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November 2017 – London and Birmingham instrumental giggery – Kabantu at 1901 Club (16th); Alex Roth double bill playing with Future Current and scoring Kasia Witek’s ‘One Wall of Me’ for Olie Brice & Ruth Goller (17th); Steve Lawson with Bryan Corbett at Tower of Song (19th)

9 Nov

A quick sweep through three diverse mid-month gigs in London and Birmingham, covering duets of loop-bass and trumpet, some global acoustic fusion, and a double-bill of experimental guitar trio plus double-bass-accompanied dance piece…

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Kabantu, 16th November 2017

Hattori Foundation presents:
Hattori Foundation Rush-Hour Recital: Kabantu
1901 Club, 7 Exton Street, Waterloo, London, SE1 8UE, England
Thursday 16th November 2017, 7.00pm
– information here and here

“Reinventing global sounds, rewriting the rulebook – winners of the Royal Over-Seas League Competition 2017, Kabantu (meaning “of the people”), is a five-piece hailing from Manchester who unravel new marriages of music from around the globe to celebrate the space where different cultures meet. Formed in 2014 at the Royal Northern College of Music and combining the virtuosity of classical training with the opportunity to explore music from around the world, Kabantu musically reflect their interest in global cultures, arrangement and improvisation.

“The instrumentation comprises violin (Katie Foster), cello (Abel Selaocoe), guitar (Ben Sayah), double bass (Ali McMath) and percussion (Delia Stevens). Vocal harmonies from South Africa coalesce with everything from Celtic reels and Brazilian samba to Balkan folk music and beyond. Kabantu use music to bridge countries and cultures, creating an exuberant and joyful sound. They have just recorded their debut album with Mercury-nominated producer Gerry Diver and very much look forward to releasing it alongside a UK-wide launch tour in February 2018.

“The programme will include Scotland/Good Call (a set of two tunes, one penned by the group’s Edinburgh-born violinist Katie Foster and one traditional, fused with Kabantu’s take on Scottish music, including bowed banjo woven with intricate rhythmic decoration) and Ulidzele (a traditional song brought to Kabantu by their South African cellist Abel Selaocoe, using a blend of African vocal harmonies preceded by vibrant chanting and percussion to tell the story of a funeral celebrating a life, rather than mourning it.”



 
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London Jazz Festival presents:
Kasia Witek’s ‘One Wall of Me’ (featuring Olie Brice & Ruth Goller playing music by Alex Roth) + Future Currents
Jazz Cafe POSK @ POSK (Polish Social & Cultural Association), 238-246 King Street, Hammersmith, London, W6 0RF, England
Friday 17th November 2017, 7.30pm
information

Kasia Witek/Future Currents, 17th November 2017“Conceived specifically for a new company of three dancers and two musicians, Kasia Witek‘s new performance piece ‘One Wall of Me’ investigates and celebrates the intelligence of the body. Through the practice of embodied awareness, the performers awaken a sense of belonging, togetherness, and joy. Watch and listen as the meditation on endless interconnectivity unfolds before you.

“An original score by award-winning composer/improviser Alex Roth, drawing on the deep sonorities and physicality of double bass (played live by renowned improvisers and “double double bass team” Olie Brice and Ruth Goller), provides an integral counterpoint to Kasia’s highly physical choreography, danced by Elisa Vassena, Stella Papi and Tora Hed.

Future Currents is an electric guitar ensemble formed by Alex Roth to explore the full range of the instrument’s sonic potential. Bringing together three of the UK’s most acclaimed improvising guitarists, (Alex, Chris Montague and Chris Sharkey, who between them are members of Troyka, Sephiroth, trioVD, Otriad and Blue-Eyed Hawk), the group creates new music of extremes, informed as much by composers like Morton Feldman, Frank Zappa, Olivier Messiaen and Richard D James as by pioneering guitarists such as Fred Frith, Robert Fripp, Marc Ducret and Bill Frisell.”


