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July 2018 – upcoming rock gigs – A Sudden Burst of Colour, a-tota-so and Theo tear up The Facemelter (6th July); Heldon and Hirvikolari at Café Oto (14th July)

2 Jul

A quick boost for the heavy stuff at the Facemelter this week, and for an avant-rock return at Café Oto mid-month….

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The Facemelter: A Sudden Burst Of Colour + a-tota-so + Theo, 6th July 2018
“Hailing from Motherwell, Scotland, A Sudden Burst Of Colour captures fans of electronic, ambient, dance and rock music with their soundscapes and encapsulating songwriting. Their sound is bright, shimmering and generally uplifting. The instrumental quartet have four globally acclaimed EP releases under their belt, which is evidenced by features from ‘BBC Introducing’, ‘The Scotsman’, ‘Earmilk’ (USA), ‘Arctic Drones’ (Turkey), ‘Stereofox’ (Germany) and many more, so this is a good time to catch them before they break into the wider world. Their recent single ‘I Am The Storm’ was premiered on Daniel P. Carter’s BBC Radio 1 Rock Show and they’re currently in pre-production for their forthcoming album, which is due for release at the end of the year.”


 
Replacing Bristolian mathrockers Hoggs Bison (who, like Barringtone recently, have come down with a bad case of broken wrist) are “noisy math/grunge band a-tota-so (formed by members of Alright the Captain and Cheap Jazz), who we’ve been dying to put on for ages! In their short one-and-a-half-year existence, they’ve already toured the UK and Europe, shared the stage with Tera Melos, Tangled Hair, Alpha Male Tea Party, Chiyoda Ku, Memory of Elephants, VASA and many more, and played at ArcTanGent and StrangeForms Festival. After a successful crowdfunding campaign, the band recently recorded their debut album at Nice Weather For Airstrikes and Snug Recording Co. and are set to release it in September 2018.



 
“To open, there’s a rare appearance from soloist Theo (described as “an extraordinary maelstrom of soundscapes, loops, beats and power” by ‘Louder Than War), who creates layers of tight guitar melodies and riffs by looping them over and over again, before sitting down at his drum kit and smashing out some fantastic rhythms to them. The range of dynamics and changes he achieves, as well as his ability to make the entire piece a coherent tune from start to finish, is astonishing. We’ve seen him perform around the country, including at ArcTanGent and at our late night Facemelter with Poly-Math and EVILLOOKINGBIRD, so we’re glad to see him make a return.”


 
Chaos Theory Music Promotions presents:
The Facemelter: A Sudden Burst of Colour + a-tota-so + Theo
The Black Heart, 2-3 Greenland Place, Camden Town, London, NW1 0AP, England
Friday 6th July 2018, 7.30pm
– information here and here

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Heldon + Hirvikolari, 14th July 2018

The upcoming Heldon and Hirvikolari gig at Café Oto appears to be happily selling itself without my input, partially thanks to Heldon mainstay Richard Pinhas‘ reputation as “the French Robert Fripp”. If that’s a fair comparison (and Richard has readily acknowledged that “Fripp has always been my Hendrix”), he might not have King Crimson’s ability to fill larger theatres but he does seem to have a far less compromised reputation in avant-garde hubs like Oto – for one thing, you wouldn’t generally find Robert Fripp going head-to-head with members of The Boredoms. A former junior philosophy professor, he jumped the academic ship in 1974, inspired by his own comparisons between philosophers and rock stars (and by his own taste for science fiction) to form an electronic rock band with a trans-sonic bent. This was Heldon, one of the very first French bands to use synthesizers, and one which would subsequently fall under the spell of King Crimson, Fripp and Brian Eno and develop their own droning improvisatory rock forms.

While the band originally only lasted for the course of the 1970s, Heldon’s albums are currently being reissued by Bureau B: this year, an archive live album, ‘Live in Metz 77’, was released by Bam Balaam. All of which has prompted a return to live action by Richard under the Heldon name. This is their first London concert for literally decades: expect to see an excited anticipatory audience of prog/avant-rock fans of all ages.



 
Hirvikolari – modular synthesist Mike Bourne and processed-trumpet guy Sam Barton – are more often found being two-fifths of Teeth Of The Sea Last time round, I described them as follows: “while Teeth Of The Sea tend to play great stomping horror-slabs of musical architecture (a flying saucer spitting out rows and rows of heavily-armed tower blocks) Hirvikolari prefer to take the slow path and evolve themselves a great bolus of stewed electronic burble and resonating brass tracks. Ennio Morricone’s been cited as a comparison, as has the long tradition of counter-culture festival techno: both comparisons have some grounding.”

 
There’s about three handfuls-worth of tickets left: if you want to pluck them from the eager grip of Baba Yaga’s Hut, I’m sure they’d be all too willing to let you have your chance.

Baba Yaga’s Hut presents:
Heldon + Hirvikolari
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Saturday 14th July 2018, 8.00pm
– information here, here and here
 

July/September 2018 – upcoming electronic gigs – Jim Thirlwell’s Xordox goes out in New York, London and Dublin with The The, Teeth of the Sea and Faten Kanaan (variously 2nd, 5th, 7th July and 17th September). Plus an awkward Foetus reminiscence from my past….

29 Jun

Jim Thirlwell, 2018

Jim Thirlwell (either that, or it’s Quentin Crisp’s dark twin…)

Long ago in 1988 (during my gawky teenaged years) I helpless, hopelessly, stupidly loved a girl. One of her responses was to play a trio of Foetus tracks at me an hour or two past midnight, in a room tinged with other people’s dope smoke – first Asbestos, then English Faggot and finally Hauss-On-Fah. I think she was trying to prove a point about her own wildess and non-conformity as compared with my teenaged uptightness: a point seasoned with an extra tint of sadism.

