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December 2017 – various upcoming gigs in Bristol and London – Seitz, Tom O.C Wilson and Northwest (17th December); Colonial Sun, Mally Harpaz and V Ä L V E (19th December); The Secret Crowd and The Many Few (15th December)

7 Dec

Here are three more upcoming December shows across the coming fortnight which caught my interest. There’s a three-helping dose of sophisticated underground pop on a decommissioned barge in Bristol; another triple-decker in London covering moody post-colonial balladry, electro-acoustic film music and experimental collage-composing; and finally an easy-going London indie rattlethrough…

As I’m still rushed, what follows is the usual textgrab from press releases and gig guides, although I’ve leaned in to dab in extra information where needed…

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Seitz + Tom O.C Wilson + Northwest, 17th December 2017

Seitz + Tom O.C Wilson + Northwest
Grain Barge, Mardyke Wharf, Hotwell Road, Bristol, BS8 4RU, England
Sunday 17th December 2017, 8.00pm
– information here and here

“A Sunday night triple-bill of advanced accessible music. Here’s what to expect:

“Hailing from Germany via California and incubated in Bristol, singer and pianist Carolin Seitz formed Seitz in 2015 – a glacial chamber trio bringing you some vast and microcosmic torch hop. Think Lotte Lenya on Pukka tea!


 
Tom O.C Wilson is an Anglo-American pop composer with an insatiable appetite for musical discovery. His music straddles the line between the classic English pop songwriting tradition (Ray Davies, Andy Partridge, Damon Albarn) and the sophistication of current US acts such as Dirty Projectors and Deerhoof. Yet his musical canvas also draws upon wider influences, from the exuberance of contemporary jazz (Denys Baptiste, John Hollenbeck), to the irresistible rhythmic pull of Sardinian guitarists such as Paolo Angeli and Marino De Rosas.

“Tonight he is joined by the dynamic and musically sensitive trio of James Ashdown (drums), Steve Haynes (bass) and Steve Troughton (keyboard), to perform songs from his recently released album “Tell A Friend” (Pickled Egg Records).


 
Northwest are an experimental pop duo based in London, formed by the Spanish-born singer and composer Mariuca García-Lomas and producer and multi-instrumentalist Ignacio Simón. Their music explores different genres (from contemporary classical music and avant-garde electronica to experimental pop, psychedelia and trip-hop) and has drawn comparisons to artists such as Julia Holter, Portishead or Grouper. Their euphoric performances have quickly become recognized as one of the most captivating and mesmerizing live shows around.”

 
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Colonial Sun + Mally Harpaz + V Ä L V E, 19th December 2017

Blind Dog Studio presents:
Colonial Sun + Mally Harpaz + V Ä L V E
The Victoria, 451 Queensbridge Road, Hackney, London, E8 3AS, England
Tuesday 19th December 2017, 7.30pm
– information here and here

Colonial Sun is the brand-new musical moniker of James Marples, an Australian singer-songwriter who sings dark ballads set amongst minimal cello and percussion arrangements, and whose work has drawn comparisons with Howe Gelb, Sun Kil Moon and Mark Lanegan. Emotionally lucid and at times surreal, these songs explore history, nostalgia and a sense of place and draw on imagery ranging from the Australian landscape to the decaying monuments of empire. This is only the second Colonial Sun gig, for which James will be joined onstage by a new and very special guest…

“James has previously released music (including 2006’s ‘Heads Are Down, Collars Are Up’ EP) on two independent record labels and performed his own compositions at the Glastonbury Festival and at theatres and venues in Europe and Australia. He worked with Second Hand Dance on the music for the shows ‘Creepy House’ and ‘Grass’, and (during 2017) has been the songwriter-in-residence at the Menzies Centre for Australian Studies at King’s College, London.

“Drummer, pianist and multi-instrumentalist Mally Harpaz (who’s played with Lunatic Crash, Anna Calvi, Hazel Iris, Ciara Clifford and Jessica Lauren) will be performing her original compositions joined by a small number of phenomenal musicians and special guests. These distinct pieces were mainly written as part of a collaboration with award-winning video artist Clara Aparicio Yoldi for several short films including ‘Iconosfera’, ‘Zoom Out’, and ‘Zoom In’: the original recordings feature (among others) Anna Calvi, Mark Neary and Mally’s old Lunatic Crash bandmate Eran Karniel.