 

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Steve Lawson & Brian Corbett, 19th November 2017

Steve Lawson with Bryan Corbett
Tower of Song, 107 Pershore Road South, Kings Norton, Birmingham B30 3EL, England
Sunday 19th November 2017, 7.00pm
– information here, here and here

Back at Tower Of Song in Birmingham, bass guitarist, loop musician and ToS/’Misfit City’ regular Steve Lawson embarks on a launch gig for his latest album ‘PS, You Are Brilliant’.

The sunny title may seem to counterpoint Steve’s recent set of more sombre-toned releases such as ‘If They Had Won’ and ‘Referendum’, mourning the enmity, deprival and confusion of Brexit and the austerity age (as well as providing a restful break before he reimmerses himself in the polemical communitarian thrash/protest metal of Torycore later in the month). However, it seems that the music is more of an extension of the work on his last full album ‘The Surrender Of Time’ (“dark, dissonant layers of sound coupled with glitchy, wonky hip-hop beats and odd time-signature chance-based loops that bring an even more complex set of relationships between the various layers at work”).

The title itself is a quote from and tribute to the late arts producer Roanne Dods (of the Jerwood Foundation and Small Is Beautiful) whom Steve describes as “one of the most relentlessly encouraging people I’ve ever come across… she brought a sense of possibility to every conversation, and alongside that was so, so good at actually making things happen, at organising and pulling together teams to make sure that those ideas, that impetus and all that amazing encouragement came to fruition. I think about her pretty much every day, as I do things that she encouraged me to do, as I reach to be the best that I can be in every area of my life, and pass on that encouragement to others.”

Joining Steve at Tower of Song is “one of my most favourite collaborators ever as special guest – Bryan Corbett on trumpet. Bryan is one of the most brilliant improvisors I’ve ever worked with – he has an otherworldly ability to arrange and orchestrate his sounds on the fly, using subtle effects and exemplary technique to lift everything he plays on to a higher level. It’s been way too long since we last played together, and this will be our first ever duo gig.”

The eticket deal includes a free download of If They Had Won (one of the tracks from ‘PS, You Are Brilliant’). Have an advance listen to it here…


 

November 2017 – experimental gigs in England – Christine Ott on tour in Salford, Leeds and London (5th-8th November)

29 Oct


 
French experimental keyboard player Christine Ott – a sometime collaborator with Radiohead, Yann Tiersen and Tindersticks – is about to visit England as part of an ongoing European tour.

There are only three dates on this part of the tour, but they reveal a constantly shifting focus as Christine moves between different projects and presentations. In Salford, she’s part of a Gizeh Records-sponsored triple bill shared with two Manchester area experimental acts. In Leeds, she’s performing a live, self-penned soundtrack to a classic 1930s silent film blending romantic drama and docufiction, while in London, she’s got an evening split between a solo set and a performance of her duo project Snowdrops, in which she and fellow keyboard player Mathieu Gabry blend assorted keyboards and soundscapes. All will feature Christine’s work on piano and on the ondes Martenot, an antique années folles proto-synthesizer from the 1920s using vacuum tubes, slide controls, early filters and a selection of varied speaker devices to create eerie swooping cadences and strangely-coloured sonic outputs.

Dates:

  • The Eagle Inn, 18-19 Collier Street, Salford, M3 7DW, England, Sunday 5th November 2017, 7.30pm (with A-Sun-Amissa & ARC Soundtracks) – information here and here
  • Leeds International Film Festival @ Victoria Hall, Victoria Square, Leeds, West Yorkshire, LS1 3.., England, Monday 6th November 2017, 8.15pm (TABU live)information
  • IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England, Wednesday 8th November 2017, 8.00pm (solo performance + Snowdrops performance) – information here and here

More on the film project:

F.W. Murnau’s last silent film classic, the poetic and moving ‘Tabu‘, is the story of an impossible love on Bora-Bora island, between Matahi, a young pearl diver, and Reri, a young woman promised to the gods. Christine Ott’s soundtrack alternates modern classical piano pieces with avant-garde tracks on the mysterious and mesmerising ondes Martenot.”