Filtered through unrequited sexual longing and sleep deprivation (plus some secondary stonedness) the music took on even more of a nightmarish aspect. First the screeching, ravening wall of post-Penderecki horror-strings; then a crawling, banging, hate-crime narrative rising to a lustfully murderous snarl; finally the compulsive dance track, enough to have you ricocheting round a warehouse in the dark before realising that you’re slam-dancing to a gonzo tale of racist murders, cocaine-fuelled gang-rape and of lighting out for the outlaw territories.

Given my increasing interest in out-there music, it was a kind of awakening for me, but at the time it was more a kind of uninvited acidic baptism. I’d never heard anything like it; certainly nothing so apparently malignant and evil. I could barely move from my chair. Overlaid on the music, in real time (like an extra overdub, or a cruel remix) was delighted, spiteful female laughter. I’d never managed to make her laugh so much by my own efforts – so there was me told. Perhaps, in a way, it was a slightly twisted message of friendship-but-no-further.

Anyway, it made for a pretty disorientating walk home at half-past-two in the morning. Hornsey Vale’s one of the more peaceful and genteel London neighbourhoods, but that night it felt like hastening through the Haddonfield of ‘Halloween’. Boing, boing, boing…


 
That was a long time ago. The girl’s grown up into a woman and moved to Hove, and we’re not even remotely in touch. I’ve no idea what she listens to now or what she thinks of it; or whether Foetus, for her, is just a memory of a few twisted tracks on a cousin’s long-lost compilation tape which happened to come in handy for baiting an unwanted suitor one bloody-minded teenage evening. As for me – I’ve learnt to appreciate transgressive art a little more, and am less likely to take dysfunctional nights and dysfunctional relationships so personally. I’ve also learnt about the background behind the noise; and have even flippantly bought the odd Foetus record myself, to tease a flatmate with.

Meanwhile, if Foetus’ boiling black humour and theatre of cruelty has lost a little of its edge for me, Jim Thirwell – the man behind it – hasn’t lost any of his. Back then he was already a cutting-edge industrial rock godfather. Now, he’s a long-established sonic progenitor for Nine Inch Nails, Gorilla Black and anyone else who’s picked up an orchestral sampler, a vicious horn section and a junkyard batter-beat with the aim of making mordantly joyous music for a world scripted by the darker angels of our nature.

Over the three decades since his music reduced me to nervy paralysis in Crouch End, Jim’s worked with Lydia Lunch, Electronicat, Nick Cave, Marc Almond and Cop Shoot Cop’s Jim Coleman; and he’s branched his extreme musical satire out across the slow crushing misanthropy journals of Wiseblood (his collaboration with’ Swans Roli Mosimann), the transfer of those flourishing post-Asbestos Foetus instrumentals to the Steroid Maximus project (where they can rant, jazz and gibber in full orchestra majesty without being pinned down by a song) and with SM’s freeform cousin Manorexia. At the height of his performance-art immersion, he wore fake personalities and conceptual skin-suits like all-over psychological scars (Clint Ruin, Frank Want) but since then he’s come to the party as just Jim – behind the music, a sweet kind guy in person and an unashamed music store geek who happens to be drawn to extreme subjects (and into reflecting Western society’s callousness and license for dysfunction back onto itself). For the past twenty years he’s also been part of New York City’s contemporary classical talent pool, writing for the likes of the Kronos Quartet and Bang On A Can, and has also soundtracked cartoon music for ‘The Venture Bros.’ and ‘Archer’ – two parallel endeavours which he takes equally seriously.

Jim’s latest project is Xordox, featuring a new instrumental direction to set alongside Steroid Maximus and Manorexia. Primarily synthesizer-based, it merges his existing electronic production expertise with extended use of the lateral thinker’s dream modular synths by Buchla and Serge. The results were unveiled last summer on the project’s debut album ‘Neospection’, revealing a Thirlwellisation of modular techno. While the hurtling disruptive Alto Velocidad is more remniscent of previous Thirlwell methodology, the only currently embeddable example of Xordox out there is the cosmo-Germanic rush of Diamond. See the video below (it tickles me how different the NASA CGI footage is from the cyberpunk/”Nazoviet”-inspired designs Jim used for the Foetus records).

 
Xordox have secured July and September support slots in Dublin and New York on the comeback tour for The The (with whom Jim was a collaborator and contributor, in particular on 1983’s ‘Soul Mining’). Also arranged are fairly short notice headline dates in New York and London for the first week of July (the latter hosted by top psych/noise curators Baba Yaga’s Hut. For the live sets, Jim’s being joined by an additional keyboard player (long-time collaborator Simon Hanes of Tredici Bacci) and will be playing in front of a visual backdrop by Swedish artist Sten Backman of Great Big Container.

 
At the headliner gigs, New York support comes from synth artist Faten Kanaan who’s “inspired by cinematic forms: from sweeping landscapes & quiet romances, to the patterned tension of 1970s film scores… focuses on bringing a human touch to electronic music.” Her Germanic romantic/horror textural blends are created by “live-looping them, sans sequencers or arpeggiators. In symbiosis with technology is an appreciation for the vulnerability of human limitations, imperfections, and simple gestures.” London support comes from roof-raising underground heroes Teeth Of The Sea who merge extended brass-laden psych-rock voyages with techno and rave methodology, updated for twenty-first century urban impulses.


 
Dates:

July 2018 – more Woodburner world-acoustica sessions at Dalston Eastern Curve Gardens – Laura Perrudin and Garance & The Mitochondries (3rd July); Muntu Valdo, Dahlia Sleeps and O Matæus (10th July); David Keenan, Lilla Vargen and Stephen James Smith (17th July); Rachel K. Collier, Marble Empire and Alexander Carson (24th July); Roscius, Three Laws and Zoë Phillips (31st July)

27 Jun

With the June sessions of the summer Woodburner season at Dalston Eastern Curve Garden now complete, here’s details on the upcoming July set (bringing further doses of world/international music, acoustic singer-songwriters and bubbling-under internet music sensations to the London summer nights).


