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June 2018 – upcoming London folk, world and storytelling gigs – Nest Collective’s Campfire Club shows – Seckou Keita (1st June); Gwyneth Herbert and Noemie Ducimetiere (15th June); The Embers Collective and Dizraeli/James Riley double event (21st June); London Contemporary Voices (22nd June); Jimmy Aldridge & Sid Goldsmith with Sophie Janna (29th June)

23 May

Last month, I said that June would see “a couple more” of Nest Collective’s unamplified outdoor folk gigs. Instead, there’s going to be a cavalcade – six in the space of four weeks, including one double event on the 21st, itself part of a cluster of three later in the month.

See below for a quick roundup of their early summer recipe – including Senegalese griot, storytelling, chamber jazz (well, presumably not “chamber” anymore), folk-rap, country, Gothic blues and pop chorale in addition to folk flavours from the British Isles, continental Europe and the United States. They’re taking place in London’s children’s playgrounds, open spaces and artist’s studio yards: as with many of the Nest Collective gigs, some of the locations are hidden and secret with the locations only given to ticketholders, so plan ahead.

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Campfire Club: Seckou Keita
(secret location), Bow, London, England
Friday 1st June 2018, 7.00pm
– information here, here and here

“How to describe Seckou Keita? Griot, praise singer, composer, djembe master, virtuoso, Kora player, pioneer? The answer is ‘yes’ to all of those. Seckou Keita is a true master of his instrument, a childhood prodigy, born of a line of griots and kings (Keita is the royal lineage, and not traditionally a griot name). Cissokho, his mother’s family name, gave life to his talent. His family includes Solo Cissokho, Seckou’s uncle, who introduced him to the International stage in 1996.

“The intense rhythm of Seckou’s working life has been driven by the desirability of his musical talents and his ability to get along with all kinds of different people. He toured with the Sierra Leonean musician, Francis Fuster, one time sidekick to Paul Simon, Miriam Makeba and Manu Dibango, and with Baka Beyond, whose founders Martin Cradick and Su Hart had befriended Seckou in Ziguinchor a few years before. The pair helped to produce his first solo kora album, ‘Baiyo’ (Orphan), which was released in 2000 (and subsequently renamed ‘Mali’ by the record label Arc Music).”


 
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Campfire Club: Gwyneth Herbert + Noemie Ducimetiere
Spitalfields City Farm, Buxton Street, Shoreditch, London, E1 5AR, England
Friday 15th June 2018, 7.00pm
– information here, here and here

Gwyneth Herbert is a strikingly original performer, award-winning composer and lyricist and versatile musical adventurer who continues to redefine and challenge expectations. Drawing on influences from the worlds of jazz, folk, contemporary classical music and storytelling, she has worked in collaboration with writers, musicians, directors, choreographers, visual artists, academics, clowns and young people to create a huge canon of genre- defying interdisciplinary work, as well as touring nationally and internationally with her band and releasing six critically albums to date on major, independent and self-owned labels.

“2018 sees the launch of Gwyneth’s ambitious and hugely anticipated seventh album and live show, ‘Letters I Haven’t Written’, songs from which she recently previewed in session for BBC Radio 2 and live from the Edinburgh Festival on BBC Radio 3. Gwyneth describes the project as “a musical, narrative and visual journey exploring the lost art of letter writing. Through blots of heartbreak, strokes of curiosity and scribbles of whimsy, ‘Letters…’ unearths the emotional complexities of putting pen to paper, and, in a climate of status updates and limited characters, seeks to find a more meaningful dialogue with the world”.

“A singer, composer and instrumentalist currently based in London UK, Noemie Ducimetiere is best known for her wide range of musical styles and her work with nine-piece band Gentle Mystics. With the Mystics currently on a recording hiatus, she is taking to the stage with her solo explorations of folk, rock and what some have called gothic blues. Noemie is a self-taught musician with an experimental approach, who found her mentors in her diverse influences: mid-century French cabaret, American blues, traditional Eastern folk and desert rock… today her live set-up comprises of an electric guitar and an expanse of blinking effects pedals.”



 
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Campfire Club: The Embers Collective
(secret location), Brockley, London, SE4, England
Thursday 21st June 2018, 7:00pm
– information here, here and here

The Embers Collective is a London based storytelling and live music collective formed by three friends; a writer, an actor and a musician who wanted to put on events with a focus on community, and driven by a passion for the art of sharing stories. Their events bring audiences together through the exploration of myths and folklore from all over the world. Each of their stories is accompanied by a live, professional multi-instrumentalist whose soundscapes take listeners on a journey. They welcome you to their warm embrace.”



