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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
 

July 2018 – two eclectic London music evenings – SOIF Soiree with Society Of Imaginary Friends, Jennifer Bliss Bennett, Dekay Ex, Stone Deep, Outre Dan Steele and William Summers (6th July); Rude Mechanicals with John Callaghan, Hypnotique and Rotten Bliss (13th July)

3 Jul

SOIF Soiree, 6th July 2018

The last Society Of Imaginary Friends Soiree for the summer is cartwheeling into view. I smashed two or three of their Beat-y burbles together to bring you this:

“Friday 6th July is our 21st Century Avant Garde Soiree at Karamel, N22. We have in store for you a magnificent exploration of 21st Century new and experimental music with incredible performers already lined up. The fabulous, supremely talented Jennifer Bliss Bennett will be performing master composer Martin Gaughan’s pieces for voice and bass viol: a must hear. There’ll be an appearance from the one-and-only Dekay Ex (queen of the underground urban music arena, virtuosic battle rapper superstar) with guest musician Gerard; and brand new dark intriguing soul music from Stone Deep.

“The multi-talented Darren and Isobel Hirst will be performing as the fascinating, spellbinding duo Outre Dan Steele, and the amazing William Summers (Circulus, Princes In The Tower, Mediaeaval Baebes and innumerable period/Baroque ensembles) will be performing 20th century recorder music. Plus us, the Society Of Imaginary Friends, and that’s just for starters. Delicious vegan food and unbelievably free entry.”

Society of Imaginary Friends presents:
21st Century Avant Garde Soiree: Society Of Imaginary Friends + Jennifer Bliss Bennett + Dekay Ex + Stone Deep + Outre Dan Steele + William Summers
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 6th July 2018, 7.30pm
– information here and here

A few examples of the evening’s entertainment:




 
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There’s no August Soiree (since the Society will be either on holiday or concentrating on their appearances at the Green Gathering festival in Chepstow), but there should be more of these evenings in the coming autumn.

However, you can make up for their upcoming London summer absence with an evening of music and video hosted by Cos Chapman’s Rude Mechanicals, and taking place in a onetime Dalston dance school turned into arty pub and hangout space…

Rude Mechanicals + John Callaghan + Hypnotique + Rotten Bliss, 13th july 2018

“The art-rock inspired Rude Mechanicals have been compared to Nick Cave, The Tiger Lillies, early Roxy Music and Can and described as post-punk, swamp blues and dark cabaret – altogether creating a music that was best be described by Tom Robinson (on BBC6) as “wild, wicked weirdness… a little bit Flying Lizards, a little bit Native Hipsters and a great deal like nothing you’ve heard before…” The evening will feature the premiere of MHG Music Videos’s animated video for Rude Mechanical’s ‘Paperwork’.”

Meanwhile, here’s something a little older…


 
“Originally hailing from Birmingham, John Callaghan is an unusual songwriter and performer of thoughtful and spiky electronica. His self-directed video for ‘I’m Not Comfortable Inside My Mind’ aired on MTV. His live performances are energetic and imaginative, and range from one-man auto-karaoke shows to specially-written dancefloor sets. Recent well-received shows have included London’s Spitz, Ginglik and Electrowerks, Cambridge’s Portland Arms, Crystal Palace Bowl and last year’s jaunt around Germany, including Berlin’s Club 103 and Bar 25 and Hamburg’s Golden Pudel. He is 173cm tall, weights 73kg and has a blood pressure of 110/60Hg.”


 
Hypnotique is a thereministe, electronic musician and auteur based in London whose lyrical subjects range from the apocalypse, post-feminism, erotic narrative and allotments. She’s performed solo shows at Edinburgh Fringe, worked with Gong and The Heliocentrics, toured the Amazon and annoyed Simon Cowell. She’ll be performing her live sound design for Georges Méliès 1902 film ‘Voyage de la Luna’ (‘Trip to the Moon’)…”
…which she’s previously and recently also done at a Colliding Lines film evening: find out more about that here.