 
Occasionally-tweaked official blurbs below.

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“The 3rd July show features sensational French harpist, singer and composer Laura Perrudin, and London’s eccentric genius Garance Louis & The Mitochondries.

“Seeing her harp as both an orchestra and a drum kit, Laura Perrudin creates a powerful personal universe in her compelling live performances utilizing an arsenal of laptop, sound-effect pedals and multitrack loops. Using her voice like an instrument, she believes that harp and voice are each an extension of the other. Brought up on a diet of jazz, she studied classical music in addition to composing and producing music using her home studio (influenced by a wide array of genres including electronic and traditional music, soul and hip-hop), and trained with many musicians from her birth region of Brittany to New York and Paris. A harpist from childhood, her mission became to open up the possibilities of the instrument to a richer harmonic language: she plays a custom-built electric chromatic/pedal-less harp with a single row of strings, constructed by harpmaker Philippe Volant and allowing her to give free rein to the sinuous harmonies and rich soundscapes of her unclassifiable compositions.​

“Upon the release of Laura’s debut album ‘Impressions’ in 2015, ‘Les Inrockuptibles’ proclaimed her a “young iconoclast blends jazz (playing) the thousand games of a tightrope artist (with) cheerful and spontaneous radicalism, definitely modern.” while ‘France Inter Paris Radio’ wrote “it’s rather as if Björk had chanced upon Herbie Hancock in a Dublin pub. Laura Perrudin is only at the beginning of her artistic career, but she has already redefined the framework of the harp and we are sure that her singular universe will become an example.” Laura recently released her sophomore album ‘Poisons & Antidotes’ on Volatine Records.


 
“Since moving to London from Perpignan in 2010, extrovert, eccentric composer, singer and accordionist Garance Louis (now usually seen fronting Garance & The Mitochondries) has established herself as a powerhouse of the underground live music scene. Her surreal performances have featured bizarre costumes and otherworldly themes, perfectly complementing songs about absurd abstraction, procrastination, star-crossed open relationships; intoxicating love, plus rebirth in the Amazonian forest. The playful Garance always wears a smile, finding humour in physical theatre, funny faces and the clown inside us all.

“Growing up in the independent ‘Cinémaginaire’ in the South of France, Garance spent her childhood travelling the world, her head filled with the sights and sounds of the movies. The nomadic spirit stays strong with her, with an impulsive trip to New Orleans on the cards, and her past history of running away with the circus. Continuing the creative journey, her current record ‘Balance L’Aurore’ shows off Garance’s discovery of music production, bringing a new vitality and direction to her sound, while staying rooted in French chanson, psychedelic folk and old Venezuelan mambo.


 
* * * * * * * *

“The 10th July concert features Cameroonian blues-and-jazz player Muntu Valdo and melancholic electronic group Dahlia Sleeps, plus the moody electric guitar stylings of O MATÆUS.

“Hailed as “the prince of Sawa blues”, Muntu Valdo says “my passion is African history; its past glory, present fragility and diverse riches. My ambition is to increase awareness, enlighten, empower people and invoke a positive future for Africa with the rest of the world. My music is a result of all of this; rooted in the blues, mixing African traditions with striking modernity and technical mastery.” The Cameroonian is indeed a master and his performance will be a rare treat for those present to experience his music.


 
“Over the last couple of years Dahlia Sleeps have risen from being Soundcloud sweethearts with over half a million plays on the platform to the UK’s next big pop band, stacking up almost 1.7 million Spotify streams and three million YouTube views in that time. Their second EP ‘After It All’ showcases their increasing pop sensibilities whilst retaining the intimacy and endearing fragility of their original Soundcloud demos. They continue to show a willingness to tackle difficult subject matter with grace and poise. Lucy Hill’s song writing is even more poignant than ever before, with the record covering deep and personal themes from grief and loss, to love and homophobia.

“Despite the EP’s tough subjects, the band delivers some of its most upbeat efforts to date. Rise – a future LGBTQ+ anthem saw success on Spotify when released as a single last year, which has as much to do with its addictive chorus and epic guitar melodies as its important message. Only You, an intoxicating fall into luscious synth arrangements and furiously catchy vocal samples, shows a band hurtling full speed towards mainstream success.


 
“Operating as O Matæus, Mat Roberts is a young singer-songwriter from Canterbury, an ex-chorister and classically trained cellist, exploring and developing his emotional connection to a life surrounded by music. Influenced by the likes of Daughter, Ben Howard, Marika Hackman, Lucy Rose, Enter Shikari, Bring Me The Horizon and a wide range of classical composers, O Matæus wishes to create a unique style of material to hear, whether it be heard in a small bedroom or echoing concert venue, music is his life, and he wants to share it with the rest of the world. Dark undertones and words filled with passion and trouble rule his creative style with every note being connected to a moment in time that has passed. He wants to make you feel what he has felt, and with soaring falsetto lines, simple yet intricate guitar licks and raw intensity he brings those feelings back to life in the short time-span a song gives.

 
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“The 17th July concert features an all-Irish lineup featuring rising star David Keenan, electronic/acoustic songwriter Lilla Vargen, and poet Stephen James Smith.

“An obsession with words and melody took hold of David Keenan at a very early age. Exposed to the writings of Behan, Yeats and Wilde (with a soundtrack of Dylan, Buckley and The Dubliners), his formative years were inspired by the storytelling and character creations of his grandfather. Later he took the boat over the water and gathered tales and tunes of his own, learning his craft and to express his love of language. Having been asked to play alongside the likes of Mick Flannery, Hothouse Flowers, Damien Dempsey and Glen Hansard, David is fast becoming one of Ireland’s most talked-about young artists.


