Archive | power electronics RSS feed for this section

November 2016 – upcoming Bristol gigs – Iyabe’s EP launch with Run Logan Run, LICE and Sugar Horse (4th); the Lone Wolves experimental evening kicks off with Silver Waves, theskyisthinaspaperhere and Louise Brady (5th)

1 Nov

Whether or not you caught any or all of the art and fringe music at Bristol’s splendid-sounding Wakizashi festival last month, you’ve got an imminent chance to catch up with more from two of the acts that played there. On Friday, Iyabe hold a launch concert for their debut EP, accompanied by three other Bristolian bands who skim from layered jazz experimentation to sarcastic surf bounce. On Saturday, Christelle Atenstaedt (who performed a solo Wakizashi set of looped avant-folk and brambly dream pop noise under the name of Twin) launches her Lone Wolves experimental music evening.

* * * * * * * *

Iyabe, 4th November 2016Iyabe present:
Iyabe + Run Logan Run + LICE + Sugar Horse + DJs DJs Dan Johnson & Annie Gardiner
Cube Microplex, 4 Princess Row, Bristol, BS2 8DJ, England
Friday 4th November, 8.00pm
information

Fronted by the voice and words of Sophie-Louise Dawes, (her murmured messages always hovering on the verge of being delivered, always withdrawn after the first few dotted clues), “minimally loud” art-pop five-piece Iyabe explore “found sound and unconventional songwriting techniques” as well as taking notes from R&B, neo-soul, punk and noise. Last time around, I described them as “skeletal… soft pings, drum clicks, bass shadows… a pencil-sketch ghost of Seefeel’s dub-rock dreaminess.” I could add that what emerges from their various influences is a kind of oblique and embryonic post-rock Portishead – their soft touches and minimal fragments played loud, tied together in a web of song with enough space for the various ingredients to make themselves known and to run loose alongside each other.

The debut Iyabe EP, ‘Biology. Biography. Culture.’ (assembled from “four years of collecting, collage and collapse”) is finally ready for release, and the band are celebrating with a launch show accompanied by visual and performance artists, and by other Bristolian bandfriends.


 

I’ve no information on the visual and performance turns (perhaps they’re as mysterious and flitting as Sophie-Louise’s lyrics), but I do have some on the other bands. Second from the top slot, Run Logan Run are the gnarly jazz-punk sax-and-drums duo of Andrew Neil Hayes and Dan Johnson. Mingling physical techniques (circular breathing) and technology (rackfuls of electronic effects), they navigate by the brassy light of Colin Stetson (to whom they’ve played support), Pharoah Sanders, Can, Sons of Kemet and Lightning Bolt; and are amassing acclaim not only for their instrumental skills but for the strong, coherent compositions which they use as improvisation launchpads.


 

The other two bands take self-deprecation to deafening levels. “Awful-sounding post-punk band” LICE love The Country Teasers, The Birthday Party and The Fall, lay claim to “that feeling you get when you accidentally tread on a snail in the dark”, and apparently boast a membership of one piece of drumming eye candy, one indeterminate shouter and flailer, and two makers of horrible noises. Soundcloud evidence actually reveals a tight, nimble art-garage outfit happily switching between drum machine atmospherics, scuffed-up Ventures surf zip and sheets of noise, with Alistair’s beady-eyed chant on top (in some ways, he’s not too far off being a Bristolian Charlie Finke).


 

Evening openers Sugar Horse bill themselves as “decidedly average” and claim that their entire three-man membership is made up of Steve Harris from Iron Maiden. On the evidence of their lone Bandcamp track, they’re guitar-frost shoegazers with a touch of lonely overwrought drama (think Cure or Oceansize), digressing into monstrous sludge once the singing is over.


 

Once all of the singing’s over, DJs Dan Johnson and Annie Gardiner will pick up the slack until the small hours; after which you can get ready for…

* * * * * * * *

Lone Wolves, 5th November 2016
Christelle Atenstaedt presents:
Lone Wolves: Silver Waves + theskyisthinaspaperhere + Louise Brady
The Old England, 43 Bath Buildings, Montpelier, Bristol, BS6 5PT, England
Saturday 5th November 2016, 8.30pm
– free entry – information

Although Christabelle doesn’t seem to be playing at her own brand-new event (either as Twin, or as any other possible persona) the stubborn, inquisitive stamp of her work is all over it. She intends Lone Wolves to be “a night for those who carve a solitary path through the musical wilderness, those who are doing it for themselves and don’t need nobody else. (You get the idea.) I’m aiming to make it a regular thing, and it will be great to put many of you on as I realized I know a lot of people of who are the musical equivalent of loners: also, so many solo people I admire and hope to lure to Bristol.” There’s a promise of visuals, projections and “smoke and mirrors” – it could be a classic séance, and even if they are a good few days behind schedule the dark-ambient tone of this first edition has a definite Halloween hint to it.

As Silver Waves, Dylan Mallett creates turbulent electronic chop’n’change music in which the upfront, feet-first noise menace is offset by dizzying theatrical panache. Tagged by ‘The Quietus ‘ as “industrial music to soundtrack Satan’s own space travels”, a typical track will leap and convulse through jackhammer factory drumming, radio whine, and sweeps of drum & bass (plus diced-in subbass drops) via scything foil-tearing noise, haunted-house bangings and creepy organ. At its most unhinged peaks, Silver Waves sounds like several simultaneous aircraft accidents hitting a chopped-and-screwed beat factory dead on. Even the quieter moments feature random hauntings of tortured sound, with distorted, wrecked and out-of-control noises barging through – a wrenched bell foundry; a careering Friday night train with the brakes off; the sudden scream of a driver skidding off a black-iced road.



 
An expert in mobile app programming and generative music, sound designer Marcus Dyer helped hone an early Silver Waves EP and played similar roles on both ‘The Spectacular Nowhere’ (Manyfingers chambertronic Moondog tribute in 2015) and Third Eye Foundation’s Matt Elliott’s forays into experiment folk music. As theskyisthinaspaperhere, he steps out into music of his own, creating a meticulous but grandly gestural music founded on live-coded generative and procedural composition techniques, post-rock and ambient electronica.

On debut album ‘Falling to an Ocean’s Floor (Gasping Evermore’, the outcome is music balanced gracefully between nature documentary and Bristolian club culture. Grand folding orchestral passages offer suffocating, morbidly romantic Góreckian deathscapes in sinking bathyspheres, while other tracks take glum, glinting post-Labradford/Morricone guitar melodies and dizzy them up with great swoons of reverberant arrangement (synth vapours and space plummets, sometimes the brisk, no-nonsense rattle of a club drum line or a woody jazz bass slide).



