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

17 Sep


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

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

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

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

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



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


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

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

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



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

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



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

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

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



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

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



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

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

 
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Full dates:

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

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

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

September 2018 – upcoming experimental electronica gigs in London – Pita plus Finlay Shakespeare and Nik Colk Void at Sutton House (7th & 8th September); Andrew Heath and Toby Marks at the Old Church (21st September)

31 Aug

A couple of interesting electronic music shows in historic buildings, coming up in various parts of Hackney during September…

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Pita (plus guests), 7th & 8th September 2018

Second-wave industrial/noise music star and extreme computer music pioneer Peter Rehberg (a.k.a. Pita) will be filling up the old Tudor space of the Great Chamber of Hackney’s Sutton House with sounds from his current modular analogue electronics work, on a double date postponed from May.

“Born in London, Rehberg has resided in Vienna for his adult life. It was here, in the early ’90s, that Rehberg harnessed aspects of noise, industrial, electro-acoustic and techno to develop a new approach to music. Whether constructing an album entirely from the recordings of a fridge, or harnessing the live electronic potential of laptops soon after they hit the market, Pita has always been at the forefront of contemporary radical music practice.

“Birthing the extreme computer music genre, scoring the works of controversial French theatre director Gisele Vienne, ongoing collaborations with Jim O’Rourke, Fennesz, Marcus Schmickler and Stephen O’Malley… all define Rehberg’s open ended approach to the creative act. As head of the influential Editions Mego family of labels, he has released albums by renowned artists like Fennesz, Heather Leigh, Klara Lewis, Kevin Drumm, Thomas Brinkmann, Florian Hecker, Bernard Parmegiani, Russell Haswell, KTL, Iannis Xenakis, Oren Ambarchi, Bill Orcutt, Mark Fell and many more.

“As Pita, Rehberg has produced over a dozen albums, covering an astonishing variety of experimental electronic styles. The ‘Get Out’/’Get Down’/’Get Off’ trilogy received broad international critical acclaim and helped define the radical underground experimental electronic scene of the 90’s. Pita has played numerous concerts all over the world including SONAR, ATP, CTM Berlin, MUTEK, Donaufestival, Le Guess Who?, Atonal etc. In 1999 he won the Prix Ars Electronica for Digital Musics & Sound Art.”

Pita’s most recent recorded offering is his 2016 album ‘Get In’, his first in twelve years and his first following a 2015 return to live work with a new modular setup. It’s a tremendously assured work, sometimes bullish, with none of the noncommittal airiness that often blights the EM and ambient genres.

Part of this is to do with scale – it’s a varied, huge-sounding record which sidesteps simple vulgar loudness for an impressive architectural dominance. Wherever Pita offers gently scintillating greenhouse meditations, they also happen to be the size of the Eden Project; his Galaxian blip-brainstorms, meanwhile, crack the game cabinet and head for great-hall pronouncements. With barely an obvious beat in sight, this is an urgently physical music which also puts the mind on sharp alert. There’s glitch and squelch; but there’s also grand romanticism which sternly punishes itself, and challenges the listener with passages of synthesized orchestral meditation penetrated by shrieks of solo noise and a frowning, compelled patina of distortion vandalism. This is exceptional stuff.


 
On each of his two Sutton House concerts, Pita will be joined by a guest musician.

On Friday 7th, it will be Finlay Shakespeare: analogue synth minder to the stars (via his work at the Moog Sound Lab) and also chief engineer and founder of Future Sound Systems, where he builds worryingly-named modular components including the Convulsion Generator, the Spectral Devastator and an updated version of Chris Carter’s Throbbing Gristle sound-processing unit, the Gristleizer (as used to unsettling effect throughout the original Gristle’s career).

Since last year, via his prolific series of ‘Housediet’ releases, Finlay has been creating his own passionate and evocative take on old-school experimental European synthpop, filled with flattened analogue blatters, skirling fanfares, cybernetic dance pulses and borderline-hysterical incantatory pop vocals.


 
On Saturday 8th, the guest will be Nik Colk Void. Twenty years ago (as Nikki Colk) she was running songblasts of pop-punk through dense effects-pedal work as frontwoman for Norwich experimental rockers KaitO. These days, she’s to be found as one-half of Factory Floor and one-third of post-Throbbing Gristle trio Carter Tutti Void.

Nik’s solo work leaves songcraft far behind in favour of wonderfully suggestive post-industrial sonic abstractions. Haunted factories, steam hisses and wheel-rim scrapes; neurotically-looped ventilation-duct eavesdroppings on unseen devices; or even something as simple as single-scratch passes (like bored, rolling marbles) paired with intermittent grain bag-rattles, like blank shamanic rituals played out on abandoned machine-shop benches.

