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July 2020 – singles & track reviews – Colin Edwin’s ‘First Point of Origin’ & ‘Second Point of Origin’; Bloom’s Taxonomy’s ‘Mount Bromo/United Nations Bicycle Parking’

31 Jul

Colin Edwin: 'First Point of Origin'

Colin Edwin: ‘First Point of Origin’

Driven by the realities of covid isolation and a shortage of live and external inspirations, a couple of new solo standalone pieces by Colin Edwin explore various aspects of fretless bass guitar, percussion programming and sound design. He’s calling them “limited elements” tracks: limited initially by time, place and opportunity and later by choices, although in themselves they’re rich-sounding enough to gainsay the name.

If the ear hints are correct, ‘First Point of Origin’ starts in a sort of shunting yard before heading off somewhere Can-nish, though Colin claims Neu! as a more accurate accidental reference point for a piece made via “heavy use of bass guitar fed through a delay pedal, drones courtesy of SuperEgo and Ebow, and driven by minimalistic “You must play monotonous!”-type rhythmic backing augmented by sliced and processed pieces of the underlying drone.” Either way, the drive forward ends up in a kind of enjoyably dour Krautrock disco space, some of Colin’s basslines wah-ed up into clavinet-style perks.


 

Colin Edwin: 'Second Point of Origin'

Colin Edwin: ‘Second Point of Origin’

If ‘Second Point of Origin’ has a key marker, it’s probably the relentless space rock throb of Hawkwind rather than Neu!. However, that’ll be a Hawkwind stripped down to delay-darkened dub bass and a menacing, grinding ambient purr. There’s also touch of the Blue Mondays to the building kick drum (not that trademark jammed-key stutter, more the build itself). As the track goes on, there’s more of a shift from bass sounds to drum sounds; not a replacement as such, but more an altering of priorities, a shift of emphasis.

Colin calls it “an exploration of inner space conceived whilst outer space was completely inaccessible.” There’s certainly something in that. Echoes bounce around a murky tank; the drone is like a searchlight illuminating nothing; the percussion passing though like a continually-altering blind signal. As the percussion and blocky pulses take over, the bass guitar itself is freed up to do lethargic, lazy marine arcs through the piece’s volume, a whale exercising slow-motion loops.


 

Bloom's Taxonomy: 'Mount Bromo/United Nations Bicycle Parking'

Bloom’s Taxonomy: ‘Mount Bromo/United Nations Bicycle Parking’

The abiding impression which Bloom’s Taxonomy‘s ‘Mount Bromo’ leaves is one of a serene, near ecstatic happiness. The forthcoming Bloom’s album is called ‘Foley Age’, suggesting a trip around field recordings and sound-creating objects. There’s certainly one in ‘Mount Bromo’ – an Indonesian gamelan, which provides the track with its playout sound (as an undoctored field recording, complete with conversation, children and engineer indiscretions); and also, via sampling, rings out the riff that cascades through the main section like a spiritual ice-cream truck.

The man behind Bloom’s Taxonomy, W.B Fraser, usually uses the project to explore urban desolation and science fiction pessimism. For this track, though, he seems to have embraced something more outrightly positive, bouncing it across a bed of unhurried breakbeats and a slow-tide swell of string synths.


 
‘United Nations Bicycle Parking’ is a little closer to standard Bloom’s practise. A little chillier and ambient in its electronica sway, its bass and beats virtually subliminal under its sky-buzz, its orchestrated sirens, its swerves of crowd-chatter. It has the pitch of a great city, one not defined by any imperial form but by the life that swirls through it, and by its optimism. At times this tune is up amongst the heights of the skyscrapers; at others, it’s dipping into the street markets. It sounds hopeful, it sounds accepting. It sounds as if Mr Fraser’s broadening his horizons in more ways than one.


 
Colin Edwin: ‘First Point of Origin’
self-released (no catalogue number or barcode)
Download/streaming single
Released:
6th August 2020
Get it from: Bandcamp
Colin Edwin online:
Homepage Facebook Twitter MySpace Soundcloud Tumblr Bandcamp Last FM Apple Music YouTube Deezer Spotify Instagram Amazon Music

Colin Edwin: ‘Second Point of Origin’
self-released (no catalogue number or barcode)
Download/streaming single
Released:
31st July 2020
Get it from: Bandcamp
Colin Edwin online:
Homepage Facebook Twitter MySpace Soundcloud Tumblr Bandcamp Last FM Apple Music YouTube Deezer Spotify Instagram Amazon Music

Bloom’s Taxonomy: ‘Mount Bromo/United Nations Bicycle Parking’
self-released (no catalogue number or barcode)
Download/streaming single
Released:
31st July 2020
Get it from: download via Bandcamp or Amazon Music; stream via Soundcloud or Spotify
Bloom’s Taxonomy online:
Facebook Twitter Soundcloud Bandcamp YouTube Instagram Amazon Music
 

May 2020 – EP reviews – Mikrokosmos/Babyskullz/Cola Ray vs. MUMMY’s ‘CONFINEMENT-release3’ (“mysteries which slip into shadowed corners”)

7 May

Mikrokosmos/Babyskullz/Cola Ray vs. MUMMY: 'CONFINEMENT-release3' EP

Mikrokosmos/Babyskullz/Cola Ray vs. MUMMY: ‘CONFINEMENT-release3’ EP

Following their pair of releases last month, Brighton’s Confinement Tapes project is back for a second round – this time with Confinementeers Jo Spratley and Bic Hayes joined by honorary family member Chris Anderson (of Worthing’s Crayola Lectern), who’s also worked with Bic in Brighton kosmische juggernaut ZOFFF alongside what seems like a good half of Brighton’s psychedelic contingent (and, occasionally, The House of Love’s Terry Bickers).

(The third original Confinementeer, Jesse Cutts, has his own follow-up single too, but more on that later…)

Unlike the archived cover versions refurbished for the previous EP, ‘Bright Fivers’ is an all-new, all-original April recording in which Chris contributes as the anagrammatic Cola Ray, collaborating with Bic and Jo’s MUMMY. Initially, it’s his arpeggiating pianos (distanced and tinny, as if pulled from a dusty old 78) which dominates ‘Bright Fivers’; a solemn setting for Jo’s singing, which is loaded with both trepidity and authority. That’s only the prelude, though, and it’s severed from the rest of the piece by a jump-cut edit as loud and merciless as a sucker punch or an axe blow. You even hear the clunk as the mood shifts; Jo switching abruptly into deadpan recitation against a Bic backdrop of guitar static and wind texture, as impassive as the prophetess taken over by the voice of the prophecy.

Whether sung or spoken, the sentences are broken off; dark, punching surrealist gobbets of foreseeing and ruin. “Silence in the air. / Things endure, things evolve. / Between the slopes fivers fly up onto the dream floor. / Fire spreads her text of flame as serious as food / Our towers of graph paper fold up into the silence, / delicate as the girl who leaves the stone and the water – / and the bright moan of the green, / the collapse of a black age. / In the end we never know what we know.” It sounds like something buried deep in peat in order to time-travel; transmitting a warning, or possibly a testament.


 
‘The United Kingdom’ is (mostly) another eleven-year-old recovering from Jo Spratley’s Babyskullz solo project: one which just happens to fit in with ‘Bright Fivers’. It’s another recitation, delivered by Jo to pattering drumbox and orchestrated in minimal, thrifty make-do fashion. Two-finger melodica. Guttural just-picked-it up guitar lines and milk-bottle vibraphone. Cobwebby analogue synth gurgles, dub distancings and dirty blats of fireworks.

Something about the rhythm and chant suggests the cheesy old white-rap anti-classic ‘Ice Ice Baby’. Everything about the words doesn’t, as Jo narrates (in newsprint monotone) a set of disappearances. “A man who hears bells who loves cars” misses his train only to drop out of routine and out of existence; a corporate lawyer vanishes during her solo boat trip; fifty years ago, a cancer specialist who “wraps her dolls in graph-paper by the light of the moon” is last seen in car headlights by the edge of a cliff. All three are obliquely connected by hearts: their rhythms or their interruption, their presence as eviscerated occult trophies or as enigmatic markers; presumably also by the locked-up desires, secrets and clues they contain. All cases are left open; mysteries which slip into shadowed corners of modern folklore or Lynchian dreams. There’s a stress on the regular and on the irregular, but no conclusion on either.


 
As haunting as this can be (and it does build on regular repetition, an inconclusion which nags to be solved), it’s still Bic’s dark-psychedelia project Mikrokosmos which dominates this particular set, providing three tracks out of the five. Two are brief snapshot instrumentals, deliberately left incomplete or brought to dismissive halts. Recorded in 1993 during Mikrokosmos’ cramped early sessions in west London, ‘In the Machine Room’ is an jarring but strangely satisfying hybrid of claustrophobic paranoia and sweet naivety. An uncomfortable electronic hum and weirdly organic rattling (like mice beginning to panic inside a generator housing) passes into a bright nursery march played on assorted guitars, drums and bombastic little synths. For forty-eight seconds, post-industrial grot tussles with twinkly daydream.


 
I assume that Bic escaped from whatever it was that was polluting him: ‘Frag. Familiar’, from 2014, was completed nearly two decades later (long after Bic had quit London), but it missed the boat for Mikrocosmos’ ‘Terra Familiar’ abum. It’s as confusing as its predecessor. A sustained cosmic slam: a huge guitar downchord which is allowed to trail away, while delicate waltzing keyboards come forward to shine over the top. They dance with another brutally distorted guitar line – butterflies courting Bigfoot – before everything hits the wall, topples over and cuts off. There’s a farcical humour to this music. It shows you the stars but then suddenly pulls away the rug, or drops the time-clock on the telescope viewing: almost deliberately crass in the way it brings you back down to earth with a bump. I suspect that there’s a touch of reverse psychology here. To move forward properly, you have to overcome the bumps, denials and trip-ups.


 
Another ‘Terra Familiar’ outtake, ‘Cell by Cell’, is more substantial and developed: a six-and-a-half minute song rather than a peculiar fragment. It’s also a dubbier return to Bic’s Dark Star days: almost a Massive Attack take on that band’s life-scarred fin-de-siècle urban psychedelia, taking in similar elements of Hawkwind space rock and Killing Joke post-punk grimness to offset Bic’s sighing, waify sweetness. There’s a Dark Star-ish sense of resignation too, a voice-of-the-casualty effect as Bic reflects on exhaustion and disassociation, on being swallowed by routine and self-absorption. ‘Just swim, / float to the surface – / as if it’s so easy, you show me again. / But time weighs me down so gently / and all our ideas just drift away, / sinking, / lost in the moment. / Ennui is so easy / and to the end we divide. / Cell by cell to solitary worlds – / undesigned, undesired. / Islands in an ocean of thought / turning inwards defied / to meet with the gaze of impermanence eyes…’


 
The formal Confinement message for this EP is one of “a constellation of songs brought together by this rarefied time. Pulled through the thickness of life and her knowing machine. Mixed and mastered in April 2020 and flung into the dark of these ends of days. Here we are. All alone, together, as one.” As a message of solidarity, it’s an ambiguous comfort: but, as they say, here we are. Questions unanswered. Brutal breaks in expectations. People disappearing, grips gradually lost. Name it, share the names, and perhaps fight it.

Mikrokosmos/Babyskullz/Cola Ray vs. MUMMY: ‘CONFINEMENT-release3’
The Confinement Tapes, CONFINEMENT-release3
Download/streaming EP
Released: 7th May 2020
Get it from:
free or pay-what-you-like download from Bandcamp (As with all Confinement Tapes releases, any money earned goes support care funds for Tim Smith, Tim Quy or Jon Poole of Cardiacs – see previous posts.)

Mikrokosmos online:
Bandcamp Last FM

Babyskullz (Jo Spratley) online:
Facebook Twitter

Crayola Lectern (Cola Ray) online:
Homepage Facebook Twitter MySpace Soundcloud Bandcamp Last FM YouTube Vimeo Spotify Amazon Music

MUMMY online:
Facebook Bandcamp
 

May 2020 – single & track reviews – MultiTraction Orchestra’s ‘Emerge Entangled’; Stuart Wilding’s ‘Spaces’ and ‘Horns’

5 May

Conceived during coronavirus lockdown, MultiTraction Orchestra is the latest brainchild of cross-disciplinary Sefiroth/Blue-Eyed Hawk guitarist Alex Roth (currently pursuing new avenues and familial roots in Kraków). It’s his way of fighting the entropy, fear and disassociation of the times: part-corralling/part-embracing a cluster of diverse yet sympathetic musicians, recruited via friendship and open-source callups on the web. ‘Emerge Entangled’ is the first result: twenty-seven players working from Alex’s initial two-and-a-half minute pass of treated, multi-layered minimalist guitarwork. If the video accompaniment (a graceful come-and-go conference call featuring most of the players) is anything to go by, Alex played the part of benign/mostly absent god for this recording. There are no solos, no aggressive chord comping. In the few shots in which they feature, his guitars and pedals sit by themselves in a system loop creating the drone with no further intervention. Instead, Alex acts as the invisible mind on faders, reshuffling the instrumental echoes and response which came back from his loop broadcast.

MultiTraction Orchestra: 'Emerge Entangled'

MultiTraction Orchestra: ‘Emerge Entangled’

It’s an eight-city affair; although the majority of musicians hail from Alex’s other base, London (including his percussionist brother and Sefiroth bandmate Simon, trombonists Kieran Stickle McLeod and Raphael Clarkson, Rosanna Ter-Berg on flute, Madwort reedsman Tom Ward on clarinet, drummer Jon Scott and effects-laden double bassist Dave Manington), the MultiTraction net spreads wide. Finnish cellist Teemu Mastovaara, from Turku, is probably the most northerly contributor; Mexico City saxophonist Asaph Sánchez the most southerly; and Texas-based glockenspieler and touch guitarist Cedric Theys the most westerly. (Muscovian tuba player Paul Tkachenko and Lebanon-based iPad manipulator Stephanie Merchak can battle out as to who’s holding it down for the east).

Instrumentally, although there’s a definite slanting towards deep strings, brass and rolling-cloud drones, there’s plenty of variety: from the vintage Baroque flute of Gdańsk’s Maja Miró to the Juno 6 colourings of London soundtracker Jon Opstad and the homemade Coptic lute of Exeter-based Ian Summers. Alex’s other brother, saxophonist Nick, features in the Dublin contingent alongside the accordion work of Kenneth Whelan and cello from Mary Barnecutt. Most of the remaining string players are dotted around England (with double bassist Huw V. Williams and James Banner in St Albans and Leeds respectively, and violinist Alex Harker in Huddersfield). There’s a knot of contributory electronica coming out of Birmingham from Andrew Woodhead and John Callaghan (with virtual synthesist Emile Bojesen chipping in from Winchester), and some final London contributions from jazz pianist/singer Joy Ellis and sometime Anna Calvi collaborator Mally Harpaz bringing in harmonium, timpani and xylophone.

Alex’s past and present work includes jazz, experimental noise, soulfully mournful Sephardic folk music and dance theatre; and while his guitar basework for ‘Emerge Entangled’ seems to recall the harmonic stillness and rippling, near-static anticipatory qualities of 1970s German experimental music such as Cluster (as well as Terry Riley or Fripp and Eno), plenty of these other ingredients swim into the final mix. I suspect that the entanglement Alex intends to evoke is quantum rather than snarl-up: a mutuality unhindered by distance. From its blind beginnings (no-one hearing any other musicians apart from Alex) what’s emerged from the experiment is something which sounds pre-composed; or, at the very least, spun from mutual sympathy.


 
There are definite sections. An overture in which increasingly wild and concerned trombone leads over building, hovering strings and accordion (gradually joined by burgeoning harmonium, filtered-in glockenspiel and percussion, dusk-flickers of bass clarinet, cello and synth) sounds like New Orleans funeral music hijacked by Godspeed! You Black Emperor; the first seepage of flood water through the wall. With a change in beat and emphasis, and the push of drums, the second section breaks free into something more ragged and complicated – a muted metal-fatigue trombone part protesting over synth drone and subterranean tuba growl, which in turn morphs into a double bass line. Various other parts make fleeting appearances (a transverse flute trill, Alex’s guitar loops bumped up against jazz drumkit rolls; a repeating, rising, scalar/microtonal passage on lute, like a Holy Land lament). Throughout, there’s a sense of apprehension, with something ominous lurking outside in the sky and the air and elements; the more melodic or prominent instruments an array of voices trying to make sense of it, their dialects, personalities, arguments and experiences different, but their querulous humanity following a common flow.

Via touches of piano, theme alternations come faster and faster. A third section foregrounds the tuba, moving in and out in deep largo passages while assorted electronics build up a bed of electrostutter underneath. During the latter, watch out in the video for benign eccentronica-cabaret jester John Callaghan, quietly drinking a mugful of tea as his laptop pulses and trembles out a gentle staccato blur. It’s not the most dramatic of contributions, but it feels like a significant one: the mundaneity and transcendent patience which must be accepted as part of lockdown life, an acknowledgement of “this too will pass”. For the fourth section, a tuba line passes seamlessly into a bass clarinet undulation with touches of silver flute; accelerations and rallentandos up and down. Initially some spacier free-jazz flotsam makes its presence felt – electronics and cosmic synth zaps, saxophonic key rattles, buzzes and puffs, fly-ins of cello and double bass. The later part, though, is more of a classical meditation: beatless and with most instruments at rest, predominantly given over to the dark romance of Teemu Mastovaara’s lengthy cello solo (apprehensive, heavy on the vibrato and harmonic string noise, part chamber meditation and part camel call). The finale takes the underlying tensions, squeezes them in one hand and disperses them. An open duet between Jo Ellis’ piano icicles and Asaph Sánchez’s classic tenor ballad saxophone, it becomes a trio with Jo’s glorious, wordless vocal part: hanging in the air somewhere between grief and peace. A moving, thrilling picture of the simultaneously confined and stretched worldspace we’re currently living in, and a small triumph of collaboration against the lockdown odds.

* * * * * * * *

Although ‘Emerge Entangled’ has a number of masterfully responsive drummers and percussionists in place already, it’s a shame that Cheltenham/Xposed Club improv mainstay Stuart Wilding isn’t one of them. His Ghost Mind quartet (three players plus a wide world picture woven in through field recording) have proved themselves to be one of the most interesting listen-and-incorporate bands of recent years. However, he’s continued to be busy with his own lockdown music. ‘Spaces’ and “Horns” are personal solo-duets – possibly single-take, in-situ recordings. Both created in the usual Xposed Club home of Francis Close Hall Chapel, they’re direct and in-the-moment enough that you can hear the click of the stop button. Stuart’s apparently playing piano mostly with one hand while rustling, tapping and upsetting percussion with the other. By the sound of it the main percussion element is probably his lap harp or a zither, being attacked for string noise and resonance.

Assuming that that’s the case, ‘Spaces’ pits grating, dragging stringflutter racket against the broken-up, mostly rhythmic midrange exploration of an unfailingly cheerful piano. Sometimes a struck or skidded note on the percussion prompts a direct echo on the piano. As the former becomes more of a frantic, swarming whirligig of tortured instrumentation (as so frequently with Stuart, recalling the frenetic and cheeky allsorts swirl of Jamie Muir with Derek Bailey and King Crimson), picking out these moments of congruence becomes ever more of a game: while in the latter half, the piano cuts free on whimsical, delighted little leaps of its own. About half the length of ‘Spaces’, ‘Horns’ begins with the percussion apparently chain-sawing the piano in half while the latter embarks on a rollicking one-handed attempt at a hunting tune. The piano wins out. I’m not sure what became of the fox.



 

MultiTraction Orchestra: ‘Emerge Entangled’
self-released, no catalogue number or barcode
Download/streaming track
Released: 1st May 2020
Get it from:
download from Bandcamp, Apple Music or Amazon; stream from Soundcloud, YouTube, Deezer, Google Play, Spotify and Apple Music.
MultiTraction Orchestra/Alex Roth online:
Homepage Facebook Twitter Soundcloud Bandcamp Apple Music YouTube Deezer Google Play Pandora Spotify Amazon Music

Stuart Wilding: ‘Spaces’ & ‘Horns’
self-released, no catalogue number or barcode
Download/streaming tracks
Released: 5th May 2020
Get it from:
Bandcamp – ‘Spaces‘ and ‘Horns
Stuart Wilding online:
Facebook Bandcamp
 

April 2020 – single & track reviews – Jesse Cutts/Heavy Lamb’s ‘CONFINEMENT_release2’; Godcaster’s ‘Serpentine Carcass Crux Birth’; Kryptograf’s ‘The Veil’

17 Apr

Heavy Lamb/Jesse Cutts: 'CONFINEMENT_release 2'

Heavy Lamb/Jesse Cutts: ‘CONFINEMENT_release 2’

Following up Jo Spratley and Bic Hayes’ disinterring of interesting outtake/buried gem cover versions for the first of the Confinement Tapes releases, Jo’s son Jesse Cutts offers his own familial reinterpretations.

Firstly, his intermittent Brighton odd-rock band Heavy Lamb (a deliverer of “loud demented pop” since 2014 and currently a duo, victims of persistent lineup changes and self-induced social media wipes) breaks cover again for a cover of a Cardiacs tune, ‘Odd Even’. Bar a dew-sprinkling new proggy midsection, it’s pretty true to the original: perky acoustic guitars, psychedelic organ crunchiness, and a happily teetering stack of chords. They even reproduce its Very Happy Caterpillar of a keyboard solo, down to the last charging feint and twiddle. Jo herself guests on lead vocals, and is less of a punk sphinx than usual – although with a tune as bouncy as this one, that can hardly be helped. Like the best Cardiacs songs, it defies easy comprehension. Odd Even embraces life, death, weeping, burial and trust, and flies to you and away from you like a friendly sparrow that can’t quite make its mind up.