 
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Campfire Club: Dizraeli + James Riley
Kindred Studios, 18 Saltram Crescent, West Kilburn, London, W9 3HW, England
Thursday 21st June 2018, 7:00pm
– information here, here and here

Dizraeli is a rapper, multi-instrumentalist and sometime singer taking hiphop to new terrains. His exploration has taken him to unexpected places: he composed the soundtrack for a new parallel-worlds comedy on E4 (Tripped); he toured France with producer and turntablist DJ DownLow; he spent a week in the refugee camp at Calais, giving workshops and listening to the migrants there. At the start of 2016, he travelled to Senegal to study West African music with an albino master, and in a remote fishing village covered in dust and music, he finished six new songs. Carrying these pieces home to London in his head, he decided to record them in a completely new way. Instead of shutting himself in a vibeless, carpeted studio where the impulse of the songs would be lost, he would invite an audience of close friends to the basement of a cafe, play live for those friends and record what he played – no editing; no studio tricks: in the words of one of the tracks: “Through the lens to the substance”.

“Born of a transatlantic relationship, James Riley grew up in South East London listening to the folk and soul sound of 70s America and wrote his first melody at the age of four. His first guitar, acquired at the age of nine, became the tool for surviving the tumult of a nowhere place, and helped James find somewhere he felt he belonged. In his early twenties, he took off, alone once again, hitchhiking and busking through Europe from Amsterdam to Istanbul, writing songs along the way. Back in the UK, these songs became a band, but eventually James had to shed another skin, and disembarked in Nashville, Tennessee. Here he found his producer and they set about making the album which had travelled with him to his maternal homeland, where it could finally get free.”



 
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Campfire Club: London Contemporary Voices
Glengall Wharf Garden, 64 Glengall Road, Peckham, London, SE15 6NF, England
Friday 22nd June 2018, 7:00pm
– information here, here and here

London Contemporary Voices specialises in work with established bands, including gigs, recordings and festivals. We also perform at private and corporate events, and host our own largescale concerts. They have worked with overfifty artists, including Sam Smith, James Bay, Marcus Mumford (Mumford & Sons), Joss Stone, Elbow, Alt-J, Basement Jaxx, Imogen Heap, Laura Mvula, Charlotte Church, Kate Nash, Alison Moyet, Kim Wilde, Nitin Sawhney, Ella Eyre, Little Mix, The Vamps, Public Service Broadcasting, Andreya Triana, Nicole Scherzinger, Andy Burrows and many more!”


 
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Campfire Club: Jimmy Aldridge & Sid Goldsmith + Sophie Janna
Spitalfields City Farm, Buxton Street, Shoreditch, London, E1 5AR, England
Friday 29th June 2018, 7.00pm
– information here, here and here

Jimmy Aldridge & Sid Goldsmith are one of the finest duos to have emerged onto the British folk and acoustic scene in recent years. Their combination of outstanding vocal work, sensitive instrumentation, and a powerful social conscience has brought them widespread critical acclaim. The songs themselves are always given centre stage but they are brought to life with stunning musical arrangements and vocals. There is an integrity that shines through their performances and a common thread of political struggle, resistance, and justice. Their critically acclaimed second album ‘Night Hours’ was released in December 2016 on Fellside Recordings. Described as “exhilaratingly diverse and full of impeccably crafted songs”, it has cemented the duo’s reputation as two of the most exciting musicians and social commentators on the scene.

Sophie Janna sings dark songs from eras past as if they were written yesterday. The person who guesses the correct number of deaths and broken hearts at the end of a gig will get a reward. Sophie accompanies herself on guitar, thumb piano, bodhrán or on nothing at all.”



 

May/June 2018 – Long Fin Killie man Luke Sutherland’s new band Rev Magnetic on tour in Scotland and England (25th May to 1st June) with (variously) Superchunk, Erin Friel, Foolish Atoms, Helen Mort, Stonethrower, Salome Benidze, Nova Scotia The Truth, ILK, Caitlin Buchanan, The Honeyfarm, Jack Cheshire and winterThieves

22 May

Rev Magnetic on tour, 25th May to 1st June 2018

I’m rushing this one into post, since I’ve only just heard about it. No apologies for the excessive cut-and-paste here, nor for the absence of much personal insight (although I will say that when a shortage of information meant that I had to dig deeper, I found more).

“While touring the world as guest multi-instrumentalist with Mogwai, Luke Sutherland (Long Fin Killie, Bows, Music A.M.) used the downtime to sketch a bunch of songs. Once he got home, he wrote a handful more and recorded them with the help of a few friends at his cottage on the edge of the Scottish Highlands. The result was an album’s worth of material with references ranging from My Bloody Valentine to Teebs, Lemmy-era Hawkwind to ABBA, Vaughan Williams to Boulez.

“Keen to translate the radiant chaos of the recordings into a live setting, Luke put together Rev Magnetic, featuring Audrey Bizouerne (Gift Horse), Sam Leighton (Live w/ Prides, St MARTiiNS) and Gregor Emond who played with Luke in a band called Hynd, way back before the birth of the internet. Combining elements of dream pop, shoegaze, R&B, and post rock, their first single, Like No Girl That Ever Was/Don’t Let Joy Destroy You is the sound of summer at full pelt.”