 
“Described last year as “a thing of disquieting dark beauty rolling in through a ghostly fog on timeless ripples whose ebbing wash peels back the years to reveal a vintage crafted in archaic folk tongues” by Mark Barton of ‘The Sunday Experience‘ (and, by ‘The Wire’ as a writer of “coarse and beautifully heavy songs (betraying) hallmarks of folk, metal and classical without subscribing to any particular tribe”), Rotten Bliss is the violent, warm and weird visions of London based avant-garde electric cellist and vocalist Jasmine Pender. Equally inspired by the wild physicality of Jacqueline du Pre and the shrieking glory of a cello played through FX pedals, Rotten Bliss packs diverse influences into an elemental voyage of outer-limits FX-laden drones, weird folk and sound art, raging from tender a capella lyrical fantasies through to ecstatic nihilism.

“Jasmine performs regularly around London, also playing in 11th Hour Adventists (with Jowe Head, ex-Swell Maps) and False Echo (with Tim Bowen, ex-Chrome Hoof) and has toured England, France, Germany, Austria and the Czech Republic. Her debut album, ‘The Nightwatchman Sings’, was released in October 2017 on the Reverb Worship label.”

 
Also on hand for the inbetween bits are DJs Enri, Blue and MJ Ultra, and Rude Mechanicals are bribing any advance tickets buyers with the promise of a “free unique, special edition CD and badge”.

Rude Mechanicals present:
‘Paperwork!’ – featuring Rude Mechanicals + John Callaghan + Hypnotique + Rotten Bliss + DJ Enri + DJs Blue & MJ Ultra
Farr’s School Of Dancing, 17-19 Dalston Lane, Dalston, London, E8 3DF, England
Friday 13th July 2018, 7.30pm
– information here and here
 

June 2018 – upcoming London experimental gigs – Monkey Puzzle Trio and V Ä L V Ē (10th June); Laura Cannell’s ‘Modern Ritual’, with Charles Hayward, Hoofus, Jennifer Lucy Allan and Luke Turner (16th June); Ashley Paul & Tom James Scott, Glowering Figs and Ben Pritchard (22nd June)

4 Jun


 
Despite their increasing whirl of gigs over the past year, it’s difficult to find performance video of V Ä L V Ē besides these gnomic little fragments: glimpses of feet and harps, pedals and synths, shuffles and patch wires. They’ve been rapidly evolving far beyond their beginnings as Chlöe Herington’s vehicle for musical jokes, chance theory and post-Zappa woodwind patchworks and her experiments with samples and homemade instruments. Now, they’re a live, surprisingly accessible avant-everything trio with Elen Evans and Emma Sullivan – reeds and microsynth, melodica, harpstrings and bass, RIO/Raincoats-style vocals that inhabit both the forthright and the naïve – and they’re getting pieces in ‘The Quietus’ about how they’re expanding on synaesthesia and spacework and the disjunction of time, and mining the weird yet archetypal templates of Chlöe’s recurring dreams.

While we’re waiting for more evidence to emerge, here are a couple of pieces which represent a couple of V Ä L V Ē’s varied polarities – the avant-rock all-in wrestle match of Rhythm Strip (based on an EEG reading from Chlöe’s mum) and the warming songwork of the more recent Lights – plus one of those distracted fly-on-the wall videos (this time, of Chlöe negotiating a keyboard, pretty much literally).


 
V Ä L V Ē’s next show (just over a week before Chlöe pops up again with the Lindsay Cooper Songbook) is this coming Sunday, supporting the Monkey Puzzle Trio – which unites perpetually/perversely-journeying art-rock and improv drummer Charles Hayward, Pinski Zoo bassist Nick Doyne-Ditmas and longstanding sound-and-place voice artist Viv Corringham. It’s a post-jazz music of deformed rounds, ranging chatter and a kind of reimagined dub focus, via Charles’ assured yet regularly broken-up and disrupted drum cycles, Viv’s cavernous range of vocal effects (stippled by loop pedal and flexible larynx, augmented by mini-disc abuse) and Nick’s bass, which seems to be travelling at two-thirds of the thinking speed of the voice and drums but always knows where to settle and lean on the moving beat.


