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March 2017 – upcoming London experimental music gigs – Pefkin, Bell Lungs, Russell Walker and David CW Briggs on the 12th; Yoni Silver, Eden Grey and |V|I|O|L|E|N|C|E| at openJack on the 15th; Magnus Loom, Alex Douglas, Zoey Gunshot and Flying Saucer on the 16th

5 Mar

Sundry experimental music shows in London during mid-March:

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Pefkin + Bell Lungs + Russell Walker + David CW Briggs, 12th March 2017Pefkin + Bell Lungs + Russell Walker + David CW Briggs
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Sunday 12th March 2017, 7.00pm
information

Words from the organiser:

“Scotland comes to New River and it’s going to be a spooky psychedelic affair.

Pefkin is the alter ego of Gayle Brogan, one half of Glaswegian vintage synth duo Electroscope and ex-proprietor of the Boa Melody Bar mail order. She has been recording as Pefkin since 1999 and released albums on Morc, Wild Silence, Reverb Worship, Pseudoarcana etc. More recently she has been recording with the Kitchen Cynics‘ Alan Davidson, creating psych-folk hymnals inspired by a mutual love of folk songs and nature, and has been recording with United Bible Studies. On her own Gayle creates a dreamy rural psychedelia from looped vocals, guitar, analogue synth and violin. She is currently recording an album inspired by the recumbent stone circles of Aberdeenshire.


 
Bell Lungs (vocals/electric guitar/electric violin) is from Scotland and has previously performed in the USA, Germany, Italy, Spain and the UK, in curious locations such as an abandoned grain silo, a hydro-electric power station inside a mountain, the top deck of a double-decker bus and amidst the eerie, moving sculptures of Sharmanka Kinetic Theatre. She will be playing an immersive continuously-morphing set that will carry you from the Western Isles of Scotland to the rainforest and outer space.


 
“Support from Russell Walker of Pheromoans fame and Bomber Jackets infamy. He has also written a book. The book is great, very funny. I saw Russell play at Tatty Seaside Towns‘ most recent event in the famed ‘Naughty Corner’. Me and Barney Wakefield were trying to have a serious conversation but it was IMPOSSIBLE because of this set. He was reading some very funny, misanthropic, storioes/poetry about some ‘people’ either real or unreal. Scathing and mundane in equal measure which is the sign of a good cook. Great with kids. (His son is the spitting image of my nephew… I didn’t want to mention it at the time, ‘cuz that’s probably a strange thing for stranger to bring up on first meeting).


 
David CW Briggs will open the proceedings! Dave used to play in Unlabel band Cove and was playing solo under the moniker Hills Have Riffs for a while. He drinks a lot of tea and is great with kids.”


 
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openJack, 12th March 2017

Ellis Gardiner presents:
openJack – Yoni Silver + Eden Grey + |V|I|O|L|E|N|C|E| + guests
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Wednesday 15th March 2017, 7.30pm
information

Yoni Silver is a multi-instrumentalist (specialising in bass clarinet and electronics), composer, improvisor and performer. He plays in a number of projects, including the Hyperion Ensemble. This is Yoni’s first openJack appearance, but he’s back a few weeks later with his trio, Denis D’or.


 
Eden Grey‘s music is an experimental mix influenced by electro, dub, d’n’b, techno, drone, ambient and hip-hop. Her music took a major shift towards the collage-based methods of the historical avant-garde while earning her Masters’ degree in music technology and after she began building her modular synthesizer in 2013. Eden also hosts the CV FREQS meetups for the London Modular Synthesis Group.


 
|V|I|O|L|E|N|C|E| is a solo electronics project by Tim Cowlishaw, one of the people behind Walthamstow’s avant-music evening More News From Nowhere.”


 
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Magnus Loom, 16th March 2017Chlöe Herington presents:
Magnus Loom + Zoey Gunshot + Flying Saucer
The Harrison, 28 Harrison Street, Kings Cross, London, WC1H 8JF, England
Thursday 16th March 2017, 7.00pm
information

This is another of the leftfield gigs organised by reedswoman/noise-fiddler and curator Chlöe Herington (Chrome Hoof, Knifeworld, V A L V E, Half The Sky), and here’s what she has to say about it:

Magnus Loom wildly turns and tumbles through a cornucopia of brightly burning pitches and rhythms, howling and whispering, in his own world of avant-punk cabaret. According to his Facebook page, “Magnus Loom makes a noise, and lives in hope that one day others might enjoy it as much as he does.” It’s really good noise. I reckon you’ll enjoy his noise.