 
Imminent Scottish and English tour dates are below:

  • Neu! Reekie @ St Andrew’s Church, 410-412 Easter Road, Leith, Edinburgh, EH6 8HT, Scotland, Friday 25th May 2018, 7.15pm (with Salome Benidze + Helen Mort + Erin Friel + The Honey Farm) – information here and here
  • Stereo, 22-28 Renfield Lane, Glasgow, G2 6PH, Scotland, Sunday 27th May 2018, 7.30pm (supporting Superchunk) – information here and here
  • The Hug & Pint, 171 Great Western Road, Glasgow, G4 9AW, Scotland, Tuesday 29th May 2018, 7.30pm (with Nova Scotia The Truth + Caitlin Buchanan) – information here and here
  • Paper Dress Vintage Bar & Boutique, 352a Mare Street, Hackney, London, E8 1HR, England, Wednesday 30th May 2018, 7.30pm (with ILK + Jack Cheshire) – information here, here and here
  • The New Adelphi Club, 89 De Grey Street, Kingston-upon-Hull, East Yorkshire, HU5 2RU, England, Thursday 31st May 2018, 8.00pm (with Foolish Atoms + others t.b.c.) – information here, here and here
  • Conroy’s Basement, 51-53 Meadowside, Dundee, DD1 1EQ, Scotland, Friday 1st June 2018, 8.00pm (with Stonethrower + winterThieves) – information here

It’s probably accidental, but when you take a look at the finer details of the tour, it’s almost like an exploded reflection of Luke’s influences and sympathies; the cultural and artistic breadth he’s shown throughout a career voyaging through books and music. Indie rock and dance chemistry, hip hop and poetry; filtered and transformed Scottish folk; literacy and blasting noise. The balancing of multiple cultures in one evening, or just in one person.


 
Regarding the Glasgow shows… if you’ve been hitting on indie-punk playlists and festival lineups for the past twenty years, you’ll need little introduction to Superchunk. Headlining over Luke and co. at Stereo, they’re early ‘90s favourites who helped define a Carolina DIY punk sound. They were all over the inkies back in the day more or less during the same time that Luke first was; they founded Merge Records, and have kept their place in indie rock affections ever since. On the other hand, the two support acts at the Hug & Pint show are still thrumming – just – under the radar.

Originally from Aberdeen, Caitlin Buchanan is an emerging acoustic singer-songwriter working towards her first EP and taking Angel Olsen, Laura Marling and Kate Bush as influences. Perhaps Angel’s the most obvious one – the slowcore tempos, the collapsing drapes of melody – but Caitlin has little of Angel’s narcotic slur. She also isn’t as propulsive or as easy-to-follow as Laura, and (despite her own musical theatre background) isn’t as brilliantly hammy as Kate.

That’s not actually a string of negatives. Rather, it’s a suggestion that, even at this early stage, Caitlin’s already sloughed off her initial inspirations and found a voice of her own: a folded, cleverly elusive literary one which makes you sit up and take notice, full of double-take lyrical moments. Nestled in strong hammocks of folk guitar, and in gorgeous transplanted curves of Scottish melody, her songcraft is often a series of strange elisions and non-sequiturs somehow coalescing into stories, delivered in a velvety softness which makes it all the more jolting when she drops a perfectly-enunciated precision F-bomb into the crook of a tune – “I fucked up your favourite song, and this is why I don’t do imitations. / Betrayed by the idea of God, we are her most hated creations / Dressed for the office but underqualified, / express my gratitude between her slender thighs…”


 
I suspected that Nova Scotia The Truth might have picked her name as a ScotNat political assertion. It seems that I was half right. A “queen of sample-based electronic music”, active in the Scottish hip hop scene since her teenage years (and now stretching out as a producer-performer), Nova might well be representing a rising strand of modern Scotland, but not necessarily one which will cradle comfortably in the old-school saltire. Her preoccupations are with feminism and of people of colour: a pavement-and-club engagement with embedded and intersectional inequalities, mapped out in whip-crack sonic edits and shifts.

Nova’s recent ‘Al-Haqq’ EP is a determined but bewildering mash of pointers and unrest. Cyber-mimetic R&B, corbies and round-chamberings; blasts of rap and dancehall chat; industrial-grime sound collage; all mixed in with found speech from black culture and protest and faith (some of it tweaked and repurposed, but much of it left free to run). The follow-up, Zoom, is a half-hour of rapid sonic cross-cuts in a similar vein: it’s intended as a backing track for a live rap story of love and talk gone wrong, ultimately, broadening out to a wider exploration about power imbalances in relationships, silencings and language. As with a lot of underground hip hop, there’s plenty packed in there: I’m guessing that onstage, this flies.


 
The Dundee show could have been created as a vast-contrast tribute to Luke’s own willingness to be broad in listening. Rev Magnetic aside, it’s a truly strange, rather brave pairing of opposites. “East coast ecossemo” band Stonethrower bring “monolithic slabs of lead-heavy riffage, angular rage-filled spiky melodies and frantic jazz-core arrangements to blast our faces off”; while Edinburgh/Dundee duo winterThieves are a sacramental ambient act “pool(ing) their varied musical backgrounds to craft a sound that is in equal measures melancholic and euphoric, featuring vast ambient swells, lush guitar and piano melodies, and crashing drums,”, playing wordless slow-reveal post-rock hymnals to an empty sky. The angry hammer and the lonely quilt.



