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December 2019 – upcoming London gigs – Christmas music as Daylight Music 2019 autumn season concludes with Tomorrow’s Warriors Soon Come Big Band and Junior Band and Loucin Moskofian (7th) and a Lost Map party with Pictish Trail, Callum Easter, Rozi Plain and Glasgow Dreamers (14th); plus a follow-up Lost Map show with Pictish, Callum, Savage Mansion and Clémentine March (15th)

30 Nov

Daylight Music 10, 2019

As fits Daylight Music’s family-and-all ethos, the final two dates in their autumn 2019 season are Christmassy ones.

Daylight Music 325: Tomorrow’s Warriors Soon Come Big Band present ‘The Nutcracker’ + Junior Band + Loucin Moskofian, 7th December 2019The 7th December gig is a burst of Christmas jazz from the extended Tomorrow’s Warriors family, with one of their newer ensembles, the Soon Come Big Band, taking on a jazz version of ‘The Nutcracker’(originally reworked from Tchaikovsky’s original in 1960 by classic partners-in-big-bandery Duke Ellington and Billy Strayhorn). The score includes the transformation of The Sugar Plum Fairy into Sugar Rum Cherry and that of the Dance of the Reed Pipes into Toot Toot Tootie Toot.

Further info from the National Museum of American History:

“In his original liner notes for the Ellington-Strayhorn Nutcracker Suite, record producer Irving Townsend included the fantastic fiction that Ellington met Tchaikovsky while Ellington’s orchestra was performing at the Riviera Hotel in Las Vegas. Knowing that the Russian died in 1893, a full six years before the American was born, this meeting never could have happened in the literal sense. However, listening to the jazzed-up Nutcracker, one could imagine the work as a meeting place for the three great composers, separated by oceans and decades, but communicating through art.

“Ellington and Strayhorn did not simply place jazz rhythms over Tchaikovsky’s music. Instead, they picked up the notes, recast the beats, communed with the themes, and recreated the work, turning it into something that was at once completely their own and completely Tchaikovsky’s. In doing so, they showed that while music may be the universal language, it is spoken with many accents (and therein lies the fun).”


 
Also on hand is the Junior Band, a quintet of eleven-to-fifteen year olds taken from the youngest TW performer set Junior Warriors; plus TW’s Female Frontline frontwoman Loucin Moskofian, a young jazz/neo-soul/R&B singer in the classic mould who’s currently creating original work on marginalisation, identity and oppression.

 

Daylight Music 326: Lost Map presents ‘Yuletide In A Scotch Sitting Room’(featuring Pictish Trail + Callum Easter + Rozi Plain + Glasgow Dreamers), 14th December 2019The following week, on the 14th, the form-shifting/try-anything Scottish singer-songwriter and Lost Map label boss Johnny Lynch – a.k.a. Pictish Trail – heads down from the isle of Eigg bringing a bunch of his labelmates with him for their ‘Yuletide In A Scotch Sitting Room’ concert. “Expect a veritable clootie-dumpling of heart-warming wonky-pop, with the occasional cover of an Ivor Cutler song. The Union Chapel will be awash with Scottish voices, people pretending to be Scottish, and probably your Gran. (Everyone’s got a Scottish Gran, right?).” For what it’s worth, they pulled off something similar at Daylight Music the year before last…



 

Besides Pictish Trail, party confirmees so far are Edinburgh-based “otherworldly rhythm-and-blues” singer-songwriter, instrument-sound-warper and former Stagger Rat Callum Easter and Winchester alt-folkie/This Is The Kit member Rozi Plain. Knocking around at the end of the bill are Glasgow Dreamers, who are, as yet, unidentified. Last-minute Lost Map signing? Impromptu Lost Map supergroup? No-one’s saying.



 
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The day after the Daylight closer, Callum and Johnny (the latter as the “micro edition” of Pictish Trail) are staying in London and throwing a “whole afternoon-into-evening” follow-up concert at the Lexington. Also playing are a couple of the more recent-years Lost Map signings.

