Archive | radiophonics RSS feed for this section

July 2016 – upcoming London gigs – CV FREQS modular synth meet and performances at New River Studios (31st) featuring Colloid, Finlay Shakespeare, Gregg Wilson, Pouya Ehsaei, Phil Durrant’s Sowari Modular, Form Constants, the Deep Learning superblip and possibly Eden Grey

23 Jul

I shouldn’t let it bother me, but I was worried that the recent slew of clean acoustic nu-folk gigs which I’ve been covering were making this blog look a bit too cosy. It’s perversely comforting to find that the electronic ends of things can be just as cute.

Eden Grey presents:
CV FREQS London
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Sunday 31st July 2016, 2:00 pm to 11:00 pm
– free event (suggested donation: £5.00) – information here, here and here

CV FREQS, 31st July 2016, LondonHosted by Eden Grey (a budding classical composer whose life changed when she fell in love with electro and dubstep), CV FREQS appears to be a globetrotting all-day modular synth meet. Since Eden’s move to London, it’s begun to base itself more in the city: the last one, back in May, was down on the south bank at IKLECTIK, while this month it’s pitching up in a different riverbank locale in the north. CV FREQS starts off by defining itself as covering “innovations in modular synthesis design, focusing on Eurorack format, custom synthesisers and embracing the DIY spirit” but rapidly gets excited and starts enthusing about being “a wonderfully cacophonous event focusing on the tools that are ideal for sound design and music creation.” and ends up frothing about “a carnival of soundwaves and control voltages”. As if it were a soundclash – or a picnic – attendees are invited to bring their own synths and speakers along.

Apparently, it would also be nice if you could bring a table. Never mind soundclashes. This is starting to sound like a church jumble sale in Hampshire, albeit one that’s about to go all sonic-bacchanalia.

At root, this is part encounter group and part informal trade show in which hardened or nascent electronicians can wander around, trying out and picking up those innocuous-looking, technoporn-titled hardware or software plugins which bring joy to a sound-masher’s heart (and a battery of warped noises to their woofers). This is where to get previews and demonstrations of convulsion generators, wavefolders, stargigglers, deflector shields, quantimators, proton gabblers, spectral devastators, squishmagogs and source-of-uncertainty modules plus all of the other gizmos that sound as if they’ve sprouted from a game of ‘Elite’ back in 1983 along with a starship cargo of Ceti rabbits and Baltah’sine Vacuum Krill. Yes, really – I only made a couple of those names up.

CV FREQS, London, 31st July 2016

Cheap geek-to-geek shots aside, CV FREQS is the kind of event which quietly – and effectively – changes a musician’s life. Wandering around in the crowds at the show there’ll be at least one nascent electronic musician about to finally finds the device, devices or piece of advice which unlock the doors to a new technique: the key to making them sound or work like themselves rather than a follower. Gaining the right implement, the right process, the right move – it’s probably more important than gaining a hero. That’s something to remember the next time I’m tempted to make a smutty joke about ring modulators.

As a bonus that’s far more than a simple sideshow, attendees have the chance to see a range of modular synth performers in action, beyond the straight demos. The range available might not compete with a festival in terms of numbers, but would easily match one in terms of sonic breadth. This is heightened by the fact that many of these players aren’t just end-users but genuine solder-and-code sonic innovators, building or programming the tools which they use.

Finlay Shakespeare from Future Sound Systems offers spacey zap-crackle-and-pop dancetronica, while Colloid (the performance alter-ego of Ginko Synthese’s Jan Willem Hagenbeek) pursues “an ongoing search for noises, clicks and evolving sounds… deep drones with uplifting arpeggios and cut up beats.” Jan doesn’t mention the squiggling, lapping clouds of avant-garde piano (perhaps because they don’t fit the twangy modular remit), but they’re a significant part of the puzzle as well. The rapid-fire music of Gregg Wilson is stimulating, cheeky and mischievous: a typical piece sounds like an argument between at least eight bits of blipping, boing-ing minimalism, and is likely to turn into a massed affectionate chiptune brawl-cum-pub singalong.


