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May/June 2018 – upcoming London rock and pop gigs – Great Dad play with Svetlana Smith and Couples (25th May) and with Socket and Italia 90 (1st June); Black Midi play with Preoccupations at Village Underground (5th June) and launch their debut single at the Windmill with Jerskin Fendrix, GG Skips, The Guest and Legpuppy (12th June)

24 May

Right now I’m keeping an eye on a couple of very different south London dark-horse acts, seeing which sparks fly up and around them as they carve their spaces underground. Each is different – Great Dad play genderfluid experimental pop full of sampler collaging, flustered hummingbird guitars, voice-processing and Charlie Loane’s mixture of yawing, caught-in-the-flux perspective and fractured ecstatic/paranoid/semi-carnal song narratives; Black MIDI play a sometimes stony, sometimes yammery mashup of experimental rock positionings, post-hardcore slams, and neo-No Wave adjustments. Each has a peculiar ability to pull in listeners and attendees from their comfort zones. Each is keeping busy.



 

Great Dad play tomorrow night as part of a Bethnal Green college band gig, bringing their Goldsmith’s College inspirations to a show “spawned from the creative minds of UCL’s hottest young talents”. I know more about them than I do about any of the others – I can’t tell you much about Svetlana Smith apart from the fact that they’re a “neurotic synthpop duo” preoccupied with Russia and with pernicious beauty, and short of any clips or online sounds which I can use to illustrate that; Couples are theoretically easier to pin down, being a funky, fully-formed act allegedly aiming for a post-punk/grunge feeling but fronted by a classic blues-rock voice, actually ending up a little like Editors about to mutate into Stealer’s Wheel, if that makes any sense.

 
The following week, Great Dad play a much punkier free gig at the recently reopened Vinyl Deptford. Billmates Italia 90 ’s songs alternate between dank, irritable, menacing railway-arch noise or angry jet-propelled purpose; underpinned, in each case, by a glowering thrumming drone like an overhead bombing raid. They could have stepped straight out of 1979 and the winter of discontent – theirs is a classic butch-punk snarl of angry, disenfranchised boredom from the land of the have-nots, their lyrics minimal, their sound just a touch of Joy Division live loom. They’re just one constructive spat away from toppling into a broader politics; for now, though, they’re stuck on the edge, threshing out their frustration. Female-fronted firecrackers Socket don’t worry about anything like that, specialising in a hell-for-leather guitar pelt with capacious Lust for Life drumming and barely controlled chant-yelling.



 

Dates:

  • Quick Spin: Svetlana Smith + Great Dad + Couples – Bethnal Green Working Men’s Club, 42-46 Pollard Row, Bethnal Green, London, E2 6NB, England, Friday 25th May 2018, 8.00pm – information here, here and here
  • Double Dare w/ Socket, Great Dad + Italia 90 – Vinyl Deptford, 4 Tanner’s Hill, Deptford, London, SE8 4PJ, England
    Friday 1st June 2018, 8.00pm
    – free event (suggested donation: £3.00) – information here

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Celebrating a year of existence (during which they’ve played with all and sundry and an insouciant swagger, and effectively created their own no-rules scene), Black Midi play a couple of shows in the first fortnight of June. The first is probably the highest profile one – a Village Underground show supporting fiercely-honed Canadian neo-post-punkers Preoccupations, currently touring their tersely-titled new album ‘New Material’.



 
The second is Black Midi’s own combined formal first birthday party/single release party, down at the Windmill with a clutch of Windmill friends in attendance as they unveil their vinyl debut with the Bm Bm Bm” seven inch. Last time I covered Jerskin Fendrix, I tagged him as “a smart operator with a wise, knowing line in media-savvy one-man synth pop, who uses Autotune like a dance of the seven veils, and who knows how to make use of lo-fi bedsit trappings without being trapped by them”; and since he’s happily using the quote, I guess he’s not felt the need to change his ways. Similarly, I’ve recently described The Guest as a “Casio cave-techno specialist and parody-hipster narrator… like a meetup between adolescent versions of Jarvis Cocker and Julian Cope, Momus and Klark Kent in a school computer room, all up for smartarse bloopy experiments with primitive synth programs and hijacked games consoles.” while “haunted electronicist” GG Skips showed up at a DIY Space gig last month.