 
“The two support acts are both performing debut gigs. Zoey Gunshot is political noises and anti-folk; Flying Saucer is experimental noises, a bit Jonathan Richmond tinged with Bob Drake.“

 

November/December 2016 – a plague of Charles Haywards in Britain and Ireland – with Samuel Hällkvist and Charlie Stacey in London (Nov 12th); with Phosphene at Xposed Club in Cheltenham (Nov 18th); at Daylight Music in London for Laura Cannell’s ‘Memory Mapping’ (with Mythos of Violins, Hoofus and Jennifer Lucy Allan, Nov 26th); in Dublin with The Jimmy Cake and Percolator (Dec 10th)

7 Nov

“Man with drumkit and nerve available. Works well on his own, but can work with anyone from virtuoso level to raw newbie. Will also travel, though being in the right place is essential.”

Charles Hayward – drummer, songwriter, improviser; patron saint of South London spontaneity. Creator, humble communitarian and sharer. Kit-and-tapes driver for avant-rockers This Heat and Camberwell Now! during the ‘70s and ‘80s; more recently, the curator-enabler of experimental multi-media events such as Accidents & Emergencies. Internationally reknowned but publically anonymous go-to bloke for musical support and thrilling upset. A musician who goes out and does.

Here are four separate upcoming instances of Charles Hayward in the act of doing: all taking place this month or next month. As good a hook as any to hang a ‘Misfit City’ post off.


 
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London EFG Jazz Festival presents:
Hallkvist/Taylor/Goller/Hayward + Charlie Stacey
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 12th November 2016, 8.00pm
– information here and here

“The Swedish musician Samuel Hällkvist was given the ‘Jazz in Sweden’ award in 2010. It caused some controversy at the time because Samuel is a guitarist who doesn’t fit comfortably into the template of Scandinavian jazz. Nordic brooding is not his style at all. Instead Samuel brings unsurpassed wizardry to the use of effects pedals, which he deploys with great discretion and aplomb. He has toured extensively in Scandinavia, other parts of Europe and Japan, as well as touring the UK in 2012, where he performed with Yazz Ahmed, Denys Baptiste and Gary Crosby.


 
“Samuel is joined on this occasion by a carefully selected cast, featuring Ruth Goller (the bass guitarist of Acoustic Ladyland), the wonderful Charles Hayward on drums (This Heat etc.) and free improviser Noel Taylor on bass clarinet. The ensemble is a combustible blend of elements which promises high-energy rhythmic patterns awash with thunderous beats of drum and bass, and surmounted with the languorous, rich tones of bass clarinet.

Charlie Stacey first popped into the jazz scene when he was featured on UK television as a child prodigy. In 2012, still a teenager, he reached the semi-finals of the Montreux Jazz Piano Competition. Since then he has performed at festivals around the world. Stacey’s tastes range from Keith Jarrett to Sun Ra and Albert Ayler – stir these ingredients together into a swirl of mood and pianistic virtuosity: that’s the unique sound of Charlie Stacey.”


 
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Charles Hayward + Phosphere, 18th November 2016The Xposed Club presents:
Charles Hayward + Phosphene
The Xposed Club @ Francis Close Hall, University of Gloucestershire, Swindon Road, Cheltenham, GL50 4AZ, England
Friday 18th November 2016, 8.00pm
– information here and here

Charles Hayward‘s ‘(begin anywhere)’ is a new project centred around songs performed at the piano, a sequence of betrayal, paranoia, subterfuge, opening out into resistance, hope and humanity, interweaved with sound events, drums, spoken word, performance. Stark, minimal arrangements; an unexpected departure.

Phosphene is the name Glasgow-based artist John Cavanagh has worked under for his solo music-making since 2000. In that time, there have been three full-length Phosphene albums, featuring collaborations with Lol Coxhill, Bridget St. John, Raymond McDonald, John McKeown (1990s/Yummy Fur), Isobel Campbell, Bill Wells and others. John is also a a member of the duo Electroscope, along with Gayle Brogan (Pefkin) and the more recently formed Sonically Depicting, with Ceylan Hay & friends. He is also known as a radio presenter & contributor, voice-over artist, author of a book on the Pink Floyd album ‘The Piper At The Gates Of Dawn’, producer of records/occasional record label operator and organiser of music nights at Glasgow’s Sharmanka Kinetic Gallery.”

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Daylight Music 240, 26th November 2016

Arctic Circle presents:
Daylight Music 240: Laura Cannell presents “Memory Mapping”: Charles Hayward + Mythos Of Violins + Hoofus + Jennifer Lucy Allan
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 26th November 2016, 12.00pm
– free event (suggested donation: £5.00) – information

“The Arctic Circle At Ten celebrations continue courtesy of experimental fiddle and recorder player Laura Cannell, bringing together musicians whose work is both spontaneous and deeply inspired by their surroundings. Using real and imagined memory, ideas are mapped internally and externally and turned into atmospheric, moving and unexpected performances.

“Charles Hayward gives a solo performance of his piano piece (begin anywhere)…” – see the Xposed Club bit for more on that. Also note that Charles and Laura play together in the Oscilanz trio (with Ralph Cumbers of Bass Clef/Some Truths), creating new music by exploding, recombining and reinterpreting the music of twelfth-century composer and polymath Hildegard Von Bingen, in a web of drums, trombone, violin, recorders, singing and electronics. (There’s a clip of them below, for context.)


 
Mythos Of Violins is the experimental violin work of Laura Cannell and Angharad Davies, creating new works inspired by location and memory and “puzzling over the unsconcious or conscious effect of place on the creative development of an artist.” ‘The Scotsman’ reviewed their performance at Glasgow University Chapel earlier in April this year as “hypnotic… they made judicious use of the venue as they circled the pew-bound audience, unfurling a tapestry of intense scratches and squeals – as if the cloisters had been infested by an attack of rabid rats – fused with discordant prettiness and yearning hints of Celtic folk.” Laura and Angharad will be performing a special piece inspired by the Union Chapel. Laura will also be performing a solo set of her own.



 
Jennifer Lucy Allan – former online editor of ‘The Wire’ (and still running their Resonance FM radio show), as well as being the co-runner of experimental record label Arc Light Editions – will be weaving rural and industrial soundscapes through this very special event (possibly including evidence of her ongoing research project on fog horns).”
Also to have played was Hoofus, a.k.a. Andre Bosman, an electronic musician based in coastal Suffolk. Focused on live performance, emergence and improvisation, Hoofus uses drifting oscillators, overlapping frequency modulation, ragged percussion and a sense of tactile interaction between performer and machines to create music of wayward eerie wonder. Drawing on ideas of edgelands and peripheries and the intersecting of wilderness with urban/industrial spaces, Hoofus explores the uncanny beauty of the intangible, the occult and the arcane seeping through into the post-industrial 21st century world of reason and corporate compliance. Unfortunately he won’t be performing them here this time around – maybe next time?


 
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Charles Hayward + The Jimmy Cake + Percolator, 10th December 2016The Jimmy Cake present:
Charles Hayward + The Jimmy Cake + Percolator
Bello Bar, Portobello Harbour, Saint Kevin’s, Dublin 6, Ireland
Saturday 10th December 2016, 8.00pm
information

For this December show, Charles heads up an evening of “loud instrumental space-prog-post-apocalypse rock”. There’s no word on what he’s specifically doing, but I’m guessing it’s a return to the furious drums, the disruptive tapes and the man-in-the-moment vocals of his main improvisation style.


 
Event organisers The Jimmy Cake are sixteen-year instrumental veterans of Irish instrumental rock. Over five albums under the leadership of keyboard-playing main-brain Paul G. Smyth they’ve employed banjos, clarinets, strings and brass – mixing Chicagoan post-rock, European space rock and Canterbury prog with the happysad fiddle-and-whistle uplift of Irish music sessions – or lurked behind gonging walls of noise and synth. Fast friends with Charles already (he guested at their previous annual show, prompting his invite back for this one), they’ve also backed Damo Suzuki – a set of influences and associations which should make their intentions, impulses and credibility clear.



 
When they’re clicked into “simple” mode, Waterfordian trio Percolator bounce and sing-song like an appealing, easily-approved indie-pop mix of The Stooges, Television, and Pavement influences, with additional craic courtesy of the chatty vocal rapport between drummer Eleanor and fuzz-sliding, odd-angles guitarist Ian. When they pull out the remaining stops on their organism and get more complicated, they transform into something much more remarkable – one of the few bands who can appropriate that lazy “sounds like My Bloody Valentine” tag – or have it foisted on them – and not disgrace it. The wilder tracks on their last EP, ‘Little Demon’ are whirlwinds of biplane-crash guitar drones, road-hammering motorik drums and bass surges. They sound like so much more than a rock trio – virtual unknowns already able to capture the wheeling cosmic dizziness of a full-on King Crimson soundscape or the pre-apocalyptic glower of a Gnod blur-mood as well as the microtonal shear of Kevin Shields.



 

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

1 Nov

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

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

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

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


 

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


 

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


 

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


 

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

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

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

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



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

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



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



 

September/October 2016 – upcoming and ongoing London gigs and music theatre – Laura Moody’s ongoing work in ‘dreamplay’ at The Vaults (plus a solo song show on October 11th); Keir Cooper and Rose Biggin collide pole dancing and noise-guitar in their ‘Badass Grammar’ revival at Camden People’s Theatre (5th & 6th October)

22 Sep

A couple of interesting (and very different) elisions between music and theatre, plus a solo gig…

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Currently engaged in providing live cello for Jocelyn Pook‘s score to the current Globe Theatre production of ‘Macbeth’, audaciously accomplished cellist and singer-songwriter Laura Moody (see passim) is also doubling down at Waterloo to perform in BAZ Productions‘ performance piece ‘dreamplay’.