 
Over a year or so of Soundcloud activity, semi-ambient soundscaper Louise Brady has evolved from dark field drones, hushed Cluster lambency and warm, humming folk ghostings towards more complicated work into which she injects covert, surreptitious nightmare humour. M456 89led Lit V.BASS is a swirling, intermittent bottle-storm; a crowded sinister ambience full of horror movie spook-music tropes and whiffling white noise. On the other hand, tracks like The Beautiful Sounds Of The Microbrute! or Korg Noise see Louise openly, geekily enthused by the sounds that specific bits of her gear collection can make. (Since the former sounds like meditation music invaded by sardonic, sinister Black Lodge spirits, don’t expect this approach to get too cute).



 

August 2016 – upcoming British tours – Sax Ruins & Barberos (16th-21st) overlap Massicot (18th-27th); with Housewives, a.P.A.t.t., That Fucking Tank, Big Naturals & Anthroprophh, Guttersnipe, Rattle, Negative Midas Touch, Soft Walls and The Furious Sleep all putting in appearances.

14 Aug

I was only intending this post and the last one to be brief… I was going to quickly cover the upcoming Kiran Leonard tour and a couple of avant-prog dates in Yorkshire and London, but looking deeper into the latter meant that a whole lot of other dates and bands came springing out at me, as if I’d hit a tripwire.

Such are the ways of digging around for live previews for ‘Misfit City’ without a map or all of the details… I often come back with information on artists and venues I’ve never heard of before. (It’s exhilarating, and an education in itself, but it plays hell with my schedule.)

Anyway…

* * * * * * * *


 

Following their last UK visit (in October last year), Sax Ruins return for another go. The most active current version of the Ruins project (an ever-altering minimal-maximal mash-up of jazz, prog and avant-rock ideas centred, for three decades, around Japanese drummer and vocalist Tatsuya Yoshida) Sax Ruins features Tatsuya alongside Ryorchestra saxophone improviser Ryoko Ono in a spilling, furious, brassy power duo augmented by a battery of effects pedals, covering all bases from skronk to Rock In Opposition and big-band jazz across written and improvised material of baffling complexity.

The London show also features a set by what’s billed as “Ruins” – this is most probably a “Ruins-alone” drums-and-tapes set by Tatsuya rather than a spontaneous revival of the band’s original bass-and-drums lineup (unless a secret call’s gone out for ambitious London bass guitarists to step up and cover).
 

 

Tour dates in full:

  • Cafe Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England, Tuesday 16th August 2016, 8.00pm (with Ruins + Barberos) – information
  • Exchange, 72-73 Old Market Street, Bristol, BS2 0EJ, England, Wednesday 17th August 2016, 7.30pm (with Barberos + Big Naturals & Anthroprophh) – information
  • Delius Arts & Cultural Centre, 29 Great Horton Road, Bradford, BD7 1AA, England, Thursday 18th August 2016, 7.00pm (with Barberos + a.P.A.t.T. + That Fucking Tank) – information here and here
  • The Car Park Space, 45-51 Duke Street, Liverpool, L1 5AP, England, Friday 19th August 2016, time t.b.c. (with Barberos) – information
  • Doune The Rabbit Hole Festival, Cardross Estate, Port of Menteith, Doune, FK8 3JY , Scotland, Saturday 20th August 2016 (with Barberos)
  • Islington Mill Arts Centre, James Street, Salford, M3 5HW, England, Sunday 21st August 2016, 5.00pm (with Barberos + a.P.A.t.T. + Massicot) – information

Along the tour, Sax Ruins are embracing and encouraging a set of post-Ruins bands. Support on all dates comes from Barberos – drumtronic electro-noise experimentalists from Liverpool. Live (and they’re very much a live concern), they resemble a trio convocation of nuclear power station workers and fetish gimps. A pair of kit drummers, swathed in or vacformed into latex bodysuits and full-head masks, batter away in parallel like wrestling brain hemispheres. A single begoggled head-nodding keyboard player exploits a baffling range of electronic organ sounds. Any or all of them can suddenly burst into cloth-muffled shouting. The sound varies from full-clog percussive noise-traps (the kind that’ll have you wondering whether the band’s deliberately using the wrong definition of “jam”), through to passing plateaux of psychedelic reflection and still points of droning, delicate hush.
 

 
In Bristol, both bands are joined by Big Naturals & Anthroprophh – a two-plus-one alliance featuring the noise-rock duo team of bass/electronic warper Gareth Turner and motorik-attack drummer Jesse Webb (Big Naturals) and rogue psychedelic sludge player Paul Allen from longstanding Bristolian psych-stoners The Heads. While it’s ostensibly Paul who travels under the Anthroprophh solo moniker, it’s increasingly unclear where the boundary lies between Anthroprophh and the partner duo, or whether there’s a boundary at all. Best to treat all three as a collective entity delivering a frowning fuzzed wall of experimental psychedelia: a ritual of heavy bricking.
 

 
Chipping in at Bradford and Salford (though, oddly enough, not at the Car Park show) are a.P.A.t.T., the deft and enigmatic gang of Liverpudlians who deliver a rolling multi-media extravaganza best described as “serious pranking”, and who skip around multiple musical styles in a boiling froth of play. Via their loose collective membership, they have family connections with a host of other Liverpool bands (including Barberos) but no-one ever seems to have sat down and laid out who’s who behind the pseudonyms and lab coats, the puffs of suspect facial hair and the occasional maskwork. Perhaps refraining to pin them down and pull them apart counts as a mark of respect.

Similarly, it’s difficult to summarise or bottle a.P.A.t.T. via anything that’s definitely representative, although tagging them as a Scouse spin on the methodology of The Residents is perhaps as good as anything. However, if you take a quick delve into the plinketting synth-pop minimalism and jazz operatics of Give My Regards To Bold St (with its playful am-dram video of everyday banality set against urban terrorism), their atmosphere/installation piece Seachimes or the Devo-esque Yes… That’s Positive (the last of which displays the punchy musicianship behind the art-school stunts) you might get an idea of how they work.
 



 
Also playing at the Bradford show are deafeningly loud drumkit-and-baritone-guitar duo That Fucking Tank, whose abrasive DIY noise rock has quaked venues from Yorkshire to China for nearly a decade and a half now. As with plenty of contemporary bass-end-plus-drums rock twosomes, you can track down a bit of Ruinous DNA in their work (alongside that of Nomeansno and Lightning Bolt), though they seem to be as much inspired by the nodding insouciant momentum of electronic dance as they do by any Rock In Opposition or post-hardcore ideas.
 