 
I-D.A Projects & care in the community recordings present:
The New Arts & Music Programme at Sutton House: PITA
Sutton House, 2-4 Homerton High Street, Homerton, London, E9 6JQ, England
– Friday 7th September 2018, 7.30pm
(with Finlay Shakespeare) – information here and here
Saturday 8th September 2018, 7.30pm (with Nik Colk Void) – information here and here

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A fortnight later, and a mile or so northwest, Toby Marks and Andrew Heath are bringing a softer, spacier double bill of solo electronic music to London within the preserved Saxon confines of Stoke Newington’s Old Church. Full details below.


 
Andrew Heath + Toby Marks, 21st September 2018“A soundscape artist and composer, Andrew Heath creates quiet, ambient, lower-case music based around piano, electronics and field recordings, drawing inspiration from a simple piano motif, an electronic shimmer or a processed found sound. The work he produces blends piano, electronics and found sounds into a mix that on the surface sounds quite minimal and open, but on closer listening, contains detailed fragments, constantly shifting and changing place.

“Early collaborations using Fender Rhodes, piano and electronics with fellow musician, Felix Jay under the name Aqueous led to a partnership with the legendary Hans-Joachim Roedelius. Andrew went on to produce a number of video and site-specific, sound installations which re-introduced him to the technique of working with field recordings, often leaving in the sonic detritus that most would seek to eliminate as being “non-musical”.

“In performance, Andrew re-interprets his studio work weaving multiple layers of textural field recordings balanced with etherial whispers of electronic sound and half-glimpsed piano melodies. Recent performances have seen him add acoustic instruments to his palette – often bowed or e-bowed, but certainly not played conventionally. This is immersive, ambient music. It drifts. It constantly shifts as it charts new topographies, creating and following maps that are full of change.




 
Banco de Gaia’s Toby Marks will be exploring the gentler end of his catalogue, presenting ambient works old and new accompanied by live improvisation and manipulation. Ranging from cinematic grandeur through tender minimalism to otherworldly fantasies, this performance will take you to places of beauty rarely visited.



 
“Visuals will be provided by Patrick Dunn (currently touring with Tangerine Dream) who blends real world imagery and computer generated graphics to create a mesmerising, immersive world.”

Disco Gecko presents:
Andrew Heath + Toby Marks
The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England
Friday 21st September 2018, 7.30pm
– information here and here
 

August 2018 – upcoming London eclectic gigs – strange and compelling folk, pop, and improvisatory strands from L’Ocelle Mare, Daniel O’Sullivan and Cucina Povera at the Dentist (28th August)

24 Aug

There’s an intriguing multi-genre show coming up at the Dentist in Homerton, spanning weird folk, experimental pop and some delicious electro-vocal soundscaping.

Promoter Theo is more than capable of collating and unfurling his own spiel, so here’s me passing it on with the minimum of grubby tinkering…

L'Ocelle Mare + Daniel O'Sullivan + Cucina Povera, 28th August 2018

“…”The instrumentation is composite, rustic, yet paradoxically sophisticated: piano, 6 string bass banjo, mechanical metronome, tuning forks, claves, hand and foot clapping and tapping, mini amps, amps, subwoofer, microphones, small mix desk, bells, mouth organ fragments, concertina, componiums, “stringin it”, audio ducker, drum skins, clockwork motors…” A rare performance of the astounding music of L’Ocelle Mare is perhaps best trailed by the above instrumental inventory and the promise that Thomas Bonvalet (Powerdove/Cheval Frise) will bring forth an intense, highly syncopated and ultra-focused music from the chattering sonic menagerie it might seem to suggest. The Dentist’s cup will overflow given that the above will be prefigured by a solo appearance by Daniel O’Sullivan (Grumbling Fur/Laniakaea/This Is Not This Heat) playing what can only be described as wabi-sabi or null rotation in six-dimensional whortleberry and friends; and (in a late addition, pushing the bill in to the realms of triple headline transcendence) a live set from fabulous Glasgow based Fenno-karelian producer Cucina Povera.

“Self-taught multi-instrumentalist Thomas Bonvalet commenced his vocation as a bassist and cemented it as a guitarist at the heart of the band Cheval de Frise (1998-2004). Progressively straying from the guitar, he began to integrate foot tapping and various wind and percussive instruments into his performance, incorporating mechanical elements and stray amped-up objects into the soundscape. This formed the guiding principle of his solo project, L’Ocelle Mare, initiated in 2005, and continues to form the core of his instrumentation. In recent years Bonvalet has collaborated – most notably with Powerdove, Arlt, Radikal Satan, Jean Luc Guionnet, Arnaud Rivière, Will Guthrie, Gaspar Claus, Daunik Lazro, Fred Jouanlong and Sylvain Lemètre. Without renouncing his solo work, his interruption from it has allowed a slower and more elastic evolution, permitting ancient shapes to gradually metamorphose. In this way new compositions successively articulated themselves in an almost self-determining manner.