Entirely new to me are electro/art-punk collective Legpuppy, who create dance-friendly clean-limbed European electropop with a dark, sarcastic cutting edge, sifting through the narcissism of social media quirks and memes and processing them into chilly, sarcastic songs with titles like Selfie Stick Narcissistic Prick, or Running Through A Field Of Wheat. It could be spiteful, but there’s a moral core to it, with the band training their sights on the kind of solipsistic ineptness that unglues the world.

Dates:

  • Preoccupations + Black Midi – Village Underground, 54 Holywell Lane, Shoreditch, London, EC2A 3PQ, England, Tuesday 5th June 2018, 7.30pm – information here and here
  • Sonic Bm5: black midi + Jerskin Fendrix + GG Skips + Legpuppy – The Windmill, 22 Blenheim Gardens, Brixton, London, SW2 5BZ, England, Tuesday 12th June 2018, 7.30pm – information here and here

Brixton sounds:


 

May/June 2018 – Long Fin Killie man Luke Sutherland’s new band Rev Magnetic on tour in Scotland and England (25th May to 1st June) with (variously) Superchunk, Erin Friel, Foolish Atoms, Helen Mort, Stonethrower, Salome Benidze, Nova Scotia The Truth, ILK, Caitlin Buchanan, The Honeyfarm, Jack Cheshire and winterThieves

22 May

Rev Magnetic on tour, 25th May to 1st June 2018

I’m rushing this one into post, since I’ve only just heard about it. No apologies for the excessive cut-and-paste here, nor for the absence of much personal insight (although I will say that when a shortage of information meant that I had to dig deeper, I found more).

“While touring the world as guest multi-instrumentalist with Mogwai, Luke Sutherland (Long Fin Killie, Bows, Music A.M.) used the downtime to sketch a bunch of songs. Once he got home, he wrote a handful more and recorded them with the help of a few friends at his cottage on the edge of the Scottish Highlands. The result was an album’s worth of material with references ranging from My Bloody Valentine to Teebs, Lemmy-era Hawkwind to ABBA, Vaughan Williams to Boulez.

“Keen to translate the radiant chaos of the recordings into a live setting, Luke put together Rev Magnetic, featuring Audrey Bizouerne (Gift Horse), Sam Leighton (Live w/ Prides, St MARTiiNS) and Gregor Emond who played with Luke in a band called Hynd, way back before the birth of the internet. Combining elements of dream pop, shoegaze, R&B, and post rock, their first single, Like No Girl That Ever Was/Don’t Let Joy Destroy You is the sound of summer at full pelt.”


 
Imminent Scottish and English tour dates are below:

  • Neu! Reekie @ St Andrew’s Church, 410-412 Easter Road, Leith, Edinburgh, EH6 8HT, Scotland, Friday 25th May 2018, 7.15pm (with Salome Benidze + Helen Mort + Erin Friel + The Honey Farm) – information here and here
  • Stereo, 22-28 Renfield Lane, Glasgow, G2 6PH, Scotland, Sunday 27th May 2018, 7.30pm (supporting Superchunk) – information here and here
  • The Hug & Pint, 171 Great Western Road, Glasgow, G4 9AW, Scotland, Tuesday 29th May 2018, 7.30pm (with Nova Scotia The Truth + Caitlin Buchanan) – information here and here
  • Paper Dress Vintage Bar & Boutique, 352a Mare Street, Hackney, London, E8 1HR, England, Wednesday 30th May 2018, 7.30pm (with ILK + Jack Cheshire) – information here, here and here
  • The New Adelphi Club, 89 De Grey Street, Kingston-upon-Hull, East Yorkshire, HU5 2RU, England, Thursday 31st May 2018, 8.00pm (with Foolish Atoms + others t.b.c.) – information here, here and here
  • Conroy’s Basement, 51-53 Meadowside, Dundee, DD1 1EQ, Scotland, Friday 1st June 2018, 8.00pm (with Stonethrower + winterThieves) – information here

It’s probably accidental, but when you take a look at the finer details of the tour, it’s almost like an exploded reflection of Luke’s influences and sympathies; the cultural and artistic breadth he’s shown throughout a career voyaging through books and music. Indie rock and dance chemistry, hip hop and poetry; filtered and transformed Scottish folk; literacy and blasting noise. The balancing of multiple cultures in one evening, or just in one person.


