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June 2017 – upcoming London/German gigs – Lindsay Cooper remembered by Half The Sky (22nd June – plus Avantgarde Festival appearance on 25th June)

15 Jun
Half The Sky, 22nd June 2017

Half The Sky (photo © Jean-Hervé Péron)

Long before the knot of current pop culture wrangling over women’s control over the music they make, the late Lindsay Cooper was plugging away in her own corner, striving (and ultimately succeeding) for much the same thing in the often arid and unforgiving spaces of British art rock, improv and jazz. Later this month, the Half The Sky ensemble (led by vigorous curator/arranger /multi-instrumentalist Yumi Hara) will be bringing their showcase of her music both to London and to a small town outside Hamburg, re-animating the work she created for Henry Cow, News From Babel and Music For Films between the late ’70s and the mid-’80s.

Originally formed in 2015 for festival appearances in Japan and France, Half The Sky derive their name from the Maoist/feminist maxim, “women hold up half the sky”, as used by Lindsay as a composition title on Henry Cow’s ‘Western Culture’ album, back in 1978) and feature an impressive alliance of British and Japanese art-rock musicians. As well as Yumi on keyboards, lever harp and vocals, the ensemble features two members of Cicala-Mvta (Miwazow on koto, ching-dong percussion and voice; Wataru Okhuma on alto saxophone and clarinet), the Korekyojinn/Altered States bass guitarist Nasuno Mitsuru; Chlöe Herington (the reeds and melodica player from Knifeworld, Chrome Hoof and V Ä L V Ē) and finally two of Lindsay’s former Henry Cow/News From Babel colleagues (singer Dagmar Krause and drummer Chris Cutler). As Yumi points out, “the gender split follows Lindsay’s general practice and the example of the original bands – Henry Cow (50% female) and News from Babel (75% female).”

Yumi’s comments on the music:

“In 2013, soon after Lindsay passed away, Matthew Watkins made a call for arrangements of her mini-composition ‘Slice’ for a special edition of his podcast ‘Canterbury Sans Frontières‘. I made a transcription of the piece and recorded it for solo clavichord. Chris Cutler and I also played it in Japan and New York. A little later, inspired by the three memorial concerts Chris Cutler organised in 2014 with the original bands, I put Half The Sky together to play Lindsay’s music in Japan.

“With the exception of ‘Slice’, it was only after – and because of – the 2014 concerts that any working scores for the Henry Cow pieces became available, having been painstakingly assembled from Lindsay’s notebooks, original band-members’ surviving parts and careful analysis of the recordings. A handful of the News from Babel songs – none of which had ever been performed live – had already been reconstructed for the memorial concert by Zeena Parkins; the rest I had to work out from scratch – as well as rearranging everything for a mixture of occidental and oriental instruments.

“This programme is approached very much as a music of the present – and not as an academic reconstruction.”

In addition to Half The Sky’s performance, the London show will feature DJ sets from two of London’s more interesting musical personalities. Marina Organ’s known both for three decades of staunch work as writer/co-driving force of ‘Organ’ magazine and for her indefatigable DJ/interviewing work on ‘The Other Rock Show’. James Larcombe is the keyboard player and sometime composer with Stars In Battledress, Arch Garrison, North Sea Radio Orchestra, Zag & The Coloured Beads and the William D. Drake band; now he seems to be extending his talents (or at least his brassy neck), to disc-spinning.

Half the Sky: Music of Lindsay Cooper

  • Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England, Thursday 22nd June 2017, 7.30pm – information here and here
  • Avantgarde Festival, Steinhorster Weg 2, 23847 Schiphorst, Deutschland, Sunday 25th June 2017, 2.15pm – information here and here


 
* * * * * * * *

Pinning down the nature of a woman’s work in art – or women’s work in general – is not always an easy thing, nor even desirable. Even the most positive intentions can produce more restrictive categories, more unwanted boxings and demands to conform. In the case of Lindsay, whose career always foregrounded honest effort and end product over personality showboating, and which was tinted by doubt and determination, it’s probably best to concentrate mostly on the mind behind the music: to listen to the querying voice coming through.

Operating over a set of times in which both contemporaries and colleagues had a tendency towards answers and stances, stated in both bald pronouncements and modernist-baroque ornamentations, she opted to bring a more questioning tone which nonetheless carried some of its possible answers in both action and presentation. Hers was a polymathic but purer musicality: an instrumental voice which voyaged alongside others’ often harsher pronouncements, détournements and doctrines and drew from them while never being subject to them, and which always kept a gentler, more accommodating side open to allow growing space and to consistently rebuild.

Although she also put in stints with both the cheery Canterbury fusioneering of National Health and the terrifying dark-folk band Comus during the 1970s, Lindsay was probably best known for her work with the powerful political chamber-prog of proto-Rock In Opposition ensemble Henry Cow (a creative ferment which she joined and left twice and, like most Cow-ers, never entirely left behind). Having initially brought in her toolkit of reeds, woodwind and piano skills to play on the band’s second album ‘Unrest’, she subsequently made small inroads into the writing, contributing to a number of group compositions on ‘In Praise of Learning’ and the ‘Concerts’ set. As a composer, though, she finally came into her own on the band’s final, all-instrumental statement ‘Western Culture’, on which she was responsible for most of the piled jazzy grandeur of the second side (finding previously unexplored links between the music of New York, Canterbury and Switzerland).

Lindsay Cooper

Lindsay Cooper

Perhaps more significantly, by this point in the late ’70s Lindsay had already formed the witty, subversive Feminist Improvising Group, or FIG; a project which she co-ran with vocalist Maggie Nichols in parallel with her Cow work. Generally considered to be the preoccupation and property of educated, intense, white men, the British and European free improvising of the time tended to be a little short on jokes (bar occasional pranking along the lines of the Free Art Research Trio). FIG allied Lindsay and Maggie with various other musical and performance talents – “feminist rock” trumpeter Corine Liensol (who’d played in Jam Today with a young Deirdre Cartwright), pianist Cathy Williams (who’d worked with another Cow-er, Geoff Leigh, in the Rag Doll duo), future filmmaker Sally Potter, latterday Cow cellist Georgie Born and Swiss free-jazz pianist Irène Schweizer (the last being allegedly the only European female improviser on the ‘60s and ‘70s scene). In classic feminist tradition, FIG not only enabled previously sidelined female voices onto the improv scene but deliberately upturned expectations as to what such a scene could achieve.

