9JJ, England
Thursday 14th June 2018, 8.30pm
– information here
 

June 2018 – upcoming London experimental gigs – Monkey Puzzle Trio and V Ä L V Ē (10th June); Laura Cannell’s ‘Modern Ritual’, with Charles Hayward, Hoofus, Jennifer Lucy Allan and Luke Turner (16th June); Ashley Paul & Tom James Scott, Glowering Figs and Ben Pritchard (22nd June)

4 Jun


 
Despite their increasing whirl of gigs over the past year, it’s difficult to find performance video of V Ä L V Ē besides these gnomic little fragments: glimpses of feet and harps, pedals and synths, shuffles and patch wires. They’ve been rapidly evolving far beyond their beginnings as Chlöe Herington’s vehicle for musical jokes, chance theory and post-Zappa woodwind patchworks and her experiments with samples and homemade instruments. Now, they’re a live, surprisingly accessible avant-everything trio with Elen Evans and Emma Sullivan – reeds and microsynth, melodica, harpstrings and bass, RIO/Raincoats-style vocals that inhabit both the forthright and the naïve – and they’re getting pieces in ‘The Quietus’ about how they’re expanding on synaesthesia and spacework and the disjunction of time, and mining the weird yet archetypal templates of Chlöe’s recurring dreams.

While we’re waiting for more evidence to emerge, here are a couple of pieces which represent a couple of V Ä L V Ē’s varied polarities – the avant-rock all-in wrestle match of Rhythm Strip (based on an EEG reading from Chlöe’s mum) and the warming songwork of the more recent Lights – plus one of those distracted fly-on-the wall videos (this time, of Chlöe negotiating a keyboard, pretty much literally).


 
V Ä L V Ē’s next show (just over a week before Chlöe pops up again with the Lindsay Cooper Songbook) is this coming Sunday, supporting the Monkey Puzzle Trio – which unites perpetually/perversely-journeying art-rock and improv drummer Charles Hayward, Pinski Zoo bassist Nick Doyne-Ditmas and longstanding sound-and-place voice artist Viv Corringham. It’s a post-jazz music of deformed rounds, ranging chatter and a kind of reimagined dub focus, via Charles’ assured yet regularly broken-up and disrupted drum cycles, Viv’s cavernous range of vocal effects (stippled by loop pedal and flexible larynx, augmented by mini-disc abuse) and Nick’s bass, which seems to be travelling at two-thirds of the thinking speed of the voice and drums but always knows where to settle and lean on the moving beat.


 
V Ä L V Ē and Charles Hayward present:
Monkey Puzzle Trio + V Ä L V Ē
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Sunday 10th June 2018, 7.00pm
– information here, here and here

* * * * * * * *

Charles Hayward shows up again just under a week later when he guests at Laura Cannell’s ‘Modern Ritual’ show at LSO St Lukes, performing a self-explanatory experimental piece called ‘30 Minute Snare Drum Roll’, an “improvisational piece that sees him develop a rudimental drum technique into something more complex, subtlety changing density, pressure and volume before our ears.” There are precedents for this kind of thing – people like Max Roach or Art Blakey keeping an audience enthralled by a quarter of an hour of carefully modulated hi-hat – but any excuse to see Charles thinking hard behind a drum kit is a good one.

In many respects, this is a revisitation of the ‘Memory Mapping’ show which Laura brought to Daylight Music in November 2016. More to the point, it also revives an event at Cafe Oto last March, with repeat appearances for Charles’ drum roll, for ‘Wire’/Resonance FM/Arc Light Editions mainstay Jennifer Lucy Allan and for Suffolk-based “edgelands” musician Andre “Hoofus” Bosman.