Lost Map at The Lexington, London (featuring Pictish Trail + Callum Easter + Savage Mansion + Clémentine March + others t.b.c.), 15th December 2019

Glasgow indie rockers Savage Mansion are led by singer-guitarist/onetime Poor Things player Craig Angus and specialise in drawling shack songs and literary dada in a Pavement vein. The work of transplanted Frenchwoman Clémentine March fuses Anglo-indie and noise rock with Mediterranean pop melodics and film editor sensibilities, and has led her from her former band Water Babies to a host of projects including floating membership of woodwose-y post-punk performance artists Snapped Ankles and, more recently, art pop choir HAHA Sounds Collective.



 
More Lost Map extended family members look set to join in at the Lexington, so watch that space…

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Dates:

Daylight Music 325: Tomorrow’s Warriors Soon Come Big Band present ‘The Nutcracker’ + Junior Band + Loucin Moskofian
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 7th December 2019, 12.00pm
– free event (with suggested £5.00 donation) – information here and here

Daylight Music 326: Lost Map presents ‘Yuletide In A Scotch Sitting Room’(featuring Pictish Trail + Callum Easter + Rozi Plain + Glasgow Dreamers)
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 14th December 2019, 12.00pm
– free event (with suggested £5.00 donation) – information here and here

Lost Map at The Lexington, London (featuring Pictish Trail + Callum Easter + Savage Mansion + Clémentine March + others t.b.c.)
The Lexington, 96-98 Pentonville Road, Islington, London, N1 9JB, England
Sunday 15th December 2019, 4.00pm
– information here, here and here
 

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

30 Oct

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

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

Versions of the Britten and Bridge pieces are below…



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

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

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

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

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

Versions of the last two are below…



 

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

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

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



 
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Dates:

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

Scottish Ensemble’s ‘Elemental’ tour:

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

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

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

27 Oct

Daylight Music 10, 2019

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

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

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



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

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


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


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

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



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



 

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


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

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




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



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

Daylight Music 323, 23rd November 2019

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


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




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


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


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

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


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



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

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

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

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

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

23 Oct

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

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

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

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




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

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



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

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



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




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

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


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



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

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

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

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


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

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



 
* * * * * * * *

More on other upcoming November femmetronica soon…

Meanwhile, dates for now:

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

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

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

information here, here and here

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

October 2019 – upcoming London experimental gigs – Retrophonica at the Brunel Museum (13th); Charles Hayward presents Sly & The Family Drone, V Ä L V Ē, Timestretch Alarmsong and Atatat (19th)

5 Oct

Retrophonica, 13th October 2019

Retrophonica is a new, very accessible multi-media performance project; currently focussed on the branching aerials, primal wooo and touch-me-not anticipations of theremin playing. It’s launching itself with an evening of two (identical) concerts in the yawning brick gullet of the Brunel Museum’s Grand Entrance Chamber (also known as the top of the southern Thames Tunnel shaft).

Celebrating the instrument’s centenary, these will be an “immersive evening of music for theremin and full orchestra”, while delving into the story of the instrument’s creator, Léon Theremin. From here, it sounds as if the concerts will be a cross between a pops-orchestra occasion, a slide-show history lesson writ large and a session of nostalgic avant-garde tinkering; all of it enclosed in that bleak, beautiful and magnificently functional Victorian civil-engineering maw.

As they say themselves,“prepare for an immersive audio-visual experience, complemented by cocktails, lightshow, and narration, featuring original and adapted music for theremin by Dmitri Shostakovich, Bohuslav Martinů, Miklós Rózsa, Les Baxter, Claude Debussy and John Williams, performed by Retrophonica with thereminist Charlie Draper, new arrangements and works by Alex Palmer, and bespoke narration from author Ken Hollings.”