 
Regarding the Glasgow shows… if you’ve been hitting on indie-punk playlists and festival lineups for the past twenty years, you’ll need little introduction to Superchunk. Headlining over Luke and co. at Stereo, they’re early ‘90s favourites who helped define a Carolina DIY punk sound. They were all over the inkies back in the day more or less during the same time that Luke first was; they founded Merge Records, and have kept their place in indie rock affections ever since. On the other hand, the two support acts at the Hug & Pint show are still thrumming – just – under the radar.

Originally from Aberdeen, Caitlin Buchanan is an emerging acoustic singer-songwriter working towards her first EP and taking Angel Olsen, Laura Marling and Kate Bush as influences. Perhaps Angel’s the most obvious one – the slowcore tempos, the collapsing drapes of melody – but Caitlin has little of Angel’s narcotic slur. She also isn’t as propulsive or as easy-to-follow as Laura, and (despite her own musical theatre background) isn’t as brilliantly hammy as Kate.

That’s not actually a string of negatives. Rather, it’s a suggestion that, even at this early stage, Caitlin’s already sloughed off her initial inspirations and found a voice of her own: a folded, cleverly elusive literary one which makes you sit up and take notice, full of double-take lyrical moments. Nestled in strong hammocks of folk guitar, and in gorgeous transplanted curves of Scottish melody, her songcraft is often a series of strange elisions and non-sequiturs somehow coalescing into stories, delivered in a velvety softness which makes it all the more jolting when she drops a perfectly-enunciated precision F-bomb into the crook of a tune – “I fucked up your favourite song, and this is why I don’t do imitations. / Betrayed by the idea of God, we are her most hated creations / Dressed for the office but underqualified, / express my gratitude between her slender thighs…”


 
I suspected that Nova Scotia The Truth might have picked her name as a ScotNat political assertion. It seems that I was half right. A “queen of sample-based electronic music”, active in the Scottish hip hop scene since her teenage years (and now stretching out as a producer-performer), Nova might well be representing a rising strand of modern Scotland, but not necessarily one which will cradle comfortably in the old-school saltire. Her preoccupations are with feminism and of people of colour: a pavement-and-club engagement with embedded and intersectional inequalities, mapped out in whip-crack sonic edits and shifts.

Nova’s recent ‘Al-Haqq’ EP is a determined but bewildering mash of pointers and unrest. Cyber-mimetic R&B, corbies and round-chamberings; blasts of rap and dancehall chat; industrial-grime sound collage; all mixed in with found speech from black culture and protest and faith (some of it tweaked and repurposed, but much of it left free to run). The follow-up, Zoom, is a half-hour of rapid sonic cross-cuts in a similar vein: it’s intended as a backing track for a live rap story of love and talk gone wrong, ultimately, broadening out to a wider exploration about power imbalances in relationships, silencings and language. As with a lot of underground hip hop, there’s plenty packed in there: I’m guessing that onstage, this flies.


 
The Dundee show could have been created as a vast-contrast tribute to Luke’s own willingness to be broad in listening. Rev Magnetic aside, it’s a truly strange, rather brave pairing of opposites. “East coast ecossemo” band Stonethrower bring “monolithic slabs of lead-heavy riffage, angular rage-filled spiky melodies and frantic jazz-core arrangements to blast our faces off”; while Edinburgh/Dundee duo winterThieves are a sacramental ambient act “pool(ing) their varied musical backgrounds to craft a sound that is in equal measures melancholic and euphoric, featuring vast ambient swells, lush guitar and piano melodies, and crashing drums,”, playing wordless slow-reveal post-rock hymnals to an empty sky. The angry hammer and the lonely quilt.



 
South of the border, the London show features Ilk, whose “colourful and dreamy songs unravel against a collision of psych pop influences and scruffy, found sound warmth… the band’s songs and sketches are somehow both grandiose and playful, upbeat and melancholic” plus the “psychedelic jazz-infused” songwriting of rising folk-rock favourite Jack Cheshire in solo mode.