“‘Temps En Terre’ is the fifth album release from L’Ocelle Mare, and the first to have been recorded in a studio. The preceding releases were characterised by a marked acoustic: the echoey reverberations inherent to ‘Serpentement’ were thanks to the Protestant temple it was recorded in; ‘Engourdissement’ was entirely recorded in forest expanses, upon ponds and enclosed within remote wood cabins; ‘Porte d’Octobre’ was recorded entirely in urban spaces; and his first, unnamed album was entirely recorded in caves and churches. The release of ‘Serpentement’ in 2012 marked the end of a cycle of four progressive stages, homogeneous but distinct from one another, released with successive regularity, proceeding with the elaboration of his singular set up, implicating the human body into a simultaneity of associated gestures and sonic tools and forming a commonality of timbres and tremors. This structure remained fluid and adaptable, finding a balance which lent itself quite naturally to collaborations, entering into the fields of improvisation, folk, rock and contemporary music. The pieces forming ‘Temps en Terre’ however, are recorded under a harsher gaze, presented in far cruder light, comparable to that of a live recording.



 
Daniel O’Sullivan is a London-based composer and multi-instrumentalist. Working across of range of musics and artistic platforms he has made a strong impact on the international avant community. Whether solo or in his varied collaborative projects, O’Sullivan’s work is remarkable in the way it infuses familiar everyday experience with traces of the uncanny, the secret and the magickal. Traces of his many projects all meet and mingle in his most recent album ‘VELD’: from his solo music as Mothlite to the lysergic songcraft and space-time vortices of Grumbling Fur and Laniakea, the reality-distorting zones of Æthenor and Ulver, the electronic pop of Miracle (with Zombi synth maestro Steve Moore), and his recent involvement with another pioneering London group, This Is Not This Heat.

“Released in June 2017 on Tim Burgess’ curated imprint O Genesis Recordings, ‘VELD’ is one of O’Sullivan’s most immediate and moving pop albums to date; yet one that’s strikingly dense and allusive, alive with enticing sonic diversions, hypnotic mantras and eerie biomechanical rhythms.




 
“Glasgow-based musician Maria Rossi, a.k.a. Cucina Povera, has named her project after a style of southern Italian traditional cooking associated with precarity and making-do; a philosophy of simplicity and stoicism that applies perfectly to the spare but beautiful music Rossi experiments with. Marrying minimal synth, field recordings and the hymnal dexterity of Rossi’s vocal performances, it creates a new language, sometimes literally, to be spoken in some mythological Fourth World we’ve yet to create.”

 
L’Ocelle Mare + Daniel O’Sullivan + Cucina Povera
The Old Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Tuesday 28th August 2018, 7.30pm
– information here and here

July 2018 – upcoming gigs – V Ä L V Ē, Stef Ketteringham and Lily Buchanan (of The Graphites) in Margate (29th July)

24 Jul

V A L V E + Stef Kettering + Lily of The Graphites, 29th July 2018Details on a show this coming Sunday in one of the smallest, most enchanting venues in Kent (Margate’s Tom Thumb Theatre), featuring an mostly-female bill with three different projects (all adventurous; all, in their way, visionary).

* * * * * * * *

I feel as if I’ve covered V Ä L V E what seems like innumerable times this year. Reedswoman/composer Chlöe Herington’s synaesthesia-slanted experimental music project has spent a year or so evolving into a live collective trio of herself, harpist Elen Evans and bass/synth player Emma Sullivan. Previously known for her bassoon, clarinet and saxophone contributions to Chrome Hoof and Knifeworld (and more recently to The Lindsay Cooper Songbook and Hirvikolari), Chlöe’s solo work has involved shed-tinkering as she builds unlikely instruments from scratch and scrap; and the pulling in of compositional ideas from medical charts, found patterns and (literal) rubbish.

On record, the results have percolated around the realms of electric art-rock experimentalism (post-Zappa, post-Henry Cow), parping chamber wind music intimacy, playfully baffling bouts of improv and bewildering schematics. Live, V Ä L V E has mutated further, drawn on by Chloe’s interest in finding out how to trigger her audience’s minds with an evolving toolkit of sensory input, and by the different dynamic of three women involved in discovery together (happy bouts of lateral thinking, plus moments when they combine in obliquely touching bouts of harmonizing song). It’s a winning combination that’s taken the band all the way to airplay on BBC Radio 3’s ‘Late Junction’ – care of ‘The Quietus’s John Doran – and to the Barn stage at the Supernormal festival.