 
South of the border, the London show features Ilk, whose “colourful and dreamy songs unravel against a collision of psych pop influences and scruffy, found sound warmth… the band’s songs and sketches are somehow both grandiose and playful, upbeat and melancholic” plus the “psychedelic jazz-infused” songwriting of rising folk-rock favourite Jack Cheshire in solo mode.

Supporting at Hull, Chris Norrison – a.k.a. Foolish Atoms – is a solo performer who “dreams up droning acoustic swamps in his sleep… creating music so delusional and pain numbing, audiences peacefully drown in the sweet rustic guitar tones and his strained vocals.” Other acts will be added at Hull over the course of the next few days: let’s see what the city’s recent pop-cultural renaissance has produced…

 
However, it’s the Edinburgh show which looks like the pick of the crop. It’s a packed-to-the-gills mass of words, music and beats put together by “Scotland’s favourite avant-garde noisemakers” and high/low art boundary-smashers Neu! Reekie, as a partial benefit for the Save Leith Walk community crowdfunder.

As well as Rev Magnetic, on hand for performance are poets Salome Benidze and Helen Mort and a couple of Scottish hip hop acts. Onetime Deadlife Crew member Erin Friel (part of a wave of Scottish hip hoppers who stick, refreshingly, to their own accents and cadences) recently opened for rapper/activist Loki at his sell out King Tuts event for Poverty Safari. The Honey Farm – Scotland’s only all-female rap crew – are self-confessed East Lothian rap bumpkins who “simultaneously skewer and celebrate rap stereotypes with their unapologetic, take no shit attitude” and whose recent debut release L.A.D.S. is “a dragged-up pussy-grabs-back takedown of laddish, bullshit behaviour.”

It’s not quite the fierce textured outrospection of Nova, and perhaps the Farm sometimes let their drama school backgrounds show a little, but it’s all fine. Wit over pose; and plenty of rap’s supposed to be accessible, youthful and funny, including the bit of cross-cast fun with which the Farm kick off the roll of verbiage below…

 

May/June 2018 – three peeks at the future – a WITCiH get-together featuring Hannah Peel (30th May); Yoshiki Ichihara, Sam Hostettler, Przemysław Trzaska at Synth 2.0 (7th June); the mysterious post-internet NowHere event at DIY Space (17th June)

20 May

Some interesting technological, electronic, sociological collisions are coming up in London this month and next month.

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If you’re fascinated by art and technology but find either or both too crowded by aggressive/patronizing male ownership and entitlement, or if you just like the idea of different viewpoints and identities being brought to bear on the world of geektech, you might find the following an interesting opportunity…

WITCiH, 30th May 2018WITCiH (Women In Technology Creative Industries Hub) is hosting a party to celebrate the making of its podcast pilot episode, featuring Irish composer/producer and “latterday Delia Derbyshire” Hannah Peel (whose work includes the Rebox musical box project, collaborations with John Foxx and membership of The Magnetic North, and whose analogue-synth-cum-brass-band project ‘Mary Casio: Journey to Cassiopeia’ recently headlined at the newly refurbished Queen Elizabeth Hall). There will also be an interactive audio-visual performance with AV duo Output Arts and WITCiH co-founder Bishi, featuring the former’s immersive installation Storm, which “recreates the thrill and excitement of watching a storm as it moves from dark and foreboding to booming explosions of light as the gale approaches” and which was previously seen at Enchanted Parks in Gateshead.

 
“This is an ideal opportunity to get together with artists and professionals in the creative tech industries. Science, technology, engineering & mathematics (STEM) have always had an intimate relationship with the arts; and WITCiH (Women In Technology Creative Industries Hub) aims to explore & expand our knowledge of women working at that intersection – past, present & future. WITCiH is female-focused but is gender inclusive, welcoming to all people throughout the spectrum of gender and identity.

“WITCiH aims to educate and inspire people through an understanding of women and non-binary people in tech, set in an historical context; and to highlight, celebrate and showcase women currently working in technology with a clear focus on creativity and the arts. Founded by interdisciplinary musician/artists and audio-visual performers Bishi and Matthew Hardern (a.k.a. Glamorre), WITCiH is an online and real world platform for ideas, research, performance, creation & networking.”

Previous WITCiH events in last year’s Winter Salon series have featured Bishi herself, Empress Stah (the aerial artist, cabaret performer, show producer/director and Peaches collaborator) and media artist Aphra Shemz, who “(seeks) to express herself through radical new technologies, abstraction, interactivity and light, (exploring) the way in which we might use these tools to imagine what the role of art could be in the future.” WITCiH are currently “looking for sponsorship to produce an entire series, so any ideas of how we could achieve this are very welcome.” If you’ve got any, get in touch and get stuck in.


