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January/February 2020 – showcases in London with Ragga Gröndal in Earls Court (19th January) and Velveteen Orkestra, Ben Eaton, Hattie Erawan and Matt Ryan in Soho (21st January); plus Blair Coron’s ‘On The Nature Of Things’ quiet evening in London and Glasgow (21st January, 7th February) with Zoë Bestel, Anin Rose, Tom Blankenberg, Charlie Grey and Joseph Peach

14 Jan

A set of upcoming showcases happening at opposite corners of the country.

 
Ragga Gröndal’s currently a little-known name over here. In Iceland, though, she’s a much bigger deal – hailed as one of the country’s most remarkable singers. Performing in both Icelandic and English, she spans folk, pop and classical elements: less of an upsetter and groundbreaker, perhaps, than most of the Icelandic musicians who make the crossing over to Britain, but as the expounder of a kind of refined pop purity that’s actually a broad umbrella for a rich blend of other musical aspects, she does well. Here’s the blurb:

“The sound of Ragga Gröndal’s music is warm, adventurous and modern, yet accessible for curious music-lovers. (She) has worked with the same musicians for a decade and together they have toured all over Europe and created many beautiful and unforgettable moments. The band consists of musicians who are all independent artists in their own right; Guðmundur Pétursson (guitar), her brother Haukur Gröndal (woodwind player) and Claudio Spieler (percussion)… Each and every concert becomes a unique journey between the musicians, the audience and the performance space.”

For this special one-off show in London on the 19th, Ragga’s just bringing Guðmundur Pétursson: a musician whose work stretches from pop to his own classical guitar concertos, he’s an ideal and flexible foil.



 
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There’s a Success Express quadruple bill at Zebranos in Soho on the 21st, part of a new fortnightly showcase scheme. It’s all free to get in, but you pay Soho prices for your drinks and they suggest you book ahead for a table if you want to get in and sit down.

The Velveteen Orkestra + Ben Easton + Hattie Erawan + Matt Ryan, 21st January 2020As leader of The Velveteen Orkestra, Dan Shears dresses his dramatic sky-high vocals and rockabilly guitar in a wagon circle of string trio, piano and drums; sometimes evoking the country pop of Del Shannon or Dion, sometimes a Russian tundra shimmer, sometimes Muse-ian histrionics. Seasoned Aussie guitarist-singer-songwriter Ben Eaton is as smooth and gritty and no-nonsense as a well-maintained backroad: he’s a constantly busy professional with weddings, corporate events and similar cover-fests under his belt along with the gigs stuffed with originals, but don’t let that put you off too much. He’s a witty performance livewire who’s more than capable of transcending any workaday made-to-measure gig as well as pulling off blues-funk shows of his own.



 

Two more singer-songwriters are on the bill. Hattie Erawan – until recently known as Hattie Marsh – is Norfolk-born, has mingled Thai and English heritage and a forbidding expression, and also has about five years of playing London acoustica mainstays like the Bedford and St Pancras Old Church. She’s got Joni Mitchell, Nirvana, and Sheila Chandra down as influences: the outcome is bare, clear modern songs with a hard electric edge, sung with a hint of storms and in a tone like a steel statue. Sessioneer/producer Matt Ryan is embarking, or perhaps reembarking, on a solo career. His lone available track, a demo for The Last Time, is a polished bit of white R’n’B: while it’s a tad conservative and stripped-back in its current state, emotionally it’s a good deal more convincing than much of what reaches the charts. Worth keeping an eye on.

 

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'On The Nature Of Things' - 21st January and 7th February 2020Although it does have a lower-income ticket option, another upcoming showcase – ‘On The Nature Of Things’ – isn’t free; but, to be fair, it’s less likely to cover its expenses with beer money and upmarket bar food. Its aims are to be “quiet… introspective… an intimate evening of music. Immerse yourself as we relish in the more subdued side of music for one night through folk song, piano music, ambience/electronic and some modern classical. It is a space to listen. Expect fairy lights, darkness, and music to make you sit in awe, cry or sleep.

“‘On The Nature Of Things’, which this event is named after, is the debut album by Glasgow based musician and composer Blair Coron, who shall be hosting this event and is currently touring the UK with it. His intention is to create enchanting atmospheres allows for the audience to listen to the performers and to set course for introspection and meditation.”

Blair’s own work blurs around classical and near-ambient ideas for piano, acoustic guitar and string ensemble. He describes the album as “a delicate exploration of the intricacy and fragility of life, nature and the surrounding world. It is love…mortality…the sublime…a personal mantra…every thing.” So far, on spec, typically New Age-y and easily consumable; but he also mixes in poetry, chamber chorale, mandolins, birdsong and folksongs and (somewhere) a Nintendo handheld games console. If you’re worried that his deliberate gentleness places him on the wrong side of tentative, don’t. The results are edgeless and delicate, deliberately softened and frangible; but they have their own dainty logic and an openness which is rare. Streets away from the guarded blandness of much of the post-classical wash.




 
He’s been doing these shows for about a year now (from Edinburgh to Yorkshire to Inverness and Manchester) and I’ve not heard about them before this; but there are currently two OTNOT shows happening soon, both featuring Blair and ukulele-folkster Zoë Bestel. If you read that last phrase and thought cutesy versions of old pop and indie hits, think again. Zoë’s of that small number of people who turn the uke into a kind of perpendicular harp, using it to underpin a gorgeous art-pop folk soprano and a series of bewitching small-place songs. The kind of song and delivery that kills casual chat and has a roomful of people rapt and focussed entirely on what they’re seeing and hearing.

 
The London show – on the same night as Success Express – also features a couple of German musicians. Pianist, composer and sound designer Tom Blankenberg (who runs the Convoi Studios in Düsseldorf) works in a similar post-classical vein to Blair, although a more austere one. In recent years, he became interested in writing for solo piano: the result was his debut album ‘Atermus’, released last year and containing thirteen tracks in which strangely tender romantic melodies are concealed in minimalist sparseness, as if Bill Evans were communing with Arvo Pärt. In contrast, Anin Rose creates gospel-infused piano pop – not at the brassy end of either, but at the silky reverberant intersection of both. On record, a subtle reverb skitters almost imperceptibly around her songs and harmonies chase the main vocal like kissing clouds: live, I’m guessing that she does it all by presence.

 
The Glasgow show – in early February – features a pair of Scottish folk musicians, Charlie Grey and Joseph Peach. A fiddler and pianist respectively, they’re rooted in tradition but immersed in present impression, “interested in making music filled with spontaneity, sensitivity and freedom. Inspiration comes from their pasts and surroundings, feeding music that’s rooted in tradition, whilst stretching it’s possibilities through improvisation and imagination.” Their latest release, last summer’s ‘Air Iomall’, was inspired by a trip around the currently uninhabited Shiant Isles off Scotland’s west coast, and their instrumental responses to the history that hangs around the places.


 
I’m hoping that Blair continues with these shows: they have a potential for some serious beauty. Previous evenings have included appearances by fellow Glaswegian post-chamber composer Richard Luke, piano improviser Carla Sayer and harpist Esther Smith; jazz/soul/gospel harmony duo Canter Semper; The Silver Reserve (a.k.a classical guitarist/looper Matthew Sturgess, who “plays delicate, sparse music (and) songs about out-of-body experiences, monogamy, small-town community Facebook pages and much more”; alt.folker Thomas Matthew Bower as Thomas & The Empty Orchestra; Jamie Rob’s post-everything project Poür Me, ambient song trio Luthia and drift band Neuro Trash; plus a further spray of diverse singer-songwriters in the shape of Simon Herron, Leanne Smith, Kate Dempsey, Mathilde Fongen, Hollie “Haes” Arnold, Leanne Body and Megan Dixon Hood. There’s a whole softened and glorious world opening up here.