 
Formerly with abstract noise-blues trio Shield Your Eyes, guitarist/bass-drum booter/occasional vocalist Stef Ketteringham now works alone. His improvised solo music is a guttering, chattering, restlessly emotive take on exploded electro-acoustic blues, integral to which is his brawling, brutal and fearless guitar technique.

Elastic and vocal, with a gutting-knife timbre, its passing similarities to the pitch-bend avant-howls and tremolo-purrs of Henry Kaiser and David Torn is probably pure coincidence. Stef’s wildly gestural guitar-playing sounds like an instinctive discovery: more punk than professorial, bursting from his gut via his heart to tell its shattered, hollered, mostly wordless stories and personal bulletins without the constraint of manners or moderation. For all that, it’s still got the skeleton of blues rules – the existential moan, the bent pitches and percussive protest that demand attention and serve notice of presence.


 
Guitar in hand, Scottish singer-songwriter Lily Buchanan usually fronts and voices interesting south London pop-punkers The Graphites (who in turn were formerly her solo project The Graphite Set). The Graphites’ lilting jig rhythms, their echoes of girl groups and Lily’s subtly unorthodox song-structures (recalling both Chrissie Hynde and Nico, but with an understated elliptical focus that’s all Lily’s own) put them several cuts above the competition.

This is hardly surprising: Lily’s work springs out of both folk music and a life spent painting. But while many art-school music spinoffs are happy to lose themselves in arrogant vagueness, vacuity and sonic scurf, Lily’s half-spoken songs make much of their clarity of line; their deceptive ability to digress and orbit while never truly losing sight of the core matter, casting new light on it with each pass.

All by herself this evening, Lily will be performing something new – “a series of folk songs inspired by her recent intrigue into collecting sea fauna.” She’s being billed here as “Lily Of The Graphites”. Such a shame that’s not the actual project name. There’s not enough courtly allotropic geology in the world.

Meanwhile, here are a couple of Graphites songs…



 
NFA presents:
V Ä L V Ē + Stef Ketteringham + Lily of The Graphites
Tom Thumb Theatre, 2 Eastern Esplanade, Cliftonville, Margate, Kent, CT9 2LB, England
Sunday 29th July 2018, 7:00 pm
– information here, here and here
 

July 2018 – upcoming London gigs – Multi-Storey’s cabinet of pop disorientations featuring Famous, The Guest, Wharfwhit, Bianca Scout and Great Dad (24th July)

18 Jul

Sometimes it’s particularly rewarding to see a new band emerge. I’m feeling that way about Great Dad. Springing from the chrysalis of genderqueer punk-poppers Worm Hears (who, however interesting their component people, pronouns and propositions may be, maintain an unsurprising musical approach), they are currently breaking out – humming, carolling, blurring – into something far more promising. They’re making journeys into avant-pop, approaching it with a thin-skinned sense of wonder and detournement via a multiplicity of FX-sculpted vocals and the implication of an identity whose fluidity moves even beyond gender, and by soundbuilding which flitters between different pop forms, different cultural tones.

I’ve previously tagged them as “electronic bricolage”, but they’re also like some kind of tiny relentless broadcast drone, flying precariously between much bigger, looming shapes ideas and experiences; crashing into them and rebounding, reporting back in half-processed bursts. Some day they’re going to land and clarify, even if it’s only for a moment. Until then, I’m enjoying the buffeting ride and what I also tagged as “free-associating mashups of love, political paranoia, consumer anomie, salty language and an ever-strange out-of-step physicality half-trapped between distress and wonder.”




 

Great Dad are appearing next week on the bill for a Multi-Storey show which makes a lot of noise about being one to attend “if you unashamedly love indie” or “if you want reckless, guitar-led, drum-heavy aural delight”. Unless there’s been some new shift in language and I’m too dull to pick up on it, Multi-Storey are wantonly taking the piss. This is an unabashed weird pop evening, collaged together out of DIY electronica and from increasingly pixellated and fluid performance identities. The guitars (when they’re present at all) are struggling their way through Ballardian refractions or assorted studio fuckery. If you’re out for mediocre-white-hope guitar rock, look elsewhere.

Famous + The Guest + Wharfwit + Bianca Scout + Great Dad, 24th July 2018

Headlining are post-disco/art pop/glam crooner sextet Famous fronted by blazer-sporting singer Jack Merrett. They’ve been gigging for at least a year and a half, but I don’t know much about them. Like the enigmatic Black MIDI (and like Sistertalk, Multi-Storey headliners from earlier in the week) they’re a band who save their promotional energies for their live shows, percolating a word-of-mouth campaign that pretty much relies on your ears being around the right mouths (which mine often aren’t).