 
WITCiH and Bishi present:
WITCiH Podcast Listening Party
The Barge House, 46a De Beauvoir Crescent, De Beauvoir Town, London, N1 5RY, England
Wednesday 30th May 2018, 8.00pm
– information here

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Synth 2.0: Yoshiki Ichihara + Sam Hostettler +  Przemysław Trzaska, 7th June 2018

A week later, a group of people led by space designer Tuo Lin are decking out Bloomsbury’s house-of-weird The Horse Hospital for what organiser Rica Zhu is claiming will be “a unique synth/electronic music show with a stunning visual journey. We bet it’s gonna be a magic time of synth electronic music you have never experienced before! Three musicians are ready to refresh your ears by using some special instruments with multiple synthesisers to take you to a neo synth world! The venue is also installed like a light-reflecting crystal especially for the interaction of the synth music and full of interesting experimental elements. So, what are you waiting for? Let’s fly to the electronic galaxy!”

That may sound a little gushy, perhaps even a tad huāpíng, but the music itself suggests otherwise. Handling the noises, textures and tunes are Yoshiki Ichihara (maker of jittery, bubbling cave/chemical tank music), “relaxed bass-focussed dance” specialist Sam Hostettler (who also creates immersive sub-bass rollscapes) and Przemysław Trzaska (who makes wombadelic firework electronica as Crowstep). Given the Horse Hospital’s already trippy architecture – rooms which burst off a set of long ramped floorways, originally built to lead horses to the upstairs section, and sharing space with a collection of archive fashion costumes – plus the promise of crazed crystallinity, you can expect a delightfully disorientating evening.



 
Rica Zhu presents:
Synth 2.0: Yoshiki Ichihara + Sam Hostettler + Przemysław Trzaska
The Horse Hospital, The Colonnade, Bloomsbury, London, WC1N 1JD, England
Thursday 7th June 2018, 7.30pm
– information here and here

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In the middle of June, down at the DIY Space, they’re sketching out something broad and absorbing which will investigate and defy interconnectivity and its impact on art and music-making. So far, only the bare bones of the concept have been made public. Here they are:

NowHere, 17th June 2018 “NowHere is an event series focusing on post-internet music and art. We invite emerging artists to collaborate together, creating one-off multimedia performances inspired by the internet but will not be shareable online. To do so, mobile phones won’t be allowed in this event.

“The Internet is a huge simulating machine through which everything is reproducible. Will the content of the performance and our experience still be original and valuable when it can be copied over and over again? We want to raise and discuss this question with our artists and audiences through this event. We want to create a commonplace in the middle of virtual and physical reality, bringing music and arts from nowhere on the internet to now here, a physical space where celebrating improvised performance emerged from the intimate connection between artists and audiences.”

No news on who’s creating and performing here yet – I’ll try to put up an update closer to the time. As with all DIY Space events, this is a members-and-guests only event, so if you’re going be sure to sign up for your two-quid annual membership deal here first.

Sadteabag Ltd. presents:
‘NowHere_0000000000000001’ (lineup t.b.c.)
DIY Space For London, 96-108 Ormside Street, South Bermondsey, London, SE15 1TF, England
Sunday 17th June 2018, 7.00pm
– information here and here
 

May 2018 – upcoming London pop-and-rock shows – offbeat-backstreet with Milk Disco, Barringtone, Show Boy and The Guest (26th May)

19 May

Milk Disco + Barringtone + Show Boy + The Guest, 26th May 2018

A few days after its show featuring Birdstriking and The Wolfhounds, the Brixton Windmill hosts another gig – this time for less-known, still-emerging names.

Headliners Milk Disco are the ones who’ve probably had the most impact in assorted zines and blogs so far. Dance-rock in the indie tradition, they navigate the sonic gaps between giant parallelogram bass shapes, frosted guitar twists and a desultory cowbell. They play out bored tales of tech-generation ennui – dying laptops and phones, decaying personal connections, desires to flee to Berlin. Sounds like gimmick stuff, except that it isn’t. In their sketchy way, they’re chroniclers of a latter-day angst in which budding twentysomethings construct such life-shapes: the products of a time in which so many things are available to consume and to be, but which so often fail to materialise or deliver.

Milk Disco tell their tales with a light dusting of first-person sympathy rather than just faddy, insouciant nihilism, but simultaneously duck out of sight round a corner when you try to get them into focus. They’re a little too self-conscious to be the party animals, but if there’s too much downtime they’ll spend it bobbing their heads a little, thank you.



 
Seemingly always on the brink of releasing that perpetually delayed debut album (except now they really are), Barringtone will also be on hand with their blip-and-bloop-assisted wiseacre guitar pop. If you’ve seen or heard them before, you’ll know the score – main bloke Barry Dobbin, long-bailed from his ‘NME’-favoured previous band (peppy Brixton nu-New Wavers Clor), forms new project branded as if he were selling vintage electric organs, slips smartly into the slipstream of XTC, and then flickers in and out of existence as if he was seeking (or running) from press attention and tipsters in several parallel universes.