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Dates:

Sunday Hive Sessions with Buzz Music Group presents:
Ragga Gröndal
The Troubadour, 263-267 Old Brompton Road, Earls Court, London, SW5 9JA, England
Sunday 19th January 2020, 7.30pm
– information here, here and here

Success Express Music presents:
The Velveteen Orkestra + Ben Eaton + Hattie Erawan + Matt Ryan
Zebrano Bars, 18 Greek Street, Soho, London, W1D 4DS, England
Tuesday 21st January 2020, 7.00pm
– free event – information here and here

‘On The Nature Of Things’:

  • SET (SET Dalston Lane), 27a Dalston Lane, Dalston, London, E8 3DF, England – Tuesday 21st January 2020, 7.00pm (Blair Coron + Anin Rose + Zoë Bestel + Tom Blankenberg) – information here, here and here
  • Old Trinity College, 35 Lynedoch Street, Glasgow, G3 6AA, Scotland – Friday 7th February 2020, 7.00pm (Blair Coron + Zoë Bestel + Charlie Grey & Joseph Peach ) – information here and here

 

October 2019 – upcoming London rock, pop, noise, dancetronic gigs – Hurtling, Stephen Evens and Junodef (17th October); Gum Takes Tooth and Hyperstition Duo (18th October); Bunny Hoova, Gribs, J.B. Glaser and Halfs (18th October)

8 Oct

Hurtling + Stephen Evens + Junodef, 17th October 2019

Alt-rock trio Hurtling (fronted by My Bloody Valentine tour noisemaker Jen Macro) have a debut record to offer you – ‘Future From Here’, on Onomatopeia Records – and are launching it at north London’s The Islington in the middle of October. Their sound’s relatively easy to peg – post-Pixies, post-grunge, post-dreampop – but difficult to dismiss. There’s a full cupboardful of familiar indie rock ingredients to hand, but all reshuffled and re-examined via Jen’s particular perspective and inspired by the disorientations of touring, the displacement of emotions, the waywardness of health: the bumps and setbacks of a bright, questioning human organism pushed into too much motion. Sometimes, despite the noisy ethic, it’s surprisingly gentle; sometimes sludgy guitar parts pile up like rainbow cement ooze; sometimes it’s all about the vocal harmonies.



 
Once upon a time, most of Hurtling were part of cunningly witty indie/artpop sloggers stuffy/the fuses, and their glowering former employer (and current Onomatopeia labelmate) Stephen Evens is also on hand for the evening: ostensibly in a support slot, but probably to keep a dyspeptic jaded eye on them and to crush their remaining youthful dreams beneath his tapping boot. He’s playing solo – probably with guitar, microsynth and anything else portable which he fancies and which comes to hand – and is still working his own 2017 debut album, ‘Bonjour Poulet’. Which is fine, since it was excellent: a mordant larderful of creaky treats which revealed themselves to be gappy armour-plate wrapped around a surprisingly tender heart. He’ll probably give you all that sardonic, seen-it-all expression: actually, he’ll be pleased to see you.



 
London-based Swedish “post-death music” quartet Junodef fill the other support slot. Their debut single, a soft-strummed slice of spectral folk with additional Gothic guitar boom and the bleakness of a death metal song, was called Make You Die. Subsequent work hasn’t travelled too far from those initial emotional roots, although they’ve toyed with spooky progressive rock keyboards, acid rock shadings and lingering dark-country embellishments (the latter suiting both the paired vocals of Tyra Örnberg and Karin Grönkvist and their admiration for Emma Ruth Rundle and Chelsea Wolfe).

More recently Junodef have been feeding in noirish elements from trip-hop and droning electronica, citing inspiration by Portishead and Young Fathers. At the same time, they’ve upped their Bad Seeds clang and their clarity and put greater emphasis on their visual work, resulting in their most vividly fleshed-out songs and atmospheres yet. Don’t expect floppy Goth ragdolls: this band has a tough core, and a storytelling streak that’s just beginning to come into its own.



 

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Gum Takes Tooth + Hyperstition Duo, 18th October 2019In the same week, on the following day, relentless psychedelic noise-fosterers Baba Yaga’s Hut are putting on a Bethnal Green gig for block-party-inspired thunder-twosome Gum Takes Tooth. Singer/electronic bombardier Jussi Brightmore and wired-up drummer Thomas Fuglesang have been at this for a decade now, producing a music that’s
grinding and urgent, slow yet filled with unnerving impetus.

As with plenty of British acts on the weird/occult cusp, Gum Takes Tooth are fascinated by ritual (attempting to initiate it in both their recorded output and, more significantly, in their live performances) and with the jarring subconscious impact on the human animal from the mechanisms of technology, hierarchy and blunt cultural forces which surround us. Their last record, ‘Arrow‘, focussed on London gentrification from the perspective of those squashed under or flicked aside by its well-heeled, well-polished bespoke shoes; and on the savage simultaneous pressures from above to indulge the inner beast in competition, in nationalism, in a fracturing of common responsibility and empathy. While writing ‘Arrow’, Jussi saw all of this as a kind of cultural intoxication with the emphasis on toxic: it gave the duo a musical and moral focus which they’ve pursued ever since.



 
A couple of years ago, open-minded Sheffield Afrobeat/noise/dance-pop combiners Blood Sport called it a day. Two-thirds of them – drummer Sam Parkin and guitarist/Octatracker Alex Keegan – have since resurfaced as Hyperstition Duo, a blistering stew of kit-rattles and synth noise smudging and battering the line between live gig and avant-garde DJ electronica. They’ll be supporting Gum Takes Tooth on this occasion: but where the headliners favour slower pace and a ritual weight, the Hyperstitioneers prefer a break-neck-speed informational barrage.

At the end of this past summer, Hyperstition Duo released their debut EP ‘Virotechnics‘. There’s the usual jargonated hype to go with it – “summoning egregors of the Anthropocene, (they) plunge deep to deliver a maximalist collective immersion into their own lysergic phonosphere. Lurching, polyrhythmic pathways crumble and re-assemble; elastic dynamics snap; propulsion sparks from the nerve-centre of machine and corporeal entanglement… templexing, möbius loops and cybernetic subjectivities abound in an attempt to conjure escape vectors in a world of ubiquitous sound.” For once, the texture of the press release – a plunge into lathering, urgent verbalisation – actually fits the texture of the music.



 
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Overlapping the Gum Takes Tooth/Hyperstition Duo concert, Ben Vince’s south-east London clubnight Ellipsis (blending strands and clumps of experimental dance and experimental pop) ventures up north to Dalston on the same night for an evening of seamless switching between stage and DJ deck. I’ve not encountered Ellipsis before, but I’m impressed with what I’m finding out now.

Bunny Hoova + Gribs + J.B. Glaser + Halfs, 18th October 2019

To headline this time, Ben’s enticed the perplexing Dutch-born Mancunian Bunny Hoova down for her full-band London debut. Her work is simultaneously delightful and frustrating. At its simplest, it’s a kind of fall-apart dream pop – intermittent rhythms, addled guitar chording and bass thumbing, a cloudwork of woven-in samples, and a constant tripping over unvoiced questions, obscured conclusions and the track-loops of the thought-train. But while most dream-pop sinks into a narcotized structural conservatism (strumming away in the same key while admiring the whorls of sound coming through the pedalboard), Bunny’s material seems constantly uncomfortable, actively intelligent, and hovering at the midpoint between insight and misdirection. She’s been yoked in with experimental pop deconstructors/faux-idiot savants like Tirzah and Micachu, and I can see why. There’s that classical conservatoire training: coyly hinted at in the PR, for extra credit, but in practise forced off into the distance like a spurned aunt (even as it’s being used as the counterweight to punkish anti-technique). There’s the idea that the usual rules of pop song and riff culture are being scorned in a meticulous matter-of-fact way via an admixture of free play and cerebral manifesto.