 
V Ä L V Ē and Charles Hayward present:
Monkey Puzzle Trio + V Ä L V Ē
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Sunday 10th June 2018, 7.00pm
– information here, here and here

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Charles Hayward shows up again just under a week later when he guests at Laura Cannell’s ‘Modern Ritual’ show at LSO St Lukes, performing a self-explanatory experimental piece called ‘30 Minute Snare Drum Roll’, an “improvisational piece that sees him develop a rudimental drum technique into something more complex, subtlety changing density, pressure and volume before our ears.” There are precedents for this kind of thing – people like Max Roach or Art Blakey keeping an audience enthralled by a quarter of an hour of carefully modulated hi-hat – but any excuse to see Charles thinking hard behind a drum kit is a good one.

In many respects, this is a revisitation of the ‘Memory Mapping’ show which Laura brought to Daylight Music in November 2016. More to the point, it also revives an event at Cafe Oto last March, with repeat appearances for Charles’ drum roll, for ‘Wire’/Resonance FM/Arc Light Editions mainstay Jennifer Lucy Allan and for Suffolk-based “edgelands” musician Andre “Hoofus” Bosman.

Hoofus’ experiments in FM overlaps, raw-formed percussion and drifting oscillators “(explore) 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” resulting in “music of eerie wonder, where oscillating melodic loops meld with distorted rhythms.” In contrast, Jennifer presents her combined talk and performance ‘Foulis’s Daughter: Social and Cultural History of the Foghorn in 30 Interrupted Acts’ accompanied by “the ghost of a long de-activated foghorn which is on a fifteen-second loop”: Jennifer’s history is narrated during the gaps between blasts, tracing “a rhythmic history of the foghorn at the edges of the Atlantic: along the fog-bound Labrador Coast; at a bend on the Firth of Clyde; on the tip of The Lizard and from the cliffs at the South Foreland in Kent.”



 
In keeping with this drift into New Weird Britain ambience, writer, filmmaker and ‘Quietus’ co-founder Luke Turner explores his own world of liminals with a talk on “urban forests, family, death and sexuality”. This is based around his forthcoming “spiritual memoir” ‘Out Of The Woods’ – a study of Luke’s own coming-to-terms with his bisexual identity and his past experiences with sexual abuse and a religious upbringing, alongside his investigations of “memory and experience in the context of landscape and the natural world”. It’s ​a journey framed by the trees and the history of Epping Forest, which for Luke seems to have become representative of an ur-forest which allows for the expression of “a wilder, truer, more spiritual self” (and brings those wood-woses, drones and leafery which have threaded through ‘The Quietus’ into fuller perspective). Laura, meanwhile, keeps up her own traditions of reinvention, refurbishment and recontextualising on double recorder and bow-threaded violin: generating eerie, often-violent sonic landscapes of folk melodies and sharp-minded post-classical noise, each calibrated to the particular place where it’s being performed.


 
The evening will be topped off by a large group collaboration involving all of the named performers plus additional guests.

Laura Cannell: ‘Modern Ritual’
LSO St Lukes, 161 Old Street, St Lukes, London, EC1V 9NG, England
Saturday 16th June 2018, 7.30pm
– information here and here
 
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More assorted improvisations and explorations come on the 22nd, when Ashley Paul​ and Tom James Scott team up as a duo at The Old Dentist in Homerton. Both have a fair amount in common, as multi-instrumentalists heading up small exploratory record labels (Ashley with Wagtail, Tom with Skire). Equally, there’s enough distinction between them to make for some interesting friendly frictions as Ashley’s American background, reeds leanings and free-form tastes interact with Tom’s Cumbrian background and the process that’s taken him from classical guitarist to experimental minimalist.