'dreamplay'

BAZ Productions present:
‘dreamplay’
The Vaults Theatre @ The Vaults, Arch 236 Leake Street, London SE1 7NN, England (use the Launcelot Street entrance off Lower Marsh)
Saturday 10th September 2016 to Saturday 1st October 2016 (Tuesday to Saturday 7.30pm; Saturday matinees 3pm; BSL Performance on Saturday 24th September)
– information here

A reworking of and response to August Strindberg’s classic proto-expressionist work of the same name (and scripted by BAZ director Sarah Bedi and the performers), the piece features “a mysterious woman (who) arrives on Earth, intent on uncovering the truth about human suffering. Her dream-like quest leads her through shifting landscapes and into contact with a host of disturbing characters as she searches for the ever elusive Door, behind which she is certain the answer lies … Can she discover the unconscious truth and return home?” (Sadly, ‘dreamplay’ is already halfway through its run – if I’d known about it earlier myself I’d have posted about it sooner…)

 
Direct from Laura: “I appear as a variety of characters, as part of a wonderful cast of five, performing all the music I’ve created for the show live. I also give my acting debut! I’m really delighted that just a few days into opening my music/soundscape for ‘dreamplay’ has been nominated for an Off West End Theatre Award for best sound design.

“Played out in the tunnels underneath Waterloo Station, ‘dreamplay’ is an immersive, challenging piece that casts you, the audience, as the dreamer and leads you through a labyrinth of scenes, images and situations prompting fundamental questions about humanity. I, for example, finished opening night contemplating how exactly I had managed to acquire quite so many inexplicable bruises on my limbs and HP sauce on my bow. Such are the mysteries that await you, and many more…”

Laura Moody performing in 'dreamplay' (photo © Cesare De Giglio)

Laura Moody performing in ‘dreamplay’ (photo © Cesare De Giglio)

Once ‘dreamplay’ is finished, Laura will be performing one of her intermittent London solo gigs – an hour-long song set with no support act – at City University..

City University presents:
Laura Moody
Music Department @ City University, Northampton Square, Finsbury, London, EC1V 0HB, England
Tuesday 11th October 2016, 7.00pm
-free event requiring ticket reservations – information here

To whet the appetite for this, here are a couple of videos shot back in June at the Dartington Estate during Laura’s gig there, in which she duets with Adem on a version of her song We Are Waiting (and on Adem’s own Love And Other Planets).



 
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Earlier in the year, Keir Cooper (who’s previously graced this blog as guitarist and composer for noisy experimental jazz-rockers A Sweet Niche) teamed up with fellow theatremaker and physical performer Rose Biggin to create the performance piece ‘Badass Grammar’, in which Keir’s blistering guitar is paired with Rose’s dynamic pole dancing in an hour-long dialogue of ideas.

'Badass Grammar' (photo © Rachel Manns)

‘Badass Grammar’ (photo © Rachel Manns)

Rose and Keir describe ‘Badass Grammar’ as “sexy, smart, witty as houses and obviously featur(ing) big bold dance and electric guitar duets.” A longer description suggests “a theatrical collaboration between a pole dancer and a guitarist, a composition in exploded view. With a mischievous agenda, the performance invites in the mucky subjects of shame, power and privilege. And takes them dancing. Peering down at the nuts and bolts, the muscle and bone. The pole dislocated, the guitar unfretted. Sparkling, witty, savage, fabulous: we draw on the invisible histories of our disciplines and are building a new one. Starting now. Come with us.”

 
Following its initial performances at The Yard, ‘Badass Grammar’ is being revived for Camden People’s Theatre as part of the annual Calm Down Dear festival of feminist performance.

Calm Down Dear #4 presents:
‘Badass Grammar: A Pole/Guitar Composition in Exploded View’
Camden People’s Theatre, 58-60 Hampstead Road, Euston, London, NW1 2PY, England
Wednesday 5th & Thursday 6th October 2016, 9.00pm
information (presented in a double bill with ‘40 Days Of Rain‘ on the 5th)

Below, there’s a brief and tintinnabulating minute-and-a-half-long excerpt from Keir’s score – spilling, mercurially elusive guitar-noise shapes passing through hard rock distortion and riffing, and refracted as if glancing off the chromed mirrors of the pole podium. Some of the music from this and other theatre work should eventually surface on his proposed ‘Bodies‘ album, which will incorporate Keir’s guitar-and-effects-pedal contributions to collaborations with assorted artists across a variety of live dance and performance disciplines (including “strip punk” and flamenco).


 
In an expositionary piece written for Bellyflop Magazine back in May (and which you can read in full here) Rose and Kier present and explore some of the implications of their show; not ducking around the “massive inflatable grey elephant that comes tied to every pole” in the form’s inescapable ties to sex work, but raising other questions in response, including “are women to be judged harder if you don’t like their job?… What if I’m actually one of many feminists on the pole? Does that mean I can be listened to yet? Or still spoken for?”

As they state, “we’re making a show. It’s pole dance, which is sometimes sexy, and came from strip clubs. It’s also live electric guitar, which is often a lot of willy-waggling. It’s a show about shame, power and privilege. Let’s see what happens.