Plenty of the songs on Bunny’s debut album, ‘Longing’, have the sensual drag-and-tug rhythm of slow jams; but rather than focussing a mood or a regular pace, they wander off at instinctive mental tangents or hiccup into a different arrangement; the instruments and samples entwining in a scratchy, bewildered, irregular intimacy. At times she seems to be taking up an erratic desert map scrawled by Captain Beefheart and attempting to apply it to close urban living. At other times, she seems to be spontaneously transposing into song experimental short stories about offbeat relationships, jolting encounters or small moments which change the course of a life; rich in detail and significance, short on conclusion. Plot and flavour are stretched out and split into gobbets, like odd-shaped beads necklaced on a guitar string. Her most-talked-about song, Lazy_Easy, is a scrubbing, slurred, pointed dissection-tract covering both the implicit and explicit links between consumerist culture and animal cruelty: more of a wall-collage with blended-in musical notes than an actual song. The world she flits through feels as rickety as a condemned flat; one that she’s too good for and shouldn’t have to live with, but which she has to accommodate and fit her voice to.




 
Also playing are a mixed bag of London and Manchester electronic experimentalists with bedroom studios. Gribs is a creative DJ and electronic musician, a label co-boss (Tobago Tracks) who in her own music weaving connections between straight-up dance music (trap, jungle, bass culture) and lo-fi DIY sound-and-voice experiments. There’s a distinct edge of discomfort to her work: not so much or so often that it repels, but her found vocals and implied song characters seem uneasy, morbidly eccentric or disassociated from the music’s rhythmic propulsion or sensual salve.

More DJ-ing and deckmixing comes from J.B. Glazer, another London-based creator of peculiar counter-intuitive dance music: for him, a kind of relentlessly alienated mirror-image R&B, all of its comfort and slickness rusted away into disassociative ennui. In the work of both Glazer and Gribs, there’s an echo of chopped-and-screwed culture: the slowing, the altered-state disconnections and new connections, the sense that they’re using alienation as a kind of gatekeeper (if you like dance but are prepared to discard much of its qualities of release or of socializing, then perhaps you can squeeze through this door).

Rounding things out (or upsetting any remaining unspilled applecarts) there’s the mysterious and performative Halfs – from what I can work out, a try-anything beat-making romper on Manchester’s queer arts scene. I’ve found a very fruity synthdance EP of his/theirs from 2017, so there are a few slurps of its whooping dayglo industrial tones below. There have also been percussion-favouring mixtapes and albums which have been whipped capriciously on and off Soundcloud, but are gone now: other than that, there seems to be involvement with scratch theatre, video and so on. In order to properly keep up with Halfs, you need to subscribe (both literally, and in terms of consistent loyalty) so just consider this vague, semi-accurate plug of mine to be a jumping-on point and take it from there.


 
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Dates:

Onomatopoeia Records presents:
Hurtling + Stephen Evens + Junodef
The Islington, 1 Tolpuddle Street, Islington, London, N1 0XT, England
Thursday 17th October 2019, 7.30pm
– information here, here and here

Baba Yaga’s Hut presents:
Gum Takes Tooth + Hyperstition Duo
The Sebright Arms, 33-35 Coate Street, Bethnal Green, London, E2 9AG, England
Friday 18th October 2019, 8.00pm
– information here, here and here

Ellipsis presents:
Bunny Hoova + Gribs + J.B. Glaser + Halfs
SET (Dalston Lane), 27a Dalston Lane, Dalston, London, E8 3DF, England
Friday 18th October 2019, 9.00pm
– information here and here
 

September 2019 – the start of Daylight Music’s autumn season in London – The Memory Band, Far Rainbow and Ingrid Plum (21st September); Kathryn Williams’ Anthology extravaganza (28th September)

12 Sep

Daylight Music 10, 2019

My favourite London free-music event resumes shortly, following its summer holiday break – although simply calling Daylight Music “a free event” rather undersells it. Let’s call it an exercise in grace. Two hours of pay-what-you-like, mixed-genre music in a cavernous and spectacular London chapel, set up along the inclusive idea that listening and responding to music is a familial activity and that any gathering of people of any age is potentially familial… and a Bakeoffian idea that everything goes better with tea and cake. (That’s ‘Bake Off’ as in the British TV institution, by the way – not as in Bakeoff the unfairly-neglected radical-conservative Bulgarian philosopher…)

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Daylight Music 314: The Memory Band + Far Rainbow + Ingrid Plum – 21st September 2019

The first show of the autumn season is on 21st September and bridges traditional and contemporary folk with playful avant-garde soundmaking and folktronica:

“After an extended break from performing, acoustic folk band The Memory Band returns to Daylight Music in great style in time for our 10th Birthday year, with a vocal set featuring bandleader Stephen Cracknell along with the voices of Hannah Caughlin and Helene Bradley. Influenced by a wide variety of contemporary and traditional styles, they have produced five studio albums and numerous 7″ singles. This afternoon they will be performing a selection of songs old and new – this will not be a set of instrumental landscape music.


 
Far Rainbow is a London-based improvising duo comprised of sound artist Bobby Barry and drummer Emily Barnett. They create vast neo-psychedelic slabs of gradually developing sound and delight in using everyday household objects as part of their stage gear. You’ll never know what will appear on stage: bubble wrap, plastic bags, cellotape, hairbrush, shaver, electric toothbrush, various small motors, taped field recordings, pencil sharpener, egg slicer, or even a small portable vacuum cleaner.


 
Ingrid Plum is a Brighton-based vocalist combining folk music, contemporary classical music and sound art. Her work has been described by ‘The Guardian’ as being characterised by “gorgeously atmospheric vocal techniques woven around field recordings and electronics”, while ‘The Wire’ described her live shows as “succinct and nourishing… a luxuriant space between almost excessive precision and looser improvisation”. She has performed internationally, as well as having worked with Late Junction and BBC Radio 3.”


 
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Daylight Music 315: Kathryn Williams Anthology with super special guests – 28th September 2019In the last week of September, Kathryn Williams comes to Daylight Music with an anniversary Anthology show. Due to the extra volume of music involved, this particular Daylight will be running for an extra quarter of an hour.

“It’s a delight to once again see Mercury Prize-nominated singer-songwriter Kathryn Williams, as she celebrates her twentieth anniversary with her fiery spirit and keen sense of adventure. To date, Williams has released fourteen studio albums and she has also written and arranged for a multitude of artists. Her latest release, a gorgeous twenty-CD boxset of her most loved songs, is painstakingly curated by Williams herself, and includes paintings by the artist, lyrics, stories and unheard demos.

On this special afternoon she will fill the chapel stage with likeminded souls; songwriters, singers, multi-instrumentalists, collaborators and friends from across her career. She will also welcome those she has more recently tutored and helped inspire at the Arvon creative writing retreat. As always with Daylight, this will be a curation like no other, a celebration in song through the heart and voice of Kathryn Williams.”