 
In support are improvising trio Glowering Figs, made up of venerable Ya Basta! free jazzers Ivor Kallin and Dave Fowler (on electric upright bass/vocals and drums, respectively), plus Ivor’s London Improvisers Orchestra comrade and ex-Astrakan member Jerry Wigens on guitar. Come for bilious, awkward avant-power-rock noodlings topped with Ivor’s authoritative stream-of-conscious rantings: here’s an example…


 
Opening the show is Ben Pritchard – not to be confused with the former Fall guitarist, he’s a London-based artist, songwriter, experimental musician and Ashley Paul bandmember who writes disintegrating-shack instrumentals for prepared acoustic guitar and percussion – strangely compelling pings, scrapes, rattles and string noise with an emotive visual quality as well as a knack for summoning in illusions. You can somehow hear impressions of ghost fiddles, a whittler’s workshop, or vocal chords tweaked by breeze gusts. When he wanders into song, it’s along the frail, fluttering-shirt lines of end-of-the-road Talk Talk, or the sparsest of Robert Wyatt: spontaneous-sounding experimental folk sketches with an undertone of parched, amnesiac blues.



 
Muckle Mouth presents
Ashley Paul & Tom James Scott + Glowering Figs + Ben Pritchard
The Old Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Friday 22nd June 2018, 7.00pm
– information here and here

Ashley Paul & Tom James Scott + Glowering Figs + Ben Pritchard, 22nd June 2018
 

March 2018 – upcoming London experimental gigs – More News From Nowhere ambient/noise/jazz/post-everything alldayer (30th March)

20 Mar

More News From Nowhere presents:
MNFN Good Friday All-Dayer (featuring Kodian Trio + Warren Schoenbright + V Ä L V E + Marlo Eggplant + Minus Pilots + Ow Te + Blick | Trio + Grave Threat + Red Team)
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Friday 30th March 2018, 3.00pm
– information here and here

More News From Nowhere All-Dayer, 30th March 2018Walthamstow experimental evening More News From Nowhere hops the Lea again for another stint at the New River Studios in Harringay: this time an all-dayer.

A number of improvising threesomes are on hand. Kodian Trio (tagged as “meticulously disjointed free improv” by ‘Cyberinsekt’) unites saxophonist and Raw Tonk label head Colin Webster (who played at MNFN’s February event), Belgian dronetronic guitarist Dirk Serries (better known as Vidna Obmana or Fear Falls Burning) and Shatner’s Bassoon drummer Andrew Lisle. A more directly ambient-jazz approach is offered by Blick | Trio (comprising Blowpipe/Gyratory System veteran Robin Blick on assorted wind and brass, Andrew Moran on drums and James Weaver on bass, synth and programming). It’s a bit of a competition, but probably the least formal of the lot are Stoke-on-Trent-based “math-jazz wizards” Ow Te (featuring members of Stokie punks Amateur Assassins and Bong Idle, and citing a love of Karate, Codeine and The For Carnation, among others).




 

Another trio is being brought in by reedswoman and experimentalist Chlöe Herington: her increasingly industrious V Ä L V E project continues to build on its beginnings (synaesthesic graphic scores created and realised by Chlöe, bound in with specific memories and events) while simultaneously evolving into a R.I.O./Raincoats-friendly three-woman exploration vehicle via reeds, bass, concert harp and voices. Further female input into the all-dayer is provided by Marlo Eggplant (the Corpus Callosum label head, onetime Olympia punk and lead figure in the “Ladyz In Noyz” initiative), whose own dense drone improvisations are built with processed autoharp and contact mics.


 
As regards duos, there’s an appearance from Minus Pilots (percussionist Matt Pittori and bassist Adam Barringer, who “weave sparse textures, crumbling atmospheres and fractured drones with currents of gentle crackle”) and from slithering, thickety London drums-and-electronics pairing Warren Schoenbright (Daniel McClennan and Matthew Pastkewicz) who craft lengthy, ambitious and luminous experiments from poised near-silence to hammering viciousness.