Hoofus’ experiments in FM overlaps, raw-formed percussion and drifting oscillators “(explore) the uncanny beauty of the intangible, the occult and the arcane seeping through into the post-industrial 21st century world of reason and corporate compliance” resulting in “music of eerie wonder, where oscillating melodic loops meld with distorted rhythms.” In contrast, Jennifer presents her combined talk and performance ‘Foulis’s Daughter: Social and Cultural History of the Foghorn in 30 Interrupted Acts’ accompanied by “the ghost of a long de-activated foghorn which is on a fifteen-second loop”: Jennifer’s history is narrated during the gaps between blasts, tracing “a rhythmic history of the foghorn at the edges of the Atlantic: along the fog-bound Labrador Coast; at a bend on the Firth of Clyde; on the tip of The Lizard and from the cliffs at the South Foreland in Kent.”



 
In keeping with this drift into New Weird Britain ambience, writer, filmmaker and ‘Quietus’ co-founder Luke Turner explores his own world of liminals with a talk on “urban forests, family, death and sexuality”. This is based around his forthcoming “spiritual memoir” ‘Out Of The Woods’ – a study of Luke’s own coming-to-terms with his bisexual identity and his past experiences with sexual abuse and a religious upbringing, alongside his investigations of “memory and experience in the context of landscape and the natural world”. It’s ​a journey framed by the trees and the history of Epping Forest, which for Luke seems to have become representative of an ur-forest which allows for the expression of “a wilder, truer, more spiritual self” (and brings those wood-woses, drones and leafery which have threaded through ‘The Quietus’ into fuller perspective). Laura, meanwhile, keeps up her own traditions of reinvention, refurbishment and recontextualising on double recorder and bow-threaded violin: generating eerie, often-violent sonic landscapes of folk melodies and sharp-minded post-classical noise, each calibrated to the particular place where it’s being performed.


 
The evening will be topped off by a large group collaboration involving all of the named performers plus additional guests.

Laura Cannell: ‘Modern Ritual’
LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England
Saturday 16th June 2018, 7.30pm
– information here and here
 
* * * * * * * *

More assorted improvisations and explorations come on the 22nd, when Ashley Paul​ and Tom James Scott team up as a duo at The Old Dentist in Homerton. Both have a fair amount in common, as multi-instrumentalists heading up small exploratory record labels (Ashley with Wagtail, Tom with Skire). Equally, there’s enough distinction between them to make for some interesting friendly frictions as Ashley’s American background, reeds leanings and free-form tastes interact with Tom’s Cumbrian background and the process that’s taken him from classical guitarist to experimental minimalist.



 
In support are improvising trio Glowering Figs, made up of venerable Ya Basta! free jazzers Ivor Kallin and Dave Fowler (on electric upright bass/vocals and drums, respectively), plus Ivor’s London Improvisers Orchestra comrade and ex-Astrakan member Jerry Wigens on guitar. Come for bilious, awkward avant-power-rock noodlings topped with Ivor’s authoritative stream-of-conscious rantings: here’s an example…


 
Opening the show is Ben Pritchard – not to be confused with the former Fall guitarist, he’s a London-based artist, songwriter, experimental musician and Ashley Paul bandmember who writes disintegrating-shack instrumentals for prepared acoustic guitar and percussion – strangely compelling pings, scrapes, rattles and string noise with an emotive visual quality as well as a knack for summoning in illusions. You can somehow hear impressions of ghost fiddles, a whittler’s workshop, or vocal chords tweaked by breeze gusts. When he wanders into song, it’s along the frail, fluttering-shirt lines of end-of-the-road Talk Talk, or the sparsest of Robert Wyatt: spontaneous-sounding experimental folk sketches with an undertone of parched, amnesiac blues.



 
Muckle Mouth presents
Ashley Paul & Tom James Scott + Glowering Figs + Ben Pritchard
The Old Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Friday 22nd June 2018, 7.00pm
– information here and here

Ashley Paul & Tom James Scott + Glowering Figs + Ben Pritchard, 22nd June 2018
 

June 2018 – upcoming London classical gigs – outstanding free late-lunch listening with Borough Music’s Series 9 (5th, 12th, 19th, 26th June) featuring Ret Frem Ensemble, Amy Jolly, Janet Oates and Aleksander Szram (plus reworked Britten and Finnissy and premiere pieces from Janet Oates, Janet Graham, Hollie Harding, Joel Järventausta, Frederick Viner)

3 Jun

Borough New Music‘s rolling programme of free concerts of new, recent and/or time-tested classical music continues with Series 9 this month.