Supporting at Hull, Chris Norrison – a.k.a. Foolish Atoms – is a solo performer who “dreams up droning acoustic swamps in his sleep… creating music so delusional and pain numbing, audiences peacefully drown in the sweet rustic guitar tones and his strained vocals.” Other acts will be added at Hull over the course of the next few days: let’s see what the city’s recent pop-cultural renaissance has produced…

 
However, it’s the Edinburgh show which looks like the pick of the crop. It’s a packed-to-the-gills mass of words, music and beats put together by “Scotland’s favourite avant-garde noisemakers” and high/low art boundary-smashers Neu! Reekie, as a partial benefit for the Save Leith Walk community crowdfunder.

As well as Rev Magnetic, on hand for performance are poets Salome Benidze and Helen Mort and a couple of Scottish hip hop acts. Onetime Deadlife Crew member Erin Friel (part of a wave of Scottish hip hoppers who stick, refreshingly, to their own accents and cadences) recently opened for rapper/activist Loki at his sell out King Tuts event for Poverty Safari. The Honey Farm – Scotland’s only all-female rap crew – are self-confessed East Lothian rap bumpkins who “simultaneously skewer and celebrate rap stereotypes with their unapologetic, take no shit attitude” and whose recent debut release L.A.D.S. is “a dragged-up pussy-grabs-back takedown of laddish, bullshit behaviour.”

It’s not quite the fierce textured outrospection of Nova, and perhaps the Farm sometimes let their drama school backgrounds show a little, but it’s all fine. Wit over pose; and plenty of rap’s supposed to be accessible, youthful and funny, including the bit of cross-cast fun with which the Farm kick off the roll of verbiage below…

 

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
 

May/June 2018 – upcoming London experimental music gigs – Shatner’s Bassoon and Man From Uranus at Stour Space (26th May), Author & Punisher, Trepaneringsritualen, Vera Bremerton at Electrowerkz (28th May); Stevie Richards’ Buchla workshop (2nd June)

15 May

Shatner's Bassoon + Man From Uranus, 26th May 2018

Shatner’s Bassoon + Man From Uranus
Stour Space, 7 Roach Road, Old Ford, London, E3 2PA, England
Saturday 26th May 2018, 8.00pm
information

Leeds jazz-punk quintet Shatner’s Bassoon are returning to London a couple of weeks later to play a gig at reclaimed Lea-side venue Stour Space.

A band who’ll happily admit to being “steeped in malfunctioning improvisation, passive-aggressive minimalism, surreal avant-punk and free jazz trances”, they’re touting their first new album for three years. ‘Disco Erosion’ features “intricate yet often evasive song structures, angular rhythms and anxiety inducing psychedelia. The distinct featured instrumentation includes circuit bent delay pedals for keyboard, a myriad of off-kilter sax, a slice of Theremin, clarinet, cowbell and a pinch of Transylvanian organ. The result is a glitchy and deranged carnival of paranoia, which blends influences from the likes of Mr. Bungle, Frank Zappa, Cardiacs, Tim Berne, John Zorn, Man From Uranus and Fred Frith.”



 
Speaking of Man From Uranus, he’s playing the support slot. An “experimental library musician” and rogue psychedelic improviser, he’s spent fifteen years on the fringe rampaging on analogue synths, theremin and assorted devices to create music reminiscent of fantastical backroom mind-voyages or antique afternoons of strange kid’s telly.



 

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Author & Punisher + Trepaneringsritualen + Vera Bremerton, 28th May 2018

A couple of days later, there’s “an evening of heavy electronics, innovative drone, ritual ambient doom and industrial music” courtesy of Chaos Theory in one of their more synthetic, swampy and cthonic moods.

Author & Punisher is “the solo project of Tristan Shone (hailed by ‘Noisey/VICE’ as a “staggering genius in (his) ability to transform the auditory pollution of industry into music”. A mechanical engineer who wandered from native Boston to California to pursue his artistic interests, he ended up using his scientific skills to build custom musical instruments, which give added depth to the term “industrial”. The mechanical processes that give life to the music aim to reproduce the rhythms of industrial machinery and its relationship to their human operators; a merging of the flesh and the steel.”


 
In support, growl-and-hiss “solo visionary” Trepaneringsritualen will be delving into “themes of religion, magick and the occult realms of consciousness, taking musical cues from the old school of ritual ambient and death industrial. Rhythmic and seething at times, oozing forward with a creeping sense of desolation, Trepaneringsritualen conjures forth bleak but mesmerising visions of the end-times.”