In comparison to the demanding and abstruse Maoist politics of Henry Cow (which, in private, sometimes resembled a brutally masculine university debating society preoccupied with games of political high-grounding), FIG were spontaneous, mutually supportive and – just as importantly – funny. With a strong and personal rooting in lesbian, class-based and feminist activism (plus parallel feelings of sidelining and denial on the part of others) but a suspicion of dogma, they expressed frustration and political challenge by drawing on a collective sense of the absurd and of the sympathetic. In addition to the music, their shows featured parodic stagings and examinations of domestic work (such as kitchenwork and cleaning) and of consumer preoccupations. Vegetables were peeled onstage; household tools such as dustpans and brooms pressed into service as props and noisemakers; oppressive or manipulative memes transformed into call-and-response singing.

Reading accounts of FIG work reveals a tale of tough gigs, audience misunderstandings and frequent frustration. Men carped, frowned and cold-shouldered; women laughed, argued and sometimes welcomed; the group members continually challenged their own sense of self and role; but the work itself sounds joyously unshackled – something I would have loved to have been around to see. It’s a shame that much improv and theatrical work is always of the moment and tends to vanish like dew in the morn. Without recorded evidence or restaging, it fades into hearsay, and in this case an important chapter in Lindsay’s work has to dwell in a kind of word-of-mouth samizdat.

Post-Cow and FIG, Lindsay ran her own Film Music Orchestra to create and record arthouse soundtracks (often working in cinematic cahoots with Sally Potter). She rejoined another former Cow colleague ((the now-mellowed Chris Cutler) for the 1980s post-Marxist art-song project News From Babel: here, Chris’ social and political musings would make a happier marriage with the pop-cabaret end of Lindsay’s music. She also contributed to the counter-cultural jazz colours of various Mike Westbrook and John Wolf Brennan bands, played with Pere Ubu ranter David Thomas, worked in theatre and (in the ’90s) composed a more formal chamber music which nonetheless retained the edge and inquiring spirit of her work in avant-rock and political art. She’d collaborate with Potter again for the Cold War song cycle ‘Oh, Moscow’ in the late ’80s, to which Chris Cutler also contributed. If encroaching multiple sclerosis (which had privately dogged her throughout her post-Cow career) hadn’t dragged her into early retirement in the late ’90s, there would have been more.

Half The Sky provide a welcome re-introduction to Lindsay’s work, performed by committed people whose sympathy with Lindsay Cooper’s music is absolute. However, they should also be viewed as a window onto the wider career of a quietly remarkable woman whose death in 2013 forced a premature coda onto the work of a mind whose personal humility had been more than balanced by its nimbleness, thoughtful and flexibility. Come along to these concerts and hear some of that mindwork and heartwork come alive again.


 

June 2017 – upcoming London classical/experimental gigs – Kammer Klang double event – ‘Soarings: A Salon on Else Marie Pade’ (5th June); Apartment House and Jacob Kirkegaard play Pade and Henning Christiansen, plus Vitalija Glovackyte (6th June)

24 May

The June Kammer Klang is a double event centred loosely around Danish composers Else Marie Pade and Henning Christiansen, who variously pioneered mid-twentieth century electronic music and cross-genre intermedia Fluxus experiments.

Kammer Klang presents:
‘Soarings: A Salon on Else Marie Pade’
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Monday 5th June 2017, 7.30pm
– information here and here
and
Apartment House (performing Henning Christiansen) + Jacob Kierkegaard (presenting Else Marie Pade) + Vitalija Glovackyte + Aguirre DJs
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 6th June 2017, 7.30pm
– information here and here

'Soarings: A Salon on Else Marie Pade', 5th June 2017

“The sounds outside became concrete music, and in the evening I could imagine that the stars and the moon and the sky uttered sounds and those turned into electronic music.” – Else Marie Pade.

Increasingly recognised as Denmark’s first composer of electronic music, Else Marie Pade imagined “aural pictures” during a childhood afflicted by illness, and later learned jazz piano. Operating within the Danish resistance in the Second World War while still a teenager, she was captured by the Nazis and imprisoned in the Frøslevlejren internment: an experience which must have had a long-lasting and damaging effect since it undermined her post-war attempts to train as a classical pianist. Undaunted, she concentrated on composing instead: finding her particular niche after hearing a 1952 Danmarks Radio programme on Pierre Schaeffer’s musique concrète and realising that he’d given aural shape to the same ideas she’d had as a child. From the mid-1950s she was in at the start of art programmes on Danish television, establishing a lifelong position for herself both as a Danmarks Radio producer and as a pre-eminent radio and television composer (at a time when that strand of musical work offered as much genuine creative opportunity as anything in the avant-garde).

Over the course of her lifetime Pade produced a wide variety of sensuous, stimulating electronic compositions to entwine with various broadcast work: avant-garde documentary work, audiovisual ballet and more. Having studied with Schaeffer during the 1950s, she also attended the Internationale Ferienkurse für Neue Musik in Darmstadt during the 1960s and early 1970s, studying under Karlheinz Stockhausen, Pierre Boulez and György Ligeti (and impressing Stockhausen enough that he’d use her own ‘Glass Bead Game’ piece as a lecture topic). Apparently taken for granted in her home country, Pade’s reputation was greater abroad – her work was eventually compiled in a three-LP retrospective on Important Records (‘Electronic Works 1958-1995’) in 2014, two years before her death.