 

* * * * * * * *


 
At the Salford show, the Sax Ruins tour collides with (and briefly joins forces with) a different one by Genevan art-punks Massicot. Named after an electric paper cutter, the latter are a loose and twitchy four-woman array of scratch and propulsion. They pump out charming sophisti-primitive rhythmic instrumentals in which slice-happy guitar and lunging sproings of toy bass are decorated by squeaky violin and barky vocals, all of it bouncing atop a mattress of intricate drumming which apparently prides itself on a blend of “Krautrock and tropicalia”. All of the members draw on shared backgrounds of fine-art schooling and years of instinctive, untutored pre-Massicot bandwork (which, in drummer Colline Grosjean, has resulted in the creation of at least one accidental virtuoso).

Massicot’s music relies on maintaining and capturing the open-minded approach of the original improvisations which generate it, avoiding polish or emblandening; as a result, it keeps its instinctive, childlike sense of motion and immediacy. This kind of restless work – fizzing in a fug of assertive, iconoclastic female spontaneity – always gets the Slits and Raincoats names chucked at it, as well as that of No Wave: Massicot, however, pull off the trick or the triumph of making it sound like a fresh oblique discovery. For the curious, their first two albums – plus a demo – are available for free/pay-what-you-like at their Bandcamp site.
 

 

Here are the Massicot dates:

 

 
As with Sax Ruins, Massicot will be trailed and complemented by fellow travellers of one kind or another up and down the land. At London, Brighton, Exeter and Cambridge, the support comes from powerful, broody London four-piece Housewives. Noise-rock favourites since their formation in 2013, playing dissonant tectonic music with a future-chaos tinge on home-made guitars, the band mingle their rumbling No-Wave/no certainties approach and surging, forbidding dynamics with an adaptive and pragmatic artistic practicality, making drawbacks and serendipity a strong part of the process.

For instance, when their 2015 recording sessions at a remote country farm in France ran into trouble, Housewives salvaged them with a site-specific ingenuity entirely in tune with their musical ethos. With interference from the farm’s electric fence preventing proper recording of electric guitars and basses, the band postponed those particular tasks for another time and place and switched instead to working with the farm’s fabric rather than against it – making spontaneous field recordings; generating feedback models of the farm architecture by looping its ambient sounds; interacting with agricultural machinery by layering found items for percussion or playing reverberant drumkit parts from inside silage tanks. (The end results, with the guitars added from later and elsewhere, can be heard on their 2015 album ‘Work’. All this and a hint of Samuel Beckett, too.)
 


 
 
At Cambridge, there’ll be extra support from windstripped local post-punk ranters The Furious Sleep and at Brighton from Soft Walls, the psychedelic echo-pop/“Krauty bedroom noise” solo project by Cold Pumas/Faux Discx man Dan Reeves (which played at this year’s Lewes Psychedelic Festival).
 


 
In Leeds, Massicot will be joined by two bands. The only one that’s actually confirmed right now are mysterious local noiseniks Guttersnipe, who seem to have blown up (in all senses) this year. Consisting of cuddly, pseudonymously-frenzied couple Xyloxopa Violaxia and Bdallophytum Oxylepis, they’re a desperate lash-together of fragmenting volcanic drums, edge-of-unbearable guitar, flaying-knife electronics and blind, screeching, ranting vocals. In interviews, they talk up a cheery storm about black-metal fandom and deconstructive anti-technique. In action, they sound like a violent and querulous nervous breakdown, being bounced to pieces down an endless set of spiral staircases.
 

 
At Nottingham, two gigmates have been confirmed. Rattle are a warm, post-punkified union of double drum-set and conversational, exploring anti-pop vocal from Kogumaza‘s Katharine Eira Brown and Fists‘ Theresa Wrigley, whose air of distracted discovery belies their strategic percussive planning. (Read more details on both that and the Rattle mindset here.) Also on board is the writhing, sibilant, whispering one-woman power-electronics concern Negative Midas Touch, completing a lineup which renders the Notts gig an all-female experimentation zone.
 


 

July 2016 – upcoming London experimental gigs – Horse Improvised Music Club improvisations from small groups including Adam Bohman Text Quartet (5th); Hominid Sounds electronic night with Mark Dicker, Guncleaner, Johnny Broke and others (7th)

2 Jul

A couple of London experimental gigs for the coming week, briefly explored:

* * * * * * * *

Horse Improvised Music Club, 5th July 2016

The Horse Improvised Music Club presents:
Noel Taylor/Asaf Fleischmann/Ulf Mengersten + Adam Bohman Text Quartet + Antonio Cunzo/Joe Wright/David Stockard/Tony Hardie-Bick
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Tuesday 5th July 2016, 8.00 pm
information

Three small-group performances from the South Bank London improvisers’ hub; following, in part, their tradition of putting well-known improvisers together with lesser-known ones.

The opening act is a scratch quartet of rising Aberdonian jazz saxophonist Joe Wright and Carrickfergus-based percussionist David Stockard with pianist Antonio Cunzo and Chapman Stick player Tony Hardie-Bick. (While it always gives me a lift to see a Stick pop up anywhere in music, since I’ve always loved its clipped-but-singing polyphonic tones, Tony also seems to have the most interesting backstory within the quartet. From being Sham 69’s keyboard player during the late ‘80s, he’s moved from backing up other people’s punk polemics to spending most of his time as a software instrument developer, coaxing new levels of performance interaction out of touchscreens and wearable tech. As a performer, he’s been known to drag his protesting Stick flex-first across gallery floors, an art-punk flourish which I guess is a change from the cloud of warm jazzy reverence which usually surrounds the instrument.)

 
Veteran London acoustic-noise’n’objects performer Adam Bohman takes the middle slot with his Adam Bohman Text Quartet, completed by Adrian Northover, Sue Lynch and Hutch Demouilpied. While Adrian and Sue are usually saxophonists (working together in David Petts’ Remote Viewers and Hogcallin’) and Hutch is a trumpeter and sound designer, it looks as if everyone’s working with voice this time.

There’s not much information on this other than that it’s a text piece, but some guidelines might come from Adam’s work on “talking tapes” during the late ‘70s and early ‘80s – lo-fi audio collages which ranged from spontaneous dictaphone observations (Adam discovering and illustrating the ordinary and mundane anew, in slurred Dada-esque tones) to ludicrous cartoon vocal pieces. The ‘Music and Words’ collation of these odds-and-sodes was described as a laugh-out-loud avant garde album and later releases were even funnier, pushing into prank-and-sketch territories like a splicing of Bob Cobbing with a one-man Pete’n’Dud. Have a listen to When A Man (in which a trio of growling Adams parody both bozo masculinity and thunder-throat action-film trailers, like a squad of querulous Daleks bloated on bright orange corn snacks), or White Sauce Without For Those Who Don’t (Adam’s cutup account of a single Christmas, chopped across with assorted literary, musical and familial distractions).


It is, of course, thirty years on from all of this, so you might get something far more sombre. Since the Quartet are performing something called “the Robin’s Nest Revisited Vocal Quartet”, I wouldn’t bet on it..