Famous’ web presence is matter-of-fact, minimal – almost disdainful. Single videos pop up on Youtube and are whisked away; the Soundcloud page just features a ‘Fitter Happier’-esque four minutes of spoken-word manifesto delivered by the Fred speech synth. Odd bits of gig promo blurb have pegged Famous as “combining pop craftsmanship with a penchant for the theatrical”; and back in April, ‘Not Another Music Blog’ sketched them out as “stylistically look(ing) like six strangers that wouldn’t even talk at a bus stop” and as delivering a set of “Joy Division, disco, and punk-influenced indie-pop bangers”. So we’ve got a shape, we’ve got faces and we’ve got a peg… the rest you’ll need to discover for yourself.

One thing’s for certain: Famous are the straightest band on the bill by far – the cement that holds the other acts in place and provides a link to standard underground pop.

A while ago, Gus Lobban (one-third of up-and-coming bitpop/dancehall act Kero Kero Bonito) played a solo gig as Augustus. Now it’s the turn of his bandmate Jamie Bulled, who – for a while now – has also been writing and performing as Wharfwhit. Under this fresh alias, he gobs out waywardly explosive, dynamically physical digital pop stunts involving a variety of collaborators. A typical Wharfwit piece might features sampled body noises – motions, grunts, wheezes – plus a deliberately inconclusive/confused hank of rapping from some emergent South London MC, or a shrill cutesy barrage of Mandarin from an Asian underground pop act.



 
There’s something a little lightweight about Jamie’s post-vaporwave/post-chop-and-screw stunts, but that’s part of the point. They’re divorced from any concept of gravity. They’re meticulously giddy, apparently still in love with a coalescing teenaged mindset of consumer-tech connection and sensual disarray (Skype hook-ups, the fading narcotic contrail of purple-drank culture) while still being able to comment on it… inasmuch as there’s any comment apart from arranging these chunks of experience, connection and distraction together into one pumping track: the components of a spread of options too busy happening to invite analysis. Log on and go.

No less fractured are the works of spectral deconstructer Bianca Scout – loose, yawing things clinging onto the edge of pop by a casual fingertip. Beats struggle like cocooned insects; synthesizers billow slo-mo smoke-clouds and kitchen metals scrape like a knife-drawer ballet… it’s a kind of timeslip electronica, in which the listener always seems to be nodding out into split-second blackouts. Bianca’s own voice winds intermittently and erratically through the mix, sometimes sounding like a Raudive voice – an incomprehensible ghost on the wire or muttering in between radio stations, now slipping to the foreground. At other times, her narcotic girlsing piles up like sediment; her voice pillow-muffled, her message prolonged and complicated by fuzzy detailand disintegrating enunciation, sliding from her murmuring lips. Other tracks are swaying, tide-tossed arrays of new age atmospherics mingling with urban air currents and sounds drawn around tower blocks. Unpicking all of this will be a long job, like teasing out a knotted tangle you’ve found in the back of a forgotten drawer.




 
Also back from a couple of other earlier Windmill gigs is enigmatic cheapsynth narrator and electronicist The Guest, unspooling low-budget electro/techno and odd little faux-stream-of-consciousness stories and commentaries. A touch of blank, owlish humour to season the mysteries.

 

Multi-Storey presents:
Famous + The Guest + Wharfwhit + Bianca Scout + Great Dad
The Windmill, 22 Blenheim Gardens, Brixton, London, SW2 5BZ, England
Tuesday 24th July 2018, 7.30pm
– information here, here and here
 

June 2018 – upcoming experimental gigs – Darkroom in Letchworth (24th June) and at Ambience Chasers in London with Kieran Mahon (26th June)

17 Jun

Darkroom gigs have perhaps become a little rarer since bass clarinettist/modular synth master Andrew Ostler dismantled their shared Hertfordshire base by moving wholesale to Edinburgh (where he’s currently and happily troubling Auld Reekie’s experimental scene on his own).

That said, geography’s really the only working challenge that Darkroom currently face. The electronica duo are a tight, happy and assured unit who, for over twenty years, have continued a well-paced, well-knit career entirely under their own control; happy to lurk a hair’s breadth under the radar while wedding Os’ fluttering flexing rhythms, synth drones, thoughtful reed interjections and dancing timbral adjustments to Michael Bearpark’s powerfully brooding guitar (a sound and approach which blends a thorny, unsettled widescreen texturalism to the muscular, compelled melodic drive of a Neil Young, a David Torn or a David Gilmour). The results have been labelled as “a crossing point between avant-free jazz improvisation and Fripp/Eno-style ambient looping”, compared to Photek, Paul Schutze, Michael Brooks and supernovae, and described as “by turns beautiful and beautifully ugly… a very human music despite the inevitable technology that produces it.”

