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December 2017 – strange and wonderful sounds in and out of London – Alien, Adrian Lane and Stuart Bowditch in Leigh-on-Sea (14th December); Dean McPhee, Sam McLoughlin, David Chatton Barker, Amy Cutler and Sylvia Hallett up in Homerton (16th December)

6 Dec

As Christmas approaches I find myself in a tearing hurry; so don’t be too surprised if the remaining gig posts for the year rely even more on text ripped straight off Facebook or other gig notifications. I’m just here to boost the signals and blend the options for the month, though I’ll also patch in any missing information as I go.

Now – December news on various Essex sonic artists coming together out on the Thames estuary, and on a Homerton gathering of atmosphere-guitar, homemade instruments and film…

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Alien + Adrian Lane + Stuart Bowditch, 14th December 2017

Courier Sound presents:
Alien + Adrian Lane + Stuart Bowditch
Phuse Media, Polar House, 103 Rectory Grove, Leigh-on-Sea, Essex, SS9 2HW, England
Thursday 14th December 2017, 8.00pm
information

“Courier Sound invite you to a launch party celebrating the release of Alien‘s ‘Perimeter’. Al Johnson’s long form piece, made with a bass guitar and a variety of electronics, is presented on a super-limited edition (30) mini CD in a bespoke arigato pack (designed by Machindo, cut by Damien Robinson), with two inserts, a sticker and a decal on the CD. In the small and intimate setting of his own office, Al will be playing a live improvised set, alongside live sets from Adrian Lane and Stuart Bowditch. Entry is free and early arrival is advised. Bring some booze.”

An intermittent surfacer, Alien has previously released work on labels including Southend’s Hottwerk; but here’s some very recent material (uploaded to Soundcloud yesterday!) plus a video swiped from Facebook…

 
And here’s some more I dug up on the guest acts…

Adrian Lane – who’s also recorded as Calicoade and (in collaboration with Guido Lusetti), as That Faint Light – is a man of mutually superimposed talents. He’s a visual artist as well as a musician, or perhaps he’s better described as a simultaneously visual and musical artist: his music integrating acoustic and electronic elements, struggling in a dreamy web of neoclassical/mediaeval folk inspirations and textural ambient foggings. Adrian’s newest album, ‘Playing With Ghosts’, uses cut-up and re-ordered samples of hundred-year-old wax cylinder recordings as its main sound source (something Adrian goes into in greater depth in this interview with his record company Preserved Sounds.

 
The work of Stuart Bowditch (who also records under the names of Hybernation, USRNM and Furrows) is primarily based in sound design and field recordings. As his biog puts it, he’s mostly “inspired by location and the people and experiences he encounters there. He is interested primarily in the sounds of everyday life and those who create them, making work that is inclusive and accessible.His music, sound tracks and art installations are often site-responsive and developed with community groups, the public or people who would not consider themselves interested in ‘art’. In this way of working he tries to make sense of the world he lives in and his place within it. Simultaneously, the creations and experiences of others end up intrinsically embedded in his work, creating a rich texture of layers, representing his life and those he has encountered along the way.”

 
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Dean McPhee + Sam McLoughlin & David Chatton Barker + Amy Cutler & Sylvia Hallett, 16th December 2016

The Old Dentist presents:
Dean McPhee + Sam McLoughlin & David Chatton Barker + Amy Cutler & Sylvia Hallett
The Old Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Saturday 16th December 2017, 7.30pm
– information here and here

“A night of deep audio-visual sorcery in three acts to mark the release of solo electric guitarist Dean McPhee’s much anticipated third album ‘Four Stones’ – featuring Dean’s hypnotic drone-folk guitar work and the visual feedback footage of Barry Hale, the homemade instrument/OHP séance shadow-puppetry of Folklore Tapes duo Sam McLoughlin & David Chatton Baker and the films and musical improvisations of Amy Cutler and Sylvia Hallett.

Dean McPhee is a solo electric guitarist who combines fluid, chiming melodic lines with shimmering drones and deep layers of decaying delay and echo. He has a unique style of playing which draws together influences from British folk, dub, kosmische, post-rock and Mali blues, and his music has a hypnotic and dreamlike quality. His latest album ‘Four Stones’ is due to be released on Hood Faire (a label run collectively by Dean, Sam McLoughlin and David Chatton-Barker) in January 2018… For this gig Dean will be playing to footage of video artist Barry Hale‘s Intraference visual feedback films.