 
More on Snowdrops:

“Alert launchers. A rogue wave. A burning forest… Musical landscapes in chiaroscuro, from melodies to “sculptures sonores”… Christine’s work in the Snowdrops duet goes beyond certain lines outlined in ‘Only Silence Remains’. An eminently powerful and spontaneous music, but also open and natural. A mixed universe of jazz, neo-classical, cinematographic and improvised music, which could vaguely sketch in the features of Sigur Rós, Steve Reich and Claude Debussy.”


 
More on Christine’s support acts in Salford:

“The audio/visual project of K. Craig and David Armes, ARC Soundtracks combines a dense, multi-layered sound-world with ritualistic visuals to create an immersive, hypnotic work. New album ‘DERELICTION//MIRROR’ takes us into a bleak auditory realm of post-industrial structures and traces the role of the body within these liminal spaces. Strained harmonics and industrial, discordance mesh with veiled rhythms and spoken-word narrative to create a heavy, static energy to both sound and visuals.


 
“An instrumental music collective founded and led by Richard Knox (The Rustle of the Stars, Shield Patterns, Glissando), A-Sun Amissa has featured an array of members and collaborators since it’s formation in 2011. To date they have released two albums on Richard’s own Gizeh Records label. The group produce a dense, drone-like atmosphere, accompanying evocative, melodic string and woodwind sections, intertwining guitars and field recordings. The live show features sections of the recorded output combined with improvisation to unlock new movements and progressions in the music. The subtle, considered textures and the hypnotic interaction between players and instruments provide an intense live performance.”


 

October 2017 – upcoming gigs – Anglo coastalysergia and Americana with Crayola Lectern, Dr Spacetoad and Billy Bad Band in Hove (21st October); Austrian psychprog with Blank Manuskript in Ramsgate, Leicester and London (26th-28th October)

16 Oct

We’ve just had a dose of daytime pink skies across Britain – appropriate, given the psychedelic tone of this quick posting.

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Crayola Lectern + Dr Spacetoad + Bad Billy Band, 21st October 2017
The Real Music Club presents
Crayola Lectern + Dr Spacetoad + Billy Bad Band
The Brunswick, 1-3 Holland Road, Hove, East Sussex, BN3 1JF, England
Saturday 21st October 2017, 8.00pm
– information here and here

The veteran of innumerable bands from punk to power-pop to latterday Anglo-psych, Chris Anderson finally found his core niche during the mid-Noughties as Crayola Lectern. Unspinning wistful, sweetly lugubrious stories of life, loss and learning dusted by his own gently lysergic leanings, he’s crafted “what psychedelic music would have sounded like had the Edwardians invented it.” Having been accompanied in the past by a shifting pool of live collaborators including assorted Cardiacs (Jon Poole, Bic Hayes, Jo Spratley) and Brighton psych luminaries (Joss Cope, the Rodes brothers from Clowwns and Rect.angle), his current cohorts are Alistair Strachan (on brass, percussion and necessary noises) and drummer-turned-synth-moonlighter Damo Waters.

The alter-ego of songwriter/actor/painter Paul Francis, Dr Spacetoad is another long-standing Brightonian: a discombobulated, identity-swapping cosmic troubadour who’s sometimes veered into Dada-styled space-rock in cahoots with Captain Sensible and who (as Jean Paul Dionysus) once played a key role in the London acoustic revival of the late ’80s. Expect him in his guise as melancholy garret-haunting singer, hopeless romantic and nifty fingerstyle guitarist.

Opening for this double bill of life-worn inner-spacemen is Bad Billy Band, who offer a more straightforward blend of Anglo folk-rock and electric Americana: a soften-upper.





 

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For further cosmic ventures, go discover the glow-mossed, castellated structures of Austrian art-rock sextet Blank Manuskript next week as they pass through England as part of a European tour. Polyinstrumentalists who layer flutes, tapes, trombone, reeds and glockenspiels into their standard rock armoury, they’re an intriguingly witchy concoction, balancing pretty much equally between grand prog and freak psych. Some of the band are happy to dress like Napoleonic dandies, a la Hendrix; others look like punk-metal flotsam. All of them sit on long and involved instrumental passages with an air of bugged-out wonder, spraying out rivulets of fingertapped guitar, floating ruminative keyboard lines or murmuring breathlessly arcane lyrics.. Sometimes they display their love of classic British ‘70s prog, pulling off expansive structured Yes or Caravan moves. Sometimes they thunder, spasm and gibber like one of the post-Can, post-industrial, post-metal neo-psych bands that Baba Yaga’s Hut tend to put on. You don’t often see that particular gap being bridged.