The last act of the evening are a trio connected to large-scale improvising institutions in two European capitals. Longstanding improv clarinettist Noel Taylor (Splatter, London Improvisers Orchestra, plenty more) will be playing with Ulf Mengersten (a double bass mainstay of Berlin Improvisers Orchestra) and pianist Asaf Fleischmann.

* * * * * * * *

Hominid Sounds evening, 7th July 2016

Hominid Sounds presents:
Mark Dicker + Guncleaner + Johnny Broke + tbc
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Thursday 7th July 2016, 8:00 pm
– information here and here

To celebrate the release of Mark Dicker‘s new tape ‘Frog Eggs’, London experimental label Hominid Sounds are putting on “a night of clangs and bangs.” There’s a gradually expanding bill for this, featuring various electronic noisemakers and beat-glowerers from the more unruly edge of London electronica. Mark himself (the man “responsible for the noise behind (the recently deceased) Palehorse is headlining, bringing “supersonic modular-synth slow jams” (for a little more on Mark and how he thinks, there’s a ‘Quietus’ interview here). So far, he’s being supported by “clanging, banging techno noise project” Guncleaner (featuring two members of secretive, elusive London heavy math-rockers Nitkowski) and by “improvised, analogue-synth acid techno” act Johnny Broke (initially a solo project by Shitwife‘s Wayne Adams, which now seems to have expanded and welcomed one half of north London noiseniks Death Pedals). More performers to be confirmed…

I’ve not got much information or workable noises for this concert. For starters, I only bounce around on the outside of this particular musical scene (like a stray static spit in the mix); It also seems clear that it’s a lineup of sound-artists in deliberate flux and change, demonstrating very different faces to their usual output; and even by noise music’s usual enclosed standards, information on this show seems to be insiders-only. So you’ll need to just attend and take a chance on what it might be like.

I did succeed, however, in pulling up a little recent Johnny Broke-ism and a Dicker track from early last year, so here they are:



 

March 2016 – upcoming gigs – three shows from another packed London weekend – Daylight Music’s Piano Day prelude (with Haiku Salut, Poppy Ackroyd, Gavin Greenaway, Angus MacRae and Oliver Cherer) and a double event for Baba Yaga’s Hut (spaceyness from rock to electronics with The Lucid Dream, Vena Cava and Fragments Of Space Hex on Saturday; art-punk, improv and sensual noise with Hypochristmutreefuzz, Warren Schoenbright and Anji Cheung on Sunday).

25 Mar

Three more London shows for the upcoming weekend. If regular readers are finding it all too predictable to find Baba Yaga and Daylight Music shows listed in these posts, I’d have to agree with you that those guys aren’t the only game in town – it’s just that both of them run a persistently strong game.

* * * * * * * *

Piano Day, 2016

Daylight Music presents:
Daylight Music 221: Haiku Salut + Poppy Ackroyd + Gavin Greenaway + Angus MacRae + Oliver Cherer
Union Chapel, Compton Terrace, Islington, London, N1 2UN, England
Saturday 26th March 2016, 12.00pm
– free/pay-what-you-like event (suggested donation: £5.00) – more information

“For the last event in their current season, Daylight Music is delighted to join in the celebrations for this year’s Piano Day – with piano highlights and delights including lots of artists playing on a baby grand on the Union Chapel stage – in a concert kindly supported by UK publishers Manners McDade.”

Born in Belgrade, Serbia, but resident in Paris for many years, Ivan Ilić is best known for his solo performances of French classical piano music (in particular an acclaimed and controversial 2008 recording of Debussy’s 24 Préludes and a recording of Leopold Godowsky’s left-hand Studies on Chopin’s Études) He also performs music by contemporary composers including Morton Feldman (the subject of his next recording), John Metcalf, Keeril Makan and Dmitri Tymoczko.

Haiku Salut – the Derbyshire-based dream pop/post-folk/neo-everything trio (influenced equally by the evocative film soundtracks of Yann Tiersen and Benoît Charest, the genre-melting electronica of early Múm, and the impressionistic writing of Haruki Murakami) will be setting aside their multi-instrumental skills to play a short piano trio set.

Fresh from her support slot to Jo Quail last week, Poppy Ackroyd will be performing several of her own post-classical piano originals; perhaps making use of field recordings, but certainly incorporating the specific sonic qualities of the Union Chapel space into the performance.

Gavin Greenaway (whose work as composer and conductor covers an extensive variety of film scores, Paul McCartney’s oratorio ‘Ecce Cor Meum’, the 2012 Thames Diamond Jubilee Pageant and assorted theme park and sporting events) previews his “immediately engaging, unashamedly melodic and deeply personal” solo piano album ‘Il Falco Bianco’ on Tenuto Records, which takes in alternating flavours of post-minimalism, concert-hall majesty, jazz and prepared piano (with eighty-eight table tennis balls).

Angus MacRae (who has composed for and in conjuction with filmmakers, choreographers, theatre pieces, animations and photography exhibitions) performs pieces from his piano repertoire which “blend melancholic melodies with minimalist structures and rich, atmospheric electronics”.


 

In between the acts, Oliver Cherer – a.k.a. ambient isolationist-turned-pagan folkscaper Dollboy – will explore the inside of the piano.

* * * * * * * *

Baba Yaga’s Hut presents:
The Lucid Dream + Vena Cava + Fragments of Space Hex
Electrowerkz @ Islington Metal Works, 5 Torrens Street, Islington, London, EC1V 1NQ, England
Saturday 26th March 2016, 8.00pm
more information

Baba Yaga's Hut, 26th March 2016The first of two Baba Yaga gigs for the weekend stretches its fingers out across psychedelia, noise and spacetronica.

The Lucid Dream meld a variety of factors into their sound. A Seeds-style, garage-rock sense of the groove; mechanistic drums which flail like a dogged threshing machine with an ‘Unknown Pleasures’ fixation, pinning the sound to the ground; spacious, folded-over guitar contrails which travel from chilly vapour to scalding smoke in a couple of heartbeats. They sound as if they spring from a West Coast town that’s swapped its soul with the most blasted Motown-less end of Detroit or the frowning shadow-Philadelphia of ‘Eraserhead’. They’re actually from the relatively unravaged streets of Carlisle.


Bristol-based Vena Cava are “a noise rock band that enjoys frequent flirtations with shoegaze, space rock and no wave” Well, that covers most of the hang-out-and-rattle scenes. They also call themselves “sludgegaze”, which more or less nails it – guttering mantra-riffs which start out like Lush or Cranes taking on ‘Set The Controls For The Heart of The Sun’ and end up pulping themselves against a grille in a welter of grinding distortion.