 
Sam McLoughlin plays homemade instruments and contraptions along with guitar, analog synths, harmonium and pump organ. Sometimes he sings songs; at other times he combines handmade Moondog-like percussion with microphone feedback, synth drones and unpredictable bowed textures to produce improvised music with magical and shamanic overtones. Sam recently released the album ‘Flaming Liar’ on Them There Records and has previously released music on Andy Votel’s Twisted Nerve as well as Folklore Tapes, Pre Cert Entertainment and Hood Faire.

“David Chatton-Barker is the co-founder and captain of the highly regarded Folklore Tapes label which was recently described by Brainwashed.com as “possibly the most unique and fascinating label around”. As well as being a visual artist and film-maker, David also specialises in playful and atmospheric collages of sound, dictaphone recordings and live improvisation. Like Sam, he also builds his own very inventive and visually striking homemade instruments and sound-making devices, which he uses to perform live (along with projections and ritualistic interventions).

 
“As a new duo, geographer-poet Amy Cutler and multi-instrumentalist Sylvia Hallett draw on the dark sides of nature: from sea parasites to forensic botany to elegies based on Arctic bird migrations. They perform live improvisatory settings of pieces drawing on natural history, such as ‘you, the stingbearers’, based on Jean-Henri Fabre’s nineteenth-century chronicle of human desolation, ‘The Life of the Fly’. Instruments include the viola, the musical saw, and Sylvia’s Russian garden vines. Amy’s projections include kaleidoscopes of tree rot and insect forms in nature documentaries, and she will also screen some of her short music videos inspired by drone music and experimental landscape cinema.”
(See below for Sylvia at work on a bicycle wheel, plus Amy’s short film ‘Incantations From Yin Valley’ – made this year with experimental drone musician Bridget Hayden, previously of Vibracathedral Orchestra).



 

December 2017 – upcoming London folk gigs – Gaelynn Lea at The Old Church (6th December); Tartine de Clous, Alasdair Roberts & Neil McDermott with guests Ivor Kallin & Sholto Dobie and The London Hardingfelelag (11th, 12th December); Gitta de Ridder and The Balkanoes at Collage Nights (13th December)

2 Dec

I keep missing Gaelynn Lea’s shows… and missing the opportunity to post about them. With her return to London for another gig this season, I’ve got a chance to catch up.

Blow the Fuse presents:
Gaelynn Lea
The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England
Wednesday 6th December, 2017, 8.30pm
– information here and here

Gaelynn Lea, 6th December 2017A classically-trained twenty-year veteran of violin playing whose limbs have been shortened from birth by osteogenesis imperfecta, Gaelynn plays her fiddle like a cello and sings original songs drawing from the well of traditional American, Irish, Scottish and English folk sources and blending them with her own ideas and experience. Her wistful honey-gravelled singing, her songwriting artistry and her textured playing (supplemented by improvisation and loop-pedal) is powerful and universal enough to have won NPR Music’s 2016 Tiny Desk Contest, seeing off competition from around six thousand other American songwriters and performers.


 
Meanwhile, her performance presence and physical courage have moved audiences to tears and applause in her native Minnesota and across American and Europe (and have won her both admiration and a shared stage from Low’s Alan Sparhawk, country bluesman Charlie Parr, and New Acoustic touchstyle guitar star Billy McLaughlin). In addition to her musicality, Gaelynn is a powerful disability community advocate – speaking and blogging forthrightly and fearlessly about iniquities and the need for social change to accommodate and support disabled people, and covering subjects from everyday practical challenges to the expression and enjoyment of sexuality. Come for the music, stay for the strength; maybe leave with the encouragement to help make things better.

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Over in Homerton, the brilliantly ramshackle Old Dentist venue continues its rewarding partnership with Muckle Mouth, hosting yet another enthralling fringe-folk gig (although this one’s of a more traditional bent)…

Muckle Mouth, 11th December 2017

Muckle Mouth and The Old Dentist present:
Tartine de Clous, Alasdair Roberts & Neil McDermott, plus Ivor Kallin & Sholto Dobie (11th)/The London Hardingfelelag (12th)
The Old Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Monday 11th December 2017, 7.30pm
– information here, here and here
Tuesday 12th December 2017, 7.30pm – information here, here and here

“We are honoured to host a very special collaboration between French harmony-singing trio Tartine de Clous, legendary Scottish guitarist and folk singer Alasdair Roberts and fellow Glasgwegian fiddler Neil McDermott over two nights at The Old Dentist following their residency at Cube Microplex in Bristol.