 
You might already know Charlie from all manner of bookings, everywhere, for both theremin and ondes martenot: here’s an earlier mention. Alex has written and arranged extensively for theatre, film and concert hall, and looks as if he’ll be adding the sweeter edge to the evening. As for Ken, although I suspect that he’ll be operating on calmer terms tonight, he’s most likely to be the one to toss in a wild card or two. Having started work in the 1970s as a literary factual editor (how ominous such a description sounds now) he went on to an early-’80s spell as vocalist and cut-up’er in Manchester post-punk band Biting Tongues, followed by an expansion into essays, libretti and experimental fiction (all of which have dipped into and across other disciplines from Japanese films to twentieth-and-twenty-first century politics to data structures).

I’ve no idea who’s contributed the orchestra. As for the cocktails, there’s no further word on them; nor on how you might mix one called a Thames Tunnel.

* * * * * * * *

Just under a week later, downriver at Deptford, London art-rock/post-punk/improvisation godfather Charles Hayward will be putting together the second of this year’s “genre-fluid” Charles Hayward Presents concerts at the Albany, unfurling “new sounds from the underground and outsider scenes of London and beyond” and massing together elements of jazz/improv, art punk, noise, contemporary classical and electronic music.

Charles Hayward Presents..., 19th October 2019According to Charles himself, his own performance centrepiece will be the project-cum-band Timestretch Alarmsong… a sequence of tunes and sound snakes that I’ve put together with Tom Challenger (Dice Factory/Ma saxophonist), Yoni Silver (multi-instrumentalist with Hyperion Ensemble and many others), Roberto Sassi (Cardosanto/Anatrofobia/Snorkel guitarist), Nick Doyne-Ditmas (double bassist and Hayward collaborator in Monkey Puzzle Trio).

“It’s tightly rehearsed and goes through a wide range of attitudes and (more importantly) emotional energies. To my ears it’s super exciting and I feel like we’ve pushed at a few barriers and come up with something new that has melody, shape and grooves from light to super heavy/dark. There’s no clips available but we will be recording the project for future release. All the players are fantastic musicians and working on the project has been a study in joyful cooperation.”

In the absence of a collective clip, here’s a scatter of solo ones and examples of related projects:





 
Three other acts join in for the night. ‘Gentle Persuaders’, the latest album from contemporary drum/noise/saxophone ritualists Sly & The Family Drone – is intended as “the politest of bludgeonings”; its creators still merge Ayler-esque free jazz, industrial rock pummel, celebratory machine hiss and the loose-hanging exploratory feel of a bass-less duo. They also still give out drums at their concerts, inviting a congregation of noise.



 
Also back in the fray is V Ä L V Ē, with music that’s less workshop than workshed. Strongly DIY (featuring reed instruments, electronics, invented gizmos, bass guitar, concert harp and singing women), it’s the sound of a trio of highly trained musical minds phasing back into spontaneity and play. A sort of three-way attempt to become idiot savants via assorted glitchery and boink, semi-spontaneous nursery rhymes and tunelets and musical devices (built out of shelves, tobacco tins, old house bells and similar Branestawmery), but via a female pattern.


 
Finally, there’s Atatat – a solo project from Liverpool art-freak music mainstay J.C. Barbara (best known as drummer/ranter for aPAtT and Barberos, and here using a very Haywardian array of drums, contact mics, loops and vocals).


 
Designer Raimund Wong (whose work has adorned posters and releases by Total Refreshment Centre, Church Of Sound and Baba Yaga’s Hut, and who shares Charles’ interest in chance theory and the ingenuity forced on artists via DIY minimalism) will be DJ-ing.

* * * * * * * *

Dates:

Retrophonica
Brunel Museum, Railway Avenue, Rotherhithe, London, SE16 4LF, England
Sunday 13th October 2019, 6.00pm & 8:30pm
– information here, here and here

Charles Hayward Presents… (featuring Sly & The Family Drone + VÄLVĒ + Timestretch Alarmsong + Atatat + DJ Raimund Wong)
The Albany, Douglas Way, Deptford, SE8 4AG London, United Kingdom
Saturday, 19 October 2019, 7.30pm
– information here and here
 

October/November 2019 – Moor Mother’s ‘The Great Bailout’ with the London Contemporary Orchestra in Kraków, Gateshead, Ghent and London (6th, 12th, 16th, 23rd October), with Galya Bisengalieva and Klein joining in London. Plus further Moor Mother dates in Utrecht, Helsinki and Madrid with Zonal, Eartheater and Cruhda (7th, 11th, 15th November)

1 Oct

The unnerving, brilliant Afrofuturist beat-poet and sonic manipulator Camae Ayewa – a.k.a. Moor Mother – swings back to Europe for a brace of concerts during October and November, during which she’ll showcase her latest project, ‘The Great Bailout’. This is a collaboration with the London Contemporary Orchestra (arguably the capital’s most committed ensemble to both new classical concert music and its intersection with other musical forms and disciplines). It follows Moor Mother’s earlier work this year as part of liberation-jazz group Irreversible Entanglements and her recent contributions to the Art Ensemble of Chicago’s fiftieth anniversary album ‘We Are All On The Edge’ (in which she layered her poetry over the exuberant live improvisations of the surviving members of the original resistance jazz band.) For a more in-depth summary of her explosive protest-griot work, click here.

Moor Mother v London Contemporary Orchestra: 'The Great Bailout' tour, October 2019

There’s not much advance publicity regarding ‘The Great Bailout’. What there is lays the ground for performances of “a free-verse poem that acts as a non-linear word map about colonialism, slavery and commerce in Great Britain and the Commonwealth.” Given that Moor Mother’s previous work has consistently exploded conceptual/emotional bombs underneath the economic, social and psychic legacy of slavery and racism in America, you can expect her to have come up with something ferociously critical of the cherished white-British myths and veilings around the history and repercussions of Empire. As the organisers put it, “we can’t help but expect the first few rows… to leave this performance with singed eyebrows and melted glasses at the very least.”

I’m guessing that the project title refers to one of the most miserable semi-secrets of the eventual abolition of British slavery – this being the handsome payoffs eventually delivered (post-emancipation) not to the freed slaves themselves as backpay, apology or recompense, but to their indignant and haughtily entitled British former owners as property compensation. This kind of withering, righteous black interrogation invading white concert halls (in fact, being invited in) is in keeping with the necessary re-examinations of the roots of modern Western culture. I’m reminded of Doris Salcedo’s colossal ‘Shibboleth’ installation at the Tate Modern, in which she slashed the gallery floor with an ever-widening crack standing for the original Tate sugar money, its dirty roots in plantation slavery, and the consequent ethical undermining of the gallery and its history – a microcosm of white Western culture and wealth and the exploitation underneath.

It’s also in keeping with the ongoing rumblings and debate regarding the slave-trading roots of Bristol, the strategic heartland of the Middle Passage’s triangular trade – with the slave trader imprints on the names of its great buildings and statuary (some of which were recently and pointedly encircled with diagrammatics of slave ships and their suffering human cargo). You can’t help thinking that the organisers of ‘The Great Bailout’ really missed a trick by not scheduling a Bristol date, and perhaps a Liverpool one, alongside the London one. Gateshead – which does get a ‘Bailout’ date – has less of a stained history in this matter, along with its sister city Newcastle: distanced from the heart of the trade, and with the Tyneside anti-slavery movement being an early starter. London, though, grew fat on the profits, with its own triangular trade bigger than anywhere else in Britain.

There may be different resonances associated with the two continental European venues on the tour. Kraków is a little detached from diasporan agony, its own kind of historic slavery having been in the form of homegrown serfdom (Poland’s class savagery was traditionally applied to its own peasants, and its colonialist oppressions visited on the nearby Ukraine rather than on Africa). Ghent, on the other hand, hosted and shaped the 1814 treaty in which, in part, Britain and Belgium applied themselves to ending African slavery and the Middle Passage trade (albeit on their own terms, part of the strategic power-plays of the age as much as it was through any humane impulses).

It’ll be interesting to see if Moor Mother will have taken note of these things, dredged up these uncomfortable stains and compromised atonements and woven them in too. Whether each city on the tour route is given its own case to answer – hidden bones coming to light after two-and-a-half centuries of obscuring and snowjobbing.


 
There will be extras at the London show. Experimental violinist and London Contemporary Orchestra member Galya Bisengalieva will be performing an opening set of her own electroacoustic chamber music, duetting live violin with cunningly sculpted electronic sound-shaping. What I’ve heard so far is elegant and highly dramatic: sonic booms, string drones, eerie hard-eyed processional melodies against harshly majestic electronic architecture and steppe-scapes reflecting Galya’s own Kazakh background.

 
A second opening set is being provided by British-Nigerian south London glitch artiste Klein. An abstractioneer for three years, she started out being hailed as a kind of reinventor of gospel. Certainly her early recordings dipped into the form and she’s admitted that for many years it was her only reference point. It didn’t take her long, however, to move far beyond it. Other early tracks came across as a collagist log of the sounds of her community: not straightforward field recordings, but crafted patchworks of impressions and implicit meaning, finding vocal and musical fragments as important, in themselves, as actual complete sentences and phrases. Her ‘Tommy’ album, in 2017, was a kind of vaporously dissolved Afro-London laptop opera.

These days, memories of black church music continue to drift and prowl through Klein’s increasingly adventurous recordings, but they’re only part of her palette. While she keeps a toehold on more mainstream black musical ideas (a track like Changes sidles up to drill music, a shuffling slide of plate over plate, of violent masculine monologue recounted), most latterday Kleinwork is miasmic re-sortings of black vocal fragments over dark ambient dreamquakes and feathertwig beats: sometimes sobs or dramatic breaths, or slivers of story (somehow bigger than they appear, the way that individual black stories so often seem to trail implication entire cultural histories). Either that or they’re ribbons of dirty noise, swirls of demonstration with strange vocal glitches playing across them – gasps, lip noises, inchoate expressiveness.





 
* * * * * * * *

Moor Mother’s own roots are in gospel too, although she’s previously qualified that “my family used to listen to scary gospel—Mahalia Jackson, people who were not just waiting for Jesus to come, but being like, “This is what we’re living with, we’re going to push through. I’m climbing up the rough side of the mountain, and we’re going to get into this chariot and go to a better place”…” There’ll be more evidence of “negro spirituals flipped, remixed, and recaptured” on the second full Moor Mother album, ‘Analog Fluids Of Sonic Black Holes’, which is emerging on 8th November. In keeping with her work so far, the record will cover the themes of “myth, black mothers, vodun, quantum futurism and post-colonial street narratives.”


 
I’m guessing that this material, or spins on it, will be in strong evidence in the three further European dates Moor Mother will be playing in November following the ‘Great Bailout’ events. The first of these will be in Utrecht, as part of the Le Guess Who? Festival. Here, she’ll be rejoining Kevin Martin and Justin Broadrick‘s “smacked-out hip hop” project Zonal (as one of two featured vocalists, alongside “fire-and-brimstone dub poet” Nazamba).



 
The second event is her headlining show in Helsinki. There, she’ll be supported by Alex Drewchin – a.k.a. non-binary multi-media art’n’music hopper Eartheater: who, over a five-year span in New York, has graduated from straightforward, deliquescing dreampop covers of Kate Bush songs to flittering unorthodox trance pop and sprawling, deconstructed anti-manifestos of collaged noise and brain-jumps. Beyond the electronics, current Eartheater work reflects the idea of body as instrument, psyche as testbed, ears and memory as record-and-playback devices.

The most recent Eartheater album, ‘IRISIRI‘, is a simultaneous explosion and dismantling of sonic and conceptual ideas across the spectrum. Plunderphonic chamber music samples, scraping noise effects, dance beats and thoroughly masticated chunks of ruined pop spat out and left on New York lamp posts, in apartment stairwells and practise spaces, leaving a scattering of recombinable fragments for other people to get stuck on and to mull over; flitting word associations and deconstructions of gender, of memories, of momentary definitions. There’s even the occasional joke (“I have no metaphor for you today – I’m off work…”). It’s both impersonal and entirely personal in its blink-and-you’ll-miss-‘em running of personal insights and questions through a mill of big city information overload. Yes, it raises more questions than it provides coherent answers, but at least it’s intent on chopping out a space of possibilities in the first place.




 
Moor Mother’s other headliner is in Madrid, where she’ll be supported by emerging Spanish eclectician Cruhda. The latter’s work is softer and in some ways more accessible than that of most of the other people covered in this post, but that’s selling it short. It’s disruptive, just in a subtler way.

Crudha’s debut EP ‘Íbera Morte‘ is founded on selections and deliberate echoes of Spanish folk music, refracted through any number of home-studio cut-up-and-stick-in methods and stylings – musical box clinkings, Dead Can Dance Gothicity; Autotune and didgeridoo buzzes; structural interruptions and glitchtronics. Sylvan organ-drone folk gets carved into by straying intrusive beats like a prowling beast on a campside sortie; by warping bass synth growls; and by vocal cut-ups and lead lines from raw railing roars to dovelike sighs and monastic harmonies. It’d be crass simply to call Crudha a Spanish Björk, but there’s a similar breadth of imagination and reconstructive willpower here, as well as a similar reluctance to abandon melody.



 
* * * * * * * *

Dates:

Moor Mother v London Contemporary Orchestra: ‘The Great Bailout’

Zonal feat. Moor Mother & Nazamba;
Le Guess Who? 2019 @ TivoliVredenburg, Vredenburgkade 11, 3511 WC, Utrecht, Netherlands – Thursday 7th November 2019, time t.b.c.
– information here, here and here

Moor Mother + Eartheater
Tavastia Klubi, Urho Kekkosen katu, 6 Helsinki, Finland – Monday 11th November 2019, 7.00pm
– information here, here and here

Moor Mother + Cruhda
Siroco, Calle de San Dimas 3, 28015 Madrid, Spain – Friday 15th November 2019, 9.30pm
– information here and here
 

October 2019 – Daylight Music’s 2019 autumn season continues – Janek Schaefer, Joby Burgess and AVA (5th October); Keith Tippett & Matthew Bourne with Tania Chen & Steve Beresford (12th October); We Like We, Otto A Totland, Rauelsson and F.S.Blumm (19th October); Susumu Yokota remembered and reinvented by Isan, Seaming To and The Imperfect Orchestra (26th October)

25 Sep

Daylight Music 10, 2019

Following its folk-tinged September concerts, Daylight Music’s autumn 2019 season continues with four October concerts including a piano event, a reinvention of the music of Japanese ambient composer Susumu Yokota and a couple of sustained, themed but accessible dips into post-classical sound art.

* * * * * * * *

Daylight Music 316: Janek Schaefer + Joby Burgess + AVA – 5th October 2019“For ‘Space In This Place’ (on 5th October), get ready to really experience the chapel and engage with the space in new ways as it resonates and reverberates through the transmission of radios, the pounding of bass drums or the rumble in your belly of the chapel own in-built synthesizer – the Henry Willis organ.

“Sound artist, entertainer, and professor Janek Schaefer trained as an architect at the Royal College of Art, where he fell in love with exploring the relationship between sound, space and place. He has exhibited and performed in over thirty countries worldwide, from The Tate Modern to The Sydney Opera House, and has released thirty-four albums, including collaborations with Charlemagne Palestine, Philip Jeck, Robert Hampson, and Stephan Mathieu.

 
“Watching violinist Anna Phoebe and pianist Aisling Brouwer of AVA interact on stage is always a mesmerising experience – and it will be enhanced by the Chapel’s acoustics. Rooted in cinematic narratives, AVA’s music unfolds around the relationship between violin and piano, evoking emotional journeys that never conform to expectations and yet are instantly accessible. The duo has recently released their debut album, ‘Waves’, on One Little Indian Records.