 
Jesse’s other offering is a solo track: his version of ‘Carefree Clothes’, originally by Cardiacs-family folk-poppers The Shrubbies (the perky precursors to North Sea Radio Orchestra). In all honesty, there’s little to tell the difference between Jesse and Heavy Lamb anymore. It’s all a fresh rejuvenation of the bouncy, wilful noisy Anglo-pop line which takes in XTC, Supergrass and Two Door Cinema Club, and which sneakily conceals its sophistication behind its enthusiasm and hookiness.


 
It sounds as if Jo may be on board for this one too, which features vocals recorded on Brighton beach “just after the world flipped on its side”. That’s the only hint of Confinement Tape lockdown blues in the whole effort, which is otherwise a springtime hit. Or, to be clearer, a glittering sun-tickled hit of springtime, romping in the garden and throwing concern to the wind. It’s like a little Deist singalong, pulled into raptures by budding daffodils, and not in the least bit embarrassed. As with the previous Confinement release, you can pick this up for nothing, but any cash that you do chuck into the hat goes to support various seriously incapacitated Cardiacs, so try to give generously.

Godcaster: 'Serpentine Carcass Crux Birth'

Godcaster: ‘Serpentine Carcass Crux Birth’

Since their emergence at the start of last year, Godcaster have spat out a sequence of songs like technicolour hairballs. Sometimes they’ve been wild-haired funk followers, a set of white wastrels getting high off the Mothership’s exhaust; or tuneful noise-botherers in the vein of Mercury Rev or The Flaming Lips. At other times, they’ve been fiddly post-Zappa freaks hiding their own sophistication behind a clattery mask.

‘Serpentine Carcass Crux Birth’ pins them to the more complex corner of their freak flag for now. It wouldn’t be out of place at a Cardiacs celebration: a garage knocking-out which won’t be constrained to basics. A hammering kinked (and Kinked) riff starts off immediate and direct, but then ladders off through far too many chord changes: just because it can, and because that kind of triumphant harmonic parkour is somehow just what it takes to con fleapit-venue punks into yelling bebop licks.

The lyrics fit admirably, wrapping themselves around delusions of grandeur and escalating through a violent shower of weirdness. “When I think about how I was born, / the tearing flesh and scales blow my horror horn… / Circumcision of my eye. / Widows cry, / punctured it was by Satan’s arrow. / Sic Red Sea Pharaoh – / Leaving all my wives to bear my children while I / die to my flesh, die to this world, eating the flesh, drinking the wine. / My soul the divine.” You get two minutes of jarring fireworks, and then that’s it; a micro-epic that does its job and then evaporates, like a ancient temple which suddenly explodes.


 

Krypograf: 'The Veil'

Krypograf: ‘The Veil’

No such flightiness for Kryptograf. The Norwegians give you heavy guitar psych in the late ’60s vein of The Groundhogs; and that’s what you get, seasoned by just a little Motorpsycho and Black Sabbath. It’s heads-down, well-trodden non-nonsense oogly for biker blokes who know what they like, their old acid trips hanging like brooding firefly sparks round their craggy brows.

If you know what that’s like, you’ll have no surprises with how ‘The Veil’ is. A ride around a well-trodden circuit, spinning a well-tended wheel; a journey in which no-one ever really gets off the saddle.


 

Jesse Cutts/Heavy Lamb: ‘CONFINEMENT_release2’
The Confinement Tapes, CONFINEMENT_release2
Download/streaming single
Released: 8th April 2020
Get it from:
free/pay-what-you-like download from Bandcamp
Jesse Cutts/Heavy Lamb online:
Facebook Soundcloud Bandcamp Last FM

Godcaster: ‘Serpentine Carcass Crux Birth’
Ramp Local (no catalogue number or barcode)
Download/streaming single
Released: 13th April 2020

Get it from: download from Bandcamp or Amazon Music; stream from Spotify
Godcaster online:
Facebook Bandcamp Last FM YouTube Spotify Instagram Amazon Music

Kryptograf: ‘The Veil’
Apollon Records, no catalogue number or barcode
Download/streaming single
Released: 17th April 2020

Get it from: download from Bandcamp, stream from Amazon Music or Spotify
Kryptograf online:
Facebook Bandcamp Last FM YouTube Spotify Amazon Music
 

March 2020 – single & track reviews – Jack Hayter’s ‘The Dark End of the Street’; Bijou Noir’s ‘Tomorrow Never Knows’; Holly Penfield’s ‘Diggin’ It’

31 Mar

“This old earworm in my head while I take my lonesome walk in the time of Corona. A very rough and ready recording and, sorry, got some of the words wrong. Stay safe and stay well.” Warm, self-deprecatory sentiments from Jack Hayter; under voluntary lockdown in Gravesend, broadcasting via webcam, and toying with his pedal steel and with this venerable “best cheatin’ song ever”.

As ever, he plays himself down. Certainly he can’t complete with the deep Southern soul tones of James Carr from the original version: so regal that they transformed the Penn/Moman tale of stolen backstreet fumbles into the tragedy of a king felled by love. Jack’s voice, in contrast, sounds as if it’s been on the sticky end of about a hundred too many bar fights, losing a lung along the way. As ever, though, it’s a strength – a magnificent, humanising flaw which lends his originals and his interpretations a battered and compassionate humanity.

Compared to the majesty of Carr’s pair of cheaters, Jack’s pair of illicit lovers may be past their best; possibly ignorable shunt-asides in the game of life, perhaps stuck in wrecks of marriages, but neither age nor circumstances kills off instinctive passions. Jack’s rendition tempers the tragedy with an air of flinching defiance: his lovers are going to feel the weight come down on them eventually, but they’re going to drain these moments for whatever all-to-rare life savourings present themselves. “I know time is gonna take its toll / We have to pay for the love we stole / It’s a sin and we know it’s wrong / Oh but our love keeps coming on strong…”

 
Bijou Noir‘s Eurotrance version of ‘Tomorrow Never Knows’ (originally broadcast as part of the Give|Take label’s COVID-20 Live Streaming Series) really ought to be laughable, but it isn’t. The original Beatles version was a benchmark, their front-and-centre pop suddenly kissed by raga and the avant-garde with none of any of the elements involved being diminished. Four decades of airplay might have dulled its impact, but that’s no reason to deny that impact: the feeling of a song curling up at the corners like a magic carpet, of time running every whichway; and beyond that, the ‘Book of the Dead’-inspired call for the death of ego and the willing surrender to the journey beyond it.

Staying true to his own methods, Bijou Noir’s Augustus Watkins sacrifices much. He ignores the original’s specific psychedelic dislocation; he strips the song back to the melody line; and then he refurbishes it with layer upon layer of blushing skirling synthwork, of the kind mined by Simple Minds back in the start of the ’80s. In many respects, it’s the clean edit, and we know what kind of butchery that can involve.


 
Augustus gets around this by tapping into a different egolessness: that of the communality of the dancefloor, where hundreds of solipsistic experiences can merge into a collective spiritual one. What’s left after all of the 1960s sonic wizardry is removed? Lennon’s instinct for tune and directness; a set of instructions which need no technology and, indeed, next to no culture; added to this, Bijou Noir’s knack for the triggers of clubland and the transcendent post-humanity of electronica.

In contrast to the two songs above, ‘Diggin’ It’ might be original, but perhaps it isn’t the best song that a revitalised Holly Penfield has to offer these days. The chorus is pure, hoary corn and it doesn’t have the tango grace of last year’s ‘La Recoleta’. Still, there’s a winning exuberance to its roadhouse rock swagger and its brassy flourishes. Further evidence of Holly’s ongoing trip into roots rock, it’s happy to be a simple celebration of love and contentment, and it brims over with the fulfilment that was missing from the angsty synthpop of her Fragile Human Monster years.


 
With time having added a little extra whisky grain to her gorgeous, gutsy voice, Holly’s spreading the satisfaction – “Never thought I could get this far, / but if love is all then that’s what you are. / With your secret smile and forgiving eyes / your laughing style makes you Buddha-wise / Drank from cups of tears and trust, / paradigms of pain. / Thirsting for / something more -/ and now my glass is overflowing in the pouring rain.” In the spirit of sharing, this is a free download from here, and you can cop a direct quick listen here

Jack Hayter: ‘The Dark End of the Street’
self-released (no catalogue number or barcode)
Video-only track
Released:
28th March 2020
Get it from: view on Vimeo and YouTube
Jack Hayter online:
Homepage Facebook Twitter MySpace Soundcloud Bandcamp Last FM YouTube Vimeo Deezer Spotify Amazon Music

Bijou Noir: ‘Tomorrow Never Knows’
Give|Take, GT012 (no barcode)
Download/streaming single
Released:
28th March 2020
Get it from: free download from Give|Take online store oy pay-what-you-like from Bandcamp
Bijou Noir online:
Homepage Facebook Twitter MySpace Soundcloud Bandcamp Last FM Apple Music YouTube Spotify Instagram Amazon Music

Holly Penfield: ‘Diggin’ It’
Raymond Records (no catalogue number or barcode)
Download-only free single
Released:
31st March 2020
Get it from: free download here
Holly Penfield online:
Homepage Facebook Twitter Last FM Apple Music YouTube Deezer Google Play Spotify Tidal Instagram Amazon Music
 

January 2020 – single & track reviews – The Powdered Earth’s ‘Hold Your Breath’, Broads & Milly Hurst’s ‘Happisburgh’, Lifeboats’ ‘Hurt’

31 Jan

The Powdered Earth: 'Hold Your Breath'

The Powdered Earth: ‘Hold Your Breath’

After their gently atmospheric piano overture earlier in the month, it’s proper debut-single time for Gloucester’s The Powdered Earth: time to find out what they’re actually about. Their ethos is apparently one of writing “little fictions… bringing storytelling to the fore” with a backdrop of “minimalist, melodic melancholia”. With a spec like that, and the previous evidence, you’d expect something like a more genteel piano-based Arab Strap.

Well, not quite… or not yet. Initially, ‘Hold Your Breath’ goes for what seems to be a much bigger and non-fictional story – that of the struggle against deforestation in Brazil – but they tell it in an understated way. In Brazil itself, this tale would probably have come through first-hand, via rap consciência or funk carioca, or possibly as some kind of mournful retro-fado. In the United States, it would probably been plunked or punked out over a banjo as a raucous post-Seeger tale of injustice visited on the working man. From their quiet corner of England, The Powdered Earth tell it in their own soft and sober way, trying to stay true to their instinctive sound while letting the story tell itself.

It sounds like a minimalist piano lieder, sung by Shane Young in a small, precise, discreet voice. George Moorey’s bolstering of synths (squashed brass, mechanical choirs) is similarly small and discreet. The lyrics, too, have the simplicity and directness of a pared-down folk song: “there were many of them. / They were gathered near the wood. / We had only handmade tools / and the clothes in which we stood… The ruling party wielded / the means to terrify, / but evil only triumphs / when we good men stand by.”

Listening to this is an odd experience, since it’s both detached and authoritative. You’re pulled into the gaps in the arrangement, into the void where the anger should be raging, as The Powdered Earth clarify that this is an outrage that occurs over and over again. “Miners brought the mercury / that made the river bend,” Shane pronounces. “Bolsonaro’s loggers / will leave nothing to defend.” The title itself is never mentioned; an unspoken warning to be decoded once you move out from the local outrage and start considering it as a small sign of a bigger problem.


 

Broads & Milly Hurst: 'Happinsburgh'

Broads & Milly Hurst: ‘Happinsburgh’

Over on the other side of England, Norwich ambient ramblers Broads have teamed with kindred spirit Milly Hurst for an album of music inspired and partially built from field recordings made throughout the county of Norfolk. Named after a coastal village, ‘Happisburgh’ is a preview of that work; in itself, with its emphasis on widely-spaced reverberant piano, not too different from what The Powdered Earth are doing.

It’s wordless, though – their own sparse Debussian piano part backed up with a little glitch-static and a growing sweet, subliminal agreement of harmonium. The video is a sequence of slow pans across, and sustained shots of Happisburghian scenes: tumbled groyne stones on the sand, the red-banded lighthouse, blue-brown breakers under the wide Norfolk sky; a solitary cliff bench. The second part picks up speed with a rolling piano arpeggio, the sound of feet running through sand and gravel picked up, glitchified and looped. Towards the end, the footstep loop corrupts and stutters, becomes intermittent, vanishes.


 
Probing gently into location and inspiration, like an archaeologist with a fine brush, unlocks some of the messages. Like much of the Norfolk coast, Happisburgh is eroding, dropping fragment by fragment into the sea. It’s shored up by groynes and by its inhabitants’ reluctance to let it go; but has now been abandoned by government, its support withdrawn. It’s a vanishing village which also happens to be the oldest human settlement in Britain, with ancient flint tools in its earth strata, and with the earth’s oldest human footprints outside of Africa once discovered on its beach. Knowing this, the meanings of the sounds come into sombre and beautiful focus – the currents and tides in the shifting piano; the recorded footsteps, once clear as a bell, becoming obscured by time and processing, ultimately disintegrating out of the picture. Our history, even our deep history, vanishes in front of us.

Lifeboats: 'Hurt' (featuring Rena)

Lifeboats: ‘Hurt’ (featuring Rena)

While Lifeboats‘s ‘Hurt’ doesn’t share much musically with either ‘Happisburgh’ or ‘Hold Your Breath’ (being a piece of noisy post-shoegaze guitar pop) it does sort of fit in here by dint of a shared initial and a shared theme of loss, relinquishment and resistance. Lifeboats are a new teaming of Prod Pritchard (main songwriter for Oxfordshire bands Flow and Airstar, as well as being a right-hand man for Owen Paul) and Austrian singer-songwriter Rena (the latter listed as a guest on this single but, so far, very much part of the sound and craft).

‘Hurt’ bustles along on ahead-of-the-beat guitar thrums, not a million miles away from Ride, the Velvets or from Bowie’s “Heroes”. The last, in particular, serves as inspiration, since Rena’s vocal sings out a weathered but hopeful anthem of taking the blows but remaining resilient – “hurt is just a part of living / just like breathing. / We ache before we are – / and fate is beyond all reason; / and then, every season, / above what we control… / This life / we are born to live in, / and the darkness hiding / but the morning’s coming.” She imagines herself propelled, strengthened, along the airwaves, singing “though I’m cracked and shaking, / I will not be broken. / When life is taking its best shot, / say “is that really all you’ve got?” It’s a simple, solipsistic resistance compared to those implied or required in ‘Hold Your Breath’ and ‘Happisburgh’, but it’s there.

 
The Powdered Earth: ‘Hold Your Breath’
The Powdered Earth (no catalogue number or barcode)
Download/streaming single
Released: 31st January 2020

Get it from: now part of the ‘Singles’ EP on Bandcamp
The Powdered Earth online:
Homepage Facebook Twitter Bandcamp YouTube Deezer Spotify Instagram Amazon Music

Broads & Milly Hurst: ‘Happisburgh’
Humm Recordings, HUMM08 (no barcode)
Download/streaming single
Released: 31st January 2020

Get it from: download from Bandcamp or Amazon; stream from Deezer or Spotify
Broads online:
Facebook Twitter Soundcloud Tumblr Bandcamp Last FM Deezer Instagram Spotify
Milly Hurst online:
Homepage Facebook Twitter Soundcloud Bandcamp Last FM YouTube Vimeo Spotify Instagram

Lifeboats: ‘Hurt (featuring Rena)’
Nub Music (no catalogue number or barcode)
Download/streaming single
Released: 31st January 2020

Get it from: download from Qobuz or Amazon Music; stream via Soundcloud or Spotify
Lifeboats online:
Soundcloud Spotify

 

January/February 2020 – upcoming London folk/singer-songwriter/experimental gigs – Aga Ujma, Yoni Silver, Yael Roberts, Merlin Nova and Sophie Le Roux at Mortal Oil 2 (24th January) plus Aga Ujma and Nina Harries at PinDrop Session (28th February) and Aga Ujma and The Sages at SOAS (21st February)

22 Jan

Mortal Oil 2, 24th January 2020

More new-ish performance territories; this time down in south London by Nunhead Green, where a somewhat battered but much-loved and independent-spirited shopping local parade currently hosts the Strange Parade venue. The latter is hosting “a night of low-voltage experimental acoustic performance and visual art” at the end of the week, co-curated by Merlin Nova along with filmmaker and photographer Sophie le Roux. This is the second night in the series, which aims to “use no electronic machines (apart from a kettle) and aim to curate acts which have used as little electricity as possible during the processes of their practices.” Tea, whiskey and pom bears are provided as an extra audience incentive; and the last event, back in November, featured (in addition to Merlin) performances by avant-garde double bassist Otto Willberg, all-forms free dancer Sofia Filippou and visual artist Flora Hunt.

Merlin’s been in here several times before as a boundary-hopping singer-instrumentalist, sound artist, poet and monologuist who plunges her imagination and thirst for performance into any opportunity and shapes her art and the situation to fit. Initially a radio broadcaster and soundscaper, she’s the possessor of an unsettling vocal range and a ravenous perspective which she uses for everything from imaginary dronefolk music and the weirdest of weird pop to solo audio dramas…. here’s a selection of what she gets up to.


https://soundcloud.com/user-615512661/to-the-sun

 
Of the two other musicians featured this week, ‘Misfit City’ has previously crossed paths with bass clarinettist/saxophonist Yoni Silver while he was backing Charles Hayward in twisty groove ensemble Timestretch Alarmsong during October last year, and as part of the Ashley Paul Ensemble back in 2017, although he’s also noted for his work with the Hyperion Ensemble. He also sings and plays violin, piano and computer, sometimes simultaneously, so his options for noisemaking are pretty varied. Here’s the A-side of his recent ‘Nethertongue’ cassette, one of his Denis D’Or trio tracks and a solo…



 
As for Aga Ujma, I’ve been hearing about her for a while: a young Polish singer-songwriter and composer also enthralled by English and Indonesian music forms and the connections she makes between them. Though she can quite happily make her way as a singing guitarist with a nice line in Joanna Newson covers (an artist she sometimes resembles, not least in the reedy glory of her vocals) she’s a committed ethnologist who creates art in accordance with her extensive studies, and is as much likely to accompany herself on a quiverful of rarer instruments – the Javanese gamelan-related gender barung xylophone and plucked siter; or the Indonesian sasando, “a gorgeous thirty-two-string, butterfly-winged zither”.




 
The remainder of the evening’s visual art component comes from Yael Roberts, who “hand-prints from found wood to create large scale installations (exploring themes of death, mortality, repetition, and presence.” While she’s got a parallel line in performance art (much of which is captured on video and stills here), her contributions to this particular evening appear to be static art: a set of ceramics made in collaboration with Goldtapped Gallery’s Juliet Fleming.

* * * * * * * *

Aga Ujma + Nina Harries, 28th February 2020I should also mention that Aga Ujma is also playing a couple of other London gigs in February. One is a LaLa Records’ Pin Drop Sessions in Peckham where she’s in a double bill with double bass player singer-songwriter Nina Harries.

As a player, Nina follows in a family tradition (her father Tim Harries has double-bassed prominently for Steeleye Span, Bill Bruford’s Earthworks and Brian Eno, amongst others). That said, her musical development and appetites are very much her own; formed not just by parental example and extensive classical training but by immersion in dance theatre and in work with “story telling star gazing ukulele agit-pop” band The Burning Glass, gonzo bluesman John Fairhurst, folk-punkers Barbarella’s Bang Bang, electro-classicalists the London Electronic Orchestra and Symphonica. Her technique’s impeccable and her songwriter voice wide and unfettered, as happy with the whimsical as the mesmeric.




 
The other concert, a week earlier, is a SOAS music showcase in the centre of town which also features world fusion band The Sages (previously The Seven Sages), featuring Yijia Tu, Peadar Connolly-Davey and Gregor Bauer, and blending music strands from East Asian folk music and Chinese Sizhu with those of western forms of folk and indie rock.

The Sages + Aga Ujma, 21st February 2020

More about them here – “as a diverse cosmopolitan generation growing up under an age of globalization and other social changes, the band aims to explore to break through concepts such as “East” and “West,” cultural identity, and musical “genres” through both original composition and adaption of traditional folk music. Indeed the “The Sages 竹林七贤” is a reference to a group of seven literati, artists and scholars in ancient China who chose to escape mundane and hypocritical secular life and status to live in the remote natural countryside with the companionship of music, poetry, art (and wine) in search of a higher spiritual fulfilment.”

Some examples of what The Sages play are here:

 
* * * * * * * *

Dates:

Mortal Oil 2: Aga Ujma + Yoni Silver + Yael Roberts + Merlin Nova + Sophie Le Roux
Strange Parade, 123 Evelina Road, Nunhead, London, SE15 3HB, England
Friday 24th January 2019, 7.30pm
– information here

SOAS Concert Series presents:
The Sages + Aga Ujma
Brunei Gallery @ SOAS, Thornhaugh Street, Russell Square, Bloomsbury, London, WC1H 0XG, England
Friday 21st February 2020, 8.00pm
– information here and here

LaLa Records presents
PinDrop Session: Aga Ujma & Nina Harries
One & All Cafe, 28 Peckham Rye, Peckham, London, SE15 4JR, England
Friday 28th February 2020, 7.30pm
– £10 or pay-what-you-can event – information here and here
 

January 2020 – upcoming gigs – electronica, jazz and gamelan in Bristol and London – Byron Wallen plays Boards of Canada (17th, 18th January); Bersarin Quartett and LTO (21st January)

12 Jan

The last few tickets are selling out for the return of Byron Wallen’s audacious gamelan reinvention of Boards Of Canada’s ‘Music Has The Right To Children‘, playing in Bristol and London next weekend (following its London debut a couple of years ago). Quick repro of the blurb here:

“Having previously sold out two nights at London’s famous venue the Jazz Cafe, Byron Wallen comes to EartH, Hackney and Bristol’s Thekla for two incredible shows in January. His fantastic show pays homage to Boards of Canada’s seminal album ‘Music Has The Right To Children‘ working with his rarely used Gayan Gamelan Ensemble for a truly unique night.

Music Has The Right To Children‘ is the debut studio album by Scottish electronic duo Boards of Canada. It was released on 20 April 1998 in the United Kingdom by Warp and Skam Records and in the United States by Matador Records. The album stands as the Scottish duo’s magnum opus, made all the impressive by the fact that it was their debut record. An adult meditation on childhood, concerned with play, naïveté and nostalgia, all tinted with rosy pastoralism, the sensitivity of the compositions marry beautifully with Byron’s orchestration of the gamelan sound.”

The band is Byron Wallen (trumpet and conches), keyboard player Chris Jerome, bass player Paul Michael and drummer David Dyson, with the Gayan Gamelan Ensemble made up of Freddie Abel Parish (saron, trumpet), Wilf Diamond (gongs, trombone), James Wade-Sired (saron demung, peking, trombone), Thomas Morley (bonang barung, keyboards) and Tara Jerome (bonang panerus, keyboards). Here’s Byron talking about the project, and a snippet of last year’s Gayan Kraftwerk project.



 
* * * * * * * *

On a more purist electronica tip, there’s an evening of post-classical beat-and-synthery a few days later in London, when a couple of acts on the Denovali label come out and do their thing.

Bersarin Quartett + LFO, 21st January 2020

Thomas Bücker, a.k.a Bersarin Quartett has been at work for a decade now on an evolving body of music from the gushing, overwhelming haunted-rehearsal-room ambience of his debut album, the graceful space-capsule visions of the follow-up and the melancholic minimal sheen of the third effort. While Bersarin music has all of the soundtrackery smoothness of its genre, there’s a yearning side to this which cuts through the drawbacks of slickness. The project’s newest album, ‘Methoden Und Maschinen’, sometimes refines this and sometimes slips deeper into aspects of post-rock guitar gutturality and Tangerine Dream sequencer dreams.





 
In support, former Old Apparatus member LTO showcases his own new “Déjà Rêvé“ album focussing on an “abstracted sense of time and place” via busy floating piano patterns, room booms, vaporous keyboard pads and passing comment from cirrus guitars and mournfully reverberant brass hangings. It sounds as if the world of post-ery has gone so far round it’s colliding with early Mike Oldfield albums again. No bad thing.



 
* * * * * * * *

Dates:

Soundcrash presents:
Boards of Canada’s ‘Music Has The Right To Children‘ played by Byron Wallen’s Gayan Gamelan Ensemble

Bersarin Quartett + LTO
The Jazz Café, 5 Parkway, Camden Town, London, NW1 7PG, England
Tuesday 21st January 2020, 5.00pm
– information here, here and here
 

January to March 2020 – assorted London gigs – Holly Penfield at 100 Club (8th March) and with Ian Ritchie at the Fiddler’s Elbow (10th January); skewed surf, pop and acoustica with Kenny Process Team, Keith John Adams and The Happy Couple (13th January); Balkan/Gaelic folktronics with Arhai (18th January); plus Minute Taker’s ‘Wolf Hours’ in Manchester (24th January)

7 Jan

Holly PenfieldIf you missed Holly Penfield’s London launch gig for her ‘Tree Woman’ album back at Halloween last year – or if you attended and wanted to see it again – then she’s looping back on herself and staging another one at the 100 Club on 8th March. For those unfamiliar with her, here’s what I wrote (indeed, here’s what I recycled) last time.

“Raised in San Francisco (and a veteran of the 1980s LA pop scene with the scars to prove it) Holly spent much of the ‘90s writing and performing the psychodramatic one-woman pop show ‘Fragile Human Monster’ in London and elsewhere. A show with such troubled and intense undercurrents that it eventually blew itself apart, it’s now spawned a return… but under very different circumstances. The whirling mirror-glass synths and saxophones of the old days have been replaced by a gritty post-Americana rock band (which growls, gnaws and struts through her songs like a Cash or Waits ensemble) while Holly herself has mostly forsaken standing behind a keyboard (except for when a grand piano ballad calls for that set of skills).

“It’s funny, sad, uplifting and stirring all at once. Once the very embodiment of storm-tossed waif and precarious survivor, Holly’s now a wiser and much happier woman. She still absolutely owns the stage, though, helping herself to a big dollop of the jazz and blues flavourings which shaped her initial development, playing a dash of ukulele and engaging in some zestful shimmying (and some delightfully ludicrous party outfits, worn with wit and flair – it seems as if her recent steps away from cabaret involved at least one sly step back).

“What hasn’t changed is the quality of her singing, and of her songs. While old FHM standards like Misfit, The Last Enemy, puddle-of-grief ballad Stay With Me, and slinking fingersnapper You Can’t Have The Beauty Without The Beast have shed skins and made the transition to the new show, Holly’s also been dipping into a trunk of neglected and mostly previously unheard work, including the tremendous state-of-the-world song Confessions (based around a lyrical hook she once dangled in front of an intrigued Joni Mitchell) and the vivacious Tree Woman (a more recent effort in which she vigorously embraces both her own ageing and the resilience that comes with it).”



 
Holly Penfield & Ian Ritchie, 10th January 2019If you can’t wait until March, Holly and her multi-instrumentalist husband Ian Ritchie (the latter an ex-Deaf School member recently fresh off playing sax on the Roger Waters tour) will be playing another London gig this coming Friday, up at the Fiddler’s Elbow. This one will be an “experimental thirty-minute duo gig of originals with vintage ‘80s drum machine… interesting, quirky,and challenging!”

Although Holly and Ian are going out under their Cricklewood Cats moniker (under which they’ve previously released a few synth-jazz swing songs), theirs has been a long and varied partnership also encompassing cabaret, out-and-out jazz balladry, noisy rock diva songs and the bewitching sequencer-torch-pop of the ‘Parts Of My Privacy’ album. So you could expect takes on all of the above and more, including some of Holly’s newer songs. At the moment she’s on a serious creative upswing, and there’s rarely been a better time to see her than now.


 

* * * * * * * *

Kenny Process Team + Keith John Adams + The Happy Couple, 13th January 2020On the following Monday, the reunited and reinvigorated Kenny Process Team launch their own new album, ‘Travlin’ Light With… Kenny Process Team’. Actually, it’s an old one, recorded as a live session over twenty years ago with the band’s 1998 lineup but lost in the abstracted shuffle of the band’s history, which has seen members swap out, disappear, impale themselves on fences and even join Oasis.

Part avant-surf, part Afro-prog and compared in their time to both The Ventures and Captain Beefheart (while proggies will also find parallels with Television and The League of Gentlemen), there’s more on the Kenny Process back story here. In the present, with the addition of Rhodri Marsden as new guitarist (replacing the late Simon King) and thanks to his existing connections with Lost Crowns and Prescott, they’re further cementing their links with London’s current crop of art/prog/psych/cellularists.



 
Also playing is KPT labelmate Keith John Adams. Once Rhodri’s bandmate in zestful 1990s avant-skifflers Zuno Men, for twenty years now Keith has been a solo act coming at acoustic pop from a gently skewed angle, buffeting around friendly lyrical ideas like a sozzled housefly bumping against a lampshade and turning out understated little song-gems as he does so. His accidental forebears might include Robyn Hitchcock, Kevin Ayers; you might also pretend that he’d been dreamed up from some lazy Walthamstow afternoon when Leon Redbone shared a sofa with the young Bill Oddie.



 

Opening the evening is The Happy Couple, the languid instrumental duo formed by Kenny Process drummer Dave Ross and his life partner Judith Goodman, born out of two decades of inseparable love mingling with the inspiration of the Epping Forest woodscapes where they live. Judith plays a variety of open-tuned guitars, predominantly a Weissenborn acoustic slide guitar but also a 4-string tenor and a 3-string cigar box model (plus a mysterious “early English” example which suggests a rewriting of instrumental history). Leaving his drumkit behind, Dave plays a variety of mouth-held lamellophones: a classic American jaw harp, Indian morchangs in both brass and iron, a Norwegian Munnharpe and a mouth bow harp created in Devon. As for the music, it’s a relaxed evocation of companionship, glissando and boing and intersecting rhythms: or, as Judith comments, “it’s about the sounds that happen when we put our sounds together. We just create a world we want to be in.”



 
* * * * * * * *

Arhai, 18th January 2020

The following Saturday, British/Serbian electronic folk project Arhai slip into the little cellar at the Harrison to deliver their own electro-acoustic atmospheres. A two-decade-long project led by singer/composer Jovana Backovic, they were a traditional Serbian acoustic octet for their first ten years, gradually shifting into electric terrain before dissolving and allowing Jovana to form the current duo with British multi-instrumental specialist Adrian Lever (mediaeval dulcimer, hammered dulcimer, guitar, tambura, Bulgarian lute etc). Now they’re Balkan-cum-Gaelic, intertwining ancient and technological: or, as they put it “rethinking the archetypal modes of music performance in the context of modernity”. Which sometimes means they’re ultra-accessible and synth-quilty in the familiar Clannad model, and sometimes means that they’re off and racing like a cross between izvorna and a hyperspatial hip hop track.




 
* * * * * * * *

All of the above events will be in London: for the next one, you’ll need to head up to Manchester, where singer, songwriter and electronic pop creator Ben McGarvey, a.k.a. Minute Taker, is unveiling his multi-media performance ‘Wolf Hours’. Ben is no stranger to mixing theatre and music, having already presented a love-and-ghosts story on tour with ‘To Love Somebody Melancholy’ featuring animations from Ana Stefaniak. ‘Wolf Hours’ is an even more ambitious undertaking – “a unique performance combining mesmerising film with a dynamic live soundtrack. From forbidden love in the First World War, to the pain and rage of AIDS, to contemporary hedonism and heartbreak, ‘Wolf Hours’ explores the stories of gay men at different points in time through their dreams. This series of stunning new short films (directed by John Lochland, Joe Stringer, Kirk Sylvester, Raphaël Neal and Ben McGarvey) are accompanied throughout by Minute Taker performing an intimate musical and vocal score that both builds the atmosphere and pulls on the heartstrings. Visually explosive and emotionally thrilling, ‘Wolf Hours’ transports the audience through pleasure, grief, lust, joy and our collective historical imagination.”



 
In this interview with ‘Superbia’, Ben expounds on the approach he took when putting together ‘Wolf Hours’, which he describes as “jumbled-up memories, fears and fantasies.. It’s presented a bit like late night TV from back in the ’80s and ’90s (when anything queer was relegated to an after-midnight slot!) with different programmes and images emerging out of the static as you drift in and out of sleep… I also decided to include lots of archive footage in the show, which explores the way homosexuality has been portrayed in the media over the years… all of the stuff that finds its way into the subconscious minds of the characters as they lie awake at night, having an effect on how they view themselves and the gay community.” He’s hoping to take the show out on a broader tour much later this year, but for now this is all that you’re getting…

* * * * * * * *
Dates:

Holly Penfield & Ian Ritchie: The Cricklewood Cats
The Fiddler’s Elbow, 1 Malden Road, Kentish Town, London, NW5 3HS, England
Friday 10th January, 2020, 8.20pm
– no information links, just turn up…

Kenny Process Team + Keith John Adams + The Happy Couple
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Monday 13th January 2020, 7.30pm
– information here, here and here

Folk and Roots presents:
Arhai
The Harrison, 28 Harrison Street, Kings Cross, London, WC1H 8JF, England
Saturday 18th January 2020, 7.30pm
– information here, here and here

Minute Taker presents ‘Wolf Hours’
Hope Mill Theatre, 113 Pollard Street, Beswick, Manchester, M4 7JA, England
Friday 24th January 2020, 8:00pm
– information here and here

Holly Penfield
The 100 Club, 100 Oxford Street, Soho, London, W1D 1LL, England
Sunday 8th March 2020, time t.b.c.
– no information links yet
 

January 2020 – single & track reviews – Madrona’s ‘Alone with a Crow and a Pylon’; Madrona & Chris Cundy’s ‘Humming I’ and ‘Humming II’

3 Jan

Easing into the new year with some pastoral drones…

Here’s the elusive Cheltenham drone duo Madrona, about whom there’s little else to reveal at the moment. Their name’s taken from a fruiting Pacific coast shrub with no particular outstanding qualities, and even their precise location is questionable (Cheltenham appears to be where they congregate and play live, but it’s also possible that they just blow into town on these occasions, like friendly tumbleweeds). So it’s all in the music, then.

Madrona: 'Alone with a Crow and a Pylon'

Madrona: ‘Alone with a Crow and a Pylon’

Recent Bandcamp converts, Madrona have begun by mining their odds-and-sods file bank. ‘Alone with a Crow and a Pylon’ originally came out a couple of years ago on a Linear Obsessional compilation. It’s two minutes of oscillating, intentional generator drone; part reed harmonium, part electronics, with the former pedal clanks and the dipping pitches from the latter tying the music in with a feel of ageing but dogged technology. Mixed in are field recordings of birds and the outside air. The crow calls aren’t the standard scene-setting monotonous carks, but wrap around the instrumentation in varied and conversational tones. A single gabby corvid chatting, almost an enthusiast; a live counterpart to the stumbling pulse of the electrical machinery; a soloist working wittily against a conductor. (Sorry…)


 

Madrona & Chris Cundy: 'Humming I'

Madrona & Chris Cundy: ‘Humming I’

Simultaneously, Madrona are releasing a pair of interrelated tracks recorded with bass clarinettist Chris Cundy. ‘Humming I’, at twelve-and-a-half minutes, is the longer: dissonant layers of baritone and bassy reeds overlaying and weaving through each other at a pace that’s less leisurely than watchful. Cundy’s lines gradually evolve from single sustained stubbornnesses to sweet attenuated micro-melodies stretched out across protracted seconds. While sticking to their drones, Madrona nonethess rise to meet him; adding more consonant pitches to soothe the tension, or shorter rising drone parts as if reaching up.

By the halfway point, Cundy’s fully into jazz minimalist mode, toying with accenture, rallentando, manic flutters and pared harmonics across his short phrases, but increasingly with an undercurrent of blues. It ends somewhere gently celestial: Madrona’s tones resolved peacefully, Cundy playing on an overblown edge tone which nonetheless hovers somewhere serene.


 

Madrona & Chris Cundy: 'Humming II'

Madrona & Chris Cundy: ‘Humming II’

The nine-and-a-bit minutes Humming II is different from the outset. Warm air rather than disturbed currents, consonant hanging chords of harmonium which vary in their bulk and in subtle changes of intensity. Cundy’s tone may vary from falsetto or didgeridoo to hallucinated cattle or distant motorbike; but a brooding, urgent undercurrent of melody always wins through, whether or not it gets very far. On the other hand, Cundy’s quite capable of wringing the maximum impact out of a simple slow ascending scale, so even the simplest motifs have a surprising substance. It ends on a quiet clatter of keys, like the lashing of the loose end of a film reel.


 

Madrona: ‘Alone with a Crow and a Pylon’
(self-released)
Download-only single
Released: 3rd January 2020
Get it from:
Bandcamp

Madrona + Chris Cundy: ‘Humming I’
(self-released)
Download-only single
Released: 3rd January 2020
Get it from:
Bandcamp

Madrona + Chris Cundy: ‘Humming II’
(self-released)
Download-only single
Released: 3rd January 2020
Get it from:
Bandcamp

Madrona online:
Facebook Bandcamp

Chris Cundy online:
Homepage Facebook Soundcloud Bandcamp Last FM YouTube Vimeo
 

December 2019 – upcoming London gigs – Christmas music as Daylight Music 2019 autumn season concludes with Tomorrow’s Warriors Soon Come Big Band and Junior Band and Loucin Moskofian (7th) and a Lost Map party with Pictish Trail, Callum Easter, Rozi Plain and Glasgow Dreamers (14th); plus a follow-up Lost Map show with Pictish, Callum, Savage Mansion and Clémentine March (15th)

30 Nov

Daylight Music 10, 2019

As fits Daylight Music’s family-and-all ethos, the final two dates in their autumn 2019 season are Christmassy ones.

Daylight Music 325: Tomorrow’s Warriors Soon Come Big Band present ‘The Nutcracker’ + Junior Band + Loucin Moskofian, 7th December 2019The 7th December gig is a burst of Christmas jazz from the extended Tomorrow’s Warriors family, with one of their newer ensembles, the Soon Come Big Band, taking on a jazz version of ‘The Nutcracker’(originally reworked from Tchaikovsky’s original in 1960 by classic partners-in-big-bandery Duke Ellington and Billy Strayhorn). The score includes the transformation of The Sugar Plum Fairy into Sugar Rum Cherry and that of the Dance of the Reed Pipes into Toot Toot Tootie Toot.

Further info from the National Museum of American History:

“In his original liner notes for the Ellington-Strayhorn Nutcracker Suite, record producer Irving Townsend included the fantastic fiction that Ellington met Tchaikovsky while Ellington’s orchestra was performing at the Riviera Hotel in Las Vegas. Knowing that the Russian died in 1893, a full six years before the American was born, this meeting never could have happened in the literal sense. However, listening to the jazzed-up Nutcracker, one could imagine the work as a meeting place for the three great composers, separated by oceans and decades, but communicating through art.

“Ellington and Strayhorn did not simply place jazz rhythms over Tchaikovsky’s music. Instead, they picked up the notes, recast the beats, communed with the themes, and recreated the work, turning it into something that was at once completely their own and completely Tchaikovsky’s. In doing so, they showed that while music may be the universal language, it is spoken with many accents (and therein lies the fun).”


 
Also on hand is the Junior Band, a quintet of eleven-to-fifteen year olds taken from the youngest TW performer set Junior Warriors; plus TW’s Female Frontline frontwoman Loucin Moskofian, a young jazz/neo-soul/R&B singer in the classic mould who’s currently creating original work on marginalisation, identity and oppression.

 

Daylight Music 326: Lost Map presents ‘Yuletide In A Scotch Sitting Room’(featuring Pictish Trail + Callum Easter + Rozi Plain + Glasgow Dreamers), 14th December 2019The following week, on the 14th, the form-shifting/try-anything Scottish singer-songwriter and Lost Map label boss Johnny Lynch – a.k.a. Pictish Trail – heads down from the isle of Eigg bringing a bunch of his labelmates with him for their ‘Yuletide In A Scotch Sitting Room’ concert. “Expect a veritable clootie-dumpling of heart-warming wonky-pop, with the occasional cover of an Ivor Cutler song. The Union Chapel will be awash with Scottish voices, people pretending to be Scottish, and probably your Gran. (Everyone’s got a Scottish Gran, right?).” For what it’s worth, they pulled off something similar at Daylight Music the year before last…



 

Besides Pictish Trail, party confirmees so far are Edinburgh-based “otherworldly rhythm-and-blues” singer-songwriter, instrument-sound-warper and former Stagger Rat Callum Easter and Winchester alt-folkie/This Is The Kit member Rozi Plain. Knocking around at the end of the bill are Glasgow Dreamers, who are, as yet, unidentified. Last-minute Lost Map signing? Impromptu Lost Map supergroup? No-one’s saying.



 
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The day after the Daylight closer, Callum and Johnny (the latter as the “micro edition” of Pictish Trail) are staying in London and throwing a “whole afternoon-into-evening” follow-up concert at the Lexington. Also playing are a couple of the more recent-years Lost Map signings.

Lost Map at The Lexington, London (featuring Pictish Trail + Callum Easter + Savage Mansion + Clémentine March + others t.b.c.), 15th December 2019

Glasgow indie rockers Savage Mansion are led by singer-guitarist/onetime Poor Things player Craig Angus and specialise in drawling shack songs and literary dada in a Pavement vein. The work of transplanted Frenchwoman Clémentine March fuses Anglo-indie and noise rock with Mediterranean pop melodics and film editor sensibilities, and has led her from her former band Water Babies to a host of projects including floating membership of woodwose-y post-punk performance artists Snapped Ankles and, more recently, art pop choir HAHA Sounds Collective.



 
More Lost Map extended family members look set to join in at the Lexington, so watch that space…

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Dates:

Daylight Music 325: Tomorrow’s Warriors Soon Come Big Band present ‘The Nutcracker’ + Junior Band + Loucin Moskofian
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 7th December 2019, 12.00pm
– free event (with suggested £5.00 donation) – information here and here

Daylight Music 326: Lost Map presents ‘Yuletide In A Scotch Sitting Room’(featuring Pictish Trail + Callum Easter + Rozi Plain + Glasgow Dreamers)
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 14th December 2019, 12.00pm
– free event (with suggested £5.00 donation) – information here and here

Lost Map at The Lexington, London (featuring Pictish Trail + Callum Easter + Savage Mansion + Clémentine March + others t.b.c.)
The Lexington, 96-98 Pentonville Road, Islington, London, N1 9JB, England
Sunday 15th December 2019, 4.00pm
– information here, here and here
 

November 2019 – three Tuesdays of (mostly) femmetronica in London – Alice Hubble, Blick Trio and Merlin Nova (5th November), Carla dal Forno and Cucina Povera (12th November), Rachel K. Collier (19th November)

2 Nov

Following (and overlapping) the recent/current set of female poptronic gigs in London (with Caroline Polachek, Imogen Heap, Yeule and others), here are some more.

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Alice Hubble + Blick Trio + Merlin Nova, 5th November 2019

Alice Hubble (best known as half of tweetronic duo Arthur & Martha) has been striking out on her own this year and is playing at Servant Jazz Quarters on the 5th. Her debut album ‘Polarlichter’, driven by iPad workings on long journeys and transformed at home via Mellotrons and analogue synths, apparently stems from wistful envisionings of faraway places (including Ruby Falls in Chatanooga, USA, Lake Louise in the Canadian Rockies and Dubai’s Atlantis Palm hotel) plus “a desire to work on a project without constraints, to move away from the traditional song writing process and to experiment with the form. Inspired by the ’70s recordings by Tangerine Dream, Ashra and even Mike Oldfield, Alice wanted to take a more delicate approach; a distinctly feminine take on (an) often pompous ’70s progressive synth sound. Other inspirations include Delia Derbyshire, Daphne Oram, Lee Hazlewood’s Swedish recordings and 80’s American synth pop band The Book of Love.”

A good set of reference points, although if you are going to snark about the pomposity of your male predecessors it’s best if you’ve built something startlingly different. Much of Alice’s work still cleaves rather closely to those familiar silvery Germanic/kosmische synth tropes, the cautiousness of several generations of post-Tangerine Dream acolytes, albeit with twists of post-punk melancholy and Stereolab-ilk avant-pop.

As for the femininity, it’s present mostly in the preoccupations of Alice’s lyrics, such as the stern reflections on male gaze and pedestal-placing on ‘Goddess’ (“a man idolising a woman to the point that he doesn’t see her as a person. His ‘love’ is all consuming and the focus of his affection is seen merely as an object. As a result he consumes her and takes from her until she has little left, but thankfully she finds the inner strength to walk away.”). All well and good to state; but, given that the song’s mostly concerned with climbing inside its misguided protagonist in order to critique him from within, leaving the woman in question almost as enigmatic, idealised and unexamined as he did, I’m not altogether convinced. But perhaps I’m snarking now – either way, I can’t help but feel that there’s better to come. Alice has a quiet, determined voice: maybe, at the gig, we’ll find out what else it has to say.


 
Support comes in two parts, one being from jazztronic array Blick Trio, made up of veteran polymathic brass-and-wind-player Robin Blick (from the sprawling Blick/Blake musical dynasty that also includes Mediaeval Baebes’ Katherine Blake), drummer Andrew Moran (who’s put in time in groups including The Violets and Not Cool) and bass player/synth programmer James Weaver (who already plays with Robin in Gyratory System). Prior to Gyratory System, Robin was also in Blowpipe; with both these and the Trio, he’s been building jazz/clubtronic/kosmiche meldings for a good couple of decades. The Trio, however, lean more towards “post-punk rhythms and straight jazz melodies” than the club beats and electrofuzz racket of the previous acts; with Robin’s musicality and wide genre-savviness in particular calling up aural and harmonic/melodic imagery from riffling snake-charmer music to pithead brass band melancholia.


 
The other support act is Merlin Nova, who vigorously straddles the space between musician and sound artist. Too tuneful to work consistently in the latter mode, and too flat-out sonically ambitious and diverse to be restrained by the former, she instead works both of them to the bone. She creates, records and broadcasts whatever comes to her mind, whether it’s surreal foley-bolstered persona narratives, soundscaped poetry or unorthodox fragmented songs across a vocal range from femme-baritone to skyscraping whistle register.

Merlin’s most recent pair of Soundcloud offerings illustrate her restlessness. Just Calling is one of her most straightforward works (a vocal and reverbscape’d love-song of faith, degrees of separation, faith and independence), while To The Sun is a drone-strings-and-vocalise solar prayer half an hour long, equal parts Alquimia and Sofia Gubaidulina. There’s plenty more to find there, evidence of an ambitious sound creator who’s tapping at the heels of multiple precursors… Ursula Dudziak, Cathy Berberian, outer-limits Björk, Maja Ratkje…

 
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Carla Dal Forno + Cucina Povera, 12th November 2019On the 12th, left-field synthpop writer Carla Dal Forno comes to Electrowerks trailing her newest album ‘Look Sharp’, in which “the small-town dreams and inertia that preoccupied (her) first album have dissolved into the chaotic city, its shifting identities, far-flung surroundings and blank faces”, thanks to her wanderings from her Melbourne origins to London via Berlin, telling “the story of this life in flux, longing for intimacy, falling short and embracing the unfamiliar.”

Sonically it’s frowning post-punk basslines and pearly sheens around subtle hollows; occasional touches of plainsong; arrangements stroked into shape by psychedelic-via-radiophonic synthesizer bends, swoops and flutters – a big step up from the queasy lo-fi wobble of her debut. As with Alice Hubble, Carla rarely changes tone vocally, etching momentary stories of subtle revenges, covert assignations and bleak reflectiveness with the same abbreviated unruffled whispercroon; delivering songs with the crisp, faux-reticent undertones and hardnosed observation of a finishing-school ace who’s opted to spend the rest of her life speaking softly but carrying a sharp hatpin. Simultaneously minimalist and expansive, sensual and austere, revealing and forbidding, the songs of ‘Look Sharp’ are measured diary entries enclosed in dove-grey leather, giving away little but hinting at much more. It’s as if one of the early versions of the Cure had agreed to back Jean Rhys during a venture into confessional songcraft, with Delia Derbyshire adding sonic filigrees.


 
The whole record sounds attractively antiquated. Not in terms of its harking back to early ‘80s proto-Goth, but in the way it feels as if it’s been written for (and in) a monochrome London of the 1930s: sparser crowds, the hiss of steam trains and the rattle of heels in empty housing courts. In fact, ‘Look Sharp’ functions best when Carla relinquishes the more obvious darkwave thrumbles, loses the bass and trusts to her electrophonic textures and spaces. This lends the instrumentals a touch of 5am light, an air of sneaking out into an unfamiliar town while it’s still slumbering unguarded, with a dream-frown shadowing its features. For songs such as Don’t Follow Me (with its deepening undertone of sexual threat), it allows a more sophisticated atmosphere to build, sound becoming character in the way that scenery and lighting do in film.


 
In support, there’s electronicist, live-looper and spatial explorer Maria Rossi – a.k.a Cucina Povera. As anyone who’s covered Maria before will tell you, “cucina povera” translates as “poor kitchen” – like “poor theatre”, a way of making the most of minimal ingredients and lean times: indeed, of making a virtue of the enforced simplicity, to the point of deliberately choosing it. Maria’s most recent project – ‘Zoom’, released back in January – had her strip back her already-minimal gear choices to just voice and loop pedal plus the digital recorder which gave the record its name: bar the very occasional bit of huffed or clinked bottlework, or synth bloop, that was it.

Last year’s ‘Hilja’ album applied the Cucina Povera methodology to a gaseous, beatless, haunting form of ambient art pop. It was full of folk-ghosts in the machine, bringing along hints of the ecclesiastic, of children’s songs and of traditional song fragments, much of it pillowed on vaporous keyboard textures and meticulous arrangements. In contrast, the Zoom pieces were recorded in “intimate spaces full of acoustic or ideological intrigue” and were a set of impromptu, improvised rituals-for-their-own-sake. Sometimes gabbled, frequently hymnal and monastic, blurring between established language and glossolalia, they build on the mysteriousness of ‘Hilja’ while venturing into more musically naked areas, taking from the previous album’s most cut-down moments without falling back on its cloudy synth-padded comforts or its pleasing banks of harmony.

Whether these pieces can be transported, translated and performed afresh in other locations is not so clear. Perhaps, for Electrowerks, Maria will improvise a new set in honour of the Slimelight’s fallen ghosts.



 
Also stirred into the evening’s menu will be a DJ set from darker techno/DIY/industrial specialist Kenny White of the Low Company record store.

 
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At the other end of the spectrum, there’s a splash of raucous female colour. Riding the momentum from the release of her debut album last month (if you’re a budding remixer or mash-upper, Bandcamp has it complete with sample and stem packs), Rachel K. Collier plays the Grand in Highbury in mid-November, with live percussion and interactive visuals augmenting her storm of sequencers, keyboards and Abletoning. Her house-inspired, undulating electronic club pop has been evolving over six years or so now, including bold intrusions into the world of adverts, collaborations with garage/house stars Wookie, Mat Zo and Ray Foxx, and more recently her current fearless-sounding solo work.

Rachel K. Collier - 19th November 2019

It’s a powerfully assured and complete pop sound, fusing full dancefloor momentum with righteous girl-power; although one that’s been achieved in the face of considerable bullying, scorn and condescension along the way from male musicians. (If the fuck-you beat and withering dismissal in her Dinosaur single is anything to go by. You can’t say that she didn’t get her own back. Success is the best revenge.)




 
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Dates:

Parallel Lines presents:
Alice Hubble + Blick Trio & Merlin Nova
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Tuesday 5th November 2019, 7.30pm
– information here, here and here

Upset The Rhythm presents:
Carla dal Forno + Cucina Povera
Electrowerkz @ The Islington Metal Works, 1st Floor, 7 Torrens Street, Islington, London, EC1V 1NQ, England
Tuesday 12th November 2019, 7.30pm
– information here and here

Rachel K Collier
The Grace, 20-22 Highbury Corner, Highbury, London, N5 1RD, England
Tuesday 19th November 2019, 7.00pm
– information here, here and here
 

November 2019 – upcoming London experimental gigs – Janushoved’s fifth anniversary party with Rosen & Spyddet, Internazionale, Yuri and others (1st November); Orlando Harrison goes Orwellian at the Horse Hospital with Tone Generator, Imperial Leather and David Rage (1st November); Paper Dollhouse, Daniel O’Sullivan, Flowers At Night and DJ King Knut at New River Studios (2nd November)

29 Oct

Janushoved 5 Year Anniversary, 1st November 2019Enigmatically romantic Copenhagen label Janushoved are throwing a fifth anniversary party in London at the start of November. Defining a Janushoved release isn’t a precise art – you can throw around the usual reductive tags like “dream pop”, “dance music” and “ambient”, but establishing a Janushoved sound and feel is more of a textural thing. Music released on the label stretches beyond the usual complacencies, suggesting at least one extra dimension. A Januhoved piece is more like enchantment heard around a grey door; intimate and intimatory, already huge yet incrementally growing, suggesting huge technicolour cloudscapes and bioluminescent pagodas.

Janushoved label curator Mikkel Valentin Dunkerley will be playing a strong role in the show. Unsurprising, since many Janushoved artists are him in some form or another, with or without assorted collaborators. Certainly he’s bringing the expansive, heroic ’80s electronic crownings of Rosen & Spyddet (also featuring mysterious sidekick P.E.) and will be returning for a second go onstage with the incandescent, sighing minimalism of his solo project Internazionale. His Shell Fantasy bandmate Susanne Mouritsen will also step up with the plaintive trance/found sound gush of her own work as Yuri. Various DJs should be playing but are yet to be announced: if nothing else, the three Janushovedians will probably be stepping up to the decks themselves and presenting various influences and inspirations.


 
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On the same evening, you’ve also got the opportunity to go to something much more abrasive, as the Horse Hospital plays host to an evening of assorted noise and audio mysteries. It’s centred around the ‘Tape 313‘ project by Orlando Harrison (who plays keyboards for Alabama 3 under the alias of “The Spirit”, has touched on work with Coil, Red Crayola, the Amal Gamal Ensemble, Dr Miasma and the Carousel of Headless Horses, Guapo, and The Daughters of God and who puts out strange semi-occult radiophonic collages of music, found speech and rants on Resonance 104.4 FM as ‘The Wrong Show’). Best to let the press release inform… or disinform:

 
Orlando Harrison, 1st November 2019“Reworkings of long thought lost audio tapes obtained on the premises of Senate House, ‘Tape 313’ interrogates two dissident voices, uncovering hidden meaning and deciphering coded messages.

“Stammheim Prison, 1975 — Gudrun Ensslin outlines the political position of the Red Army Faction, eighteen months before her alleged suicide, her voice a ghost in the machinery of the German state. The perpetual revolution of helicopter rotors over the prison house echo the grinding of the wheels of justice below, and the relentless rotation of the swastika at its heart.

“Trafalgar Square, 1956 — Nye Bevan delivers a speech attacking Sir Antony Eden’s Conservative government following the seizure of the Suez Canal. Twenty thousand people heard Bevan speak, after which a crowd marched on Downing Street. Harrison’s deconstructions transform Bevan’s words into air-borne weapons, soaring over the equestrian bronzes of Nelson’s Column, drowning out the death rattle of the British Empire.”

Contributing to the evening alongside Orlando are various people from around the Wannamarchi Club disorganisation (in their own words, “a multinational cabal centred around the labels Broken Britain Cassettes and NKT encompassing events, radio shows and visual art activities.”) Making assorted sounds and projecting visual are assorted industrialists and other noisemakers – S.P.K. visualiser and synth player Dominic Guerin in his Tone Generator persona; Imperial Leather (industrial tapesmiths setting growling toolwork against cutup echoes of rabble-rousing speeches – he/she/they seem to have a particular fascination with Brexit dyspepsia); and David Rage. It’s tricky to track down much of anything about what anybody’s doing, some of them may be working together and some of them might be employing a single-use-then-throw-away name for the evening; but here’s a bit of Orlando and a scrap of Leather.

 
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Orlando’s Dr Miasma colleague Daniel O’Sullivan has been pretty active recently, gigging his ‘Folly’ album and his Dream Lyon Ensemble around London and Europe. The night after Orlando’s gig, you’ll find him reviving his occasional, unorthodox performance piece ‘The Honourable Daines Barrington’ – trumpeted as “an ecstatic sound and movement ritual heralding the inner succession of the hypostasis and a channeling of musics from the vegetable kingdom… based on the cryptographic responses to the letters of eighteenth century parson-naturalist Gilbert White (but which he’s also revealed, in an M Magazine interview a couple of years ago), as being about “an atavistic vegetable man” and involving “a very, very awkward costume that’s very difficult to see and perform in.” Here’s just under a minute of him doing it in Moscow back in 2016…


 
Paper Dollhouse + Daniel O’Sullivan + Flowers At Night + DJ King Knut, 2nd November 2019
This Daines Barrington revival is part of a similarly unorthodox evening, centred on the release of ‘The Walled Garden’, the brand new album by Suffolk audio-visual experimental duo and “radioactive ambient pop” creators Paper Dollhouse. Daniel will be using the same garden-themed stage set which PD have assembled for this show, upon which they’re promising a “special, spectral, 3D performance” of “the follow up to 2018’s neon-lit ambient pop album ‘The Sky Looks Different Here’, and its sister release ‘All The Colours Align’, to form the final part of a triptych set across the plains of rural Suffolk and London. Inspired by surrounding nature, domestic routine, Maggi Payne and Henning Christiansen’s ‘The Executioner’, the release was recorded on a portable twenty-four track recorder and holds up a mirror to autumn the dawn and early hours, an exploration of synthesiser experiments, field recordings and snapshots of conversations that quietly define areas of personal growth, patience, curiosity, understanding and freedom… Where the group’s previous album explored an audio journey from the rain-soaked streets of East London out to the now fast eroding landscapes of Suffolk, The Walled Garden captures the after-hours ambience that falls across Astrud’s childhood surroundings within the ancient London borough of Southwark, an area with a rich but hidden music landscape home to the outer edges explorations of Coil and Derek Jarman. While field recordings from Nina’s studio in the rural yet equally meditative oceanside pepper the long-form synth transitions and blurred recollections of conversations and early morning reflections.”


 
Irish looper/layerer Juno Cheetal – a.k.a. Flowers At Night – will also be performing her own audio-visual set, droning away on vintage analogue and digital synthesizer, pulling in rural and urban field recordings, and adding live drums, vocal harmonisations and autoharp. The visual aspects are drawn from her Sherkin Island homeland, near Cork – possessor of a wide variety of spectacular shapings from woodlands to sea views.


 
The evening’s further expanded by Yorkshire sound collageist Lisa Lavery, who’ll be presenting her soundwork ‘The Valley’ (inspired by the changing social landscape and preoccupations of the Yorkshire Dales, it’s “made up of ‘sounds of the salon’ put through a harsh bleaching process… obsessed with the sheer number of salons in the valley and how that reflects the work opportunities available to women there and their existence as a safe space for women,” and realised with various salon accoutrements – hairdryers, clippers, hair foils and polystyrene wig heads. (Originally commissioned by the Calderdale branch of Yorkshire Sound Women Network – well worth checking out if you’re a sounds-and-noise girl of any age, and you want some active support – she’ll also be playing it as part of YSWN’s Hebden Bridge concert on 5th November.)

Finally, Soho radio show producer and haunted-beatsman King Knut (Knut Jonas Sellevold) will be offering up DJ sets containing “an instinctive, psychedelic mix of private press rarities, industrial electronic work, rock, unearthed 70s library music, Eastern-European folk, Algerian pop, jazz and hip hop” aiming for “a MoonDome garden ambience”


 
(UPDATE – it seems that Daniel O’Sullivan has in fact now cancelled, but everyone else is still playing…)

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Dates:

Janushoved presents:
Janushoved 5 Year Anniversary (featuring Rosen & Spyddet + Internazionale + Yuri + DJs t.b.c.)
The Glove That Fits, 179 Morning Lane, Hackney, London, E9 6LH, England
Friday 1st November 2019, 7.30pm
– information here

Broken Britain Cassettes & Wannamarchi.Club present:
Orlando Harrison: Tape 313 Launch
The Horse HospitalThe Colonnade, Bloomsbury, London, WC1N 1JD, England
Friday 1st November 2019, 7.00pm
– information here and here

Paper Dollhouse + Daniel O’Sullivan + Flowers At Night + DJ King Knut
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Saturday 2nd November 2019, 7.00pm
– information here and here

November 2019 – Daylight Music 2019 autumn season continues – Bex Burch with Beanie Bhebhe and Tom Herbert, Çiğdem Aslan & Tahir Palalı, Maria Chiara Argirò & Jamie Leeming (2nd); New Music from Wales with Gareth Bonello, Toby Hay, Georgia Ruth, Accü and Richard James (9th); jazz strands with Nils Økland, Kaidi Akinnibi & Lorenz Okello-Osengor, Helena Kay & Sam Watts (16th) and with Jherek Bischoff, Robert Stillman & Anders Holst and Rosie Frater-Taylor (23rd); Matthew Bourne’s vocal showcase with Seaming To, Keeley Forsyth,Polly Gone Wrong, Andrew Plummer and Dorothy Lehane (30th)

27 Oct

Daylight Music 10, 2019

Moving into its final half, the Daylight Music autumn 2019 season reaches November with a selection of duo/trio encounters (both longstanding and spontaneous), October Daylight’s piano star Matthew Bourne returning to curate and direct his own positional/vocal-orientated event, and an afternoon of current Welsh music.

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Daylight Music 320, 2nd November 2019The first of the gigs, on 2nd November, involves a number of collaborations. The headlining ensemble is a trio put together by percussionist Bex Burch, a specialist in the gyil (or Ghanaian/Dagaare xylophone) and the bandleader for the Ghanaian minimalist/jazz/post-punk group Vula Viel. She’s picked “soulgaze” drummer Beanie Bhebhe (whose roster of colleagues and employers across dance, funk, indie and dream pop includes Rudimental, Bastille, Paloma Faith and Action Beat) and former Polar Bear bassist Tom Herbert.

Bex says “I wanted to curate a band to play together for the first time. Tom is a bassist I’ve known since watching Polar Bear as a teenager, and we will both be meeting Beanie for the first time on stage. I’m excited to play with two incredible voices in the U.K. scene. This will be a one-time performance: the music that comes through never to be heard again.”



 
Three Strings & Two Breaths is the duo of Çiğdem Aslan (voice and frame drums) and Tahir Palalı (Turkish kopuz and bağlama lutes). They focus on Alevi songs from Anatolia – mostly songs of love and mysticism from the fourteenth to the twentieth century.

“As a belief system, the Alevi path is based on love and respect for all people, attitudes, knowledge, sharing and science. Oral tradition is directly relevant… an important source of Alevi beliefs and thoughts are the mystical poems and musical ballads (deyisler, nefesler) that have been passed down from generation to generation, many of which have not been recorded in writing. Alevis believe that one must respect and have knowledge of nature, and the principles of love, tolerance and humanism are significant to Alevi philosophy.


 
“A meeting of kindred spirits, the music of pianist Maria Chiara Argirò and guitarist Jamie Leeming is a dialogue between two unique artists inspired by jazz, Latin, classical and folk music. At the heart of the duo is a vibrant sense of spontaneity, which embraces the myriad of colours, textures and sounds they create between them. Combined with free improvisation and an intuitive level of interplay, each performance is a one-off experience. They will be presenting music from the upcoming duo album entitled ‘Flow,’ which will be out in 2020.”


 
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The 9th November concert provides “a rare opportunity to hear new music inspired by the landscape and culture of Wales. Expect an afternoon of carefully crafted pieces that blur the boundaries between contemporary Wales and the otherworldly delights of Annwn.

“Based in Cardiff, Gareth Bonello is and has performed for over a decade under the stage name The Gentle Good. Known for his intricate guitar playing and captivating acoustic arrangements, Gareth was awarded the Welsh Music Prize in 2017 for his fourth album ‘Ruins/Adfeilion’. This concert sees him working in a new trio project with fingerstyle guitarist Toby Hay and singer/harpist Georgia Ruth.



 
“Toby writes beautifully evocative instrumentals that instantly transport the listener to the mountains and rivers of mid Wales. Twice nominated for the Welsh Music Prize, Toby has toured the UK and Ireland extensively over the last few years and has built a reputation as a captivating live performer. Georgia is a songwriter and musician from Aberystwyth in West Wales. A skilful harpist with a voice of silver, Georgia collaborated with the Manic Street Preachers on their ‘Futurology’ album and was awarded the Welsh Music Prize for her debut album ‘Week Of Pines’ in 2013.”



 

Also performing is “half-Dutch, half-Welsh singer-songwriter Angharad Van Rijswijk, a.k.a. Accü (who) has been involved in production since her teens and collaborated with writer and comedian Stewart Lee, Cornershop, and Richard James, as well as producing a collage radio series for the BBC. In her music, she brings together a love of production and a turbulent approach to song-writing – which earned her debut album ‘Echo The Red’ the title of ‘Welsh Album of The Year’ by Wales Arts Review. She will be joined at Union Chapel by long-time collaborator and exceptional Welsh songwriter Richard James (formerly of Gorky’s Zygotic Mynci).”


 
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The next two Daylights are being done in collaboration with the EFG London Jazz Festival and present various Daylight-friendly spins on jazz and improvisation.

Daylight Music 322, 16th November 2019On the first of these two shows, Norwegian Hardanger fiddle player Nils Økland will be playing “instrumental melodies (which) will react and resonate with the chapel’s nineteenth-century space, taking us on a hushed, deep journey far beyond our resting place in the pews.” From Tomorrow’s Warriors, improvisers Kaidi Akinnibi (saxophone) and Lorenz Okello-Osengor (piano, keyboards) “constantly search for new inspiration, as can be seen in their recent collaboration with the Urdang dance company. They will for the first time incorporate the chapel’s Henry Willis Organ.”




 
Opening the show, saxophonist Helena Kay and pianist Sam Watts “marry their wildly eclectic backgrounds and influences and give us an opportunity to eavesdrop on a conversation between their two instruments.”



 
On the second show, Jherek Bischoff will be headlining: “a Los Angeles-based composer, arranger, producer, and multi-instrumental performer whose numerous collaborators include the likes of Kronos Quartet, David Byrne, Neil Gaiman, and Robert Wilson. Bischoff is currently composing music for two new theatre productions and scoring for film and television. His most recent album Cistern, released on the Leaf Label, contains a suite of string-drenched instrumentals.”

Daylight Music 323, 23rd November 2019

One of the latter, from a previous Daylight Music visit, is showcased below.


 
Also on the bill, the performance of saxophonist Robert Stillman and 12-string guitarist Anders Holst “will draw upon the chapel’s resonant acoustics as a platform for their own works alongside those of Ornette Coleman, John Fahey, and Moondog”. Rosie Frater-Taylor (singer-songwiter, jazz guitarist and ukuleleist) will provide lapping, warm, skilful songcraft to warm everyone up.




 
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Daylight Music 324, 30th November 2019Much is made of the Union Chapel’s terrific acoustics: pianist and improviser Matthew Bourne (relatively fresh from his recent Daylight collaboration with Keith Tippett) is intending to make full use of them on the 30th November when he presents his “voix outré” project of handpicked collaborators, stationing them at different points throughout the building (to present a concert that’s as much about sound spacing as the notes produced) while acting as both audience guide and artist accompanist.


 
Seaming To is a composer, vocalist and multi-instrumentalist who has performed and recorded with Robert Wyatt, Jean Claude Vannier, Punchdrunk, Leila, Leon Michener, Larry Goves, Snack Family and Matthew Bourne. She has studied opera at the Royal Northern College of Music and began her career as part of Manchester supergroup Homelife and Graham Massey’s Toolshed.


 
Keeley Forsyth is a composer, singer and actor from Oldham. Built upon sparse arrangements, her music is centred around a singular, emotionally raw and magnetic vocal delivery, by turns devastating and uplifting. The characters who populate her songs tell stories of the high and low tides; of freedom and entrapment, of hard won triumphs and the darker corners of domestic life.

 
Polly Gone Wrong is an all-female vocal trio singing original songs baked with folk, blues, elements of playful obscurity, and close harmonies. Sometimes they are accompanied by a saw, a bass, a drum, or even beatboxing; sometimes they’re just three female voices in harmony and unison.


 
Andrew Plummer is a vocalist, guitarist and composer-producer from Exeter, Devon. Plummer has been the creative force – composing, performing and touring nationally, producing nine albums under his own name, with his musical leviathan World Sanguine Report and with Snack Family (the avant-rock trio co-founded in 2011). He draws on a wealth of influences and pens music that reinterprets musical genre, loaded with visceral tales from the dark side of life, love and death.



 
“Poet Dorothy Lehane (the author of three poetry publications and a Lecturer in Creative Writing at the University of Kent) will read selected sonnets from her latest publication, ‘Bettbehandlung’.”

 
* * * * * * * *

All gigs are at Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England, with a suggested donation of five pounds. Dates below:

  • Daylight Music 320: Bex Burch/Beanie Bhebhe/Tom Herbert Trio + Three Strings & Two Breaths + Jamie Leeming & Maria Chiara Argirò – Saturday 2nd November 2019, 12.00pm – information here and here
  • Daylight Music 321: Atsain Priddin: New Music from Wales (featuring Toby Hay + Georgia Ruth + Gareth Bonello + Accü) – Saturday 9th November 2019, 12.00pm – information here and here
  • Daylight Music 322: EFG London Jazz Festival (featuring Nils Økland + Kaidi Akinnibi & Lorenz Okello-Osengor + Helena Kay & Sam Watts) – Saturday 16th November 2019, 12.00pm – information here and here
  • Daylight Music 323: EFG London Jazz Festival (featuring Jherek Bischoff + Robert Stillman & Anders Holst + Rosie Frater-Taylor) – Saturday 23rd November 2019, 12.00pm – information here and here
  • Daylight Music 324: Matthew Bourne presents ‘voix outré’ (featuring Dorothy Lehane + Seaming To + Keeley Forsyth + Polly Gone Wrong + Andrew Plummer) – Saturday 30th November 2019, 12.00pm – information here and here

More on the last two DM gigs of the year will be posted up closer to December…
 

October/November 2019 – upcoming London classical gigs – ‘Venus, Women And The Guitar’ (27th October); Emily Howard curates ‘Ada Lovelace: Imagining The Analytical Engine’ (2nd November); Echo Collective present Jóhann Jóhannsson’s ’12 Conversations with Thilo Heinzmann’ plus Félicia Atkinson (3rd November)

21 Oct

‘Venus, Women and the Guitar’, 27th October 2019As part of London Guitar Festival 2019, the International Guitar Foundation presents ‘Venus, Women and the Guitar’ towards the end of October. A concert celebrating women’s relationship with the guitar, and featuring a wide roster of performers including many significant current female classical guitar players, it also showcases an entire programme of guitar compositions by women.

Of the two main composer contributors, Errollyn Wallen has written plenty of works for guitar over the past two decades as part of a career which includes seventeen operas, music for television and assorted works for chamber instrumentation and large-scale ensembles (as well as a musical willingness to explore both standard classical settings and experiments with tape, placement and other media, plus continual rearrangements of the ideas of how we think about music and its intersections with a broader, more diverse culture).

In addition to the IGF-repertoire Wallen pieces which are being played, she’s contributed two new commissions/premieres. The Housden-Tarlton Duo will be performing ‘Two Guitars’, while Tom KerstensG Plus Ensemble (a two-guitar, string quartet and percussion group, eschewing piano parts in favour of “the unique combination of the guitars’ quickly decaying plucked sounds, the sustained bowed string sound (and) a wide range of vibraphone, marimba and other percussion sounds”) will be performing ‘Road to Strathy Point’. As regards the repertoire pieces, Tom Kerstens returns later in the program to perform the solo Wallen piece ‘Canciones’ while up-and-coming classical guitarist Shannon Latoya Simon will perform a triptych of ‘Three Ships’, ‘Walking Me To Work’ and Night Passage’ (meanwhile, here are the Kerstens versions of a couple of these).



 
The other dominant composer of the evening, Laura Snowden, hasn’t been working for nearly as long but her career’s already moving from strength to strength. Also reknowned as an exceptional and versatile performer on guitar, she’s been described by ‘Classical Guitar Magazine’ as “linking guitar’s past, present and future” and will be performing her own solo piece ‘Anpao; L’étoile et la Rose’.


 
As regards her other pieces, the Mēla Guitar Quartet (Matthew Robinson, George Tarlton, Daniel Bovey, Jiva Housden) will play ‘My Clock Is Broken’ (which they premiered at the Purcell Room earlier in the year); VIDA Guitar Quartet (Mark Eden, Mark Ashford, Amanda Cook, Christopher Stell) will be joining up with concert saxophonist Amy Green to perform ‘Light Perpetuum’; and two VIDA members will be returning in their other configuration as the Eden Stell Guitar Duo to play ‘Damn everything but the circus!; The Snow Globe’.


 
The work of five other female composers will be performed as part of the concert. VIDA’s Amanda Cook will team with violinist Liz Cooney for Effy Efthymiou’s ‘Two Reflections’ of which “(the) elliptical movement and improvisatory feel are designed to create a seductive ambience – almost like being in a dream. The lilting phrases move easily from one time signature to the next, producing a free flow of sound and a subtle feeling of repose. Light interweaving melodies rotate with rough, percussive sonorities to evoke the whole spectrum of feelings that one might experience through reflection.”

Rather magically, Effy is half of a mutually supportive duo of composing twin sisters, along with Litha Efthymiou, and the two compose both together and apart. Litha, too, is represented in this concert. Her piece ‘States Of Ice: Diamond Dust’ (like ‘Two Reflections’, originally a 2012 IGF commission) will be performed by Johan Löfving. It’s “a poetic representation of the ice phenomenon “diamond dust”… its light, ponderous beginning exploits the guitar’s delicate timbral qualities, while the second, more aggressive section is quite percussive in texture, depicting the full gamut of elements that constitute this elusive state of ice.”

Johan will return with his Flauguissimo Duo partner, flautist Yu-Wei Hu, to play another previous IGF commission, Charlotte Bray’s ‘Here everything shines’ (apparently “largely inspired by Cesaria Evora’s ‘Petit Pays’, sung in Cape Verdean Portuguese. The title comes from the translation of the line ‘ki ca ta brilha’, an idea which resonates throughout. A gritty and impassioned fast section opens the piece, the non-stop flute/violin line dashing around being punctuated by stabbing chords on the guitar/piano. The intensity grows until a lush slow section takes over, the melody singing vibrantly over an arpeggiated figure. Similar material to the opening then returns in an extended version, with the piano taking on the fast energetic figure and violin interrupting. Expressive and very free, a quiet section follows. The pace slows and lines glimmer as if caught by rays of sun bouncing off the ocean. Abruptly, the opening material intervenes one final time, with the lively melodic line heard once again in the flute/violin part, the guitar/piano seemingly edging it on.”)

Opening the concert, G Plus Ensemble will be playing Anna Meredith’s ‘Spook (for string quartet, guitar and marimba); and finally, there’ll be another premiere. Kevin Daniel Cahill (G Plus Ensemble’s other guitarist, and a passionate musical emissary and fosterer in his own right) has commissioned and will be performing a Ninfea Cruttwell-Reade piece called ‘Wallflower’. Unlike the evening’s other pieces – resolutely acoustic – this one will feature electric guitar and electronic looping (perhaps capturing in its sonics Ninfea’s love for composing for “old, new, and damaged musical instruments.”)


 
* * * * * * * *

At Milton Court on 2nd November, as part of the Barbican’s ongoing Life Rewired season, composer Emily Howard will curate ‘Ada Lovelace: Imagining the Analytical Engine’, an afternoon which she devised as “an uncompromising musical tribute to a woman who united the worlds of 19th-century romanticism and cutting-edge science… thinker, computer pioneer and enchantress of numbers…”

The concert will combine words and music to offer a post-millennial perspective on the legacy and achievement of the woman often considered to be one of the world’s first computer programmers and a considerable Victorian mathematician, as well as someone who enthusiastically united the concepts of maths, music and poetry. The Britten Sinfonia and mezzo-soprano Marta Fontanals-Simmons will be performing various specially commissioned works of “scientifically inspired music by Howard and her contemporaries plus music created by artificial intelligence written in tribute to Lovelace.”

‘Ada Lovelace: Imagining the Analytical Engine’, 2nd November 2019

As well as a brand-new Howard world premiere (which I can’t find anything on, but which, under the circumstances, you can expect to be replete with involved and enthusiastic scientific or mathematical references, as much of her other work is), there’ll be a performance of her 2011 speech-song work ‘Ada Sketches’ (for mezzo, flute, clarinet and percussion, with a libretto by Laura Tunbridge in which Lovelace dreams of Babbage’s Difference Engine producing notes instead of numbers).

 
There will also be world premieres of new works by sound artist/composer Patricia Alessandrini, by composer and turntablist Shiva Feshareki, and by Royal Northern College’s PRiSM Team directed by Emily Howard and on this occasion led by Robert Laidlow. There’s not much news or commentary on these either, yet; but you can expect further intersections of orchestral playing with contemporary technology, and with scientific motifs and themes.

* * * * * * * *

 
On 3rd November – also at Milton Court – Belgian ensemble Echo Collective will perform the late Icelandic composer Jóhann Jóhannsson’s ‘12 Conversations with Thilo Heinzmann’.

Unfinished at the time of Jóhannsson’s death last year (although an earler or work-in-progress version does seem to have been performed at Conway Hall three years ago), and exploring “arts, politics and unity” and “the communal transfer of artistic ideas beyond borders”, this string quartet piece was inspired by four years of dialogue with Jóhannsson’s friend and German painter Thilo Heinzmann (a sensual minimalist who works with more reluctant materials than most such artists – including unbound pigment, absorbent cotton, styrofoam, fur and porcelain as well as bursts of feather, fossil or other found and planned-in objects – with the aim of expanding technique and of raising the textured work off the flat plane of the canvas to present its details in a more three-dimensional manner). Unusually for a Jóhannsson piece, it doesn’t incorporate electronics, drones or treated instruments; instead relying on the unadorned strings alone.

The work was finished by the Echo Collective under leaders Neil Leiter and Margaret Hermant. Reviewing their studio recording in ‘The Guardian’ last month, John Lewis noted that “the spartan setting often enhances the grave, stately beauty, particularly when Jóhannsson starts to invokes early music. ‘Shell’ resembles a Bach partita played in ultra-slow-motion; ‘Low’ sounds like a Gregorian chant transcribed for strings; ‘Lacrimoso’ is a heartbreaking, Vivaldi-like canon. There are a few moments where Jóhannsson hints at complexity – the baroque waltz ‘Danse’ sees him shifting time signatures to disconcerting effect – and it’s tempting, if a little depressing, to imagine how he might have developed and matured in this setting.”




 
Opening the concert will be French electro-acoustic musician Félicia Atkinson. Previously known as Je suis le petit chevalier, her own compositional voyage was originally rooted in sculpture and visual arts: it has built up from her quiet near-ambient early albums based around guitar and Rhodes electric piano to more detailed and demanding works involving (according to lastmusic.fm) “concrete music, ASMR voices, minimal electronics, field recordings, improvisation with guitar and piano, abstract distortions and infra basses, always held by a strong sense of musical harmony… The problematics of sound installation, multichannel diffusion, and performance are starting to play a key role in her musical practice.”

 
* * * * * * * *
Dates:

International Guitar Foundation & Kings Place present:
Errollyn Wallen & Laura Snowden (Venus, Women and the Guitar)
Hall Two @ Kings Place, 90 York Way, Kings Cross, London, N1 9AG, England
Sunday 27th October 2019, 3.00pm
– information here and here

Ada Lovelace: Imagining the Analytical Engine
Milton Court Concert Hall @ Guildhall School of Music & Drama, 1 Milton Street, Barbican, London, EC2Y 9BH, England
Saturday 2nd November 2019, 6.30pm
– information here and here

Echo Collective: 12 Conversations with Thilo Heinzmann
Milton Court Concert Hall @ Guildhall School of Music & Drama, 1 Milton Street, Barbican, London, EC2Y 9BH, England
Sunday 3rd November 2019, 7.30pm
– information here and here
 

October 2019 – upcoming London rock, pop, noise, dancetronic gigs – Hurtling, Stephen Evens and Junodef (17th October); Gum Takes Tooth and Hyperstition Duo (18th October); Bunny Hoova, Gribs, J.B. Glaser and Halfs (18th October)

8 Oct

Hurtling + Stephen Evens + Junodef, 17th October 2019

Alt-rock trio Hurtling (fronted by My Bloody Valentine tour noisemaker Jen Macro) have a debut record to offer you – ‘Future From Here’, on Onomatopeia Records – and are launching it at north London’s The Islington in the middle of October. Their sound’s relatively easy to peg – post-Pixies, post-grunge, post-dreampop – but difficult to dismiss. There’s a full cupboardful of familiar indie rock ingredients to hand, but all reshuffled and re-examined via Jen’s particular perspective and inspired by the disorientations of touring, the displacement of emotions, the waywardness of health: the bumps and setbacks of a bright, questioning human organism pushed into too much motion. Sometimes, despite the noisy ethic, it’s surprisingly gentle; sometimes sludgy guitar parts pile up like rainbow cement ooze; sometimes it’s all about the vocal harmonies.



 
Once upon a time, most of Hurtling were part of cunningly witty indie/artpop sloggers stuffy/the fuses, and their glowering former employer (and current Onomatopeia labelmate) Stephen Evens is also on hand for the evening: ostensibly in a support slot, but probably to keep a dyspeptic jaded eye on them and to crush their remaining youthful dreams beneath his tapping boot. He’s playing solo – probably with guitar, microsynth and anything else portable which he fancies and which comes to hand – and is still working his own 2017 debut album, ‘Bonjour Poulet’. Which is fine, since it was excellent: a mordant larderful of creaky treats which revealed themselves to be gappy armour-plate wrapped around a surprisingly tender heart. He’ll probably give you all that sardonic, seen-it-all expression: actually, he’ll be pleased to see you.



 
London-based Swedish “post-death music” quartet Junodef fill the other support slot. Their debut single, a soft-strummed slice of spectral folk with additional Gothic guitar boom and the bleakness of a death metal song, was called Make You Die. Subsequent work hasn’t travelled too far from those initial emotional roots, although they’ve toyed with spooky progressive rock keyboards, acid rock shadings and lingering dark-country embellishments (the latter suiting both the paired vocals of Tyra Örnberg and Karin Grönkvist and their admiration for Emma Ruth Rundle and Chelsea Wolfe).

More recently Junodef have been feeding in noirish elements from trip-hop and droning electronica, citing inspiration by Portishead and Young Fathers. At the same time, they’ve upped their Bad Seeds clang and their clarity and put greater emphasis on their visual work, resulting in their most vividly fleshed-out songs and atmospheres yet. Don’t expect floppy Goth ragdolls: this band has a tough core, and a storytelling streak that’s just beginning to come into its own.



 

* * * * * * * *

Gum Takes Tooth + Hyperstition Duo, 18th October 2019In the same week, on the following day, relentless psychedelic noise-fosterers Baba Yaga’s Hut are putting on a Bethnal Green gig for block-party-inspired thunder-twosome Gum Takes Tooth. Singer/electronic bombardier Jussi Brightmore and wired-up drummer Thomas Fuglesang have been at this for a decade now, producing a music that’s
grinding and urgent, slow yet filled with unnerving impetus.

As with plenty of British acts on the weird/occult cusp, Gum Takes Tooth are fascinated by ritual (attempting to initiate it in both their recorded output and, more significantly, in their live performances) and with the jarring subconscious impact on the human animal from the mechanisms of technology, hierarchy and blunt cultural forces which surround us. Their last record, ‘Arrow‘, focussed on London gentrification from the perspective of those squashed under or flicked aside by its well-heeled, well-polished bespoke shoes; and on the savage simultaneous pressures from above to indulge the inner beast in competition, in nationalism, in a fracturing of common responsibility and empathy. While writing ‘Arrow’, Jussi saw all of this as a kind of cultural intoxication with the emphasis on toxic: it gave the duo a musical and moral focus which they’ve pursued ever since.



 
A couple of years ago, open-minded Sheffield Afrobeat/noise/dance-pop combiners Blood Sport called it a day. Two-thirds of them – drummer Sam Parkin and guitarist/Octatracker Alex Keegan – have since resurfaced as Hyperstition Duo, a blistering stew of kit-rattles and synth noise smudging and battering the line between live gig and avant-garde DJ electronica. They’ll be supporting Gum Takes Tooth on this occasion: but where the headliners favour slower pace and a ritual weight, the Hyperstitioneers prefer a break-neck-speed informational barrage.

At the end of this past summer, Hyperstition Duo released their debut EP ‘Virotechnics‘. There’s the usual jargonated hype to go with it – “summoning egregors of the Anthropocene, (they) plunge deep to deliver a maximalist collective immersion into their own lysergic phonosphere. Lurching, polyrhythmic pathways crumble and re-assemble; elastic dynamics snap; propulsion sparks from the nerve-centre of machine and corporeal entanglement… templexing, möbius loops and cybernetic subjectivities abound in an attempt to conjure escape vectors in a world of ubiquitous sound.” For once, the texture of the press release – a plunge into lathering, urgent verbalisation – actually fits the texture of the music.



 
* * * * * * * *

Overlapping the Gum Takes Tooth/Hyperstition Duo concert, Ben Vince’s south-east London clubnight Ellipsis (blending strands and clumps of experimental dance and experimental pop) ventures up north to Dalston on the same night for an evening of seamless switching between stage and DJ deck. I’ve not encountered Ellipsis before, but I’m impressed with what I’m finding out now.

Bunny Hoova + Gribs + J.B. Glaser + Halfs, 18th October 2019

To headline this time, Ben’s enticed the perplexing Dutch-born Mancunian Bunny Hoova down for her full-band London debut. Her work is simultaneously delightful and frustrating. At its simplest, it’s a kind of fall-apart dream pop – intermittent rhythms, addled guitar chording and bass thumbing, a cloudwork of woven-in samples, and a constant tripping over unvoiced questions, obscured conclusions and the track-loops of the thought-train. But while most dream-pop sinks into a narcotized structural conservatism (strumming away in the same key while admiring the whorls of sound coming through the pedalboard), Bunny’s material seems constantly uncomfortable, actively intelligent, and hovering at the midpoint between insight and misdirection. She’s been yoked in with experimental pop deconstructors/faux-idiot savants like Tirzah and Micachu, and I can see why. There’s that classical conservatoire training: coyly hinted at in the PR, for extra credit, but in practise forced off into the distance like a spurned aunt (even as it’s being used as the counterweight to punkish anti-technique). There’s the idea that the usual rules of pop song and riff culture are being scorned in a meticulous matter-of-fact way via an admixture of free play and cerebral manifesto.

Plenty of the songs on Bunny’s debut album, ‘Longing’, have the sensual drag-and-tug rhythm of slow jams; but rather than focussing a mood or a regular pace, they wander off at instinctive mental tangents or hiccup into a different arrangement; the instruments and samples entwining in a scratchy, bewildered, irregular intimacy. At times she seems to be taking up an erratic desert map scrawled by Captain Beefheart and attempting to apply it to close urban living. At other times, she seems to be spontaneously transposing into song experimental short stories about offbeat relationships, jolting encounters or small moments which change the course of a life; rich in detail and significance, short on conclusion. Plot and flavour are stretched out and split into gobbets, like odd-shaped beads necklaced on a guitar string. Her most-talked-about song, Lazy_Easy, is a scrubbing, slurred, pointed dissection-tract covering both the implicit and explicit links between consumerist culture and animal cruelty: more of a wall-collage with blended-in musical notes than an actual song. The world she flits through feels as rickety as a condemned flat; one that she’s too good for and shouldn’t have to live with, but which she has to accommodate and fit her voice to.




 
Also playing are a mixed bag of London and Manchester electronic experimentalists with bedroom studios. Gribs is a creative DJ and electronic musician, a label co-boss (Tobago Tracks) who in her own music weaving connections between straight-up dance music (trap, jungle, bass culture) and lo-fi DIY sound-and-voice experiments. There’s a distinct edge of discomfort to her work: not so much or so often that it repels, but her found vocals and implied song characters seem uneasy, morbidly eccentric or disassociated from the music’s rhythmic propulsion or sensual salve.

More DJ-ing and deckmixing comes from J.B. Glazer, another London-based creator of peculiar counter-intuitive dance music: for him, a kind of relentlessly alienated mirror-image R&B, all of its comfort and slickness rusted away into disassociative ennui. In the work of both Glazer and Gribs, there’s an echo of chopped-and-screwed culture: the slowing, the altered-state disconnections and new connections, the sense that they’re using alienation as a kind of gatekeeper (if you like dance but are prepared to discard much of its qualities of release or of socializing, then perhaps you can squeeze through this door).

Rounding things out (or upsetting any remaining unspilled applecarts) there’s the mysterious and performative Halfs – from what I can work out, a try-anything beat-making romper on Manchester’s queer arts scene. I’ve found a very fruity synthdance EP of his/theirs from 2017, so there are a few slurps of its whooping dayglo industrial tones below. There have also been percussion-favouring mixtapes and albums which have been whipped capriciously on and off Soundcloud, but are gone now: other than that, there seems to be involvement with scratch theatre, video and so on. In order to properly keep up with Halfs, you need to subscribe (both literally, and in terms of consistent loyalty) so just consider this vague, semi-accurate plug of mine to be a jumping-on point and take it from there.


 
* * * * * * * *

Dates:

Onomatopoeia Records presents:
Hurtling + Stephen Evens + Junodef
The Islington, 1 Tolpuddle Street, Islington, London, N1 0XT, England
Thursday 17th October 2019, 7.30pm
– information here, here and here

Baba Yaga’s Hut presents:
Gum Takes Tooth + Hyperstition Duo
The Sebright Arms, 33-35 Coate Street, Bethnal Green, London, E2 9AG, England
Friday 18th October 2019, 8.00pm
– information here, here and here

Ellipsis presents:
Bunny Hoova + Gribs + J.B. Glaser + Halfs
SET (Dalston Lane), 27a Dalston Lane, Dalston, London, E8 3DF, England
Friday 18th October 2019, 9.00pm
– information here and here
 

October 2019 – upcoming London experimental gigs – Retrophonica at the Brunel Museum (13th); Charles Hayward presents Sly & The Family Drone, V Ä L V Ē, Timestretch Alarmsong and Atatat (19th)

5 Oct

Retrophonica, 13th October 2019

Retrophonica is a new, very accessible multi-media performance project; currently focussed on the branching aerials, primal wooo and touch-me-not anticipations of theremin playing. It’s launching itself with an evening of two (identical) concerts in the yawning brick gullet of the Brunel Museum’s Grand Entrance Chamber (also known as the top of the southern Thames Tunnel shaft).

Celebrating the instrument’s centenary, these will be an “immersive evening of music for theremin and full orchestra”, while delving into the story of the instrument’s creator, Léon Theremin. From here, it sounds as if the concerts will be a cross between a pops-orchestra occasion, a slide-show history lesson writ large and a session of nostalgic avant-garde tinkering; all of it enclosed in that bleak, beautiful and magnificently functional Victorian civil-engineering maw.

As they say themselves,“prepare for an immersive audio-visual experience, complemented by cocktails, lightshow, and narration, featuring original and adapted music for theremin by Dmitri Shostakovich, Bohuslav Martinů, Miklós Rózsa, Les Baxter, Claude Debussy and John Williams, performed by Retrophonica with thereminist Charlie Draper, new arrangements and works by Alex Palmer, and bespoke narration from author Ken Hollings.”



 
You might already know Charlie from all manner of bookings, everywhere, for both theremin and ondes martenot: here’s an earlier mention. Alex has written and arranged extensively for theatre, film and concert hall, and looks as if he’ll be adding the sweeter edge to the evening. As for Ken, although I suspect that he’ll be operating on calmer terms tonight, he’s most likely to be the one to toss in a wild card or two. Having started work in the 1970s as a literary factual editor (how ominous such a description sounds now) he went on to an early-’80s spell as vocalist and cut-up’er in Manchester post-punk band Biting Tongues, followed by an expansion into essays, libretti and experimental fiction (all of which have dipped into and across other disciplines from Japanese films to twentieth-and-twenty-first century politics to data structures).

I’ve no idea who’s contributed the orchestra. As for the cocktails, there’s no further word on them; nor on how you might mix one called a Thames Tunnel.

* * * * * * * *

Just under a week later, downriver at Deptford, London art-rock/post-punk/improvisation godfather Charles Hayward will be putting together the second of this year’s “genre-fluid” Charles Hayward Presents concerts at the Albany, unfurling “new sounds from the underground and outsider scenes of London and beyond” and massing together elements of jazz/improv, art punk, noise, contemporary classical and electronic music.

Charles Hayward Presents..., 19th October 2019According to Charles himself, his own performance centrepiece will be the project-cum-band Timestretch Alarmsong… a sequence of tunes and sound snakes that I’ve put together with Tom Challenger (Dice Factory/Ma saxophonist), Yoni Silver (multi-instrumentalist with Hyperion Ensemble and many others), Roberto Sassi (Cardosanto/Anatrofobia/Snorkel guitarist), Nick Doyne-Ditmas (double bassist and Hayward collaborator in Monkey Puzzle Trio).

“It’s tightly rehearsed and goes through a wide range of attitudes and (more importantly) emotional energies. To my ears it’s super exciting and I feel like we’ve pushed at a few barriers and come up with something new that has melody, shape and grooves from light to super heavy/dark. There’s no clips available but we will be recording the project for future release. All the players are fantastic musicians and working on the project has been a study in joyful cooperation.”

In the absence of a collective clip, here’s a scatter of solo ones and examples of related projects:





 
Three other acts join in for the night. ‘Gentle Persuaders’, the latest album from contemporary drum/noise/saxophone ritualists Sly & The Family Drone – is intended as “the politest of bludgeonings”; its creators still merge Ayler-esque free jazz, industrial rock pummel, celebratory machine hiss and the loose-hanging exploratory feel of a bass-less duo. They also still give out drums at their concerts, inviting a congregation of noise.



 
Also back in the fray is V Ä L V Ē, with music that’s less workshop than workshed. Strongly DIY (featuring reed instruments, electronics, invented gizmos, bass guitar, concert harp and singing women), it’s the sound of a trio of highly trained musical minds phasing back into spontaneity and play. A sort of three-way attempt to become idiot savants via assorted glitchery and boink, semi-spontaneous nursery rhymes and tunelets and musical devices (built out of shelves, tobacco tins, old house bells and similar Branestawmery), but via a female pattern.


 
Finally, there’s Atatat – a solo project from Liverpool art-freak music mainstay J.C. Barbara (best known as drummer/ranter for aPAtT and Barberos, and here using a very Haywardian array of drums, contact mics, loops and vocals).


 
Designer Raimund Wong (whose work has adorned posters and releases by Total Refreshment Centre, Church Of Sound and Baba Yaga’s Hut, and who shares Charles’ interest in chance theory and the ingenuity forced on artists via DIY minimalism) will be DJ-ing.

* * * * * * * *

Dates:

Retrophonica
Brunel Museum, Railway Avenue, Rotherhithe, London, SE16 4LF, England
Sunday 13th October 2019, 6.00pm & 8:30pm
– information here, here and here

Charles Hayward Presents… (featuring Sly & The Family Drone + VÄLVĒ + Timestretch Alarmsong + Atatat + DJ Raimund Wong)
The Albany, Douglas Way, Deptford, SE8 4AG London, United Kingdom
Saturday, 19 October 2019, 7.30pm
– information here and here
 

October 2019 – sundry classical and postclassical events – Carla Rees’ ‘Solo Flute Quartet: Music for Flute and Electronics’ tour of England and Northern Ireland (9th, 12th, 16th, 18th, 24th October); Xenia Pestova Bennett plays Luc Ferrari and Annea Lockwood in London (29th October)

3 Oct

Carla Rees: 'Solo Flute Quartet: Music for Flute and Electronics' tour, October 2019

Rarescale‘s Carla Rees is performing an October solo tour of England and Northern Ireland, playing music for various flutes (standard and Kingma Systems, alto and bass, baroque flute d’amour and piccolo) augmented by Kyma electronics.

Several compositions are being performed. The first, giving the evening its title, is Simon Emmerson’s ‘Solo Flute Quartet’ which employs extra-keyed Kingma System flutes (optimised for multi-phonics and quarter tone pitches) alongside live sampling and surround sound. Simon: “Following a recording session in the summer of 2017 the idea of using multiphonics as the generator of both harmony and melodic mode evolved rapidly and the piece was completed in January 2018 and performed a month later at City University. The four flutes (piccolo, concert flute, alto, bass) are played in varying rotations for the 16 short sections of the work. The live electronics freezes, spatialises, echoes and projects the live sound into labyrinths of colour on a surround sound system.”

The second piece (being performed at Coventry, London and Bristol) is ‘Islands’, by Carla’s regular Rarescale collaborator Scott Miller. According to Scott: “‘Islands’ is more about the river than the islands. The river is dynamic, in constant motion, many layered. It responds to the presence of objects – fish, birds, people, islands–and moves, transforms, and shapes these same objects. We can observe its passage and potential, and we can enter and navigate it. As a metaphor for the composition, the performer enters the river of processing and navigates it sonically, from island to island. The islands emerge from the river, made of the stuff that lies beneath the surface, providing unique environments that are a part of and separate from the river. The performer’s interactions with the river and the islands influence the environment immediately and downriver, which is really just a function of time, like in music. Islands can be understood as the confluence of many independent environments which unfold in generally predictable ways over the course of the composition.”

To represent this musically, Carla will be feeding her flute through ecosystemic programming within her Kyma system to create “a sonic environment modelled on a stretch of the Mississippi River.”


 
A third piece (being played at the Leicester, London and Belfast dates) is ‘tree flute’ by Karen Power, who has written a number of works in which specific recordings of environmental sounds inform and are played against live solo instruments. For ‘tree flute’, field recordings of wind moving through trees are paired with the baroque flute d’amour, an instrument which Karen finds “more vulnerable than its modern equivalent, which for me makes it more interesting. Each and every note has a unique character that is brought out when performer and instrument meet. The wooden and simple frame of the flute is the starting point and why I have paired it with the wind.”

Commenting further on the piece, Karen explains that “the field recordings are all sounds of wind moving through trees and the ground. They are not audible, but do surround us in every forest or park. They may not be audible, but they do adhere to their own time and pacing, which is governed not by man but by the weather. This pacing forms the basic structure of this piece. In the live performance the flautist is partially cut off from the aural score and only hears an individual private aural part, which guides her. The audience only hear the first ‘wind’ sound at 0’40’’ therefore the performer must prepare us for this. She will hear such sounds in her aural part ahead of us and so tries to add the missing context for us. This pull back and forth between the private aural part and the public aural score is a core component of this and other works, which I believe provides the perfect platform for true interpretation and active listening and responding to happen.”

The Belfast date also features Sungji Hong’s 2015 piece ‘Shine’, originally written for Carla and featuring a double performance by her (the live in-concert performance and an electronically treated recording of the same part for her to play against).


 
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Back in London, at the end of the month, inquisitive experimental pianist Xenia Pestova Bennett pops up at City University to play Luc Ferrari’s ‘36 Enfilades for piano and tape’ to celebrate the ninetieth anniversary of his birth.

Xenia Pestova Bennett: Luc Ferrari and Annea Lockwood, 29th October 2019

One of the pioneers of musique concrète (alongside his Groupe de Recherches Musicales colleagues Pierre Schaeffer and François-Bernard Mâche), Ferrari was known for his tape pieces observing and reproducing daily life and the flow of ideas. The ‘Enfilades’ (a rarely-performed duet between piano and reel-to-reel tape) are an example of this technique crossing over to link with more traditional performance, scored piano material played in time with assorted taped sonorities which alternate rapidly between the industrial and the musical, the eerie and the whimsical.

Some of the pieces last for no more than a handful of seconds. Xenia describes them as “witty, virtuosic miniatures… a whirlwind exploration of style, riven with quotations from other composers including Schumann and Brahms.” Ferrari himself noted “they start and they are already finished. Sometimes, they do not even start, do not have a beginning. Then, is it a suite? It is perhaps a theatre. Is this the old dream never to finish or that always to start again? And then, the ideas which pass so quickly and then the desire to take up the ideas already given and then the pleasure of transforming them as themes which come to give a rhythm to the travel. Then, finally, these small pieces, they make large one…”

French pianist and frequent Ferrari interpreter Michel Maurer has reinforced the idea that the entire piece is like a self-contained episode of musical theatre in which “the solo protagonist (is) a pianist playing the role of a musicologist who had discovered an anonymous manuscript”; also, that it is something like “a treasure hunt” in which both the score and the tape recording themselves contain written or spoken texts and clues from the “unknown” composer, and in which the performer (has) to question himself about the music he (is) playing.” Here’s Michel presenting his own performance of ‘Enfilades’ plus discussion.

 

Xenia will also be performing several small compositions from her repertoire of John Cage pieces, as well as two compositions by Annea Lockwood, who’s celebrating her own eightieth birthday at around the same time as the Ferrari ninetieth. While she’s gained the most attention for her conceptual “piano transplant” events (in which defunct pianos are removed from concert halls and music rooms and taken far away to meet various ritualistic but natural ends, such as immolation, immersion, or being planted into the ground like seeds), Annea is also the creator of a varied chamber music catalogue including piano compositions and tonescapes with multiple extended-technique string moves.

In this particular concert, Xenia will be playing Annea’s ‘Red Mesa’ (in which a minimal/apprehensive mood of tolling midrange notes, abrupt fanning chords, interior piano mutings and zither strums develops into a shifting and sketchy open-ended study, a stormy interlude of high drama and a fade into unresolved nothingness) and her pouncing, highly dynamic ‘RCSC’ (in which skeletal notes and silences play against strum-scurries, scratched harmonics, choked hammer mutes, slow dive-bombs and so forth).

To illustrate, before the event, here’s a Ricardo Descalzo performance of ‘RCSC’ and an Andrea Lodge performance of ‘Red Mesa’ as well as Xenia’s own performance of some Cage music on toy pianos (accompanied by her duo colleague Pascal Meyer).




 
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Dates:

Carla Rees: ‘Solo Flute Quartet: Music for Flute and Electronics’ tour dates:

  • Ellen Terry Building @ Coventry University, Jordan Well, Coventry, West Midlands, CV1 5RW, England – Wednesday 9th October 2019, 1.00pm – information here
  • IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England – Saturday 12th October 2019, 8.30pm – information here and here
  • PACE1 @ De Montfort University, Mill Lane, Leicester, LE2 7DR, England – Wednesday 16th October 2019, 7.00pm – information t.b.c.
  • Victoria Rooms, Queens Road, Bristol, BS8 1SA, England – Friday 18th October 2019, 1.15pm – information here
  • Sonic Lab @ Sonic Arts Research Centre, 4 Cloreen Park, Belfast, BT9 5HN, Northern Ireland – Thursday 24th October 2019, 1.00pm – free event – information here

City University Concerts presents:
Xenia Pestova Bennett: Luc Ferrari and Annea Lockwood
City University Performance Space @ City University Social Sciences Building, 32-38 Whiskin Street, Finsbury, London, EC1R 0JD, England
Tuesday 29th October 2019, 7.00pm
– information here, here and here
 

October/November 2019 – Moor Mother’s ‘The Great Bailout’ with the London Contemporary Orchestra in Kraków, Gateshead, Ghent and London (6th, 12th, 16th, 23rd October), with Galya Bisengalieva and Klein joining in London. Plus further Moor Mother dates in Utrecht, Helsinki and Madrid with Zonal, Eartheater and Cruhda (7th, 11th, 15th November)

1 Oct

The unnerving, brilliant Afrofuturist beat-poet and sonic manipulator Camae Ayewa – a.k.a. Moor Mother – swings back to Europe for a brace of concerts during October and November, during which she’ll showcase her latest project, ‘The Great Bailout’. This is a collaboration with the London Contemporary Orchestra (arguably the capital’s most committed ensemble to both new classical concert music and its intersection with other musical forms and disciplines). It follows Moor Mother’s earlier work this year as part of liberation-jazz group Irreversible Entanglements and her recent contributions to the Art Ensemble of Chicago’s fiftieth anniversary album ‘We Are All On The Edge’ (in which she layered her poetry over the exuberant live improvisations of the surviving members of the original resistance jazz band.) For a more in-depth summary of her explosive protest-griot work, click here.

Moor Mother v London Contemporary Orchestra: 'The Great Bailout' tour, October 2019

There’s not much advance publicity regarding ‘The Great Bailout’. What there is lays the ground for performances of “a free-verse poem that acts as a non-linear word map about colonialism, slavery and commerce in Great Britain and the Commonwealth.” Given that Moor Mother’s previous work has consistently exploded conceptual/emotional bombs underneath the economic, social and psychic legacy of slavery and racism in America, you can expect her to have come up with something ferociously critical of the cherished white-British myths and veilings around the history and repercussions of Empire. As the organisers put it, “we can’t help but expect the first few rows… to leave this performance with singed eyebrows and melted glasses at the very least.”

I’m guessing that the project title refers to one of the most miserable semi-secrets of the eventual abolition of British slavery – this being the handsome payoffs eventually delivered (post-emancipation) not to the freed slaves themselves as backpay, apology or recompense, but to their indignant and haughtily entitled British former owners as property compensation. This kind of withering, righteous black interrogation invading white concert halls (in fact, being invited in) is in keeping with the necessary re-examinations of the roots of modern Western culture. I’m reminded of Doris Salcedo’s colossal ‘Shibboleth’ installation at the Tate Modern, in which she slashed the gallery floor with an ever-widening crack standing for the original Tate sugar money, its dirty roots in plantation slavery, and the consequent ethical undermining of the gallery and its history – a microcosm of white Western culture and wealth and the exploitation underneath.

It’s also in keeping with the ongoing rumblings and debate regarding the slave-trading roots of Bristol, the strategic heartland of the Middle Passage’s triangular trade – with the slave trader imprints on the names of its great buildings and statuary (some of which were recently and pointedly encircled with diagrammatics of slave ships and their suffering human cargo). You can’t help thinking that the organisers of ‘The Great Bailout’ really missed a trick by not scheduling a Bristol date, and perhaps a Liverpool one, alongside the London one. Gateshead – which does get a ‘Bailout’ date – has less of a stained history in this matter, along with its sister city Newcastle: distanced from the heart of the trade, and with the Tyneside anti-slavery movement being an early starter. London, though, grew fat on the profits, with its own triangular trade bigger than anywhere else in Britain.

There may be different resonances associated with the two continental European venues on the tour. Kraków is a little detached from diasporan agony, its own kind of historic slavery having been in the form of homegrown serfdom (Poland’s class savagery was traditionally applied to its own peasants, and its colonialist oppressions visited on the nearby Ukraine rather than on Africa). Ghent, on the other hand, hosted and shaped the 1814 treaty in which, in part, Britain and Belgium applied themselves to ending African slavery and the Middle Passage trade (albeit on their own terms, part of the strategic power-plays of the age as much as it was through any humane impulses).

It’ll be interesting to see if Moor Mother will have taken note of these things, dredged up these uncomfortable stains and compromised atonements and woven them in too. Whether each city on the tour route is given its own case to answer – hidden bones coming to light after two-and-a-half centuries of obscuring and snowjobbing.


 
There will be extras at the London show. Experimental violinist and London Contemporary Orchestra member Galya Bisengalieva will be performing an opening set of her own electroacoustic chamber music, duetting live violin with cunningly sculpted electronic sound-shaping. What I’ve heard so far is elegant and highly dramatic: sonic booms, string drones, eerie hard-eyed processional melodies against harshly majestic electronic architecture and steppe-scapes reflecting Galya’s own Kazakh background.

 
A second opening set is being provided by British-Nigerian south London glitch artiste Klein. An abstractioneer for three years, she started out being hailed as a kind of reinventor of gospel. Certainly her early recordings dipped into the form and she’s admitted that for many years it was her only reference point. It didn’t take her long, however, to move far beyond it. Other early tracks came across as a collagist log of the sounds of her community: not straightforward field recordings, but crafted patchworks of impressions and implicit meaning, finding vocal and musical fragments as important, in themselves, as actual complete sentences and phrases. Her ‘Tommy’ album, in 2017, was a kind of vaporously dissolved Afro-London laptop opera.

These days, memories of black church music continue to drift and prowl through Klein’s increasingly adventurous recordings, but they’re only part of her palette. While she keeps a toehold on more mainstream black musical ideas (a track like Changes sidles up to drill music, a shuffling slide of plate over plate, of violent masculine monologue recounted), most latterday Kleinwork is miasmic re-sortings of black vocal fragments over dark ambient dreamquakes and feathertwig beats: sometimes sobs or dramatic breaths, or slivers of story (somehow bigger than they appear, the way that individual black stories so often seem to trail implication entire cultural histories). Either that or they’re ribbons of dirty noise, swirls of demonstration with strange vocal glitches playing across them – gasps, lip noises, inchoate expressiveness.





 
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Moor Mother’s own roots are in gospel too, although she’s previously qualified that “my family used to listen to scary gospel—Mahalia Jackson, people who were not just waiting for Jesus to come, but being like, “This is what we’re living with, we’re going to push through. I’m climbing up the rough side of the mountain, and we’re going to get into this chariot and go to a better place”…” There’ll be more evidence of “negro spirituals flipped, remixed, and recaptured” on the second full Moor Mother album, ‘Analog Fluids Of Sonic Black Holes’, which is emerging on 8th November. In keeping with her work so far, the record will cover the themes of “myth, black mothers, vodun, quantum futurism and post-colonial street narratives.”


 
I’m guessing that this material, or spins on it, will be in strong evidence in the three further European dates Moor Mother will be playing in November following the ‘Great Bailout’ events. The first of these will be in Utrecht, as part of the Le Guess Who? Festival. Here, she’ll be rejoining Kevin Martin and Justin Broadrick‘s “smacked-out hip hop” project Zonal (as one of two featured vocalists, alongside “fire-and-brimstone dub poet” Nazamba).



 
The second event is her headlining show in Helsinki. There, she’ll be supported by Alex Drewchin – a.k.a. non-binary multi-media art’n’music hopper Eartheater: who, over a five-year span in New York, has graduated from straightforward, deliquescing dreampop covers of Kate Bush songs to flittering unorthodox trance pop and sprawling, deconstructed anti-manifestos of collaged noise and brain-jumps. Beyond the electronics, current Eartheater work reflects the idea of body as instrument, psyche as testbed, ears and memory as record-and-playback devices.

The most recent Eartheater album, ‘IRISIRI‘, is a simultaneous explosion and dismantling of sonic and conceptual ideas across the spectrum. Plunderphonic chamber music samples, scraping noise effects, dance beats and thoroughly masticated chunks of ruined pop spat out and left on New York lamp posts, in apartment stairwells and practise spaces, leaving a scattering of recombinable fragments for other people to get stuck on and to mull over; flitting word associations and deconstructions of gender, of memories, of momentary definitions. There’s even the occasional joke (“I have no metaphor for you today – I’m off work…”). It’s both impersonal and entirely personal in its blink-and-you’ll-miss-‘em running of personal insights and questions through a mill of big city information overload. Yes, it raises more questions than it provides coherent answers, but at least it’s intent on chopping out a space of possibilities in the first place.




 
Moor Mother’s other headliner is in Madrid, where she’ll be supported by emerging Spanish eclectician Cruhda. The latter’s work is softer and in some ways more accessible than that of most of the other people covered in this post, but that’s selling it short. It’s disruptive, just in a subtler way.

Crudha’s debut EP ‘Íbera Morte‘ is founded on selections and deliberate echoes of Spanish folk music, refracted through any number of home-studio cut-up-and-stick-in methods and stylings – musical box clinkings, Dead Can Dance Gothicity; Autotune and didgeridoo buzzes; structural interruptions and glitchtronics. Sylvan organ-drone folk gets carved into by straying intrusive beats like a prowling beast on a campside sortie; by warping bass synth growls; and by vocal cut-ups and lead lines from raw railing roars to dovelike sighs and monastic harmonies. It’d be crass simply to call Crudha a Spanish Björk, but there’s a similar breadth of imagination and reconstructive willpower here, as well as a similar reluctance to abandon melody.



 
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Dates:

Moor Mother v London Contemporary Orchestra: ‘The Great Bailout’

Zonal feat. Moor Mother & Nazamba;
Le Guess Who? 2019 @ TivoliVredenburg, Vredenburgkade 11, 3511 WC, Utrecht, Netherlands – Thursday 7th November 2019, time t.b.c.
– information here, here and here

Moor Mother + Eartheater
Tavastia Klubi, Urho Kekkosen katu, 6 Helsinki, Finland – Monday 11th November 2019, 7.00pm
– information here, here and here

Moor Mother + Cruhda
Siroco, Calle de San Dimas 3, 28015 Madrid, Spain – Friday 15th November 2019, 9.30pm
– information here and here
 

October 2019 (and onwards) – various upcoming jazz gigs – Yazz Ahmed’s Electric Dreams, Rosie Turton Quintet, Alina Bzhezhinska in London (3rd October); Electric Dreams in Newcastle (4th October); Forq and SEN3 in London (30th October); SEN3 in London and Brighton (1st & 8th October); Jim Rattigan’s October-to-January Pavillon tour of England (6th October onwards)

29 Sep

At the start of the month, a Women In Jazz summit in London brings Yazz Ahmed’s Electric Dreams, the Rosie Turton Quintet and Alina Bzhezhinska to the Jazz Café.

Trumpeter/flugelhorn player Yazz Ahmed has been covered in here before (thanks to Polar Union’s Jazz Herstory series) – a young British-Bahraini already being dubbed “the high priestess of psychedelic Arabic jazz” thanks to her exploration (across two previous albums) of her mixed cultural heritage, and via the use of a custom quarter-tone flugelhorn which enables her to explore the microtonal pitching within Arabic music. Electric Dreams is her electrophonic/acoustic multi-textural tie-up with drummer Rod Youngs, guitarist Samuel Hällkvist and “vocal sculptor” Jason Singh. Emerging from Yazz’ interest in spontaneous composition, “these free-flowing and conversational improvisations make use of electronic effects, sound design, live looping and sampling, in an exploration of contemporary jazz from a different angle.”

Trombonist Rosie Turton is usually to be found as part of all-female Tomorrow’s Warriors-linked octet Nérija alongside other expanding-profile bandmates including Nubya Garcia, Cassie Kinoshi, Zoe Rahman and Shirley Tetteh (the latter of whom, not content with being a jazz guitar name to watch, also operates as one-woman pop project Nardeydey). As I’ve noted before, Rosie’s own leanings are towards Alice Coltrane and Pharoah Sanders, with digressions via hip hop and Himalayan ragas; and her quintet (sometimes known as 5ive) “works around a sensually airy intertwining of Indian violin (played by Johanna Burnheart), trombone and electric piano (from Maria Chiara Argirò), in which adventurous tunes effloresce and sway around light-on-their-feet rhythm grooves: a clever, flowing, flowery architecture.” The quintet’s completed by drummer Jake Long and bassist Twm Dylan.


 
The orchestral harp is always a potentially explosive instrument. Particularly so when it’s under the fingers of Alina Bzhezhinska – a soulful beast of a player who steps easily between classical demands and jazz immediacy. She’ll be playing a solo jazz set to open the evening.

 
Yazz and Electric Dreams will also be playing – on their own, this time – up in Newcastle the day after the London gig.

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At the end of the month, New York new-school jazz rock quartet Forq also play the Jazz Café. Fluid, grooving and highly accessible improvisers, they’re strongly Snarky Puppy-affiliated. Two of the current Forq-ers, plus the band’s departed co-leader Michael League, also play in the celebrated Brooklyn jam family, while keyboard-playing Forq leader Henry Hey is even something of a Big Apple mentor to League, having first convinced the Snarky Puppy leader to move and set up shop there.

As originally conceived by Hey and League, Forq’s music doesn’t stray too far from the Snarky blueprint (dextrous young super-sidemen put together a fizzy stew of everything they’ve learned from playing jazz, blues, rock, funk, etc), but according to League “we had the idea to start a band that was bi-i-i-i-i-ig on groove and sonic exploration, without getting caught in the snags of the modern jazz world. We want to play shit with personality, character, and not nerdy, brainy stuff. Also, we want people to shake their asses. I think the band has a very hard, NYC-style sound that is industrial but also innovative, but also has some serious Texas flavour…” League moved on a couple of years ago, replaced on bass by Kevin Scott, but the band, currently completed by Snarky guitarist Chris McQueen and drummer JT Thomas, continue the initial work.


 
In support is London trio SEN3: in some respects, a transatlantic Forq mirror image. They’re another grouping of top-notch overtrained pop and rock sidemen who fancied doing something fun, immersive and different. Citing “Pink Floyd’s ethereal epic-ness, Thundercat’s psychedelic soul-funk, a touch of J-Dilla/Madlib beat conducting with a twist of Led Zeppelin riffs” as inspiration and aims. Max O’Donnell (on guitars, synths and assorted tuned percussives), Dan Gulino (on bass guitar and synths) and Saleem Raman (on drums) put together something jazzy, dubby, reverb-y and floaty: very much a product of the London melting pot they’re proud of.


 
SEN3 are also playing two dates of their own earlier in the month – at Kansas Smitty’s in London on 1st October, and at The Mesmerist in Brighton on 8th October.

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French horn virtuoso and bandleader Jim Rattigan continues to step up activity with his Pavillon twelvetet, currently featuring Martin Speake, Andy Panayi and Mick Foster on saxophones, Percy Pursglove, Steve Fishwick and Robbie Robson on trumpets, Mark Nightingale and Sarah Williams on trombones, and a rhythm section of Hans Koller (piano), Dave Whitford (double bass) and Martin France (drums).

Pavillon’s new album ‘The Freedom Of Movement’ comes out in mid-October, featuring more of Jim’s original tunes (which have been compared to Charles Mingus, Gil Evans and Duke Ellington). To help it on its way, he’s taking Pavillon out extensively (around southern England and the Midlands) on assorted dates over the next four months, between early October and mid-January.

Previous Pavillon commentary from me – “confident, breezy, swing-happy music seamlessly blending inspirations from different times and places; beery, wise and cosmopolitan but also very English. It’s the sort of sound you’d expect to hear currently curving its way around London’s seawall, if such a thing existed.”



 
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Dates:

Women In Jazz presents:
Yazz Ahmed’s Electric Dream + Rosie Turton Quintet + Alina Bzhezhinska
The Jazz Café, 5 Parkway, Camden Town, London, NW1 7PG, England
Thursday 3rd October 2019, 7.00pm
– information here, here and here

Jazz North East presents:
Yazz Ahmed’s Electric Dreams
Gosforth Civic Theatre, 125 Regent Farm Road, Newcastle-upon-Tyne, NE3 3HD, England
Friday 4th October 2019, 7.30pm
– information here, here and here

SEN3:

  • Kansas Smitty’s, 63-65 Broadway Market, Dalston, London, E8 4PH, England – Monday 1st October 2019, 7.00pm – information here
  • The Mesmerist, 1-3 Prince Albert Street, Brighton, West Sussex, BN1 1HE, England – Monday 8th October 2019, 8.00pm – information here and here

Forq + SEN3
The Jazz Café, 5 Parkway, Camden Town, London, NW1 7PG, England
Wednesday 30th October 2019, 7.00pm
– information here, here and here

Jim Rattigan’s Pavillon:

 

October 2019 – upcoming London experimental gigs – a London visit for Asuna’s ‘100 Keyboards’ (2nd); psychonauts UnicaZürn step up to save the Horse Hospital (5th); Andrew Heath & Anne Chris Bakker play an ambient evening with Matt Atkins, Andrew Sherwell and Kevin Buckland (6th)

28 Sep

As part of London ambient sound festival MODE 2019, Japanese sound/drone artist Asuna will bring the occasional travelling installation in which he arranges a hundred battery-powered budget (or toy) analogue keyboards in concentric circles within a studio space (in this case, South London Gallery’s Clore Studio) and plays, sets up or alters single notes or clusters off each of them (usually sticking keys down with Sellotape) to produce “waves of overlapping sound”.

The results are a chorused spatial drone which you can wander through, in which the intention is to “generat(e) an undulating sonic harmony both mesmerising and mysterious. Sound waves on the same frequency multiply and bounce off in myriad directions, creating a complex sonic field of interference and reverberation that swells and changes over time. Subtle acoustic variations emerge, hover and retreat based on your location in the performance space.” The cheapness of the technology, the variability of battery performance and other factors will also provide additional variations to the setup. The three-minute excerpt below gives an idea of its grating shimmer.


 
On 5th October, psychedelic trio UnicaZürn (uniting members of Coil, Cyclobe, Guapo and Shock Headed Peters) will be playing at Bloomsbury avant-garde stronghold The Horse Hospital, showcasing music from their recent ‘Sensudestricto’ album plus brand new pieces created especially for the concert.

UnicaZürn, 5th October 2019

I’ve previously described their work as a “scenic but chilly slow-evolving boil of waterside atmospherics and psychedelic sound-painting”. ‘Sensudestricto’, explicitly based around situational revolt (“has there ever been a better time to fuck off to the stars? Is a prison breakout “escapism”? Crisis carve some wound-space to let the dreams back in…” ) continues to build on that promise, evoking late ’60s oil projections and space rock, ’70s synth patterning and occult counterculture, and various subsequent shades of psych revolt, dark folk and hauntological weirdness.

The Horse Hospital itself (a twist of history, art and countercultural resistance lurking like a bold and salty tattoo in the heart of one of London’s plushest districts) is once again under threat of being priced out of existence via a rent increase demand of over three hundred per cent, plus other bullying gentrification pressures, so this is a benefit gig. Attend, talk, add some cash to the Kickstarter, etc.

 
Having been releasing ambient/drone/experimental atmospheric music for a little under two years now from its Farnham base, not-for-profit independent tape label Rusted Tone Recordings is starting off a live season at IKLEKTIK with a concert by Aqueous keyboard player/piano minimalist Andrew Heath and Dutch ambient bowed-guitarist/slowcore escapee Anne Chris Bakker.

Rusted Tone Recordings Live #1, 6th October 2019

The duo have recently collaborated on an upcoming RTR release (the north-Netherlands-recorded ‘A Gift for the Ephemerist’) which blends both men’s interest in space, sparseness and field recordings into a record which “is overwhelmingly informed both by an open, minimal landscape and a love of process, allowing lower case sounds to form as you would unfold a map – each section revealing a new and uncharted vista…suspended in time and place, are modulating drones, fragile notes, texture and immersive driftscapes which shimmer and pulse with half-glimpsed melodies that seem to hang in the air.”


 
Support slots come from fellow ambientarians and experimentalists Matthew Atkins, Andrew Sherwell, and Kevin Buckland. Although he’s sometimes a drummer for assorted projects he’s encountered or helped form via the London Improviser’s Workshop, Matthew spends most of his time on sound and visual art. When performing his own music he uses percussion, assorted objects, cassettes and laptop for sound collaging which pursues (or more properly, accepts) elements of “reductionism, chance, repetition and texture.” (Usually he’s working in collaboration with someone else; usually, it also seems, he’s providing the odder or more exploratory parts.) Similarly, Kevin is sometimes a solo bassist, but spends more time outdoors as a traveller, photographer and field recordist intrigued by “the underlying intrinsic musical character that I believe is present within the everyday soundscape; whether rural or urban, indoors or outside.” This in turn takes him back to slow-evolving electronic music of his own, often released on his own Quietest Records label and playing dusky subliminal spells with sound he’s captured along his voyages.



 
As for Andrew, he’s found a niche of his own, and sticks to it; but it’s a particularly cavernous, ecclesiastical niche. He marries field recordings from churches and cathedrals from across Britain and Europe with existing choral recordings, plunderphonicised from random choir albums found in charity shops or, when he can, recording the genuine article first-hand. The results are a devotional post-Christian drone, heavily processed from its source material, flooding through an imaginary nave like a ghostly draught.


 
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Dates:

South London Gallery/Thirty Three Thirty Three/Laurel Halo/The Japan Foundation present:
MODE 2019: Asuna presents ‘100 Keyboards’
South London Gallery, 65-67 Peckham Road, Camberwell, London, SE5 8UH, England
Wednesday 2nd October 2019, 7.00pm
– information here and here

UnicaZürn – A benefit gig in support of the Horse Hospital
The Horse Hospital, The Colonnade, Bloomsbury, London, WC1N 1JD, England
Saturday 5th October, 2019, 7.30pm
– information here, here and here

Rusted Tone Recordings presents:
Rusted Tone RecordingsLive #1: Andrew Heath & Anne Chris Bakker + Matt Atkins + Andrew Sherwell + Kevin Buckland
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Sunday 6th October 2019, 7.30pm
– information here and here
 

October 2019 – Daylight Music’s 2019 autumn season continues – Janek Schaefer, Joby Burgess and AVA (5th October); Keith Tippett & Matthew Bourne with Tania Chen & Steve Beresford (12th October); We Like We, Otto A Totland, Rauelsson and F.S.Blumm (19th October); Susumu Yokota remembered and reinvented by Isan, Seaming To and The Imperfect Orchestra (26th October)

25 Sep

Daylight Music 10, 2019

Following its folk-tinged September concerts, Daylight Music’s autumn 2019 season continues with four October concerts including a piano event, a reinvention of the music of Japanese ambient composer Susumu Yokota and a couple of sustained, themed but accessible dips into post-classical sound art.

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Daylight Music 316: Janek Schaefer + Joby Burgess + AVA – 5th October 2019“For ‘Space In This Place’ (on 5th October), get ready to really experience the chapel and engage with the space in new ways as it resonates and reverberates through the transmission of radios, the pounding of bass drums or the rumble in your belly of the chapel own in-built synthesizer – the Henry Willis organ.

“Sound artist, entertainer, and professor Janek Schaefer trained as an architect at the Royal College of Art, where he fell in love with exploring the relationship between sound, space and place. He has exhibited and performed in over thirty countries worldwide, from The Tate Modern to The Sydney Opera House, and has released thirty-four albums, including collaborations with Charlemagne Palestine, Philip Jeck, Robert Hampson, and Stephan Mathieu.

 
“Watching violinist Anna Phoebe and pianist Aisling Brouwer of AVA interact on stage is always a mesmerising experience – and it will be enhanced by the Chapel’s acoustics. Rooted in cinematic narratives, AVA’s music unfolds around the relationship between violin and piano, evoking emotional journeys that never conform to expectations and yet are instantly accessible. The duo has recently released their debut album, ‘Waves’, on One Little Indian Records.


 
“One of Britain’s most diverse percussionists, Joby Burgess can often be heard on major film and TV scores, notably leading the percussion on ‘Black Panther’, ‘The Darkest Hour’, ‘Paddington 2’, ‘Trolls’, ‘The Last Kingdom’ and ‘Taboo’. He was featured on the score to Alex Garland’s ‘Ex Machina’. His recent highlights include extensive tours with Peter Gabriel’s New Blood Orchestra, PUNKIT (an adventurous participatory project for massed percussion ensemble by Stephen Deazley), and ‘Pioneers of Percussion’, a solo recital programme featuring new work by Nicol Lizée, Linda Buckley and Rebecca Dale.

Joby will perform ‘Qilyaun’ (for solo bass drum & electronics) by John Luther Adams and ‘Can’t Sleep’ (for vibraphone & electronics) by Rebecca Dale.



 
“Joining the dots this week will be computer musician, digital choir boy, and algorithmic composer, Daniel James Ross (a PhD student and associate lecturer at Goldsmiths). Dan will be live-sampling the main performers and running the recordings through his brand new, custom-made, algorithmic composition machine, playing back whatever weirdness it produces whilst you eat your quiche.”

 
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The 12th October Daylight is a piano event presented in association with Sound UK and the Unpredictable Series concert series, criss-crossing British jazz, contemporary classical and spontaneous music:

 
“Witness two of Britain’s most adventurous jazz pianists join forces this October. A seminal figure in the evolution of UK jazz since the 1960s, Keith Tippett has forged his own ever-evolving sound as both composer and improviser. Thirty years his junior, Matthew Bourne has similarly explored the horizons of jazz and contemporary music, on both analogue synths and the acoustic piano. Inspired by Tippett’s suggestion to ‘do some playing together,’ in late 2016 this new and exciting musical partnership between two maverick pianists, a generation apart, is a meeting of like-minded but distinct individuals. Both are mesmerising live performers, famous for their idiosyncrasy, virtuosity, and non-conformity. Marking a key point in Tippett and Bourne’s simpatico relationship, which has spanned some twenty years already, they are finally joining forces to make new music together.



 
“Special guests this afternoon will be Steve Beresford and Tania Caroline Chen. Beresford has been a central figure in the British and international spontaneous music scenes for over forty years, freely improvising on the piano, electronics and other things with people like Derek Bailey, Evan Parker, Han Bennink and John Zorn: he has an extensive discography as performer, arranger, free-improviser, composer and producer, and was awarded a Paul Hamlyn award for composers in 2012. Tania Caroline Chen is a pianist, sound artist and free improviser, who draws her inspiration from the New York, British and European schools of 20th century experimental composition: she has performed and recorded the works of John Cage, Morton Feldman, Earle Brown and Cornelius Cardew as well as compositions by Andrew Poppy, Michael Parsons, Luc Ferrari, Arnold Schoenberg, Anton Webern, Eric Satie and Alexander Scriabin.”

 
This event will also feature a duet performance from pianists Cameron Ward (a mainstay of north English jazz bands such as Racoon Dog Soup) and Glen Leach (an improviser who also plays hip hop with NixNorthWest and adds a jazz-fusion aspect to grime act Project Hilts).