 

Dedicated improviser, software-synth guru and former Ticklish man Phil Durrant will be bringing along his Sowari Modular project for its debut live performance. A spinoff from his Trio Sowari (in which he usually plays with saxophonist Bertrand Denzler and percussion/device-fiddler Burkhard Beins), this setup sees Phil experiment with Sowari ideas alone with his synth. Also playing is Iran-born, London-based polydisciplinary artist Pouya Ehsaei, for whom music is one of a number of interlocking forms (among other qualification, he’s got a music doctorate for the University of York, a prime training ground for contemporary classical and experimental musicians). On 2014’s ’There’ – his first record under his own name – Pouya analysed and reflected both the ancient and recent history of his birth country by processing and pulverising samples of traditional Iranian music (including two Ahmad Shamloo prison poems) to tap into culture and repression, melancholia and rage. On this occasion, however, he’s more likely to be playing as his Seated Figure project – ambiguous analogue techno which juxtaposes an eerie mix of springiness, queasy pitch-and-key shifts, and a baleful solitary tone.


 

It’s not entirely clear who Deep Learning are, but the clues point towards a full or partial teamup of two trios – the Sydney-based electronic/noise/pop/“fantasy beat” band PVT (whose Richard Pike recently relocated to Britain), the London-based Hrím (singer Ösp Eldjárn, programmer/Brian Eno sidekick Cherif Hashizume, and singer/multi-instrumentalist Anil Sebastian of London Contemporary Voices and assorted Imogen Heap projects)- and Merkaba Macabre (a.ka. Steven McInerney, founder of the Hackney Film Festival and the Psyché Tropes experimental record label). The three tracks below will either point the way towards the collaboration, or completely misguide us.


 

Throughout the event, Newport audio-visualist duo Form Constants (Ginko‘s synth tinkerer and circuit-bender Aidan R. Taylor and video artist Kim Da Costa, who call themselves “a plethora of electrified grit for the senses”) will be using their self-built video synths to run “hypnotic light bands” around the venue. As for Eden Grey, there’s no evidence that she’s going to be actually performing at the party she’s throwing, but my guess is that she won’t be able to resist. Whether or not that’s true, here’s a taste of some of her recent work (in the techno vein, though she’s also been known to put a post-Wendy Carlos spin on Erik Satie).



 

REVIEW – Jimmy The Hideous Penguin: ‘Colours’ EP, 2013 (“a harbourful of soused and bobbing vinyl”)

29 Aug
Jimmy The Hideous Penguin: 'Colours'

Jimmy The Hideous Penguin: ‘Colours’

With a name like that, you expect an MC with a slew of stories. A brilliant, squat little microphone hassler compensating for his own lack of sleek, straightforward charm with a quacking, manic inventiveness and left-field imagination. You expect one story, at least.

Instead, Jimmy The Hideous Penguin is a turntablist; using that ludicrous name as a billboard to cover the heads-down, ’phones-on business of scratching, filtering and triggering. A member of DJ quartet Vince Mack Mahon (and one of the masterminds behind the Community Skratch turntable initiative) he’s from Galway. Appropriately, ‘Colours’ sounds like a sketch of Galway on a moderately bad day – soggy and drizzled-misted, but still bright and creative – but you can only stretch his hometown associations so far.

Ducking any of Galway’s high-culture Eire-isms (and, to be fair, many of Vince Mack Mahon’s hip-hop inspirations) Jimmy’s music instead listens eastwards towards Rhine-Ruhr electronica, while picking up occasional bits of English scruff on the needle. It also listens downwards (into well-travelled vinyl grooves) and inwards (through a radio dial set to a perpetually-displaced rural 1970s). Its electrophonic wanderings owe a fair bit to Kraftwerk, a little bit to BBC Radiophonics and quite a large bit to those early Jimmy Cauty-era Orb recordings. Adding a raw backbone of analogue synth-steps and thick, flittering drones to his eddies of turntable work, beat loops and found noises, Jimmy works up some interesting slop behind that cartoon billboard. Instead of those MC stories, you get scenery to make stories – an occasionally playful plunderphonic montage; a harbourful of soused and bobbing vinyl; a frown of uneasy concentration.

While there are some visitations from the drum-burrs and rhythmic grapples of drum and bass, dubstep and techno, Jimmy’s music prefers to wander off on its own. Moving along messier roads, it kicks up a little historic debris as it goes. Red, in particular, sounds like flotsam; washing up out of swells and reversals of wadded-up torch songs, old shellac albums part-drowned in the tide. Jimmy moves the music drunkenly around a European receiver, shuffling aural zones. First he’s playing frail electronic trumpets against twanging, nasal staccatos; then he’s manhandling a sneaking strand of funk drum, a hungry worm of double-time rattle accelerating it from within. Then he’s meandering through abandoned dockscapes at the back of a dark wind, and finally ends in a bend of misdirected psychedelic organ.