Darkroom, 24th June 2018The first of this month’s two gigs is back in their previous Letchworth home, in the Arts-and-Crafts-Movement embrace of the town’s reknowned Cloisters venue, as part of the Letchworth Festival. They’ll be part of a Cloisters afternoon of “amazing pieces of art work, live performances and (information) about the alternative history of Letchworth”. This is more interesting and less parochial than it sounds, given the town’s influential status as the world’s first self-sufficient garden city design as well as its links with Theosophy and British astronomy and its hordes of sinister black squirrels. There’s no info on who else is playing or exhibiting, nor what times Darkroom are scheduled to have sets in place, so either watch the webpages or just turn up in the early afternoon and let the Letchworth experience wash over you.

Darkroom + Kieran Mahon, 26th June 2018Darkroom will also be playing in London a couple of nights later, when they perform at Sonic Cathedral‘s Ambience Chaser electronic night on a bill with minimalist drone-loop-echo man Kieran Mahon. Keiron’s music (informed by hallucination, “acid-drenched dronescapes” and “time and space being ripped apart”) sometimes sounds like the stern ghost of a Highland bagpipe possessing a power sander and then imposing its will on a Tangerine Dream session. For all of the noisy loomings, drapes and abrasions, there’s a sturdy romantic grandeur to his textures and to his constructions: listening to him is never a chore. In addition there’ll be DJ sets from an actual Tangerine Dream-er (Ulrich Schnauss) and from Sonic Cathedral label head Nathaniel Cramp.

Dates:

  • Darkroom @ Letchworth Festival ‘Art, Music & Performance’ @ The Cloisters, Barrington Road, Letchworth Garden City, Hertfordshire, SG6 3TH, England, Sunday 24th June 2018 2.00pm onwards – free entry – information here
  • Darkroom + Kieran Mahon @ Ambience Chasers #16 – The Social, 5 Little Portland Street, Fitzrovia, London, W1W 7JD, England, Tuesday 26th June 2018, 7:00pm – free entry – information here and here






 

June 2018 – upcoming London gigs – Multi-Storey’s 1st Birthday Party with WorstWorldProblems, Augustus, Tony Njoku, Elsa Hewitt, The Mantis Opera and Socket; experimental choralists Haha Sounds Collective sing David Axelrod, with Blueprint Blue and Lætitia Sadier (both 9th June)

6 Jun

A couple of posts ago I was grumbling vaguely about ‘Misfit City’ getting too rarefied, cubbyholed and white. If I’m absolutely honest, that’s probably my default setting – the subcultural narrowness, that is, not the complaining. Part of the point of the blog is to expand my own musical education: it’s a process of broadening my outlook and involvement as a listener. Still, I’m well aware that I frequently travel and listen more like a toy fisherman in a novelty clock – rotating in a small circle around an established axis while flicking out a line for what must often seem more like show than anything else.

Gratifyingly, a new gig’s hoving into view at the end of the coming week involving two of the acts I’ve previously covered – one outright punk, the other convoluted RIO techprog – rubbing up against hip-hop, textured ‘tronica and avant-soul-pop. On the same day, an indie-slanted choral group duck the spell of Britpop-grunge covers by investigating David Axelrod alongside an Americana band and a showing by Gallo-Anglo lounge-pop queen Lætitia Sadier. Sometimes you don’t have to force or hanker after cross-pollination: sometimes it comes to you, unprompted.

* * * * * * * *

From promoters Multi-Storey:

“We’ve actually made it to our first birthday and it’s all down to the amazing people who have played, danced, and generally been friendly and encouraging at our shows! We’ve had an absolute pleasure meeting and listening to some of the most thrilling new bands both from London and further afield over the past 365 and a bit days, so we thought that a big monstrous party/gig/exhibition with some of our favourites would be the perfect way to round off a wonderful year. We want to say thanks to those who have been so helpful, say hi to some new friends, and toss ourselves around like a sentient salad. We’ll be joined at one of our favourite venues by an eclectic and spectacular line-up of our favourite and most exciting new acts, which we will be announcing over the next few weeks. Get yourself a ticket for a late night with unexpected levels to it, and some fantastic music that you never knew existed – stay tuned for announcements!”

Multi-Storey's First Birthday Party, 9th June 2018

Multi-Storey presents:
‘Multi-Storey’s 1st Birthday Party’ featuring Worst World Problems + Augustus + Tony Njoku + Elsa Hewitt + The Mantis Opera + Socket
Bethnal Green Working Men’s Club, 42-46 Pollard Row, Bethnal Green, London, E2 6NB, England
Saturday 9th June 2018, 9.00pm
– information here and here

Announcements have duly arrived. Up in the headliner slot, Worst World Problems are a new hip-hop collective. On the evidence of their mini-album ‘Tape One’ their sound’s a blend of chilly ‘80s synthpop nightscapes, data-bus drift and exhausted, hooded, sore-heeled rapping. Inevitable ‘Mezzanine’ and Drake comparisons ensue: there’s that same draggled, overcast feel in the sad ambient production billows and the flow, but WWP take it even further. Their raps feel like echoes around corners, anti-brags, collarbone murmurs from introspective three-quarters-broken boys feeling reamed out and deadened by romantic disintegrations. You feel that at some point they’re going to blow themselves out with a sigh.


