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March/April 2017 – upcoming London experimental gigs – Matt Cargill/Sam Edwards at More News from Nowhere (29th March); a Tony Conrad celebration at the Horse Hospital with Neil Campbell & Michael Flower of Vibracathedral Orchestra plus screening of ‘Completely in the Present’ (5th & 6th April)

15 Mar

Something on the drones’n’noise’n’whistles More News From Nowhere gig at the end of the month…

'More News From Nowhere' #15. 29th March 2017 (image © Daniel Oines)

‘More News From Nowhere’ #15. 29th March 2017 (image © Daniel Oines)

More News From Nowhere presents:
MNFN #15: Matt Cargill + Sam Edwards + Ashcircle
The Victoria, 186 Hoe Street, Walthamstow, London, E17 4QH, England
Wednesday 29th March 2017, 8.00pm
– information here, here and here

From MNFN: “We’re really excited to announce that we’re putting out our first tape – a super-limited run of thirty hand-decorated cassettes featuring Matt Cargill (Sly & The Family Drone)’s blinding solo set from of tape processing and live loops (featuring a surprise banger) from the Rose and Crown last year. On the flip side is multi-instrumental improviser Sam Edwards‘s amazing performance from the William Morris Gallery at Stowfest last year – it’s a nice contrast to Matt’s with contemplative, harmonic synth drones and skittering, pulsing percussion. You’ll be able to pick one up on the night for a fiver (or a tenner in total on the door for a ticket/tape bundle), or subsequently on Bandcamp.


 
“Both of them will be playing live on the night with support from Ashcircle (aka MNFN’s own Ciaran Mackle, collaborating with South Circular’s Tom Macarte).”


 
* * * * * * * *

In early April, down at the Horse Hospital, there’s a two-day celebration of the life and work of the bolshy, challenging art-polymath Tony Conrad, marking the first anniversary of his death. Crash course here:

“Tony Conrad was one of the great American artists of our time, yet to the world at large he remains criminally underappreciated. Since the early 1960s, Conrad’s films and compositions have been the stuff of legend for artists and musicians everywhere. His vast, inter-disciplinary repertoire has single-handedly created and influenced major film and compositional movements. He performed in and recorded the soundtrack to Jack Smith’s legendary ‘Flaming Creatures’; he turned the paradigms of cinema upside down with ‘The Flicker’, a film composed of only black-and-white frames; his development and practice of just intonation and minimalism through his work with Stockhausen and La Monte Young still has the music establishment scratching their heads; his pivotal role in the formation of The Velvet Underground has directly or indirectly influenced everyone who has picked up a guitar since; as an early adopter of activist public access television he democratized the emerging medium of portable video. In his later years he continued to perform and make work that pushed the boundaries of reason for which he has finally begun to receive worldwide attention.”

The celebration consists of one Conrad-inspired gig, and one documentary screening:

Neil Campbell & Michael Flower, 5th April 2017

Muckle Mouth presents
Neil Campbell & Michael Flower
The Horse HospitalThe Colonnade, Bloomsbury, London, WC1N 1JD, England
Wednesday 5th April 2017, 7.00pm
– information here and here

Neil Campbell and Michael Flower are founding members of legendary Leeds freak-out collective Vibracathedral Orchestra, the “totemic ensemble of contemporary British outsider music”…

“Neil has been active on the lunatic fringe of underground music since at least 1979. In that time, as well as his work with Vibracathedral Orchestra he has performed and recorded widely as solo performer, ad hoc collaborator and core member of groups such as A Band and Astral Social Club. His collaborations are myriad, including work with Richard Youngs, Campbell Kneale, High Wolf, Grumbling Fur, John Clyde-Evans, Filthy Turd, Oren Ambarchi, Ashtray Navigations, Spider Stacy, David Larcher, Blood Stereo, John Olson and Matthew Bower. Writers have described him variously as “a one-man subculture”, a “grandfather figure” with “a hallucinogenically inclined pallet.” Neil shares his birthday with Grace Jones, Malcolm X, Ho Chi Minh, Pol Pot and Joey Ramone – look out!

“Michael operates in a similar musical territory which focuses on the droning element of strings, guitars, wind instruments and handheld percussion. Occasional vocal mutterings may remind people of traditional Indian ragas, while other parts of his work hints more at the academic influence of, say, a Henry Flynt or Tony Conrad. Mick has also played with everyone from Chris Corsano (as Flower-Corsano Duo), Pete Nolan’s Magik Markers side project Spectre Folk, MV&EE w/The Golden Road and Sunburned Hand Of The Man.”


 
'Tony Conrad: Completely In The Present'

‘Tony Conrad: Completely In The Present’ – full screening
The Horse HospitalThe Colonnade, Bloomsbury, London, WC1N 1JD, England
Thursday 6th April 2017, 7.00pm
– information here and here

“Director Tyler Hubby (editor of ‘The Devil and Daniel Johnston’ and ‘The Great Invisible’) makes his directorial debut with ‘Tony Conrad: Completely In The Present‘, a non-fiction film examining the pioneering life and works of artist, musician, and educator, Tony Conrad….

“Utilizing intimate footage of Conrad and his collaborators shot by the director over the last twenty-two years, as well as Tony’s own archive of recordings and films, Tony Conrad: Completely in the Present mirrors Conrad’s own playfully radical approach to art making. The non-linear structure allows Conrad to wildly free associate his streams of consciousness, revealing an honest and humane way of navigating a remarkable, creative life.

“Chronicling Conrad’s life, work and pervasive influence over the years and through multiple mediums, this highly anticipated film is on tour of some the world’s most esteemed museums, galleries and film festivals – the Viennale, Rotterdam International Film Festival, Big Sky Film Festival, The Tate Modern, Washington DC’s National Gallery of Art, Brighton CineCity Film Festival, HOME Manchester, CCA Glasgow, among more than fifty others.”

“Starring: Tony Conrad, Tony Oursler, Jim O’Rourke, David Grubbs, Marie Losier, John Cale, Moby, Branden Joseph, Jeff Hunt, Charlemagne Palestine, Jay Sanders, Jennifer Walshe.”


 

March 2017 – upcoming gigs – selections from the Sheffield Classical Weekend (17th-19th)

6 Mar

There’s plenty going on at the three-day mid-March Sheffield Classical Weekend, with the city permeated with music including many old and new favourites. Among what’s on offer are two different performances of Arvo Pärt’s ‘Fratres’ (one by a wind band, one by a host of strings), two Dreams of China concerts covering formal Chinese classical compositions) and a host of choral shows (the classic monk’s-debauchery of Orff’s ‘Carmina Burana’ via Schubert’s ‘Mirjam’s Siegesgesang’ and Brahms’ ‘Ziguenerlieder’, through to a variety of pops choirs.) Though I’d advise checking out the entire, pleasingly diverse programme, here are my own brief and subjective picks from it, if you’re interested.

* * * * * * * *

Oliver Coates & cellists: ‘Canticles of the Sky’ – Kelham Island Museum, Alma St, Sheffield, S3 8RY, England, Saturday 18th March 2017, 3:30pm & 5.00pminformation

“A UK premiere featuring star cellist Oliver Coates (Radiohead, ‘Under The Skin’ and ‘There Will Be Blood’). Olly and a host of cellists will surround the Kelham Island audience and lift you skyward with this ethereal and dreamy work from Pulitzer and Grammy-winning composer John Luther Adams. Also featuring extracts from J.S Bach’s Cello Suites.”

* * * * * * * *

Five Choirs: Sounds From Heaven – St Marie’s Cathedral, Norfolk Row, Sheffield S1 2JB, England, Sunday 19th March 2017, 2:30pminformation

“Perched around the sides of the excellent acoustic space within the Cathedral Church of St Marie, five Sheffield chamber choirs – Abbeydale Singers, Sheffield Chamber Choir, Sterndale Singers, Sheffield Chorale and Viva Voce – will “create a swoonsome heart-lifting soundscape of song.” As well as old and new choral standbys by John Tavener, Arvo Pärt, Felix Mendelssohn and others, the concert will include the premiere of ‘Kraal’ a commission for five simultaneous choirs written by Jenny Jackson (a member of Sheffield’s own contemporary composer collective, Platform 4).”

* * * * * * * *

More music fostered by Platform 4 will be popping up a few times over the weekend. Flautist Rachel Shirley performs “a selection of colourful and inventive works for flute, piano, blown bottles and saxophone“; there’s an evening date at Yellow Arch Studios with players from Sheffield Music Academy, performing the collective’s own “imaginative cutting-edge compositions”. There’s a “mind-bending” collaboration with Opera On Location in which “stories are turned upside down and endings become beginnings in (a) selection of operatic palindromes, where the music is the same both backwards and forwards… featuring Paul Hindemith’s short opera ‘Hin Und Zurück’ (‘There And Back’), plus new bitesize and puzzling pieces…” Platform 4 also contribute the cello-and-electric keyboard piece ‘Upright Stance’ to be performed alongside Shostakovich’s Cello Concerto at Oliver Coates’ concert with Sheffield Music Hub Senior Schools.

  • Opera On Location with Platform 4 – Upper Chapel, Norfolk Street, Sheffield, S1 2JD, England, Friday 17th March 2017, 8:30pminformation (contains strong and sexually explicit language – recommended for 18+)
  • Rachel Shirley: ‘Hooting & Drinking’ – Channing Hall @ Upper Chapel, Norfolk Street, Sheffield, S1 2JD, Saturday 18th March 2017, 3.30pminformation
  • Oliver Coates & Sheffield Music Hub Senior Schools: ‘From The Heart: Shostakovich’ – City Hall Ballroom @ Sheffield City Hall, Barkers Pool, Sheffield, S1 2JA, England, Sunday 19th March, 12:00pminformation
  • Platform 4 with Sheffield Music Academy – Yellow Arch Studios, 30-36 Burton Road, Neepsend, Sheffield, S3 8BX, England, Sunday 19th March 2017, 6:30pminformation

* * * * * * * *

On the Friday and the Saturday, there are some thoughtfully programmed Sound Laboratory events centring on the music, ideas and influence of Pierre Boulez. Saturday sees a triple-banked set featuring pianists Beate Toyka and Matthew Odell, violinists Darragh Morgan and Lucy Phillips, clarinettist Sarah Watts and the University of Sheffield New Music Ensemble.

Each of these mini-concerts sets one of Boulez’s first three Piano Sonatas against another piece. ‘The Conflict And The Passion’ pitches ‘Piano Sonata No. 1’ against Beethoven’s Kreutzer Sonata in a study of thwarted passions. ‘Deconstruction & Digitalisation’ presents the classical deconstruction of ‘Piano Sonata No. 2’ and the electro-acoustic contrasts of ‘Anthemes II’. ‘Choice And Chance’ (the only one of the concerts to feature two Boulez compositions) offers ‘Piano Sonata No. 3’ and the clarinet-and-orchestra piece ‘Domaines’, contrasting a piece in which major options are available to the performer and one which is considerably more ordered and regimented.

The series opens on Friday with a special Boulez-inspired concert in which “the avant-garde becomes child’s play… primary school children from across the city explore the curious frontiers of contemporary electronic music and present the results of their musical experimentation.”

Sound Laboratory:

  • ‘Computer Music’ – Firth Hall @ University of Sheffield, Western Bank, Sheffield, S10 2TN, England, Friday 17th March 2017, 1:30pminformation
  • ‘The Conflict & The Passion’ – Upper Chapel, Norfolk Street, Sheffield, S1 2JD, England, Saturday 18th March 1:30pminformation
  • ‘Deconstruction & Digitalisation’ – Upper Chapel, Norfolk Street, Sheffield, S1 2JD, England, Saturday 18th March 3:30pminformation
  • ‘Choice and Chance’ – Upper Chapel, Norfolk Street, Sheffield, S1 2JD, England, Saturday 18th March 5:00pminformation

* * * * * * * *

Among the Chinese-inspired events is one in which Chinese and European chamber music merge as celebrated guzheng zither soloist Xia Jing teams up with The Fidelio Trio (Darragh Morgan on violin, Adi Tal on cello and Mary Dullea on piano). They’ll be presenting a concert of brand-new musical premieres – Gao Ping’s ‘Feng Zheng’ (‘Kite’), Jeroen Speak’s ‘Silk Dialogues 7’, Dylan Lardelli‘s ‘Shells’, and ‘Time Bends In The Rock’ by Sheffield-based composer Dorothy Ker.

Fidelio Trio & Xia Jing: ‘Global Soundtracks: Silk Dialogues’ – Upper Chapel, Norfolk Street, Sheffield, S1 2JD, England, Friday 17th March 2017, 9:30pminformation

* * * * * * * *

In addition, there’s a variety of pop-up performances across the three days, featuring abbreviated sets by event headliners plus showings by small instrumental and vocal groups. It’s an open-minded spill moving out from classical forms to embrace folk, alt.chamber and other kinds of music.

One promising set of contributors are Manchester quintet Kabantu, who’ve thankfully dropped their previous name Project Jam Sandwich and who also “throw away the rulebook to bridge countries and cultures, creating an exuberant and joyful soundworld… vocal harmonies from South Africa coalesce with everything from Celtic reels and Brazilian samba to Balkan folk music and beyond.” Featuring violin, guitar, cello, double bass and percussion in addition to voices, they’re playing a pop-up show but also two separate consecutive-but-entirely-different sets at Yellow Arch Studios.

Classical by Night – Kabantu @ Yellow Arch Studios, 30-36 Burton Road, Neepsend, Sheffield, S3 8BX, England, Sunday 19th March 2017, 6.30pm & 9:30pm – information here and here
 

March 2017 – upcoming London experimental music gigs – Pefkin, Bell Lungs, Russell Walker and David CW Briggs on the 12th; Yoni Silver, Eden Grey and |V|I|O|L|E|N|C|E| at openJack on the 15th; Magnus Loom, Alex Douglas, Zoey Gunshot and Flying Saucer on the 16th

5 Mar

Sundry experimental music shows in London during mid-March:

* * * * * * *

Pefkin + Bell Lungs + Russell Walker + David CW Briggs, 12th March 2017Pefkin + Bell Lungs + Russell Walker + David CW Briggs
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Sunday 12th March 2017, 7.00pm
information

Words from the organiser:

“Scotland comes to New River and it’s going to be a spooky psychedelic affair.

Pefkin is the alter ego of Gayle Brogan, one half of Glaswegian vintage synth duo Electroscope and ex-proprietor of the Boa Melody Bar mail order. She has been recording as Pefkin since 1999 and released albums on Morc, Wild Silence, Reverb Worship, Pseudoarcana etc. More recently she has been recording with the Kitchen Cynics‘ Alan Davidson, creating psych-folk hymnals inspired by a mutual love of folk songs and nature, and has been recording with United Bible Studies. On her own Gayle creates a dreamy rural psychedelia from looped vocals, guitar, analogue synth and violin. She is currently recording an album inspired by the recumbent stone circles of Aberdeenshire.


 
Bell Lungs (vocals/electric guitar/electric violin) is from Scotland and has previously performed in the USA, Germany, Italy, Spain and the UK, in curious locations such as an abandoned grain silo, a hydro-electric power station inside a mountain, the top deck of a double-decker bus and amidst the eerie, moving sculptures of Sharmanka Kinetic Theatre. She will be playing an immersive continuously-morphing set that will carry you from the Western Isles of Scotland to the rainforest and outer space.


 
“Support from Russell Walker of Pheromoans fame and Bomber Jackets infamy. He has also written a book. The book is great, very funny. I saw Russell play at Tatty Seaside Towns‘ most recent event in the famed ‘Naughty Corner’. Me and Barney Wakefield were trying to have a serious conversation but it was IMPOSSIBLE because of this set. He was reading some very funny, misanthropic, storioes/poetry about some ‘people’ either real or unreal. Scathing and mundane in equal measure which is the sign of a good cook. Great with kids. (His son is the spitting image of my nephew… I didn’t want to mention it at the time, ‘cuz that’s probably a strange thing for stranger to bring up on first meeting).


 
David CW Briggs will open the proceedings! Dave used to play in Unlabel band Cove and was playing solo under the moniker Hills Have Riffs for a while. He drinks a lot of tea and is great with kids.”


 
* * * * * * * *

openJack, 12th March 2017

Ellis Gardiner presents:
openJack – Yoni Silver + Eden Grey + |V|I|O|L|E|N|C|E| + guests
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Wednesday 15th March 2017, 7.30pm
information

Yoni Silver is a multi-instrumentalist (specialising in bass clarinet and electronics), composer, improvisor and performer. He plays in a number of projects, including the Hyperion Ensemble. This is Yoni’s first openJack appearance, but he’s back a few weeks later with his trio, Denis D’or.


 
Eden Grey‘s music is an experimental mix influenced by electro, dub, d’n’b, techno, drone, ambient and hip-hop. Her music took a major shift towards the collage-based methods of the historical avant-garde while earning her Masters’ degree in music technology and after she began building her modular synthesizer in 2013. Eden also hosts the CV FREQS meetups for the London Modular Synthesis Group.


 
|V|I|O|L|E|N|C|E| is a solo electronics project by Tim Cowlishaw, one of the people behind Walthamstow’s avant-music evening More News From Nowhere.”


 
* * * * * * * *

Magnus Loom, 16th March 2017Chlöe Herington presents:
Magnus Loom + Zoey Gunshot + Flying Saucer
The Harrison, 28 Harrison Street, Kings Cross, London, WC1H 8JF, England
Thursday 16th March 2017, 7.00pm
information

This is another of the leftfield gigs organised by reedswoman/noise-fiddler and curator Chlöe Herington (Chrome Hoof, Knifeworld, V A L V E, Half The Sky), and here’s what she has to say about it:

Magnus Loom wildly turns and tumbles through a cornucopia of brightly burning pitches and rhythms, howling and whispering, in his own world of avant-punk cabaret. According to his Facebook page, “Magnus Loom makes a noise, and lives in hope that one day others might enjoy it as much as he does.” It’s really good noise. I reckon you’ll enjoy his noise.



 
“The two support acts are both performing debut gigs. Zoey Gunshot is political noises and anti-folk; Flying Saucer is experimental noises, a bit Jonathan Richmond tinged with Bob Drake.“

 

March 2017 – upcoming London classical/classical-experimental gigs, (7th, 16th, 17th) – Kammer Klang (with Klara Lewis/Nik Colk Void, Christopher Redgate, Phaedra Ensemble performing Leo Chadburn and John Uren); Tomos Xerri & Claire Wickes’ rush-hour duets (with a new Liam Mattison piece); Elisabeth Turmo & Elena Toponogova’s Norwegian/Russian celebration

1 Mar

As well as composers ranging from Grieg to Takemitsu, these three upcoming London gigs take in trolls, moths, David Bowie, extended fiddles and oboes, and just a tiny hint of saw abuse. Let’s have a look and listen.

* * * * * * * *

Kammer Klang, 7th March 2017Kammer Klang presents:
Klara Lewis + Phaedra Ensemble (performing Leo Chadburn) + Christopher Redgate + John Uren + Holodisc DJs
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 7th March 2017, 7.30pm
– information here and here

From the Kammerers (supplemented by a few text raids from here and there)…

“In our second show of 2017 we are joined by Klara Lewis, the critically acclaimed sound sculptress who has performed in clubs and art galleries around the world. Lewis builds her work from heavily manipulated samples and field recordings, creating a unique combination of the organic and the digital. Klara’s second album ‘Too’ was released in 2016 on Editions Mego to great acclaim. She will be performing with Nik Colk Void, an experimental electronic recording artist who is one part of Factory Floor (an alliance with Gabriel Gurnsey) and one-third of Carter Tutti Void (with former Throbbing Gristle members Cosey Fanny Tutti and Chris Carter). Coming from an English art school background, and an education that was decidedly non-musical in nature, Nik’s work is as conceptual as it is visceral – exploring the out-regions of pushing and manipulating sound (via modular synthesis, extended guitar techniques and vocal processing), and collaborating with contemporary visual artists such as Haroon Mirza and Philippe Parreno.



 
“We are also joined by Phaedra Ensemble, whose performances explore the spaces between classical, experimental and contemporary music. Phaedra brings together some of London’s most exciting musicians to curate programmes with new collaborations, reinterpretations of well-known modern works and forgotten classics. Its members have a strong intuition for genre-crossing and interdisciplinary work, often in collaboration with artists from other disciplines. This month Phaedra will perform ‘The Indistinguishables’, a 2014 string-quartet-and-electronics work by Leo Chadburn. Leo is a composer and performer of experimental and electronic music, gallery music and (as Simon Bookish) avant-pop. ‘The Indistinguishables’ works through a cycle of seventy names of UK moth species, each accompanied by a chord or phrase, like a fleeting soundtrack to these evocative words. The recordings are triggered by the quartet, so the pacing of the pauses and resonances is under their control, part of their ensemble dynamic.


 
“Phaedra will also be performing this month’s “Fresh Klang” work, which is from British composer John Uren. ‘A few weeks after David Bowie’s death in January 2016, Dr Mark Taubert, a palliative care doctor based in Cardiff, wrote an open letter to Bowie, posthumously thanking him for the soundtrack he had provided to his life, his dedication to his art, and the inspiration he was, and continues to be, for others also facing end-of-life illnesses. Retweeted by Bowie’s son, Duncan Jones, Mark’s letter has gone on to have a huge impact, and has been recited at several Letters Live events by Jarvis Cocker and Benedict Cumberbatch. John collaborated with Mark for this composition, combining a recording of Mark reading his own beautiful letter with fragile strings and electronic timbres; acting as a cushion for Mark’s words to drift across.


 
“The distinguished oboeist Christopher Redgate will perform his own work ‘Multiphonia’. Since his time as a student at the Royal Academy of Music, he has specialised in the performance of contemporary oboe music. Now the Evelyn Barbirolli Research Fellow at the Royal Academy of Music and a Fellow of the Royal Academy of Music, Christopher (in collaboration with Howarth of London) has redesigned the instrument. He performs exclusively on his creation, the Howarth-Redgate 21st Century Oboe, which offers extended capability for twenty-first-century music including microtones, multiphonics, extended range and electronics.

“There will also be DJ sets from the people behind British experimental music label Holodisc.”

Programme:

Fresh Klang: John Uren – Her Own Dying Moments (performed by Phaedra Ensemble)
Leo Chadburn – The Indistinguishables (performed by Phaedra Ensemble)
Christopher Redgate – Multiphonia (for solo oboe)
Klara Lewis + Nik Colk Void – improvised set

* * * * * * * *

South and slightly west, here are a couple of interesting-looking duo shows at the 1901 Club in Waterloo – picked out from the rest of the venue’s busy schedule by dint of having interesting instrumentation, interesting juxtapositions, or the promise of new pieces being premiered.

* * * * * * * *

Tomos Xerri, 2017Hattori Foundation presents:
Hattori Foundation Rush-Hour Recital: Tomos Xerri & Claire Wickes
1901 Club, 7 Exton Street, Waterloo, London, SE1 8UE, England
Thursday 16th March 2017, 6.00pm
information

Outstanding contemporary harpist and Riot Ensemble member Tomos Xerri performs regular duet concerts with English National Opera’s principal flautist Claire Wickes (who also plays as guest principal with most of the big London orchestras, as well as the São Paulo Symphony). Here’s one of those shows – one of the Hattori Foundation’s showcase concerts, nicely timed for the Waterloo homeward-bounders.

Claire Wickes, 2017

While Claire and Tomos will be playing a set of established pieces by Takemitsu, Debussy, Piazzolla and American tonal hero Lowell Liebermann (as well as a sonata by the distinguished twentieth-century British polymath William Alwyn), they are both strong enthusiasts for contemporary music, and are premiering a new composition by Trinity Laban alumnus Liam Mattison (a recent partipant in the LSO’s Panufnik Composers Scheme).

Look out, too, for any mention of Tomas’ upcoming musical-saw-and-electronics project… which at the moment seems to be more of a tingling promise than anything concrete. If any more evidence shows up, I’ll blog it myself.

Programme:

Astor Piazzolla – Bordel 1900 (from Histoire du Tango)
Lowell Liebermann – Sonata for Flute & Harp
Claude Debussy – La Chevelure (from Trois Chansons de Bilitis), Nuit D’Étoiles
Tōru Takemitsu – Toward the Sea III
Liam Mattison – new commission
William Alwyn – Naiades (Fantasy-Sonata)

* * * * * * * *

Elisabeth Turmo, 20171901 Club presents:
Elisabeth Turmo & Elena Toponogova: “Two Journeys”
1901 Club, 7 Exton Street, Waterloo, London, SE1 8UE, England
Friday 17th March 2017, 6.30pm
information

This is a musical celebration of two cultures, Norwegian and Russian, performed by Norwegian violinist Elisabeth Turmo and Siberian pianist Elena Toponogova. Both are recent or imminent Masters graduates from the Royal College of Music, with growing international reputations. Elizabeth has performed as a soloist with the Arctic Philharmonic, the Oslo Chamber Orchestra, the Toppen International Festival Orchestra and the Barratt Due Symphony Orchestra; while Elena has performed as a chamber musician and soloist across the United Kingdom, Russia and Germany.

Elena Tonogova, 2017Already tagged as “conveying the stormful temperament of a northern Norwegian” in her concert performances, Elisabeth is also an up-and-coming exponent of the hardingfele, or “Hardanger fiddle” – the thin-wooded Norwegian violin with additional sympathetic strings which is traditionally used for folk dances and church processionals, and which bridges the gap between Norway’s ecclesiastical life and its supernatural mythology (by way of “troll-tunings” and Robert Johnson-esque myths about music lessons from the Devil).

Several hardingfele pieces will be performed as part of the concert set. I doubt that these will include a solo arrangement of Michael Grolid’s recent ‘Ouverture’ (as played here two years ago by Elizabeth and Barratt Due’s Symphony Orchestra) but I’ve included it in lieu of her having posted up any other recordings with the instrument.


 
Programme:

Ole Bull – A Mountain Vision
Selected pieces for hardingfele
Bjarne Brustad – Fairy-tail for violin (solo)
Edvard Grieg – Solveig’s Song (from the ‘Peer Gynt’ suite)
Pyotr Ilyich Tchaikovsky – Melody for violin and piano Op.42 No.3
Nikolai Medtner – Sonata Reminiscenza Op.38 (from ‘Forgotten Melodies’
Pyotr Ilyich Tchaikovsky – (arr. Mikhail Pletnev ) – Intermezzo (from ‘The Nutcracker Suite’)
Igor Frolov (from George Gershwin) – Concert Fantasy on Themes from ‘Porgy and Bess’
 

March to September 2017 – upcoming gigs – North Sea Radio Orchestra out and about in England and Wales (sometimes with Crayola Lectern or William D. Drake)

23 Feb

Having bowed, hummed and carolled their way back into action with last September’s ‘Dronne’ album, plus a few end-of-the-year gigs, art-pop-touched chamber ensemble North Sea Radio Orchestra are casting a garland of assorted luminous live dates across England and Wales this year – starting in March, and continuing through April, July and September.

In keeping with their liking for ecclesiastical reverb, which suits their churchy acousti-tech sound (described recently as “sitting in a special place somewhere between Neu! and Arvo Pärt”), most of these gigs are taking place in current or former places of worship, some converted into community centres or arts spaces or (in the case of the Cardiff show) into acoustic recording studios.


 

  • St Paul’s Church, 55b Chapel Road, Worthing, BN11 1EE, England, Saturday 11th March 2017, 1.30pm (with Crayola Lectern) – information here and here
  • Gresham Centre @ St Anne & St Agnes Church, Gresham Street, Barbican, London, EC2V 7BX, Friday April 28th 2017, 7.30pm (with William D. Drake) – information here and here
  • Assembly Rooms @ Frome Memorial Theatre, Christchurch Street West, Frome, BA11 1EB England, Sunday 9th July 2017 (part of the Frome Festival – further details t.b.c.)
  • Sacred Trinity Church, Chapel Street, Salford, M3 5DW, England, Saturday 15th July 2017, 4.30pm (with William D. Drake) – information here and here
  • Acapela Studio @ Capel Horeb, Heol Y Pentre, Pentyrch, Cardiff, CF15 9QD, Wales, Saturday 23rd September 2017, 7.30pm – information here, here and here

The Worthing show (a fundraiser for MIND) features a support slot for Chris Anderson’s rumpled, brass-dabbed domestic/psychedelic song project Crayola Lectern, while the London and Salford dates have William D. Drake in tow (playing a solo piano set, which may or may not focus on the kind of instrumental studies collected on his ‘Yews Paw’ album).



 

There’s another Drake solo show taking place mid-tour in Greenwich, London – another solo piano set (details below). For news of Bill’s concurrent song tour – much of it a two-hander with another singer-songwriter friend, Stephen EvEns – check back on my earlier blog post from the 15th.

William D Drake – The Prince Of Greenwich, 72 Royal Hill, Greenwich, London, SE10 8RT, England, Friday 17th March 2017time & further information t.b.c.
 

February 2017 – upcoming London gigs – sound rummagings at New River Studios with Cos Chapman’s Open Jack Takeover 5 (1st)

30 Jan

Cos Chapman's Open Jack Takeover 5, 1st February 2017Cos Chapman presents:
Cos Chapman’s Open Jack Takeover 5: Cos Chapman + Mowgli & The Slate Pipe Banjo Draggers + Jowe Head + Electric Elizabeth + The Moon and Madness
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Wednesday 1st February 2017, 6.00pm
– free event (suggested donation: £5.00) – information

Experimental guitarist Cos Chapman is leading another of his experimental music evenings at New River at the start of February. Here’s a quick summary of Cos’ work, assembled from various web-flotsam press spurts and publicity bios, including a summary by experimental flautist Isnaj Dui:

“Cos Chapman observes his guitar as if unconscious, under anaesthetic. Laid down and barely touched, distress signals and drones emit from its innards. In live improvisation, Chapman utilises a series of drill bits, pendulums and homemade mechanisms to lay siege to the seemingly lifeless instrument. Playful and cerebral, Chapman’s work recalls early Kraftwerk as he creates a sonic heart and soul from basic electronics that are expertly manipulated. Interested in cross art-form collaborations and soundtracks, Cos began his working life as an oceanographer: throughout this time he experimented extensively with sound, using modified reel-to-reel and self-built devices; after twelve years he went to Lancaster University to study Music, Technology and Theatre, then did a PhD at Anglia Ruskin in Cambridge. His portfolio of compositions includes work for piano and “tape”, live processing of soprano saxophone, video and installations: His soundtracks have been heard on Resonance FM and at national events including the Manchester Short Film Festival, Newcastle Vain Festival, Sonic Arts Network Expo! in Manchester, Thames Tideway Project and Anna Chen’s Taikonaut.”

Also on the bill are the working duo of Mowgli (cross-tech multi-media artist and player of the Zenoid audiovisual synth) and The Slate Pipe Banjo Draggers (aka field-recordings juggler and one-string MIDI bass player Andy Rowe). A regularly teamed item for five years, they’ve been playing their mashes of translated light patterns, invented instrumentation and improvised electronica around various European festivals and events for five years. While the Slate Pipe work is centred on a strangely comforting version of factory-noise dub, the Mowgli collaboration (on the evidence of the Mariscao live video below) is more along the lines of pattering analogue ambient techno with a off-kilter industrial edge, accompanied by swirling mathematical visuals.

 
The loop’n’patch alter ego of Zoe Um, Electric Elizabeth came into being two Novembers ago when Zoe decided to create a performance persona for the Noisevember project. Based around on Audacity software and various glitching, friable, fry-able devices, her work picks up the mundane and weaves it through concealed processes, structures and rhythms to render something both everyday and beautiful.


 
Two of Cos’ companions from the “post-punk/art rock/dark cabaret” band Rude Mechanicals are also joining the evening. Cos will be teaming up with Rude Mechanicals frontwoman Miss Jo Roberts in spin-off duo The Moon And Madness (which played the previous Open Jack, and which they describe as being “more experimental” than the Weimar sprach-funk tendencies of the parent band) while bass player jowehead.com Jowe Head (originally from Swell Maps and Television Personalities, now a journeying mult-instrumental punky experimentalist) will be performing an undefined solo set of his own.

DJ sets for the evening come from Steve New Wave – “the clue is in the name.”
 

February 2017 – upcoming London gigs – ORA’s ‘Tallis & The Tides of Love’ (1st) – Renaissance and Renaissance-inspired singing in the heart of the Cutty Sark

29 Jan

ORA - 'Thomas Tallis & The Tides of Love" - 1st February 2017ORA presents:
‘Tallis & The Tides of Love’
Michael Edwards Studio Theatre @ Cutty Sark, King William Walk, Greenwich, London, SE10 9HT, England
Wednesday 1st February 2017, 7:30pm
information

There are still some tickets remaining for this coming Wednesday’s son-et-lumiere concert by vocal ensemble ORA at the Cutty Sark on the Greenwich waterfront. Sadly, they’re not siting themselves under the ship’s famous copper hull – so I’ll still have to wonder what that might have done for the acoustics – but the ship’s studio theatre, embedded in the framework of the lower hold, should provide enough atmosphere of its own. (At the very least, you could think of it as an upmarket Thekla.)

While the concert will feature various Renaissance choral masterpieces – including several by Greenwich’s most famous composing son, Thomas Tallis) eight brand new pieces will be receiving their world premiere, in keeping with ORA’s belief that we’re entering a second golden age of choral composition. Five of these will be using Tallis works as a compositional springboard, while the other three take inspiration from other Renaissance creations and translations.

  • Richard Allain presents his own reflection on Tallis’ cantus firmus ‘Videte Miraculum’ which echoes and develops the original’s musical ingredients (including plainsong, false relations, polychoral writing and an antiphonal diffusion of one of the opening harmonies).
  • Alec Roth’s ‘Night Prayer’ is a “macaronic” answer to Tallis’ plainsong hymn ‘Te lucis ante terminum’: a triple treatment in which Latin and English versions of the text run in parallel both to each other and to a wordless vocalese interpretation of the plainsong, each with its own appropriate and different rhythmic approach.
  • Ken Burton’s ‘Many Are The Wonders’ is a layered “gospel-influenced reflection (in) traditional and contemporary choral styles” on Tallis’ ‘Loquebantur’, drawing creative inspiration from the original’s “fluid jazz-like motion, interspersing of solo and group, the false relations in Tallis’s harmonies… akin to the ‘bluesing’ of notes in gospel music, and of course the subject matter – the Day of Pentecost, as recorded in Acts chapter 2, which describes a mighty rushing wind filling a room and those present simultaneously declaring the wonders of God in different languages – (which) gave much scope for painting a musical picture.”
  • Before studying under Robert Sherlaw-Johnson and Francis Pott (and long before a career including work as soundtrack composer and cello-playing mainstay for North Sea Radio Orchestra), Harry Escott was a young chorister at Westminster Cathedral chorister. Having recently returned to choral music (this time as a composer), Harry’s contributing ‘O Light of Light’, a salute to Tallis motets and in particular a development of ‘O Nata Lux’, from which he’s “borrowed a handful of melodic clippings and some of my favourite harmonies… to create a piece that, I hope, amplifies my interpetation of ‘O Nata Lux’: a heartfelt plea to be accepted into heaven at the end of life on earth.”
  • Frank Ferko’s ‘Reflection on Thomas Tallis’ If Ye Love Me’ is another piece founded on a Tallis motet, but this time feeding the work through “updated forms of modality” and “a twenty-first century aural prism”, dividing the choir between four-voice Tallisian counterpoint and the harmonically-compressed tone-clusters approach more familiar from the works of Béla Bartók, Charles Ives, Lou Harrison and Cecil Taylor.
  • Jonathan Dove’s ‘Vadam et circuibo’ builds on the first eight bars of Counter-Reformation composer Tomas Luis de Victoria’s epic motet ‘Vadam et circuibo civitatem’, twirling out a more frenzied interpretation of the original.
  • The enthusiastic, cleverly irreverent polystylist Kerry Andrew (who performs experimental folk music as You Are Wolf, as well as working with a capella trio Juice, “joyfully anarchic jazz/classical/rock collective” DOLLYman and jazz-folk sextet Metamorphic) offers her setting of ‘Archbishop Parker’s Psalme 150’ using (a) basic verse form which begins to be pulled apart by the choir, all the while aiming to retain a feel of rowdy celebration. The setting is in the ‘vulgar tongue’ (e.g, that dreadfully uncouth Middle English) and has quite a peculiar form that I tried to reflect in the musical rhythm. I do imagine that this is sung by slightly drunken sixteenth-century peasants, happy to be singing in their own language.”
  • Onetime Birtwistle student John Barber – who now divides his time between classical compositions, his acclaimed avant-folk-pop band Firefly Burning and the Woven Gold singing project (which unites refugees and asylum seekers with established British jazz and classical musicians) – provides a setting of the “flower-amongst-thorns” text ‘Sicut Lilium’ (offsetting the Renaissance-era Antoine Brumel setting which may or may not also be performed at the concert) John’s explanation of his own interest in the central image is that “to me it suggests that you can’t have faith without doubt and you can’t have love without the possibility of losing it.”

Most if not all of these pieces will have been recorded for ORA’s upcoming third and fourth albums (following last year’s double-whammy of their William Byrd-inspired collection ‘Upheld By Stillness’ and their Savonarola-influenced collation of Renaissance Miseres, ‘Refuge From The Flames’). Both of these new recordings will be launched as part of the event.
 

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