Regarding the ‘Soarings’ salon:

“…”Soarings” is a rough translation of the Danish word “svævninger” – a word coined by Pade to encompass both the phenomenon of different frequencies colliding to make an interference beat, and the more poetic image of soaring through the air. The ‘Soarings’ salon event is a special opportunity to hear more about her work via talks, film screening and discussion.

“The evening begins with a talk from artist and composer Jacob Kirkegaard, a long-time friend and colleague of Pade’s. Jacob will speak about Pade’s life and work from his unique perspective, having both produced her three-LP retrospective and collaborated with her on their joint composition ‘Svævninger’ (released by Important Records in 2012, and from which the evening takes its name). His presentation will include new images (including recently digitised scores) never previously shown in public.

“The evening will include the UK premiere of Pade’s extraordinary audiovisual piece ‘En dag på Dyrehavsbakken’: one of her very earliest works, which was first broadcast in 1955 by DR (the Danish Broadcasting Corporation). It consists of pictures and sounds recorded over two summers at Dyrehavsbakken, near Klampenborg in Denmark, and also includes electronically-produced sine tones and echo effects. This makes it the first piece of musique concrete and electronic music made by a Danish composer.


 
“The salon will conclude with a panel discussion with diverse contributions and reflections on Pade’s work and its wider context from Danish musicologist (and ‘Seismograf‘ editor) Sanne Krogh Groth, sound designer/studio manager Jo Langton and ‘Wire’/’Sight & Sound’ writer Frances Morgan. There’ll also be a reading by sound artist Ain Bailey (whose work includes sonic autobiographies and investigations of both architectural acoustics and the role of sound in the formation of identity).”

Kammer Klang, 6th June 2017Jacob Kierkegaard returns for the full Kammer Klang show the following night, where he’ll be presenting Pade’s 1962 work ‘Faust Suite’, generally considered her masterpiece and described by Jennifer Hor of ‘The Sound Projector’ as “beautiful and mysterious, elegant and eerie music that can express deep solitude or wonder… a secret three-dimensional universe where the most amazing experiences may be had.” Over half an hour of sensually chiming oscillator churn (with nimble, challenging digressions of timbre, tone and emphasis), it places Pade’s work in parallel to the electrophonic imaginings of Delia Derbyshire and Daphne Oram – similarly thoughtful, similarly detailed and discursive; part of a wave of highly individual and original female composers and sonic réalisatrices with much of their work taking place within broadcast media, dancing apart yet in step.


 
Opening the show is composer/performer Vitalija Glovackyte, who “creates deep-felt chirpy music, bringing together conventional and homemade instruments, electronics, lo-fi devices and visuals. Her works span intimate solo sets and large-scale multimedia performances. Aside from her solo work, Vitalija co-runs the Almost Credible Music Ensemble and is one-half of the experimental pop duo Kinder Meccano.”


 
The track above stems from an eighteen month residency Vitalija spent with modern chamber ensemble Apartment House, who are also contributing to the evening in a seven-piece formation of Gordon MacKay (violin), Lucy Railton (cello), Frank Gratkowski (bass clarinet), Simon Limbrick (percussion), Kerry Yong (keyboard/piano), Loré Lixenberg (voice) and AH founder Anton Lukoszevieze as conceptualizer and director. They’ll be presenting the UK premiere of Anton’s adaptation of ‘Requiem of Art (NYC) – Fluxorum Organum’, a Henning Christiansen piece originally performed in 1967 (and reworked three years ago by Anton for an Ultima New York performance).

An adherent to the Fluxus art movement, Christiansen spent his artistic life rejecting standard distinctions of stylistic boundaries (including those between nominally different art forms) and the concept of the lone genius. Instead, much of his work was based on direct, implied or encouraged collaboration, whether he was encouraging others to freely interpret his ideas or whether he was actually working in equalized tandem with another artist. In its original form, ‘Fluxorum Organum’ is an example of the latter situation (having been created as the soundtrack portion to a film collaboration between Christiansen and conceptual art godfather Joseph Beuys) while its Lukoszevieze reinterpretation brings it back under the first method. You can view the original Beuys/Christiansen collaboration below:


 
The month’s Kammer Klang DJ slot is taken care of by representatives of Belgian record label/mail order distributors Aguirre who release and/or stock a wide range of electronic, ambient, experimental to rock, jazz, new wave and reggae. (including Pade and Christiansen recordings plus reissues from the revered French avant-garde record label Shandar. They’ll be playing various selections both from their catalogue and from their enthusiasms.
 

Programme:

Fresh Klang: Vitalija Glovackyte
Henning Christiansen – ‘Requiem of Art (NYC) – Fluxorum Organum’ (1967-68) adapted by Anton Lukoszevieze for Ultima New York at Issue Project Room, 2014 (UK premiere) – performed by Apartment House
Else Marie Pade – ‘Faust Suite’ (1962) performed by Jacob Kirkegaard
DJs: Aguirre
 

June 2017 – upcoming English gigs – the return of Pram with the immersive ‘Under the Blossom That Hangs On The Bough’ event in Birmingham (June 3rd); Zarjaz Baby and Jon Slade/Night of the Comet in London (June 3rd); Arthur Russell’s ‘Calling Out Of Context’ revisited in London (June 7th)

23 May

Some shows and events to start June off. In Birmingham, experimental dream pop/post rock band Pram (one of the most original and charming groups ever to work in either genre) have resurfaced and are taking over an Edgbaston park for a very different kind of performance. Back in London there are opportunities to catch up with Zarjaz Baby (one of the wilder characters from the original wave of British post-punk) an acoustic set from Jon Slade (who’s navigated his way through a heap of scenes from art-punk to Riot Grrl to a thousand indie DJ nights); and a recreation of the cello/pop songs of Arthur Russell, one of the darlings of the 1980s New York loft music scene.

* * * * * * * *

Pram: 'Under The Blossom That Hangs On The Bough', 3rd June 2017

for-Wards, MAC Birmingham and Pram present:
Pram: ‘Under the Blossom That Hangs On The Bough’
Martineau Gardens, 27 Priory Road, Edgbaston, Birmingham, B5 7UG, England
Saturday 3rd June 2017, 4:30pm
– free event – information here, here and here

“Composers and sonic artists Pram have been exploring south Birmingham with the help of local community groups to uncover the sounds of the locality. The results are both familiar and surprising.