“Tartine de Clous (Geoffroy Dudouit, Thomas Georget and Guillaume Maupin) are a singing trio originally from the department of Charente in western France. Following in the footsteps of some of the great French groups of the late twentieth century folk revival (such as Mélusine and La Bamboche), they sing largely unaccompanied three-part harmony arrangements of the traditional songs of their native land.


 
“In an echo of The Auld Alliance, Tartine de Clous will perform in collaboration with the Scottish songwriter, guitarist and folk singer Alasdair Roberts and his fellow Glaswegian, fiddler Neil McDermott over two nights at The Old Dentist. Alasdair has worked with Drag City Records for some twenty years, releasing records featuring both interpretations of traditional songs and those featuring his own songwriting. In addition to being a fine fiddler in the Scottish traditional style, Neil McDermott is currently researching the musical and political engagement of the 1960s Scottish folk scene with the anti-nuclear movement.

 
“They are joined on the 11th by veteran improviser Ivor Kallin (onetime co-curator of the 2:13 improvisation club, once rather unpleasantly described by The Times as “a bearded Scotsman given to stream-of-consciousness spew”) and Muckle Mouth curator Sholto Dobie (on viola and diatonic symphony hurdy gurdy respectively), and on the 12th by The London Hardingfelelag playing Norwegian tunes for Hardanger fiddle.”

There’s not much out there on the London Hardingfelelag (though I did find out that their ranks include Sylvia Hallett, Catherine Martin of the Gabrieli Players, Clare Salaman, Tania Simon, Clifford Rowe and until a few years ago, the late Wilf Gibson of ELO/’Spirit of Eden’ fame), but I did turn up a couple of videos of Ivor and Sholto, supplemented by one of the Hardanger fiddle in action…




 
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I caught up with the Collage Nights shows in Wood Green last month, just in time to learn about the final two gigs in their season. The last one rolls around mid-month, featuring Dutch-English singer-songwriter Gitta de Ridder and Balkan-styled party band The Balkanoes.

Collage Nights, 13th December 2017

Collage Nights presents:
Gitta de Ridder + The Balkanoes
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Wednesday 13th December 2017, 7.00pm
– information here and here

Gitta’s debut album ‘Feathers’ came out last year. With its songs of family, friends and lovers (as opposed to hill gods, surreal landscapes or twisted urban short stories) it has a conventional tinge for the current time, but the delight is in the detail and the musicality. She’s a Joni Mitchell disciple less in the sense of pursuing the confessional or the coffee-table mope, more in the delightful flowering of orchestral chords and cats-cradle harmonies (as well as in her domestic wit).

As for the Balkanoes, they provide the standard pellmell Eastern European spaghetti-junction of Greek, Ottoman, Slavic and Romani musical threads, but have been known to career off into ‘Star Wars’ covers as well.

There’s also a special guest, but they’re keeping quiet about who that might be.




 

November 2017 – upcoming London folk gigs – Jack Cheshire and Robert Chaney at New Roots (23rd); Effra and Cynefin at Nest Collective (29th); Rif Mountain presents Bare Bones, Robert Sunday, Hold Music and Nancy Wallace at the Old Dentist (30th)

17 Nov

Three diverse types of folk show coming up in London: a selection of straight Americana, folk baroque fusion, Welsh archivism, post-rock-tinged acoustica, Appalachian-inspired imaginings, and hauntological dub/field recording-infused psychedelia. (One of the gigs, in Homerton, will be of particular interest to fans of psych folk ensemble The Owl Service…)

There’s quite enough existing press release verbiage for me to just quote in bulk, slip in a few audio/visual clips and waltz away…

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Jack Cheshire & Robert Chaney, 23rd November 2017

New Roots Promotions presents:
New Roots: Jack Cheshire + Robert Chaney
The Old Queen’s Head, 44 Essex Road, Islington, London, N1 8LN, England
Thursday 23rd November 2017, 7.30pm
– information here and here

Jack Cheshire brings his four-piece band to New Roots at The Old Queens Head. His contemporary alt-folk sound with a post-rock twist has led him to share bills with luminary peers Songhoy Blues and Josh T. Pearson, and grace the stages of The Green Man Festival and Kings Place. The ghosts of Nick Drake and Syd Barrett skirt the edges of his songs, embellished by what ‘Uncut’ magazine calls an “Ian McCulloch-style croon”, with a “burnished psychedelia (that) takes this music to the skies”. He released his 2017 album ‘Black Light Theatre’ to universal press and radio acclaim, making fans of 6 Music’s Lauren Laverne and Tom Robinson along the way.