 

Fragments Of Space Hex flitted across these pages late last year when they played More News From Nowhere up in Walthamstow. An electronic confabulation of dub-techno musician Ciaran Mackle (Ashplant) and drone-kosmischian Andrew Nixon (Deathcount In Silicone Valley), they’re part BBC radiophonic, part Germanic oscillators and part Bakelite space-age, layering in bits of antique broadcast and hands-on synth lines in their rippling, lapping, pulsescapes.



 

* * * * * * * *

Hypochristmutreefuzz, 2016

Baba Yaga’s Hut presents:
Hypochristmutreefuzz + Warren Schoenbright + Anji Cheung
Birthdays, 33-35 Stoke Newington Road, Dalston, London, N16 8BJ, England
Sunday 27th March 2016, 7.00pm
– free event – more information

To round off the week, Baba Yaga offers a free show featuring “three fantastic bands.”

Ghent art-punk fivesome Hypochristmutreefuzz headline, folding together sturdily uncomfortable but compelling riffs and musical figures (in the King Crimson/Les Savy Fav vein), punk drawls and a space-rocking burble of echoing synth. The music’s smart, bright, cheeky and oblique: like some mocking street-genius eating an ice-cream cone at you. I can also hear some of the clanging swagger of long-lost ‘90s art-hooligans Campag Velocet (although rather than dropping names, puns and flakes of Nadsat, this band tend to yank ideas from the floating debris at the top of the mind). I’m intrigued.


 

London-based noise/improv duo Warren Schoenbright are Daniel McClennan on drumkit, Matthew Pastkewicz on electronics and a shuffled deck of noises. When I listen to them, they remind me of the hackle-raising anticipatory stillness of Bark Psychosis on ‘Scum’, or of the eerie King Crimson sextet improvs from the mid-‘90s (murky, pulmonary, oft-detonating free-instrumental ghost-rides – once described by ‘Q’ as “ambient music for giants”, which is a phrase that’s far too good not to steal when you need it). Hissing, spitting drum improvisations and head-slithers from a jazz corner combine with boiling brewing ambient vapours from the electronic side to form spectacular instrumental illuminations.

Dynamically speaking, it can go from all-out drum hammering and scourscreech to tense gaps and lacunae in which the sound withdraws and poises. Often it sounds like slow-motion night trains caught in a series of stretched-out near misses, watched from the goods-yard shadows by a pair of twitchy, punchy hobos. Here’s fourteen minutes of live set from 2014, to show you what I mean.


 

Multi-instrumentalist and sound-sculptress Anji Cheung might make unsettling ritual drones out of frantically overdriven noise and subterranean bass frequencies, but she also murmurs sensual, semi-comprehensible fragmentary monologues on top; or brings in other women to add their own voices. It’s a compelling mix, and one which adds body – often a literal and living impression of thinking, human body – to the often deliberate alienating and dehumanising world of noise music. Some of Anji’s pieces sound like Raudive experiments (capturing a dead voice on bared electrical wires), or like an encounter with an occult ritual caught in the kink of a broadband cable. Some explore cruelty and subjugation, others the vulnerability of natural environments; some end in hypnotic folk songs. This noise may have been shaped by industry and electronics; but its exploring roots continue to grow deeper and downwards.


 

* * * * * * * *

Next up – more news on Piano Day around the world…
 

More London gigs, second week of October – electro-industrial (Necro Deathmort/DeadFader/Cementimental), intercontinental at Café Oto (Maurice Louca/John Bence/Sam Shalabi), fringe jazz (The Geordie Approach/A Sweet Niche), noise-rock (Hey Colossus/Lower Slaughter/Kogumaza), acoustic/alt.country at Daylight Music (Applewood Road/Holly Macve/Arborist) and the Fidelio Trio with Beethoven, Ravel and a Benjamin Dwyer premiere

4 Oct

More gigs for the coming week…

Firstly, Baba Yaga’s Hut are running an evening at Corsica Studios, which takes in the London date of an electro-industrial tour.

Necro Deathmort/DeadFader/Cementimental @ Baba Yaga's Hut, 5th October 2015Necro Deathmort + Deadfader + Cementimental (Baba Yaga’s Hut @ Corsica Studios, 4-5 Elephant Road, London, SE17 1LB, UK, Monday 5th October 2015, 8.00pm) – £6.00

As if Necro Deathmort‘s name didn’t tell you enough about them, over an eight year career they’ve released albums called ‘This Beat Is Necrotronic’ and ‘Music Of Bleak Origin’ (although more recent albums have seen a shift towards a less morbid and more science-fictional outlook. Dark electronica festival veterans with a drone, doom and noise approach, the project entangles electronic instrumentalist AJ Cookson (The Montauk Project, Medes, Sol Invicto) with Matthew Rozeik (guitarist from post-metal/post-prog band Astrohenge). Their music rises from gurgling boneyard beats, medical-equipment breakdowns, squishy miasmas and faux-sax drones towards something ruined and regal – a grand deathbed vision.

Sharing Necro Deathmort’s current tour is Berlin-based dubstep/noise/electro fusilladeer DeadFader – memorably described as “chainsaw-step” by Baked Goods Distribution (who went on to rave about how the project coughs up “the most seismic grooves imaginable” and that the music “sinks its teeth into your arm and refuses to let go”). I can’t top that as a description right now – have a listen below and see if you agree with it.

Joining Necro Deathmort and DeadFader for the London date are CementimentalEverything I can dig up about these guys is a barking blur of ludicrous disinformation: almost the only lucid facts coughed up from their promotional flotsam is that they’re led by a “noisician” called Dr. Age (or Tim Drage, who may or may not have a daytime/surface job in cute Lego animations) and have been doing “harsh noise, circuit-bending, rough music since 2000AD”. The Dr. is supported by a cast of obscure and possibly imaginary characters – a guitarist called Toru, a part-time turntablist, a man called Mrs Columbo (who handles the incoherent screaming), and “additionalists” called Murray the Eel and Sir Concord Discount (the latter’s a “rock goblin”). Maybe this makes Centimental sound like the joke band on the bill, and there’s plenty of humour in what they do (a couple of early tracks were called Too Long and Merzbow It Ain’t, while a more recent one’s called Commendable Amputation Of An Excessive Gargoyle), but the fact remains that they’ve been going for nearly half again as long as their gigmates. Draw your own conclusions.


 

Up-to-date info here, tickets here.

* * * * * * * *

On the Thursday, there’s a Cafe Oto convening of music from Cairo, Bristol and Montreal, running in parallel to events in Egypt and Lebanon and covering a broad variety of influences and outcomes.

Maurice Louca + John Bence + Sam Shalabi, October 8th 2015

Maurice Louca + John Bence + Sam Shalabi (Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, UK, October 8th 2015, 8.00pm) – £12.00/£14.00

Cafe Oto, in collaboration with Thirtythree Thirtythree   and Nawa Recordings, bring you the second edition of the five-part event series entitled ‘Labyrinths’ (or ‘Mātāhāt’ in Arabic) and based in London, Cairo and Beirut over October and November.