“Let Pram take you on a journey through the city, a sound trail through the four wards of Birmingham’s Edgbaston district. Hear the world from the perspective of a bee as it flutters and forages. The snuffles of a tiny baby become the snores of a lion, the gurgle of a stream a mighty cataract. Come along and follow the woodland trail, bring a picnic and settle down for a performance inspired by the sound of the city as you’ve never heard it before.

“Set in the magical surroundings of Martineau Gardens, ‘Under the Blossom that Hangs on the Bough’ is an installation and performance by Pram, celebrating the sounds of Edgbaston. It will take place at Martineau Gardens on the afternoon of Saturday 3rd June, concluding at 6.30pm with a Pram performance inspired by sound recordings made in the wards of Quinton, Harborne, Edgbaston and Bartley Green. Free admission if you register at Eventbrite…”

This isn’t quite the same Pram that charmed us and subverted pop for a surprisingly long stint in the ’90s and noughties across a string of albums which included ‘Dark Island’ and ‘Sargasso Sea’ and a sound that seemed to be part child’s murmur, part clinking post-kosmische stroll and part friendly haunted house. Most obviously, singer and lyricist Rosie Cuckston (she who used to mount her keyboard on an ironing board at concerts) is absent, having moved on into academia and a more direct form of the social activism which the band’s eclectic inclusiveness and tendency to take philosophical side roads only hinted. That said, the rest of the band’s original creative core (multi-instrumentalists Matt Eaton, Sam Owen and Max Simpson) are all present, having spent the interim years of Pram downtime working with wonky loops as Two Dogs, creating film and theatre sound and making sonic art out of books with the Sound Book Project.

This also isn’t the first time that the post-Rosie Pram’s reappeared. Earlier in May they made an appearance at Imaginary Musics in Switzerland, playing a “music for Kopfkino” audio-visual set in a festival dedicated to “cinematic, recomposed and fictional musics”, and it seems as if losing Rosie’s quiet reflective voice and cocooned lyrics has shifted them further over into the areas suggested by Matt’s sound design and by Sam and Max’s live sound art. On-spec, it seems as if they’ve succeeded in becoming a kind of “post-band”, with a foot in their old live work, song-structures and performance coherence, but leaning towards something far more abstract and ego-free. ‘Under the Blossom That Hangs On The Bough’ sounds as if it will be something fascinating to be immersed in – an urban psychedelic afternoon stroll with the family, an aural refraction of Birmingham through leaves, greenery and company.

* * * * * * * *

Zarjaz Baby + Jon Slade, 3rd June 2017

Zarjaz Baby + Jon Slade
The Horse Hospital, The Colonnade, Bloomsbury, London, WC1N 1JD, England
Saturday 3rd June 2017, 7.00pm
information

“An existentialist extravaganza featuring a solo acoustic set from Zarjaz Baby (Freakapuss and former Tronics). Zarjaz will be performing dark atmospheric songs, full of imagery, with jazz, blues, early ’60s beat and pop influences, with live performance artists, in a style not seen since the basement and candles days of Beatniks.

“Also featured on the night is a solo acoustic Love-Rock revival set from Jon Slade/Knight Of The Comet, incorporating songs from his former bands Huggy Bear and Comet Gain, plus a Fire Department number, some Electric Bull re-workings, as well as songs he wrote with Wolfy Jones.


 
“’60s European pop music in between sets, Francoise Hardy, Brigitte Bardot, Gillian Hills. Expect sombre girls dressed in black and boys in Breton shirts.”

For more information contact incoming@freakapuss.com

For more on Zarjaz’s chequered life and career, have a read of this interview he did with ‘The Quietus’ three years ago, featuring accounts of brushes with mental illness, of releasing surreal post-punk songs with titles like Shark Fucks, of arguing with ‘2000AD’ over his stage name, and of having his image ripped off by Sigue Sigue Sputnik.


 
* * * * * * * *

Arthur Russell: 'Calling Out Of Context', 7th June 2017

XOYO Live and Milestones present:
‘Arthur Russell – A Classic Reinterpreted’
XOYO, 32-37 Cowper Street, St Lukes, London, EC2A 4AP, England
Wednesday 7th June 2017, 7.00pm
– information here and here

“It’s been said that “Arthur’s songs were so personal that it seems as though he simply vanished into his music.”

“Twenty-five years after Arthur Russell‘s death, some of the most exciting, forward-thinking faces in music are set to present a unique rendition of Arthur Russell’s timeless album ‘Calling Out Of Context’. A posthumous album that brought together twelve incredible tracks from across two previously unreleased LPs, ‘Calling Out Of Context’ represents Arthur in his prime. Two decades later and the music sounds as contemporary as ever – a huge inspiration for those performing on the night. We’re very excited to hear this new rendition.”

Bringing together elements of electropop, classical minimalism, post-disco, hip hop and singer-songwriter work, the ‘Calling Out Of Context’ songs span twenty years of Arthur’s composing and creative history while he was battling to fuse the parallel New York worlds of dance culture and art music between the late ’70s and the early ’90s – a pioneer of the freewheeling musical eclectism which today we pretty much take for granted. Take a look at this salvaged 1987 interview feature from the ‘Melody Maker’ for more on the topic, featuring reflections from Arthur and others on Indian music, the pulse shared by formal minimalism and New York dance clubs, and the social and cultural challenges of the time regarding blending “high” and “low” cultures.

The band for this London performance consists of Ashley Henry (keyboards), Midori Jaeger (cello), Alica Higgins (vocals), Sam Gardner (drums) and Joe Downard (bass).