 
“A rising star on the London folk scene, American singer-songwriter Robert Chaney counts Townes Van Zandt, Hank Williams and Judee Sill as influences. A remarkable songwriter with a voice to send shivers down your spine, sown deep into his songs are threads of the dusty blues of the 20s and 30s, pulp noir tales of the 40s, the cable-knit folk revival of the 50s, and the French celluloid new wave of the 60s. His recently released debut album ‘Cracked Picture Frames’ garnered high praise in the music press, with Folk Radio UK making it their featured album of the month.”


 
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Effra + Cynefin, 27th November 2017

The Nest Collective presents:
Effra + Cynefin
The Old Queen’s Head, 44 Essex Road, Islington, London, N1 8LN, England
Wednesday 29th November 2017, 8.00pm
– information here and here

A monthly evening of the finest folk music live at the Old Queens Head in Islington.

“Described as “an immersive, trance-like musical treat” by ‘Songlines’, contemporary contemporary folk trio Effra are guitarist Alex Bishop, fiddle/mandolin player Tom Newell and accordionist Aidan Shepherd (accordion). Heralding from Bath, Shrewsbury and Canterbury respectively, they met in London in 2011. Although coming from rock, classical and jazz backgrounds, a strong connection was quickly formed, and they began meeting regularly to write and develop music that shared a common ground.Early performances were well received, and the band soon grew an identity of its own, fuelled by innovative ideas brought to the table by all three members. In 2012 after only a year since their first meeting, the band won the Bath Folk Festival ʻNew Shoots Competitionʼ on the strength of their compositions and high-energy performance, being hailed as “a trio of the highest order that, despite their young age, sound like they have always sat comfortably among the greatest of the folk scene.” In 2014 they released their debut album, ‘Lose An Hour’ and toured extensively through 2015-16 with performances at BBC Radio 3’s ‘In Tune’, Cambridge Folk Festival, and EFEx/Homegrown festival.

“In Spring 2017 Effra released their highly-anticipated second album, ‘Below Ground’, which captures the unseen subterranean world beneath our feet. The recording process saw the band trek to the source of London’s only fully concealed waterway (and their musical namesake) the Effra river, as well as venturing within ninety-six kilometres worth of tunnels underneath the UK’s largest limestone quarry, Box Freestone Mine. This gig at the Old Queen’s Head is their official album launch.



 

“Cynefin (a Welsh noun with no direct equivalent in English) is somewhat of a linguistic enigma. Originally a farming term used to describe the habitual tracks and trails worn by sheep in hillsides – the word has morphed and deepened over the centuries to conjure a very personal sense of place, belonging and familiarity. The artist Kyffin Williams describes it as ‘that relationship: the place of your birth and of your upbringing, the environment in which you live and to which you are naturally acclimatised.’

This particular ‘Cynefin’ is the musical brainchild of Clettwr valley native Owen Shiers and is a journey to discover the musical landscape and contours of Ceredigion and West Wales. Following a chance discovery of a long forgotten song by a local ballad singer, Owen was inspired to uncover more of the untold stories of the locals who’s voices have been lost over the centuries. A research scholarship from the Finzi Trust has further aided the project, enabling him to delve through unseen archive material, look through rare books as well as source songs from ballad singers and cultural historians.

“From the grumbles of millers past, musings of balladeers to the every day tales of ‘y werin’ (the common folk) – the resulting material is unique both in its originality (some of the songs have not been sung for over hundreds of years) but also in the arrangements which are ambitious and distinct.”


 
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Bare Bones + Hold Music + Robert Sunday + Nancy Wallace, 30th November 2017

Rif Mountain and The Old Dentist present
‘When The Night Falls’: Bare Bones + Robert Sunday + Hold Music + Nancy Wallace
The Old Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Thursday 30th November 2017, 7.30pm
– information here and here

Bare Bones are a duo of Jason Steel (solo, Hold Music, The Owl Service) and Dom Cooper (United Bible Studies, Circle/Temple, Unknown Heretic, Zensunni, Unit One, The Straw Bear Band, The Owl Service). Their latest release ‘Moon Phases’ is informed by improvisatory techniques, ethnographic field recordings, and the sonic spaces of dub; a narcoleptic Ennio Morricone soundtrack. The music is carved out of ritualistic drones, creating nuanced textured soundscapes. Tracks inhabit a moonlit world, reminiscent of the hazy pacing of Peter Fonda’s film ‘The Hired Hand’ or the fragmentary/searching writing of Fernando Pessoa’s ‘The Book of Disquiet’. Bare and layered, simple and nuanced, Moon Phases has a somnambulistic grace all its own.



