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October 2018 – more Daylight Music sessions in London – Caoilfhionn Rose, Tomorrow’s Warriors StringTing and Abimaro (6th October); Terry Edwards, Seamus Beaghen, Douglas Dare and Deerful for ‘Organ Reframed’ (13th October)

1 Oct

Daylight Music‘s autumn season of free family-friendly Saturday lunchtime gigs continues with organ music, singer-songwriters, brass, jazz strings and synthpop…

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Daylight Music 290: Caoilfhionn Rose + Tomorrow's Warriors StringTing + Abimaro - Saturday 6th October 2018The 6th October show features Caoilfhionn Rose, Tomorrow’s Warriors StringTing and Abimaro.

Caoilfhionn Rose has an eclectic range of influences, including the Mummers, Polly Paulusma, Broadcast, Rachel Sermanni and Peter Broderick. She featured on The Durutti Column’s 2014 album ‘Chronicle LX:XL.’ She is currently recording her debut album with Matthew Halsall of Gondwana Records.


 
Tomorrow’s Warriors StringTing is a flagship ensemble from Tomorrow’s Warriors, the celebrated hothouse for young jazz talent in the UK, led by violinist Rhiannon Dimond. Blazing a wide trail for women and strings in jazz, their musicians are core players in Tomorrow’s Warriors’ acclaimed Nu Civilisation Orchestra and are ones to watch as they begin to make an indelible mark on the London jazz scene.


 
Abimaro is a singer and songwriter from London who is inspired by life, faith and stories. Having previously lent her vocals to bands such as Zero 7, Cinematic Orchestra and The Free, Abimaro released her debut solo EP in July 2017. Abimaro is also a Music Facilitator, regularly leading projects for organisations including The Roundhouse, Spitalfields Music and the Southbank Centre.”


 
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The 13th October show is another in the Union Chapel’s ‘Organ Reframed‘ series, in which a variety of musicians play, interact with or are accompanied by the Chapel’s resident Willis pipe organ. In Daylight Music’s case, a variety of singer-songwriters from different disciplines are involved. On this occasion, the performers are Terry Edwards (with Seamus Beaghen), Douglas Dare and Deerful.

Daylight Music 291: 'Organ Reframed' - Terry Edwards (with Seamus Beaghen) + Douglas Dare + Deerful - Saturday 13th October 2018

“Jazz and rock multi-instrumentalist Terry Edwards has performed and released records both as a solo artist and in collaboration with artists such as Madness, PJ Harvey, Spiritualised, Nick Cave and Tindersticks. For this special performance, he will be joined by composer Seamus Beaghen on Union Chapel’s Henry Willis organ. Seamus has played with Iggy Pop, Death in Vegas, Madness and Morrissey, to name but a few. The performance is going to be semi-improvised in four interlocking sections. A multi-genre musical offering, wind-based without electronics – the improvised giddy sound of pipes, trumpet and saxes (occasionally two at once!).


 
Douglas Dare is a London-based singer-songwriter, originally from the coastal town of Bridport, South West England. His live sound combines acoustic instrumentation including piano and percussion with glitchy electronic elements. Inspired by the likes of Portishead, Elliott Smith and James Blake, Douglas combines a rich and haunting vocal with lyrics crafted from his own poems and short prose. For this performance he aims to play the organ as sensitively as he can, reworking some of his older material and introducing some new as he explores the organ’s sonorities in the chapel, singing tenderly with this powerful machine for the first time.


 
Deerful is Emma Winston, a keyboard player, singer and producer based in London. She writes lush, sad, romantic electropop about feelings on synthesisers small enough to use on the bus. For this performance, Emma will combine the chapel’s Henry Willis organ with electronics.”


 
Daylight add “to get you in the mood for this show, we did an organ playlist from previous years and other related shows. It took a lot of organ-ising so we hope you’ll pull out the stops to make time to listen…ahem…”


 
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All gigs are at the usual place – Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England – with a suggested donation of five pounds (go on, it’s worth it…) Dates below:

  • Daylight Music 290: Caoilfhionn Rose + Tomorrow’s Warriors StringTing + Abimaro – Saturday 6th October 2018, 12:00pminformation
  • Daylight Music 291: ‘Organ Reframed’ – Terry Edwards (with Seamus Beaghen) + Douglas Dare + Deerful – Saturday 13th October 2018, 12:00pminformation

Details on November Daylight concerts to follow in due course…

October 2018 – upcoming rock/experimental/dance gigs in England – The Evil Usses on tour in Liverpool, Salford and Derby (4th, 6th, 7th October) with shows also featuring Unstoppable Sweeties Show, The Age Of Glass, Mal, Night Stage, Shunya and Unicursal

30 Sep

This coming week, The Evil Usses take their witty, post-Beefheart/No Wave skronk-rock out of Bristol to travel in a brief arc across the Midlands and the North.