* * * * * * * *

Ret Frem, 5th June 2018

The first of the concerts, on 5th June, features the Ret Frem Ensemble. They’ll be performing a programme including ensemble leader Will Handysides‘ own ‘Geiterspeil’ (2017), the British premiere of Series 9 guest artistic advisor Hollie Harding‘s ‘by breath and bow’, Kaija Saariaho‘s ‘Cendres’ (from 1998) and Barry O’Halpin‘s ‘Catarrh’ (from 2014). The set’s completed by Wil Offermans‘ reworking of the traditional Japanese tune ‘Tsuro No Sugomori’ and by Michael Finnissy 2003 piece ‘June’ (in a new version which he specifically assembled for Ret Frem).

Here are versions of the Harding, Saariaho and O’Halpin pieces…

https://soundcloud.com/hollieharding/by-breath-and-bow

https://soundcloud.com/barryohalpin/catarrh-barry-ohalpin-kirkos-ensemble-performance
 
plus a previous giddy Handysides ensemble piece as a pointer…

 
* * * * * * * *

Amy Jolly, 12th June 2018

The 12th June concert is a solo instrumental event for cellist Amy Jolly. She’ll be playing Kaija Saariaho‘s 1997 piece ‘Spins And Spells’ and Per Nørgård‘s ‘Sonata for Solo Cello No.2 In Due Tempi’ (consisting of two pieces composed over a gap of twenty-seven years – 1953’s ‘Solo Intimo’ and 1980’s ‘Solo in Scena’).

In addition, she’ll be playing Benjamin Britten’s 1976 piece ‘Tema “Sacher”‘ and a pair of new Hollie Harding variations on it (‘Extension’ and ‘Motion’, both composed for Amy over the last two years).

Various previous renditions of the pieces concerned:




 
* * * * * * * *

The 19th June concert showcases the compositions of Janet Oates and features an ensemble built around the soprano vocals of Jill House, Olivia Moss and Janet herself, plus Janet’s flute-playing, piano from Ret Frem’s Clare Simmonds and cor anglais from Nancy Johnston.

Half of the programme are Janet’s own songs: the previously-performed ‘Atomic Songs and Fancies’ and ‘Blind Fool Love’, and the two world premieres ‘Arse-elbow’ and ‘A Lover’. The rest of it’s made up of recent classical song repertoire: the late Jonathan Harvey‘s ‘Ah Sunflower’ and Tansy Davies‘ ‘Destroying Beauty’ (both from 2008), plus Dai Fujikura‘s ‘Away We Play’. There’ll also be two further world premieres of as-yet-untitled works by Joel Järventausta and Frederick Viner.

Here are previous renditions of the Fujikura and Harvey pieces and one of Janet’s previous performances of ‘A Lover’; plus a couple of previous Järventausta and Viner pieces (along the same ensemble lines, at least, as the new ones to be performed).



https://soundcloud.com/joel-jarventausta/scent-for-mixed-quartet-2018


 
* * * * * * * *

Alexandr Szram, 26th June 2018The last of the June concerts – on the 26th – is another solo instrumental concert, this time for pianist Aleksander Szram. He’ll be playing Harding’s ‘Suite P’, Daryl Runswick‘s ‘Scafra Preludes Book 2’, Haris Kittos‘ ‘Arthrós’ and Simon Katan‘s ‘Khepera’, as well as the world premiere of Janet Graham‘s new ‘Sonata for Piano’.