“Mally’s reverence for the profound creates mysterious melodic lines and shares a luscious ambience with other contemporary pioneers such as Steve Reich, Max Richter, and Nils Frahm.

 
V Ä L V E is the outlet for the compositional work of composer/performer Chlöe Herington (also a member of Chrome Hoof, Knifeworld and Half The Sky), using text and image as the starting point for scores. Chlöe collects sounds and diagrams – such as score fragments found in skips, or electrocardiograph printouts – composing predominantly for bassoon, saxes, electronics and found sounds to explore synaesthetic memory and collective experience.

“Live (joined by Emma Sullivan on bass, Microkorg and vocals and by Elen Evans on harp), the music traverses the realms of noise and improv into songs, punctuated with found sounds and eases into spacy soundscapes.”



 
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The Secret Crowd + The Many Few, 15th December 2017

If you fancy something a little more straightforwardly poppy, then there’s this show a little earlier in the week. The Secret Crowd headline with their sunny semi-acoustic pop-punk (with added ukulele and trumpet), supported by endearing ‘Misfit City’ faves The Many Few playing material from their brand new album ‘Sharkenfreude’, (plus Fleetwood Macs – I don’t know, covers band or ironic indie?). All of it preceding the usual ’60s Mod, Motown and soul disco at the Crawdaddy! clubnight.

The Secret Crowd + The Many Few (Christmas Special) + Fleetwood Macs + Crawdaddy Club Night
The Fiddler’s Elbow, 1 Malden Road, Kentish Town, London, NW5 3HS, England
Friday 15th December 2017, 6.00pm
– information here, here and here

Here’s The Many Few sounding like a delightfully rickety collision of Deacon Blue and XTC with West African highlife; and (due to newness of band and shortage of online material) some muffled recent-gig phone footage of The Secret Crowd…

 

December 2017 – experimental gigs up and down Britain – Kammer Klang plays Mary Jane Leach in London (5th December) plus Mette Rasmussen, Sofia Jernberg and Dawn Scarfe; Gnod R&D on tour with URUK and pals (7th, 8th, 10th); Xposed Club at Cheltenham with Alexander Hawkins, Raymond MacDonald, Sharon Gal, Stuart Wilding, Chris Cundy (8th)

30 Nov

Kammer Klang presents:
Kammer Klang: Ashley Paul & Ensemble (performing Mary Jane Leach) + Mette Rasmussen & Sofia Jernberg + Dawn Scarfe
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 5th December 2017, 7.30pm
– information here and here

Kammer Klang, 5th December 2017 The coming month’s Kammer Klang has only a tenuous relationship with contemporary classical, concentrating as it does on musicians who espouse either free improvisation or natural resonance.

The evening centres on an ensemble led by clattering, free-form multi-instrumentalist and composer Ashley Paul (who recently supported Powerdove further north at the Old Dentist) and featuring Hyperion Ensemble bass clarinettist/utility person Yoni Silver, cellist/Kammer Klang organiser Lucy Railton, onetime Sonic Youth guitarist-turned-ubiquitous London art musician Thurston Moore and Charcoal Owls’ multi-instrumentalist Tom James Scott on piano (a man who generally brings a specifically Cumbrian twist to his playing, gizmo fiddling and use of field recordings). They’ll be playing ‘Wolff Tones E-Tude’, a cellular Christian-Wolff-inspired piece by American composer Mary Jane Leach (example performance below).


 
Much of Mary Jane’s work focusses on acoustic properties and how sound environments form in specific spaces with particular resonances and opportunities for difference, combination, and interference tones; in addition, how these may be manipulated by a performer, composer or editor (or by someone who’s a combination of all or some of those things). She herself will be present for the performance, which also includes a stereo-diffused playback of her 1992 radio sound piece/hörspiel ‘Kirchtraum’ (about which she says “Have you ever walked into a church, and it seems as if there is sound rolling around the space that’s been there for a long time? I created ‘Kirchtraum’ to create a sound dreamscape to create that kind of feeling. It uses the phases of a dream, going progressively further back into the past and becoming more chaotic with each phase. I used nightingales to punctuate the different phases of the dream, to differentiate between the dream and the environment…”). In addition, she’ll be present for a pre-concert workshop on Sunday 3rd December from noon until 5.00pm (giving a lecture and offering feedback on pieces any composers care to bring in) and, prior to the concert on the Tuesday, participating in a public talk with Frances Morgan at 7.00pm.