 
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In Liverpool, they’ll be playing a saxophone-heavy Postmusic night with three Merseyside acts.

Jazz-punk absurdists Unstoppable Sweeties Show will be celebrating the release of their second album “Bring Kath her Breamcatcher [the musical]”. Styling themselves as “post-pronk” or as “passive-aggressive progressive prog” they come across as prime nonsensical Scouse upsetters: singer Yashaswi Sharma sounds like a young PJ Harvey yelping nonsequiturs, drug babble and occasional obscenities against an omnidirectional springy racket of guitars, saxophone and drums (while a bassline rushes across the gaps like a spider on a slender bridge, under fire). Incorporating “free improvisation, spoken word, avant-garde, noise, and comedy” as blunt objects in their armoury, USS are part of the scattered North-West English rock weirdness which includes a.P.a.t.t., White Blacula and Poisoned Electrick Head. (They’ve got members of the first two on board, plus people from the LAZE and from Elmo & The Styx, making them something of a Mersey anti-supergroup).



 
Rounding out the Liverpool bill, Mal provide ritualistic occult-industrial ambient noise (employing synth pads and doubled saxophones for “brutal sermons” and “chilling sideways sweeps at things”), while Unicursal bring cut-up acoustic noise via guitar and tape loop.

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For Salford’s Space Cassette night, Evil Usses will be playing with delightfully spindly Manchester band The Age Of Glass, who employ skinny acoustic guitar skank, rolling jazz bass and crisp percussion to create their own yelping electronic dance/dub/funk combination.



 
Age Of Glass’ samplehead Alan Keary will also be performing as his own multi-instrumental, multi-genre project Shunya, using his mastery of guitar, programming, jazz double bass and other strings to create a rattled, skittish combination of post-classical, jazz and electronic dance ideas. Firing live beats across live instrumentation that can vary from duo performances to a twelve-piece band, he’s already made a name for himself by remixing the work of latterday choral composer Eric Whitacre, and drawn collaborative interest from members of GoGo Penguin: his future’s looking bright and intriguing.




 
In addition, Talos 4000 (specialist in “acid rave/cosmic dross”) and Burnibus (curator of eclectic electronica show Non Dualism Podcast) will be providing the DJ sets. Here’s an example of some previous Space Cassette-ing…

 
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In Derby, Evil Usses’ support comes from Night Stages: the brainchild of Dubrek Studio owner and Derby music stalwart Jay, who’s put together his own “psychedelic noise-rock super group” featuring members of assorted Derby strivers Them Are They, Twinkie and YouNoGoDie. They’re still so underground and emergent that they’ve got no web presence yet, so all we’ve got to go on is an account from Derby arts-blog ‘Storge’, from a previous Dubrek all-dayer – “they are loud, shimmering sludge, and at one point the rhythm section sounds like pure, glorious metal. The guitar sounds Jay provides at times sound like shattering glass and if he hits that red pedal of doom you know it means trouble for your hearing.”

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Full dates:

  • Postmusic @ DROP The Dumbulls Gallery, Dublin Street, Liverpool, L3 7DT, England, Thursday 4th October 2018, 7.30pm (with Unstoppable Sweeties Show + Mal + Unicursal) – information here
  • Space Cassette @ Siren Asylum, 24 Missouri Avenue, Salford, M50 2NP, England, Saturday 6th October 2018, 10.00pm (with The Age of Glass + Shunya) – information here and here
  • Dubrek Studio, 6 Becket Street, Derby, Derbyshire, DE1 1HT, England, Sunday 7th October 2018, 6.30pm (with Night Stages) – information here and here

 

October 2018 – upcoming London pop gigs – Bellatrix and Amy León; Clémentine March, Garden Party and Svetlana Smith (both 2nd October)

29 Sep

Bellatrix + Amy León, 2nd October 2018Polydisciplinary pop-charmer Belle Ehresman – better known as Bellatrix – pops up at Elektrowerx at the start of October. She’s been on the up for a couple of years now: the former leader of The Boxettes and a onetime UK beatboxing champion (as well as someone who’s chalked up a parallel musical life as a jazz double bassist), she’s recently subsumed all of these skills into a freeform pop approach.

I caught her a couple of years ago at Rich Mix, just her on her own. Citing influences from Bjork, Ravel, Nina Simone and Sun Ra, to Mingus, Fleetwood Mac and The Pharcyde, she was nothing if not eclectic. For half an hour the venue was her sketchpad as she flung out work-in-progress – a set of unclenched, openhanded musicality in which she finger-painted in assured fashion on mini-synth, loop station and double bass; unfurling songs, meditations and mouth-driven beatscapes in jazz, experimental pop and the loosest of hip hop tones; floating dreamily a little way above the earth.