Here are various renditions of the Harding and Kittos pieces, plus the preceding piece in the Runswick ‘Scafra Preludes’ sequence:

https://soundcloud.com/daryl-runswick/scafra-prelude-no-1-aleksander-szram-piano?in=daryl-runswick/sets/70th-birthday-retrospective-1

 
* * * * * * * *

Borough New Music Series 9, June 2018All events are at St. George the Martyr Church, Borough High Street, Borough, London, SE1 1JA, England: Dates and links below:

  • Series 9: Pot Luck! Ret Frem Ensemble – Tuesday 5th June 2018, 1.00pm – information here
  • Series 9: Featured Instrument – Cello – Amy Jolly – Tuesday 12th June 2018, 1.00pminformation
  • Series 9: Featured Composer – Janet Oates – Tuesday 19th June 2018, 1.00pm – information here
  • Series 9: Featured Performer – Aleksander Szram – Tuesday 26th June 2018, 1.00pm – information here

 

June 2018 – upcoming London experimental gigs – Colliding Lines’ ‘Reanimation: Phantasmagoria’ film soundtracking night with Georges Kaplan Presents…, Hypnotique, Alexander Carson and Far Rainbow (6th June)

2 Jun

Despite their unfortunate no-show last month, cineastes and sonicnambulistic encouragers Colliding Lines bounce back with another evening of films and music, this time pairing the Edwardian fantasias of early French cinema with a variety of new accompaniments including Theremin-ery, object-scrabble, dry downtempo post-classical songcraft, Rhodes-and-sax jazz and screebling noise.

* * * * * * * *

 
Colliding Lines present:
‘Reanimation: Phantasmagoria’ – featuring Georges Kaplan Presents… + Hypnotique + Alexander Carson + Far Rainbow
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Wednesday 6th June 2018, 8.30pm
– information here and here

“This month we explore the phantasmagoria of 1900’s sci-fi and fantasy films – the magic of hand-tinted films, retro futurism and early special effects, scored live by four different artists.

Films:

• ‘Voyage de la Luna’ (‘Trip to the Moon’), 1902.
• ‘Le Royaume des Fées’ (‘The Kingdom of the Fairies’), 1903.
• ‘L’Album Merveilleux’ (‘Wonderful Album’), 1905.
• ‘Les Tulipes’ (‘The Tulips’), 1907.
• ‘La Grenouille’ (‘The Frog’), 1908
• ‘Le Spectre Rouge’ (‘The Red Spectre’), 1907.

“The programme features the work of film pioneers and stage magicians Georges Méliès and Segundo de Chomón, whose innovations in narrative and visual filmmaking are considered among some of the most influential in film history.

“We are excited to introduce the following soundtrack artists:

Georges Kaplan Presents… are a musical duo hailing from London’s gnarled and twisting streets, who in all things take their cue from their leader Georges Kaplan. A man of infinite mystery, very little is known about Georges’ true identity save for his love of a hot tempo and a predilection for strong bourbon. Forever on the run, with only his wits to keep him alive he always knows how to stay ahead of the game. A hustler? A master manipulator? A mere shadow? No one can say, although those who claim to know him best simply marvel at his impeccable taste and incalculable talent in outwitting any would-be detractors.

 
Hypnotique is a thereministe, electronic musician and auteur based in London whose lyrical subjects range from the apocalypse, post-feminism, erotic narrative and allotments. She’s performed solo shows at Edinburgh Fringe, worked with Gong and The Heliocentrics, toured the Amazon and annoyed Simon Cowell. For this performance she collaborates with electronics and experimental legend Cos Chapman, founder of the Rude Mechanicals. His recent work has included a performance at Berlin Musitecfest and live sound design for dance-theatre in Taipei.

 
Alexander Carson is a neoclassical downtempo composer and songwriter based in London. Carson has previously spent the better part of seven years as the lead singer, and songwriter for genre-fluid quintet Wooden Arms. His debut single ‘Lovers’ was released on the 4th of May via Round Table Records.