 

May 2017 – upcoming London gigs – Muckle Mouth bring us Le Ton Mité plus Chris Cundy (May 25th), and The Family Élan plus Plague Dogs (May 27th); Papernut Cambridge’s Beehive Yourself gig-hosting series continues with The Great Electric, Deerful and Mat Flint (May 27th)

20 May

More on that second set of May gigs at the Dentist in Homerton, plus a continuing set of gigs over in Bow…

* * * * * * * *
Le Ton Mité, 26th May 2017

Muckle Mouth and The Dentist present:
Le Ton Mité + Chris Cundy
33 Chatsworth Road/The Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Thursday 25th May 2017, 7.30pm
– information here and here

“This is the first ever London show of Le Ton Mité, a Belgian musical cooperative that revolves around the compositions of itinerant musician, instrument maker and fine artist McCloud Zicmuse, an American expatriate in permanent residence in Brussels.

“Having left the United States in the mid-noughties on a European sojourn that never ended, McCloud wound up in the Belgian capital in the fall of 2008. Half a decade on, a time in which he has embedded himself in European life via puppet shows, archery guilds, folkloric events, theatre projects and a catalogue of idiosyncratic solo and group works (perhaps most recognisably the 2011 Hoquets album on Crammed Discs called ‘Belgotronics’), McCloud returned to the States, to revisit places he had not seen, in some cases, for fifteen years. This informs his current musical set – an idiosyncratic blend of pop, folk, childrens music and jazz performed by a baroque-style quartet.


 
“To open the evening, there’s be a solo set by Chris Cundy performing his own works for bass clarinet. Chris is a musician, composer, and visual artist working on the fringes of experimental and popular music. He has long been interested with the material properties of acoustics and his music explores self-developed playing techniques such as multiphonics, circular breathing, micro-tonality and (generally speaking) a more tactile approach to the instrument.

“Chris performed with Mercury Award nominated indie-pop band Guillemots and continues to work with the bands frontman Fyfe Dangerfield. He has also collaborated with a variety of alt-pop artists both in Canada and the UK including Little Annie, Baby Dee, Timber Timbre, and Cold Specks.”


 
* * * * * * * *

The Family Élan + Chris Cundy, 27th May 2017

Muckle Mouth and The Dentist present:
The Family Élan & Plague Dogs
33 Chatsworth Road/The Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Saturday 27th May 2017, 7.30pm
– information here and here

“Muckle Mouth and The Dentist welcome Bradford psych-folk rockers The Family Élan (and their heady blend of party hits, Hindi film song and Turkish folk dances) back for a fling.

“The Family Élan generally performs as a trio, featuring Krzysztof Hładowski (of A Hawk and A Hacksaw, The One Ensemble, Nalle, Scatter fame) on Greek bouzouki, elektrosaz and vocals, Harry Wheeler on fancy bass, and Shakeeb Abu Hamdan (of Please, Ygrec, Cleckhuddersfax, The Wub) on Western drum kit. The scope of The Family Elan’s output ranges from self penned meditations in the key of Z minor and the odd party hit, to irreverent interpretations of everything from Hindi film songs to Turkish folk dances, delivered with the countenances of psychedelic rockers. Perhaps the unifying strand in all this is a deep interest in traditional music forms and their reinvention through group rock-outs.”


 
As with the Alex Rex gig earlier in the month, Plague Dogs will be in support… but now I know who they are. They’re an alliance of Trembling Bells/Alex Rex kingpin Alex Neilson with writer/curator/artist/cultural geographer Amy Cutler (at least, I’m assuming that it’s that Amy Cutler)… In which case, expect something textural, folk-tinged and audio-visual, probably provoking more questions than it answers..

(UPDATE, 26th May 2017 – this show’s been cancelled, with the hope that it can be rescheduled later in the summer…)
 

* * * * * * * *

I’ve been slow on picking up on renewed gig activity at the Dentist. Likewise with this set of shows over at the Beehive in Bow (the latest of which clashes with the Family Élan show, but there you go…)

Beehive Yourself 2 (Papernut Cambridge + The Great Electric + Deerful), 27th May 2017

Sound Event Solutions & Papernut Cambridge present:
Beehive Yourself #2: Papernut Cambridge + The Great Electric + Deerful + Mat Flint DJ set
The Beehive, 104-106 Empson Street, Bromley-by-Bow, London, E3 3LT, England
Saturday 27th May 2017, 7.00pm
information

“The second of three Saturday night shows for spring and early summer featuring Papernut Cambridge and a hand-picked selection of friends’ bands and DJs.

Papernut Cambridge is led by former Death In Vegas and Thrashing Doves guitarist (and now prolific underground producer/engineer) Ian Button, who has a list of current projects and collaborations that include Go Kart Mozart, David Cronenberg’s Wife, Deep Cut, Darren Hayman, Pete Astor, Rotifer, Paul Hawkins etc. The band is based on an imaginary band from a dream Ian had in 1990 and brought to life in 2013 by assembling a group of friends and collaborators. Papernut Cambridge have now released two albums (‘Cambridge Nutflake’ in 2013, ‘There’s No Underground’ in 2014) and a covers album (2015’s ‘Nutlets 1967-80’), all on Gare Du Nord Records. The next album release is ‘Love The Things Your Lover Loves’ in May 2016.


 
“As ever with this gig series, Papernut Cambridge will be playing the opening set. The very special guests to follow on May 27th are:

The Great Electric – electronic/motorik supergroup featuring Malcolm Doherty (guitars, effects), Rob Hyde (drums), Darren Hayman (synth), Duncan Hemphill (tones, drones and effects) and Pete Gofton (bass). With a band members’ past pedigree that includes Hefner, Kenickie, Go-Kart Mozart and Mum & Dad, expect a determined, nuanced yet mind-melting set inspired by German electronic and prog via Stereolab, music made in space, and radical hypnosis techniques.


 
“Following on from her past work backing or contributing to the work of Darren Hayman, Pete Astor, Owl & Mouse and Enderby’s Room, Emma Winston’s solo electronic project Deerful takes bright melodic indie pop and fuses it with crisp chiptune and electro shimmers, Gameboy beats, and emotive thought-provoking lyrics. Her live shows using an array of TFL-portable synths and devices are always a delight. Deerful’s first full length album ‘Peach’ is released this year on June 2nd.