 

Opening in the Fresh Klang slot is Dawn Scarfe, a sound artist preoccupied with “things that seem to sound themselves, such as resonating glasses, Aeolian wires and self-opening swell boxes”, and who’s brought this preoccupation to sound installations between Cumbria and London, Exeter and Estonia, Brussels and Seoul. Her projects include the livestreamed ‘Reveil‘ “an annual crowdsourced live broadcast which “tracks the sound of the sunrise around the world for twenty-four hours” using open microphones provided by streamers around the world: she’s described it as intending “to open a space for listening to something else – especially from places where humans and not humans meet – and in the course of one earth day to provide a sketch of this emerging field.” 2017’s edition included contributions from Maputo, Tehran, New York, Kolkata, Santiago de Cali, nature reserves in Cumbria’s Walney Island and Australia’s Noosa Biosphere Reserve, and even the Fukushima Exclusion Zone. On this occasion, Dawn will be performing ‘Tuning to Spheres’, written for wine glasses, sine tone generators and turntables.

 

Closing the evening out will be a free experimental duet between raw Danish Trio Riot saxophonist Mette Rasmussen (who works with both plain and prepared instruments) and Swedish/Norwegian singer/composer Sofia Jernberg (who works with a twisting barrage of vocal techniques including split tone singing, pitchless singing and distorted singing)



 

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Fresh from some well-publicised collaborations with avant-rock godfathers Faust, countercultural Salford sound wizards Gnod are returning to their ongoing “R&D” tour. For more on their London weekender from last year, click here; at the moment, they’re stripped back down to their core duo of Chris Haslam and Paddy Shine in order to explore the next, as-yet-undecided developments from last year’s seethe of slow, dirty riffage on their bed of dub, urban discontent, psychic reportage and ritual. As part of that development, they’re throwing the stage open to volunteer collaborators on the night, “be it singing , shouting, dancing, bringing an instrument/device to the table or just simply tuning in and coming along for the ride.” Dust off your home-made Azimuth Co-ordinator or pocket Tettix Wave Accumulator; grab that Aztec death whistle from the back of the kitchen drawer; head down and dive in.



 
Gnod + Uruk, 7th December 2017

Following the Italian/Slovenian leg in November (in which they toured with Italian noise-rock guitar/voice/drums duo OvO and Godspeed-associated Montreal wallcrashers Big ‡ Brave), the British tour will see a blurring of support slot and Gnod expansion. The band’s ranks will be pre-swollen in Glasgow by drummer and oscillator king Julian Dicken (from Glaswegian psych-rockers The Cosmic Dead) and in Bristol by murky industral-technoist Tony Child (a.k.a. Surgeon) and drummer Dan Johnson (from jazz-punkers Run Logan Run). In London, they’ll be augmented by a five-strong gang of John Doran (head ‘Quietus‘ ranter), heavy electronicist Mark Dicker (ex-Trencher, Palehorse, Bruxa Maria), Mark O. Pilkington and Michael J. York of synth-and-bagpipe psychonauts Teleplasmiste and Teeth Of The Sea trumpeter Sam Barton. In addition, the London gig has a clearly defined support act in the shape of URUK, a teamup of bass player Massimo Pupillo (of expansive no-wave trio Zu) and synthesist/multi-instrumentalist Thighpaulsandra (Coil, Spiritualized, various Julian Cope bands). URUK originates from 2016 when mutual fans Massimo and Thipe finally got together; the resulting music, debuted on this year’s ‘I Leave A Silver Trail Through Blackness’ album, references both Coil and Zu but sinks deeper into the world of highly textured dark-ambient drones.