Maurice Louca is an Egyptian musician and composer born in Cairo where he lives and works. As well as being the co-founder of the bands Bikya, Alif and Dwarves Of East Agouza, he lends his sound to numerous projects, composing for theatre, film and contemporary art. Inspired by many influences, from psychedelic to Egyptian shaabi, his second album ‘Benhayyi Al-Baghbaghan (Salute the Parrot)’, released on Nawa Recordings in November 2014, shattered the confines of musical and cultural labelling and was dubbed by many as a game-changer for the region’s bustling independent music scene. Amidst his collaborations and inconspicuous touring across Europe and the Arab world in the last few years, Louca has sought a richer and much more complex sound. ‘Benhayyi Al-Baghbaghan’, the fruit of such intense reinvention and a departure from his first solo album ‘Garraya’, is a work that leaves ample space for fluidity and improvisation, paving the way for unique live renderings.

From a family background rich in classical pedigree and firmly embedded in Bristol’s forward-facing electronic music culture, John Bence has pooled a breadth of influence scarcely credible for a composer only entering his second decade, and now he is starting to put his inspiration into live and recorded motion. As a producer he is already thinking ten steps ahead, often incorporating voice or home recorded percussion into his cyclical technique of scoring, recording, manipulating, re-scoring and re-recording in waves, creating heady, intoxicating ripples of harmony and noise. An obscure snippet of dub-plate drone under a previous moniker was enough for Nicolas Jaar, who instantly approached him about a release on his Other People label. Six months on, ‘Disquiet’ was released – a masterful hybrid of classical and electronic clocking in at a tantalising ten minutes. More, much more, is coming. Mercurial, elusive and of seemingly limitless imagination, John Bence is rising to the surface.

Sam Shalabi is an Egyptian-Canadian composer and improviser living between Montreal, Quebec and Cairo, Egypt. Beginning in punk rock in the late 70s, his work has evolved into a fusion of experimental, modern Arabic music that incorporates traditional Arabic, shaabi, noise, classical, text, free improvisation and jazz. He has released five solo albums (including ‘On Hashish’- a musical mediation on German writer Walter Benjamin; ‘Osama’, an audio collage on Arabophobia in the wake of 9/11; and his most recent ‘Music for Arabs’), five albums with Shalabi Effect (a free improvisation quartet that bridges western psychedelic music and Arabic Maqam scales) and three albums with Land Of Kush (an experimental 30-member orchestra for which he composes). He has appeared on over sixty albums and toured Europe, North America and North Africa. Recent projects include the release of the sixth Shalabi Effect album, a duo album with Stefan Christoff, two albums on the Italian label Sagittarius with Beirut, Turkish and Egyptian musicians and a tour in the eastern U.S with Alvarius B (playing solo oud). He is also releasing ‘Isis and Osiris’ (a new composition for oud and electronics) on Nashazphone as well as releasing an album with The Dwarves Of East Agouza (a Cairo based trio with Maurice Louca and Alan Bishop) while currently working on his sixth solo album.

Tickets and up-to-date information are here and here.

* * * * * * * *

“More accomplished musicians have a loud argument about what ‘jazz’ even is these days,” say Chaos Theory Promotions. Their Jazz Market evenings continue to provide space for such arguments, and here’s another one…

Jazz Market - The Geordie Approach + A Sweet Niche, 9th October 2015

The Geordie Approach + A Sweet Niche (Chaos Theory Promotions present The Jazz Market @ The Sebright Arms, 33-35 Coate Street, London, E2 9AG, UK, Friday 9th October 2015, 8.00pm) – £5.00/£7.00

The Geordie Approach is possibly the oldest secret from three internationally renowned musicians who’ve been working together for over ten years. It features acclaimed Leeds guitarist and producer Chris Sharkey (Acoustic Ladyland/Shiver/TrioVD), and Norwegian musicians Petter Frost Fadnes and Ståle Birkeland, best known for playing sax and bass respectively in Stavanger Kitchen Orchestra. This uncompromising and experimental trio pursues music within loose improvisational structures, adding a surprisingly broad range of flavours to their overall sound world. The trio has a reputation for adapting and utilizing their performance space in an extremely effective and engaging manner. Birkeland, Frost Fadnes and Sharkey produce musical elements that often are contradictory in shape, moving between melody and noise, ambient grooves and abstract textures. They have performed across Europe, Japan and the UK in churches, art galleries, improvisation clubs, squats, abandoned tobacco houses, jazz festivals, concert halls and flamenco clubs. Each performance is a unique experience.

We hail the return of jazz punk trio A Sweet Niche to The Jazz Market after a seriously impressive performance in 2013. Band composers Keir Cooper and Oliver Sellwood (on guitar and saxophone respectively) explore an aesthetic of intricate rhythms & song-structures within a punchy energetic rock band format. The nature of their collaboration is unique; Keir is an award-winning non-academy artist and Oliver is an award-winning PhD composer and academic. Despite their two tangential angles of experience, they have a shared musical vocabulary honed over nearly two decades. With new album ‘EJECT’ on the way in 2016 (and the recent addition of Big Beat Manifesto drummer Tim Doyle to the band), it’s high time we pulled these performers out of the murky underworld they reside in.

Tickets are available from here, and up-to-date information is here.

* * * * * * * *

There’s another Baba Yaga’s Hut evening on the same night as the Oto gig, this time concentrating on various noise-rock angles (from the reformatting of classic rock to the restructuring of sound to the straightforward joy of a gibbering hardcore racket.) See below.

Hey Colossus/Lower Slaughter/Kogumaza @ Baba Yaga's Hut, 9th October 2015Hey Colossus + Lower Slaughter + Kogumaza (Baba Yaga’s Hut @ Electrowerkz, The Islington Metal Works, 7 Torrens Street, Angel, Islington, London, EC1V 1NQ, UK, 9th October 2015, 8.00pm) – £9.00

Variously from Somerset, Watford and London, six-piece Hey Colossus https://www.facebook.com/heycolossus have spent a decade gradually becoming alt.rock darlings thanks to their   journey through assorted doomy noise rock avenues. Their current recipe involves slowing down and narcotising their alleged classic rock influences (Fleetwood Mac is one of those cited) via psychedelic echo and a certain post-rock dourness. It works well too – much of the time they sound like a guttering Led Zeppelin on strong cough mixture, or feed crunching brass-riff processionals and Stoogesque whomps through an amber-toned ‘Piper At The Gates Of Dawn’ filter.