Dates:

  • Ramsgate Music Hall, 13 Turner Street, Ramsgate, Kent, CT11 8NJ, England, Thursday 26th October 2017, 7.30pminformation
  • The Musician, 42 Crafton St West, Leicester, LE1 2DE, EnglandFriday 27th October 2017, 7.00pm (with River Chickens + Those Amongst Us Are Wolves)information
  • The Water Rats, 328 Grays Inn Road, Kings Cross, London, WC1X 8BZ, England, Saturday 28th October 2017, 10.00pminformation

Only the Leicester show features any support acts, and I’ve scraped up a little info about them. Despite being founded on a rumbling, frowning Mogwai-esque post-rock base of dour guitar minimalism, Coventry four-piece Those Amongst Us Are Wolves tend towards being post-post-rockers, needing little persuasion to roll right into classic-rock bodybuilder riffage. Cheerfully charismatic Ashby rockers The River Chickens, on the other hand, are travelling the other way: moving away from Cult covers toward their own honey-sweet heavy power-pop. Judge for yourselves below.



 

October/November 2017 – upcoming London experimental gigs – post-various loops and shades from Rothko, Yellow6 and Darkroom (12th October); Moondog For Gamelan plus Steve Lawson/Corey Mwamba duo (28th October); Steel Pan Fusion plays Philip Glass (23rd November)

4 Oct

Several longstanding Misfit City experimental favourites (all veterans of the liminal cross-encroachments between British post-rock, noise and electronic explorations during the 1990s) feature in a mid-month triple bill of shifting noise, words and melodies down at IKLECTIK.

Champion Version presents:
Edition 1: Rothko + Yellow6 + Darkroom
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 12th October 2017, 7.30pm
– information here and here

Champion Versions Edition 1, 12th October 2017Though they’ve passed through a shifting variety of lineups and different instrumentation, Rothko are based around a single constant: Mark Beazley’s resonant post-industrial bass guitar, which speaks stern granite-y notes and impressionistic chthonic drones and blurs, sketching and deepen evocatic musical landscapes from unyielding post-punk city visions to soft-edged post-rock hillscapes.

On this occasion they’re appearing in an expanded version of the beautifully bleak words-and-shades trio last mentioned in ‘Misfit City’ just under a year ago (in which Mark was joined by recitateur Johnny Brown from Band of Holy Joy, and by Inga Tillere on projected visuals). In place for tonight’s show is a fourth member – Mark’s Low Bias colleague Graham Dowdall (a.k.a. Gagarin), whose synth wizardry’s brought him into collaboration with Pere Ubu, Suns of Arqa, Roshi and no less than two former Velvet Undergroundeers (Nico and John Cale).


 
Intermittent and elusive, yet steadily prolific, Jon Attwood’s solo guitar project Yellow6 has links with the undersung east London post-rock scene of the 1990s (which also spawned A.R. Kane, Disco Inferno, Moonshake and Bark Psychosis (BP’s drummer Mark Hartnett would later put in a Yellow6 stint). Moving away from his initial goth and anarcho-punk roots (tempered with soul), Jon was drawn into the world of minimalism, repetition and reverbed/distorted drone loops. Shaped equally by Jon’s natural humility and his “obsessive need to create” toward an artistic peak he’s not yet reached, Yellow6 has produced over fifty releases with results variously described as “gentle shape-shifting misery” and “beautiful, shimmering and blissful”.