“Pole is a very visible arena for tensions around women’s bodies, women’s work, shame, power and privilege. Far from a casual choice – it is impossible not to be political when near this object… When we discuss our performance with folks, somebody will ask if Keir is pole dancing and Rose is playing the guitar. Sometimes this is asked as a joke – when it’s a joke, it’s always asked by a man. But sometimes it’s a genuine artistic question, and as such it’s a valid one.

“The short answer is no, because artistically, we’ve decided it would be pretty boring to watch people doing something they’re terrible at. (For an hour.) But the longer answer is no, because we think it is more interesting to utilise the forms from where we are and examine how it came to be that we got here. And what we will do now…”

I’ll just pinch from one more source to add a bit of extra colour. Here’s Rose’s irreverent, practical list from her ‘Badass Grammar’ article in ‘Standard Issue’ magazine, detailing what she’s learnt from the form…

Rose's list, part 1

…and not forgetting…

Rose's list, part 2
 

August 2016 – upcoming gigs – odds and ends – Dennis bring North-Eastern mining-town pop to London (19th); noisy psychedelic rackets cooked up by Three Dimensional Tanx in Lancaster (20th) and by the Rocket Recordings All Dayer in London (20th – with Teeth of the Sea, Gum Takes Tooth, Necro Deathmort, Housewives, Anthroprophh, H.U.M, Kuro, Coldnose)

17 Aug

I’m not even going to pretend that there’s a connecting thread within this post – it’s just a roundup of Friday and Saturday gigs while I try to fit some more updates into what’s going to be a busy August outside of the blog.

It seems that my rant about ersatz brass bands and the appropriation of Northern British folk forms earlier in the month has borne some fruit, or at least generated some kind of knock-on effect. I’ve just been emailed about Dennis, an eight-piece “folk pit-pop & colliery brass band” from Hetton-le-Hole in the minelands of County Durham, who claim heirdom to “a working class cultural heritage and community spirit.” and who are playing a free gig in London on Friday. In many ways they’re a sugared-tea version of ascerbic ‘80s Hullensians The Housemartins – a soul-touched ‘60s guitar pop, with the soul horn section transmogrified into the distinctively mournful, dusty sound of a pit head brass ensemble.

While some of that comparison’s on point – they’ve certainly got the tunes, and spring even more directly from the culture, with even the guitarists learning pit brass back in primary school prior to an apprenticeship in indie – Dennis do lack the Housemartins’ explicit political bite. There’s little of the gadfly lyrical attacks, or an equivalent to Paul Heaton’s upfront socialism and targeting of privilege and exploitation. Instead, much of their ethos is expressed via their visual identity. Artwork and videos are festooned with mining and trade union banners and footage of workers’ marches, while some clips make use of elderly retirees in mining town social clubs (notably, the latter are invited to join in with the singing, instead of being treated either as craggy scenery or as crushing embarrassments).


 
Outwardly, Dennis seem to deal in softer topics – more personal, adolescent or universal, or more diffuse folky sing-alongs – but a quick closer look reveals an undercurrent of glowingly nostalgic communalism (the band are veterans of fundraisers and community support events), and lyrics which hanker back, obliquely, to community spirit and mutual help. Perhaps more will be revealed on their debut album ‘Open Your Eyes’, due at the start of September when they’ll be playing on home turf at Northumberland’s Coquetfest.

Dennis, and Sapien Records Ltd. present:
Dennis
Mau Mau Bar, 265 Portobello Road, Notting Hill, London, W11 1LR, England
Friday 19th August 2016, 7.00pm
– free event – information


 

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Over in the North-West, Lancaster psych-punk five piece Three Dimensional Tanx are playing a hometown gig on Saturday. With Stooges, Can and Velvet Underground comparisons in the bag, they’re following a pretty clear lineage: personally, I’m also hearing Question Mark and the Mysterians plus the garage rock end of the Sy Barrett Floyd; while other songs beat relentlessly at the forehead like Suicide or embark on long, stewed musical journeys.


 
What I like about this band is the dogged way in which they conduct themselves, and the way in which they seem to have colonised this particular Lancaster pub – circling around in its schedule like a persistently returning comet and playing several sets each time, as if pushing themselves through an arts lab. Turning the show into a five-decker lysergic sandwich, North-Western vinyl archivist Sie Norfolk (Sunstone Records/Psych Fest) will take slots before and after the band as well as during a break between sets, playing a “psychedelic dance party” from his record collection. If they’re going to continue to make this thing a regular event, I hope that they succeed in turning it into a psychedelic node, feeding more mindstretcher bands into and through Lancaster and beyond.