 
“Former Revolver frontman, Death In Vegas bassist, and now leader of bravado dreampop project Deep Cut, Mat Flint is also a frequent record spinner at The Social, playing sets that range from Northern Soul and hip hop to dub and garage rock. We’re chuffed he’s coming along to pilot the wheel of steel for this show!”

 

May 2016 – upcoming London and Brighton gigs – Roar, Steve Strong and Tony協Yap get noisy (May 21st); Prescott and The Evil Usses spiralize our ears (May 24th); M U M M Y curate a free cavalcade of psychedelia/folk/oddpop on the side of the Alternative Escape festival (May 19th)

16 May

Roar + Steve Strong + Tony協Yap, 21st May 2017

Best of Bandcamp, SPREAD and New River Studios present:
Roar + Steve Strong + Tony協Yap
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Sunday 21st May 2017, 6.00pm
information

Yokohama band Roar (dipping into London as part of a British and American tour) are a two-piece of Shusei on guitar and Taketo on drums. Noisy and immediate, their sound’s an immediately accessible, unconstrained rock sound churning together aspects of surf music, Hendrix, Nirvana, Foetus and The Melvins.

Two support acts add to the fray. Steve Strong provides his usual one-man-band post-rock loop act, layering assertive, precise live drumkit work with rattling spidery guitar riffs and surging wads of noise texture. Keyboard player Gman Leong & drummer Alessandro Salzano make up London experimental noise/beat duo Tony協Yap: more live drumkit, this time paired with abrasive synth jabs and snarls. Taunting us with the possibility of dynamics, they usually come at us full-tilt – a jammed rave cannonade with occasional vivid lacunae of downtime and ebbed space, stripped and shaped by small sounds (such as the ring of Alessandro’s singing-bowl).





 

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Prescott + The Evil Usses, 24th May 2017

Prescott presents:
Prescott + The Evil Usses
Paper Dress Vintage Bar & Boutique,, 352a Mare Street, Hackney, London, E8 1HR, England
Wednesday 24th May 2017, 8.00pm
– information here and here

Like Tony協Yap, the dogged, quirky Prescott are a band who know a thing or two about teasing. A vehicle for the cellular, bafflingly elasticated compositions of onetime Stump bassist Kev Hopper, they’re also an excuse for underground art-rock drummer Frank Byng, out-there guitarist Keith Moliné and improbable synth player Rhodri Marsden to unpredictably shunt each other around pitch and beat.

With the various members drawing on stints with projects as diverse/perverse as Pere Ubu, Snorkel, The Keatons, Scritti Politti, The Free French, Ticklish and This Is Not This Heat, there’s plenty of scope and impetus for lateral thinking, coupled with a poker-faced goofy accessibility. Their second album, ‘Thing Or Two’, is another stylish raspberry in the face of sensibility and torpor. Imagine the swoop and ping of Brand X rendered in far too many inappropriate Lego bricks; imagine Weather Report fed on a diet of Dada and No Wave; imagine a fusillade of perky post-punk blips like XTC spending a stint as a Koji Kondo covers band.

In support, there’s Bristol’s The Evil Usses, whom I last encountered in the runup to Bristol’s Wakizashi festival last October, and whom I described back then as “a deconstructive, fiercely humorous No Wave jazz-rock quartet, who share some of Knifeworld’s brassy exuberance but take it over the escarpment and down into a stomping, seven-league-booted Beefheart country.” Come along and have your cortex ruffled.



 
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Two of the Alternative Escape gigs in Brighton, 18-19 May 2017

Before either of these, though, there’s a particular free all-dayer at The Black Dove in Brighton on 19th May – part of the extensive Alternative Escape fringe event that’s coiled around the city’s huge Great Escape festival. Certain bands and projects affiliated to the great swarming ferment of the Cardiacs tradition tend to repeatedly pepper ‘Misfit City’ coverage. This particular gig packs a bunch of these together like a explosion of overnight mushrooms (appropriately, since the tang of a particular kind of psychedelia hangs over it).

Up in the curator role are M U M M Y, the psychogothadelic thrumming of Jo Spratley and ex-Cardiac/Dark Star/Levitation-eer Bic Hayes. Bic’s also part of the motorik lysergic driving-machine ZOFFF (who’ll be playing their own set towards the end of the night, fresh from their recent show backing Damo Suzuki). ZOFFF pull together plenty of people from the Brightonian psychedelic axis – including Chris Anderson, who’s bringing along both his shipwreck-and-dreams songwriter project Crayola Lectern and his spacegazing pop band La Momo.

Friendly one-man personality cult Kavus Torabi will take another bare-bones acoustic tilt at the ornate songs he’s written for Knifeworld and the Monsoon Bassoon, while touching on the inspirations he’s shared in his work with Cardiacs and Gong. Psych-tinged folk baroque is provided by Emily Jones and Arch Garrison (bringing liberal dashes of Cornwall and Wiltshire psychogeography with them) and there’s frowning, shadowy, mordantly hilarious Kinks-Gothic popcraft from Stephen Evens. Also on board are noisy punk-prog/alt.pop trio Ham Legion, and Chloe Herington’s experimental music project V A L V E (who make obliquely thoughtful, oddly accessible music from bassoons, melodicas, tape-loops, concert harps, electronics, doorbells and things found on walks and in skips).

Just about the only band here that’s not a ‘Misfit City’ regular is Hurtling, the alt./dream-rock trio featuring Jen Macro and Jon Clayton (formerly of stuffy/thefuses and Something Beginning With L) with Smallgang/Splintered Man bassist Simon Kobayashi. Boasting sturdy support musician links to My Bloody Valentine, Shonen Knife Graham Coxon, Robyn Hitchcock and Bitch Magnet (and taking inspiration from alt.rock heroes such as The Breeders, Sebadoh and Warpaint), they’re possibly the best connected band on the bill: also one of the most straightforward, and a link to the Great Escape outside.