The band’s latest tagline seems to be “elevator music for headbangers”. This just sounds like nosebleed techno to me, while Barringtone don’t. Instead, they discharge salvos of clever, distracting drollpop in something of a Partridge/Moulding/Mael brothers tradition, voiced in a dry aside and wrapped in little sparkling tuxedos of carefully manicured noise. Apparently ‘The Times’ once approvingly referred to them as “brainfuck stuff” (I had a stupid Victorian moment and imagined a clubful of Victorian colonels choking on their brandy and popping their monocles in affrontery after reading that) and they’ve got a drummer called Boomer (so now I have to avoid thinking about kangaroos, as if Barry wasn’t giving me enough trouble re. thinking about rocking horses…)

 
Show Boy, a.k.a. Jovis Lane, has been compared by Reprezent Radio to “Prince and Ariel Pink throwing glitter at each other” which isn’t too far off. He creates crafty, beautifully-voiced falsetto art-pop with funk and R&B dashes, an anxious swallow of hope, a seasoning of vulnerability and light-up-the-room ambition. When I say “room” I mean “room” – that ambition doesn’t rule out arenas, but it seems better suited to working and transforming smaller venues, turning a backroom into a little palace of swoon.

Judging by his self-directed video for new single Heart Is An Apple (in which a beleaguered pair of peg dolls venture across a wintery landscape, digging up an increasingly odd variety of objects before a disastrous final twist), Jovis also has a visual imagination similar to the nursery rhymes and fuzzy-felt workings of Cosmo Sheldrake. It’d be interesting to see whether he brings this to the live party as well.



 
Casio cave-techno specialist and parody-hipster narrator The Guest opens, providing “dark observations in an electro framework”. It’s like a meetup between adolescent versions of Jarvis Cocker and Julian Cope, Momus and Klark Kent in a school computer room, all up for smartarse bloopy experiments with primitive synth programs and hijacked games consoles.

 

I was going to add something here regarding upcoming shows by Windmill favourites Black Midi, but they’re being so industrious at the moment that it’ll have to spill into another post. Later.

Milk Disco + Barringtone + Show Boy + The Guest
The Windmill, 22 Blenheim Gardens, Brixton, London, SW2 5BZ, England
Saturday 26th May 2018, 8.00pm
– information here and here
 

May 2018 – a London alt/art/psych/theatrical/poetic cabaret at Slapper’s Club, with Katharine Blake, Clifford Slapper, Kavus Torabi, Charlie Cawood, The Cesarians duo, My Name Is Swan, Danielle Imara, Jo Below, possibly Suri Sumatra and definitely Piers Atkinson’s hat parade (24th May)

17 May

Slapper's Club, 24th May 2018

Regardless of gentrification, Stoke Newington remains one of the best London places to look if you’re up for hippy-punk cabaret weirdness. This is not just due to the regular string of evening goings-on and shenanigans at The Others, but also because of the recent revival of Slapper’s Club at the Mascara Bar heading up to Stamford Hill. Curated as a joint effort between multi-skilled classical rebel-turned-sultry/scholarly Mediaeval Baebe/Miranda Sex Garden singer Katherine Blake and glam-socialist piano player/Speaker’s Corner veteran Clifford Slapper (possibly best known, despite a whirl of activity, for his work on Bowie songs), it’s a loose-bag celebration of artistic diversity… and it’s free.

For this end-of-May show, Clifford himself will be performing in two separate, sung duo sets performing “the classics”: one with Katherine, and the other with singing theatre/art/novel-writing polymath Danielle Imara (the former Nina Silvert). No-one involved has said what “the classics” are – could be anything from Purcell to Prince, Bolan to music-hall, Bowie to Wiemar, Flesh For Lulu. Could be some of Danielle and Katherine’s own songs. Here are three possibilities…



 
Mediaeval Baebes multi-instrumentalist Charlie Cawood will take a little time out from being London’s beloved jack-of-all-fingerboards, and will celebrate the success of his recent debut album ‘The Divine Element’ (a glorious fresh-fusion magic-carpet ride across half a globe’s worth of music) by pulling together various other heavy playing friends for a set of Indian sitar music. Not sure whether he’s playing the classic ragas, but in case he isn’t, here’s something suitably sitar-ful from ‘The Divine Element’. Alongside is something from Charlie’s Knifeworld bandmate Kavus Torabi, who’s adding this particular Mascara Bar evening as another stop on the meandering solo tour supporting his own recent solo debut (April’s dusky psych-folk EP ‘Solar Divination’, which perhaps drawing some influence from Kavus’ 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).