 
Opening the show is Berlin-and-London resistance siren Vera Bremerton, “a visionary vocalist, producer and composer, who weaves dark tales of the female experience under religion, the patriarchy and general cultural hatred, using superhuman screams, industrial beats and gritty lyrics… A harrowing, enlightening and extreme experience.” Her work crosses a gamut between dark, driving, angry protest-pop nuggets and extended swathe-y textural clouds of hanging noise and vocal lacerations – see below.

 
Broken beats/London bass act With Towards Collapse add to the overall stew with DJ sets throughout the evening.

Chaos Theory Music Promotions presents:
Author & Punisher + Trepaneringsritualen + Vera Bremerton + Towards Collapse DJs
Electrowerkz @ Islington Metal Works, 7 Torrens Street, Islington, London, EC1V 1NQ, England
Monday 28th May 2018, 7.30pm
– information here, here and here

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Stevie Richards' Modular Synthesis Workshop using Buchla Music Easel, 2nd June 2018

Meanwhile, if you’d like to dive deeper into electronic technology – or just hone or diversify the skills you already have, Stevie Richards (a.k.a Cleaninglady is hosting a noontime open workshop at IKLECTIK in early June, based around a legendary West Coast “suitcase synth” – the Buchla Music Easel. Dating back to 1973 (and, in recent years, reincarnated as software emulations by Arturia) the Easel is part of a family of electronic instruments created by Don Buchla, who avoided the word “synthesizer” since he believed that it implied a cloning of existing instrumental sounds. Instead (in parallel with the more conventional creations of Moog, Korg and others) he evolved a line of devices dedicated to creating new sounds; sometimes – but not always – avoiding the use of a standard tempered-scale keyboard, and incorporating a much more complex method of tone generation than those of his rivals. This has led to his creations being the instrument of choice for certain electronic musicians who demand a deeper, more detailed control of tone and timbre as well as the different thinking patterns which the instruments encourage.

While the workshop will be performed on, and led from, the Buchla Music Easel, apparently everything being taught and communicated is “applicable to all hardware in the modular synthesis world, and will hopefully help give you confidence and a deeper understanding of your instrument and it’s application in recording and live performance contexts.” Here’s a Loopop guide to the Easel, plus a video of Kaitlyn Aurelia Smith working her own Easel. I’ve also added a recording of Stevie running a modular synth set in New York four years ago.



Modular Synthesis Workshop using Buchla Music Easel
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 2nd June 2018, 11.00am
– information here, here and here
 

May 2018 – the start of the Daylight Music summer season in London – Green Seagull, respectfulchild and Twenty-Three Hanging Trees (12th May); Firestations, Seán Mac Erlaine and Hatchie (19th May); Vesperados, Guastalla Quartet and Marcus Corbett (26th May)

7 May

Although they were a ‘Misfit City’ mainstay for a number of years, it’s been a while since I’ve put up any previews for Daylight Music‘s free Saturday noontime concerts at the Union Chapel. Blame this on the slapdashery that passes for “method”, back here at ‘Misfit City’ HQ; blame concentration or distraction by other things, but for goodness’ sake don’t blame Daylight Music themselves.

I suppose that it might be possible for a regular attender to sometimes feel as if you’ve had enough of Daylight’s particular cosiness – that warm wooly-sweatered whimsicality, the cake stall, or the feeling that you might just crack if you see another community choir singing alt.pop cover versions. But ultimately it’s churlish to take swipes at them for the side trappings when what really counts is the musing intelligence and the well-honed curatorial instincts underneath the family-friendly fuzz. In the end, there are precious few regular gigs in London that can match Daylight for unassuming stealth education: few that will host a baroque quartet alongside rustling sampledelia, set guileless acoustica off against arch indie, season your ears with sudden rushes of Baltic sound or pipe organ interludes; introduce you to musicians and songwriters who leave you astonished and blinking about the fact that you’ve never heard of them before; and all the while balancing the kiddie-friendly with the uncompromising and actually pulling it off. There are few gigs that are just so plain generous.