I suspect that the concept of supergroups doesn’t fit into noiserock and post-hardcore. Nonetheless, Brighton’s Lower Slaughter  does sort of fit into that category, uniting people better known for other bands (bass player Barney Wakefield for Shudder Pulps, guitarist Jon Wood for “harsh party music” outfit Fat Bicth, Max Levy for vertiginously nervy singing in King Of Cats) and welding them together into a noisy, queasy-confident, raw-scream whole.

Creating hypnotic drones and grooves via two guitars and tom-centric drumming, Nottingham quartet Kogumaza have their feet in sludge metal and in post-rock; but while the latter’s become an increasing predictable and conservative genre Kogumaza have set out to reclaim some of its earlier, more inventive ideas (such as the lapping sonics of Seefeel) via their fourth member, live sound mixer Mark Spivey, who brings in dub-inspired approaches and old tape-looping techology to further manipulate and displace the band’s sound both live and on record. Fond of collaborations and split releases, they’ve also been known to bring in an unexpected banjo (although they probably won’t tonight).


 
Up-to-date info here, tickets here.

* * * * * * * *

And finally, from all of this noise to something acoustic for a Saturday noontime…

Daylight Music 202

Daylight Music 202: Applewood Road, Holly Macve + Arborist (Union Chapel, Compton Terrace, Islington, London, N1 2UN, UK – Saturday 10th October 2015, 12.00pm-2.00pm) – free entry, suggested donation £5.00

An early afternoon of songwriter-folk, America and alternative country from one of ‘Misfit City’s favourite free/pay-what-you-like events:

Applewood Road is an Australian/American alliance of three solo songwriters – Amy Speace, Amber Rubarth  (also known as one half of The Paper Raincoat) and Emily Barker (also known for her work with the-low-country and The Red Clay Halo). In September 2014, they all met for the first time in a cafe in East Nashville. Two hours later they had written the song they called Applewood Road. They booked studio time at Nashville’s super-cool analogue studio Welcome To 1979, and the following week recorded the song live to tape, with just double bass as accompaniment. So excited were they by the song, they decided to expand the idea in to a whole album. Six months later they reconvened in Nashville to write, rehearse and record songs to make up a full album, with the project and album all called ‘Applewood Road’. This is their first show in the UK, with the debut Applewood Road album due for an early 2016 release on Gearbox Records.

Bella Union label boss Simon Raymonde says, of Holly Macve“little is known of Holly other than she is a 20 year old from Yorkshire who appeared out of nowhere in Brighton late last year. I had a tip-off to go to a basement bar where she was playing. In a room full of beery boys chatting across all the music beforehand, the minute Holly opened her mouth the room fell silent. Hers is a rare gift.” Simon signed her shortly afterwards. The label has yet to release anything formally, but Holly herself has posted a demo track onto Soundcloud (see below), and she’s already won support slots with Ben Howard and Mercury Rev on the strength of what she’s offering.

Having previously worked as a songwriter around France, London and Dublin, Mark McCambridge played his first show as Arborist in February 2013, opening for James Yorkston in Belfast. A solo tour of Ireland followed before impressive performances led to notable support slots alongside Low, Cat Power, Echo & The Bunnymen and Alasdair Roberts. In May 2015 Arborist released the country-tinged ‘Twisted Arrow’. Recorded during dark winter nights in Belfast and in Dayton, Ohio (and featuring vocal harmonies by Kim Deal). A debut album is due this coming winter.

 

* * * * * * * *
Not finally, in fact – there’s a chance to squeeze in a last-minute classical addition, since it’s always a shame to miss a premiere.

The Fidelio Trio, 2015

The Fidelio Trio @ The London Chamber Music Series (Hall One, Kings Place, 90 York Way, Kings Cross, London, N1 9AG, UK, Sunday 11th October 2015, 6.30pm) – £9.50 to £29.50

The celebrated Fidelio Trio – Mary Dullea (piano), Adi Tal (cello), Darragh Morgan (violin) – perform Beethoven’s hugely popular ‘Ghost Trio’, with its iconic eerie slow movement, and also Ravel’s remarkably imaginative and colourful ‘Piano Trio’, premiered 100 years ago this year in Paris in 1915.

In between comes the premiere of Irish composer Benjamin Dwyer‘s ‘Nocturnal’, inspired by Benjamin Britten’s famous own ‘Nocturnal after John Dowland (for solo guitar)’, and drawing upon a theme from Britten’s opera ‘Gloriana’, as well as a madrigal by English early seventeenth-century composer Thomas Wilbye. There will be a free pre-concert talk at 5.15pm in the St Pancras Room at Kings Place, in which composer and LCM Series director Peter Fribbins interviews Benjamin Dwyer about his new work and his interest in the music of Benjamin Britten.

More information here and tickets here.

* * * * * * * *

More October gig previews coming up shortly…

REVIEW – Cthulhu Detonator: ‘Infernal Machines’ album, 2012 (“beneath the razor squeals and data blurts, there’s a lot of composed thought going on”)

16 Mar
Cthulhu Detonator: 'Infernal Machines'

Cthulhu Detonator: ‘Infernal Machines’

Over in the pleasant and temperate Canadian climes of Victoria, Eric Hogg sometimes strolls the streets and sometimes makes noise. Perhaps he dreams of being under dental sedation, indulging himself in some grand and streaky nightmares of colour-bleed and sound-warp. A salubrious environment isn’t necessarily a bar to a sinister imagination.

Then again, while it’s certainly unsettling, is the shivering noise music Eric produces as Cthulhu Detonator necessarily sinister? And what are nightmares, anyway, if they’re not creativity fracking its way simultaneously through the subconscious and the known in search of new fuel? I’m guessing that whenever Eric does go walking, he’s chewing over everything he’s heard both recently and years ago, waiting for something to engage fully with the teeth in his brain.

The choice of project name mixes demolition tech with H.P. Lovecraft. This is worth remembering. At its fringes, genre music is increasingly morphing into cheerfully-tailored geek accessory, so this could have been superficial fantasy horror-noise – vat bubbles, flailing tentacles, steampunk sound effects and a comic-book feel. Actually, Cthulhu Detonator’s music springs from the well-corroded, confrontational gully worn by power electronics, making the most of sonic distressage and sample-flaying. However, Eric gives a wide berth to the more regressive, narcissistic elements of power electronics (the psychopathic posturing, the violent fixations and the taste for hate-politics, the desire to transgress and incur repulsion). He takes the noise, not the rage. He doesn’t turn over bodies, just sounds. Beneath the razor squeals and data blurts, there’s a lot of composed thought going on.