Dates:

  • Corsica Studios, 4-5 Elephant Road, Elephant & Castle, London, SE17 1LB, England, Thursday 7th December 2017, 8.00pminformation
  • Broadcast, 427 Sauchiehall Street, Glasgow, G2 3LG, Scotland, Friday 8th December 2017, 7.00pminformation
  • Exchange, 72-73 Old Market Street, Bristol, BS2 0EJ, England, Sunday 10 December 2017, 7.30pminformation

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Xposed Club, 8th December 2017
Just time, too, to mention another Xposed Club incident over in Cheltenham, in which there’ll be a meet-up duo of pianist Alexander Hawkins and saxophonist Raymond MacDonald (who between them have notched up work and/or leadership duties with Convergence Quartet, Glasgow Improvisers Orchestra, Decoy and more – we also recently saw Raymond exploring the art of the graphic score in London). Also on the bill is well-respected London experimental vocalist/Resonance FM founder Sharon Gal, engaging in duo work with Ghost Mind percussionist (and Xposed host) Stuart Wilding; and a solo set from avant-garde bass clarinet virtuoso Chris Cundy who, as mentioned here some time back, “dips into everything from the philosophical experiments of Cornelius Cardew and John Cage to out-and-out improv to theatre work.”

Various tasters below:





 
Xposed Club presents:
Alexander Hawkins & Raymond MacDonald + Sharon Gal & Stuart Wilding + Chris Cundy
The Xposed Club @ Francis Close Hall, University of Gloucestershire, Swindon Road, Cheltenham, GL50 4AZ, England
Friday 8th December 2017, 8.00pm
information
 

December 2017 – upcoming London classical etc. gigs – Tre Voci’s spacework (3rd); Keith Burstein’s chamber music (11th)

26 Nov


 
As a matter of course, London-based Anglo-Norwegian cello trio Tre Voci (consisting of Torun Saeter Stavseng, Gregor Riddell and Colin Alexander) sit on a triple cusp. Their work focusses on Early music, contemporary compositions (they’ve premiered work by composers including Mica Levi, Alex Nikiporenko, Bryn Harrison, Kit Downes, Peter Wiegold, Edwin Hillier and Sergei Zagny) and improvisations. Much of this early December concert (played twice in a single day, under the aegis of the Nonclassical organization) sees them explore the third of these directions, creating “meditative” new surround-sound music in combination with outstanding Iranian hand-drummer Mohammad Reza Mortazavi. Laid out in the ICA’s performance space, it will be part gig, part walk-through three-dimensional installation, with further synaesthesic dimensions added by the live visuals from Norwegian artist Henrik Koppen.

For part of the concert’s second half, the trio will play unspecified new compositions of their own as well as teaming up with Norwegian soprano Silje Aker Johnsen to premier a new work by David Stephen Grant. In a recent interview on the Nonclassical blog, Colin Alexander states that the Grant piece will “cover the listeners in thick, interwoven layers of sound… David writes rich, warm and engulfing electro-acoustic music that will fill the space at ICA with shifting harmonies and blurred timbres. My first experience of his writing was through a duo for violin and cello with electronics that I performed with Mira Benjamin in Oslo and London. Although simple and relatively short it was incredibly effective through its nuanced beauty and delicately judged movement.”

Nonclassical & Tre Voci Cello Ensemble present:
Tre Voci: Orbits
Institute of Contemporary Arts, The Mall, Westminster, London, SW1Y 5AH England, United Kingdom
Sunday 3rd December 2017, 4.00pm & 8.00pm
– information here and here

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Keith Burstein

There was a time when Keith Burstein could barely stay out of trouble. As a conductor and commissioner of New Music, he was a rising pillar of British contemporary classical music during his twenties. However, his discovery of his own composing voice – staunchly tonal, in fervent reaction to the austere high-modernist abstractions of the times – drew him into a series of vicious joustings and spats in the early ‘90s, played out first within the musical community, then in the press, in the concert hall and ultimately in the libel courts. He fought hard. The establishment he’d jilted and criticised fought equally hard. There’s not been much forgiveness on either side.

Ten years later, his opera ‘Manifest Destiny’ (which took a broad-brush metaphysical approach to the War on Terror) was performed in Edinburgh in the wake of the London suicide bombings of 2005. Further spats followed over alleged glorification of terrorism. There was another court case, and a bankruptcy. As before, Keith would argue (and continues to argue) that he was fighting not just for his own right to musical self-expression and political challenges, but for everyone else’s. Subsequent adventures have been quieter (and his rebellions subtler), but even as he approaches his sixtieth year he’s never entirely lost that self-appointed role as vehement high-culture renegade.

With all that said, the ultimate Burstein concerns and preoccupations seem more suited to metaphysical and spiritual realms rather than the political and strategic trappings of the battles he’s fought, and their scale and fervour have tended to overshadow the music: the water-pageant melancholy of ‘Requiem for the Young’, the entanglement of manners and compressed frenzy in his ‘Dance of Love/Dance of Death’ string quartet; the foreboding elegance of his choral Holocaust meditation ‘The Year’s Midnight’ and the lucid romantic panorama of his ‘Elixir’ symphony. When writing to a grander scale, he composes work that in some respects resembles the Whitehall of his beloved London – looming and aspirational; fascinated by the power of architecture and history, yet at the same open to and ownable by passers-by; his structures echoing the antique yet repurposing them to modern ends, and being buffeted and reshaped by contemporary impacts; an meticulous admixture of historicism and retrofitting.

This month’s lunchtime recital, however, provides the opportunity to appreciate his music on a smaller magnitude, at a remove from grander clutter of conflicts and history. Packing various shorter Burstein works for piano, violin and cello into its forty-five minutes, it includes assorted piano preludes and the final movement of Keith’s recent ‘Wiosna’ cello sonata (one of several recent works in which he retraces his family history back through his parents’ work as violinists with the Brighton Philharmonic and Halle Orchestra to their Eastern European roots and Russian/Lithuanian connections). Keith (on piano) is joined by notable solo cellist Corinne Morris – whose ‘Macedonian Sessions’ reached number 2 in the classical charts this year – and by violinist/composer Roland Roberts (Solaris Quartet, City of Oxford Orchestra, Brighton Philharmonic Orchestra and many more). Both Corinne and Roland have worked with Keith before; the former premiering ‘Wiosna’… and the latter co-premiering the piano/violin duet Keith composed this year in honour of his late mother Barbara.

Lunchtime Recital of the Works of Keith Burstein (with Keith Burstein, Corinne Morris, Roland Roberts)
1901 Club, 7 Exton Street, Waterloo, London, SE1 8UE, England
Monday 11th December 2017, 12.00pm
– information here and here


 

November 2017 – upcoming London classical gigs – SOLO presents Eliza McCarthy (7th November); Chamber Sundays at The Rosemary Branch (12th November); Scordatura Women’s Music Collective performs duets by women composers (10th November)

23 Oct

Three of the imminent, interesting classical gigs in London this coming month… some contemporary solo piano in Shoreditch, some disparate contemporary chamber music taking over an Islington theatre, and a celebration of women composers by a female music collective in Stoke Newington…

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Eliza McCarthy, 2017

SOLO presents:
SOLO 04: Eliza McCarthy
Shoreditch Treehouse, 34 Charlotte Road, Shoreditch, London, EC2A 3PB, England
Tuesday 7th November 2017, 7.00pm
information

“SOLO is back and this time we’re heading to a cosy loft right in the heart of Shoreditch for an intimate recital from acclaimed pianist Eliza McCarthy! Eliza specialises in contemporary music and has worked with a whole bunch of composers from John Adams to Tansy Davies and Andrew Hamilton to Mica Levi. Expect a veritable smorgasbord – contemporary pieces by John Adams, John Luther Adams, Mica Levi and more, a side order of J.S. Bach, and the world première of ‘Curved Form (No. 4)’ by Alex Groves.”

Here’s Eliza playing some Levi at Kammer Klang a while back…


 
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At the moment, there’s no more info on which Bach, Levi and Adams(es) pieces Eliza will be playing: but you might like to know that the next in Alex’s sequence of ‘Curved Form’ pieces – ‘Curved Form (No. 5)’ – will be played the following week at the Rosemary Branch’s informal Chamber Sundays evening, curated by mezzo-soprano Rosie Middleton, at which you’ll also hear compositions by Adam Gorb and Jonathan Dove.

Chamber Sundays, 12th November 2017

Chamber Sundays: Rosie Middleton & Friends
The Rosemary Branch Theatre, 2 Shepperton Road, De Beauvoir Town, London, N1 3DT, England
Sunday 12th November 2017, 7.00pm
information

Sorry – I’ve not got much more information on that either, other than what’s above; but here are some sample pieces from Adam, Alex and Jonathan…

 
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Finally…

Scordatura Women’s Music Collective present:
‘Duos and Duels’
The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England
Friday 10th November 2017, 7.30pm
information

Scordatura Women's Music Collective, 10th November 2017Scordatura Women’s Music Collective is a group of musicians who want to extend the established repertoire by performing and championing music written by women. With interests ranging from Baroque Historical Performance to contemporary composition to world music, members of the collective will be performing from a huge, varied and beautiful body of music.