 
Augustus is producer/drummer/keyboard player Gus Lobban, who for the past four years has mixed and dispensed cheery ice-cream-flavoured Anglo-J-pop with Kero Kero Bonito, more recently upping the fuzz-rock/stage-school urchin content. I’m not sure what he intends for this solo appearance, but here’s KKB’s recent Only Acting single: pick out his contributions if you can. Here, the breakdown sounds like a literal breakdown: he might still be surfing the shockwave.

 
Anglo/Nigerian/cosmic artiste Tony Njoku writes and sings eccentric, thread-fine, vulnerable electro/sort-of-soul, reflecting a young life spent mostly in “grey areas”. Beneath his papery falsetto, slide-clicking trap beats and silly-putty analogue synthwork align with lyrics about origami swans, seraphim and care-powered balloons. African tin-can beats are sideswiped by colossal dance drones and billowing symphonic modular-synth stackings. Pick-out piano fragments leans against rice-paper inserts of gospel tones. It’s psychedelic, but it’s a long way from the muscularity of P-Funk or The Temptations: Afrodelic in hue, it’s also untrammelled by cultural confines.

Imagine a set of constellatory echoes of David McAlmont and Arca; of Wayne Coyne and Frank Ocean; of Jackie Shane and Ahnoni; even bits of Jon Anderson and Arthur Russell. Gossamer and guts. As for Tony himself, his music comes with the feeling that he’s unhitching from as many enforced identities and narratives as he’s clambering onto: as if he’s escaping in plain sight.

 
“Electronic – lo-fi – avant garde – experimental – singer-songwriter – ambient – if there is one thing I am not, I know that it is pop… catchy nonetheless.” The releaser of a series of cassette albums (rising to a prolific swell in 2017), Elsa Hewitt creates assorted soft and mesmeric musical shapes on samplers, loopers, guitars or pianos; or on captured, folded sounds; or with banked and buried voices. It’s electronica of a kind, but without the matter-of-fact construction – this stuff sounds genuinely collaged and soft-sculptural, its cycles and processes and dream-pop sibilances ready for flexion or redeployment at any time. Some of her work is like chiming cartoon birdsongs, some of it like knitted cirrus or a cove-caught sea of whispering mouths. There are plenty of loopers and glitchers about, but few who can make their work sound so organic and subtly potent.



If you missed my original summary of The Mantis Opera late last month, I suggested that they “fused Henry Cow, Battles and early Scritti Politti…. Guitarist, singer and electronics meddler Allister Kellaway… delivers his stirring, challenging constructions via a full electro-experimental synth-rock band, voicing a collection of “avant-garde grumbles” via a multiplicity of synth sounds and colliding pop tones. If this sounds inaccessible and snooty, it isn’t. It’s just that the tunes arrive in complicated cascading splinters, many parts urging in parallel towards an out-of-sight coda, while a dreamily precise atmosphere prevails: avant-prog keeping watch from under a dream-pop veil.

“The pieces themselves display an ambitious, orchestral thinking – Reykjavik, for example, is less a guitar clang with lofty ambitions and more of a cerebral/visceral string quartet piece transposed for rock band. Allister’s winding, philosophical lyrics, meanwhile, are very reminiscent of Henry Cow and of Rock in Opposition preoccupations, dissecting as they do themes of resistance, logic, language and compliance with the air of a man trying to bring intellectual rigour to the pub, grabbing at the misty answers before the closing bell rings.”


 
As regards emergent punkers Socket, I’ve previously summed them up as “female-fronted firecrackers (who) don’t worry about anything like (angry, disenfranchised boredom and frustration), specialising in a hell-for-leather guitar pelt with capacious Lust For Life drumming and barely controlled chant-yelling.” That’s probably a bit reductive. For a start, they’re female-founded and female-focused as well as female-fronted (with unassuming, supportive drummer Morgan the only bloke in the lineup).

Read the ‘Beautiful Freaks’ interview here for more insight into the intertwining (or lack of it) of their band work with their assorted Fine Art and game music studies and the happy melding of schooled and unschooled musicality within the band. I suspect that you’ll get more out of that than you will out of this Bandcamp posting.