Since then, Belle’s put together a band, spat out a couple of quirky EPs and stormed the big streaming services, bypassing Bandcamp and Soundcloud to go straight with the Tidals, the Deezers and the Spotifys. For all the boho trappings and the whimsicality (her first EP was called ‘Real Stuffed Owls’), there’s clearly quite a bit of faith and funding behind her. While her former freeformery has settled into more accessible attention-gripping songcraft, I’m hoping that her wholesome world will mesh enough with the demands of that level of glaring attention sharky commercial demands: dropping into one of her sessions should feel like visiting an enchanted workshop, not like chasing a YouTuber.



 
In support is New York singer, songwriter and slam-poet Amy León. Once part of the Nuyorican Slam Team, she now rolls solo: a powerful, joyous, positive-political performer with her work rooted in specific experiences (blackness, womanhood, social inequality) and fusing them all into a compulsive stew of hip-hop spoken-word and sung R&B. Amy’s subject matter’s stirred by rage and outrage, the surviving of brutality and broad sweeps of oppression. Her ethic is to overcome it (in time-honoured civil-rights-movement manner), via a celebration of love, bursting through shame and tears with defiance.

She can sing like battered, determined grass, giving with the gale; she can speak soft; she can wail with rage. Her hard-hitting grit will anchor Belle’s dextrous free-floating thistledown. It would be fascinating to see what they came up with together.

 
Bellatrix + Amy Leon
Electrowerkz, 7 Torrens Street, Islington, London, EC1V 1NQ, England
Tuesday 2nd October 2018, 7.00pm
– information here and here

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Clémentine March + Garden Party + Svetlana Smith, 2nd October 2018 On the same night, Friends Serene are putting on a show of their own. Headlining is former Water Babies member and current Snapped Ankles-er Clémentine March – French-born, Brazil-schooled, London-cradled. Solo, she mixes the pressing, noisy dynamic of ‘90s indie rock with the airy, summery liberation of French and Latin pop melodies. Clanging, precisely-tooled guitar parts (like little iron chandeliers) mesh gently with her sleepy Gallic coo, which in turn rises to indie-siren clarions as she rambles across three languages at will. She’s a sleepy intermittent whirlwind, variously flicking up the debris and festival decorations in Mediterranean towns, and sometimes swirling them into intent little vortices as the mood takes her.


 
In support, Garden Party are the duo of singer Yujin Jo and instrumentalist George Edmondson. They bring along bedsit-glamour trip hop sounds in a Portishead/Moloko tradition, reaching towards a skinny R&B feel. It sounds thin as tissue paper or thrift-shop bedsheets at points, and Yujin’s voice is a tiny Eartha-kitten laze. Still, Garden Party revel in the worn, recovered texture of their soundworld and – on recent track Real Tapes – sometimes reach out for something a little more ambitious; rattling their collection of instruments, oddments and samples to reach out through the radio towards a bigger world.

 
Russian-inspired “neurotic synthpop duo” Svetlana Smith complete the bill: they’ve had a debut EP out since July, which you can find on Spotify if you like. As with Bellatrix, they seem to have vaulted a promotional stage: and since I object to streaming services which rip their clients off, I avoid Spotify like the plague and have stayed pretty ignorant as to what SS sound like. However, both ‘Bittersweet Symphonies‘ and ‘From the Streets‘ caught them just under a year ago: the latter highlighted “innocent but empowering love songs, preaching about love for yourself not another, all bought together in an elegant package taped together by sickly sweet and catchy melodies” while the former reported back on something “cynical and sexy, sweet but deadly… synth-pop with bitter lyrics of heartbreak and disdain.”

That’s the way of it, I suppose: a person can show completely different faces to different people on the same occasion, and one man’s light ear candy is another’s compelling poison. At least they agreed on the initial sweet taste; while I’m left wondering whether Svetlana Smith is deliberately Janus-faced, a kind of emotional double agent or just some kind of cannily blank song-canvas. You’ll have to find out for yourself.

This is a free event, but the usual “book-your-slot-first-and-turn-up-early” business applies.

Friends Serene presents:
Clémentine March + Garden Party + Svetlana Smith
The Shacklewell Arms, 71 Shacklewell Lane, Shacklewell, London, E8 2EB, England
Tuesday 2nd October 2018, 7.30pm
– free event – information here, here and here
 

October 2018 – upcoming classical/experimental gigs in London, Manchester and Birmingham – Jack Sheen’s an Assembly tour performances of Louis D’Heudieres, Rowland Hill and Charlie Usher (1st, 2nd, 4th October); Kammer Klang returns with performances of Matthew Shlomowitz, Phill Niblock and Ryoko Akama by Lucy Railton, Evie Hilyer-Ziegler, Jessica Aszodi, Antoine Françoise and Patrick Stadler (2nd October)

28 Sep

At the start of October, Jack Sheen’s experimental music ensemble An assembly embark on a brief three-date English tour including the world premieres of two brand-new, specially commissioned pieces and the London premiere of a third.