 
A collaboration between two other projects (the “hard Brexit/funeral electronics” of Ashcircle and the effects-chain noise of MNFN’s own Tim Cowlishaw as Violence) was scheduled to lead to Cruciform Passage Grave: something slanting towards the New Weird Britain end of sinister occult soundcraft. In the event, this needed more rehearsal than time allowed; so instead, Tim’s bringing in Cowboy Flying Saucer drummer Dave Bamford to open up the evening with a reunion of their “kraut-psych-improv-noise” duo Red Team (while Ashcircle’s Tom Macarte and Ciaran Mackle reformat themselves as the siren-in-a-washing-machine screech of Grave Threat).

 

March 2018 – a psych/noise cavalcade in London for Rocket Recordings’ 20th anniversary (9th to 11th March)

28 Feb

There are still some tickets left for the rollicking, rampaging twentieth-anniversary concerts for venerable yet vital psychedelic noise label Rocket Recordings. These will be packing out the Garage and its sister venue Thousand Island in north London for three consecutive days over an early March weekend.

It’s not the first time that Highbury Corner’s been rammed with psychoactive weirdness and well-plumbing musical explorations. In its earlier incarnation as Upstairs at the Garage, the smaller Thousand Island saw hundreds of strange and wonderful leftfield acts pass through; to pick just one example, twenty years ago the building hosted occult ensemble Moon and Serpent Grand Egyptian Theatre of Marvels and their ‘Highbury Working’ “beat seance” in which Alan Moore and David J explored and mined the hidden histories of the Holloway Road from the horse goddess Epona to the rapidly poisoned utopianism of the Black House, from the schemata of Aleister Crowley to the madness of Joe Meek. So the Corner’s no stranger to strangeness… but it’s good, for a full weekend, to see strangeness rise so outrightly overground amongst the traffic fumes, creeping gentrification and salsa nights.

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The Rocket days kick off on Friday 9th. Fluxus-inspired Italian garage groove-band Julie’s Haircut mingle smearing, chuckling Ash Ra Tempel guitars and flutes with a Georgio Moroder wobble, while from Sweden there’s creamy-toned garage darlings Josefin Öhrn + The Liberation (whose more recent recordings pulse along on a fluting, closed-eyed Can patter) and the detailed anticipations of Flowers Must Die, who burst shining locked disco grooves through hanging tapestries of improvised “oriental-influenced” psychedelia (like an unexpected frug in a Tibetan temple). A couple of spinoff acts from Salford industrial/sociological alchemists Gnod are playing– the fleshy beats, brutual mechanisms and cellar drones of Chris Haslam’s electronica project Dwellings and the “slow burning vocal loops (and) devotional mindscapes” of A.P Macarte’s AHRKH. Also on the bill is the spontaneous, impulse/emotion-driven semi-improvised “dirty techno” of Coldnose, swilling in acid house, industrial, electro, drum and bass and distorted vocal snarls. For the after-show winddown, there’s DJ-ing from assorted Teeth Of The Sea members, but more on them later…







 
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Sorry, but it’s returns only for Saturday 10th. Although Hills (with their gruff and deafening meditational rock, like Joy Division trapped inside a raga) have had to pull out, their Swedish compatriots Goat (costumed acid/world fusioneers who’ve already made a big splash at Glastonbury) are still in play. So are Italian “kosmitronic” rockers Mamuthones – a delightful confection of slippery tinkling rhythms, chatterbox riffage explosions of lateral noise and sing-song babble, they’re what Dutch Uncles might have sounded like if they had less of a taste for arch Roxy-isms and had taken more of a liking to Pere Ubu. There are also slots for the onetime heavy doom-psych of Hey Colossus (who, like their spiritual forebears The Birthday Party, are evolving steadily out of the chaotic London murk they began in and starting to tell stories) and the bellowing, unreconstructed Tyneside sludge-acid of Pigs Pigs Pigs Pigs Pigs Pigs Pigs. Minimalist Malmö trance-rockers Ved preview their imminent Rocket EP ‘DDTT’, and there are sets from amelodic No Wave revisitors Housewives, block-partying noise duo Gum Takes Tooth and the elasticated buzzing Russian “stargaze” band Gnoomes.