 
Robert Sunday is a solo acoustic singer-songwriter who combines elements of traditional folk, Americana, poetry, and cinematic allusions. He played his first gig at Cecil Sharp House in March 2011 on the release of his debut EP ‘Butterfly Hairslide’ on the Rif Mountain label. Since then he has played regularly in London. ‘Halcyon Bloom’ and ‘Cold Little Roses are his latest EPs. The ever-chipper Mr. Sunday deliver more trademark lyrical gold, set to melodies that would make a hungover Kris Kristofferson blush (in his prime!). Sunday deals with concepts around memory, love and time. For fans of Bill Fay, Palace Music and Lee Hazlewood. Stark and quite wonderful.

 
Hold Music are Jason Steel (guitar, banjo, voice) and Daniel Gardner (percussion).The duo’s eponymous debut outing offers tightly wound compositions that twist & contort in unexpected directions; spare yet expansive, precise yet rambling. Gardner’s percussion is locked into Steel’s deft string work throughout. Consisting of four tracks over thirty minutes, recorded live with John Hannon (James Blackshaw, Chris Corsano). The lyrics touch on Appalachian murder ballads, original sin and poor grammar. At turns pretty – ritualistic – odd. A banger, for sure.

 
Nancy Wallace is a singer and musician from East London, having been born and raised in a folk-singing family in a Suffolk seaside town. She came to notice singing with the Memory Band and later as part of the cult alt-folk collective The Owl Service. A guitarist and concertina player (as were her father and grandfather before her), her approach to both instruments, and her interpretations of both traditional material and her own songs, set her apart on the contemporary folk scene. Her solo releases began with the critically acclaimed Young Hearts EP and her debut full length album, Old Stories, released to glowing reviews, garnering her a cover feature in fRoots magazine and a BBC Folk Awards nomination. She has performed throughout Britain and Europe, including at festivals such as The Green Man, Glastonbury, End Of The Road, Sidmouth Folk Week, The Big Chill and Towersey Folk Festival. She is currently writing and recording material for her next “proper” album.”



 

November 2017 – upcoming London gigs – ‘Anonymous Was a Woman’ with Anne Garner, Mary Currie, Lis Stewart (9th November); Powerdove and Ashley Paul (15th November)

4 Nov

There’s a pair of interesting female-focussed gigs coming up over the next two weeks in two of London’s more creative music corners, mingling elements of latterday folk, post-punk, Rock In Opposition, experimental noise and avant-garde pop…

Partly due to the pressure of time, and partly due to the eloquence of the press releases, I’ll let them speak for themselves…

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Club Integral: 'Anonymous Was A Woman', 9th November 2017

Club Integral presents:
‘Anonymous Was A Woman’: Anne Garner + Mary Currie + Lis Stewart
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 9th November 2017, 8.00pm
– information here and here

“A night of music by women. Three very different sets from three extraordinary artists.

Anne Garner‘s lyrical work is inspired by curiosity and a sense of wonder, a hunger to explore and explain the emotional inner life. The magic lies in the ambiguity, in the unanswered question and the breath between notes. It’s in poetry and harmony that Anne finds her safe space, in enveloping and beguiling moods, a place from which to speak the unspoken. Anne will be performing music from her upcoming album, joined by Jack Hayter on pedal steel guitar, Nick Samuel on saxophone and James Murray on guitar.


 
Mary Currie is a singer perhaps best known for her work with Gareth Williams (This Heat). Williams and Currie recorded a limited-run cassette-only album, ‘Flaming Tunes‘, in 1985, which over time has become a classic of the lo-fi DIY underground. Since Gareth’s death at forty-eight from cancer, Mary has worked with several collaborators including Howard Jacques (These Records, Bermuda Triangle Test Engineers) and Mick Hobbs (Officer!) in folk group Bucket, and with Mick, Howard and Monica Ruud on a project called Whole New Concept. Mary will be be singing with Alison Craig (Shötley Crüe) – essentially traditional sea songs and modern folk songs.


 
Lis Stewart plays mostly folk music on a 1918 Lachenal 55 key Maccann Duet concertina. She plays from time to time with south London folk collection The No Frills Band. For Iklectik, she will be performing English, French and Scandinavian folk tunes, both traditional and modern. Expect driving rhythms and haunting melodies.”