 

Three Dimensional Tanx + DJ Sie Norfolk
The Golden Lion, 33 Moor Lane, Lancaster, LA1 1QD, England
Saturday 20th August 2016, 9.00pm
information
 

* * * * * * * *

Staying in choppy psychedelic waters, the Rocket Recordings label has an eight-band concert back down in London, hosted (inevitably) by those persistent stewards of noise at Baba Yaga’s Hut. Many of the names are familiar – certainly to the dedicated noisies who follow the Hut and swing hard with ‘The Quietus’ – but for those who might not know them so well, here’s a quick primer.

As Baba Yaga favourites, Teeth Of The Sea keep popping up in here: a craggy yet celebratory electro-psychedelic throb from a full-band rock lineup embracing techno, polytextured brass, analogue synthwarp, tough corners of metal, and dance imperatives that span Chicago clubs and mud-sodden English field parties. Meanwhile, Necro Deathmort were among the electro-industrialists running rampant at at Cafe Oto last October: an all-out banger project which swings like a macabre wrecking ball across the borders of hard techno, blootered industrial electronica and doom metal. This year’s album ‘The Capsule’ takes a step into the scuzzy pack-ice of dark ambience: glowering, and majestically dour.



 

An explicitly magickal Anglo-French-Swiss trio of Mark Wagner, Heloise Zamzam and Olmo Uiutna, the spiritually/psi-ritually-inclined H.U.M. played at April’s Gnod Weekender. Back then I described them as a “psychic cross-cultural art coven”, creating consciousness-expanding installation-cum-ritual sound performances via chants, drones and drums, with both the music and Mark’s improvised narratives drawing on cybernetics, the occult, sound visualisations, and ancient alchemical ideas. They also like Rimbaud, Artaud, Colombian shamans and the Gallic pop of Francois Hardy, which makes for one hell of an art-sprawl.


 

Both Housewives and Anthroprophh showed up in ‘Misfit City’ only the other day, as participants in the current Sax Ruins/Massicot tours – the former an amelodic No Wave-inspired noise quartet, the latter a trio led by a sludge-guitar hero balancing “fifty years of psychedelic culture and esoteric art” on his shoulders.



 

That leaves Gum Takes Tooth, Kuro and Coldnose. Two of these, at least, are two-person teamings. Gum Takes Tooth are drummer Thomas Fuglesang and singer/synth-player/electronoise generator Jussi Brightmore, who pursue a rhythmic communion with their audiences inspired by psychedelic rituals and sound-system block parties (their recent single, Bone Weapon, sounds like a choral mass conducted inside a floor polisher). Kuro is a new project uniting bass guitarist Gareth Turner (an Anthroprophh contributor and half of Big Naturals) with French amplified violinist Agathe Max (a classical music escapee who’s been making improvised sonic textural music for two decades). As for who Coldnose are, nobody seems to know. Perhaps they’re just an idea to fill up the poster. Perhaps they’ll simply coalesce on the day.



 
Baba Yaga’s Hut presents:
Rocket Recordings All Dayer (featuring Teeth Of The Sea + Gum Takes Tooth + Necro Deathmort + Housewives + Anthroprophh + H.U.M + Kuro + Coldnose)
Corsica Studios, 4-5 Elephant Road, Elephant & Castle, London, SE17 1LB, England
Saturday 20th August 2016
information

There’ll also be barbeques and beer, the latter an Intergalactic Pale Ale devised by Rocket label people in collaboration with London hopsmasters Brewage à Trois. Yep, there’s a signature beer for psych-happy London heads now…
 

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

2 Jul

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

* * * * * * * *

Horse Improvised Music Club, 5th July 2016

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

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

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

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

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


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

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

* * * * * * * *

Hominid Sounds evening, 7th July 2016

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

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

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

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



 

February 2016 – upcoming gigs – London noises, slurs and smears: a triple run of Baba Yaga’s Hut evenings – Joe Gideon (featuring Jim Sclavunos) with John J. Presley, Mugstar with Henge and Cavalier Song, Roger Robinson & disrupt with School House – plus More News From Nowhere (with Simon Bookish + Sharon Gal + Deathcount in Silicon Valley) and an evening of art/prog/math rock with Theo, Battleship Grey and Olympians

21 Feb

From where I’m standing, it’s looking like a mostly noisy and left-field week. Here’s the first bit of it…

More News from Nowhere #4 , 24th February 2016

More News From Nowhere presents:
More News from Nowhere #4 – Simon Bookish + Sharon Gal + Deathcount In Silicon Valley
The Victoria, 186 Hoe Street, Walthamstow, London, E17 4QH, England
Wednesday 24th February 2016, 8.00pm
more information

From the organizers:

“More News From Nowhere – Walthamstow’s regular night of new and interesting music – returns with a double headline performance.

Experimental vocalist Sharon Gal is a widely respected figure on London’s improvised and avant-garde music scene – she’s worked with Steve Noble, David Toop. Steve Beresford and Thurston Moore amongst others, and is a founder of Resonance FM.