Kathryn’s guest performers will be Michele and Romeo Stodart (of The Magic Numbers), Chris Difford (of Squeeze), Neill MacColl (of The Bible, Liberty Horses, King L and stints in Eddi Reader’s band), Colin MacIntyre (better known as Mull Historical Society), David Ford and Polly Paulusma; with additional contributions from Lucy Duncans, Euan Allison, Stewart Robbie, Lindsey Strachan, Emma Carr Martin, Jess Tuthill, Emily Barden, Phil Langran, Andy Pearce and Anna Skelton.






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

  • Daylight Music 314: The Memory Band + Far Rainbow + Ingrid Plum – Saturday 21st September 2019, 12.00pm – information here and here
  • Daylight Music 315: Kathryn Williams Anthology with super special guests – Saturday 28th September 2019, 12.00pm – information here and here

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

June 2019 – the start of Daylight Music’s summer season in London – The Slowest Lift, Laura Jurd & Chris Batchelor, ORE and Jim Bishop (1st June); Jam Tarts Choir, Independent Country and Sarah Gonputh (8th June); ‘From Call To Choir’ with Dominic Stichbury, Ben See, Esmeralda Conde Ruiz, Archie and a clutch of chorals (15th June), Piney Gir, She Choir and Oly Ralfe (22nd June); Xenia Pestova Bennett, Ligeti Quartet, Snowpoet, Muted Summer Landscape and the magnetic resonator piano (29th June)

28 May

Daylight Music 10, 2019

Currently in the process of celebrating a remarkable ten years of bringing cuddly/eclectic pay-what-you-can family music events to London (or, more accurately, of encouraging inspiring music to happen with the minimum of cynical compromises while ensuring that there’s a family-friendly space for it to happen in), Daylight Music is back for another season of Saturday lunchtime gigs with all manner of different people playing.

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The summer season launch gig, on 1st June, focusses on experimental brass-themed acts:

Daylight Music 307: The Slowest Lift + Laura Jurd & Chris Batchelor + ORE - 1st June 2019

“West Yorkshire’s The Slowest Lift (Sophie Cooper and Julian Bradley), present a new chapter in the long-running tradition of radical English music duos. Cooper (an accomplished solo performer and collaborator) and Bradley (from frequent VHF delinquents Vibracathedral Orchestra) play a kind of gentle post-industrial psychedelia, a ghostly tapestry of earthen whirring, phantasmal resonances, sheets of textured skree and touching, hazy vocals. The songs are a blend of straightforward performance and eccentric bricolage, with rude electronic interjections sitting comfortably alongside delicate guitar and keyboard melodies.



 
Laura Jurd and Chris Batchelor will perform as a duo. Laura is a London-based, award-winning trumpet player and composer, currently a BBC New Generation Artist for 2015-2017: an active improviser playing regularly in the UK and more recently in Europe, she specialises in writing for hand-picked musicians in her own projects and ensembles. Her band Dinosaur has performed throughout the UK and Europe. Chris is an innovative and creative trumpet player and composer based in London: as well as leading several projects, including the avant-trad band Pigfoot, he is also featured as a sensitive and versatile soloist in many highly regarded groups on the European jazz scene, and is a prominent soloist and composer in the re-formed Loose Tubes.



 
ORE is the drone/doom brass sound of tuba player Sam Underwood and baritone horn/trombone player Beck Baker. The pair create weighty dronescapes that evolve at a glacial pace. ORE’s sound rewards the patient listener as their dissonant tones rub together; enhanced by the use of two custom-built resonant gong speakers. The audience slowly becomes awash with the sound of ORE.


 
“We’re happy to announce that Jim Bishop will return to play the chapel’s own Gothic synth – the Henry Willis organ, joining the dots between the other main performers. Jim came to Daylight as part of all-male 60’s dance troupe The Action Men, who have returned a couple of times since. He plays in Ancient Egyptian instrumental group The Mirage Men, The Band Who Fell To Earth (who play Bowie in the style of Booker T. and The MGs) and The Fay Hallam Group, alongside another Daylight performer, Andy Lewis.”

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The ‘Come As You Are’ concert on 8th June sees the series dive into comfy covers again…

 
“Daylight Music goes to the indie disco in its own inimitable fashion with the Jam Tarts Choir and Independent Country, who will be teaming up for an unforgettable rendition of the Nirvana song of the event title, and expect a surprise or two on the Chapel’s organ…

“Independent Country, a six-piece band from Birmingham, play your favourite indie hits in a country music style. Here are songs originally by the Happy Mondays, the Smiths, Blur, Jesus and Mary Chain, Pulp and Oasis as you’ve never heard them before.


 
“Now into their fifteenth barnstorming year, Brighton’s Jam Tarts are an indie choral collective who perform unique and shimmering arrangements of post-punk, electro, Britpop and artrock classics. Four (or five or even eight) part harmonies, sixty pairs of mighty lungs and six degrees of celebration. Think choirs aren’t your cup of tea? You’ve never heard your favourite songs quite like this before…Their set is likely to include big choral versions of songs by Ezra Furman, The Stone Roses, Tom Waits, Jesus and Mary Chain and Arcade Fire. Hungover commuters on the 8.18 from Brighton can expect the train to be packed with singing Tarts, complete with trumpeters and cellist!


 
“Indie and alternative music was the natural choice for the choir after director and musical arranger Li Mills bribed John Peel with chocolate to help write her music degree finals thesis on punk, obliterating her early teenage record collection of Dire Straits and Phil Collins albums. Praise be to the late Mr Peel, or Jam Tarts might be singing Another Day in Paradise arranged for sixty voices…

Sarah Gonputh is a London-based keyboard player for Green Seagull, Manuela, Twink and The Lysergics. She has a special love for vintage organs such as the Vox Jaguar, Vox Continental, Farfisa Compact, The Philacorda and the Hammond Organ. Her keyboard-playing heroes include: Ray Mazareck of The Doors, Steve Winwood and Garth Hudson of The Band. Having performed several times at past Daylight Music events with Green Seagull, Manuela and playing piano for the “in-between” bits last year for The Left Outsiders, this will be Sarah’s Union Chapel Organ playing debut, pumping out some indie hits.”

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Choral ideas are developed further the following week with the ‘Call To Choir’ event, including a chance for you to join in…

Daylight Music 309: 'From Call To Choir' with Dominic Stichbury & Ben See with Esmeralda Conde Ruiz + Archie (plus members of Chaps Choir, Bellow Fellows, Electric Belles and the Grandmother project) - 15th June 2019

“What happens when the call of one voice captures the imagination of others? Starting with one singer and finishing with hundreds, this edition of Daylight Music will see numbers of voices grow to fill every corner of the Union Chapel.

Dominic Stichbury (Chaps Choir, Bellow Fellows) and Ben See (La La La Records) are exploring the themes of expansion, commonalty and togetherness through the human voice; and are gathering singers together to celebrate its infectious power. The performance will include an eclectic mix of singers and songs, including new material written especially for the event, featuring female folk/jazz vocal quartet Archie, Ben See, Esmeralda Conde Ruiz and the GrandMother project, Chaps Choir, Bellow Fellows and Brixton-based “all girl, all awesome” close-harmony choir Electric Belles.

“Would you like to join the biggest ever choir to sing at Daylight Music? All welcome. No choir/performing experience is required, just fill in the online form, turn up for the preparation sessions (on Friday 14th) and take part in the final event. You will learn some short songs in harmony by ear and prepare to sing them with hundreds of other voices in the wonderful acoustics of the chapel.”