 
Lilla Vargen is a singer-songwriter from Northern Ireland. Her name means “little wolf” in Swedish – an alias which encapsulates both her strong, soulful, evocative voice and the vulnerability in those honest, minimal songs of love and loss. Two years after her first couple of demos emerged online, she returned with her debut EP – the three-track ‘Hold On’, including an astonishing cover of Downtown (by Majical Cloudz) and the quietly memorable torch song title track (which showcases her beautiful vocal, offset against producer Nick Rayner’s warm, gently-building production). The critically acclaimed EP racked up just under a million listens online in a month, alongside plays from KCRW and further support from BBCR1. Live, she plays as a two piece alongside Derry composer and electronic musician Ryan Vail. Recent shows include supports for Lisa Hannigan and Newton Faulkner, with her debut UK dates happening in February 2018.


 
Stephen James Smith is a Dublin poet and playwright central to the rise of the vibrant spoken word scene in Ireland today. His poetry videos have amassed over 2.5 million views and he has performed at high profile events and venues such as the Oscar Wilde Awards in Los Angeles, Electric Picnic, other voices, Glastonbury Festival, the National Concert Hall in Dublin, the Barbican in London, Vicar Street and the London Palladium (alongside Oscar winner Glen Hansard). Stephen facilitates poetry workshops in schools around Ireland and is artist in residence with Dunamaise arts centre & Laois arts office. His poetry is included on the syllabus at Western Connecticut State University and his work has been translated into multiple languages. His debut collection, ‘Fear Not’, is published by Arlen House and will be launched on 14 June 2018 in Dublin at Poetry Ireland on Parnell Square.


 
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“The 24th July show features singer/producer Rachel K. Collier, synth collective Marble Empire, and downtempo songwriter Alexander Carson.

“A one-woman electronic production machine and die-hard Ableton enthusiast, Rachel K. Collier is known for using a multi-instrument technical setup to enable her to perform her song-focused, high-energy studio productions in a live setting. Performing on stage together with a live percussionist and interactive visuals, Collier has built and refined her live show throughout 2017 including sold-out shows at KOKO, Camden and 93 Feet East, headlining the Beats For Love Festival in the Czech Republic and participating in the Ableton Loop event in Berlin. With a string of high profile shows line up this year (including SXSW and BBC Radio 1’s Big Weekend as well as The Great Escape) Collier will follow up with her debut album, set for release in autumn 2018.


 
Marble Empire is twenty-one-year-old singer/songwriter/producer Matt Berry from north London: a multi instrumentalist who writes and produces all his own material, which he describes as a blend of “gritty bass-lines, jazz harmony and guitar lines soaked in effects.” Influenced by the likes of Ben Khan, Jungle, SG Lewis and Frank Ocean, tentative early single releases last year quickly gained him much attention. He invites you to celebrate the upcoming release of ‘Marble Empire & Friends’ a seven-track compilation mixtapes written and produced by Marble Empire himself with six featured artists. He will be welcoming many collaborators onstage with him and his band throughout the evening, including Katya DJ, KarimThaPeasant, Milo Gore, Kate Lomas, Tchengiz and Natalie Green.


 
Alexander Carson is a neoclassical/downtempo composer and songwriter, based in London, who has spent the better part of seven years as the lead singer, and songwriter for genre-fluid quintet Wooden Arms. Since Wooden Arms went on Hiatus in March of 2018, Carson has embraced solo work, with his debut single ‘Lovers’ being released on 4th May and being hailed as “a perfect blend of modern songwriting and classical musicianship” by ‘The Line Of Best Fit’, as “sounding at times like an Irish prayer and others a bit Bowie-ish, but never dull or less challenging” by ‘Where The Music Meets’, and by ‘Outline Magazine’ as possessing “a distinctive timbre and delicate working of the keys that always reminds slightly of Anthony and the Johnsons… the fragile vocals and piano playing are unmistakably Alex.”


 
* * * * * * * *

“The 31st July show features live producer Roscius, electronic/classical ensemble Three Laws, and singer/pianist Zoë Phillips.

“French-born/London-based underground composer, producer and live performer Roscius has spent the last year building an enviable reputation with the release of his debut EPs ‘WMD#1’ and ‘WMD#2’, as well as successful tours in France, the UK, the Middle East and Asia. Composing through improvisation, personal recording, live vocal sampling, bass looping, special percussion and piano skills, Roscius creates a unique and absorbing soundscape, genuinely innovative and emotional; a mixture of acoustic and intelligent dance music, organic techno and ethnic deep house.


 
“An electronic band from the Big Smoke, Three Laws draw inspiration from the city, art, science, nature and the people they meet. Their first EP, ‘Convalescence’, combined haunting female vocals with classical piano, cinematic/military percussion and electronica. Three Laws have been compared to outfits such as Daughter, The XX, and London Grammar.


 
“Distinguished by haunting vocals and emotive sounds, Zoë Phillips is a vocalist and songwriter from Hertford. Her music is hard to box up, as she has dabbled in dance music but her ambient piano-based approach can nod towards the likes of Birdy and Rae Morris. Now gigging live with a full backing band, her music has previously been supported by BBC Introducing and BBC 6 Music, whilst live performances include Glastonbury Festival.”


 
* * * * * * * *

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

  • Laura Perrudin + Garance & The Mitochondries, Tuesday 3rd July 2018, 7.00pm – information here and here
  • Muntu Valdo + Dahlia Sleeps + O Matæus, Tuesday 10th July 2018, 7.00pm – information here and here
  • David Keenan + Lilla Vargen + Stephen James Smith, Tuesday 17th July 2018, 7.00pm – information here and here
  • Rachel K. Collier + Marble Empire + Alexander Carson, Tuesday 24th July 2018, 7.00pm – information here and here
  • Roscius + Three Laws + Zoë Phillips, Tuesday 31st July 2018, 7.00pm – information here and here

 

June 2018 – upcoming experimental gigs – Darkroom in Letchworth (24th June) and at Ambience Chasers in London with Kieran Mahon (26th June)

17 Jun

Darkroom gigs have perhaps become a little rarer since bass clarinettist/modular synth master Andrew Ostler dismantled their shared Hertfordshire base by moving wholesale to Edinburgh (where he’s currently and happily troubling Auld Reekie’s experimental scene on his own).