 
“One of Britain’s most diverse percussionists, Joby Burgess can often be heard on major film and TV scores, notably leading the percussion on ‘Black Panther’, ‘The Darkest Hour’, ‘Paddington 2’, ‘Trolls’, ‘The Last Kingdom’ and ‘Taboo’. He was featured on the score to Alex Garland’s ‘Ex Machina’. His recent highlights include extensive tours with Peter Gabriel’s New Blood Orchestra, PUNKIT (an adventurous participatory project for massed percussion ensemble by Stephen Deazley), and ‘Pioneers of Percussion’, a solo recital programme featuring new work by Nicol Lizée, Linda Buckley and Rebecca Dale.

Joby will perform ‘Qilyaun’ (for solo bass drum & electronics) by John Luther Adams and ‘Can’t Sleep’ (for vibraphone & electronics) by Rebecca Dale.



 
“Joining the dots this week will be computer musician, digital choir boy, and algorithmic composer, Daniel James Ross (a PhD student and associate lecturer at Goldsmiths). Dan will be live-sampling the main performers and running the recordings through his brand new, custom-made, algorithmic composition machine, playing back whatever weirdness it produces whilst you eat your quiche.”

 
* * * * * * * *

The 12th October Daylight is a piano event presented in association with Sound UK and the Unpredictable Series concert series, criss-crossing British jazz, contemporary classical and spontaneous music:

 
“Witness two of Britain’s most adventurous jazz pianists join forces this October. A seminal figure in the evolution of UK jazz since the 1960s, Keith Tippett has forged his own ever-evolving sound as both composer and improviser. Thirty years his junior, Matthew Bourne has similarly explored the horizons of jazz and contemporary music, on both analogue synths and the acoustic piano. Inspired by Tippett’s suggestion to ‘do some playing together,’ in late 2016 this new and exciting musical partnership between two maverick pianists, a generation apart, is a meeting of like-minded but distinct individuals. Both are mesmerising live performers, famous for their idiosyncrasy, virtuosity, and non-conformity. Marking a key point in Tippett and Bourne’s simpatico relationship, which has spanned some twenty years already, they are finally joining forces to make new music together.



 
“Special guests this afternoon will be Steve Beresford and Tania Caroline Chen. Beresford has been a central figure in the British and international spontaneous music scenes for over forty years, freely improvising on the piano, electronics and other things with people like Derek Bailey, Evan Parker, Han Bennink and John Zorn: he has an extensive discography as performer, arranger, free-improviser, composer and producer, and was awarded a Paul Hamlyn award for composers in 2012. Tania Caroline Chen is a pianist, sound artist and free improviser, who draws her inspiration from the New York, British and European schools of 20th century experimental composition: she has performed and recorded the works of John Cage, Morton Feldman, Earle Brown and Cornelius Cardew as well as compositions by Andrew Poppy, Michael Parsons, Luc Ferrari, Arnold Schoenberg, Anton Webern, Eric Satie and Alexander Scriabin.”

 
This event will also feature a duet performance from pianists Cameron Ward (a mainstay of north English jazz bands such as Racoon Dog Soup) and Glen Leach (an improviser who also plays hip hop with NixNorthWest and adds a jazz-fusion aspect to grime act Project Hilts).

 
* * * * * * * *

The Daylight on the 19th is “dedicated to sonic landscapes and instrumental explorations through electronic and piano music with Berlin based label Sonic Pieces, who also mark ten years since their first release.

 
We Like We – the duo of Katrine Grarup Elbo (violin) and Katinka Fogh Vindelev (voice) – perform a version of ‘Time is Local’, a work co-created by the ensemble and sound artist Jacob Kirkegaard. Originally this was a twelve-hour multichannel performance, based on a live installation in twelve different chambers of a museum. This afternoon’s performance will bring a version of this new project to the chapel, continuing their mission to express sound beyond the grid of genres.


 
“Minimalistic, melodic, visual, and calming, Otto A. Totland‘s music reflects both his early interest in computers, sequencers and synths and his subsequent departure from them to focus on piano composition. He has released two solo piano albums, ‘Pinô’ and ‘the Lost’, on Sonic Pieces. Otto is also a member of the duo Deaf Center with Erik K Skodvin.