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Powerdove + Ashley Paul, 15th November 2017

Muckle Mouth, 33 Chatsworth Road + Murailles Music present:
Powerdove + Ashley Paul
33 Chatsworth Road/The Old Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Wednesday 15th November 2017, 7.00pm
– information here, here and here

Annie Lewandowski​ ​is​ ​a​ ​composer,​ ​improviser (piano, accordion),​ ​and​ ​multi-instrumentalist​ (singer,​ ​guitarist,​ ​and keyboardist) ​whose​ ​work​ ​has situated​ ​her​ ​between​ ​the​ ​worlds​ ​of​ ​improvisation​ ​and​ ​independent​ ​rock​ ​music.

“In​ ​the Powerdove​ ​combination – in which she’s ​​​joined​ ​by​ ​trouble-makers​ ​Thomas​ ​Bonvalet​ ​​(once of Cheval de Frise) and​ Chad​ ​Popple (Collossamite, Behemoth), and​ ​previously​ ​John​ ​Dieterich​ ​of Deerhoof – Annie’s​ ​songwriting​ ​is​ ​transformed​ ​into singular,​ ​arresting,​ ​and​ ​strange​ ​pop​ ​music​ ​that​ ​sees​ ​graceful​ ​melodies​ ​set​ ​against​ ​raucous percussion​ ​arrangements;​ ​a​ ​music​ ​that​ ​”rumbles​ ​with​ ​immediate​ ​beauty​ ​and​ ​unsettling​ ​events.” The band has​ ​released​ ​eight​ ​recordings​ ​and​ ​performed​ ​at​ ​festivals​ ​and​ ​venues​ ​across​ ​the United​ ​States​ ​and​ ​Europe. Currently touring their new album ‘War Shapes’, this will be ​their first​ ​full-band​ ​show​ ​in​ ​the​ ​UK.​ ​


“They​ ​are​ ​joined​ ​by​ ​the​ ​awesome​ ​London-based​ ​American​ ​composer​/​​performer​ Ashley Paul​, who uses​ ​an​ ​array​ ​of instruments​ ​including​ ​saxophone,​ ​clarinet,​ ​voice,​ ​guitar,​ ​bells​ ​and​ ​percussion,​ ​mixing​ ​disparate elements​ ​to​ ​create​ ​a​ ​colorful​ ​palate​ ​of​ ​sound​ ​that​ ​works​ ​its​ ​way​ ​into​ ​her​ ​intuitive​ ​songs;​ ​free forming,​ ​introverted​ ​melodies.​ ​This​ ​blend​ ​manifests​ ​beautiful​ ​and​ ​simple​ ​musical​ ​forms​ ​against acoustic​ ​experimentation. She’s known​ ​for​ ​her​ ​tense,​ ​raw​ ​and​ ​delicate​ ​compositions,​ ​playfully​ ​combining​ ​introverted​ ​melodies, free-form​ ​song-like​ ​arrangements​ ​and​ ​an​ ​unadorned​ ​approach​ ​to​ ​improvisation.”


 

November 2017 – upcoming London folk gigs – alleged folk/electro-folk clash with Rivers Of England, Boe Huntress and The 150 Friends Club at Collage Nights; a world-swirl with Firefay, The Scorpios and Bread And Circus (both 8th November)

31 Oct

I’m late to the party as regards Wood Green’s regular Collage Nights (which play in the same lively vegan restaurant that also houses the Society of Imaginary Friends soirees and some of outer London’s most vigorous jazz sessions). Just as I discover it, the current every-second-Wednesday-of-the-month season is rolling to a close; but a couple more gigs will see out the autumn. Though November’s gig is billed as a clash (or at least a head-on nuzzle) between straight folk and electrofolk, I’m not sure that it’s as simple as that.

Collage Nights, 8th November 2017
Collage Nights presents:
Electrofolk meets Folk: Rivers Of England + Boe Huntress + The 150 Friends Club
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Wednesday 8th November 2017, 7.00pm
– information here and here

In the “straight folk” corner, Bristolian quintet Rivers Of England (fronted by songwriter Rob Spalding) are a fine example of how latterday Anglo folk attempts to hone and counterbalance its nostalgic tendencies, keeping a foot in tradition while steering away from twee fustiness and trying to stir in a contemporary consciousness. Much of their sound has a clear ’70s electric folk lineage (the Fairports or the Albion Band, the stirring in of jazz and blues elements a la John Martyn) but there’s also a conscious effort to get away from that wipe-down synthetic sound that’s plagued many such acts as they hit the studio or deal with increasingly digitised technology.