 
Also on hand are a stripped-down acoustic version of the ferally witty Cesarians – just singer Charlie Finke and pianist Justine Armatage, treating us to a more intimate take on the band’s ambitious, expansive knife-dancing pop. Rounding off the main musical acts, Jo Below (probably accompanied by Claudette the concertina) will sit down, tell you stories, recite her poems and sing songs, and along the way “regale you sweetly with surprising lewdness”. There’ll probably be “tales of captains and nomads and loves of her not-so-sure life” and perhaps some traditional stuff, as well as accounts of winking etiquette for the Tube.

 
Hopefully able to make it on the night will be dancer and all-round burlesque-rian Suri Sumatra; while definitely on the performance roll is celebrity milliner Piers Atkinson with his alternative catwalk routine (“Salon Show: A Masc-Querade where our in-house superstars will treat you to an extraordinary hat parade accompanied by a live musical atrocity.”).



 
Capping the night’s gambit is poet Jan Noble performing ‘My Name Is Swan’, a poetic monologue that’s already done the rounds of various Swan pubs in London and elsewhere. “Drawing on Jan’s fifteen years experience teaching poetry and creative writing in prisons and on psychiatric wards, ‘My Name Is Swan’ describes a twenty-four hour journey across London. An odyssey of loss and belonging, lies and loyalty, ownership and neglect, Brexit and heartbreak, drugs and the suburbs, boredom, football violence, vandalism, happiness, isolation, addiction, rivers, shopping trolleys, love, hope and the metropolitan malaise… addressing the growing social and economic disparity of the modern city, it is most of all a beautifully evocative portrait of London, the struggles it presents and the solutions it offers.” The work’s also been filmed by Adam Carr with additional musical contributions by Samuel Kilcoyne and Takatsuna Mukai: I’m not sure whether we’re just getting Jan on his own, or whether we get bits of the film or music too, or whether we get all three.

 
Katharine Blake and Clifford Slapper present:
‘Slappers’ Club’
Mascara Bar, 72 Stamford Hill, Stoke Newington, London, N16 6XS, England
Thursday 24th May 2018, 7.30pm
– free entry – information here
 

May 2018 – upcoming rock gigs – God Is An Astronaut’s British tour with appearances from White Ring, Xenon Field and Tim Bowness (17th, 18th, 20th May)

12 May

God Is An Astronaut, 2018

Within rock, Celtic romanticism has a chequered history. It might energise a white man’s answer to soul music (including Van Morrison and The Waterboys) but it can also peak in wildly sentimental bombast (Big Country’s glossed pipe-guitar burn, the Cranberries’ parade of obvious, U2’s urge to prove themselves the biggest, most emotive band in the world for every minute they play and record).

There’s also the other more abstracted kind which works so well as impressionism, as suggestion of a psychological landscape, as a window onto seeing and interpreting differently – Van’s inarticulate speech of the heart, if you like. This latter type’s found mostly in instrumentation and production shaping: those lonely keens, the vaunting inclusive pridefulness in the sonic qualitiesm the rain-on-high-rocks scenic tone. For me, it’s often found most keenly and propulsively in the synthscapes which Mick MacNeil created for Simple Minds in their prime: a band who, in their time, have staggered between the heart-thrilling and the stadium belch, and for whom MacNeil (whether armed with cheap plastic post-punk era electronics or his later battery of high-end gear) crafted outsize pulsing and ringing soundscapes which used European schooling and Japanese technology to recall and recreate the Barra island scenery of his childhood.

There’s something of this latter abstracted tone in the work of God Is an Astronaut, now nine albums deep into an instrumental rock which initially sets up its stall in post-rock but which very quickly starts hurling itself against the dry, jaded constraints of the form, like an impassioned bloke in a claustrophobic pub booth. Discovering that they hail from the long, gorgeously wooded glacial valley of Ireland’s Glen of the Downs makes perfect sense: there’s the grand sense of scene and wide-open place pulsing through, the homescape bypassing words and blotting itself through experience into sound. That’s not to say that when the music breaks free it clots into clapalong arena riffs or waves a mute, commanding white flag up on a giant screen. What emerges is still, somehow, hushed, but a giant reverberation around hush. In some respects, they seem to conjure up the romantic post-Ballardian wreckage of a Celtic rock stadium gig, their compositional camera slowly panning past the decayed hulks of long-silenced speaker stacks; the ruins of abandoned Amnesty stands.



 

The band’s ongoing European tour touches England and Scotland next week for three dates, supporting on all of which are New York “heavy body music” trio White Ring, who play like the filmy ghosts of a long-dead rave. Also supporting (as they’ve done for most of the European dates) are Dublin duo Xenon Field. Robert Murphy and Conor Drinane produce a bony, grinding, yet elevated post-Goth dance sound with a mixture of programmed, manipulated electronics plus live guitar and bass. Despite having been at it for eleven years, recorded music seems to be thin on the ground: they seem to concentrate more on production work or on spontaneous live dance-culture jams, so here they are pumping out a bleak but energized groove at Dunk! Festival last year.