 
In addition, there’ll be a rare solo appearance by Teeth Of The Sea’s modular analogue synth guy Mike Bourne who – in parallel to his band work – has recently put out a couple of odds and ends on Bandcamp including the gradually-evolving ‘pætʃ’ album of electronic experiments (including black-and-white vampire music and harmonium/Harmonium-esque sketches with a dash of Geiger-counter, and the vast shadow-steeped minimalism of his soundtrack to Ben Lister’s horror short ‘Wine Dark Sea’). Opening the evening, the blipping electronics, kettle-banging, forceful ranting and rises to aggressive crescendos of Temple Ov BBV (a collaboration between Gnod and Dutch experimental psychedelicists Radar Men From The Moon) resemble a more spacious meeting between early Swans and cultural rhythmatist John Chernoff). DJ-ing for the evening comes from a four-strong squad of Cherrystones, Jamie Paton, Mike Keeling and Chris Reeder.



 
* * * * * * * *

The highlight of the Sunday show – at least as far as Rocket themselves are concerned – has been their success in securing the British live debut for the duo project by Polish reeds/keyboard player Wacław Zimpel and his compatriot, the “magic brutalistStara Rzeka guitarist/singer Kuba Ziołek, as Zimpel/Ziołek. They’ll be showcasing the psychoactive-minimalist jazz-folk stew of last year’s eponymous album.



 
That said, there’ll be pretty strong competition from trumpet-toting electronic rock partisans Teeth Of The Sea. Having DJ-ed on the first night, they’re returning at full band strength for what will presumably provide another exhilarating set and another chance for us all to slither around in a puddle of non-stick definitions (are they noise? are they rave? are they dream-metal? are they what you might’ve had if Miles Davis had rashly agreed to a Foetus production job?). Also returning are Gnod – this time in person, playing a “greatest hits” set, which you can vote for here).



 
There’s further Gnodness via yet another pair of spin-offs: Paddy Shine’s immersive “tantric vocal loop” project Ayn Sof and Marlene Ribeiro’s work as Negra Branca (around which circulates various splutters including “squashy analogue”, “temple goddess” and “dreamscape”). Veteran psych bass player Gareth Turner is making two appearance – one as a third of the Anthroprophh trio (in which he’s joined by Heads guitarist Paul Allen and drummer Jesse Webb to blend “garage-bound filth (with) wayward, abstract artistry”), and the other as half of Kuro (in which he grabs a double bass and joins forces with violinist Agathe Max for electrically-enhanced string-drones). Finally, there’s also space for Liverpudlian heavy-psychedelic noise-rockers Bonnacons Of Doom and shamanic ritual trio H.U.M. (Mark Wagner, Heloise Zamzam and Uiutna) whom I last described as “a kind of psychic cross-cultural art coven, citing “alchemical practice, incantation, chanting, drones, ritual drumming, French variété” as both inspiration and activity.”







 
* * * * * * * *

Further details and ticket/info links below… if you’re reading about this for the first time, you’re already stragglers, so get going…

Rocket Recordings 20, 9th-11th March 2018

Baba Yaga’s Hut & DHP present:
‘Rocket Recordings Twenty’
The Garage/Thousand Island, 20-22 Highbury Corner, Highbury, London, N5 1RD, England
Friday 9th March 2018, 7.30pm
Saturday 10th March 2018, 3.30pm
Sunday 11th March 2018, 7.30pm

– information here and here
 

November 2017 – upcoming London jazz/experimental gigs – Jazz in the Round with Arun Ghosh and Eddie Parker (27th); noise and costume chaos in ‘Beyond the Mask’ with Flange Zoo, Isn’tses, Pranic Attack and Madonna Vagina (25th)

20 Nov

As if Monday 27th wasn’t crowded enough already, up pops an interesting jazz gig…

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Jazz in the Round, 27th November 2017