So, without more ado, here’s a quick signal-boost for the first few gigs of their imminent summer season…

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Daylight Music 280: Green Seagull + respectfulchild + Twenty-Three Hanging Trees, 12th May 2018

“The 12th May show features Green Seagull, respectfulchild and Twenty Three Hanging Trees. Green Seagull are the latest band to burst out of London’s burgeoning neo-psych scene. Their harmony-laden baroque/freakbeat sound draws upon influences such as the Left Banke, the Kinks and the Association. respectfulchild is the solo instrumental project of Gan from Saskatoon on Treaty 6 Territory. Their music is electronic in nature while being acoustically created, building experimental ambient soundscapes through slow progressions of meticulous improvisation. Their sound has been likened to Brian Eno, Nils Frahm and Owen Pallett.



 
Twenty Three Hanging Trees is the meditative modular synth exploration project of Xavier Watkins (Fuzzy Lights/Violet Woods/Red Red Eyes.) The project’s progression from hazy guitar drones to electronic-based explorations with dusty, contemplative tonalities has been a transformative one. Learning to express himself with synthesis was like learning a new language, each step having to be carefully planned and executed so as to maintain the fragile equilibrium created. While 2016’s ‘Nocturne’, released on the Sacred Tapes label, had a contemplative, embryonic stillness, 2017’s ‘Prémonitions’ has a deeper, more emotional heart, tempered by subtle rhythmic buzzing, shimmering oceanic drones and solemn arcs of melody.

 
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Daylight Music 281: Firestations + Seán Mac Erlaine + Hatchie, 19th May 2018

“The 19th May show features Firestations, Seán Mac Erlaine and Hatchie. Firestations are an alt-pop band who write simple songs then paint over them with drones, vocal harmonies, electronica and unusual rhythms. Their second album ‘The Year Dot’ has recently released by Lost Map Records. Séan MacErlaine is a Dublin-based woodwind instrumentalist, composer and music producer, recognised as one of Ireland’s most forward-thinking creative musicians. His work intersects folk, free improvisation, jazz and traditional music.



 
Hatchie is the world of Harriette Pilbeam. To hear her music is to step inside her mind; a dreamy landscape where cascading synths, jangling guitars, propulsive rhythms and white noise undulate beneath undeniable and irresistible pop melodies. This will be a special acoustic set.


 
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Daylight Music 282: Vesperados + Guastalla Quartet + Marcus Corbett

“The 26th May show features Vesperados, Guastalla Quartet and Marcus Corbett. Award-winning composer and jazz musician James Brady first formed Vesperados in 2011, bringing together musicians to explore African, Caribbean and Latin American influences in jazz through original music. Formed in 2013, The Guastalla Quartet brings together musicians from the finest conservatoires in Europe to form a chamber music group dedicated to the exploration of the string quartet repertoire from its roots to as yet unwritten works. Between them, they have performed at world-famous venues including the Royal Albert Hall, Wigmore Hall, Konzerthaus Berlin, Katara Opera House and the National Concert Hall of Taiwan.



 
“The Guastalla Quartet will also join Vesperados for an octet set during their performance: the use of strings will allow the full expression of rich jazz harmony alongside the rhythmic engine of Vesperados’ Latin-infused grooves.

“Completing the lineup, Marcus Corbett is a singer, acoustic guitarist and composer based between the UK and Pune, Maharashtra, India. He has been studying Indian classical music and working with musicians in India for over 10 years, skillfully combining the worlds of Indian classical and British folk music and producing a string of albums. He will perform with one of his key Indian collaborators, Tabla maestro Nitin Gaikwad.”


 
* * * * * * * *
As ever, all gigs are at Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England and are free, though it’s good form to donate a fiver on the way in or out. Dates below:

  • Daylight Music 280: Green Seagull, respectfulchild + Twenty-Three Hanging Trees, Saturday 12th May 2018, 12:00pminformation
  • Daylight Music 281: Firestations, Seán Mac Erlaine + Hatchie, Saturday 19th May 2018, 12:00pminformation
  • Daylight Music 282: Vesperados, Guastalla Quartet + Marcus Corbett, Saturday 26th May 2018, 12:00pminformation

May 2018 – experimental rock, hip hop and strange-pop in London – Black Midi, Shaun Sky and Omelet (10th May); Farai, Black Midi, Jockstrap, TONE and more (24th May)

6 May

As of yet, no-one’s really successfully categorised south London under-bubblers Black MIDI – something which I reckon they’re quite pleased about – but there seem to be an increasing number of people who get them, responding to the band’s perverse flinty reverberations with outright delight.

Here’s what I wrote about them last time our paths crossed:

“Teenage Croydonians Black MIDI (subtitled, variously, “the decibel boys” and “purveyors of the loudest dreamscapes”) managed to win over a pubful of Cardiacs cultists. Not the easiest thing to do and they didn’t do it with post-punk virtuosity or effusive psychedelic complexity but by dogged, determined presence. Artful and awkward (or gawk-ward), in some respects reminiscent of key post-hardcore bands such as Slint and Jesus Lizard (and in others a muted, utterly pared-back Huge Baby), they also sound as if they’ve got there without listening to the records. While a generation of shoegazer revivalists annoy me by clogging up my inbox with ersatz sonic cathedral cliches, Black MIDI arouse my interest by whittling sparse piles of breeze-blocks into mysterious cranky monuments… I found them elusive to follow, and follow-ups are no easier (their Soundcloud’s vanished down the back of the rehearsal room sofa; their Facebook page currently consists of one post).


 
“Still, they offhandedly own their space onstage: perhaps their secret ingredient might be impeccably fit drummer Morgan Simpson (who might look as if he’s timewarped in from the young Fishbone but seems absolutely at home where he is now) but when you’re dealing with a bandful of stubborn square pegs like this one, any or all of them could be…. Between holding the low notes down or strumming out wooly baritone chord-clouds, (the) bass player maintains ambiguous eye contact with the audience, like an onstage imposter letting us in on his stunt. One of the guitarists (blessed and cursed with the arched, cruel, elfin eyebrows of Thomas Sangster) looks perpetually affronted, but instead of screaming out tortured emo wails he enunciates rambling, precisely-formed, utterly incomprehensible digressions: like a fiercely introverted baby Peter Hammill, or an exiled punk senator addressing a horde of penguins…

“With a rumble spreading about their south London rumble, this feels like the start of something. Just as much as I find it hard to place where Black MIDI come from, I have no idea where they’re going; but they’re the kind of band which excites me via that blank-slate art-punk feeling that they could go anywhere.”

Wu-Lu Curates: Black Midi + Shaun Sky + Omelet, 10th May 2018

Having demonstrated both a preternatural confidence and a healthy genre-crossing “play-with-anyone” attitude ever since their emergence, Black Midi continue their London encroachments via two very different gigs in May. For the first (on the 10th), they’re playing at a Shacklewell show curated by South London artist and tastemaker Wu-Lu, a trans-Thames event aiming to “showcase some of the most exciting acts currently breaking through South of the river, all the way up in East London.”

Billmates for this one are a pair of hip hop talents. South London rapper Shaun Sky is the kind of affable jack who sounds as if he’d rather spend his time ambling round the top of a hilly park, greeting and free-associating, away from street corners. Semi-acoustic and spacious, his work’s balanced atop a London sundowner groove of sunwarmed beats, acoustic guitar and soul murmurs; his thoughts are a constant, light-touch note-to-self to pick up and get focussed.

 
On the flipside, Omelet (usually the beatmaster and orchestrator for the brooding, phantasmal Neverland Clan, the Catford-to-Hackney crew he also calls, with full irony, “the world’s gnarliest boyband”) steps out from his dayjob for a solo appearance. Taking something from the drunken-sounding, unbalanced, falling-asleep-on-the-spindle urban veil-dances he uses as Neverland backings (who generally sound as if Massive Attack had taken a couple of draws from their own future, straight from the post-split Tricky, and begun to disintegrate) he sharpens them up. Minus the MC murmurs of Daniel OG and Ryan Hawaii, they’re still narcotic and weird-eerie, but now more on pitch – disassociated minimal beatscapes made as much of space, echoing wafts and inconclusions as they are of hits and pindowns; uncomfortably sedated, with drift-in samples of dream-recountings and distant orgasms.

 
GLOWS presents Middle Of The Room: Farai + Black Midi + Jockstrap + TONE + more, 24th May 2018The second Black Midi outing of the month is at the second PL x Glows “Middle Of The Room” event at DIY Space for London. It’ll be a big sprawling evening of mixed media and art, in which they’ll be sandwiched between the adventures of two experimental pop duos – Farai and Jockstrap – on a bill completed by TØNE, who fires off slinky-robot salvos of latterday electro (veering between a kind of warm, distracted isolationism and scattered hints at the black experience).