That said, geography’s really the only working challenge that Darkroom currently face. The electronica duo are a tight, happy and assured unit who, for over twenty years, have continued a well-paced, well-knit career entirely under their own control; happy to lurk a hair’s breadth under the radar while wedding Os’ fluttering flexing rhythms, synth drones, thoughtful reed interjections and dancing timbral adjustments to Michael Bearpark’s powerfully brooding guitar (a sound and approach which blends a thorny, unsettled widescreen texturalism to the muscular, compelled melodic drive of a Neil Young, a David Torn or a David Gilmour). The results have been labelled as “a crossing point between avant-free jazz improvisation and Fripp/Eno-style ambient looping”, compared to Photek, Paul Schutze, Michael Brooks and supernovae, and described as “by turns beautiful and beautifully ugly… a very human music despite the inevitable technology that produces it.”

Darkroom, 24th June 2018The first of this month’s two gigs is back in their previous Letchworth home, in the Arts-and-Crafts-Movement embrace of the town’s reknowned Cloisters venue, as part of the Letchworth Festival. They’ll be part of a Cloisters afternoon of “amazing pieces of art work, live performances and (information) about the alternative history of Letchworth”. This is more interesting and less parochial than it sounds, given the town’s influential status as the world’s first self-sufficient garden city design as well as its links with Theosophy and British astronomy and its hordes of sinister black squirrels. There’s no info on who else is playing or exhibiting, nor what times Darkroom are scheduled to have sets in place, so either watch the webpages or just turn up in the early afternoon and let the Letchworth experience wash over you.

Darkroom + Kieran Mahon, 26th June 2018Darkroom will also be playing in London a couple of nights later, when they perform at Sonic Cathedral‘s Ambience Chaser electronic night on a bill with minimalist drone-loop-echo man Kieran Mahon. Keiron’s music (informed by hallucination, “acid-drenched dronescapes” and “time and space being ripped apart”) sometimes sounds like the stern ghost of a Highland bagpipe possessing a power sander and then imposing its will on a Tangerine Dream session. For all of the noisy loomings, drapes and abrasions, there’s a sturdy romantic grandeur to his textures and to his constructions: listening to him is never a chore. In addition there’ll be DJ sets from an actual Tangerine Dream-er (Ulrich Schnauss) and from Sonic Cathedral label head Nathaniel Cramp.

Dates:

  • Darkroom @ Letchworth Festival ‘Art, Music & Performance’ @ The Cloisters, Barrington Road, Letchworth Garden City, Hertfordshire, SG6 3TH, England, Sunday 24th June 2018 2.00pm onwards – free entry – information here
  • Darkroom + Kieran Mahon @ Ambience Chasers #16 – The Social, 5 Little Portland Street, Fitzrovia, London, W1W 7JD, England, Tuesday 26th June 2018, 7:00pm – free entry – information here and here






 

June 2018 – upcoming London pop gigs – electro-acoustic pop and world-folk with Gazel + Seaker at Birthdays (15th June)

13 Jun

Another quick, late-in-the-day signal boosting – this time for an interesting-sounding female double bill of experimental cross-cultural singer-songwriters, over in Dalston (inevitably)… so from here on in it’s the press release.

 
Piu Entertainment UK present:
Gazel + Seaker
Birthdays, 33-35 Stoke Newington Road, Dalston, London, N16 8BJ, England
Friday 15th June 2018, 7.00pm
– information here and here

“Turkish-rooted, London-based singer-songwriter Gazel‘s music is a blend of electronic pop with Middle Eastern folk and philosophical influences: a unique sound that gained nominations in the 15th Independent Music Awards with her debut EP, ‘Bone Key‘ (Best Pop EP, Best Electronic Song). She is a mesmeric live performer and multi-instrumentalist. Since 2017, Gazel has headlined shows at the Waiting Room, The Lexington and Borderline, as well as playing support shows at the Shepherd’s Bush Empire and a sold-out Hammersmith Apollo.

“At Birthdays Gazel will play new music from her upcoming debut album ‘Gazel’s Book of Souls’, which she’s described as “a collection of songs that tell the story of a curious nomad girl abandoned in the desert, and the strange encounters she has with a cast of surreal characters as she embarks on a journey in search of her soul”. The production team behind it includes Shuta Shinoda (Hot Chip, Ghostpoet) and Haydn Bendall (Kate Bush, Massive Attack). For this show, she’ll introduce projected scenes from a musical she is developing based on the album, with the first in a series of animations developed by close collaborator Acid Lake.



 
“Having cut her teeth as a folk singer-songwriter, Seaker‘s sound has evolved to become ethereal, layered and sparkling. In a world that sits somewhere between Portishead and Sufjan Stevens, Seaker’s intimate songwriting is enveloped in expansive and atmospheric soundscapes. Lead by her unique and rare voice, Seaker’s songs cycle interminably between a sense of loss and hope. Shortly after the May 25th release of her new single, ‘Words’, Seaker will take to the Birthdays stage to bring audiences through soft and roaring, delicate lightness and raging inner fire.”


 

June 2018 – upcoming London gigs – Multi-Storey’s 1st Birthday Party with WorstWorldProblems, Augustus, Tony Njoku, Elsa Hewitt, The Mantis Opera and Socket; experimental choralists Haha Sounds Collective sing David Axelrod, with Blueprint Blue and Lætitia Sadier (both 9th June)

6 Jun

A couple of posts ago I was grumbling vaguely about ‘Misfit City’ getting too rarefied, cubbyholed and white. If I’m absolutely honest, that’s probably my default setting – the subcultural narrowness, that is, not the complaining. Part of the point of the blog is to expand my own musical education: it’s a process of broadening my outlook and involvement as a listener. Still, I’m well aware that I frequently travel and listen more like a toy fisherman in a novelty clock – rotating in a small circle around an established axis while flicking out a line for what must often seem more like show than anything else.