 
“Known for his constant musical evolution, Rauelsson’s musical journey has transitioned from lo-fi, intimate compositions of delicate folk to a more contemplative, experimental, and dense sound. His latest release, ‘Mirall’, is an eclectic collection of compositions that celebrate electronic exploration while maintaining a focus on classical instrumentation. In addition to his main discography, Rauelsson has also released music for film, documentary and photographic projects.

 
“Frank Schültge is a German author, musician, and producer, working under the pseudonym F.S. Blumm. He has recorded many collaborations but is perhaps best known on Sonic Pieces for the album of unconditional spontaneity with Nils Frahm. Based in Berlin, Frank absorbs everything and takes it with him, weaving it into his instrumental portraits. “The man makes some damn charming music.” (‘Pitchfork’).”


 
This is another extended Daylight event, running on until 2.15pm.

* * * * * * * *

Daylight Music 319: Interpretations: The music of Susumu Yokota (featuring Isan + Seaming To + The Imperfect Orchestra) – 26th October 2019

The last of the October Daylights is a tribute to the late Susumu Yokota, curated by Lo Recordings“a suitably diverse and esoteric collection of musicians to perform compositions from his catalogue. This event also marks the release of ‘Cloud Hidden,’ an album of previously unreleased music by the producer.

“Antony Ryan and Robin Saville have been making music as Isan for over twenty years. Their music takes threads from early electronic experimentalism, blurry dream-pop, motorik rhythms and diverse modern modular sounds, weaving them into a confection which is entirely their own. Sweet but rarely without a melancholy edge, they have been described as making “difficult music easy to listen to”. Onstage, Isan fill the space with beautiful washes of noise and rhythm. They will be taking Yokota’s compositions as starting points and augmenting them with improvised beats, pulsing melodies and rippling loveliness.


 
Seaming To has been described as “the voice of the twenty-first century” (‘BBC Radio 1’), and an artist that is truly “avant-garde” (Robert Wyatt). Her experimental ethos and mastery across a variety of instruments has enabled her to collaborate with some of the most respected and radical artists of this decade, particularly in electronic, classical and experimental genres. Expect a uniquely engaging take on Yokota’s work.


 
The Imperfect Orchestra have been writing and performing since 2013. They specialise in working with amateur and non-musicians to produce live performance soundtracks for moving image and contemporary art events. For this commission, Imperfect Orchestra will be taking specific elements from the work of Susumu Yokota and developing it into an eclectic live performance that creates a narrative exploring some of the themes that were important to his life and his work, including sampling and resampling audio, found sounds and field recordings, and spirituality and electronica.


 
George Crowley is a saxophonist, clarinettist, composer and promoter based in London. As a performer he is active across a range of styles; whether infusing melodic through-composed writing with open, searching improv in his own Can Of Worms, channelling fiery avant-parade ghosts in Brass Mask, weaving through the polyrhythmic Ghanaian trance of Vula Viel or exploring more traditional repertoire, He can also be found playing with bands and musicians such as Melt Yourself Down, Yazz Ahmed, Red Snapper, the Olie Brice Quartet featuring Jeff Williams.”


 
* * * * * * * *

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

  • Daylight Music 316: ‘Space In This Place’ (featuring Janek Schaefer + Joby Burgess + AVA) – Saturday 5th October 2019, 12.00pm – information here and here
  • Daylight Music 317: Keith Tippett & Matthew Bourne with Tania Chen & Steve Beresford – Saturday 12th October 2019, 12.00pm – information here and here
  • Daylight Music 318: ‘Time Is Local’ (featuring We Like We + Otto A Totland + Rauelsson + F.S. Blumm) – Saturday 19th October 2019, 12.00pm – information here and here
  • Daylight Music 319: ‘Interpretations: The Music Of Susumu Yokota’ (featuring Isan + Seaming To + The Imperfect Orchestra) – Saturday 26th October 2019, 12.00pm – information here and here

Details on November’s Daylight concerts to follow in due course…
 

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