 
Throughout, you’ve got illuminations from south coast psych-lighters of choice Innerstrings. See below for performance schedule and time; see above for links to the wealth of things I’ve previously written about most of these people; go here for the Facebook event page…

Programme:

2.00pm – doors
3.00pm – Ham Legion
3.40pm – Emily Jones
4.20pm – Crayola Lectern
5.00pm – Hurtling
6.00pm – La Momo
6.40pm – Stephen Evens
7.20pm – M U M M Y
8.00pm – V A L V E
8.40pm – Arch Garrison
9.20pm – Kavus Torabi
10.00pm – ZOFFF
afterwards, until 3.00am – DJ Moke
 

May 2017 – upcoming London gigs – I’m This I’m That play Moondog, plus Ed Dowie (19th May); Trembling Bells spinoff Alex Rex plus The Left Outsides and Plague Dogs (20th May)

14 May

It’s always good to hear that Homerton’s 33 Chatworth Road – a.k.a. “The Dentist” – is hosting another of its gig-cum-house-parties. I’ve still got fond memories of the first concert I ever went to there: a mixture of jazz atmospheres, experimental folk and mythic New York chamber pop from Sealionwoman, Foxout! and Liam Singer (which you can read all about here.)

I’ve been out of the loop regarding their activities for too long, but here’s quick news on another couple of imminent shows there in collaboration, one in collaboration with folk promoter Muckle Mouth and the other with the Tin Label. (There are another two coming in the following week…).

* * * * * * * *

I'm This, I'm That, 19th May 2017

Muckle Mouth and 33 Chatsworth Road present:
I’m This, I’m That (playing the songs of Moondog) + Ed Dowie
33 Chatsworth Road/The Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Friday 19th May 2017, 7.00 pm
– information here, here and here

Assembled rapidly from the gig publicity, and from Wikipedia:

“Louis Thomas Hardin, better known as Moondog, was an American composer, musician and poet. His music took inspiration from street sounds, such as the subway or a foghorn. It was characterized by what he called “snaketime” and described as “a slithery rhythm, in times that are not ordinary […] I’m not gonna die in 4/4 time.” Many of his works were highly contrapuntal, and he worked hard on perfecting his counterpoint. He was also the inventor of several musical instruments (including a small triangular-shaped harp known as the “oo”, another which he named the “ooo-ya-tsu”, and a triangular stringed instrument played with a bow that he called the “hüs” (after the Norwegian, “hus”, meaning “house”). Perhaps his best known creation is the “trimba”, a triangular percussion instrument that the composer invented in the late 40s..

“Moondog was blind from the age of sixteen. In New York from the late 1940s, until he left in 1972, he could often be found on 6th Avenue between 52nd and 55th Street wearing a cloak and Viking-style helmet, sometimes busking or selling music, but often just standing silent and still. He was widely recognized as “the Viking of 6th Avenue” by thousands of passersby and residents who weren’t aware of his musical career.

“Dedicated Moondog interpreters I’m This, I’m That return to The Dentist performing their own arrangements/transcriptions of Moondog compositions with support from Ed Dowie (a Daylight Music favourite – there’s more about him here). Due to massive demand, there will be a double performance – an early show and a late show, with the one you see depending on when you’ve bought your ticket. Doors open at 7.00pm for fire/drinks/chat…”

Schedule:

7.30pm – first Ed Dowie set
8.15pm – first I’m This I’m That set
9.15pm – second Ed Dowie set
10:00pm -second I’m This I’m That set

Here are a couple of clips from the previous I’m This I’m That Moondog show back in July 2015, plus a taste of Ed Dowie:




 

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33 Chatsworth Rd and Tin Angel Records present:
Alex Rex + The Left Outsides + Plague Dogs
33 Chatsworth Road/The Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Saturday 20th May 2017, 7.30pm
– information here and here

Alex Rex: 'Vermillion'“This is the one and only live outing with full band for Vermillion – Alex Neilson (of Trembling Bells)’ solo record as Alex Rex. Aside from a Cerys Matthews session the following morning, the material from this fantastic record will never be performed again.”

From ‘The Guardian‘:

“His debut solo album Vermilion presents him as a provocative, poetic lothario with the alter ego Alex Rex. On record, rose thorns grow in Rex’s throat and he sleeps with girls for their minds as well as their bodies… Written during a “particularly self-destructive” period in his life in late 2015, Vermilion begins with the Gregorian chant-inspired blues of The Screaming Cathedral, with a chorus telling of “horror heaped on horror”. Please God Make Me Good (But Not Yet) features a girl sticking pins into a voodoo sex doll of him, before he has a “hit on myself.”

“Getting the worst bits of himself out there was therapeutic and necessary for Neilson. “I wanted songs that spilt out of themselves. The records I cherish most are asymmetrical things, full of blemishes,” he says. But there’s plenty of perky, almost poppy moments too. Neilson wrote the skronky psych-blues of Song for Dora while reading “lots of Ovid and taking MDMA”, while Postcards from a dream has a remarkably radio-friendly, West Coast-brightened Hammond organ intro before it kills its A-list potential with lyrics about “a necklace of bungee cord” and Adam “cup[ping] his nuts behind the tree.” Sex is everywhere, but this shouldn’t surprising for a folk musician, Neilson laughs. “The oldest folk songs are lusty and carnal. And I like having sex! People do!”




 
This in from the promoters: The Left Outsides have joined the bill, playing in an Alison/Mark guitar duo formation.” If you remember, these are further Daylight Music favourites, so I’ll just steal the blurb from a previous DM show I posted about – “Mark Nicholas and Alison Cotton (are) a London-based husband and wife duo whose atmospheric, hypnotic songs echo Nico’s icy European folk, pastoral psychedelia and chilly English fields at dawn.”