An assembly on tour, October 2010

“An assembly are a group dedicated to contemporary and experimental music, installation and performance. Conceived as a large, open, and flexible group with no fixed line up, format or personnel, An assembly have appeared in many guises, tackling works from virtuosic ensemble scores to mass group readings, via text scores, graphic notation, long duration performances, one-on-one ASMR installations, physical performance, and wrestling. For this tour, An assembly presents an ambitious two-part programme of new works by emerging composers and artists.

“Field recordings and midi-instruments are internalised, vocalised and imitated by voices and instruments in Louis D’Heudieres‘ ‘Laughter Studies 6b’; four vocalists stand downstage from a small instrumental quintet, describing and imitating their own private soundtracks of synthesised tunes and field recordings, transmitted to them via earphones in a surreal and hysterical collision of subjectivities accompanied by angular melodies and midi-drum solos.

“Award-winning visual artist Rowland Hill continues this process of interpreting found material in a new film and performance commissioned by An assembly. Created as a response to Edwin Denby’s 1959 review of Stravinsky’s final ballet ‘Agon’, Hill uses Denby’s review and its relentless metaphors, references and precise visual shocks as a script for a new work, taking the linguistic articulation of a dance and returning it to a choreographed state through film, live performance and sound in a work which Jack Sheen irreverently describes as the “silliest piece I have ever commissioned.”

“The concert will culminate in the world premiere of ‘An assembly’ by Brussels-based composer Charlie Usher, a forty-five minute meditation on listening, hearing, and duration for large ensemble and audio. A constant wave of fourteen-second miniatures, ‘An assembly’ invites us to eavesdrop on real-time transcriptions of music Usher listened to while writing, and as the piece folds into itself, and unfolds away from us, we trace this vast new work into our evening.”

Dates below: note that the London concert is free, but you’ll need to book a space via a ticket system. Note also that there’s a more in-depth preview of this concert tour on Ben Harper’s ‘Boring Like A Drill‘ blog.

 
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In the same week, avant-classical/experimental chamber evening Kammer Klang returns to London to start its own autumn series.

Kammer Klang, 2nd October 2018The main draw for the October opener is the British premiere of Matthew Shlomowitz’s ‘Lecture About Listening to Music’, 2017 performed by two members of Ensemble Nikel (pianist Antoine Françoise – this time on synthesizer – and saxophonist Patrick Stadler) and by singer Jessica Aszodi. A well-known interdisciplinary singer, Jessica has mastered an unusually wide vocal range: on this occasion, however, she’ll just be talking, delivering the lecture component as Antoine and Patrick traverse a range of musical ideas including unsettling atmospherics and repetition, quotes from 1980s mainstream pop and cerebrally playful and jazzy concepts.

Post-modernism aside, this is an upfront and accessible piece. It’s literally, a talk on how we, with our information-age sweep of unconscious and studied influences, access and process music in the present day (but with Matthew providing lengthy, sympathetic musical illustrations as well as the lecture text). Here’s an earlier performance: also featuring Antoine and Patrick, and with Matthew himself in the role of lecturer.


 
Kammer Klang’s programmer Lucy Railton will be performing ‘Harm’ by New York minimalist/microtonalist drone composer Phill Niblock; a 2003 drone piece sourced from cello. Here’s an earlier version, with the source tones performed by cellist Arne Deforce, to give you an idea…


 
The October Fresh Klang piece (performed by violinist and recent Goldsmiths music graduate Evie Hilyer-Ziegler) is Ryoko Akama’s ‘Reaction, for a string instrument’, composed this year. Ryoko’s pieces, sometimes released via text scores and conceived as much as performances as they are compositions, are attempts to create “listening situations that magnify silence, time and space… offer(ing) quiet temporal/spatial experiences.” A performer herself, she works with “tiny aural and visual occurrences that embody “almost nothing” aesthetics“: small items from which miniscule sounds can be coaxed and made microscopically purposeful. A peek at Ryoko’s homepage reveals delicate assemblages (everyday lab equipment, ancient pedal sewing machines, tin cans, glass bottles, kitchenware, paper balloons, woolen gloves) waiting to be played. As regards Evie’s violin interpretation, I reckon it’s fair to expect some very small, quiet violin playing: perhaps a fitful breath on the strings…

Kammer Klang presents:
Jessica Aszodi/Antoine Françoise/Patrick Stadler perform Matthew Shlomowitz / Lucy Railton performs Phill Niblock / Evie Hilyer-Ziegler performs Ryoko Akama
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 2nd October 2018, 7.30pm
– information here, here and here
 

September 2018 – upcoming London experimental gigs – eight for WITCiH’s ‘The State of Gender?’ festival (26th to 28th September) – Bishi, Chagall, Miri Kat, Di Mainstone, Lia Mice, Vicky O’Neon, Rebekah Ubuntu and Gazelle Twin

17 Sep


 
Music tech initiative WITCiH (positive, feminist, genderfluid, multicultural) returns to its regular canalside home at the end of the month, for its first work as a full commissioning platform. ‘The State of Gender?’ is a full festival following several standalone WITCiH concerts over the past few years. While open to all genders, skin tones and persuasions, the three nights of the festival present, foreground and celebrate WITCiH’s central preoccupations – women, technology and creativity. In additional, they continue to promote WITCiH’s extended interest in teasing out and broadening (and, where necessary, seizing) opportunities generally only offered to the male, the straight and the white, and sharing them out across a wider community.