 
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The Daylight on the 19th is “dedicated to sonic landscapes and instrumental explorations through electronic and piano music with Berlin based label Sonic Pieces, who also mark ten years since their first release.

 
We Like We – the duo of Katrine Grarup Elbo (violin) and Katinka Fogh Vindelev (voice) – perform a version of ‘Time is Local’, a work co-created by the ensemble and sound artist Jacob Kirkegaard. Originally this was a twelve-hour multichannel performance, based on a live installation in twelve different chambers of a museum. This afternoon’s performance will bring a version of this new project to the chapel, continuing their mission to express sound beyond the grid of genres.


 
“Minimalistic, melodic, visual, and calming, Otto A. Totland‘s music reflects both his early interest in computers, sequencers and synths and his subsequent departure from them to focus on piano composition. He has released two solo piano albums, ‘Pinô’ and ‘the Lost’, on Sonic Pieces. Otto is also a member of the duo Deaf Center with Erik K Skodvin.

 
“Known for his constant musical evolution, Rauelsson’s musical journey has transitioned from lo-fi, intimate compositions of delicate folk to a more contemplative, experimental, and dense sound. His latest release, ‘Mirall’, is an eclectic collection of compositions that celebrate electronic exploration while maintaining a focus on classical instrumentation. In addition to his main discography, Rauelsson has also released music for film, documentary and photographic projects.

 
“Frank Schültge is a German author, musician, and producer, working under the pseudonym F.S. Blumm. He has recorded many collaborations but is perhaps best known on Sonic Pieces for the album of unconditional spontaneity with Nils Frahm. Based in Berlin, Frank absorbs everything and takes it with him, weaving it into his instrumental portraits. “The man makes some damn charming music.” (‘Pitchfork’).”


 
This is another extended Daylight event, running on until 2.15pm.

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Daylight Music 319: Interpretations: The music of Susumu Yokota (featuring Isan + Seaming To + The Imperfect Orchestra) – 26th October 2019

The last of the October Daylights is a tribute to the late Susumu Yokota, curated by Lo Recordings“a suitably diverse and esoteric collection of musicians to perform compositions from his catalogue. This event also marks the release of ‘Cloud Hidden,’ an album of previously unreleased music by the producer.

“Antony Ryan and Robin Saville have been making music as Isan for over twenty years. Their music takes threads from early electronic experimentalism, blurry dream-pop, motorik rhythms and diverse modern modular sounds, weaving them into a confection which is entirely their own. Sweet but rarely without a melancholy edge, they have been described as making “difficult music easy to listen to”. Onstage, Isan fill the space with beautiful washes of noise and rhythm. They will be taking Yokota’s compositions as starting points and augmenting them with improvised beats, pulsing melodies and rippling loveliness.


 
Seaming To has been described as “the voice of the twenty-first century” (‘BBC Radio 1’), and an artist that is truly “avant-garde” (Robert Wyatt). Her experimental ethos and mastery across a variety of instruments has enabled her to collaborate with some of the most respected and radical artists of this decade, particularly in electronic, classical and experimental genres. Expect a uniquely engaging take on Yokota’s work.


 
The Imperfect Orchestra have been writing and performing since 2013. They specialise in working with amateur and non-musicians to produce live performance soundtracks for moving image and contemporary art events. For this commission, Imperfect Orchestra will be taking specific elements from the work of Susumu Yokota and developing it into an eclectic live performance that creates a narrative exploring some of the themes that were important to his life and his work, including sampling and resampling audio, found sounds and field recordings, and spirituality and electronica.


 
George Crowley is a saxophonist, clarinettist, composer and promoter based in London. As a performer he is active across a range of styles; whether infusing melodic through-composed writing with open, searching improv in his own Can Of Worms, channelling fiery avant-parade ghosts in Brass Mask, weaving through the polyrhythmic Ghanaian trance of Vula Viel or exploring more traditional repertoire, He can also be found playing with bands and musicians such as Melt Yourself Down, Yazz Ahmed, Red Snapper, the Olie Brice Quartet featuring Jeff Williams.”


 
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All gigs are at Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England, with a suggested donation of five pounds. Dates below:

  • Daylight Music 316: ‘Space In This Place’ (featuring Janek Schaefer + Joby Burgess + AVA) – Saturday 5th October 2019, 12.00pm – information here and here
  • Daylight Music 317: Keith Tippett & Matthew Bourne with Tania Chen & Steve Beresford – Saturday 12th October 2019, 12.00pm – information here and here
  • Daylight Music 318: ‘Time Is Local’ (featuring We Like We + Otto A Totland + Rauelsson + F.S. Blumm) – Saturday 19th October 2019, 12.00pm – information here and here
  • Daylight Music 319: ‘Interpretations: The Music Of Susumu Yokota’ (featuring Isan + Seaming To + The Imperfect Orchestra) – Saturday 26th October 2019, 12.00pm – information here and here

Details on November’s Daylight concerts to follow in due course…
 

September 2019 – the start of Daylight Music’s autumn season in London – The Memory Band, Far Rainbow and Ingrid Plum (21st September); Kathryn Williams’ Anthology extravaganza (28th September)

12 Sep

Daylight Music 10, 2019

My favourite London free-music event resumes shortly, following its summer holiday break – although simply calling Daylight Music “a free event” rather undersells it. Let’s call it an exercise in grace. Two hours of pay-what-you-like, mixed-genre music in a cavernous and spectacular London chapel, set up along the inclusive idea that listening and responding to music is a familial activity and that any gathering of people of any age is potentially familial… and a Bakeoffian idea that everything goes better with tea and cake. (That’s ‘Bake Off’ as in the British TV institution, by the way – not as in Bakeoff the unfairly-neglected radical-conservative Bulgarian philosopher…)

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Daylight Music 314: The Memory Band + Far Rainbow + Ingrid Plum – 21st September 2019

The first show of the autumn season is on 21st September and bridges traditional and contemporary folk with playful avant-garde soundmaking and folktronica:

“After an extended break from performing, acoustic folk band The Memory Band returns to Daylight Music in great style in time for our 10th Birthday year, with a vocal set featuring bandleader Stephen Cracknell along with the voices of Hannah Caughlin and Helene Bradley. Influenced by a wide variety of contemporary and traditional styles, they have produced five studio albums and numerous 7″ singles. This afternoon they will be performing a selection of songs old and new – this will not be a set of instrumental landscape music.


 
Far Rainbow is a London-based improvising duo comprised of sound artist Bobby Barry and drummer Emily Barnett. They create vast neo-psychedelic slabs of gradually developing sound and delight in using everyday household objects as part of their stage gear. You’ll never know what will appear on stage: bubble wrap, plastic bags, cellotape, hairbrush, shaver, electric toothbrush, various small motors, taped field recordings, pencil sharpener, egg slicer, or even a small portable vacuum cleaner.


 
Ingrid Plum is a Brighton-based vocalist combining folk music, contemporary classical music and sound art. Her work has been described by ‘The Guardian’ as being characterised by “gorgeously atmospheric vocal techniques woven around field recordings and electronics”, while ‘The Wire’ described her live shows as “succinct and nourishing… a luxuriant space between almost excessive precision and looser improvisation”. She has performed internationally, as well as having worked with Late Junction and BBC Radio 3.”


 
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Daylight Music 315: Kathryn Williams Anthology with super special guests – 28th September 2019In the last week of September, Kathryn Williams comes to Daylight Music with an anniversary Anthology show. Due to the extra volume of music involved, this particular Daylight will be running for an extra quarter of an hour.

“It’s a delight to once again see Mercury Prize-nominated singer-songwriter Kathryn Williams, as she celebrates her twentieth anniversary with her fiery spirit and keen sense of adventure. To date, Williams has released fourteen studio albums and she has also written and arranged for a multitude of artists. Her latest release, a gorgeous twenty-CD boxset of her most loved songs, is painstakingly curated by Williams herself, and includes paintings by the artist, lyrics, stories and unheard demos.

On this special afternoon she will fill the chapel stage with likeminded souls; songwriters, singers, multi-instrumentalists, collaborators and friends from across her career. She will also welcome those she has more recently tutored and helped inspire at the Arvon creative writing retreat. As always with Daylight, this will be a curation like no other, a celebration in song through the heart and voice of Kathryn Williams.”

Kathryn’s guest performers will be Michele and Romeo Stodart (of The Magic Numbers), Chris Difford (of Squeeze), Neill MacColl (of The Bible, Liberty Horses, King L and stints in Eddi Reader’s band), Colin MacIntyre (better known as Mull Historical Society), David Ford and Polly Paulusma; with additional contributions from Lucy Duncans, Euan Allison, Stewart Robbie, Lindsey Strachan, Emma Carr Martin, Jess Tuthill, Emily Barden, Phil Langran, Andy Pearce and Anna Skelton.






 
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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. Dates below:

  • Daylight Music 314: The Memory Band + Far Rainbow + Ingrid Plum – Saturday 21st September 2019, 12.00pm – information here and here
  • Daylight Music 315: Kathryn Williams Anthology with super special guests – Saturday 28th September 2019, 12.00pm – information here and here

Details on October’s Daylight concerts to follow in due course…
 

September-November 2019 – upcoming post-folk, electrop, electronica gigs – tAngerinecAt on tour across Britain (5th/7th/14th/20th September, 17th/18th/26th October, 16th November) with Flange Zoo, DIANE, Experimental Sonic Machines, Ed Dowie, La Rissa, Yorkshire vs. Essex, Factory Acts, Slow Knife, Harbingers Drum Crew, Tin Mole, Clusterfuck, Hallulugenia, SIN/RED, Hypnotique, Otis Jordan, Saint Bernadette and She Robot

2 Sep

“At three I learned what sex was; /at five – death; / at seven – fascism and violence; /at ten – poverty, labour and hunger…” – tAngerinecAt, I Don’t Want To Be A White Master

Despite best intentions, a lot of folktronica can come across as… well, a bit polite and prissy; as something made by a particular breed of tech-headed enthusiasts, scholars and longtime culture-vultures who wear their tidiness and their geekiness openly. Crinkling synths, and flowery linen, kitchen musings and country walks; deep culture filtered through a tiny screen. It’s not that this invalidates it, as such. Folk culture has been, and remains, a broad cauldronful, as fit for constant renewing as it is for drawing from – and upfront electronics have been part of the tools of the trade for three decades now. It’s just that, as subgenres, folktronica and electrofolk seem particularly prone to diluting message with medium, sacrificing bite for texture; in essence, getting so involved with clubfloor, chillout or culture lab that they lose touch with bones, bothy or battlefield.


 
Fortunately, none of this applies to Anglo-Ukrainian duo tAngerinecAt, who sweep through England, Scotland and Wales for assorted dates across the stretch of autumn this year. After ten years cruising through the underground (five of them under the name of Dark Patrick), androgynous singer/hurdy-gurdy player Eugene Purpurovsky and tin whistle/bagpipe-toting electronicist Paul Chilton are still a constantly creative, intelligent and contrary force. Calling them folktronic, or electrofolk, involves upending the term… or stripping it back to the starting point.

Not that tAngerinecAt wear the label with much comfort themselves. They buck at the “folktronica” tag and, as Paul asserts “we don’t associate ourselves as folk, ever, and there is a good reason for that. We don’t play folk music, we compose our own music – not always based on Western scales but that doesn’t make it folk and neither does our choice of instruments. We often get labelled as this, but it’s a stereotype we are trying to get away from. We are only folk in the broader sense that all music is folk. Also, there isn’t one folk festival that would put us on their lineup…”

Certainly compared to most acts under the name, they’re on another level of impact altogether. An embrace of industrial sound (small keyboards and boxes which shout like giants, plus the rippling scathe of take-no-prisoners effects pedals which they add to their armoury and feed their acoustic instrumentation through) gives them the sonic presence of a no-wave or heavy metal act. They dip into frowning Carpathian mountain culture and various wiry varieties of British heath music, but stir in doses of anarchism, industrial sound and swipes at patriarchal violence. At any given time, in addition to the swirling bare-bones rootsiness you can hear echoes of sounds as diverse as Edith Piaf; the electrogoth stadium boom of Depeche Mode or the targeted upsetter-rants of Crass; the skycracking maximalism of The Young Gods and the angry historical weight of Towering Inferno’s ‘Kaddish’. Bizarrely enough, they also manage to capture elements of both ends of Swans – the booming pallet-drag of the early industrial years, the droning neo-folk of the contemporary band.


 
Then there’s the queer aspect. It’s not brought to the forefront of the band’s publicity, but it ripples through the grain of what they do. Eugene was born Eva, and identified as such in the band’s earlier years; the current tAngerinecAt has a genderfluid air in terms of clothing, movement and expression; and between them Paul and (particularly) Eugene summon up a variety of unexpected vocal characterisations which jolt and yell through the songs, upsetting standard ideas about power structures, protest, sources of ideas and about who might actually be singing. That name, too, queerifys and neonises the concept of a wandering animal spirit as band mascot, inspiration and reflection. tAngerinecAt have already won over gender-studies conferences, folk audiences, experimental-loft huddlers and, strangely enough, prog audiences (who might have a reputation for stolidity, but know and appreciate a good use of musical colouring and form-busting when they encounter it).

Despite the uncompromising drama and starkness inherent in their music, tAngerinecAt exhibit a different aspect when they’re acting as promoters, having run their own Cute Owl evenings and tours for several years now. Maybe it comes from the flexibility of vision and the teamwork ethos which Eugene built up from years of theatre work, but Cute Owl is extraordinarily welcoming to a variety of different acts, approaches and mannerisms when it comes to bringing in gigmates and support acts. It seems that as long as you have a yen for electronics and are sincere in what you do, that you’re part of the family. Hence, a Cute Owl event can encompass calls for revolution, playtime events, glamour stances, inclusive-spirited DIY tinkering and frosted electropop introspection; and hence the pleasing, unexpected diversity of the upcoming tour.

The first of the two London dates, on 14th September, is a relatively straightforward headliner but with a performance art buildup. One of the two supports is a previous Cute Owl gig act called Diane (A Walk Through Twin Peaks), in which two musically omnivorous DJs (NikTheDeks from electrobeat punks LOFE, and Andy “Dumb Blonde” McKinna) put down their record crates in order to team up on electronics, devices and effects-laden double bass for a dream-jazz/cryptronic David Lynch tribute (the solo Nik track below might provide a clue or two). The other is “crypto-zoological” animal-masked performance troupe Flange Zoo. Persistently theatrical creators of dank, humming, psychedelic-radiophonic draggings (within which synths rub up against finger bells, zithers, stylophones, turntable tricks and portentous narratives), at the moment they’re concentrating on their Edgar Allen Poe project: a séance-cum-tribute twisted in on itself. Sonorous readings of Poe short stories swim in ponds of improvised electronic twitchings and meditational pings; ritual resurrections turn into mutual back-slapping sessions.

 
The second London date, on 26th October, is a five-act Cute Owl Festival night. Here, tAngerinecAt are joined by flexible and beloved indie/experimental-pop balladeer Ed Dowie (whose 2017 debut album, ‘The Uncle Sold’ involves “a continually evolving, dream-like journey around a non-specified city (and) paints a picture of a range of characters struggling for certainty in a metropolis beset by continually changing forces, be they political, personal or financial”); by Nottingham “eccentronica chansonneuse” Hypnotique (theremins, clarinet and songs about “the apocalypse, post-feminism, erotic narrative and the banality of everyday life”). Also playing is Peter Rollings’ none-more-DIY project in which he ringmasters a clunking song-riot via his own makeshift/make-do invented instruments, robots and other musical machines while dressed in striking homemade ceremonial horned helms, robes and halberds (as if Moondog had been dressed by Mr Maker).

In addition to Peter’s own ESM set, he’ll be sponsoring and guiding another set by ESM’s robot drummer Ernie, a spindly foil-wrapped automaton who plays like a nervous fork-lift truck attempting a Mexican wave and looks like a 1970s primary school project about Martians.

 
The tour’s opening date, in Leeds, features the ominous ’80s synthpop/post-punk revivalist chimes and buzzes of La Rissa, made by “two misfits… in a dim little attic in Leeds” (originator/singing half Larissa Drozd sounding like a Stevie Nicks avatar entirely blanked out by black lipstick) who surface to carry out “dark, spooky” shows wrapped in crepuscular video art.

Also on board, Yorkshire vs. Essex (named not after a north/south feud, but from the founders’ surnames) offer chugging guitars, bass and white-noise synth garlands interrupted by trombones and flutes, all providing rumpled bedding for Simon Yorkshire’s eccentric songspiels on subjects ranging from “fictional toymakers to Sheffield murderers”, as captured on the recent ‘Dismembered Tales’ album. Shades of Peter Blegvad or Tom Slatter as well as YvE’s cited inspiration list of “Robert Wyatt, Current 93, Scott Walker, Miles Davis, Nick Cave, The Residents, Bjork, Death Grips and Iannis Xenakis.”




 
In Manchester, more dark-toned synthpop nostalgia comes from Factory Acts (who sound like Nico fronting a late ‘80s electro-dance outfit). There’s also a prime example of erudite Manc gobbiness on show via Slow Knife’s spoken-word-over-jazzpop- indie scuffle. Initially sounding like The Fall stranded in New Orleans and trying to get in step with the local pimp walk, they finally come across like a sleeker take on short-lived ‘90s beat-dadaists Campag Velocet: Daniel Tasker’s beat-poet outpourings have a similar (though more focussed) effect as he enounces over a cavalcade of horns, double bass, and slack-skinned drums/slide guitar which call up echoes of Can, The The and Dr John while lapsing occasionally into shrieking interludes of tonal and textural anarchy.



 
In Bristol, live-looper Suzy Condrad – under her She Robot alias – pulls together glockenspiel tinkles, mbira, bottle clinks, live beatboxing, passing sounds and layered banks of girlpop doo-wop and then weaves them into the bones of pre-written fully-formed guitar songs. Consequently, the looping comes across as more of a kind of graduated scratch arrangement, honed to a high level. A lot of loop songs can sound wispy, or hung up on their own polyphony: but with Suzy’s work, the song is paramount without the embellishments feeling forced. She’s managed to hold onto that spun-spontaneously-out-of-the-air feeling of loopsong while allying it to a penetrating, literate lyrical sense which challenges with questions and sharp observations rather than getting lost in the atmospherics.

Also at Bristol is ruminative electro-balladeer Luca Macchi, a.k.a Hallelugenia, whose material seems to stem from late-night chillout tunes which take a firm left turn, eschewing delta-wave blandouts in favour of expanding, talkative thought-paths sung in chamois-soft tones across shifting, subtly disruptive harmonic changes.



 
Another two acts are lined up for the Cardiff show, the first being agit-minded techno-pop quintet Clusterfuck who (despite the uncompromising hardcore name) spin out a tuneful, smoothly quaking ravepop sound inspired by and birthed within the current free-festival scene, laced with raps and DJ moves, and frequently graced by guest contributors. The second is Saint Bernadette, the latest in a string of projects from cross-genre voyager Francesca Murphy, a mainstay of ebullient Cardiff female music collective Ladies Of Rage and a singer who’s taken in punk, prog, country, jazz-pop, blues, spoken word and hip hop along her way. There are no clues yet as to what form Saint Bernadette will be taking, but Francesca’s Soundcloud page provides mostly-acoustic singer-songwriter-y examples from her recent past as well as a chance to hear her rich, welcoming voice.


 

The final show, at Edinburgh, features celebratory drumcore industrialists Harbingers Drum Crew – an aggregation of twenty or more assorted drummers inspired by “dance music, drum ‘n’ bass, dubstep and industrial metal” and emerging as being somewhere between a taiko squad, a British marching band, a samba party and a crew of No-Wave warehouse threateners. Meanwhile, Jo Hill’s SIN/RED, brings the electronica-spectrum cycle of support acts back to something resembling tAngerinecAt themselves: it’s not a precise comparison, but Jo’s foreboding mixture of noir-ballad pop, synth drone and cloister-echo raises similar anticipatory hackles and hints at skin-terror, raw feeling and ancient stirrings.

 
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Full tour dates:

  • Lending Room @ The Library, 229 Woodhouse Lane, Leeds, West Yorkshire, LS2 3AP, England – Thursday 5th September 2019, 7.00pm (with La Rissa + Yorkshire vs Essex) – information here and here
  • Gullivers NQ, 109 Oldham Street, Northern Quarter, Manchester, M4 1LW, England – Saturday 7th September 2019, 7.30pm (w/ Slow Knife + Tin Mole + Factory Acts + Otis Jordan) – information here, here and here
  • The Raven, 218 Tower Bridge Road, Bermondsey, London, SE1 2UP, England – Saturday 14th September 2019, 7.30pm (with DIANE + Flange Zoo) – information here and here
  • Equinox Festival 2019, Chalk Farm, Salters Lane, Wyham, Lincolnshire, DN36 5RS, England – Friday 20th September 2019, 12.00am – information here, here and here
  • The Thunderbolt, 124 Bath Road, Arnos Vale, Bristol, BS4 3ED, England – Thursday 17th October 2019, 7.30pm (with She, Robot + Hallulugenia) – information here and here
  • The Big Top, 11 Church Street, Cardiff, CF10 1BG, Wales – Friday 18th October 2019, 7.00pm (with Clusterfuck + Saint Bernadette) – information here and here
  • Cute Owl Festival @ The Courtyard Theatre, Bowling Green Walk, 40 Pitfield Street, Hoxton, London, N1 6EU, England – Saturday 26th October 2019, 6.00pm (with Ed Dowie + Hypnotique + Experimental Sonic Machines + Ernie) – information here and here
  • Cabaret Voltaire, 36 Blair Street, Old Town, Edinburgh, EH1 1QR, Scotland (with Harbingers Drum Crew + SIN/RED) – Saturday 16th November 2019, 7.00pm – information here and here