“On this occasion, the group are performing an evening of duos for cello, clarinet and viola composed by some of the most exciting women of the twentieth and twenty-first centuries.”

Programme:

Rebecca Clarke – Prelude, Allegro and Pastorale
Sally Beamish – Duel
Kaija Saariaho – Oi Kuu
Judith Weir – St Agnes
Chen Yi – Happy Tune
Shulamit Ran – Private Game
Charlotte Bray – Midnight Interludes
Libby Larsen – Yellow Jersey
Caroline Shaw – Limestone + Felt
 

Encouraging that this is going on: encouraging, too, that I managed to track down performances of seven of those nine pieces in a further attempt to persuade you to go along.


 

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.”


 

June 2017 – upcoming London classical/experimental gigs – Kammer Klang double event – ‘Soarings: A Salon on Else Marie Pade’ (5th June); Apartment House and Jacob Kirkegaard play Pade and Henning Christiansen, plus Vitalija Glovackyte (6th June)

24 May

The June Kammer Klang is a double event centred loosely around Danish composers Else Marie Pade and Henning Christiansen, who variously pioneered mid-twentieth century electronic music and cross-genre intermedia Fluxus experiments.

Kammer Klang presents:
‘Soarings: A Salon on Else Marie Pade’
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Monday 5th June 2017, 7.30pm
– information here and here
and
Apartment House (performing Henning Christiansen) + Jacob Kierkegaard (presenting Else Marie Pade) + Vitalija Glovackyte + Aguirre DJs
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 6th June 2017, 7.30pm
– information here and here

'Soarings: A Salon on Else Marie Pade', 5th June 2017

“The sounds outside became concrete music, and in the evening I could imagine that the stars and the moon and the sky uttered sounds and those turned into electronic music.” – Else Marie Pade.

Increasingly recognised as Denmark’s first composer of electronic music, Else Marie Pade imagined “aural pictures” during a childhood afflicted by illness, and later learned jazz piano. Operating within the Danish resistance in the Second World War while still a teenager, she was captured by the Nazis and imprisoned in the Frøslevlejren internment: an experience which must have had a long-lasting and damaging effect since it undermined her post-war attempts to train as a classical pianist. Undaunted, she concentrated on composing instead: finding her particular niche after hearing a 1952 Danmarks Radio programme on Pierre Schaeffer’s musique concrète and realising that he’d given aural shape to the same ideas she’d had as a child. From the mid-1950s she was in at the start of art programmes on Danish television, establishing a lifelong position for herself both as a Danmarks Radio producer and as a pre-eminent radio and television composer (at a time when that strand of musical work offered as much genuine creative opportunity as anything in the avant-garde).

Over the course of her lifetime Pade produced a wide variety of sensuous, stimulating electronic compositions to entwine with various broadcast work: avant-garde documentary work, audiovisual ballet and more. Having studied with Schaeffer during the 1950s, she also attended the Internationale Ferienkurse für Neue Musik in Darmstadt during the 1960s and early 1970s, studying under Karlheinz Stockhausen, Pierre Boulez and György Ligeti (and impressing Stockhausen enough that he’d use her own ‘Glass Bead Game’ piece as a lecture topic). Apparently taken for granted in her home country, Pade’s reputation was greater abroad – her work was eventually compiled in a three-LP retrospective on Important Records (‘Electronic Works 1958-1995’) in 2014, two years before her death.

Regarding the ‘Soarings’ salon:

“…”Soarings” is a rough translation of the Danish word “svævninger” – a word coined by Pade to encompass both the phenomenon of different frequencies colliding to make an interference beat, and the more poetic image of soaring through the air. The ‘Soarings’ salon event is a special opportunity to hear more about her work via talks, film screening and discussion.

“The evening begins with a talk from artist and composer Jacob Kirkegaard, a long-time friend and colleague of Pade’s. Jacob will speak about Pade’s life and work from his unique perspective, having both produced her three-LP retrospective and collaborated with her on their joint composition ‘Svævninger’ (released by Important Records in 2012, and from which the evening takes its name). His presentation will include new images (including recently digitised scores) never previously shown in public.

“The evening will include the UK premiere of Pade’s extraordinary audiovisual piece ‘En dag på Dyrehavsbakken’: one of her very earliest works, which was first broadcast in 1955 by DR (the Danish Broadcasting Corporation). It consists of pictures and sounds recorded over two summers at Dyrehavsbakken, near Klampenborg in Denmark, and also includes electronically-produced sine tones and echo effects. This makes it the first piece of musique concrete and electronic music made by a Danish composer.


 
“The salon will conclude with a panel discussion with diverse contributions and reflections on Pade’s work and its wider context from Danish musicologist (and ‘Seismograf‘ editor) Sanne Krogh Groth, sound designer/studio manager Jo Langton and ‘Wire’/’Sight & Sound’ writer Frances Morgan. There’ll also be a reading by sound artist Ain Bailey (whose work includes sonic autobiographies and investigations of both architectural acoustics and the role of sound in the formation of identity).”

Kammer Klang, 6th June 2017Jacob Kierkegaard returns for the full Kammer Klang show the following night, where he’ll be presenting Pade’s 1962 work ‘Faust Suite’, generally considered her masterpiece and described by Jennifer Hor of ‘The Sound Projector’ as “beautiful and mysterious, elegant and eerie music that can express deep solitude or wonder… a secret three-dimensional universe where the most amazing experiences may be had.” Over half an hour of sensually chiming oscillator churn (with nimble, challenging digressions of timbre, tone and emphasis), it places Pade’s work in parallel to the electrophonic imaginings of Delia Derbyshire and Daphne Oram – similarly thoughtful, similarly detailed and discursive; part of a wave of highly individual and original female composers and sonic réalisatrices with much of their work taking place within broadcast media, dancing apart yet in step.


 
Opening the show is composer/performer Vitalija Glovackyte, who “creates deep-felt chirpy music, bringing together conventional and homemade instruments, electronics, lo-fi devices and visuals. Her works span intimate solo sets and large-scale multimedia performances. Aside from her solo work, Vitalija co-runs the Almost Credible Music Ensemble and is one-half of the experimental pop duo Kinder Meccano.”


 
The track above stems from an eighteen month residency Vitalija spent with modern chamber ensemble Apartment House, who are also contributing to the evening in a seven-piece formation of Gordon MacKay (violin), Lucy Railton (cello), Frank Gratkowski (bass clarinet), Simon Limbrick (percussion), Kerry Yong (keyboard/piano), Loré Lixenberg (voice) and AH founder Anton Lukoszevieze as conceptualizer and director. They’ll be presenting the UK premiere of Anton’s adaptation of ‘Requiem of Art (NYC) – Fluxorum Organum’, a Henning Christiansen piece originally performed in 1967 (and reworked three years ago by Anton for an Ultima New York performance).

An adherent to the Fluxus art movement, Christiansen spent his artistic life rejecting standard distinctions of stylistic boundaries (including those between nominally different art forms) and the concept of the lone genius. Instead, much of his work was based on direct, implied or encouraged collaboration, whether he was encouraging others to freely interpret his ideas or whether he was actually working in equalized tandem with another artist. In its original form, ‘Fluxorum Organum’ is an example of the latter situation (having been created as the soundtrack portion to a film collaboration between Christiansen and conceptual art godfather Joseph Beuys) while its Lukoszevieze reinterpretation brings it back under the first method. You can view the original Beuys/Christiansen collaboration below:


 
The month’s Kammer Klang DJ slot is taken care of by representatives of Belgian record label/mail order distributors Aguirre who release and/or stock a wide range of electronic, ambient, experimental to rock, jazz, new wave and reggae. (including Pade and Christiansen recordings plus reissues from the revered French avant-garde record label Shandar. They’ll be playing various selections both from their catalogue and from their enthusiasms.
 

Programme:

Fresh Klang: Vitalija Glovackyte
Henning Christiansen – ‘Requiem of Art (NYC) – Fluxorum Organum’ (1967-68) adapted by Anton Lukoszevieze for Ultima New York at Issue Project Room, 2014 (UK premiere) – performed by Apartment House
Else Marie Pade – ‘Faust Suite’ (1962) performed by Jacob Kirkegaard
DJs: Aguirre
 

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