 
Adding to the texture, there’s offstage artwork, writings and chat from grassroots rock zines/nascent promoters ‘See You Mate – Yeah, See You Mate‘, and ‘Some Might Say‘, and from activist/theatre person Maya Harrison, with more to filter in in due course.

* * * * * * * *

Incredible Society For The Exploration Of Popular Song presents:
Haha Sounds Collective + Blueprint Blue + Laetitia Sadier
The Amersham Arms, 388 New Cross Road, New Cross, London, SE14 6TY, England
Saturday 9th June 2018, 8.00pm
– information here, here and here

HAHA Sounds Collective + Blueprint Blue + Lætitia Sadier, 9th June 2018Part of the broader HAHA musical empire operating out of central Hackney (also including a studio and an independent record label, HAHA Sounds Collective are a new, experimental choral project and supergroup of art-pop-moonlighters exploring avant-garde arrangements. Led by Victoria Hamblett (singer for NO CEREMONY///), and Cathy Lucas (singer for Vanishing Twin, Fanfarlo and Innerspace Orchestra) with input from Syd Kemp, the choir and fully integrated band also includes Lætitia Sadier (more on her later), Clémentine March, Iko Chérie and various unnamed “past and present” members of Ulrika Spacek, Pollyanna Valentine, Broadcast, Blue House, Viewfinder, and Younghusband.

Their first project is a songbook version of David Axelrod’s 1970 jazz-funk cantata ‘Earth Rot’… and when I say jazz-funk, I’m not talking slap-grooves and plastic synth burbles, but the close-harmony vocalising in swagged cadenzas, twang-pocketed funk basslines, a pushing saxophone backed by a battery of brass. Strangely overlooked at the time of its original release on record (apparently down to it being too much of a leap out of Axelrod’s existing groove), it’s a vaulting, stained-glass show of an album: an early venture into pop-culture ecology drawing on Old Testament text and Navajo legend, celebrating the planet and chiding humans for the mess they’re making of it. The music’s now been transcribed for voice, by ear, by Arthur Sajas of Gabelt, ÉPÉE and Syd Kemp (who also serves as HAHA’s conductor).

This will be the work’s second performance, following its debut outing at Servant Jazz Quarters in February – yes, that slipped my notice too. This one doesn’t have to slip yours. Here’s a brief clip of HAHA Sounds Collective warming up, plus a taste of the original album.


 
Ostensibly an Americana band, Blueprint Blue actually use Americana’s moods, tones and characteristics to add coloration to what are otherwise very British songs about weather, walking and mild disappointments – the kind which might appear on the mimsier kind of folk-pop album, or which would have been half-smothered in noise or feedback on first-generation shoegazer records a quarter-century ago. Like a mixed bag of British players before them (including Gomez and Mark Knopfler, but more recently Acadian Driftwood and Horatio James) they’ve certainly mastered the sonic signifiers of American roads and roadhouses; but that’s not enough to fully inhabit the form.

The trouble with Americana is that the further you are from the situations which shaped its tones and subjects (and an ocean’s breadth doesn’t help with this), the more it starts sounding like a tinkle in a hollowed-out theatre. If you’ve got to pay tribute you’ve also got to pay dues, or fake it more convincingly. Songwise, at least, Blueprint Blue need some more grease on their axles; some more heartache and heartstring damage; some more blown-away shacks and more chances to sit dripping angry tears into their johnnycakes. Otherwise, it’s going to be a life of striving to be just a bit more like Mojave 3.


 
There may come a time when Lætitia Sadier isn’t associated, first and foremost, with Stereolab. I hope so. It’s not that there wasn’t, or isn’t, plenty to admire about her former band – just to pick out a few things, there was their unabashed musicality and willingness to draw on broad varieties of tone or reference; their matter-of-fact bilinguality and ready play of ideas; and the fact that they actually managed to revisit their varied roots and to somehow advance and transmute them (something of a holy grail achievement for many musical projects, but rarely achieved). But I, for one, am glad that her post-‘Lab work (with Source Ensemble and others) has unshackled her from that post-Velvets/post-motorik/brainiac-garage pulse: the rhythm cliche that blights so many otherwise promising acts; presses them out into two unforgiving dimensions; makes those who should be innovators and developers into enmired followers.

Lætitia’s set is either an evening opener or a middle-of-the-bill event, so I don’t know whether she’s brought along the Source Ensemble for accompaniment (for all I know, many of them may be in HAHA), or whether this is going to be a chance to hear her alone and independent/unencumbered. Either way, I hope it offers us the chance to hear her as she truly is now – a belatedly great French folk singer, although one neither bonded to the obligations of traditions or the past, nor restricted from broader conceptual and textual pallettes. In effect, an embodiment of a folk impulse reborn into the current age – with all of its opportunities for research and reflection and fresher global instincts – and let loose to create.


 

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