 
Similarly oblique is what’s going on within Farai. Basil Harewood Jnr provides the sounds (deep-buzz, sawtoothed synthpop) while the superbly named/renamed Farai Bukowski-Bouquet provides the voice and the identity; the whole concept stitched together with lashings of Afropunk attitude and beady Berlin-art blankness. Farai herself yells small-voiced, cryptic/obvious nuggets into echoing dub-chamber space (“I am a warrior, but even lions cry too”, “Chasing the dragon, inhale exhale”, “I roll with the hell’s angels”) and always seems to be glancing off bigger statements, leaving pointers or shreds of clues rather than outright explanations or challenges; exchanging meaningful nods with Robert Johnson or Prince Far I while swiping past them on the autobahn. Perhaps there are more clues in the group’s videos – flat, pop-up art-gallery/fashion shoot reframing of introspections or street-market scenes, in which Basil and Farai seem to be part of a contracting and expanding collective of talkers, arguers, dancers and hustlers.

I can’t tell whether it’s all a deliberately difficult slit-view onto a bigger world, with them demanding that you make up all the running to gain understanding; whether it’s all codes and pre-initiations; even whether there’s substance behind those sketched references and implications, or whether its a handful of slogan-poses around an empty core. Sometimes it’s all frustratingly impenetrable – Farai makes fleeting eye-contact from under her lids, challenging you to speak or to question, without ever indicating that she’ll provide a reply – but she and her group are a compelling presence, a bewildering mix of shyness and stage-owning, resilience and passivity.



 
Jockstrap are easier to get. Despite the sweaty hardcore name, they’re another boy-girl duo: Georgia Ellery and Taylor Skye, a couple of Guildhall grads who start out with ’60s MOR pop – orchestral, bossa, ye-ye – and then promptly put it through the weird wringer. What starts out straightforward ends up strange – pitchwarped; almost atonalised; drag-g-g-ing; like Portishead being dragged through a Nordic-narcotic slurry of slowed-down electronic jazz. Their pocketful of recorded songs come across like minor bossa classics being waylaid by experimental electronica, or by the teasing strand-by-strand rearrangements of contemporary classical. Full of drop-outs, cheap pocket blips and strange celebratory jump-shifts of tone, mood and pace, they’re prey to interfering sounds and rude, speaker-prodding mixes. Think of a more gleefully insane Elephant, a more mischievous Broadcast, the balefully intelligent murmur-whisper pop oddities of Anja Garbarek; or (going back a bit further) the mocking deconstructive treatment of old jazz standards on Django Bates’ Quiet Nights.

Live – with a two-man rhythm section and Georgia pulling triple duty on treated viola and stylophone – they’re deprived of the absolute mix control which makes their recorded songs so startling. On the other hand, they become a little more accessible – still subtly pranky with their interjections of weird sound processing and attention-deficit mood shifts (listen as a lounge-pop string part goes weirdly Chinese!), but with their disruptive futurism now fighting a rearguard action to their nostalgia. The other bonus is the added prominence given to Georgia’s breathy leaf-on-the-wind vocalising and her “now-I’m-slinky, now-I’m-friendly” performance persona: unveiling the subtleties and human touches within their songwriting from the offbeat thought processes to the shots of blunt, frustrated eroticism.




 
As with the previous Glows party, there’ll be DJ sets, a meetup for assorted zines and alternative promoters, and a steady stream of art curated by Felix Bayley-Higgins: “a pool of films, objects and images in continuous circulation, presented through a process of rotation.” No word yet on who’s contributing to this, but last month’s event had irreverent, ingenious and sometimes just plain beautiful sculptures and designs from a basketful of artists including Wilfrid Wood, Willa Hilditch and Harry Grundy.

Dates:

  • Wu-Lu Curates: Black Midi + Shaun Sky + Omelet, Birthdays, 33-35 Stoke Newington Road, Dalston, London, N16 8BJ, England, Thursday 10th May 2018, 7.30pm – information here and here
  • PL x Glows present ‘Middle Of The Room’ featuring Farai, Black Midi, Jockstrap, TONE + more, DIY Space For London, 96-108 Ormside Street, South Bermondsey, London, SE15 1TF, England, Thursday 24th May 2018, 7.00pm – information here and here

 

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