 
With roots in Cambridge science culture, propulsive and unorthodox ambient duo Darkroom initially found their feet in the fertile 1990s ferment surrounding art-poppers No-Man (initially sporting the latter’s singer Tim Bowness as a member, and providing that particular scene’s experimental edge alongside Steven Wilson’s electrodrones as Bass Communion). Since then, like a wide-orbiting comet, synthworker Os and guitarist Michael Bearpark have forged their own idiosyncratic path in and out of various drone, loop, texture and improv clusters, as well as becoming in-house soundtrackers for brain investigations at the Hub. Moving on from their earlier minglings of boiling starstuff, ambient techno and gasping tidal experimental textures, their more recent music is moody, beating improvised electronica increasingly shaped by Mike and Os’ rediscovery of attenuated blues tones, troubled elongated Neil Young guitar churns and dark bass clarinet voicings. For more assorted ‘Misfit City’ froth and musings on Darkroom, click here. Less celebrated than their gigmates, they’ll be opening the show. They could just as well be closing it.


 
This concert has been set up by boutique vinyl art-music label Champion Version, who’ll have one of their limited-edition vinyl EP featuring all three acts available on the night.

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Towards the end of the month, there’s an intriguing reconnection between late twentieth-century New York and the Indonesian form which inspired so much of it…

Moondog Gamelan, 28th October 2017
Europalia Arts Festival Indonesia presents:
Iwan Gunawan & Stefan Lakatos’ ‘Moondog For Gamelan’ + Steve Lawson/Corey Mwamba
LSO St Luke’s, 161 Old Street, St Luke’s, London, EC1V 9NG, England
Saturday 28th October 2017, 7.30pm
information

“Few musicians are the source of as much intrigue as Moondog. A blind man from Kansas transplanted to New York City, he dressed as a Viking and chose to live on the streets. His compositions reflect his experiences of hearing his way through the city – motifs borrowed from Jazz, Classical and Native American music unwind over the constant beating of a tom-tom drum, like the thumping of a subway train. Occasionally field recordings of traffic noise or crying babies sneak in, as if leaking through an open window. It’s the sound of a city, the sound of a wealth disparate parts coming together to create a complex whole – a kind of urban gamelan.

“For this concert, Moondog’s output is literally reimagined as gamelan by Iwan Gunawan (a reknowned contemporary Javanese gamelan composer known for combining the tradition with the use of electronics and computers) and Moondog’s friend and pupil Stefan Lakatos (who performs using a homemade percussion instrument given to him by the composer himself). Featuring instruments built especially for the occasion, this performance takes gamelan out of its traditional context, taking on Moondog’s experimental yet optimistic compositions. Almost minimalist in its construction – indeed, Moondog alleged that Phillip Glass once called him the “father of minimalism” – the influential outsider musician’s melodies resonate amid the controlled chaos of gamelan.”


 

In support, there’s a duo performance by another ‘Misfit City’ favourite – bass guitar looper Steve Lawson and experimental vibraphonist Corey Mwamba. Collaborators for at least a decade, they’re a pair of accessible yet stubborn musicians creating their own long-distance version of village music on the outskirts of the music business. Recorded/filmed evidence of what they do is surprisingly thin on the ground (I can’t find any) so you’ll have to go on word-of-mouth info about their past gigs. Expect some aspects taken from jazz and fed through sundry loops, delays and perky processors, but don’t expect them to be confined by that – their musical minds stretch from contemporary classical and process music to goofy tunes, and their textural tastes from lowdown murmur to ear-piercing noise. A big bucket to dip into.

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While we’re still on the topic of New York minimalism and Philip Glass, look out next month for what sounds like it’ll be an enthralling conjunction of Big Apple pulse and Caribbean tonal warmth…

Steel Pan Fusion Play Philip Glass, 23rd November 2017

‘Steel Pan Fusion Plays Philip Glass’
The Jazz Café, 5 Parkway, Camden Town, London, NW1 7PG, England
Thursday 23rd November 2017, 7.30pm
– information here and here

“One of the most influential and important composers of the twentieth century, Philip Glass is a pioneer of minimalist music alongside fellow luminaries Steve Reich and Terry Riley. With a body of work that stretches beyond contemporary classical music into film scores, operas and more, the source material is rich for reinterpretation. We have commissioned London based ensemble Steel Pan Fusion to perform a selection of works from Glass’ extensive repertoire, from his peerless ‘Glassworks’ to the soundtrack for ‘The Truman Show’.”