Just to finally lay those Lovecraft associations to rest – besides the name, the only other Lovecraft link here is one single piece, At The Mountains Of Madness. This is also a tenuous link at best: Eric makes no obvious attempts to reconstruct the narrative of the horror story whose title he’s borrowed, just using the latter as a springboard for scene setting. As on the rest of the album, he sets up an instrumental language and then corrupting it into something else via intensive sound processing. For At The Mountains Of Madness, it’s a simple-as-possible drum solo, mostly concerted, mostly stumbling hits. Drums and struck metal percussives are crushed and milled; the former crudely distorted, the latter phased into smears. A determinedly uncooperative beat gives way to a rabble-rousing tom whack broken up by jittered glassy echoes and crazed, triggered reverb. It has the contradictory feel of a wall of noise that’s made mostly of gaps, with the sharp attack of drum hits setting up anticipation of the scrunching decay that follows. Soundfields pop violently in and out of hearing: sometimes you can hear a click track bleeding through, providing something to rebel against.

Infernal Machine is part hellish, but almost conversational. Drawing on a source which sounds much like a squealing guitar on maximum tube scream, Eric chops it into whoops and squeaks by some jackhammering processing which swings in a pendulum arc across the soundfield smudging and seducing the sounds as it goes. Halfway in the electrophonic squeals are replaced by a gracefully screaming choir (courtesy of a multi-tracked guest, Fairen Berchard), which echoes down a long tunnel. Cross the Static Ocean resembles an elderly printer grind, looped and sealed up in a bobbing storm of hurtling white noise. Eric gets the most out of it – sweeping across its frequencies, digging out hisses and tenor grinds, cutting and pasting around the soundfield, making it strangely beautiful. (There’s also an abstract humour at play here – one moment even sounds like a freight train doing the Charleston while no-one is looking.)

As so often with noise music, what often makes a Cthulhu Detonator piece involving is where you can see the process of its developing impurity – whether you’re looking for the sound sources or the corrupted concepts. Some pieces sound close to classical music. While it’s not entirely clear where its gently blaring, tottering source sounds came from, Transmit.Disintegrate ends up sounding like a baroque trumpet chorale filtered and echoed through a roaring stonework gullet, gently billowing and swirling as it goes on its journey. Blinding White Light starts its life as a dramatic sequence of interminably held organ chords; as if Eric’s raiding stock Hammer Horror music for battles with the Devil. He runs this piece of Gothic corn through the harrow-blades of distortion until it melts into a sirening phase of shuddering pink-misting noise: you can feel the higher pitches being squashed flat onto the bass, like tissue onto iron. Towards the end it’s simply shifting between two simple but uncomfortably-matched chords; a jammed apocalypse.

Somewhere, the party is also being crashed by dance music. Initially, Rise Automatons has something in common with fluttering dubstep. You might consider beats to be crucial for this, but they’re missing. However, here are the swooping bassiness, the teasing rewinds, the timestretch; and Eric’s overdriven scribbling sounds like turntable scratches. But it doesn’t last: the structure collapses and is crumpled into a confusion of vengefully buzzing flies and feedback whoops. At one point, a dead TV whistle sneaks underneath the violent editing and panning.

Chrome Leviathan – bizarrely – appears to be based on a deep-funk lick, although it’s one that’s being carried on a gnarled data burst and surrounded by crash processing and the occasional clatter of glass fragments. It certainly owes something to the old Hank Shocklee noise-as-rhythm riff idea – playing with two hip-hop accented riffs before it’s done – although the exaggerated panning at the end is pure noise disruption. The party continues on Lava Box , where a catchy clapping pulse rhythm is applied to an indeterminate, squelched buzz. There’s a clear head-bobbing intent here, as rhythmic parts bop along inside the squish with an unselfconscious physicality that could as easily be slamming hip-hop or heavy metal. Eventually all of the mashed noise is left to bubble by itself – the rhythms, ultimately, don’t become a tyranny.

Two further pieces reassert the subtler powers of ambient noise and sound-pictures. On Womb, the main constituent ingredient is a discreet drive-along hum – like a small car on a lonely mountain road, but amplified up to the level of landscape. In the mid-ground, slow enveloping organ chords appear, so large and yet so quiet that they’re all but out of the image. All you can hear are the small details on their sky-covering surfaces – the sound-curve of their undersides and their strangely comforting overtones. Radio voices, none of them distinguishable, sprinkle this cloudy arch. There’s a dirty serenity to it all, an intimation of clear air and solitude, lightly misted with the pollution of noise and incursion.

Atom Thresher – the last track on the album, and in many respects the most industrial – heads back to smaller scenes and more claustrophobic concepts. Deep flapping interference spatters static around a bowl-shaped drone: a third sound layer adds a klaxoning extensor buzz; a fourth, the sound of machinery clanking and extracting. Whatever’s being milled out here is invisible; but the working sound eventually falls out into Geiger counter pops, and at the very end a short decisive silence.

After this series of journeys and pictures, the question of the inspirational process remains – the disjunction between comfortable surroundings and an output of rough-textured noise. Maybe the keynote of making this kind of music in a pleasant climate (rather than in a crappy recession town full of blocked-off hopes and angry knuckleheads) is that it’s simply less pressured, less draining, more fun; and that this in turn shapes the music. Certainly, as industrial music goes, Cthulhu Detonator doesn’t appear to be aimed helplessly into a corner and buzzing with rage; nor does Eric shut down his human responses and slip into a bleak hover-mode. Instead he shapes the rags, bones and hanks of his sources into something which is, if not necessarily hopeful, at least alive and active; and involved with itself.

Cthulhu Detonator: ‘Infernal Machines’
Cthulhu Detonator (no catalogue number or barcode)
Download-only album
Released: 2nd November 2012

Buy it from:
Bandcamp

Cthulhu Detonator online:
Soundcloud Bandcamp

ATTN:Magazine

Not from concentrate.

Xposed Club

improvised/experimental/music

I Quite Like Gigs

Music Reviews, music thoughts and musical wonderings

Make Weird Music

Because 4 chords aren't enough

A jumped-up pantry boy

Same as it ever was

PROOF POSITIVE

A new semi-regular gig in London

We need no swords

Static and debris. Skronk and wail. This is music?

:::::::::::: Ekho :::::::::::: Women in Sonic Art

Celebrating the Work of Women within Sonic Art: an expanding archive promoting equality in the sonic field

Ned Raggett Ponders It All

Just another WordPress.com weblog

Headphone Commute

honest words on honest music

Yeah I Know It Sucks

an absurdist review blog

Pop Lifer

Waiting for the gift of sound and vision

Archived Music Press

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

The Weirdest Band in the World

A lovingly curated compendium of the world's weirdest music

OLD SCHOOL RECORD REVIEW

Where You Are Always Wrong

Fragile or Possibly Extinct

Life Outside the Womb

a closer listen

A home for instrumental and experimental music.

Bird is the Worm

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

Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

eyesplinters

Just another WordPress.com site

FormerConformer

Striving for Difference

musicmusingsandsuch

The title says it all, I guess!

%d bloggers like this: