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June to November 2019 – upcoming London jazz gigs – Greg Foat Band and Neue Grafik Ensemble at Church of Sound (20th June); Niechęć, High Definition Quartet, EABS and trios with Marcin Masecki and Kuba Więcek for the Polish Jazz London Series (4th July, 16th August, 19th September, 18th October, 21st November)

16 Jun

An imminent show at the Church of Sound in Clapton showcases British and French artists – the Greg Foat Band and the Neue Grafik Ensemble. Both play a contemporary take on ’70s soul jazz as it moved on a mystically airy arc away from earthiness and into the more fantastical zones of funk and psychedelia: in Greg’s case laced with tidal Radiophonic electronica via antique suitcase synth, and in NGE’s case celestial Rhodes keying.

Greg Foat Group + Neue Grafik Ensemble, 21st June 2019

More from the Church:

Greg Foat’s latest album ‘The Mage’ threads lineage between the past and future of British jazz, enlisting the talents of jazz/library/soundtrack legends Duncan Lamont, Art Themen, Ray Russell and Clark Tracey to collaborate with their modern contemporaries, Greg Foat, Moses Boyd and Heliocentric’s drummer Malcolm Catto. Something undeniably British but outward-looking and global has been created. Greg’s compositions and arrangements showcase the old and new, downtempo folkscapes, free jazz with notes of hip-hop and soul from the young team flavouring the mix. The album is a testament to the versatility and pure musicality of all those involved and Greg Foat’s ability to bring artists together to record beautiful, timeless music.

“Personnel on the night: Greg Foat (piano, EMS Synthi AKS), Clark Tracey (drums), Eric Young (congas), Phil Achille (bass), Trevor Walker (trumpet), Rob Mach (saxophones), Hugh Harris (guitar) with special guest Duncan Lamont (tenor saxophone).


 
“Parisian-born producer Fred “Neue Grafik” N’Thepe formed his Ensemble last year, consisting of trumpet player Emma-Jean Thackray, Vels Trio’s drummer Dougal Taylor, bassist Matt Gedrych and of course Fred himself on keyboards. Grafik’s sound is a hybrid of jazz, house and hip hop, all with his unique geographical tones of African ethnicity, Parisian roots and a love for London sounds (like broken beat and grime) thrown into the mix. For this session, they will be joined by rapper and poet Brother Portrait who is omnipresent on NGE’s forthcoming EP.”


 
Representing the Church of Sound DJ resources, half of the CoS diumvirate (and Total Refreshment Centre founder) Lex Blondin will be manning the decks, and there’ll be an aftershow party over at Tottenham’s Five Mile club.

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Polish Jazz London Series, July-November 2019

Further north-east, the Polish Jazz London Series is opening up in Waltham Forest. It’s a handshake between a borough celebrating its current status as London Borough of Culture (and pushing hard not to be overshadowed by the existing momentum of Hackney and Tottenham), the Polish Cultural Institute, B Side Events and the Music Halls Project which is opening up church spaces in Walthamstow and Leytonstone as high-quality music performance venues.

Poland isn’t the first place that springs to mind when jazz is mentioned. Cognoscenti, however, are aware of it as an incubator of high-end music with typical Polish determination. Five monthly concerts starting in the summer and leading into the autumn – each featuring some outstanding talent – demonstrate how productive this can be.

The first, on 4th July, features Warsaw avant-fusioneers Niechęć – saxophonist Maciej Zwierzchowski, drummer Michał Kaczorek, guitarist Rafal Błaszczak, keyboard player Michał Załęski and double bassist Maciej Szczepański stir ominous misty shifts of chord-tones and atmospherics into spinning jagged cyclones. Theirs is a frictional engagement with the air, although one which embraces a tight mothership of form rather than a straight free-jazz explosion.

Szczepański’s fondness for arco bowing, Zwierzchowski’s for caustic, cryptic Shorterish sax commentary and the band’s readiness to pursue whistling psychedelic rockscapes close to that of ‘Saucerful’-era Pink Floyd (as well as touching on the tweaked, ring-modulated open-ended fierceness of early electric Miles and the initially freeforming argumentation of Weather Report) pin them as spirit brothers to the permeable explorers of the ’70s cusp. Translated from the Polish, their name means “dislike”; and sometimes their music’s a growling frown, a diet of harsh and undying embers. Despite that, it’s never withdrawn or surly, never dull – it constantly takes you along with its dark and challenging moods.


 
The August concert features a new trio led by pre-eminent young Polish polymath Marcin Masecki. Not new in that his keyboard playing is augmented by his regular project cohorts (Jerzy Rogiewicz on drums and Piotr Domagalski on double bass) but new in that he’s apparently not looked into the possibilities of a classic trio since his schooldays. Since then, he’s been busy mastering and promoting a dizzying variety of projects and musical applications (the program lists it all as “big bands, brass orchestras, classical symphony orchestras, choirs, alternative pop bands, electric quintets, acoustic duets, sextets and nonets, composing for film and theatre, giving masterclasses, classical chamber musicking, and a vast body of solo work”).

It took an extended moment alone to trigger this new project – a jogging session during which Marcin became fascinated by both the bodily mechanics of respiration, extension, heart-rate (and so forth) and the mental changes and separation of mind which occur during the strictures of exercise. He opted to translate this across into music. In this clip, you can see how the post-bop pulse motors away while Marcin plays a succession of complex, diversifying ideas on top of it, maintaining both independence and integration while also sustaining perfect stability and authority.


 
The September gig features the bony, peppery rhythmic work of the Kuba Więcek Trio, whose paradoxical music (authoratively skittish; cerebrally frenzied; making overpowering gestures within a small and disciplined space) has been noted by uber-critic and fellow countryman Piotr Metz for combining the Polish post-bop of the late ‘50s and early ‘60s with knowingly neurotic Manhattanisms. More specifically, “the melody, which seems straight from Komeda songs, also has the noise of the New York traffic.” Each member doubles, musically – bass player Michał Barański spits and mutters konnakol (Carnatic drum-talk vocals), drummer Łukasz Żyta rattles out additional melodies on glockenspiel, and Kuba himself swaps between saxophone and dropped-in synth or electronics.

Packed into the music are funk and marches, transposed tabla burrs, Birdland boptalk and strains of eastern European folk dance. The trio’s also capable of periods of delicate sweetness, but always with a febrile watchfulness and staccato undercurrent; as if they’re tiptoeing precisely over a tough streetscape of broken glass and stray syringes even as they chat or serenade.


 
The October gig features High Definition Quartet, who come with sky-high praise from Randy Brecker: but if, from that, you’re expecting them to fit into his American fusion tradition, you’d be surprised. While this collectively-run quartet are second-to-no-one in hoarding and firing out classic chops, they’re also continual polyreferential box-busters, moving through multiple styles . It’s not just a case of tricksy polystylism, though: not something carried out as a joke. Instead, Piotr Orzechowski (who also rejoices in the nickname of “Pianohooligan”) and his allies (double bassist Alan Wykpisz, saxophonist Mateusz Śliwa and drummer Grzegorz Pałka) come across more as people whose brains process at double-speed: simultaneously and voraciously riffing and developing from anything which flits across their attention or their synapses.

For their current project, Piotr and the quartet have created jazz rearrangements of ‘Bukoliki’, a set of short piano pieces (originally string duets) by Witold Lutosławski – which he, in turn, derived by old Polish folk songs from the distinct Kurpie forest culture of north-east Poland (whose music also inspired Górecki). A second-generation mutation, then; and one which the HDQ deliver with breathtaking speed, precision and invention, respecting the source material by stepping deeply into it and refusing to do anything less than give it and gift it every scrap of their own intuition.


 
The last show (as far as I know) is in November, in the grand Art Nouveau surroundings of Leyton’s Great Hall, sponsored by LVE Foundation. Signing us out is Wrocław septet Electro-Acoustic Beat Sessions, or EABS – a Polish answer to the current club-culture reinvigorations of jazz forms as demonstrated by Shabaka Hutchings, Kamasi Washington and others. Via their technological wildcard Spisek Jednego, EABS merge sampling and looping into their instrumentation in a “reconstruction from deconstruction” approach. The rest of the band consists of Marek Pędziwiatr (on piano, synths and voice), guitarist Vojto Monteur, drummer Marcin Rak, bass player Paweł Stachowiak and a doubled brass line of Jakub Kurek (trumpet) and Olaf Węgier (tenor sax); merging a profoundly lyrical sensibility and a taste for European conceptual landscapery, while pulling in and transforming strong strands of hip hop, jungle, funk, gospel and electronic music.

As with many jazz acts, EABS build into a developing future while looking deeply into a specific cultural past. Among their preoccupations are the ideas of “Slavic melancholy” and the culture’s tendency to have favoured oral transmission over literacy: something reflected in the examination of Polish demonology and general Slavic mythology in their most recent recording, ‘Slavic Spirits’, drawing on accounts from “musicians, historians, journalists, writers and even psychotherapists.”


 
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Dates:

Church of Sound presents:
Greg Foat Group + Neue Grafik Ensemble + Church of Sound DJ set
St James the Great, 188 Lower Clapton Road, Clapton, London, E5 8EG, England
Friday 21st Jun 2019, 7.30pm
– information here and here

Polish Jazz London Series:

  • Niechęć – St Mary’s Music Hall, 8 Church End, Walthamstow, London, E17 9RL, England – Thursday 4th July 2019, 6.30pm – information here and here
  • Marcin Masecki’s Jazz Trio – St John’s Music Hall, High Road, Leytonstone, London, E11 1HH, England – Friday 16th August 2019, 6.30pm – information here
  • Kuba Więcek Trio – St Mary’s Music Hall, 8 Church End, Walthamstow, London, E17 9RL, England – Thursday 19th September 2019, 6.30pm – information here and here
  • High Definition Quartet – St John’s Music Hall, High Road, Leytonstone, London, E11 1HH, England – Friday 18th October 2018, 6.30pm – information here
  • EABS – Leyton Great Hall, 1 Adelaide Road, Leyton, London, E10 5NN – Thursday 21st November 2019, 6.30pm – information here

 

June 2019 – assorted upcoming London gigs – Block4 and Lynda Beckett’s multi-media recorder concert (15th), Arch Garrison, Charles Bullen and Kavus Torabi play Clapham Library (15th); cellotronics-and-percussion improv with BirdWorld at Wigmore Hall (18th June); North Sea Radio Orchestra, John Greaves, Annie Barbazza and others reinvent Robert Wyatt in ‘Folly Bololey’ (27th)

11 Jun

Classical/experimental recorder quartet Block4 (featuring Emily Bannister, Lucy Carr, Katie Cowling and Rosie Land on a variety of instruments from bass to sopranino) are offering a mingled kids’ workshop and multi-media live concert – ‘The Art Of Sound’ – this coming Saturday down in Lewisham. Exploring links between music and visual art, the ‘Stargazing’ concert is a live collaboration with line artist Lynda Beckett, who’ll be creating spontaneous artwork (pursuing “sensual, the rhythmic and the non-binary” via line art in which “the glitch and the eternal return are welcome”) during the course of the show.

Block4 & Lynda Beckett: 'The Art of Sound' - 15th June 2019

While I’ve not got much info in terms of a programme, the music will be in keeping with Block4’s wide-spanning approach to genre, which in the past has mixed Renaissance and Baroque music with reinterpretations of Jimi Hendrix, “contemporary consort” ideas involving electronics, and more. It will include a new piece by Andrew Crossley, a composer whose inspirations include Zen Buddhism and a sheaf of hybrid forms of criticism (so expect something with plenty of silences and digressions, perhaps). Here’s an earlier electro-acoustic minimalist piece which Andrew wrote for sub-great bass recorder (travelling from borderline-subliminal low register to a resonant temple-horn call and back again), along with a couple of examples from Block4’s existing repertoire.

 

The workshop, taking place in the morning, ties in with the concept – allowing kids (from six-year-olds upwards) to “explore music performance, composition, drawing, and (to) creat(e) their own unique work of art to take home.” Best to book early for that one.

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Arch Garrison + Charles Bullen + Kavus Torabi, 15th June 2019The timing of the Block4 events also gives you time to slip across London (from the south-east to the south-west) on the same day, in order to take in one of the Lambeth Readers & Writers Festival gigs taking place in the atrium at Clapham Library. Back in April, they hosted the Peter Blegvad Quintet. This month, even as Craig Fortnam limbers up his North Sea Radio Orchestra for an upcoming Café Oto show, he and fellow NSRO-er James Larcombe slip on their guise as the Arch Garrison duo and head down Clapham-wards.

Arch Garrison take the implied baroque in folk baroque and draw it fully out into the light. Craig’s amplified gut-strung fingerstyle acoustic guitar playing has as much Spanish classical to it as it does bullish John Martyn counterpoint (though he’ll more readily cite African-Arabic inspirations like Ali Farka Touré), while James’ dextrous post-classical work on vintage-sounding monosynths makes joyously assured connections between chapel organ studies, progtronic flourishes and psychedelic sound webbings. The Garrison have sometimes been compared to Robyn Hitchcock and Nick Drake, and draw from Tim Smith’s eccentric, unlikely folk wellspring, but they don’t sound like anyone nearly as much as they sound like themselves. The songs, sung in Craig’s soft demotic Wyatt-esque sprawl, start with a lone walking man and travel downwards into conceptual strata of history, geography, familial relationships, art and ageing.



 
There will also be sidestepping solo support sets from Gong/Knifeworld expostulator Kavus Torabi (continuing to mine the unsettled psychedelic angst of his dark-sun guitar-and-harmonium solo EP ‘Solar Divination’ and a related upcoming solo album) and from Charles Bullen, one of the triumvirate behind Camberwell proto-punk experimentalists This Heat during the late ‘70s and early ‘80s (and, more recently, behind the band’s recently-retired latter-day reimagining This Is Not This Heat). I’ve no idea whether Charles will be singing; whether he’ll be playing along with guitar, viola, a mess of programmed samples or his clarinet: whether and how the music will connect to This Heat’s experimental jazz-prog collage polemics, the pocket-dub work he explored with Lifetones or the bright and mellow synth-rock sparkle of his Circadian Rhythms project; or even whether he’s going to be starting anew with a completely fresh slate. Anticipate anything.

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North Sea Radio Orchestra/John Greaves/Annie Barbazza, 27th June 2019

Returning to Craig Fortnam – and indeed, to Robert Wyatt – his North Sea Radio Orchestra concert is on 27th June. It’s the live British debut of the NSRO’s ‘Folly Bololey‘ project, which also incorporates Henry Cow bassist/art-rock chansonnier John Greaves and rising prog/art-ensemble singer Annie Barbazza.

North Sea Radio Orchestra/John Greaves/Annie Barbazza, 27th June 2019‘Folly Bololey’ has been around in one shape or form for half a decade, being played at arts concert and Rock In Opposition events in continental Europe, but has only just now crossed the Channel to be performed in Britain. Gently picking up, re-arranging and re-performing various Wyatt works (centring on a complete performance of the ‘Rock Bottom’ song cycle), it sets Wyatt’s flowing, unspooling songs of love, grief, plaintive nonsense and recovery against the pastoral raincloud tug of NSRO’s alt.crossover sensibilities. The results are an interesting blending of Wyatt’s mouth-music jazzing and his deliquescing, playfully vulnerable search for meaningfulness against NSRO’s own softly-yielding Anglo-pastoral formalism (which in turn echoes the open-to-all concert music of another Fortnam forebear, David Bedford).

With Craig acting as master of ceremonies on guitar and Farfisa organ, rounding out the ensemble are NSRO reed and cello regulars Nicky Baigent, Luke Crookes and Harry Escott plus Greaves band member Laurent Valero on strings and recorders and William D. Drake (the former Cardiacs keyboard wizard who turned into a touchingly surreal, avuncular chamber-folkster). Handling the tuned and untuned percussion are Gong drummer Cheb Nettles and vibraphonist Tommaso Franguelli (from Piacenza percussion group Tempus Fugit).


 
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On Tuesday 18th, cello/electronics/percussion duo BirdWorld are playing an informal set at the Wigmore Hall’s Bechstein Bar. (When I last touched on them here, they were playing the Frome Festival three years back – too long ago.)

BirdWorld, 18th June 2019

Migrating between twin home-bases of London and Oslo, BirdWorld are cellist/effects twiddler Gregor Riddell and drummer/percussionist Adam Teixeira. For a while, guitarist Alex Stuart was also in the picture; but it’s always been about the core duo, who met in Canada, discussed electronic/acoustic blendings and built from there. Aspects of improvisation, jazz, field recordings and cross-cultural music – plus experimental rock and classical and a battery of kalimbas – wing lightly in and out of their work, which has included film scoring and radio work; and (as of this year) their five-year-delayed debut EP ‘TING TAR TID’, released (in keeping with BirdWorld’s folkloric leanings) on the vernal equinox.


 
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All dates:

Block4 & Lynda Beckett: ‘The Art Of Sound’
St Mary the Virgin Parish Church, 346 Lewisham High Street, Lewisham, London, SE13 6LE, England
Saturday 15th June 2019 – children’s workshop 10.00am, concert 3.00pm
(concert free for under-18 year olds) – information here

Lambeth Readers & Writers Festival presents:
Arch Garrison + Charles Bullen + Kavus Torabi
Clapham Library, 91 Clapham High Street, Clapham, London, SW4 7DB, England
Saturday 15th June 2019, 7.00pm
– information here and here

BirdWorld
Bechstein Bar @ Wigmore Hall, 36 Wigmore Street, Marylebone, London, W1U 2BP, England
Tuesday 18th June 2019, 6.15pm
– information here and here

North Sea Radio Orchestra/John Greaves/Annie Barbazza play ‘Folly Bololey’ (Robert Wyatt’s ‘Rock Bottom’)
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Thursday 27th June 2019, 7.30pm
– information here and here
 

June 2019 – upcoming experimental/eclectic gigs – post-classical noise/audio-visualists Ariadne play New York and tour Europe (7th, 12th-28th various) with all manner of contributions from Carl Stone, Dasychira, Salaċ, Lazy Bones, Wolf Scarers, Julia Dyck, Anna Peaker, Ideal, Java Java Wetware, Sound Situation and Ariel Kalma

3 Jun

Long past the point when its cultural context receded into antiquity, mediaeval plainsong remains a ready grab for musicians seeking to bridge classical ideas with (in the broadest sense) pop ones. It’s easy to recall the Gregorian chants stapled to dance loops and succubus exotica pioneered by Enigma at the start of the ‘90s, in the wake of which waddled a million chillout chant albums: though to pick some more inspiring examples from past ‘Misfit City’ coverage, there’s also the post-plague requiem of Jocelyn Pook’s ‘Deluge’ and the acapella-versus-disintegrating-granular-noise of Soaring On Their Pinions.

Perhaps plainsong’s draw is in its sparseness, its directness – the way in which its emphasis on a soloist (or at least a monophonic group line) initially seems like a direct personal meditation or plea, a kind of ecclesiastic monastic blues. It could also be the way in which that sense of vulnerability mixes with a sense of ancient history (the early steps of Christianity, with the classical Hebrew and Greek temple music sources still evident, unobscured by the later agglutinating harmonies of the Renaissance). Or, to be a little more cynical, maybe it’s just that that same sparseness and built-in antique provenance has made it an easier cold sell to an audience in the age of recordings.


 
Ariadne could probably provide a better and more interesting explanation than I can. They’ve certainly got the background to enable them to understand it – electronicist/visual specialist Benjamin Forest and fellow electronicist and mezzo-soprano Christine Papania first formed an allegiance at the music school of the University of Indiana: and Christine also explores various strands of classical in her solo voiceloop project Lanx as well as singing for the Manhattan Chorale. Since around 2015, Ariadne have been investigating and altering plainsong and its relations in a succession of albums, EPs, concerts and installations.

Their 2015 album ‘Tsalal’ was based around Hebrew texts and was about plummeting into darkness, physical and psychological; the same year’s ‘Ex Tempore’ was a psalmic “dialogue between the physical and the ethereal in a languished and dense atmosphere.” Their newest work, ‘Stabat Mater’ is a “twenty-movement cycle of audio/visual ecstatic visions, heavily inspired by the visions of female Christian mystics Hildegard von Bingen and Teresa of Ávila.” The latters’ writings are rearranged and transmuted for the sung texts, with a third source coming via text from the surrealist poet Aase Berg.

Hildegard’s work, of course, has regularly blended in nicely with contemporary concerns of spirituality, pain and the female perspective: only last year her work was programmed in underground New York/London arthouse concerts by Daisy Press and Filthy Lucre, juxtaposed against Bowie, Byrne, Charlie Looker’s anguished hard-rock analyses of toxic masculinity and fascism, and the morbid queer romanticism of Claude Vivier… all of which I’m sure is just the tip of an associative iceberg. Hildegard’s ecstasies were paralleled by the rather more masochistic ones of Teresa (who also suffered a particularly grotesque fate-of-a-saint post-death postscript as her corpse was gradually disassembled and traded about by quarrelling groups of nuns, dukes, Popes and priests for open mercantile advantage).

As for Aase, still very much alive, she’s an often-bewildering overturner of expectations with a marked disdain for the “patriarchal… male sexuality” restrictions which she sees applying to standard chronology (“time passes and things have to happen and there has to be a narrative”). Her own work upends this in favour of polymathic siftings of “science, math, probability, string theory, etc.” in weird-fiction settings of post-environmental catastrophes and reconstructed worlds in which standard human perspectives are slipping away, being superseded or disintegrated by impassive, inevitable processes of change. Notably, Aase has also worked as a translator for the horror-struck, pessimistic fantasy texts of H.P. Lovecraft which, though they have an empurpled baroque verbosity which her texts avoid, often operate in similarly blasted philosophical territories.

 
While I’m sure that Ariadne too are paying plenty of attention to all of this, text is secondary to what they’re putting it through sonically. While experimenting with eerie pitchshifting, reverberation and sound chopping, their earlier work backgrounded it in favour of the traditional purity of Christine’s voice. Now they’re bolder, more assured and disruptive: while delivering perverse auto-destructive lyrics like “put my fist through my mouth and pull the roots out of the ground”, Christine’s voice retains its classical beauty but also negotiates its way through a far more confrontational path of distortions, subversions, doppelganger mockings and simple sequences of compline giving ways to gorgeous vomitations like a hopelessly poisoned Kate Bush. The electronically-generated sound, too, keeps its previous haunted/spinning chapterhouse atmosphere while rearing up like a briar thicket destroying a pathway, with distressing organic splatters, acidic treble rills, liquid-sword shatterwhooshes and nightmare distortion-belfry sounds breaking things up; plus vocal capture/turns like the obscene Pachucho squelch that chokes through Burning Sphere.

Like the last-act works of Scott Walker, though, ‘Stabat Mater’ manages to be disturbing and ear-opening without relying on shock-schlock. It hints at and flickeringly reveals dysfunction, confusion and horror without quashing or sneering at the beauty, structure or aspiration of the source materials. Benjamin’s video work, too, makes mesmerically beautiful optical scapes out of disruption, data corruption, trippy fetish hints and perspective explosions.

 
An upcoming Ariadne tour takes ‘Staber Mater’ around selected spots in America and Europe – as well as assorted arts centres, venues include an avant-garde-sympathetic bar at home in New York; an accommodating church crypt in Bristol with a patience for the heretical; a preserved grand Tudor chamber in London; and the marine guts of a permanently harbour-bound Hamburg merchant ship.

That New York hometown concert is taking place at metal/experimental hangout bar Saint Vitus, accompanied by Ideal and Dasychira (with records spun by DJ Clone). Dasychira is a platform for some brilliantly inventive experimental dance music from transplanted, intriguingly alienated South African sound artist Adrian Martens. Adrian explores and celebrates his own psychological vulnerability and resilience via industrial detonations and scatters of mbira chops, alarming darkwave pop interjections and bursts of monastic chorale. Scurrying underneath are thematic undertows of insect regeneration, building new lives from nothing. He debuted with 2017’s ‘Immolated’ EP, while last year saw the ‘Razor Leaf’ single and the ‘Haptics’ EP consolidate his work. The gig’s worth attending for his sake alone. As to whom Ideal are, I’m less sure. I’m assuming that they’re not these German New Wavers from 1982, but within the ever-refreshing and surprising Brooklyn ferment, I probably shouldn’t assume anything.



 
In Bristol, there’ll be slots featuring a pair of duos from the town’s Avon Terror Corps underground label, whose artists draw their loose inspirations and guidelines from“”medieval visions of the future, breakcore, ‘Westworld’ (the original film), industrial, the psychogeography of Castlemead, the legacy of shoegaze, the legend of Goram and Vincent, the total destruction of “deconstructed club”…” Both are best judged by their contributions to the ‘Avon Is Dead’ compilation, which amasses sundry ATC cloud uploads from 2018.

Salaċ – bewildering, serious-playful aural occultists – create long-spooling jump-cut soundscape ceremonials, the outcome of their “sculpting séances of sound with tape machines.” These are aggressive dirtbass rumbles, spasms of object-rolling across metal sheets, complaining recitations of disassociation, punctuated by watertank booms, data-screech waterfalls and a certain amount of dry psycho-geographist’s humour (as in fucked-up cheesy drum machine beats they occasionally summon up and put through the soiling chamber). So far, it’s best to judge Bokeh Edwards and Jade Hybou, a.k.a. “esoterrorists” Java Java Wetware by their track Even Cowgirls Get The Blues – a fragmentary aural story via a dreamy harmonica-assisted trudge through ruined domes and shattered glass, set further off-kilter by lapping folk soprano vocals and ending with secretive whispers and a handful of reverb-muffled gunshots.



 
In Manchester, support acts include obscure local psych/alt.folker and “veteran astral wanderer” Lazy Bones. Whether solo meanderer or journeying band, he/they have been at it for at least a decade and a half, coming up with “gentle melodies hid(ing) strange shadows, hidden yearnings and the promise of the transcendental” with a “whimsical ’70s edge” following the lysergic thicketry of Cope, Barrett and Jansch: some of it may be found on this cobwebbed MySpace site, if you can find your way in. Working in a similar vein (but easier to track down) is the bouzouki-driven power pop and stoner beat of The Peace Pipers, enthusiastic ’60s hippy-punk throwbacks with a taste for dressing up and dancing down the garden paths of The Move, early Pink Floyd and Dave Mason. The evening’s real wildcard is sometime ILL member Sadie Noble, a.k.a. Nummo Twin: generator of woody, baffling dream pop and abstracted yet covertly clever chucking-mud-at-the-wall collages of glitchy electronics, woodworking noises, and half-heard vocal mumbles.





 
The Todmorden show features raffishly arty tenor sax duo Wolf Scarers (Simon Prince and Keith Jafrate) and thrumming audio-visualizer Anna Peaker. With printmaking, DJing and gig promotion as part of her activity alongside the sound and graphics designer (and with an eye on branching out into dressmaking and ceramics.) Anna is an impressive DIY/do-anything character. Across her artwork she takes inspiration from Yorkshire weaving mills, witchcraft, old record sleeves and film posters; from ancient pathways and the millennia-spanning architectural layers of her base in Leeds. By itself, her music is skirling Yorkshire-Germanic variations on assorted psychedelic-chapel organ drones, billowing in and out of focus and sometimes including autoharp and field recordings – for the full effect, though, it’s tied into the cascade of her live visuals.

With Wolf Scarers, Simon and Keith blow a free-brewed stewing of various ingredients and inspirations from the multiple genres each has played individually (and sidestepping the temptations to baffle the acoustic tones any further with computer processing). The results range from “gentle meditations that almost become chamber music across to full-blown shout-ups in the true tenor sax tradition, via, possibly, messed-up marching band funk and deconstructed jazz strut.” Larger Wolfscaring lineups are rolled out when the music necessitates, but on this occasion it’ll be the core duo at work.


 
In Berlin, Ariadne are slotting in at the bottom of a mixed bill in the Kiezsalon series run by Michael Rosen. At the top is American sampling-and-computer-music pioneer Carl Stone, whose 1970s loops and repurposing of library records drew a kind of academic-based parallel to hip hop’s turntablism, and who’s subsequently kept pace with technological collaging possibilities while maintaining an accessible sense of found/captured/manipulated melody, plus a continually expanding taste for incorporating suggestions and content from other cultures’ music (in particular Asian cultures) and a disarmingly bonkers vocal quality. In the middle is French wind instrumentalist/synthesist Ariel Kalma, who’s been dwelling on the borderlines of process music, Paris experimentalism, New Age and electrophonic minimalism since the mid-‘70s.



 
Over at Prague’s Punctum venue, the first of two listed support acts is the acousmatic Sound Situation trio: domestic New Music exponents with electronicist Michal Rataj (electronics), Jan Trojan (more electronics, plate-bashing) and Ivan Boreš (prepared guitar) Veterans of academic music and live improv, as definition they spit out a host of word associations as definition: “sound design, freshly baked bottle in the fridge, movie soundtracks, radio art, pieces of sheet metal, flamenco, sirens, spectral transformations, Kvok!, teaching at the university… Ostrava new music days, abandoned sea beach, Contempuls, Noise Assault Agency Budweiss, BERG Orchestra, Gride”.

 
Unpick and reassemble that little lot if you wish; but note that Punctum have spent far less time expounding on who second Prague support Julia Dyck might be. To be frank, they’ve spent no time at all on it so far… but evidence points towards it being this woman. If so, you can expect to see or hear anything pulled from a bewildering, inspiring rack of potential directions and from a mind seething with forma drawn from feminist/queer/gender theory, from technological awareness and from Julia’s formidable polymathic curiosity about the world. It might be radiophonics, or synth minimalism, or voice-and-fx constructions, or ambient noise; it might be ideas drawing from her time as radio producer, writer and broadcast media artiste; or general conceptual experiments like the miked-up fruit-and-body performance she recorded for a batch of film festivals earlier in the year.

There are a few tasters below – the krautrock-in-the-frying-pan of Passenger, the ambient goo of Changes Made – but there’s too much to Julia to summarise in a paragraph or two or a handful of audio clips. Even briefly looking into what she does is like cracking an eggshell and finding an expansive, challenging pocket universe within, which then maps inexorably back onto your own and changes it behind your back.

 
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Full tour dates and details are still being assembled, but here are the ones I know about so far:

 

  • Saint Vitus Bar, 1120 Manhattan Avenue, Greenpoint, Brooklyn, New York City, NY 11222, USA – Friday 7th June 2019 (with Ideal and Dasychira) – information here, here, here and here
  • Blah Blah, via Po 21, 10124 Torino, Italy – Wednesday 12th June 2019, 8.00pm – information here
  • Le Brin de Zinc, 3 ZA Route de la Peysse, Chambery, 73000 Barberaz, France – Thursday 13th June 2019, 8.30pm – information here
  • St Paul’s Church Southville, 2 Southville Road (junction with Coronation Road), Bristol, BS3 1DG, England – Saturday 15th June 2019, 7.00pm (with Salaċ + Java Java Wetware) – information here and here
  • The Golden Lion, Fielden Square, Todmorden, OL14 6LZ, England – Sunday 16th June 2019, 7.30pm (with Wolf Scarers + Anna Peaker) – information here
  • The Peer Hat, 14-16 Faraday Street, Manchester, M1 1BE, England – 17th June 2019, 7.30pm (with Lazy Bones + The Peace Pipers + Nummo Twin) – information here
  • Sutton House, 2-4 Homerton High Street, Homerton, London, E9 6JQ, England – Tuesday 18th June 2019, 7.00pm – information here and here
  • Muziekcentrum Kinky Star, Vlasmarkt 9, 9000 Ghent, Belgium – Wednesday 19th June 2019, 8.00pm – information here
  • MS Stubnitz, HafenCity, Kirchenpauerkai 26, Umfahrung Versmannstraße, Baakenhafen/Baakenhöft, 20457 Hamburg, Germany – Friday 21st June 2019, 8.00pm – information here, here and here
  • Komplex, Zietenstr. 32, 09130 Chemnitz, Germany – 22nd June 2019, 8.00pm – information here
  • Punctum, Krásova 27, Žižkov, 13000 Prague, Czech Republic – Sunday 23rd June 2019, 7.00pm (with Michal Rataj/Ivan Boreš/Jan Trojan + Julia Dyck) – information here and here
  • Wolskie Centrum Cultury, Wolskie Centrum Kultury, ul. Obozowa 85, 01-425 Warszawa, Poland – Monday 24th June 2019, 8.00pm – information here
  • Kiezsalon, Greifswalder Strasse 23a, 10407 Berlin, Germany – Wednesday 26th June 2019, 8.00pm (with Carl Stone + Ariel Kalma) – information here and here
  • Macao, Viale Molise 68, 20137 Milan, Italy – 28th June 2019, time t.b.c.

 

June 2019 – upcoming varied gigs – folk and improvisations with Kristin McClement and Triofolio in Cheltenham (7th); big-band horn assurance with Jim Rattigan’s Pavillon in Mold and London (11th, 17th); musical Cherry genes and post-hardcore jazzracket with Exotic Sin and Run Logan Run in Cheltenham (19th)

2 Jun

This was supposed to be a news post about jazz gigs and about improv, but the diversity and waywardness of the music concerned ran away with it a little. Good.

Let’s start with the straight jazz. Jim Rattigan qualifies under that, despite the fact that he’s leading and working with the French horn, by rule and nature not an instrument that fits into jazz too well. Reviewing Jim in the past, fellow horn-player Pip Eastop has noted “jazz is by nature cool, laid-back, spontaneous and easy. The (French) horn is none of those things. Its traditional use is to convey a reassuring degree of control, finesse, and romantic heroism. In film music it’s horns you’ll hear whenever something heroic is going on. The horn is terrifyingly difficult to learn and virtually impossible to control. For rhythmic bounce, speed, clarity and ease of use the instruments of choice for jazz are always going to be trumpet, sax, piano, guitar, clarinet, voice; almost never something so fiendishly difficult as the horn.”

That’s as may be, but if there are challenges Jim’s overcome them. He may have started out as a classical symphony player with the Royal Philharmonic Orchestra, but he always loved jazz and moved into it full time twenty-three years ago; establishing himself as a powerfully convincing big band player while working with McCoy Tyner, Mark Lockheart’s Scratch Band, Mike Gibbs Orchestra and Twleve and the late Michael Brecker’s Quindectet (as well as keeping up some pop and folk credentials while sessioning for Nerina Pallot, Ultramarine and June Tabor). In and amongst his assorted quartets and trios (in which he’s played with Liam Noble, Gene Calderazzo, Phil Robson, Amy Gamlen and Thomas Gould) he’s built up his his own twelve-piece, Pavillon. So far you can only hear them on one album – 2011’s ‘Strong Tea’ – but whether you encounter them there or, preferably, live you’ll find confident, breezy, swing-happy music seamlessly blending inspirations from different times and places; beery, wise and cosmopolitan but also very English. It’s the sort of sound you’d expect to hear currently curving its way around London’s seawall, if such a thing existed.

A full Pavillon tour’s being cooked up for the autumn, but a few earlier gigs have materialised during the summer for London and for Mold, in Wales. Besides pianist Hans Koller, double bassist Dave Whitford and drummer Tim Giles, Jim’s brassline is currently expanded by saxophonists Martin Speake, Andy Panayi and Mick Foster; by trumpeters Percy Pursglove, Steve Fishwick and Robbie Robson; and by Mark Nightingale and Sarah Williams on tenor and bass trombones. Here’s footage of them all from a typically warm night.



 
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Kristin McClement + Triofolio, 7th June 2019 Cheltenham’s quixotic Xposed Club – dividing its time between its regular home of the Francis Close Hall Chapel and the newer Chapel Arts venue – has a couple of shows scheduled.

Uncommonly straightforward for an Xposed guest, folk singer-songwriter Kristin McClement (part of Brighton’s Willkommen Collective, and playing on 7th June ) began her life in South Africa but ended up refining it in Sussex; with the consequence, as she puts it, that her songs are “born of two separate worlds; the vast shapeshifting landscape of her childhood South Africa engraved with the melancholic romance of old England’s sacred woodland, rivers and valleys.” There’s nothing especially surprising in her meditations and sharings on love, life and emotion – the selling point is her tone (a rich, understated greenwoods sigh haunting similar paths to those walked by Christine McVie and June Tabor) and the gentle resilience of her melodies, which saw her praised by ‘Folk Radio UK‘ for “gravitas and maturity… a songwriter and musician of depth and character”.



 
​Reedsman Chris Cundy, on the other hand (who’ll be joining Kristin for certain songs along with fellow clarinettist Emma Gatrill), is an Xposed regular and a veteran of the club’s more usual experimental approach. His new Triofolio trio has an unusual low-end lineup, working his bass clarinet around double bass and drums with an additional, familial tint (rhythm section Paul K Scott and 12- year-old Saul Scott are father and son). Triofolio’s interest in improvisation is matched by “a tactile approach to acoustics”; they claim to be modern jazz, although ‘Jazzwise’ described them as “lyrically neo-classical” when they performed at the Stroud Jazz Festival last month. Without any recordings or clips to go on, I can only guess which account is true, or how the forms mingle.

On Wednesday 19th June, Xposed is back at the FCH Chapel to lay on a show for Exotic Sin and Run Logan Run. Run Logan Run (Dan Johnson’s drums and percussion with/against Andrew Neil Hayes’ effected sax) have been in here before a few times; a raucous yelling blend of spiritual jazz, duo post-hardcore, circular breathing and heavy experimental improv, or “a head-on collision of pounding tribal drums and screaming guttural saxophone” or “architects of intense contrast.”



 
Emerging out of London’s art underground (handy connections notwithstanding), Exotic Sin are a collaboration between keyboardist/percussionist Naima Karlsson and trumpeter/percussionist/ Kenichi Isawa. Kenichi’s a game-for-anything-boy who’s previously played with maddening psych-electric repetiteurs Xaviers, pummelled taiko and drumboxes for No Wave-inspired noise act Blood Music and helped birth a kind of pocket psychedelic jazz lounge with Humanzee. Naima, meanwhile, is one of those polymathic artists for whom music is one of several routes of expression (alongside, in her case drawing, photography, collaging and text). She’s also Neneh Cherry’s daughter, which makes her the granddaughter of visual artist Moki Cherry and cross-cultural jazz pioneer Don Cherry.

The influence of her grandparents’ collage-heavy work is evident in her own work with Kenichi: a mix-and-match mass of repetitive improvisation drawing on and repurposing a broad, disparate mass of sources and wandering instrumentation (centred on organ and piano Naima also works on harmonium, vibraphone; while I’m sure that I hear at least a zurna being employed in Kenichi’s blowing). Some of it’s sustained organ pedal drones, overlaid with bells and an alternating bevy of wind instruments from around the world; some of it journeys between ritualistic cave music and inching free jazz. You could tag part of it as sounding like multitrack dropouts from Talk Talk’s ‘Spirit of Eden’ (or, indeed, its ‘O’rang spinoff) while other parts look back towards some of papa Don’s one-world/fourth world experimentations – Exotic Sin have stated that “the project began with, and continues to take roots from, the music and instruments in the Cherry family household – not to emulate, but to put into practice the teachings and spirit of the art and music as a living thread.”

Clips below for windows into their approach. In the second and jazzier of these – an explicit tribute to Don and Moki – Neneh Cherry joins in too (as does double bassist Maxwell Sterling, jazz musician-turned-Los Angeles film scorer and son of post-punk graphics legend Linder Sterling). The third sees them at work in London’s Café Oto, apparently encouraging a communal singalong.


 
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Dates:

Xposed Club & Jazz At The Chapel present:
Kristin McClement + Trio Folio
Chapel Arts, Knapp Road, Cheltenham, GL50 3QQ, England
Friday 7th June 2019, 7.00pm
– information here, here and here

Jim Rattigan’s Pavillon:

  • Clwyd Room @ Theatr Clwyd, Raikes Lane, Mold, Flintshire, CH7 1YA, Wales – Tuesday 11th June 2019, 8.00pm – information here and here
  • The Vortex Jazz Club, 11 Gillett Square, Dalston, London, N16 8AZ, England – Monday 17th June 2019, 7.45pm – information here, here and here

Xposed Club presents:
Exotic Sin + Run Logan Run
Francis Close Chapel @ Francis Close Hall, University of Gloucestershire, Swindon Road, Cheltenham, GL50 4AZ, England
Wednesday 19th June 2019, 8.00pm
– information here
 

June 2019 – the start of Daylight Music’s summer season in London – The Slowest Lift, Laura Jurd & Chris Batchelor, ORE and Jim Bishop (1st June); Jam Tarts Choir, Independent Country and Sarah Gonputh (8th June); ‘From Call To Choir’ with Dominic Stichbury, Ben See, Esmeralda Conde Ruiz, Archie and a clutch of chorals (15th June), Piney Gir, She Choir and Oly Ralfe (22nd June); Xenia Pestova Bennett, Ligeti Quartet, Snowpoet, Muted Summer Landscape and the magnetic resonator piano (29th June)

28 May

Daylight Music 10, 2019

Currently in the process of celebrating a remarkable ten years of bringing cuddly/eclectic pay-what-you-can family music events to London (or, more accurately, of encouraging inspiring music to happen with the minimum of cynical compromises while ensuring that there’s a family-friendly space for it to happen in), Daylight Music is back for another season of Saturday lunchtime gigs with all manner of different people playing.

* * * * * * * *

The summer season launch gig, on 1st June, focusses on experimental brass-themed acts:

Daylight Music 307: The Slowest Lift + Laura Jurd & Chris Batchelor + ORE - 1st June 2019

“West Yorkshire’s The Slowest Lift (Sophie Cooper and Julian Bradley), present a new chapter in the long-running tradition of radical English music duos. Cooper (an accomplished solo performer and collaborator) and Bradley (from frequent VHF delinquents Vibracathedral Orchestra) play a kind of gentle post-industrial psychedelia, a ghostly tapestry of earthen whirring, phantasmal resonances, sheets of textured skree and touching, hazy vocals. The songs are a blend of straightforward performance and eccentric bricolage, with rude electronic interjections sitting comfortably alongside delicate guitar and keyboard melodies.



 
Laura Jurd and Chris Batchelor will perform as a duo. Laura is a London-based, award-winning trumpet player and composer, currently a BBC New Generation Artist for 2015-2017: an active improviser playing regularly in the UK and more recently in Europe, she specialises in writing for hand-picked musicians in her own projects and ensembles. Her band Dinosaur has performed throughout the UK and Europe. Chris is an innovative and creative trumpet player and composer based in London: as well as leading several projects, including the avant-trad band Pigfoot, he is also featured as a sensitive and versatile soloist in many highly regarded groups on the European jazz scene, and is a prominent soloist and composer in the re-formed Loose Tubes.



 
ORE is the drone/doom brass sound of tuba player Sam Underwood and baritone horn/trombone player Beck Baker. The pair create weighty dronescapes that evolve at a glacial pace. ORE’s sound rewards the patient listener as their dissonant tones rub together; enhanced by the use of two custom-built resonant gong speakers. The audience slowly becomes awash with the sound of ORE.


 
“We’re happy to announce that Jim Bishop will return to play the chapel’s own Gothic synth – the Henry Willis organ, joining the dots between the other main performers. Jim came to Daylight as part of all-male 60’s dance troupe The Action Men, who have returned a couple of times since. He plays in Ancient Egyptian instrumental group The Mirage Men, The Band Who Fell To Earth (who play Bowie in the style of Booker T. and The MGs) and The Fay Hallam Group, alongside another Daylight performer, Andy Lewis.”

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The ‘Come As You Are’ concert on 8th June sees the series dive into comfy covers again…

 
“Daylight Music goes to the indie disco in its own inimitable fashion with the Jam Tarts Choir and Independent Country, who will be teaming up for an unforgettable rendition of the Nirvana song of the event title, and expect a surprise or two on the Chapel’s organ…

“Independent Country, a six-piece band from Birmingham, play your favourite indie hits in a country music style. Here are songs originally by the Happy Mondays, the Smiths, Blur, Jesus and Mary Chain, Pulp and Oasis as you’ve never heard them before.


 
“Now into their fifteenth barnstorming year, Brighton’s Jam Tarts are an indie choral collective who perform unique and shimmering arrangements of post-punk, electro, Britpop and artrock classics. Four (or five or even eight) part harmonies, sixty pairs of mighty lungs and six degrees of celebration. Think choirs aren’t your cup of tea? You’ve never heard your favourite songs quite like this before…Their set is likely to include big choral versions of songs by Ezra Furman, The Stone Roses, Tom Waits, Jesus and Mary Chain and Arcade Fire. Hungover commuters on the 8.18 from Brighton can expect the train to be packed with singing Tarts, complete with trumpeters and cellist!


 
“Indie and alternative music was the natural choice for the choir after director and musical arranger Li Mills bribed John Peel with chocolate to help write her music degree finals thesis on punk, obliterating her early teenage record collection of Dire Straits and Phil Collins albums. Praise be to the late Mr Peel, or Jam Tarts might be singing Another Day in Paradise arranged for sixty voices…

Sarah Gonputh is a London-based keyboard player for Green Seagull, Manuela, Twink and The Lysergics. She has a special love for vintage organs such as the Vox Jaguar, Vox Continental, Farfisa Compact, The Philacorda and the Hammond Organ. Her keyboard-playing heroes include: Ray Mazareck of The Doors, Steve Winwood and Garth Hudson of The Band. Having performed several times at past Daylight Music events with Green Seagull, Manuela and playing piano for the “in-between” bits last year for The Left Outsiders, this will be Sarah’s Union Chapel Organ playing debut, pumping out some indie hits.”

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Choral ideas are developed further the following week with the ‘Call To Choir’ event, including a chance for you to join in…

Daylight Music 309: 'From Call To Choir' with Dominic Stichbury & Ben See with Esmeralda Conde Ruiz + Archie (plus members of Chaps Choir, Bellow Fellows, Electric Belles and the Grandmother project) - 15th June 2019

“What happens when the call of one voice captures the imagination of others? Starting with one singer and finishing with hundreds, this edition of Daylight Music will see numbers of voices grow to fill every corner of the Union Chapel.

Dominic Stichbury (Chaps Choir, Bellow Fellows) and Ben See (La La La Records) are exploring the themes of expansion, commonalty and togetherness through the human voice; and are gathering singers together to celebrate its infectious power. The performance will include an eclectic mix of singers and songs, including new material written especially for the event, featuring female folk/jazz vocal quartet Archie, Ben See, Esmeralda Conde Ruiz and the GrandMother project, Chaps Choir, Bellow Fellows and Brixton-based “all girl, all awesome” close-harmony choir Electric Belles.

“Would you like to join the biggest ever choir to sing at Daylight Music? All welcome. No choir/performing experience is required, just fill in the online form, turn up for the preparation sessions (on Friday 14th) and take part in the final event. You will learn some short songs in harmony by ear and prepare to sing them with hundreds of other voices in the wonderful acoustics of the chapel.”



 
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More choral covers blend with pianos, pop and psychedelia on the 22nd when Piney Gir gets her hands on the reins…

Daylight Music 310: Piney Gir's 'Midsummer Madness' with She Choir + Oly Ralfe - 22nd June 2019

“Piney Gir’s perfect pop music is dipped in sunshine, so she was an obvious choice to curate a special event inspired by the Summer Solstice as part of our 10th Year celebration. She wants you to get playful, be creative, and come along for summertime inspiration and maybe even do a little white witchy spell with her in honour of The Longest Day.

“Originally hailing from Kansas, but having lived in London for many years, Piney is a prolific and prodigious musician. She has been touring with Gaz Coombes around the UK, Europe and America and is also one of Gaz’s backing singers. She has recently been singing with Noel Gallagher and Danny Goffey, and supported Ride on tour around the UK just before Christmas. She’s gearing up to release her seventh album, ‘You Are Here’, which is a celebration of analogue gear with a sound that nods back to when music was on the cusp of change, just before synth pop and just after punk rock.


 
“Her allies on this afternoon will be London women’s SHE Choir who sing their technicolour version of songs from Destiny’s Child to Fleetwood Mac.

Oly Ralfe (Ralfe Band) will present music from his debut solo instrumental piano album. Sitting somewhere between the oscillating patterns of Philip Glass and the reflectiveness of Gavin Bryars, the album ‘Notes From Another Sea’ sounds like music for a film that has yet to be made.


 
“Finally, Piney presents a special acoustic set from Premium Leisure (a.k.a. Chris Barker) who has honed his own sound: a mix of experimental guitars and undulating rhythms reminiscent of late ’60s English psychedelic rock with a bit of early Tame Impala or White Denim thrown in.”


 
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The last of June’s gigs is a typically Daylight fusion of accessible classical and experimental ideas…

Daylight Music 311: 'Magnetic String Resonance' with Xenia Pestova Bennett + Ligeti Quartet + Snowpoet + Muted Summer Landscape - 29th June 2019

“What if you could play a note on the piano and have it last forever? Pianist, composer and improviser Xenia Pestova Bennett will curate a special afternoon featuring the Magnetic Resonator Piano, an exciting new instrument designed by the radical inventor Andrew McPherson. A grand piano will be completely transformed into a stunning acoustic cyborg with electromagnets suspended above the strings, allowing for control of minute details of shimmering resonance and gorgeous sustained tones. (Click here for an article on the instrument, from ‘Keyboard Perspectives’, and here for a ‘World Piano News’ article on its use in the soundtrack for last year’s film ‘Christopher Robin’…)


 
“Also performing will be string ensemble Ligeti Quartet who, since their formation in 2010, have established a reputation for breaking new ground through innovative programming and championing of today’s most exciting composers and artists.


 
“Completing this afternoon line-up, Xenia presents Snowpoet‘s debut at Daylight. The London-based band, led by “mesmerising” vocalist Lauren Kinsella and bassist Chris Hyson, have released two critically acclaimed albums to date, with the most recent being ‘Thought You Knew’ on Edition Records. Blending sweet hook-laden vocal lines with warm and lush arrangements, the music is infectious, delicate and tasteful.


 
“Joining the dots this week between the other artists is something a little bit special. We’re pleased to welcome Muted Summer Landscape, an audio/visual collaboration between electronic music composer Brian Robinson and visual artist Steve Lee who transform and shape their audio/visual field recordings, melodies and rhythms into delicate electronic portraits that often reflect the natural environments that surround them. Inspired by the simple and complex patterns that present themselves when manipulating source material, msl create immersive narratives that evoke emotions, stimulate imagination and provoke thought. Taking into account the architectural surroundings and the nature of this event, Brian will deliver a solo performance of live ambient/spectral transformations based on material taken from MSL’s forthcoming audio/visual release, expected later this summer.”


 
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All gigs are at the usual place – Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England – with a suggested donation of five pounds (as ever, an absolute bargain). Dates below:

  • Daylight Music 307: The Slowest Lift + Laura Jurd & Chris Batchelor + ORE – Saturday 1st June 2019, 12:00pm – information here and here
  • Daylight Music 308: ‘Come As You Are’ with Jam Tarts Choir + Independent Country – Saturday 8th June 2019, 12:00pm – information here and here
  • Daylight Music 309: ‘From Call To Choir’ with Dominic Stichbury & Ben See with Esmeralda Conde Ruiz + Archie (plus members of Chaps Choir, Bellow Fellows, Electric Belles and the Grandmother project) – Saturday 15th June 2019, 12:00pm – information here and here
  • Daylight Music 310: Piney Gir’s ‘Midsummer Madness’ with She Choir + Oly Ralfe – Saturday 22nd June 2019, 12:00pm – information here and here
  • Daylight Music 311: ‘Magnetic String Resonance’ with Xenia Pestova Bennett + Ligeti Quartet + Snowpoet + Muted Summer Landscape – Saturday 29th June 2019, 12:00pm – information here and here

Details on July’s Daylight concerts to follow in due course…
 

May/June 2019 – upcoming pop/rock gigs – VLMV and Thomas Stone (30th May); Daniel O’Sullivan and Tega Mendes (4th June); The Cesarians and The Silver Field (6th June), Thumpermonkey, Lost Crowns and Kavus Torabi (31st May)

27 May

VLMV + Thomas Stone, 30th May 2019

Purveyors of a limpid and extroverted dream pop, Pete Lambrou and Ciaran Morahan previously operated as ALMA. Now, since the advent of a certain “BBC-Sound-of-2018-nominated green-haired Finnish pop star, they’re known as VLMV. Apparently it’s pronounced much the same way, but murmured through hushed lips, presumably to sneak it past the lawyers (just because your lips are compressed, it doesn’t mean that you can’t thumb your nose at the same time).

At the tail-end of a European tour, VLMV are playing a London show at the Rosemary Branch Theatre. A former music hall (currently slanted towards hosting comedy and improv), within its recent history it’s frequently been the home of passionate gay drama, or of chansons – so, loosely speaking, there’s some kindred resonance with VLMV’s epicene falsetto romances; the kind of resonance you might not get at the Water Rats or the Underworld.

To be fair, you need theatres for this kind of music. No matter how many slo-mo/light-show pianos, loops and strings they pile under Pete’s voice, this is blushing drama-pop at root. If you’re taking in one of the Tim Bowness gigs this coming fortnight but suspect it still might not entirely slake your appetite for stricken empathetic romance, maybe you should give these guys a try too.



 

In support, Thomas Stone also serves as a signifier and reminder of VLMV’s experimentalist sympathies. An increasing presence on the London avant-instrumental scene (in which he won NonClassical Records’ Battle Of The Bands in 2015), he creates strong but delicate slow-reveal improvisations for contrabassoon, loop pedals, backup samples and (occasionally) bass guitar; tapping into the grace of classical chamber music and threnodic jazz, and stirring in noise, incidental distortion and other dysfidelities.



 
* * * * * * * *

Westking Music & Performing Arts, who are putting on next Wednesday’s ‘Overlaps‘ concert, are bookending it with a couple of other gigs as part of their Summer Series (which also includes performance showcases for various graduates).

On 4th June, it’s Daniel O’Sullivan supported by Westking alumna Tega Mendes.

Daniel O'Sullivan + Tega Mendes, 4th June 2019

It’s easy enough to own a varied music collection; to shuffle quickly and smoothly between folk music, noise, synthtronica, experimental psychedelia, arthouse sound design, prog, proto-punk, pseudo-Zeuhl and the rest. It’s quite another to work, as a creative musician, across all of these: inevitably some purist will call you out as a fraud or a daytripper. Daniel, however, has made a name for himself as one of the few people who can apparently flit and slide between the scenes without being stalled by suspicion or rejection. Formidable multi-instrumental skills help, as does his apparent willingness to be a utility man as often as a leader. Over two decades, he’s piled up a pyramid of projects – his own Mothlife and Miasma & the Carousel of Headless Horses; duo work with Miracle or Grumbling Fur; a stint effectively directing Guapo; contributions to live and studio work with Ulver, Sunn O))) and This Is Not This Heat; plus sound installations and soundtracks in the fine art and cinema worlds. During the course of this, no-one’s fingered him as an interloper; no-one seems to have frozen him out. It’s a rare talent to be so ubiquitous, so flexible – or so insidious.



 
Daniel’s most recent album, ‘Folly’, is the second one he’s released under his own name, pursuing something more intimate and personal. Written around the death of a friend and the birth of a son, it sees him continuing to tack away from the experimental rock he made his reputation with in favour of hushed, rich-textured chamber folk, burnished like a picture window by the warm depth of Thighpaulsandra’s production. Still ,a psychedelic perspective follows in its wake, like a contrail of blossom; easily found in the swirl of instrumentation and in the way that Daniel dips in and (more often) out of straightforwardness like a flying fish, offering transient reveals and kaleidoscopic digressions. Live, he’ll be performing solo and won’t be able to dodge behind the arrangements, but will be inviting up a couple of special guests to play along.

There’s some tie-in between Daniel’s work and Tega’s; they currently share a taste for a dreamy sheathing of instrumentation, but rather than chamber folk Tega follows on from the quiet storm soul-pop currently exemplified (in Britain, at least) by Lianne La Havas and Laura Mvula, and previously in the States by Roberta Flack and Minnie Riperton. On record, she displays a knack for deepening re-harmonisations of established songs; live, she works on a nourishing and playful full-band exploration of the assorted moods and genres that she touches on. It’s still early days for her, with not much more than a handful of Soundcloud songs to show yet, but even with her musicality still on a slow stir there’s a lot of promise here.

 
On 6th of June, The Cesarians are supported by The Silver Field.

The Cesarians + The Silver Field, 6th June 2019The musical love-child of onetime trash-rocker Charlie Finke (who sang sleaze with Penthouse in the mid-90s) and Justine Armatage (formerly pianist, composer and violinist with ill-fated ’90s theatrical indie types Gretchen Hofner), The Cesarians are virtually ambassadors for the hope of “older, wiser, sexier and funnier”. A loose troupe centred around houseboat life on the River Lea, they encompass showband horns, cabaret, puckish and sometimes self-deprecating wit, via enormous pop hooks which sweep glam, art-punk, chanson and singalong onto the table. They somehow manage to be down-to-earth while still being splendidly glamorous, by dint of turning their lives into theatre: following their songwriting inquisitiveness wherever it leads them and inviting you along.

For today’s crop of twentysomething band players, The Cesarians could (and should) be like anarchically cool uncles and aunts – the kind that zoom in and out of the family on their own orbits, winking as they swing past; cheerfully using inappropriate language and carrying handfuls of intrigue. They’re people whom you feel you could learn from: learn how to be naughty and to be wise; how to smoke and to make mistakes, but also how to become yourself. For us older dogs closer to their age, they’re more about an irrepressible spark persistently pushing up; there’s something luminous about them, as if they’d thrived on misspent youths and come through it all broader and happier as people. For what it’s worth, I get bored by musicians who embrace or act out too much debauchery, but occasionally I meet some whose mental vividness transcends the partying, and when I do I can’t stop talking to them; and generally, they turn out to be a lot like The Cesarians.

The songs? Well, the songs sound a bit like this…



 
The rural post-folk compositions for The Silver Field start off in Coral Rose’s bedroom. A digital delay inherited from her musician father serves as the cauldron for her own multi-instrumental inventiveness on a cupboardful of instruments, within which guitar, harmonica, mandolin, small drums and harmonium make room for cello, double bass, bagpipe chanter and electronics, plus loops captured on a rackety antique reel-to-reel tape recorder bought for a quid at a car boot sale. Assisted on occasion by Vanishing Twin’s Cathy Lucas and by Kiran Bhatt of Red River Dialect, It’s a kind of rough-edged chamber-folk shunting yard, in which plangent instrumental melodies are nudged by noise interference and spatial effects woven in from smartphone field recordings.

Live, Coral calls in more instrumentalist friends (Kiran again, plus Rachel Horwood from Bamboo and Trash Kit, Rachel Margetts from Yr Lovely Dead Moon) to help her recreate and reconsider her work: not absolute reproductions of what’s on record, but pickings-up and hand-ons, the instrumentation and looping shuffled under the requirements of necessity and community and of keeping the music as a living thing. Her debut album ‘Rooms’, meanwhile, comes complete with its own sonic metaphor of growing up, moving on and moving out; of both dispensing of childhood homes and coming to terms with departing from them.



 
* * * * * * * *

Closing off May, there’s a triple-threat art-rock show from Thumpermonkeyc, Lost Crowns and Kavus Torabi – all of whom I’ve already written about so frequently in here that I’m constantly, increasingly in danger of repeating myself. So I’m going to pre-empt myself by collaging some of the things I’ve already said into a new mashup, for the benefit of any of you who might be new readers or just new to any of these people…

Thumpermonkey + Lost Crowns + Kavus Torabi, 31st May 2019Thumpermonkey – “mordant, tricksy brilliance… the missing link between Mastodon and China Miéville (or perhaps between Peter Hammill and Neal Stephenson)… One of Britain’s most ambitious rock bands, deftly striding and shifting between different musical kernels from prog, dark pop or experimental metal to a kind of science-fiction cabaret, languidly licking up and stirring in any intriguing nugget or story fragment they birth or encounter… A latterday Thumpermonkey song’s more like a contemporary classical song: protracted, a lyric-driven musical wandering from thought to thought, but always with that solid rock foundation, that return to purpose… Michael Woodman’s voice (is) pure theatrical cordon bleu hambone, from the bottom of its ominous deep-tenor declamations to the top of its horror-struck falsetto…

“The music, meanwhile, is an ever-flexing full-spectrum crunch and hush, full of stalking shapes and hovering convoluted melodies… Unpacking their decade-plus back catalogue of recordings is like getting trapped in one of those clever-dick contemporary polymath novels written about everything and anything, stitched together with a little magic and mystique – they’ve sung about computer games, Nigerian fraudsters, Mexican acid westerns and strange diseases and made it sound as if it were all part of the same complex semi-submerged story… Game-playing geeks for sure, and clearly ones who are proud of their astonishingly broad armoury of sly references, veiled jokes and fantastical imagery; but also geeks who revel in their absolute mastery of those most un-geeky of rock qualities – muscle and poise… The particular genius of Thumpermonkey is that they can unroll these kind of parodic slipstream plots without ever toppling into cute whimsy.”


 
Lost Crowns – “a barrage of word-dense songs overflowing with full-on prismatic structures and outright rock drive, as if Lewis Carroll and Flann O’Brien had called on the massed forces of Henry Cow to help them hijack Battles… A vortex of influences funnel around (Lost Crowns leader) Richard Larcombe, including Chicago math, witty Daevid Allen psych rampage, contemporary classical music and skipping, tuneful folk singalongs. Shaped by his particular persona and thought processes – as well as his innate Englishness – it all emerges as a kind of prog, but one in which the fat and the posturing has all been burned off by the nerves and the detail, and in which his dry, melodious wit winds around the work playing mirror-tricks, theatrical feints, and the conspiratorial winks of a master boulevardier…

“If he is icing his work with gags, it’s partially because something so musically demanding needs a little judicious sugaring… Imagine a cocktail which didn’t dilute as you built it up, but instead made all of its ingredients stronger, brighter and brasher… A rich, unfolding master-craftsman’s confection… complex, artfully-meandering songs built from delightfully byzantine chords and arpeggios that cycle through ever-evolving patterns like palace clockwork; accompanied by rich, lazy clouds of hilarious, hyper-literate, wonderfully arcane lyrics; all sealed by an arch, out-of-time English manner which (in tone and timbre) falls into a never-was neverworld between Richard Sinclair, Stephen Fry, Noel Coward and a posh, Devonian Frank Zappa.”


 
Kavus Torabi – ” (His) dusky psych-folk EP ‘Solar Divination’…. perhaps draw(s) some influence from (his) other lives in Gong, Cardiacs, Guapo and others, but not nearly as much as it draws from ominous imagined dusk rituals and mysterious old ghosts on the darker hippy trails… A darker, more agrarian take on his psychedelic homeground, this time it’s drumless, bassless, hornless – rinsed clear of the capering squirrel energy he’s shown for twenty-odd years, in order to reveal muted, angsty bones… (It’s) a holiday from the jewelled and roaring intricacies of his main gig with Knifeworld, but it’s certainly not an escape from the psychedelic shadows which nightwing their way through the band’s apparently celebratory rainbow arcs.

“For this isolated, darker, more grinding work, Kavus strips the flash-bangs away and leaves us with the droning echoes: the meditative bruises, fears and queries, many of which nonetheless contain their own seeds of determination and a kind of celebratory acceptance…. Mostly based around slow, smoky-lunged harmonium stretches and sparse flotsam drags of guitar chording, this is a more foreboding turn of song, haunted by deaths, loss and disintegrations… (It’s a) sullen, trepidatious, post-nova ember-glow… trawling through shimmering webs of harmonium, effected drones and knell-clangs of acoustic guitar, exploring a forbidding hinterland of vulnerability and permeable spirit-space… the gravel-grain in Kavus’ voice welling up from deeper, ghostlier territories than before.”


 
* * * * * * * *

Dates:

VLMV & Nice Weather For Airstrikes present:
VLMV + Thomas Stone
The Rosemary Branch Theatre, 2 Shepperton Road, De Beauvoir Town, London, N1 3DT, England
Thursday 30th May 2019, 7.30pm
– information here, here and here

Thumpermonkey + Lost Crowns + Kavus Torabi
The Victoria, 186 Hoe Street, Walthamstow, London, E17 4QH, England
Friday 31st May 2019, 7.00pm
– information here and here

Daniel O’Sullivan (& special guests) + Tega Mendes
Westminster Kingsway College, 211 Gray’s Inn Road, Kings Cross, London, WC1X 8RA, England
Tuesday 4th June 2019, 6.30pm
– information here

The Cesarians + The Silver Field
Westminster Kingsway College, 211 Gray’s Inn Road, Kings Cross, London, WC1X 8RA, England
Thursday 6th June 2019, 6.30pm
– information here
 

May/June 2019 – upcoming experimental gigs – ‘Towards A Progressive Magic” at the Horse Hospital with Amy Hale and Hawthonn (30th May); ‘Overlaps’ #2 with Kay Grant, Keith Moliné, Jasmine Pender, Tim Hodgkinson, Frank Byng and Chlöe Herington (5th June); the Sonic Electronics Festival at IKLECTIK (30th May to 2nd June)

26 May

At a time when our politics are tangibly darkening with currents of bigotry and nationalism and vicious, exclusionary stories, you might consider that looking at fascism within magic is a frivolous exercise.

Anthropologist Dr. Amy Hale (Atlanta, US) would disagree with you. She’s delivering the spoken-word part of an upcoming “night of magical resistance” at the Horse Hospital (London’s home of esoterica, underground cinema, public magick and wild frocks) for which the musical aspect’s being provided by Leeds-based Hawthonn, made up of “dual star daemons” Layla and Phil Legard, who specialise in “twenty-first century moon musick… underground spectralism meets edgeland herbalism…”

'Towards A Progressive Magic': Amy Hale + Hawthonn, 30th May 2019

This isn’t necessarily a new thing. Plenty of the frowning white-nativist movements in Europe and the States force parasitic roots into ideas about submerged culture, or ideas of a purity predating Christianity, liberalism and rationalism, into which disappointed or indignant people drift in the hope of finding and defining themselves. If you’ve dabbled in Nordic revivalism, for example, you may well have brushed up against it: racism smudging the runes. Similarly, some sonic pagans have always pushed back (having always associated their own musical explorations with a live-and-let-live freedom or a rejection of the controlling homegenisations of fascism), and even more of them are pushing back now.