 

October 2017 – upcoming London experimental gigs – the Radiophonic Workshop takes over the British Library (13th October)

3 Oct

A quick reposting…

Radiophonics Workshop, 13th October 2017

The British Library presents:
Late at the Library: The Radiophonic Workshop & Guests
Entrance Hall @ The British Library, 96 Euston Road, Kings Cross, London, NW1 2DB, England
Friday 13th October 2017, 6.30pm

information

“The Radiophonic Workshop are one of the most influential electronic music groups of all time. Founded in 1958 by Desmond Briscoe and Daphne Oram, it was home to a maverick group of experimental composers, sound engineers and musical innovators including the late Delia Derbyshire. In a series of small studios within the labyrinthine corridors of the BBC Maida Vale complex, the Workshop set about exploring new ways of using – and abusing – technology to create new sounds.


 
“Their influence on popular music has been profound. As the in-house composers of music and effects for the BBC they created the sonic backdrops for ‘Doctor Who’, ‘The Hitchhikers Guide to the Galaxy’, ‘Tomorrow’s World’ and countless others. From The Beatles, The Rolling Stones, Prince and Pink Floyd through to some of the most innovative contemporary electronic artists and DJs, the Workshop’s legacy continues to grow as new generations of musicians discover their catalogue of extraordinary recordings.

“Now, nearly two decades after the Workshop was decommissioned, original members Peter Howell, Roger Limb, Dr Dick Mills, Paddy Kingsland and long-time associate composer Mark Ayres are back working together. They soundtracked the childhoods of several generations, now they’re back to soundtrack your Friday night with a two part set. The first is a live version of their first studio album for twenty-five years, the improvised work ‘Burials On Several Earths’, with guest collaborator Martyn Ware (Heaven 17, The Human League and BEF). The second is a heritage archive set in which the Workshop perform some of their best known material – including the high water mark of early British electronica – the signature tune for ‘Doctor Who’.

“Join the Radiophonic Workshop at 6.30pm for a special in-conversation event ‘Soundhouses: The Radiophonic Workshop at 60’. Tickets include entry to the Late event. Visuals for the night are performed by Obsrvtry, a collaboration between Michael Faulkner (founder of D-Fuse) and Ben Sheppee (creator of Lightrhythm Visuals), with a guest DJ set from Tom Middleton of Global Communication.”


 

May 2017 – upcoming London gigs – new SIKE! psych-rock night in Holloway (featuring The Spanish Infanta, Dazy Crown, Eyre Llew and Niris, May 11th); dance/pop/jazz with Agar Agar and Lucien & The Kimono Orchestra plus Is Tropical DJ set (May 16th); a womantronic evening with electric:indigo, A’bear and Lisa Busby (May 18th)

4 May

SIKE, 11th May 2017

gigmit presents
SIKE! (featuring The Spanish Infanta + Dazy Crown + Eyre Llew + Niris)
Nambucca, 596 Holloway Road, Upper Holloway, London, N7 6LB, England
Thursday 11th May 2017, 7.00pm
– information here, here and here

A new psychedelic rock night, launching at Nambucca in upper Holloway this month, attempts to capture the whole of the range within the genre. Good luck with that – Baba Yaga are still scooping up variations after years of plugging away at it.

That said, SIKE!’s debut night scintillates across a determined four-act psych spectrum from gritty backstreet hardness to sunkissed airiness. There’s the lysergic gutbucket garage sludge of The Spanish Infanta; the gentler post-punk-meets-West Coast-y songs of Dazy Crown, the soaring Icelandic-inspired raptures and wreckage of Nottingham’s Eyre Llew; and the Balearic chillout of instrumental duo Niris (a teaming of guitarist/multi-instrumentalists Nick Engel and Chris Hatwell which covers a broad range between uplit flamenco-inspired guitar duets, ambient sunrise electronica, and breezy dance songs). Examples below.