 
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More choral covers blend with pianos, pop and psychedelia on the 22nd when Piney Gir gets her hands on the reins…

Daylight Music 310: Piney Gir's 'Midsummer Madness' with She Choir + Oly Ralfe - 22nd June 2019

“Piney Gir’s perfect pop music is dipped in sunshine, so she was an obvious choice to curate a special event inspired by the Summer Solstice as part of our 10th Year celebration. She wants you to get playful, be creative, and come along for summertime inspiration and maybe even do a little white witchy spell with her in honour of The Longest Day.

“Originally hailing from Kansas, but having lived in London for many years, Piney is a prolific and prodigious musician. She has been touring with Gaz Coombes around the UK, Europe and America and is also one of Gaz’s backing singers. She has recently been singing with Noel Gallagher and Danny Goffey, and supported Ride on tour around the UK just before Christmas. She’s gearing up to release her seventh album, ‘You Are Here’, which is a celebration of analogue gear with a sound that nods back to when music was on the cusp of change, just before synth pop and just after punk rock.


 
“Her allies on this afternoon will be London women’s SHE Choir who sing their technicolour version of songs from Destiny’s Child to Fleetwood Mac.

Oly Ralfe (Ralfe Band) will present music from his debut solo instrumental piano album. Sitting somewhere between the oscillating patterns of Philip Glass and the reflectiveness of Gavin Bryars, the album ‘Notes From Another Sea’ sounds like music for a film that has yet to be made.


 
“Finally, Piney presents a special acoustic set from Premium Leisure (a.k.a. Chris Barker) who has honed his own sound: a mix of experimental guitars and undulating rhythms reminiscent of late ’60s English psychedelic rock with a bit of early Tame Impala or White Denim thrown in.”


 
* * * * * * * *

The last of June’s gigs is a typically Daylight fusion of accessible classical and experimental ideas…

Daylight Music 311: 'Magnetic String Resonance' with Xenia Pestova Bennett + Ligeti Quartet + Snowpoet + Muted Summer Landscape - 29th June 2019

“What if you could play a note on the piano and have it last forever? Pianist, composer and improviser Xenia Pestova Bennett will curate a special afternoon featuring the Magnetic Resonator Piano, an exciting new instrument designed by the radical inventor Andrew McPherson. A grand piano will be completely transformed into a stunning acoustic cyborg with electromagnets suspended above the strings, allowing for control of minute details of shimmering resonance and gorgeous sustained tones. (Click here for an article on the instrument, from ‘Keyboard Perspectives’, and here for a ‘World Piano News’ article on its use in the soundtrack for last year’s film ‘Christopher Robin’…)


 
“Also performing will be string ensemble Ligeti Quartet who, since their formation in 2010, have established a reputation for breaking new ground through innovative programming and championing of today’s most exciting composers and artists.


 
“Completing this afternoon line-up, Xenia presents Snowpoet‘s debut at Daylight. The London-based band, led by “mesmerising” vocalist Lauren Kinsella and bassist Chris Hyson, have released two critically acclaimed albums to date, with the most recent being ‘Thought You Knew’ on Edition Records. Blending sweet hook-laden vocal lines with warm and lush arrangements, the music is infectious, delicate and tasteful.


 
“Joining the dots this week between the other artists is something a little bit special. We’re pleased to welcome Muted Summer Landscape, an audio/visual collaboration between electronic music composer Brian Robinson and visual artist Steve Lee who transform and shape their audio/visual field recordings, melodies and rhythms into delicate electronic portraits that often reflect the natural environments that surround them. Inspired by the simple and complex patterns that present themselves when manipulating source material, msl create immersive narratives that evoke emotions, stimulate imagination and provoke thought. Taking into account the architectural surroundings and the nature of this event, Brian will deliver a solo performance of live ambient/spectral transformations based on material taken from MSL’s forthcoming audio/visual release, expected later this summer.”


 
* * * * * * * *

All gigs are at the usual place – Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England – with a suggested donation of five pounds (as ever, an absolute bargain). Dates below:

  • Daylight Music 307: The Slowest Lift + Laura Jurd & Chris Batchelor + ORE – Saturday 1st June 2019, 12:00pm – information here and here
  • Daylight Music 308: ‘Come As You Are’ with Jam Tarts Choir + Independent Country – Saturday 8th June 2019, 12:00pm – information here and here
  • Daylight Music 309: ‘From Call To Choir’ with Dominic Stichbury & Ben See with Esmeralda Conde Ruiz + Archie (plus members of Chaps Choir, Bellow Fellows, Electric Belles and the Grandmother project) – Saturday 15th June 2019, 12:00pm – information here and here
  • Daylight Music 310: Piney Gir’s ‘Midsummer Madness’ with She Choir + Oly Ralfe – Saturday 22nd June 2019, 12:00pm – information here and here
  • Daylight Music 311: ‘Magnetic String Resonance’ with Xenia Pestova Bennett + Ligeti Quartet + Snowpoet + Muted Summer Landscape – Saturday 29th June 2019, 12:00pm – information here and here

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

February/March/April/May 2019 – upcoming English experimental/rock gigs – Markers and Haress on tour with appearances by Tom House, Anji Cheung, Caius Burns and Aby Vulliamy; plus later dates with Jaye Jayle and Motes

23 Feb

One of the connections which particularly intrigues me (for which read “always baffles me and induces me to go over it again”) is the one between folk music and hardcore punk. Apparently it’s a love based on a number of things – the inclination towards keeping to the basics, the austerity which is fostered both by that and by a distrust of commercialism and toys, a sense of political purity and of dodging corruption… It’s perhaps a little one-sided – punk tends to love folk more, although you’ll get some acknowledgement coming back the other way, increasingly so as more young folkies grow up with punk. Regardless of the relative exchange, you’ll see quite a bit of traffic moving around here. An upcoming British tour looks into this particular dynamic and feel, at the stripped-down point where the genres meet: along the way, there are more overlappings and enfoldings.

Markers on tour, February-May 2019Markers’ Jodie Cox always seemed like a gifted guy that strolled into hardcore with a positive attitude, rather than hunching or raging his way into it. Even when he was blitzing and shrieking away at the front of short-lived London seedbedders Ursa during the late ‘90s, he seemed cheerfully unlimited by the constraints of form. Ever since then (via transatlantic journeys through Earth, Narrows, Bullet Union, Sex Swing, Exes and others) he’s always seemed to be where he wanted to be rather than being forced into it: a sunny, enthusiastic character who’s helped humanise and hearten any project he’s been in. Jodie’s bandmate, contemporary and friend Jason Carty began his career in the same time and place. Stubborn, meticulous and sometimes anxious, he twitched and reeled various fluent post-rock/prog/post-metal guitar complexities through Geiger Counter and Foe like a ferocious engraver, then threw all of that aside to play blattering post-hardcore doom bass in Art Of Burning Water before embracing silence for a number of years.

Now reunited and united, Jason and Jodie’s all-instrumental work as Markers sees the two of them eschewing other musicians and hairy-arsed distortion in order to see what they can get out of two (mostly) clean electric guitars. Their debut album ‘Heaven In The Dark Earth’ is a beautifully executed thing. As Jodie’s put it elsewhere, rather than roaring easily through fuzz they’re now aiming for something “tonally heavy” (Even if they have covered Jesus Lizard, they went for one of that gonzo band’s rarer gentle tunes, and it came out sounding like late lamented bass frowners Rothko.)