 
The third act is Plague Dogs, about whom I’ve been able to find out precisely nothing: but they must have impressed Muckle Mouth, since they’re also playing at the Family Élan gig the following. Maybe when I get around to posting about that I’ll have found out more…
 

May 2017 – upcoming London gigs – new SIKE! psych-rock night in Holloway (featuring The Spanish Infanta, Dazy Crown, Eyre Llew and Niris, May 11th); dance/pop/jazz with Agar Agar and Lucien & The Kimono Orchestra plus Is Tropical DJ set (May 16th); a womantronic evening with electric:indigo, A’bear and Lisa Busby (May 18th)

4 May

SIKE, 11th May 2017

gigmit presents
SIKE! (featuring The Spanish Infanta + Dazy Crown + Eyre Llew + Niris)
Nambucca, 596 Holloway Road, Upper Holloway, London, N7 6LB, England
Thursday 11th May 2017, 7.00pm
– information here, here and here

A new psychedelic rock night, launching at Nambucca in upper Holloway this month, attempts to capture the whole of the range within the genre. Good luck with that – Baba Yaga are still scooping up variations after years of plugging away at it.

That said, SIKE!’s debut night scintillates across a determined four-act psych spectrum from gritty backstreet hardness to sunkissed airiness. There’s the lysergic gutbucket garage sludge of The Spanish Infanta; the gentler post-punk-meets-West Coast-y songs of Dazy Crown, the soaring Icelandic-inspired raptures and wreckage of Nottingham’s Eyre Llew; and the Balearic chillout of instrumental duo Niris (a teaming of guitarist/multi-instrumentalists Nick Engel and Chris Hatwell which covers a broad range between uplit flamenco-inspired guitar duets, ambient sunrise electronica, and breezy dance songs). Examples below.






 
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Snap Crackle & Pop Live presents:
Agar Agar + Lucien & The Kimono Orchestra + Is Tropical (DJ set)
The Moth Club, Old Trades Hall, Valette Street, Hackney, London, E9 6NU, England
Tuesday 16th May 2017, 7.30pm
– information here and here

Agar Agar + Lucien & The Kimono Orchestra + Is Tropical DJ set, 16th May 2017Over in Hackney, the Snap Crackle & Pop label are running a Cracki Records night featuring a couple of French and Belgian acts who explore luminous, involved dance-and-groove styles (plus a DJ set from squat-party experimentalists turned international poptronicists Is Tropical).

The ’80s synth pop/acid disco hybrid of Agar Agar mixes resurrected old analogue tech with art school smarts and fluid contemporary sensibilities on identity and expression. Blending electro sunniness with the feeling of a haunt in the full noon brightness, there’s also (as with Elephant) an ineffable bruised melancholy creaming off the top. Their songview’s full of interesting propositions – from Prettiest Virgin’s dancefloor ballad of yearning, slightly predatory female longing (complete with suggestive, part-animated video clip of lost girl, naked dancers, dolphins and fleshy tunnelling) to the surreal night journey of I Am That Guy (with its burnishings of ominous analogue hornsynth, its intimations of housebreaking, and the profanity-laden, deracinated blues-growl of its cross-gender vocal).



 
Like Agar Agar, Lucien & The Kimono Orchestra draw on the 1980s (predominantly in their attempts to recapture impressions of French cinema and Japanese funk) but also look back towards the ’70s. Like Carl Hudson’s Moon Unit, they breathe new life into Lonnie Liston Smith cosmic jazz-funk, retool a handed-down Horace Silver vocabulary, and flood jazzy cascades and stabbing Wurlitzer syncopations through contemporary dance club sensibilities. On their vocal collaborations – such as Ship, with FM Laeti – they coast towards a Morcheeba cool. Left to their own devices, they’ll veer towards warm, skittish brain-grooves, occasionally like a slightly less oblique French take on Weather Report (or, as on Galaxies, like Brand X or the more fusionesque moments of Genesis).



 
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electric:indigo + A'bear + Lisa Busby, 18th May 2017

The Engine Room + Austrian Cultural Forum + The Wire presents:
electric:indigo + A’bear + Lisa Busby (DJ Set)
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 18th May 2017, 8.00pm
information

If you’re more interested in an evening of female musicians working way out in the left-field, IKLECTIK are offering the first British gig in twenty years for Austrian electro-polymath Susanne Kirchmayr – a.k.a. electric:indigo. Composer, DJ, producer and founder of female:pressure (the go-to directory for women in electronic music), on this occasion she’ll be performing “a unique version of her six-channel sound art piece ‘109.47 degrees’. The title of the ultra-wide hyper-stereo piece refers to “the ideal tetrahedral angle in foams as described in Plateau’s laws”. From a set of small acoustic particles ‘109.47 degrees’ creates complex sonic structures that “live on friction, cohesion and constant movement”…” Suzanne will also be being interviewed by ‘The Wire’s Emily Bick.


 
In support, “vocal/techno/experimental/rap/rainbow workout” artist Janine A’Bear will be performing a synths-and-voicewarp-and computers set of “electronic poetry” boasting “carefully constructed verse combined with themes of a cosmic nature.” That’s quite a lot of grab-quotes there. I’ve also grabbed a few examples of her work and laid them out here – shimmering, layered rivulets of synthesis at a post-techno pulse rate, there’s plenty in there, but if you want to explore her verse it sounds as if you’ll have to tease it out of the soundscaping with a wool-comb.

 
Working the DJ decks for the evening is musician, Goldsmiths music lecturer and Editions Of You head Lisa Busby; also known for her work with The Nomadic Female DJ Troupe, noise/improve/playback crew Rutger Hauser and electro-Dada duo Sleeps In Oysters (as well as a solo career as singer-composer exploring “the fringes of song… using domestic or outdated playback media as instruments, but also work(ing) in text-based score, installation and site specific performance…”). Come and listen to her uncrate her mind.

If you want to dig a little deeper, it’s worth noting that this concert is part of international sound art exhibition The Engine Room, running between 4th May and 1st June between IKLECTIK and the nearby Morley College.
 

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