While there’s plenty in their music to link them to folk roots, their current album ‘Astrophysics Saved My Life’ displays the band’s eclectic instrumental flexibility and takes pains to explore the broadened scope of the present-day educated rural/urban person attempting to make sense of life across a much broader conceptual canvas, with “themes ranging from the inner self to the outer cosmos – the emotional to the scientific… a nautical theme present with a blend of rivers and the sea, alongside the more common personal themes of failed relationships, mental illness, memories of family holidays, childhood bicycle adventures, jobs woes, loneliness and universal love.”



 
If Boe Huntress really is occupying the electro-folk corner, it’ll be yet another alteration in a career built on transformations. Once known as Rebecca Maze (under which name she came to attention via a set of songs critiquing the misogyny around Gamergate), she changed her name circa 2013 in order to dive deeper into her troubadour impulses, mystical femininism and social protest.

Her first album as Boe saw her exploring her own fluid identity via journeys into deep mythology and archetypes from wild women to transformative green dragons to self-examining witches. Inspired (among others) by Woody Guthrie and Bob Dylan, Bikini Kill and Eve Ensler, Victor Jara, Fela Kuti and The Clash, her follow-up EP (2015’s ‘And I Became A Student Of Love’) saw her moving into more clearly defined spiritual protest songs, turning her evolving feminist voice outwards towards the world to advocate awareness while still keeping a toehold in mythology (as in the Inuit-inspired fable of Untangling The Bones, in which compassion overcomes fear). I’ve no idea whether there’s been a billing goof and whether Boe really has set aside the acoustic guitar and solo voice in favour of keyboards, loops or whatnot; but if she has it will be in keeping with her spirit of adventure and motion.

 
As special guests, there’s collapsable party guys The 150 Friends Club (led by “money-crazed, delusional, imbecile” David Goo, who describes the band as his “evil twin sister”). Based around the theory that “society is best managed at a hundred and fifty people”, they’re a band built for small, intimate, cheerful gigs. The music’s a messy-haired lo-fi folk-pop-rock with attention deficit disorder, which sometimes throws on a skuzzy electric overcoat and reels around the room pulling reggae, rap, post-rock and various other stylistic swerves out of its manky pockets.

David, meanwhile, plays it all up to the hilt – sometimes a chirpier, skiffling Lou Reed continually pricking any romantic balloons in sight, sometimes a Tom Petty who shucked the dedication and dived headfirst into cabaret, sometimes a skinny London echo of David Lee Roth cribbing and cherishing his old-time R&B. Apparently, this performance is some kind of comeback. I’m not sure that they’d care about having something to prove, but expect them to warm things right up.




 
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On the same night, over in east London, there’s the option of “a musical journey that will take you across the world in just over three hours”

Firefay + The Scorpios + Bread And Circus, 8th November 2017Firefay + The Scorpios + Bread and Circus
Cafe 1001, 91 Brick Lane, Shoreditch, London, E1 6QL, England
Wednesday 8th November 2017, 7.00pm
– information here, here and here

Formed from “storytelling, wyrd folk, Middle Eastern flavours, things that can only be defined as otherworldly, and still a bit of France somewhere in there… urban baroque, world folk noir, jazz and chanson music… whisky and sailors’ songs” as well as influences from John Dowland and Gabriel Fauré to kletzmer and the Canterbury Scene, Firefay blend keyboards, guitars, ouds, violins, brass and cello underneath Carole Bulewski’s trilingual vocals in a polycultural blend of colourings.

Compared to Art Bears, Françoise Hardy and Broadcast as much as to the Fairports and Pentangle (see the rave review of their 2015 album ‘The King Is Dead’ over at the ‘Active Listener‘ blog), they’ve also recorded with Mellow Candle’s Alison O’Donnell and have spent the last five years becoming one of the London folk world’s most joyous rising secrets. They’re planning “a full set of entirely reworked old songs, some from the ‘The King Must Die’ and some older even, some that took years to complete, and some brand new ones from the album we are currently recording”.



 
Firefay themselves are playing in the middle of the bill. Their cellist Fraser Parry will be opening the show with his own project Bread And Circus, a “musical vanity project (of) songs about anxiety, enjoying oneself, the passage of time and solipsism” with added piano, accordion, brass, and allsorts (depending on which other musicians he can plug in on the night).