Markers’ music is immediately atmospheric, recorded at a larger-than-life scale in which the listener feels as if they’re about a foot high, wandering around the duo’s feet and their suddenly gargantuan amplifiers. When processing does turn up it’s mostly in the form of encompassing shivers of reverb, or discreet echo – wider brushstrokes and spongeings to complement delicate penwork. Apart from that it’s wood, wire, pickups and an intuitive, space-filled musical marriage between the two players, pursuing a fluid sparseness and a sombre/passionate flaring of arpeggios and arabesques, flotsam folk figures and fragments rubbed smooth enough for their provenance to stay ambiguous. It’s a kind of post-industrial classical guitar, making the most of sparse resources and close-mouthedness, mysterious conversations through fingers and dusty speaker-cones. These buggers always had a lot more depth than previous circumstances have allowed them to show: or perhaps, more than they allowed themselves to make clear. In Markers, they no longer have either of these problems.


 
Following their recent showing at a mid-February gig in Brighton (hands up, I admit that I missed it) Markers are setting out on tour with kindred spirits Haress. Hailing from arty market town Bishop’s Castle in Shropshire, Haress are fundamentally the guitar duo of David Hand and Elizabeth Still. Mantric, minimalist, low-hanging and close-knit, theirs is a music in which several tight and lowering musical disciplines meets. Art-rock, hardcore edge, meditational post-rock and American electric folk fragments emerge via very loud, mostly clean electric guitars (on the lip of distortion and at the precarious peak of electromagnetic responsiveness) and meet shruti and amp drones plus delicate percussion tingles. Below are a couple of clips of David and Elizabeth meeting inside and outside:



 
Haress sometimes expand for live dates. The current ones see them augmented by a third guitarist (Chris Summerlin of dubby Notts psych/noise-ians Kogumaza, accelerated post-Beefheart screamers Wolves of Greece, and bluescore trio Lord), by a singer (Tom House, best known as the frontman for a pair of Brighton bands, hollering post-hardcore act Charlottefield and its more tender-fleshed followup Sweet Williams) and by drummer David Smyth of Liverpudlian synthcore/space-punks Kling Klang. No clips for that, I’m afraid…

At the London show (also the Markers album launch, with ticket/LP/download bundles available for those who want them), Anji Cheungprovides “audio intermissions”. She was in here earlier this month being previewed at the Matthew Shaw/English Heretic show, sandwiched between rural synth ambience and psychogeographic audio-visual. I can’t immediately improve much on what I said about her back then, so here it is again – “unnerving, frowning amplifier buzzes rolling over the listener like a gigantic clumsy wheel, with dramatically chopped/distorted/otherwise incomprehensible vocals implying pirate-radio-eavesdropping on a covert ritual… car-boot clatter under a lowering sky… beautiful lost female murmur-melodies stalked by drainage-ditch fuzz…. Another aspect of New Weird Britain: ambiguously multicultural and urban, mixing and obscuring London and Chinese references, but sounding mostly as if it stems from a place where jerry-built tower blocks break up old fields around the city’s tired periphery and where unknown syncretic practises are carried out (perhaps only half-understood even by the people involved).”



 
In Nottingham, Kagoule’s frontman Caius Burns will be bolstering the evening: sidestepping the noisy fantastical post-hardcore of his main band to deliver an acoustic voice-and-guitar set of his own songs, all in an old-school folk baroque form complete with slippery Jantschian fingerpicking. (And here he is in transient mode, halfway between folk and electropop…)

 
The Shipley show is the most extensive on the mini-tour: a four-act event with Tom House stepping forward out of the Haress lineup to perform a set of his own queasy, sludgy, draggy-pop slowcore. Hometown girl Aby Vulliamy is also joining the evening. A multi-instrumentalist (piano, viola, flute, musical saw, accordion) and singer/composer across a remarkable range of genres, she was covered in here a few years ago via her part-written/part-improvised Mothercore project, in which she teamed up with established musicians Laura Cole and Maria Jardardottir plus an ever-shifting cast of local musician/mothers who joined in whenever the main trio rolled into their town. Mothercore was inspired by, and triggered by, the ambiguous experience of motherhood, and appears to have led into last year’s long-overdue Aby solo album, ‘Spin Cycle’.

If Mothercore thrived on solidarity, ‘Spin Cycle’ places itself, sometimes unnervingly, on “mother alone yet not alone”: its songs tracing their way across a webwork of maternal experience (broader voicings of political anger at the forcing of roles onto women of childbearing age; the claustrophobic vortex of love, fear and exhaustion surrounding breastfeeding; an awareness of the greater female timespan of girl baby to young woman, watched over by mother all the way). Depending on your gender, your situation and where you are in your own lifespan, it’ll either shed light onto a much generalised-over, much-misunderstood state of being, or simultaneously rue and celebrate what’s one of the greatest and most turbulent tasks, all to a DIY backing of diverse, intimate floating-folk instrumentation.





 
The final tour show, in Liverpool, is just Haress and Markers on their own. I can’t tell you where the Old Brazilian Embassy is, although longstanding Liverpudlians might be able to hazard a guess, while the organisers appear to be a collective who throw concerts at home and overlap with avant-garde rock ensemble Ex-Easter Island Head (so now you know who to chase up and pester if you really want to come). Apparently this isn’t the only show these guys are putting on, although the proximity of neighbours and license issues means that they’ve got to keep the volume down… Merseyside art musicians who operate at the quiet end of things, here’s a new place to beat a pathway to (if you can find it yourself).

Outside the tour, Haress and Tom House will also be plying their trade at a mid-March gig in Bristol, for which they’re joined by obscure Somersetters Motes, who come bearing the priceless label of “drunk-minimal/hypnotist-un-rock based at the ventriloquistic intersection of Barrow Gurney and Old Market”. There’s no way I can better that sentence – it’s its own short film, all by itself – but here they are, playing a couple of their lo-fi guitar-and-drum, barn-under-the-motorway scrambles:



 

San Haress, Markers go on to play a couple of dates in Brighton and Leeds on the cusp of April and May with American “dark-indie” band Jaye Jayle. Formed in Louisville around onetime Young Widows songwriter Evan Patterson and with other personnel sporting a history including The For Carnation, Freakwater, and Phantom Family Halo, Jay Jayle connect American roots music and Southern Gothic musical sensibilities with drone, garage rock, and bits of kosmische analogue-tronic drive (much of it brought by Corey Smith’s “auxiliary instrumentation”). They’re an exciting thrumble of Velvets-y deathmarch, down-home fucked-up country backroads, factory sirens, momentary blackouts and haunted, incoherent confessionals. They sing the songs of drifters on long, dark trips; of people in back-prickling situations; and of people who’ve picked at the scabs of guarded obscure places just enough to show you why you shouldn’t pick at any more of them. Jay Jayle are compelling. I think I’ll be back to give them another listen.



 

Also on hand at the first of those two shows – the one in Brighton – is Nick Hudson’s own home-grown take on the “psychedelic dystopian gnostic-Gothic post-punk” approach, The Academy Of Sun. Some overlap with Jay Jayle’s sound, perhaps, but quite a bit more verbose and self-consciously literary, to be honest. Somewhere between Johnny Cash and dark cabaret, with a dash of biting chanson – but then as Brightoneers they’re not much more than a stone’s throw away from either the sea or Nick Cave (and, judging by the sound of this, from a mouldering salt-stained stack which when pulled apart bursts into a sprawl of old Furniture records and bright West Coast glad-rags).