 
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Snap Crackle & Pop Live presents:
Agar Agar + Lucien & The Kimono Orchestra + Is Tropical (DJ set)
The Moth Club, Old Trades Hall, Valette Street, Hackney, London, E9 6NU, England
Tuesday 16th May 2017, 7.30pm
– information here and here

Agar Agar + Lucien & The Kimono Orchestra + Is Tropical DJ set, 16th May 2017Over in Hackney, the Snap Crackle & Pop label are running a Cracki Records night featuring a couple of French and Belgian acts who explore luminous, involved dance-and-groove styles (plus a DJ set from squat-party experimentalists turned international poptronicists Is Tropical).

The ’80s synth pop/acid disco hybrid of Agar Agar mixes resurrected old analogue tech with art school smarts and fluid contemporary sensibilities on identity and expression. Blending electro sunniness with the feeling of a haunt in the full noon brightness, there’s also (as with Elephant) an ineffable bruised melancholy creaming off the top. Their songview’s full of interesting propositions – from Prettiest Virgin’s dancefloor ballad of yearning, slightly predatory female longing (complete with suggestive, part-animated video clip of lost girl, naked dancers, dolphins and fleshy tunnelling) to the surreal night journey of I Am That Guy (with its burnishings of ominous analogue hornsynth, its intimations of housebreaking, and the profanity-laden, deracinated blues-growl of its cross-gender vocal).



 
Like Agar Agar, Lucien & The Kimono Orchestra draw on the 1980s (predominantly in their attempts to recapture impressions of French cinema and Japanese funk) but also look back towards the ’70s. Like Carl Hudson’s Moon Unit, they breathe new life into Lonnie Liston Smith cosmic jazz-funk, retool a handed-down Horace Silver vocabulary, and flood jazzy cascades and stabbing Wurlitzer syncopations through contemporary dance club sensibilities. On their vocal collaborations – such as Ship, with FM Laeti – they coast towards a Morcheeba cool. Left to their own devices, they’ll veer towards warm, skittish brain-grooves, occasionally like a slightly less oblique French take on Weather Report (or, as on Galaxies, like Brand X or the more fusionesque moments of Genesis).



 
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electric:indigo + A'bear + Lisa Busby, 18th May 2017

The Engine Room + Austrian Cultural Forum + The Wire presents:
electric:indigo + A’bear + Lisa Busby (DJ Set)
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 18th May 2017, 8.00pm
information

If you’re more interested in an evening of female musicians working way out in the left-field, IKLECTIK are offering the first British gig in twenty years for Austrian electro-polymath Susanne Kirchmayr – a.k.a. electric:indigo. Composer, DJ, producer and founder of female:pressure (the go-to directory for women in electronic music), on this occasion she’ll be performing “a unique version of her six-channel sound art piece ‘109.47 degrees’. The title of the ultra-wide hyper-stereo piece refers to “the ideal tetrahedral angle in foams as described in Plateau’s laws”. From a set of small acoustic particles ‘109.47 degrees’ creates complex sonic structures that “live on friction, cohesion and constant movement”…” Suzanne will also be being interviewed by ‘The Wire’s Emily Bick.


 
In support, “vocal/techno/experimental/rap/rainbow workout” artist Janine A’Bear will be performing a synths-and-voicewarp-and computers set of “electronic poetry” boasting “carefully constructed verse combined with themes of a cosmic nature.” That’s quite a lot of grab-quotes there. I’ve also grabbed a few examples of her work and laid them out here – shimmering, layered rivulets of synthesis at a post-techno pulse rate, there’s plenty in there, but if you want to explore her verse it sounds as if you’ll have to tease it out of the soundscaping with a wool-comb.

 
Working the DJ decks for the evening is musician, Goldsmiths music lecturer and Editions Of You head Lisa Busby; also known for her work with The Nomadic Female DJ Troupe, noise/improve/playback crew Rutger Hauser and electro-Dada duo Sleeps In Oysters (as well as a solo career as singer-composer exploring “the fringes of song… using domestic or outdated playback media as instruments, but also work(ing) in text-based score, installation and site specific performance…”). Come and listen to her uncrate her mind.

If you want to dig a little deeper, it’s worth noting that this concert is part of international sound art exhibition The Engine Room, running between 4th May and 1st June between IKLECTIK and the nearby Morley College.
 

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