 
Far Rainbow were formed in London in 2014 by Bobby Barry and Emily Barnett, two old friends from Brighton. Improvising using drums, electronics, and whatever random household objects they can extract a noise from, Far Rainbow approach their arsenal of intonarumori as if they were alien artefacts or ritual paraphernalia, operating according to recursive logics only partly comprehensible.”


 
Here are videoclip versions of the films being shown, with a variety of tintings and existing soundtracks (from classical to noise-rock and irritating French voiceovers…)







 

June 2018 – the first of the year’s Woodburner world-acoustica sessions at Dalston Eastern Curve Gardens – Faith Mussa and Jally Kebba Susso (5th June); Blue Lab Beats, The Dylema Collective and DemiMa (12th June); K.O.G, Bamako Overground and Eckoes (19th June); Meadowlark, Only Girl and Amy & The Calamities (26th June)

1 Jun

Adding to the long list of London things I’ve previously missed…

For five years, acoustic music promoters Woodburner have been regularly hosting a summertime session in the Dalston Eastern Curve Garden. Each year they strive to “(capture) the essence of a weekend rural festival in the centre of Dalston… The phenomenal surrounds of the garden combine with delicious pizzas from David Latto, and a supreme and ever-evolving roster of acts, to create a magical atmosphere which brings people together in a friendly and welcoming space. It’s a community of music-lovers, summer-lovers and life-lovers, brought together to celebrate the warm months in a carefree and supportive atmosphere, with a compelling live soundtrack.”


 
This happens every Tuesday evening between June and September – here’s details on the June shows. All blurb is from Woodburner and the artists themselves; all inevitable judicious and finicky edits are mine. If you sometimes tire of the art-rock cubbyholes, peculiar modern classical or experimental sounds covered in here, or just find the entire damn blog too white (I feel that way sometimes myself), some of these gigs might appeal to you a little more.

* * * * * * * *

“The 5th June launch show features Malawian superstar Faith Mussa, and London-based kora master Jally Kebba Susso.

Faith Mussa is an Afro-soul singer, songwriter and guitarist, currently Malawi’s first and only “electronic one-man band” combining traditional African vibes with modern sounds. He is an energetic music performer and excellent music writer who has performed at some of the world most respected festivals, earned several awards (including the prestigious Malawi Special Achievers Award in the UK) worked with a variety of charity initiatives and is currently an ambassador for Oxfam and music writer for Girl Effect Malawi. His second album is set to be released early this year, and will contain music recorded from all over the world with some of the best talent he has collaborated with along the way.


 
“Gambian kora master Jally Kebba Susso expands on West African griot musical tradition, whether solo or with his band Manding Sabu. Jally comes from a very long line of Manding griots from the Gambia. He started playing the kora, the emblematic instrument of the griots at the age of seven, learning its delicate flowing intricacies from his father and older brothers. By the age of thirteen, Susso was touring Europe with a number of Gambian stars including Baatou Askan Wi, Maslabii and his sister Sambou Susso’s group. Over recent years Susso has been experimenting with blends of traditional griot music mixing hip hop, jazz, blues and now funk.”


 
* * * * * * * *

“The 12th June concert features London-based production duo Blue Lab Beats, love-jazz sensation The Dylema Collective and spoken word songstress DemiMa.

Blue Lab Beats is the brainchild of NK-OK and Mr D.M, who met at the WAC weekend arts club in Belsize Park and began making music in the now Infamous Blue Lab Studios. Many production rooms that produce a lot of good music historically are tiny – Motown in Detroit was one, Sun Studios was another such studio and Blue Lab boasts a shortage of space that would leave scratch marks on many an elbow. Still the music is hot – and that’s what counts. It’s the musical mishmash of Mr DM’s instrumental wizardry and a whole lotta NK-OK bottom end and programming knowhow (from a production journey which started with grime) that gives Blue Lab Beats the edge and takes it out of straight jazz format, whilst paying full respect to the art form (with influences including Mad Lib, Herbie Hancock, Thelonious Monk, Knxwledge, J. Dilla, Milt Jackson, Ahmad Jamal, Oscar Peterson and A Tribe Called Quest).