Simon Bookish, the alter-ego of performer/composer Leo Chadburn, fuses his classical training and experimental leanings with electronic instrumentation and a pronounced pop sensibility. He’ll be performing his latest release – ‘Red And Blue’, released this January (“a collision between digitally-processed brass and distorted synthesizer drones; atonal electronic pop and drifting field recordings; spoken word and unearthly vocalisations” inspired by the ‘special relationship’ between the US and UK governments during the Cold War) as well as a new version of his ‘Trainwreck’ project from 2007.


Support comes from Walthamstow’s own Deathcount In Silicon Valley aka MNFN friend and co-conspirator Andi Nixon, who makes “ominous frazzled sci-fi scores” and will be performing his tribute to the film ‘Scanners’.”

* * * * * * * *

For the following three nights, there are three Baba Yaga’s Hut events in a row. The first one’s for lovers of scuzzed-up song…

Joe Gideon, 2015

Baba Yaga’s Hut presents:
Joe Gideon + John J. Presley
Corsica Studios, 5 Elephant Lane, London, SE17 1LB, England,
Thursday 25 February 2016, 8.00pm
more information

This week sees the return to live action of Joe Gideon, who first came to attention in 2002 as leader of Americana-tinged post-rockers Bikini Atoll (which also featured his sister Viva on keyboards). Joe and Viva went on to form the critically acclaimed brother/sister avant-blues duo Joe Gideon & The Shark, in which Joe clanked trash guitar and drawled absurd, witty tales in Beatnik slang while Viva drummed, mixed in keyboards and beats, and layered a spooky background of looped vocals.

Two acclaimed albums later – 2009’s ‘Harum Scarum’ and 2013’s ‘Freakish’ – Joe and Viva have parted ways. While Viva busies herself with different musical work (including an appearance with Loose Meat for ‘Inside The Sun‘) and acting in video games (having won an award for her work in reconstructive crime tale ‘Her Story‘ last year), Joe’s continued his own work with a solo album – ‘Vice Versa’, recorded and released in 2015 with an all-star squad of Jim Sclavunos (Bad Seeds) on drums, Ed Harcourt on keyboards and Duke Garwood on horns. Jim’s stayed in the live band: following a London debut back in November and a guest spot at a Lee Hazelwood tribute, they’re back for a second full live show at Corsica Studios.

 

Support comes from John J. Presley, the Walsall-born songwriter and guitar who feeds his own take on freeform storytelling blues through a mess of noisy downtuned guitar, alternate tunings and drones (backed up with drums, Rhodes piano and harmonium.)


 

The second show features more outright noisiness; it’s a more typically Baba Yaga-esque soup of psychedelic noise, sludge and hints of prog…

Mugstar, 2015

Baba Yaga’s Hut presents:
Mugstar + Henge + Cavalier Song
Electrowerkz @ Islington Metal Works, 5 Torrens Street, Islington, London, EC1V 1NQ, England
Friday 26th February 2016, 8.00pm
more information

With a new record poised for launch at the start of March, long-established Liverpudlian psykraut space-rockers Mugstar are headlining the show. Their dour-dark mantra instrumentals wed lugubrious organ drones and Morricone/Labradford-ian guitar parts with guttering smears of noise, while occasional distant snatches of speech or song flicker into hearing like tiny, frayed, long-ago rags impaled on endless wire fences.

Originally, Steve Gullick’s flinty moodists Tenebrous Liar were scheduled as the first support band. Their decision to split up last November has cleared the way for some gig-sullying from Henge. These London psych-sludgers belch out hanging, polluted, noise clouds through which singer Loz Chalk delivers his scratched, timorous, and fearful yells, his ankles enmired in dragging pace and guitar fry.

For my money, the most interesting band of the night is the one that’s opening the show. Elusive Liverpudlians Cavalier Song are Henge friends and tourmates (having played with them in Nottingham and London earlier in this month), have occasionally rolled out tracks on Soundcloud over the past five years, and released their debut album ‘Blezards’ only last month, delivering “soundtracks to earth, man and machine, the outdoors, the indoors and constant shift.” Sitting on a cusp between Swans and King Crimson (both of whom they claim are influences), they sound like a prog band in which the brain hemispheres are falling away from each other. Some pieces clench and raise the tension in their dissonances, their rapid rhythmic and dynamic transformations, while others engage in tearing, shifting Frippish drones. Panic, chaos and a liberated excitement loom as possibilities among the brutal rips of guitar, the resonating overtones and the low-hanging atmospherics; yet the band lean on – and sustain – that moment when form and skills of structure and rapid response still remain. Other noise bands simply plod and accumulate: Cavalier Song sway and shift; light-footed knife-fighters, their eyes and attention flicking this way and that while keeping a deadly focus. Sod it. Make sure you turn up early. This is how it’s meant to be done.