If this sounds like a revolution, it’s a charming and positive one. The people in and around WITCiH are unafraid to critique and push against orthodoxy, and are equally unafraid of their own strength and potential; but this is primarily a celebration rather than a catharsis. Enthusiastic about its geekery, revelling in dressing up and performance, it seems to call into being a place and time in which the worst of patriarchal glowering and rigidity has been dispelled or dissolved; where the culture wars have been won from dance and crafting studios, and from workshops and sheds where electronic components are used to reel in the future. A place and time in which people are just free to get on with open-ended, humanitarian tech-play.

As regards how to get there, there’s a good interview here, at ‘Wyldemag’, in which WITCiH co-founder (and living, walking, proactive “giant culture clash”) Bishi points out her cultural-creative ethos, and that of WITCiH. “People are deciding – especially women and people of colour – that the simple answer is that you have to invest. I mean, it’s great that there’s more awareness and blah blah blah, but it’s really simple, with the minority groups in society, it’s not just about building awareness; it’s the sustained investment that comes with that. And, of course, all the social media and stuff is helpful, but living in a city is so expensive, and politically, everything is so rough and uneven and uncertain, and there’s something powerful about a collective of people coming together physically.”

On this occasion, it’s eight women (or, to be more precise, seven women plus a non-binary person with a female name) coming together. In amongst the music, three of them are going to be providing lectures – physical-pop explorer Chagall, “movician” Di Mainstone and conceptual wildcard Gazelle Twin.

Amsterdam-born but London-based, Chagall is an electronic music singer-songwriter, producer, and performer inspired by a wide-ranging collective-culture range of influences including “nature, Greek poetry, Bjork, James Blake, Beethoven, Nina Simone, Erykah Badu, Joni Mitchell & Miriam Makeba.”. Her particular musical approach embraces gestural and reactive technology: she was an early adopter of a key gestural synth controller, the Mi.Mu Gloves, and her performances involve choreography and triggered interactive visuals.



 
Chagall’s interest in body-gestural sound sourcing is shared – and then some – by “movician” Di Mainstone: artist-in-residence for Queen Mary College at the University of London, and one of the “new generation visionaries” of the international digital arts scene (according to the ‘New York Times’). Working with researchers from QMC’s Centre for Digital Music and Media Arts & Technology, Di creates musical instruments as wearable technology for dancers: electronic extensions of the human body, triggered by movement. These include the Human Harp (which she uses to play suspension bridges), the spring-based Whimsichord, the squeeze’n’jig Hydrochordion, the limb-like “choreophonic prosthetic” Serendipitichord and – outside of music – the Scorpions (a set of kinetic garments with a life of their own). Di also coined the “movician” term – a name for a player of her devices, “a hybrid artist who explores and composes sound through movement.”


 
Earlier on, I suggested that WITCiH was predominantly utopian. The work of Gazelle Twin provides a hellish counterpoint indicating that there’s still plenty of struggles to go through, whether it’s from sinister social forces or our own unacknowledged darknesses.

Beneath her alarming/exciting dual skins of latex costumery and processed sound, Gazelle Twin is Elizabeth Bernholz – composer, producer, incantationeer, framework-overturner and time-traveller. Via loops, sampling and processing, her work jams and transforms acoustic and Early Music sources (recorder, harpsichord, female chorus) against found sounds and electronic “shades of ‘90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory.” The results buck and bray, ripple and snarl; delivering disturbing, liberating dreamscapes and warning fables with a violently physical component. In her videos, we see hissing ferocious folk devils battling it out; or blank-masked hooded figures capering and proliferating, barking and twitching like dysfunctional maenads. Much of it comes across as mingled summoning, exorcism and terrible warning. There’s rather a lot of teeth, and an underlying exploration of specific modern sicknesses via primeval mythology (redressed in manmade synthetics).

Elizabeth’s lecture promises to unpack and reveal the complex vision of one of Britain’s most unsettling and unexpectedly timely artists: it will cover the creation of the latest Gazelle Twin audio-visual project ‘Pastoral‘, including the influences and ideas behind this year’s Hobby Horse single and video (the aforementioned devilfest). En route, it will branch out into related fields exploring “fascism and horror in the English landscape past and present, (Elizabeth’s) own creative process from writing to recording/production, and her identity as a working artist and mother.”



 
Other musicians will be performing newly commissioned audio-visual music pieces. Bishi herself is performing in the middle of the bill on all three nights. There’s no specific clues as to what she’s doing, but on past form expect a melange of some or all of the following:

  • interlocking pop forms (from classic English to Eurosynth to Hindi filmi songs).
  • a headlong, full-on involvement with the intersection of grand costume and high fashion.
  • sitars, ukeleles, extended voice and Ableton synth controllers.
  • traditional folk material from the Balkans to Bengal; classical ideas from Hindustani tradition to contemporary opera.
  • vocal inspirations from Meredith Monk and Yoko Ono.
  • fervent and earnest positive politics (including song cycles about immigration, and a long-standing loyalty to queer club culture).
  • and finally, Bishi’s own strong and self-willed musical identity, which never rules out a willingness to interact or integrate with anyone from Sean Lennon to the London Symphony Orchestra (and with anything from interactive wind-harps to Christina Rosetti poems and giant floating holograms of Tony Benn).



 
By day, Miri Kat works as a Novation Music engineer, designing and finessing electronic musical instruments. She’s also a combined audio-visual artist and music producer, interested in algorithmic music, webtech and generative visuals, with further interests in hacking, live coding and immersive multimedia in general. Mainly composed with Max/MSP Supercollider (and with found sounds live-coded from open ecosystems with open-source tools), her productions provide “hyperactive textures (and) ephemeral collages, in turns frenetic and and lyrical, in a unique brand of glitchy grindcore for a post-Internet age.”

 
Lia Mice‘s work covers multiple bases: live electronic artist, producer, DJ and instrument designer. Sometimes she’s to be found applying her live analog sampling skills across “high energy vinyl-hybrid” DJ sets of electro, Italo, tech noir, acid and “weird-pop”. At other times she applies them to live sets of original music alongside “self-hacked” instruments and Max/MSP, while her recordings can stir in eight-track tape mangling alongside influences from Laurie Anderson, BBC Radiophonics and electronica across forty years from German pioneers to American outliers. Live sets also feature both live voice sampling and Lia’s own custom-designed tactile-interface instruments – such as the Delia Derbyshire-inspired Reeltime sound manipulator (based on a broken reel-to-reel tape recorder) and the suspended tap’n’tilt/swing/spin ChandeLIA (designed to blend the organic bell-like sound of tapping on a metal chandelier with the sound of the electricity powering its lights).

A major WITCiH supporter, Lia also designs sonic sculptures, is a contributor to the Augmented Instruments Lab in the Centre for Digital Music and is “forever taking refuge in the mysteries of the sonic universe.” Her third solo album, ‘The Sampler As A Time Machine’, is a selection of “experimental dance x wave-y industrial x parallel-dimension pop tracks”. For the festival, she’ll be presenting a lecture based on the album and its studio experiments (themselves inspired by time travel writings by philosophers, physicists, neurologists and psychologists from Mark Fisher to Oliver Sacks to Stephen Hawking).



 
An explosively enthusiastic character (and WITCHiH regular), Vicky O’Neon performs in a dazzle of beats plus shocking day-glo costumery and makeup. Born Vicky Österberg in Finland, she was originally a class-topping, award-winning drummer and percussionist at the British Institute of Modern Music. She went on to work around the world as sessioneer and tour-band member for the likes of Pharell Williams, Johnny Marr, Hans Zimmer and assorted live-set DJs. Since summer 2017, she’s gone solo, buoyed up by the success and positivity of her parallel work in tech/instrumental teaching and in co-founding girl-promoting music initiatives Girls Rock London, Rock Donna and Racuma.

Vicky characterises herself as a “relentlessly optimistic Riot Grrrl multi-instrumentalist, with fluoro-glowing intentions to inspire the masses with harmony, laughter and love … on a mission from a higher plane of consciousness, devoted to the elevation of human vibration.” Her one-woman show involves her making a delightful proactive racket via drum pads, loopstations, acoustic percussion, body-worn percussion triggers and MicroKorg synth, plus her own “tongue-in-cheek lyrics and visuals”. As the founder of the Electric Vegetable Orchestra she also mixes tech with vegetable husbandry, carving new instruments from fruit, tubers and other root vegetables, then playing them through loops and effects to create “catchy tunes and singalongs with the audience.” However she chooses to entertain you at WITCiH, she’s certainly got plenty of options to choose from.



 
Vicky’s fellow BIMM graduate Rebekah Ubuntu is a multimedia performance artist, musician and culture scholar experimenting with “ideas of futurism, rebellion, and paradoxes” filtered through queer, non-binary, black and feminist perspectives. Their work spans synthwave, glitch music, techno and various forms of Afro-futurism (including reference to black poets and writers such as Audre Lorde and Octavia Butler, black rock and punk statement, and Afro-orientated pop/house/trap/beat forms) as well as electronic soundscapes and vocal manipulations.

As with most of the other participants, Rebecca’s got a strong allegiance to (and grounding in) club culture, and they’ve recently played sets at black pride, queer and general futurist events from Berlin to Norwich and Birmingham’s FLUID festival. Outside of clubwork, previous work has included last year’s ‘trans.mission.Q’ sonic installation project for Tate Britain (in which Rebecca posed as an extra-terrestrial DJ encouraging gallery visitors to “add your voice(s) to the live soundscape as we broadcast our earthly messages to the remotest regions of outer space”. They also recently guest-edited new music webzine ‘The Sampler’, interviewing five queer, trans & non-binary sound-and-music artists about the intersection of their identities with their music.

 
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Full dates:

  • WITCiH presents ‘The State of Gender?’, evening 1: Chagall (lecture) + Bishi + Miri Kat – Wednesday 26th September 2018
  • WITCiH presents ‘The State of Gender?’, evening 2: Di Mainstone (lecture) + Bishi + Lia Mice + Vicky O’Neon – Thursday 27th September 2018
  • WITCiH presents ‘The State of Gender?’, evening 3: Gazelle Twin (lecture) + Bishi + Rebekah Ubuntu – Friday 28th September 2018

All events are at The Barge House, 46a De Beauvoir Crescent, De Beauvoir Town, London, N1 5RY, England at 7.00pm. Further information is here, here and here.

Note that on the evening of the 27th – the day before her appearance at the festival – Gazelle Twin will also be making a live in-store appearance at Rough Trade East off Brick Lane, performing tracks from ‘Pastoral’.
 

September 2018 – upcoming London experimental gigs – Merlin Nova, Bell Lungs and Inchindown at the Horse Hospital (21st September)

15 Sep

There’s an interesting show coming up at the Horse Hospital in Bloomsbury next week. A wilder, more countercultural echo of the ICA, and clinging onto the fringes of the university district and the gentrification around the Brunswick Centre, the place mostly features transgressive films, performance art and sundry esoterica, but it’s always worth keeping an eye on their music schedule. This particular gig is musical fringework: weird and beautiful urban and rural atmospherics, vocal hauntings, transformations of places and times, acoustic folk and electronic noise.

Am hurrying off to do something else right now, but I’ll just give you the press release before I go…

* * * * * * * *

Merlin Nova + Bell Lungs + Inchindown, 21st September 2018

“The Horse Hospital presents a night of expanded musical performance spanning adventures in sound, pop theatrics and psychedelia with Merlin Nova, Bell Lungs and Inchindown.

Merlin Nova is sound, song and movement. Ecstatic energy blast. Clear-cut. Quick fix. Immediate. Set scene sound. Landscape, temperature and feeling. Here with you, together.

“Her debut EP, ‘Protect Your Flame’, celebrates determination and life, a vast and colourful human emotional landscape that explores sounds ability to excite visualisation. Each track is a scene to exist within. Vocal delivery, stripped back instrumentation and use of sound effects convey a state of being as efficient as possible. This way of making music evolved out of her weekly radio show Nova Waves, which broadcasted from Subcity Radio: on the show Merlin would create music, soundscapes and use sound effects to build imagined worlds. It was not until she was asked to DJ at Subcity’s 20th Birthday Exhibition, ‘pure radio sex’, that she chose to combine her own soundscapes, poetry and song – thus beginning the assemblage of this music.

 
Bell Lungs is a one-woman band from Scotland, where she’s been building an excellent live reputation and carving out her unique post-folk sound using layered vocals, electric violin, guitar, tuned percussion, field recordings and effects pedals since 2016. Her music is atmospheric; a shifting soundscape incorporating snippets of songs with field recordings to create inherently transcendental experiences, musing upon rural idylls, post-industrial heartlands and online culture infused with psychedelic, drone, improvisational, jazz, dream pop and folk elements.



 
Inchindown is a collaboration between Tim Garratt (Moon Zero) & Matthew Heywood (Bruised Skies), whose self-titled debut album Inchindown is released by Blank Editions. Their self-titled debut album portrays a powerfully mournful, but beautifully stark work. The soundtrack to walking through a storm of ash, only to realise that the city is on fire and viewing this incredible spectacle from afar. It is a dark, yet somehow hopeful record and a focussed collaboration that expands upon their ambient solo work. Although named after a small industrial town in Scotland, the record grounds itself to their hometown of Hackney. The three-part ‘Ridley Road’, with its waves of distorted bass, metallic synths and detuned vocals could be heard as a tone poem for the rapid gentrification that threatens to engulf the historic market street, before authentic field recordings remind us of what we stand to lose.”



 
Merlin Nova + Bell Lungs + Inchindown
The Horse Hospital, Colonnade, WC1N1 London, United Kingdom
Friday 21st September 2018, 7.00pm
– information here and here
 

September 2018 – more Daylight Music sessions in London – The Cornshed Sisters, Mesadorm and Kadialy Kouyate (15th September); The Left Outsides, Sister Cookie and Albecq (22nd September); ‘The Sea at the End of Her String’ with Resina, Emilie Levienaise-Farrouch and Shida Shahabi (29th September)

8 Sep

Daylight Music (London’s best regular free gig series – family-friendly, but never letting that spoil or limit its sense of curiosity and enquiry) sprouts back into action again mid-month for its 2018 autumn season. The gigs in the September set are a typical Daylight melange: art-pop, roots pop, electro-acoustica, folk-pop, post-classical, Kouyate griot and ambient electronica.

* * * * * * * *

The 15th September show features The Cornshed Sisters, Mesadorm and Kadialy Kouyate.

Daylight Music 287: The Cornshed Sisters + Mesadorm + Kadialy Kouyate,15th September 2018

The Cornshed Sisters are four singer-songwriters based in Tyne and Wear, who weave together pop, folk, ballad and protest music into a unique and distinctive style. Drawing on a palette of solo and harmony vocals and a blend of acoustic and electronic instruments, they convey their stories with sensitivity and humour.

“Formed in Bristol in 2015, Mesadorm is the new collaborative project of Blythe Pepino, formerly of London art pop trio Vaults. Debut album ‘Heterogaster’ is based around ideas of family, sex, trust and disconnection, using layered rich vocal harmonies to represent these issues, resulting in a truly special and original sound.

Kadialy Kouyate is a musician, a singer songwriter inspired by the West African Griot repertoire. Born into the great line of Kouyate Griot in Southern Senegal, Kadialy’s mesmerising kora playing and singing style have been appreciated in many prestigious venues as both a soloist and in different ensembles.”



 
* * * * * * * *

The 22nd September show features The Left Outsides, Sister Cookie and Albecq.

Daylight Music 288: The Left Outsides + Sister Cookie + Albecq, 22nd September 2018

The Left Outsides (Alison Cotton and Mark Nicholas) are a wife/husband duo based in London. Their atmospheric, hypnotic songs echo Nico’s icy European folk, pastoral psychedelia and chilly English fields at dawn. Their recent album, ‘All That Remains’ album continues to achieve deserved critical acclaim, having been placed as folk album of the month in ‘The Guardian’ during May and receiving regular plays on BBC6 Music and WFMU in the USA.

Sister Cookie is a fixture of the vintage and retro music scenes in London. Having absorbed different genres of music throughout her formative years, from the juju, highlife, reggae and soul records favoured by her mother to the jazz LPs in her father’s collection, she developed a lasting passion for jazz and the blues, together with a unique sound and charisma.

Albecq is the project of three London-based experimental artists and composers – Angus MacRae, James Jones, and Thom Robson. The collective was formed in late 2016 based on a love of vintage synths, unhurried free-flowing soundscapes, and the pioneering ambient expeditions of Basinski and Stars Of The Lid.”

 
* * * * * * * *

The 29th September show is the collective concert ‘The Sea At The End Of Her String’, showcasing the work of four post-classical female composer/performers on FatCat Records’ 130701 imprint: Resina, Emilie Levienaise-Farrouch and Shida Shahabi. (As previously posted, this last gig is part of a late September tour which also takes in Brighton, Bristol and Faversham.)

Daylight Music 289: The Sea at the End of Her String: Resina + Emilie Levienaise-Farrouch + Shida Shahabi, Saturday 29th September 2018

Resina is the alias of Karolina Rec, a cellist and composer based in Warsaw, Poland. A compulsive live artist, Karolina’s style is primarily characterized by personal language of improvisation and alternative approach to melody.

Emilie Levienaise-Farrouch is an award-winning French pianist/composer currently living in London. Spanning film score, bespoke composition and sound design, her work is connected by its high quality and its evocative, meticulous craft – a common sensibility of elegant, instinctual composition.

Shida Shahabi is a Swedish-Iranian pianist/composer and is currently based in Stockholm. She has made site-specific sound installations, plays in bands and writes music both solo and for dance, film, theatre and fine art contexts. Her debut album is set for release in 2018.”

 
* * * * * * * *

All gigs are at the usual place – Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England – and are free, but chuck a fiver in the bucket to keep things going. Dates below:

  • Daylight Music 287: The Cornshed Sisters + Mesadorm + Kadialy Kouyate – Saturday 15th September 2018, 12:00pminformation
  • Daylight Music 288: The Left Outsides + Sister Cookie + Albecq – Saturday 22nd September 2018, 12:00pminformation
  • Daylight Music 289: The Sea at the End of Her String: Resina + Emilie Levienaise-Farrouch + Shida Shahabi, Saturday 29th September 2018, 12:00pminformation

 
Details on October Daylight concerts to follow in due course…
 

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