 
* * * * * * * *

Dates:

Markers & Haress on tour:

  • Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England – Tuesday 26th February 2019, 8.00pm(Markers album release gig, also featuring Anji Cheung) – information here, here and here
  • JT Soar, 2 Aberdeen Street, Nottingham, NG3 1JB, England – Friday 15th March 2019, 7.30pm(also featuring Caius Burns) – information here
  • The Triangle, 47 Bradford Road, Shipley, Bradford, West Yorkshire, BD18 3DS, England – Saturday 16th March 2019, 7.00pm (also featuring Tom House + Aby Vulliamy) – information here
  • The Old Brazilian Embassy, somewhere in Liverpool, England – Sunday 17th March 2019 – ask around for information

Haress + Tom House + Motes
The Old England, 43 Bath Buildings, Bristol, BS6 5PT, England
Thursday 14th March 2019, 8.00pm
– information here

Jay Jayle and Markers:

 

February 2019 – upcoming gigs in London and Sunderland (folk, country, etc.) – Mally Harpaz and Valeria Pozzo in London (12th); a resurgent Bill Jones in London and Sunderland (16th & 20th February); Sarah Jane Scouten in London (18th February)

4 Feb

Mally Harpaz + Valeria Pozzo, 12th February 2019

On Tuesday next week, there’s yet another chance to see sometime Anna Calvi drummer/harmoniumist Mally Harpaz present her solo composer side, via live performances of her soundtracks for Clara Aparicio Yoldi’s video-art extrapolations from classic paintings. Debuted a little over a year ago (and revisited a couple of times since then, they’re post-classical piano-centric mood pieces. Various guests will be joining Mally as part of her ensemble – in the past, these have included Mark Neary, Hazel Iris, Ciara Clifford, Jessica Lauren, Eran Karniel and, indeed, Anna Calvi (a close friend rather than an employer, and one who repays loyalty).

 
As for the future, Mally is still incubating her intended debut album, with two brooding instrumentals having broken cover on Soundcloud two years ago – glowering Gothic impressionism for piano, drum and ghost guitar, dabbed with synth strings and wordless soprano wails. You can hear the imprint of mediaeval-toned cinema epics, Dead Can Dance, some of the foggier Braonáin-isms… but someone really needs to let this woman loose on a New Weird Britain film about a haunted pantry somewhere in the New Forest. Something nasty, with a scary cutlery drawer.


 
As she usually does, Mally is presenting this as part of one of her “off-the-beaten-track” Blind Dog Studio evenings, which also showcase other performers. In the past these events have often favoured under-the-radar female singer-songwriters with impressive multi-instrumental abilities. This month’s show is no exception, featuring Valeria Pozzo.

Originally from Italy, Valeria currently floats in that strangely nationless zone of acoustic jazz pop, where it’d be difficult to tell where she was from unless you asked. She’s the possessor of handy guitar and violin skills as well as being the owner of a supple voice; and from what I’ve heard of her so far she’s hovering on a cusp where she could either carve out a comfortable career supplying smooth, edgeless jazz-folk entertainment at upscale pizza restaurants or take a couple of small, delicate gambles and persistently deliver songs which could turn heads and stop jaws champing.

I much prefer it when she does the latter: easing subtly strange chordings and tunings into her work, adding an extra dimension. Not necessarily unsettling, let alone perverse, but providing a deepening, an extra quality of storytelling undercurrent. What would be, if she dealt in written stories, the story beyond the words: the bit that crept up on you.


 
Valeria’s also making another appearance later in the month, this time at Rami Radi’s Laid Bare At the Ritzy acoustic night in Brixton; where she’ll be appearing with assorted other south London singer-songwriters including post-Damien Rice caroller Archie Langley, Berlin-born acoustic soulster Adwoa Hackman and her white-soul-boy-next-door counterpart Josh Collins. As a bill it’s got its moments, but it’s a little too generic for me to say much here, to be honest; although George Pelham’s buttery lite-soul voice and apparently effortless shuffling of McCartney, Prince and Elton John songwriting sounds pretty good. I’m also going to go back sometime and have a closer listen to the coastal autoharp folk of Olive Haigh – the deliverer of a cute, winsome sound with a garnish of eerie weirdness which becomes more apparent the more you listen (slightly magical/slightly sinister fairytale undertones, and a subtle use of sound embellishments from fiddle slides to pebble rattles).

* * * * * * * *

Bill Jones, 16th February 2019

There was a time in the early 200s when Bill Jones looked set to be a British folk star with the profile of someone like Kate Rusby – upfront, nicely turned out, fairly straightforward and with her folk scholarship gently on display. (These days it seems to matter less whether you gained it at lockins or at university, though plenty seem to study at both of these schools. Bill was one of those who did both.)

My own initial memories of Bill are wilder, woollier and from a bit further back: from when she was singing loud, pure backing vocals from behind an accordion as an anchoring part of The Wise Wound, who have generally been snootily dismissed as “an indie band” in accounts of Bill’s prehistory but whose absorbing, sometimes frustrating work was more like a remarkable psychedelic quilt being disgorged through a chamber folk-funnel. Back then (still going through formative years) she was something of a band secret weapon: a dark horse who stood apart from the friendly-frictional mental wrestling and gag-cracking that made up much of the Wise Wound’s offstage behaviour, while secretly fostering a great deal of the charm that served her well when she eventually found her own voice and went solo.

It was interesting seeing Bill afterwards, since she was still something of a dark horse: managing to pull off (possibly unwittingly) the trick of being entirely open while remaining entirely enigmatic. Even when revealing something personal in song (such as her family’s Anglo-Indian Darjeeling heritage, as laid out a capella in the title track of 2001’s ‘Panchpuran’) she sometimes seemed less of a conversationalist in what she sang than a conduit, like the flute she also plays. Her sleekly-groomed picture-book folk sometimes made use of the varnished production of pop, but without any concessions or vulgarities; and there was certainly always a sense that while Bill was friendly and loved her craft, she was also keeping a careful reign on the interplay of life and music.

Bill Jones, 20th February 2019At any rate, after three increasingly well-received albums (plus a live record, an odds-and-sods collection and a trinational collaborative project and tour with Anne Hills and Aoife Clancy), Bill turned away from the road and the spotlight; taking the option of stepping back, while still in her twenties, in favour of home-life in Sunderland, teaching and raising a family. She hasn’t been completely absent from the stage since. Folk-music teaching has less differentiation between instruction and performance; plus there were a couple of 2016 support slots in Tokyo for Flook and a number of low-key charity gigs for Antenatal Results & Choices (a cause close to Bill’s heart).

Now, however, she’s mounting a more substantial comeback, with a new album – ‘Wonderful Fairytale’ – finally arriving this coming May and various folk festival appearances scheduled for England and the United States later in the year. The first sightings are a new song, My Elfin Knight, and a pair of February dates accompanied by violinist/viola player and album buddy Jean-Pierre Garde. Between them, incidentally, the gigs indicate the affable but borderline incompatible polarities of British folk music. The London show in the churchy environs of The Gresham Centre can’t help but come with a bit of lofty gloss (canonicity, scholarliness, high-culture), while the Sunderland hometown gig is much more down-to-earth (a Whitburn Village Heritage Society do at a cricket club which also features floor spots from local singers).

I don’t know whether Bill makes much of these differentiations, or whether the contrast makes her laugh. As far as I can see, she’s just getting on with the music. Here’s the video for My Elfin Knight, which shows that she’s lost nothing in the intervening time: musically, still as sleek as a seal and cool as an early autumn evening. If anything’s changed, it’s the emotional freighting: the passing years seem to have laid an extra presence on her, with the sense of unspoken things lurking closer behind the song.


 
* * * * * * * *

Among the Nest Collective events popping up for early 2019 is a show by Canadian country folker Sarah Jane Scouten – another artist with firm groundings in tradition plus the willpower to bring it to a fresh new audience. As with the spill of characters around the Laid Bare evening, I can’t say much for Sarah in terms of originality, or in terms of her bringing much that’s new to the table, but with her neither of these things need to matter.

Sarah Jane Souten, 18th February 2019

What does matter is how she takes her chosen song-form back into her corner (a genre that’s still too young to be ossified but is still too easy to render cheesy) and how she refreshes it. Rather than a young revolutionary, Sarah’s a restorer and a reconfigurer: someone who can already turn out classic-sounding songs to fit the canon, and who can personify its ongoing traditions in a way that looks forced and creaky on a rock performer but sits surprisingly well on a country figure. Maybe it’s the storytelling side of things – as with traditional folk, stories get picked up, dusted off and recast in country, rolling on like a wheel. At any rate, Sarah’s consistently impressive, whether she’s turning out honky-tonk or delivering typically countryesque tales of rural life, bereavement and memory with songs such as the recent single Show Pony. She might not be showing you where country is going, but she’ll certainly show you where it will always be coming from.

 
* * * * * * * *

Dates:

Blind Dog Studio presents:
Mally Harpaz + Valeria Pozzo + guests
Hundred Years Gallery, 13 Pearson Street, Hoxton, London, E2 8JD, England
Tuesday 12th February 2019, 7.30pm
– information here and here

The Nest Collective presents:
Sarah Jane Scouten
The Slaughtered Lamb, 34-35 Great Sutton Street, Clerkenwell, London, EC1V 0DX, England
Monday 18th February 2019, 7.00pm
– information here, here and here

Bill Jones:

  • Gresham Centre, St Anne And St Agnes Church, Gresham Street, Barbican, London, EC2V 7BX, England – Saturday 16th February 2019, 7.30pm – information here and here
  • Whitburn Cricket Club, The Village Ground, Sunderland, South Tyneside, SR6 7BZ, England – Wednesday 20th February 2019 – information here and here

Laid Bare At the Ritzy presents:
George Pelham + Adwoa Hackman + Olive Haigh + Josh Collins + Valeria Pozzo Trio + Archie Langley
Upstairs at The Ritzy, Brixton Oval, Coldharbour Lane, Brixton, London, SW2 1JG, England
Wednesday 27th February 2019, 7.30pm
– information here
 

October 2018 – singer-songwriter album launches in London and Wales – Hazel Iris (25th October), Emma Lohan (25th, 26th October)

21 Oct

Looking for events with singer-songwriting women in London? This coming Thursday, you can go big or go small.

* * * * * * * *

If you’re going for the bigger option, there’s Hazel Iris’ album launch in Smithfield, at St. Bartholomew-the-Great, no less. It’s an event that sprawls across the entire church: its varied acts located in different places within the building, like a cross between a miniature festival and a stations-of-the-cross procession. In one corner, two classical musicians – Katrina Sheppeard and Jayson Gillham (who between them have racked up appearances with the Royal Philharmonic Orchestra, ENO, Melbourne Symphony and the Sydney Opera House) will provide a piano-and-soprano duet performance of Richard Strauss’s ‘Vier letzte Lieder’ – the composer’s last work, a four-song death-and-transfiguration sealing of his legacy, composed during the dusk of the Romantic era. Next, in another corner, Kate Arnold – usually to be found as frontwoman for dark classical-folk fusioneers Fear Of The Forest – will be playing solo and acoustic with hammer dulcimer, violin and voice, providing a set of songs reflecting her folk, medieval and Middle Eastern influences.




 
And so to the headliner, who’s recently been making a name for herself as a standout performer at the Blind Dog Studio evenings. Hazel Iris is a storyteller with an overwhelming musical streak; her tales drawn from her travels, her own musings and her borrowings from the great stewpot of mythology and folklore. California-born and London-based but world-honed, her songs blend indie-folk habits, vaudeville brassiness, operatic training, lieder romance and a dash of country.




 
Bringing her brand-new ‘Nine Sisters’ album to life at St Barts is a similarly broad-based nine-piece band. The rhythm section – drummer Fred Harper and double-bassist Twm Dylan – come from the London and Leeds jazz scenes, while Winter Quartet violinist Aurora Del Río Pérez and French horn player Jessica Cottis are both established in the classical world (the latter, notably, as a conductor – she’s returning to a childhood instrument for this performance). Harpist Tara Minton straddles both jazz and classical worlds. Rounding out the ensemble is cellist and screen music composer Matt Constantine, classical accordionist Aine McLoughlin (Hazel’s regular collaborator at previous Blind Dog gigs), and up-and-coming guitarist Myles Peters (who plays anything and anywhere he can).

Also integral to the show will be the puppets of Alicia Britt, artistic director for Wondering Hands Puppet Theatre. Her usual gig involves using puppetry of all kinds for the entertainment and nourishment of all ages, with an undercurrent of healing, conversation and a restoration of our human nature: work that ranges from carefully-thought-out fairy tales of bereavement and development for children to bawdily sexual puppet-cabaret for adults. Quite possibly all aspects will be making a showing in her support work for Hazel. I’ve no idea whether huge rod-guided creatures will be leaping through the church or whether the puppetry will be on a smaller, more human scale with creatures the size of lutes or horns, but it should add an extra level of story texture.

* * * * * * * *

Speaking of smaller, more human scales – if all of the above sounds too grand, then on the same London night another songwriter – Emma Lohan – is launching her own debut album up in the south end of Hackney. ‘Black Atlantic’ pulls together Emma’s own particular blend of Irish hometown influences (she’s a Galway woman), pop leanings and traveller’s scraps, drawn from her footloose global roamings. Impressions and stories, a kind of global coast-combing or, as I put it last time, “beautifully-constructed cloud-tossed songs imbued with the flicker of constant motion.” The album itself is a small, quiet-reveal treasure imbued with a bouncing, soft-chatting liveliness. There’s jigs and kalimba, there’s age and youth, there’s plenty of story to unspool.

She’s doing it all again the following night in Wales – in an unusual display of synchronicity, at a puppet theatre in Cardigan – in a puppet theatre. Elusive ska band Julian’s Reluctant SKAfterparty are in support: no more info on them, I’m afraid. (Update, 24th October – sadly the Cardigan show has had to be cancelled, but they’re promising to reschedule it soon…)



 

All dates:

  • Hazel Iris + Kate Arnold + Jayson Gilham & Katrina Sheppeard – St Bartholomew the Great, Cloth Fair, West Smithfield, Clerkenwell, London, EC1A 7JQ, England, Thursday 25th October 2018, 7.00pm – information here and here
  • Emma Lohan – NT’s Bar, 1 Westgate Street #207, London Fields, London, E8 3RL, England, Thursday 25th October 2018, 7.00pm – information here
  • Emma Lohan – Small World Theatre, Bath House Road, Cardigan, Ceredigion, SA43 1JY, Wales, Friday 26th October 2018, 8.00pm (with Julian’s Reluctant SKAfterparty) – information here and here

 

Post-Punk Monk

Searching for divinity in records from '78-'85 or so…

Get In Her Ears

Promoting and Supporting Women in Music

The Music Aficionado

a song a post, for a song

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Not from concentrate.

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improvised/experimental/music

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Music Reviews, music thoughts and musical wonderings

A jumped-up pantry boy

To say the least, oh truly disappointed

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A new semi-regular gig in London

We need no swords

Organized sounds. If you like.

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honest words on honest music

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an absurdist review blog

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Waiting for the gift of sound and vision

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Scans from the Melody Maker and N.M.E. circa 1987-1996

OLD SCHOOL RECORD REVIEW

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Fragile or Possibly Extinct

Life Outside the Womb

a closer listen

a home for instrumental and experimental music

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New Jazz: We Search. We Recommend. You Listen.

Lucid Culture

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FormerConformer

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