Gratifyingly, a new gig’s hoving into view at the end of the coming week involving two of the acts I’ve previously covered – one outright punk, the other convoluted RIO techprog – rubbing up against hip-hop, textured ‘tronica and avant-soul-pop. On the same day, an indie-slanted choral group duck the spell of Britpop-grunge covers by investigating David Axelrod alongside an Americana band and a showing by Gallo-Anglo lounge-pop queen Lætitia Sadier. Sometimes you don’t have to force or hanker after cross-pollination: sometimes it comes to you, unprompted.

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From promoters Multi-Storey:

“We’ve actually made it to our first birthday and it’s all down to the amazing people who have played, danced, and generally been friendly and encouraging at our shows! We’ve had an absolute pleasure meeting and listening to some of the most thrilling new bands both from London and further afield over the past 365 and a bit days, so we thought that a big monstrous party/gig/exhibition with some of our favourites would be the perfect way to round off a wonderful year. We want to say thanks to those who have been so helpful, say hi to some new friends, and toss ourselves around like a sentient salad. We’ll be joined at one of our favourite venues by an eclectic and spectacular line-up of our favourite and most exciting new acts, which we will be announcing over the next few weeks. Get yourself a ticket for a late night with unexpected levels to it, and some fantastic music that you never knew existed – stay tuned for announcements!”

Multi-Storey's First Birthday Party, 9th June 2018

Multi-Storey presents:
‘Multi-Storey’s 1st Birthday Party’ featuring Worst World Problems + Augustus + Tony Njoku + Elsa Hewitt + The Mantis Opera + Socket
Bethnal Green Working Men’s Club, 42-46 Pollard Row, Bethnal Green, London, E2 6NB, England
Saturday 9th June 2018, 9.00pm
– information here and here

Announcements have duly arrived. Up in the headliner slot, Worst World Problems are a new hip-hop collective. On the evidence of their mini-album ‘Tape One’ their sound’s a blend of chilly ‘80s synthpop nightscapes, data-bus drift and exhausted, hooded, sore-heeled rapping. Inevitable ‘Mezzanine’ and Drake comparisons ensue: there’s that same draggled, overcast feel in the sad ambient production billows and the flow, but WWP take it even further. Their raps feel like echoes around corners, anti-brags, collarbone murmurs from introspective three-quarters-broken boys feeling reamed out and deadened by romantic disintegrations. You feel that at some point they’re going to blow themselves out with a sigh.


 
Augustus is producer/drummer/keyboard player Gus Lobban, who for the past four years has mixed and dispensed cheery ice-cream-flavoured Anglo-J-pop with Kero Kero Bonito, more recently upping the fuzz-rock/stage-school urchin content. I’m not sure what he intends for this solo appearance, but here’s KKB’s recent Only Acting single: pick out his contributions if you can. Here, the breakdown sounds like a literal breakdown: he might still be surfing the shockwave.

 
Anglo/Nigerian/cosmic artiste Tony Njoku writes and sings eccentric, thread-fine, vulnerable electro/sort-of-soul, reflecting a young life spent mostly in “grey areas”. Beneath his papery falsetto, slide-clicking trap beats and silly-putty analogue synthwork align with lyrics about origami swans, seraphim and care-powered balloons. African tin-can beats are sideswiped by colossal dance drones and billowing symphonic modular-synth stackings. Pick-out piano fragments leans against rice-paper inserts of gospel tones. It’s psychedelic, but it’s a long way from the muscularity of P-Funk or The Temptations: Afrodelic in hue, it’s also untrammelled by cultural confines.

Imagine a set of constellatory echoes of David McAlmont and Arca; of Wayne Coyne and Frank Ocean; of Jackie Shane and Ahnoni; even bits of Jon Anderson and Arthur Russell. Gossamer and guts. As for Tony himself, his music comes with the feeling that he’s unhitching from as many enforced identities and narratives as he’s clambering onto: as if he’s escaping in plain sight.

 
“Electronic – lo-fi – avant garde – experimental – singer-songwriter – ambient – if there is one thing I am not, I know that it is pop… catchy nonetheless.” The releaser of a series of cassette albums (rising to a prolific swell in 2017), Elsa Hewitt creates assorted soft and mesmeric musical shapes on samplers, loopers, guitars or pianos; or on captured, folded sounds; or with banked and buried voices. It’s electronica of a kind, but without the matter-of-fact construction – this stuff sounds genuinely collaged and soft-sculptural, its cycles and processes and dream-pop sibilances ready for flexion or redeployment at any time. Some of her work is like chiming cartoon birdsongs, some of it like knitted cirrus or a cove-caught sea of whispering mouths. There are plenty of loopers and glitchers about, but few who can make their work sound so organic and subtly potent.



If you missed my original summary of The Mantis Opera late last month, I suggested that they “fused Henry Cow, Battles and early Scritti Politti…. Guitarist, singer and electronics meddler Allister Kellaway… delivers his stirring, challenging constructions via a full electro-experimental synth-rock band, voicing a collection of “avant-garde grumbles” via a multiplicity of synth sounds and colliding pop tones. If this sounds inaccessible and snooty, it isn’t. It’s just that the tunes arrive in complicated cascading splinters, many parts urging in parallel towards an out-of-sight coda, while a dreamily precise atmosphere prevails: avant-prog keeping watch from under a dream-pop veil.