Amy’s lecture, ‘Is A Progressive Magick Even Possible?’, examines what happens when “as the world takes an awkward lurch towards right wing authoritarianism, underground and fringe cultures, organisations and scenes are becoming increasingly attuned to the attempts by radical right wing groups to infiltrate and coerce their members… Modern occult practice, for many, relies on structures, ideas, values, and aesthetics that are inherently linked to conservative and reactionary thought. Examples of this are the valorisation of tradition, the idea of an initiated spiritual elite and the notion of a highly-ordered Neoplatonic universe, where everything is in its right place – including people and cultures.

“These conservative traits create opportunities for activists to use the social mechanisms of occult subcultures – for example festivals and conferences, book publishing, the music and fashion industries – to promote radical political and cultural agendas without people even noticing that it has happened. Tonight’s presentations discuss how, and why, contemporary magical cultures have become attractive territories for recruitment and expansion by far right organisations… I will discuss how ideas of tradition and “nature” are exploited, and how the discourses of “free speech” are deployed to create and justify platforms for radical, intolerant politics in an occult milieu… We will also learn to recognise such entryism in action, and how to stop it.”

As for Hawthonn, this is their first London appearance; their first live musical ritual within the M25; and their first chance to present their particular stance to the capital. Delving (in the tradition of Coil) into post-industrial esoteric drones and vocalisations, their work has so far embraced edgeland/feminist associations on ‘Red Goddess’ and implied erotic ritualisations on ‘The Well Head’, with more associations and purposes evolving. I don’t know what they’ll be coming up with on this occasion; but I’m assuming that it’s going to pull on their increasing conviction that ritual needs to engage (if not necessarily with materialism) with the fabric of daily practical necessities and practical history.




 
To quote them – “as esotericists we often believe that we have stepped beyond ‘mere politics’ – that our minds are turned to a higher world, which has little relation to the mundane – despite, paradoxically, believing that our magical actions influence the phenomenal world. Yet many contemporary scholars of esotericism and religion analyse the currents of occultism, paganism and the New Age as socially constructed phenomena: elaborate mythic structures enforcing certain norms, beliefs and practices, while justifying themselves through appeals to authority, lineage and experience, even science and rationality. Such historiographic or sociological approaches have been accused by many practitioners of base reductionism, undermining the authority of their particular traditions.

“Yet, what if practitioners of esotericism were to accept – or at least entertain for a moment – a constructivist, rather than transcendentalist, paradigm? We posit that such an acceptance can lead to another form of practice, which acknowledges the way in which esotericism is inseparable from the historical, social and economic fabric of our lives and which – rather than denying the viscerality of ritual and experience – uses them as tools to question the traditions and assumptions of the esoteric worldview, leading to a fluid and reflexive ‘critical magick’.”


 
* * * * * * * *

Drifting through Kings Cross – away from the cosy confines of the Harrison and back to its spiritual home at Westminster Kingsway College – and still driven by joint organisers Chlöe Herington (V A L V E, Knifeworld, Lindsay Cooper Songbook, Hirvikolari) and Keith Moliné (Pere Ubu, Prescott), the Overlaps “six musicians on the spot” concert series continues to burnish its particular niche. Improvising, but outside of the usual free-jazz grammar; perhaps owing something to art rock, but tearing one end wide open. Assimilating injections of the wilder shaggier side of experimental pop. Tag-teaming, but with a little friendly risk; part-prepared, but mostly of the moment.

'Overlaps 2', 5th June 2019

In addition to Chlöe’s avant-rock reeds and home-made noiseboxes and Keith’s startling bricolage guitarwork, the debut Overlaps evening back in January also featured jazz/art-rock-toned drum-and-bass artist Farz and fringe-pop experimenter/spoken-word persona shifter Merlin Nova; plus another British art rock guitar mainstay in Chloe’s Knifeworld bandmate Kavus Torabi and creative sideslip drumming from Keith’s Prescott bandmate Frank Byng (also of Snorkel and This Is Not This Heat). Chlöe, Keith and Frank are all back for round two, with the remaining three players coming in from other assorted corners of noisework, avant-garde and New Classical – often simultaneously.

While performing her dramatic, noisy electric cello soundscapes, Jasmine Pender usually goes under the alias of Rotten Bliss, sousing her sound in effects and singing along with a terrifying gorgeousness: storm-strings and surreal marine tales. For Overlaps, though, she’s performing under her own name. Perhaps it’s in solidarity with the other, unmasked performers not hiding behind their project names or band tags; or perhaps it means she’s going to be trying something a little different. You’ll need to turn up and see.


 
Originally coming up through the New York downtown arts, in her time Kay Grant has sung pop, jazz, rock, choral classical and opera (and built the ranges for each). She still touches on several of them today – most notably the jazz, with her own vocalise-based Kay Grant All-four and song duo Living Standards, and via guestings with the more standards-slanted Cyril Bass Quartet and Big Swing Big Band. But when she gives herself full improvisatory range her voice is an untethered exploratory device – coasting, feinting and arcing with the full subliminal structural knowledge of her training, but completely free to embrace a scattering palate of noise, tones and intimations.


 
Tim Hodgkinson, of course, is best known for his 1970s work as a founder and consistent member of Henry Cow: foundational art-rock radicalism within which he and his bandmates pursued a continuous course of questioning, dissonance, learning and overturning. Since then (usually armed with reed instruments, tapes, lap steel guitar and keyboards), he’s maintained a core Cow method: exploring, playing and composing via a cerebral and committed musicality which initially challenges and overwhelms his own technical skills but constantly forces him to advance. He’s equally likely to be found at work in art-house shows worldwide or in ferociously experimental British pub gigs, stretching his skills between improvised blowings, committed collaging or the conduction of post-classical chamber music which sounds like the skitterings of unruly ghost feet pursuing an unfinished argument.

Again, I’ve little idea of what he’ll be doing – it could be solo clarinet, it could be something with tapes and counterpoint, it could be something which bridges his interest in shamanic music and cultural anthropology.




 
* * * * * * * *

Sonic Electronic Festival, 30th May to 2nd June 2019There’s also time to mention (in brief) the concerts and chat around the sprawling Sonic Electronics Festival coming up at IKLECTIK and straddling late May and early June. Fascinated by coding and by digital evolution, the event’s as much academic as it is instinctive and will contain far too many ideas, implications and theory to be easily abridged and listed here. So this is a quick sketch of what’s lined up rather than a definitive description.

On 31st May, the evening concert is a London live AV performance incorporating toys/scrabbles/tapeloops collective Morphogenesis (bolstered by audio sculptor John Wall and electro-acoustic/noise performer Mark Durgan), the electronic-junk-assisted dronescapes of raxil4, woodwinder-turned-synth minimalist Bernhard Living and masked audio-visual circuit-building ritualists Isn’tses (the last of whom will also be running a Fort processor building workshop on the morning of Saturday 1st June). The Saturday evening is a pass-it-on event of international live audiovisual performance with VJ and visual/sonics encoder Chris Speed, videomapping performance artists Blanca Regina, extended vocal/multimedia performer Alessandra Eramo and feminine-industrial explorers Slow Slow Loris

The show on the evening of 2nd June involves the 4.1 Soundsystem. Here you can hear and watch a teaming of sound foleyist Rebecca Glover and the squelchy Fritha Jenkins (who’s inspired by shorelines of sand and mud);
spacial-stereo sound artist Bioni Samp (whose work and subject matter is informed by his own beekeeping and by concerns about bee extinction); the “theogynous” industrial/classical polyphonic vocals of Vera Bremerton; “grainyl”-ist Tony James Morton (who takes the cut’n’plunder techniques of hip hop DJs and feeds them through the alterations of granular synthesis); and the deep-listening drones of Johannes de Silentio (a.k.a. Lucius Works Here, a.k.a. Barcelonan sound art DJ Shak Benavides).

If you want to immerse yourself in theory, debate and other verbals, you’ll be wanting to go along to the event launch on the evening of 30th May. Here, there will be talks from Lucia Farinati, Nina Power and Giles Greenaway (about the intersections, overlaps and interferences of audiovisual technology with philosophy and live culture, and about process patterns taken from living creatures). There’ll also be a live AV performance of experimental electromagnetic power noise from Laura Netz, using hand-built technology.

* * * * * * * *

Dates:

Strange Attractor presents:
‘Towards a Progressive Magic’ (featuring Dr. Amy Hale + Hawthonn)
The Horse Hospital, The Colonnade, Bloomsbury, London, WC1N 1JD, England
Thursday 30th May 2019, 7.00pm
– information here and here

Sonic Electronics Festival: Digital Arts & Analogue Devices
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 30th May 2019 to Sunday 2nd June 2019, various times
– information here, here, here, here, here and here

Westking Music and Performing Arts presents:
‘Overlaps’ #2: Kay Grant + Keith Moliné + Jasmine Pender + Tim Hodgkinson + Frank Byng + Chlöe Herington
Westminster Kingsway College, 211 Gray’s Inn Road, Kings Cross, London, WC1X 8RA, England
Wednesday 5th June 2019, 6.30pm
– information here
 

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