 
Closing the show, Firefay’s sibling band The Scorpios will be playing a set of their own material: a Sudanese-based world funk in which “Arabic rhythms and guitar chops (and a kind of swooning cyclical ecstasy) with a raw Eastern funk feel (and) heavy bass, synths, horns and percussions drive through traditional Sudanese forms to create a sound owing to both Detroit and Khartoum.” Expect plenty of crossover, both in terms of musical traditions and in terms of how many members of Firefay also show up in this band.


 

October 2017 – upcoming London gigs – art pop and stories from Tom O.C Wilson, Eley Williams and Kept Cairns (22nd October); holy electro-noise folk and beats from Jarboe, Father Murphy and Metalogue (23rd October)

17 Oct

Tom O.C. Wilson, 22nd October 2017

Pickled Egg Records presents:
Tom O.C Wilson + Eley Williams + Beetles
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Sunday 22nd October 2017, 7.30pm
– information here and here

Until recently operating as Freeze Puppy, Tom O.C. Wilson is now venturing out under his own name with ever-more-intricate and compositionally complex conversational songs, venturing into hitherto unexplored territory between (to pick a few loose examples) Stephen Sondheim, Frank Zappa, Neil Hannon, Django Bates and The Carpenters.

‘Tell A Friend’ – his debut album as himself – is “lovingly crafted, infectiously playful arthouse pop… a frothy, colourful twelve-song collection that pushes the raw materials of pop into dazzlingly surprising shapes, from the polyrhythmic fervour of Give Yourself Some Credit to the Steve Reich-meets-Motown stomp of The Ones. Yet as with similarly cerebrally-minded pop acts such as Field Music, Max Tundra and Dutch Uncles, the intricacy of the music is coupled with an unusually high hooks per-minute quotient — these are songs to sing along to as much as ponder.” While previous records have revelled in a certain literary playfulness, each song on this one is based on Tom’s own life and friendships. It’s in keeping with Tom’s decision not to hide behind kooky project names any longer: he’s never likely to create a standard-issue confessional album, but this is explicitly “a celebration of human interaction” in all its richness. Judging by the tone of start-up single The Ones, it’s predominantly positive.

Tom was originally providing his own support as half of his other band Beetles, but they’ve had to pull out. Fortunately, a more-than-worthy replacement’s been found in the shape of singer-songwriter Kept Cairns, a mysterious pseudonymous friend and fellow traveller from Tom’s Bristol days. His songs (which he himself describes as “gradually accret(ing)” rather than being written) “sketch and explore the unseen world of interiority: mental health, transcendence, relationship breakdown, the limits of communication, ambiguity, time and love.” Generally that’s a recipe for broken-handed strumming and murky lo-fi mumbles; so it’s surprising to find percussive, intricate acoustic guitarwork (recalling Michael Hedges and John Martyn) and carefully-drawn lyrics and vocal lines as crisp as new book pages (detailing complicated and frequently unresolved situations but describing them with an immaculate grace and economy). To see what I mean, you’ll need to take a trip over to his music page: bar a quiet presence on Spotify, he’s so far underground that gigs like these are the only other chance to get the measure of him.

Appropriately for an evening of literary pop, the middle act on the bill is a writer. Eley Williams is an acclaimed prose-poet of confusions, mental transformations and fairytales whose stories sweep across their settings like an investigating light passed over text. Here she is in action:

* * * * * * * *

The following day, Chaos Theory will be vibrating the rafters as they take over St Pancras Old Church and shake out its more shadowy corners for a particularly ambitious gig. Expect an evening of dark drones and noises, Euro-American cloister-folk and cinematic/industrial music textures, filled with dark-refracted Catholicism and a decidedly ecclesiastical tone.

Jarboe + Father Murphy + Metalogue, 23rd October 2017Chaos Theory Promotions presents:
Jarboe + Father Murphy + Metalogue
St Pancras Old Church, Pancras Road, Camden Town, London, NW1 1UL, England
Monday 23rd October 2017, 8.00pm
-information here and here

From the Chaos Theory blurb:

“Original Swans member Jarboe joins forces with Italian occult propagators of insight-through-terror Father Murphy, as they perform a single set in three parts. Father Murphy will open with their avant-garde dark creations, to be joined by Jarboe to perform their new collaborative EP (which came out on Consouling Sounds on 22nd September). Jarboe will then perform her own material, with Father Murphy providing their own twist to her sounds as her backing band.

“Ambient darkness will be provided before and after the performance by producer Metalogue, who will create a whole new set for the evening and release it as a new album. This will be an experience like no other.”




 

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