“The pieces themselves display an ambitious, orchestral thinking – Reykjavik, for example, is less a guitar clang with lofty ambitions and more of a cerebral/visceral string quartet piece transposed for rock band. Allister’s winding, philosophical lyrics, meanwhile, are very reminiscent of Henry Cow and of Rock in Opposition preoccupations, dissecting as they do themes of resistance, logic, language and compliance with the air of a man trying to bring intellectual rigour to the pub, grabbing at the misty answers before the closing bell rings.”


 
As regards emergent punkers Socket, I’ve previously summed them up as “female-fronted firecrackers (who) don’t worry about anything like (angry, disenfranchised boredom and frustration), specialising in a hell-for-leather guitar pelt with capacious Lust For Life drumming and barely controlled chant-yelling.” That’s probably a bit reductive. For a start, they’re female-founded and female-focused as well as female-fronted (with unassuming, supportive drummer Morgan the only bloke in the lineup).

Read the ‘Beautiful Freaks’ interview here for more insight into the intertwining (or lack of it) of their band work with their assorted Fine Art and game music studies and the happy melding of schooled and unschooled musicality within the band. I suspect that you’ll get more out of that than you will out of this Bandcamp posting.


 
Adding to the texture, there’s offstage artwork, writings and chat from grassroots rock zines/nascent promoters ‘See You Mate – Yeah, See You Mate‘, and ‘Some Might Say‘, and from activist/theatre person Maya Harrison, with more to filter in in due course.

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Incredible Society For The Exploration Of Popular Song presents:
Haha Sounds Collective + Blueprint Blue + Laetitia Sadier
The Amersham Arms, 388 New Cross Road, New Cross, London, SE14 6TY, England
Saturday 9th June 2018, 8.00pm
– information here, here and here

HAHA Sounds Collective + Blueprint Blue + Lætitia Sadier, 9th June 2018Part of the broader HAHA musical empire operating out of central Hackney (also including a studio and an independent record label, HAHA Sounds Collective are a new, experimental choral project and supergroup of art-pop-moonlighters exploring avant-garde arrangements. Led by Victoria Hamblett (singer for NO CEREMONY///), and Cathy Lucas (singer for Vanishing Twin, Fanfarlo and Innerspace Orchestra) with input from Syd Kemp, the choir and fully integrated band also includes Lætitia Sadier (more on her later), Clémentine March, Iko Chérie and various unnamed “past and present” members of Ulrika Spacek, Pollyanna Valentine, Broadcast, Blue House, Viewfinder, and Younghusband.

Their first project is a songbook version of David Axelrod’s 1970 jazz-funk cantata ‘Earth Rot’… and when I say jazz-funk, I’m not talking slap-grooves and plastic synth burbles, but the close-harmony vocalising in swagged cadenzas, twang-pocketed funk basslines, a pushing saxophone backed by a battery of brass. Strangely overlooked at the time of its original release on record (apparently down to it being too much of a leap out of Axelrod’s existing groove), it’s a vaulting, stained-glass show of an album: an early venture into pop-culture ecology drawing on Old Testament text and Navajo legend, celebrating the planet and chiding humans for the mess they’re making of it. The music’s now been transcribed for voice, by ear, by Arthur Sajas of Gabelt, ÉPÉE and Syd Kemp (who also serves as HAHA’s conductor).

This will be the work’s second performance, following its debut outing at Servant Jazz Quarters in February – yes, that slipped my notice too. This one doesn’t have to slip yours. Here’s a brief clip of HAHA Sounds Collective warming up, plus a taste of the original album.


 
Ostensibly an Americana band, Blueprint Blue actually use Americana’s moods, tones and characteristics to add coloration to what are otherwise very British songs about weather, walking and mild disappointments – the kind which might appear on the mimsier kind of folk-pop album, or which would have been half-smothered in noise or feedback on first-generation shoegazer records a quarter-century ago. Like a mixed bag of British players before them (including Gomez and Mark Knopfler, but more recently Acadian Driftwood and Horatio James) they’ve certainly mastered the sonic signifiers of American roads and roadhouses; but that’s not enough to fully inhabit the form.

The trouble with Americana is that the further you are from the situations which shaped its tones and subjects (and an ocean’s breadth doesn’t help with this), the more it starts sounding like a tinkle in a hollowed-out theatre. If you’ve got to pay tribute you’ve also got to pay dues, or fake it more convincingly. Songwise, at least, Blueprint Blue need some more grease on their axles; some more heartache and heartstring damage; some more blown-away shacks and more chances to sit dripping angry tears into their johnnycakes. Otherwise, it’s going to be a life of striving to be just a bit more like Mojave 3.


 
There may come a time when Lætitia Sadier isn’t associated, first and foremost, with Stereolab. I hope so. It’s not that there wasn’t, or isn’t, plenty to admire about her former band – just to pick out a few things, there was their unabashed musicality and willingness to draw on broad varieties of tone or reference; their matter-of-fact bilinguality and ready play of ideas; and the fact that they actually managed to revisit their varied roots and to somehow advance and transmute them (something of a holy grail achievement for many musical projects, but rarely achieved). But I, for one, am glad that her post-‘Lab work (with Source Ensemble and others) has unshackled her from that post-Velvets/post-motorik/brainiac-garage pulse: the rhythm cliche that blights so many otherwise promising acts; presses them out into two unforgiving dimensions; makes those who should be innovators and developers into enmired followers.

Lætitia’s set is either an evening opener or a middle-of-the-bill event, so I don’t know whether she’s brought along the Source Ensemble for accompaniment (for all I know, many of them may be in HAHA), or whether this is going to be a chance to hear her alone and independent/unencumbered. Either way, I hope it offers us the chance to hear her as she truly is now – a belatedly great French folk singer, although one neither bonded to the obligations of traditions or the past, nor restricted from broader conceptual and textual pallettes. In effect, an embodiment of a folk impulse reborn into the current age – with all of its opportunities for research and reflection and fresher global instincts – and let loose to create.


 

May/June 2018 – three peeks at the future – a WITCiH get-together featuring Hannah Peel (30th May); Yoshiki Ichihara, Sam Hostettler, Przemysław Trzaska at Synth 2.0 (7th June); the mysterious post-internet NowHere event at DIY Space (17th June)

20 May

Some interesting technological, electronic, sociological collisions are coming up in London this month and next month.

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If you’re fascinated by art and technology but find either or both too crowded by aggressive/patronizing male ownership and entitlement, or if you just like the idea of different viewpoints and identities being brought to bear on the world of geektech, you might find the following an interesting opportunity…

WITCiH, 30th May 2018WITCiH (Women In Technology Creative Industries Hub) is hosting a party to celebrate the making of its podcast pilot episode, featuring Irish composer/producer and “latterday Delia Derbyshire” Hannah Peel (whose work includes the Rebox musical box project, collaborations with John Foxx and membership of The Magnetic North, and whose analogue-synth-cum-brass-band project ‘Mary Casio: Journey to Cassiopeia’ recently headlined at the newly refurbished Queen Elizabeth Hall). There will also be an interactive audio-visual performance with AV duo Output Arts and WITCiH co-founder Bishi, featuring the former’s immersive installation Storm, which “recreates the thrill and excitement of watching a storm as it moves from dark and foreboding to booming explosions of light as the gale approaches” and which was previously seen at Enchanted Parks in Gateshead.

 
“This is an ideal opportunity to get together with artists and professionals in the creative tech industries. Science, technology, engineering & mathematics (STEM) have always had an intimate relationship with the arts; and WITCiH (Women In Technology Creative Industries Hub) aims to explore & expand our knowledge of women working at that intersection – past, present & future. WITCiH is female-focused but is gender inclusive, welcoming to all people throughout the spectrum of gender and identity.

“WITCiH aims to educate and inspire people through an understanding of women and non-binary people in tech, set in an historical context; and to highlight, celebrate and showcase women currently working in technology with a clear focus on creativity and the arts. Founded by interdisciplinary musician/artists and audio-visual performers Bishi and Matthew Hardern (a.k.a. Glamorre), WITCiH is an online and real world platform for ideas, research, performance, creation & networking.”

Previous WITCiH events in last year’s Winter Salon series have featured Bishi herself, Empress Stah (the aerial artist, cabaret performer, show producer/director and Peaches collaborator) and media artist Aphra Shemz, who “(seeks) to express herself through radical new technologies, abstraction, interactivity and light, (exploring) the way in which we might use these tools to imagine what the role of art could be in the future.” WITCiH are currently “looking for sponsorship to produce an entire series, so any ideas of how we could achieve this are very welcome.” If you’ve got any, get in touch and get stuck in.


 
WITCiH and Bishi present:
WITCiH Podcast Listening Party
The Barge House, 46a De Beauvoir Crescent, De Beauvoir Town, London, N1 5RY, England
Wednesday 30th May 2018, 8.00pm
– information here

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Synth 2.0: Yoshiki Ichihara + Sam Hostettler +  Przemysław Trzaska, 7th June 2018

A week later, a group of people led by space designer Tuo Lin are decking out Bloomsbury’s house-of-weird The Horse Hospital for what organiser Rica Zhu is claiming will be “a unique synth/electronic music show with a stunning visual journey. We bet it’s gonna be a magic time of synth electronic music you have never experienced before! Three musicians are ready to refresh your ears by using some special instruments with multiple synthesisers to take you to a neo synth world! The venue is also installed like a light-reflecting crystal especially for the interaction of the synth music and full of interesting experimental elements. So, what are you waiting for? Let’s fly to the electronic galaxy!”

That may sound a little gushy, perhaps even a tad huāpíng, but the music itself suggests otherwise. Handling the noises, textures and tunes are Yoshiki Ichihara (maker of jittery, bubbling cave/chemical tank music), “relaxed bass-focussed dance” specialist Sam Hostettler (who also creates immersive sub-bass rollscapes) and Przemysław Trzaska (who makes wombadelic firework electronica as Crowstep). Given the Horse Hospital’s already trippy architecture – rooms which burst off a set of long ramped floorways, originally built to lead horses to the upstairs section, and sharing space with a collection of archive fashion costumes – plus the promise of crazed crystallinity, you can expect a delightfully disorientating evening.



 
Rica Zhu presents:
Synth 2.0: Yoshiki Ichihara + Sam Hostettler + Przemysław Trzaska
The Horse Hospital, The Colonnade, Bloomsbury, London, WC1N 1JD, England
Thursday 7th June 2018, 7.30pm
– information here, here and here

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In the middle of June, down at the DIY Space, they’re sketching out something broad and absorbing which will investigate and defy interconnectivity and its impact on art and music-making. So far, only the bare bones of the concept have been made public. Here they are:

NowHere, 17th June 2018 “NowHere is an event series focusing on post-internet music and art. We invite emerging artists to collaborate together, creating one-off multimedia performances inspired by the internet but will not be shareable online. To do so, mobile phones won’t be allowed in this event.

“The Internet is a huge simulating machine through which everything is reproducible. Will the content of the performance and our experience still be original and valuable when it can be copied over and over again? We want to raise and discuss this question with our artists and audiences through this event. We want to create a commonplace in the middle of virtual and physical reality, bringing music and arts from nowhere on the internet to now here, a physical space where celebrating improvised performance emerged from the intimate connection between artists and audiences.”

No news on who’s creating and performing here yet – I’ll try to put up an update closer to the time. As with all DIY Space events, this is a members-and-guests only event, so if you’re going be sure to sign up for your two-quid annual membership deal here first.

Sadteabag Ltd. presents:
‘NowHere_0000000000000001’ (lineup t.b.c.)
DIY Space For London, 96-108 Ormside Street, South Bermondsey, London, SE15 1TF, England
Sunday 17th June 2018, 7.00pm
– information here and here
 

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