Blue Lab Beats are now the engine room behind many of the freshest new acts (Age Of Luna, Ruby Francis, Louis VI) and also remixers for Jodie Abacus, Dua Lipa, Rag’n’Bone man to name a few. Their production style is raw but also sophisticated – musical but not introvert. Their recent ‘Blue Skies’ EP intro video caught the attention of ‘Dazed and Confused’ and has been clocking up views ever since. They’re currently in the process of making their own album.


 
“Sweet spoken neo-soul. Dope-ass funk. Multi-sensory killa jazz. The kinda music that makes your brain and booty dance. This is the infectious blend of groove, swag and often disarming fragility that confronts you as The Dylema Collective oozes their way through their young yet hypnotic set. Drawing on a smorgasbord of musical influences (inevitable, considering the diverse backgrounds of its members) you find Russian classicism and Nigerian Afrobeat meeting Latin-American rhythms and old-school soul, all woven into London’s contemporary jazz sound. The inspiring, empowering poetry that flows from Dylema’s lips and effortlessly between these poly-rhythms and sounds makes for an overall magnetic experience: one full of trembling crescendos, tingling intimacy and simpering sexuality.”


 

(Um… “simpering”? Anyway…)

“Demi “DemiMa” Mseleku is an Anglo-Zulu word and sound artist from south-west London – a singer, songwriter and poet – who creates soulful multi-sensorial performances to provoke conscious dialogue. Inspired by themes of identity, spirituality, social dynamics, divine femininity and Afrofuturism, DemiMa’s passion for improvisation enables her to freely channel sounds as a canvas for her poetry.She is the co-creator of A L C H E M Y (a monthly event honouring the art of word, sound, soul).


 
* * * * * * * *

“The 19th June concert features spoken word dynamo K.O.G, Afro-folk from Bamako Overground, and electronic songstress Eckoes.

“Born in Ghana, resident in Sheffield, K.O.G. (Kweku of Ghana) is a prolific writer and virtuosic performer, comfortable across a wide range of styles from house and Afrobeats to Afro-funk, dancehall and jungle, electrifying live audiences with his wildly energetic stage presence. Though known for his incredible vocal performances, K.O.G is also a talented arranger and percussionist, from balafon and djembe to his trademark dinner tray!

“As well as being the frontman for much-loved eight-piece Afro-funk outfit K.O.G & The Zongo Brigade, Kweku is the front man for the new Onipa project (with Nubiyan Twist MD Tom Excell) and is working on collaborations with Afriquoi, Congo Natty, Umoja, iZem, Jus Now and The Busy Twist. On the night, he will be joined by Tom Excell himself for a very special duo performance.


 
“Born in the inspired mind of London’s own Malian rhythm buff Hans Sutton, Bamako Overground have been busy forging a new sound. The trio are irresistibly seduced by the music of West Africa, blending its influences overtly and covertly with their own carefully-selected flavours to settle into mystical dance grooves and desert blues. Deep and soulful rhythms meet soaring melodies, while smooth three-part vocal harmonies spin allegories in Bamanakan and English to complete a brew that’s compelling and utterly unique. Hans plays his distinctive hybrid drum kit (which has previously brought Mandé styles to artists such as Nick Mulvey and Cocos Lovers), while at his flanks are the sparkling guitar of Yaaba Funk co-founder Tobias Sturmer and the hypnotic, heavy bass of folk maestro and Woodburner impresario Theo Bard.


 
“British musician Eckoes merges cutting-edge textures with soulful hooks to entice you into her sublime and unmistakeable sonic world. Possessed of a voice that will “make the hairs on the back of your neck stand up” (according to BBC Radio) she’s one of the most intriguing and emotive new outpourings to emerge from the London circuit. Naturally, tastemakers’ praise has come in thick and fast from BBC 6 Music, Clash Magazine, Q, Wonderland, BBC Introducing, Indie Shuffle, Afropunk, and the MOBO Awards amongst others. A prolific songwriter outside of her solo project, she has penned songs for many other artists, hitting #13 in the UK Club Charts last summer with Deeper (a track she co wrote and featured on, produced by Le Visiteur). At the helm of her project she stands, a six-foot statuesque weaver of hypnotic sounds taking the industry by storm.