Jazz In The Round presents:
Jazz In The Round: Arun Ghosh + Eddie Parker (solo) + tbc
The Cockpit Theatre, Gateforth Street, Lisson Grove, London, NW8 8EH, England
Monday 27th November 2017, 7.00pm
– information here and here

British-Asian jazz clarinettist, keyboard player and composer Arun Ghosh (perhaps best known for Arkestra Makara, the pan-Asian chamber-jazz orchestra which made a colourful cross-continental splash at the London Olympics five years ago) is making his Jazz In The Round debut. He’ll be leading a new band featuring saxophonists Idris Rahman and Chris Williams, guitarist Shirley Tetteh, bass player Liran Donin and drummer Dave Walsh.

The concert showcases his newest release, ‘But Where Are You Really From?’ – a keyboard-heavy album of rolling multi-cultural twenty-first century jazz-rock which not only touches lightly on the likes of Yusef Lateef, early ‘70s Miles Davis grooves and Punjabi music but also on A.R. Rahman, David Axelrod, Soft Machine and Egg as well as pulling in touches of kletzmer, hip hop and northern English brass bands (Arun was raised in Manchester). Part-pastoral and part-stirring, it’s a slow-cooking hot-pot of a record.


In the middle of the bill there’s a rare solo spot from Eddie Parker. Perhaps best known as the brilliant flautist for Loose Tubes, he’s also got years of group-leading work under his belt as well as a history of large-scale compositions, community music and dazzling guest spots. For more on what I’ve said about Eddie in the past, click here: but on this occasion, it’s just him and his flutes: no group work, no cunning arrangement, just the chance to see an undersung instrumental master bouncing on his heels, throughly self-reliant. Should be exceptional.

There’s another act yet to be confirmed (in what Jazz In The Round call “jazz lucky dip”), but it’s worth going along for these two alone. From the 7pm doors time, rooting us to past and present, there’ll be the usual Jazz FM DJ sets from event presenter Jez Nelson and his decks colleague Chris Phillips.

* * * * * * * *

'Beyond the Mask', 25th November 2017
IKLECTIK presents:
‘Beyond the Mask’: Flange Zoo + Isn’tses + Pranic Attack + Madonna Vagina
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 25th November 2017, 6.30pm
– information here and here

If you’re in the mood for a more unruly kind of improvisation, something odder and wilder is stirring in Waterloo a few days earlier and providing “a night of otherworldly misrule, noise and musicality by artists with specially-made masks and costumes, bringing live art, animation, installation and lighting to your senses.”

Ready to romp are human-insectoid modular-electronic/vocal duo Pranic Attack (with their “giant life force swarm of sonic, non-Newtonian synthesis” and “cacophonous cocoon of stroboscopic ear worm sequences”); Isn’tses (who mythscape “paganism, political anger, intergalactic heroism and pop-culture parodies” via self-built synths, noise boxes, circuit-bent toys and mangled vocals amidst luminous props and costumes) and “mythical musical animal” troop Flange Zoo (playing dub-echo psych-political rants and noise-stews on theremin, recorder, free drumkit, custom didgeridoo and stylophone; plus anything else which they can ram through their bevy of effects pedals).

Lurking variously behind these masks and personae and the sonic messy-play are rainbow-rap electronicist Janine A’Bear, dark-drone crooner Listen Lisse, Merkaba Macabre’s Steven McInerney, Tim Drage of Cementimental and multimedia artists Miyuki Kasahara and Calum F. Kerr (plus at least one member of The International Wind Up Toy Orchestra). The evening’s completed by a colourful, textural live-art performance from yet another mask-and-costumerie enthusiast, Paola de Ramos (under her own “Madonna Vagina” persona, which might be referencing the blessed Christian virgin-mother-goddess or La Ciccone: she’s cheeky enough be referencing both).

FLANGE ZOO

All of this is happening at 7.30pm, with a ‘Behind the Mask/ Recreate your Face’ workshop and a display of original masks from the artists, drawings, interactive installations starting an hour earlier. Bring your own alter-egos in for fine-tuning.
 

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