 

The third and last of the Baba Yaga gigs dips us into dub, dub poetry and eerie electronica stews…

Roger Robinson, 2015

Baba Yaga’s Hut presents:
Roger Robinson & disrupt + School House
Cafe Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Saturday 27th February 2016, 8.00pm
more information

In recent years, Hackney-born/Trinidad-raised poet and vocalist Roger Robinson has probably been best known for his work as one-third of King Midas Sound (in which he works with eclectic dub/jazzcore/dancehall/grime producer Kevin Martin and Japanese artist/singer Kiki Hitomi). However, he’s led a peripatetic solo career since the early ‘90s: starting out as a spoken-word performer, he’s written and performed a number of acclaimed one-man shows, toured the world on behalf of the British Council and released books of poetry. Since 2004 there have been solo musical releases and mixtapes including the spoken-folk album ‘Illclectica’ and collaborations with or reworkings of music by Oneohtrix Point Never, Ryuichi Sakamoto, William Basinski and Alva Noto.

Roger’s most recent work (set in 2011 at the time of the London riots, and partially achieved by lone walks around his sometime base of Brixton, improvising dub poetry into a dictaphone) is last year’s ‘Dis Side Ah Town’ album – a detailed work of study and reportage on the impact, distortions and erasures of change and gentrification, with Brixton observed both in its own right and as a signifier for similar distortions in London and the rest of the world (read Neil Kulkarni’s recent ‘Quietus’ interview with Roger for more background on this). Production work on the album was handled by disrupt – a.k.a. Jan Gleichmar, an East German computer-music whizz who grew up on the Soviet side of the Berlin Wall and progressed through assorted home-made dance stylings (variously Detroit techno, digital hardcore, gabba and electronica) before settling on digital dub as his expression of choice. Co-boss of the Leipzig-based dub/reggae netlabel Jahtari for over a decade, Jan started off on a cheap laptop but currently achieves his sound with homemade electronic gear, being interested in the textural and process effects of antique microchips and manual voltage control. Tonight, he and Roger will be performing together in London for the first time, delivering live material from or informed by ‘Dis Side Ah Town’ and bringing Roger’s observations and warnings back home.

The support act is School House, a solo project by Manchester composer Peter James Taylor (once the baritone guitar player for Bletchley noise-rock…Action Beat, now known for his distortion-rich, Branca-esque massed-guitar works exploring custom tunings, extended techniques and graphic notation). School House provides Peter with opportunities to explore other areas. Although the project’s first release, ‘Soft Focus’, explored a spooky, textured minimalism using customised Yuri Landman guitars, last year’s ‘Herd’ album moved into electronic instrumentation, concentrating on glitch-rhythms and software drones while keeping some of the layers of guitar texture for what Peter describes as “roiling, gaseous and slow-moving nocturnal dread.” It’s this latter side of School House which will be on display tonight, accompanied by suitable visuals.

 

* * * * * * * *

To wind up this post, here’s news from east London on “an eclectic night of math rock, experimental rock and progressive rock”

Theo + Battleship Grey + Olympians, 27th February 2016

The Game Is Rigged presents:
Theo + Battleship Grey + Olympians
The Sebright Arms, 33-35 Coate Street, Bethnal Green, London, E2 9AG, England
Saturday 27th February 2016, 7.15pm
more information

Most of the text below is by the promoter or other people, so links are provided where they’re due:

Theo is Sam Knight, a one-man-band from London who puts on an astonishing performance. His Soundcloud bio says “taut, chugging guitar loops layer up with frenetic tapping patterns that interweave in spiralling complexity before near sub-atomically precise, powerhouse drumming clatters and builds each song into juggernaut of riffs and rhythms. To achieve something like this recorded is one thing, but to see Theo perform live is quite another as each song blurs into the next and the dazzling guitar and drum acrobatics leave jaws sagging on the faces of all who bear witness to the talent on offer.”

 

Battleship Grey are an experimental rock four-piece from London who combine highly melodic, powerful vocal melodies with innovative, forward-thinking rhythms and sounds. Drama-rock threesome Ex Libras(who’ve shared a bill with them) have commented “they toy with experimental ideas in a way that is the opposite of pretentious because they always seem to be about the groove or the way the music pulsates. It is music after all right? It isn’t an equation, it isn’t a painting, yet they are math and art-rock and dance-y all at the same time. Head. Explode.”

Olympians describe themselves as “a band that lives half in Norwich and half in London. We have two guitars, a bass, some drums, a glockenspiel, two keyboards and a trumpet. The next instrument we plan to buy is a vibraphone. We hope you like our songs.” A few years ago, multimedia obscure-music platform ‘Rightchordmusic‘ said “their sound is hard to pin down, with math rock roots, fused with barber-shop ‘Spring Offensive’ esque harmonies and plenty of instrumentation and experimentation. It’s a soaring piece of harmonious yet downbeat melancholic pop that gets better with ever listen. We’re smitten.”


 

Sounds and visions provided above. Draw your own conclusions.

* * * * * * * *

More shortly – Eddie Parker, Project Instrumental and an even more typically loose than usual Daylight Music show…
 

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