 
* * * * * * * *

“The 26th June show features “viral songwriters” Meadowlark, rising star Only Girl, and blues champions Amy & The Calamities.

“Delicate, emotional, yet current and powerful songs, delivered beautifully from the minds of two extraordinary musicians, Meadowlark are nothing short of incredible. Their debut single ‘Eyes Wide’ in 2015 was added to BBC Radio 1’s Introducing playlist, XFM’s evening playlist and featured on Hype Machine’s Top 20. This led to sessions on Dermot O’Leary’s BBC Radio 2 show, playing Glastonbury’s Introducing stage as well as the Alt Escape, the MAMA festival in Paris, and Dot to Dot. The song also appeared on episodes of ‘Vampire Diaries’ and ‘Made in Chelsea’.

“In 2016 Meadowlark were embraced into the UK touring circuit to support the release of their second EP ‘Paraffin’ and the incredibly well received most recent single Headlights. Their summer Bushstock performance in 2016 received a glowing review from ‘Popped Music’ who said “their vocals never ever miss a note and you could hear a pin drop.” The band’s debut album was released this year through Believe Records and their recent tour across the UK sold incredibly well, with sellouts in Bristol and London.


 
Only Girl is the pseudonym of Ellen Murphy, a soulful young artist emerging from the DIY music scene of south-east London. To date she has released several independent singles, gaining widespread support across BBC Introducing, Spotify, BBC Radio 1 and 2, BBC6 Music and online tastemakers including ‘The Fader’, ‘Notion’, ‘Clash’, ‘Mahogany’ and Red Bull Music.
The past eighteen months have seen her feature on releases with Zero 7, Kultur, Kitty Cash’s ‘Love The Free’ mixtape, her debut performance on UK TV on ‘The Nightly Show’ (ITV), and playing sold-out headline shows in London at the Courtyard Theatre and The Borderline.

“Her debut EP ‘Bittersweet’ (produced by long term collaborator Henry Binns of Zero 7) was released in early April – a swirl of soulful R&B harmonies with heart-aching lyrics set over a warm bed of rich organ sounds and bassy beats. She’s currently working on new music for release later on in the year.



 
Amy & The Calamities is the vehicle for Amy Wawn, a musician and singer-songwriter from Bulawayo, Zimbabwe. As a solo performer, Amy’s style ranges from lively foot-stomping folk rhythms to the dirty-delicious sounds of delta blues on the slide guitar, accompanied by a dark, brooding vocal range, lilting melodies and thoughtful lyrics. Amy studied piano from a young age, and began learning guitar and violin in her teens. After being accepted to the University of Cape Town for a music degree, she decided to take a break from classical training and instead studied a degree in languages and translation whilst focusing more on the guitar and songwriting. She began performing in her hometown of Bulawayo after a brief stint of travelling on her own and working her way around Europe in 2014.

“Over the last three years, Amy has performed at several major festivals and events around Zimbabwe and is now living and performing full time as a solo artist in Camden Town, London. She released her debut EP ‘The Suspects’ in February 2018, in collaboration with exquisitely talented violinist, Georgina Leach.”


 
* * * * * * * *

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

  • Faith Mussa + Jally Kebba Susso, Tuesday 5th June 2018, 7.00pm – information here and here
  • Blue Lab Beats + The Dylema Collective + DemiMa, Tuesday 12th June 2018, 7.00pm – information here and here
  • K.O.G + Bamako Overground + Eckoes, Tuesday 19th June 2018, 7.00pm – information here and here
  • Meadowlark + Only Girl + Amy Wawn, Tuesday 26th June 2018, 7.00pm – information here and here

 

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