On much of the EP (in which one piece strays into another in jostling transitions), ’70s fantasy seems to be rubbing up against ’70s slump. When a stray Dalek shows up at the end of Green – grating out “they are approaching” – it sounds both menacing and surly. It even sounds impotent; like a grumpy gate-guard on the inside of a power-station picket line, slouched in its own little pocket of hate and with a tepid thermos of well-stewed tea clamped onto its sucker, watching strikers slouch into position for the start of a day of mutual glaring. The rest of the piece feels similarly boxed-in – a pained, brontosaurine lumber of panel-beating snare drum and warping sub-bass, weighed down by an oppressive dark-ambient echo and drifting off into a carbon-monoxide grind.

On the subject of ‘Doctor Who’, I could have sworn that I heard a far more obscure ’60s Whovian critter show up, too – ECCO, the incomprehensible computer from ‘The Ice Warriors‘ with the infuriating papery stutter which (even in 1967) made it sound like a remix victim. Presumably, Jimmy’s too young to remember this first-hand: if he’s not been crate-digging deeper into the Beeb’s sound library, maybe he’s been digging up and scratching someone else’s memories.

It’s equally likely that Jimmy’s stumbled across a bit of the Galway countryside that is forever 1978, or at least has a damp box of that year’s proggier vinyl dumped there. Quite early on during Blue’s multi-part sprawl, some of the more oceanic swirls from Jean Michel Jarre’s ‘Equinoxe’ waft through the mix. Later on, Jimmy will varispeed a eerie floating snatch of psychedelic folk (reed-boned flutes and acoustic guitar, like a conjunction of Mike Oldfield’s ‘Ommadawn’, Popol Vuh and ‘The Wicker Man’) before trickling a clip of muffled Rakim-esque rap-and-chatter over twinkles of fairytale guitar lifted straight from Yes’ ‘Circus Of Heaven’.

At the start, however, Blue is lo-fi, dodgem-car techno with a bassline like someone clubbing moles with a car door It’ll make a shift into chugging steamtrain funk, some rare old-school DJ scratching (“wicky-wicky” and all) and the sort of downbeat synth stagger that groans “hangover” at you. Wobbling out from the layering, voices sing with so much gauziness that you can’t tell whether they’re Irish or Lebanese. Others mutter wanly and stagger around the kitchen, failing to fry some eggs. From the latter, one glum mumble of “bugger…” turns into a single-word mantra. It travels mournfully round and round the turntable like a dropped glob of peanut butter: part of the soused, engaging sloppiness that gives the EP its own distinctive flavour.

Jimmy The Hideous Penguin: ‘Colours’
CS² Recordings, CS²-009
CD/download EP
Released: 2nd July, 2013

Get it from:
CS² Recordings.

Jimmy The Hideous Penguin online:
Homepage Twitter MySpace Soundcloud Tumblr Bandcamp Last FM YouTube

ATTN:Magazine

Not from concentrate.

Xposed Club

improvised/experimental/music

I Quite Like Gigs

Music Reviews, music thoughts and musical wonderings

Make Weird Music

Because 4 chords aren't enough

The Recoup

The 232,359th Most Trusted Voice In Music

A jumped-up pantry boy

Same as it ever was

PROOF POSITIVE

A new semi-regular gig in London

We need no swords

Static and debris. Skronk and wail. This is music?

:::::::::::: Ekho :::::::::::: Women in Sonic Art

Celebrating the Work of Women within Sonic Art: an expanding archive promoting equality in the sonic field

Ned Raggett Ponders It All

Just another WordPress.com weblog

Headphone Commute

honest words on honest music

Yeah I Know It Sucks

an absurdist review blog

Pop Lifer

Waiting for the gift of sound and vision

Good Music Speaks

A music blog written by Rich Brown

Archived Music Press

Scans from the Melody Maker and N.M.E. circa 1987-1996

The Weirdest Band in the World

A lovingly curated compendium of the world's weirdest music

OLD SCHOOL RECORD REVIEW

Where You Are Always Wrong

a closer listen

A home for instrumental and experimental music.

Bird is the Worm

New Jazz: We Search. We Recommend. You Listen.

Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

eyesplinters

Just another WordPress.com site

FormerConformer

Striving for Difference

musicmusingsandsuch

The title says it all, I guess!

%d bloggers like this: