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August 2018 – upcoming London folk gigs – Nest Collective’s Campfire Club shows – Åkervinda and Night (17th August); Gasper Nali and Ellie Ford (also 17th August); London Contemporary Voices (24th August); Alabaster dePlume and Luna Silva (31st August)

12 Aug

Here’s the second set of August’s Nest Collective Campfire Club open air park/garden/playground shows…

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Another pair of simultaneous Campfire concerts are happening on 17th August, the first of which features Scandinavian vocal quartet Åkervinda and Nepali folk band Night.

“Iris Bergcrantz, Lise Kroner, Linda Bergström and Agnes Åhlund – the four singers of Åkervinda – take pride in their original and modern interpretation of the traditional folksongs of Scandinavia. The group’s name is inspired by a Swedish wildflower whose roots spread far and wide like rivers under the ground. Like the flower, gracefully entwining melodies, rock-solid groove, and ever intriguing harmonies will take root in your mind. Like the flower, they will be impossible to remove.

“Jazz singers at heart, the young women of Åkervinda share a deep love of folk music. Through improvisation, the group gives new life to traditional folk songs and stories of women throughout the ages. In 2014 they released their debut album “Kära Mor” (“Dear Mother”) and has been touring in Sweden, Denmark, the US and Canada since. Åkervinda have performed at Aarhus Vocal Festival, Malmö Arena, Hillerød Folk Festival and various folk festivals in Sweden (as well as museums and venues in Toronto, New York and Chicago) and collaborations include work with the Swedish folk musician Jens Ulvsand, the Canadian fiddle virtuoso Jaron Freeman-Fox and the internationally-renowned Swedish trio Nordic.


 
“Reworking Nepali traditions into “stunning new soundscapes” (‘Making Tracks’), Night is a Kathmandu-based folk band formed in 2006, with members coming together from different musical backgrounds. The band focuses on reviving lost and endangered Nepali instruments, on creating new sounds rooted in collective Nepali heritage and on reintroducing said music and instruments to a world audience.

The people, places and cultures of Nepal have been Night’s greatest inspiration. Most of the songs are composed “in the field” where the band stays with people in villages. After living with a melody, a song or a drum rhythm over a period of time, they slowly start sensing its deeper meaning; and, through developing their own compositions, try to express and share this understanding with others.”


 
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The second of the two 17th August concert features Malawian roots musician Gasper Nali and Brightonian folk harpist/singer-songwriter Ellie Ford.

“Performing “simple but joyous… totally infectious” music (‘Songlines’), Gasper Nali plays a Babatoni – a three-metre one-stringed home-made bass guitar – with an empty bottle and a stick, and makes the most beautiful and catchy original Afro-beats possible. Gasper is a one-man-band, with the Babatoni, cow-skin kick drum and very catchy tunes. He is absolutely unlike anything else. It’s super Malawian roots, it’s very upbeat and incredibly danceable! Or – as a Bandcamp fan nicely put it: “Gasper is a one man party! It’s completely impossible to stop moving – and just as impossible to stop smiling!”


 
Ellie Ford is an alternative folk artist whose expressive vocals are accompanied by her percussive harp playing and eloquent songwriting. Her combination of classical and modern musical styles – of the serene with the guttural – makes for a captivating solo performance. With a debut album release under her belt and a second album to follow in 2018, Ellie Ford is forging her own path as an alternative musician and performer.”


 
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On 24th August, utility choir London Contemporary Voices deliver the second of their two Campfire concerts this year. Suppliers of “session singers, backing vocalists, choristers, beatboxers and a cappella entertainment”, LCV are an in-demand studio-and-live chorus who spend much of their time working with pop and dance artists, providing music for corporate events or singing “choireeoke”; but in between these engagements they host their own events or pursue more unorthodox projects. Beside their previous 2018 Campfire event earlier in the season, the latter have recently included providing a soundbath for Folkestone’s experimental Profound Sound festival and staging a celebration of female songwriters at Union Chapel back in May.


 
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The last of the August concerts comes on 31st August, and features spoken-word/instrumental polymath Alabaster DePlume and trilingual folk/jazz/pop musician Luna Silva.

”From Manchester, now based in London, Gus Fairbairn – better known as Alabaster DePlume – is a performer, writer and musician. A saxophonist with an unusual tone (reminiscent of Ethopian free-jazz legend Getatchew Mekurya), Alabaster collaborates with members of the folk and jazz scenes of London, Bristol and Manchester. He uses music and spoken word to portray sentiments, often contradictory, that together evoke a new feeling. Whether in recording, writing or performance, his work has an emphasis on inclusion, encouragement and sincerity (and was recently described on Radio 3 as being “cheerfully uneasy”).

Since 2011 Alabaster has produced three albums on Manchester label Debt Records, toured Europe as a solo performer, produced short films, and written/performed a play with circus-aerial in Dublin. His latest album, ‘Peach’, was produced by Paddy Steer, and accompanies a short film called ‘I Feel Good’ directed by Melodie Roulaud. He also regularly presents a series of combined arts events celebrating both his and others’ work.


 
“Daughter of an English actress, a Spanish circus performer, and raised in France Luna Silva is a daughter of the world, singing in three languages and influenced by the cultures she has come across in her travels. In a world that is increasingly connecting, communicating and cooperating; Luna Silva’s music is deeply resonant. Her music is a mixture of contemporary music and traditional musics of this world (the arrangements touching on Eastern European folk, English folk, straight pop and Congolese jazz) but above all one feels a love for creativity. Accompanied by her ukulele (or a quartet also including guitar, double bass and percussion) she takes us on a journey of our own – an acoustic set with sass.”


 
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Full dates:

  • Campfire Club: Åkervinda + Night – Lumpy Hill Adventure Playground, 15 Market Road, Lower Holloway, London, N7 9PL, England, Friday 17th August 2018, 7.00pm – information here and here
  • Campfire Club: Gasper Nali + Ellie Ford – Phytology, Bethnal Green Nature Reserve, Middleton Street, Bethnal Green, London, E2 9RR, England, Friday 17th August 2018, 7.00pm – information here and here
  • Campfire Club: London Contemporary Voices return! – Glengall Wharf Garden, 64 Glengall Road, Peckham, London, SE15 6NF, England,Friday 24th August 2018, 7.00pm – information here and here
  • Campfire Club: Alabaster dePlume + Luna Silva – Spitalfields City Farm, Buxton Street, Shoreditch, London, E1 5AR, England, Friday 31st August 2018, 7.00pm – information here

More Campfire Club shows to follow in September…
 

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

2 Aug

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

Here’s what they say they’re offering…

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

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


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


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


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

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


 

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

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


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


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

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


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


 

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

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


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

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


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


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


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

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

 

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

31 Jul

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

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

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

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



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


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

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

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

28 Jul

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

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

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

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


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


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

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


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


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

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

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


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

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


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

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

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

 
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Full dates:

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

More August Campfire Club concerts shortly….
 

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

24 Jul

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

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

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



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

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


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

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

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

Meanwhile, here are a couple of Graphites songs…



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

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

20 Jul

Grimeborn 2018, 24th July to 26th August 2018

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

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

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

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

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

Milly Forrest

Milly Forrest

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

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

Melanie Gall: 'Opera Mouse'

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


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

Dates:

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

 

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

4 Jul

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

* * * * * * * *

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

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

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

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

 

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

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



 

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


 
Dates:

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

 

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