 

A surprise – or at least surprising – extra guest at the London show is Tim Bowness. As he edges into his mid-fifties, the No-Man singer’s increasingly the custodian of a particularly tailored subsection of art pop in which a very English reticence and literary sparseness grapples with awkward all-consuming heartache and frothing, inconvenient emotions. Still promoting his most recent album (2017’s ‘Lost In The Ghost Light’, which gradually, softly and relentlessly strip-mines the jaded psyche of a ’70s nearly-was rock star), he’s an odd fit for this bill – the lone narrative voice in a succession of wordless or incomprehensible sound-builders, like an Edwardian curate wandering through an all-nighter.

Still, it’s worth remembering the gorgeous, tortured echolalic howls Tim brought to his stint with Darkroom; and that when he first put No-Man together with Steven Wilson in 1986, they may have taken note of sleek pop and prog vehicles like Roxy Music, Genesis and Japan, but among the other influences were Swans and the Velvets. Perhaps this different May milieu will awaken something old in him.


 
Dates:

  • Electric Brixton, Town Hall Parade, Brixton, London, SW2 1RJ, England, Thursday 17th May 2018, 7.00pm (with White Ring + Tim Bowness + Xenon Field) – information here, here and here
  • The Classic Grand, 18 Jamaica St, Glasgow, G1 4QD, Scotland, Friday 18th May 2018, 7.00pm (with White Ring + Xenon Field) – information here, here and here
  • Club Academy @ Manchester Academy, Oxford Road, Manchester, M13 9PR, England, Sunday 20th May 2018, 7.30pm (with White Ring + Xenon Field) – information here, here and here

May 2018 – the start of the Daylight Music summer season in London – Green Seagull, respectfulchild and Twenty-Three Hanging Trees (12th May); Firestations, Seán Mac Erlaine and Hatchie (19th May); Vesperados, Guastalla Quartet and Marcus Corbett (26th May)

7 May

Although they were a ‘Misfit City’ mainstay for a number of years, it’s been a while since I’ve put up any previews for Daylight Music‘s free Saturday noontime concerts at the Union Chapel. Blame this on the slapdashery that passes for “method”, back here at ‘Misfit City’ HQ; blame concentration or distraction by other things, but for goodness’ sake don’t blame Daylight Music themselves.

I suppose that it might be possible for a regular attender to sometimes feel as if you’ve had enough of Daylight’s particular cosiness – that warm wooly-sweatered whimsicality, the cake stall, or the feeling that you might just crack if you see another community choir singing alt.pop cover versions. But ultimately it’s churlish to take swipes at them for the side trappings when what really counts is the musing intelligence and the well-honed curatorial instincts underneath the family-friendly fuzz. In the end, there are precious few regular gigs in London that can match Daylight for unassuming stealth education: few that will host a baroque quartet alongside rustling sampledelia, set guileless acoustica off against arch indie, season your ears with sudden rushes of Baltic sound or pipe organ interludes; introduce you to musicians and songwriters who leave you astonished and blinking about the fact that you’ve never heard of them before; and all the while balancing the kiddie-friendly with the uncompromising and actually pulling it off. There are few gigs that are just so plain generous.

So, without more ado, here’s a quick signal-boost for the first few gigs of their imminent summer season…

* * * * * * * *

Daylight Music 280: Green Seagull + respectfulchild + Twenty-Three Hanging Trees, 12th May 2018

“The 12th May show features Green Seagull, respectfulchild and Twenty Three Hanging Trees. Green Seagull are the latest band to burst out of London’s burgeoning neo-psych scene. Their harmony-laden baroque/freakbeat sound draws upon influences such as the Left Banke, the Kinks and the Association. respectfulchild is the solo instrumental project of Gan from Saskatoon on Treaty 6 Territory. Their music is electronic in nature while being acoustically created, building experimental ambient soundscapes through slow progressions of meticulous improvisation. Their sound has been likened to Brian Eno, Nils Frahm and Owen Pallett.



 
Twenty Three Hanging Trees is the meditative modular synth exploration project of Xavier Watkins (Fuzzy Lights/Violet Woods/Red Red Eyes.) The project’s progression from hazy guitar drones to electronic-based explorations with dusty, contemplative tonalities has been a transformative one. Learning to express himself with synthesis was like learning a new language, each step having to be carefully planned and executed so as to maintain the fragile equilibrium created. While 2016’s ‘Nocturne’, released on the Sacred Tapes label, had a contemplative, embryonic stillness, 2017’s ‘Prémonitions’ has a deeper, more emotional heart, tempered by subtle rhythmic buzzing, shimmering oceanic drones and solemn arcs of melody.

 
* * * * * * * *

Daylight Music 281: Firestations + Seán Mac Erlaine + Hatchie, 19th May 2018

“The 19th May show features Firestations, Seán Mac Erlaine and Hatchie. Firestations are an alt-pop band who write simple songs then paint over them with drones, vocal harmonies, electronica and unusual rhythms. Their second album ‘The Year Dot’ has recently released by Lost Map Records. Séan MacErlaine is a Dublin-based woodwind instrumentalist, composer and music producer, recognised as one of Ireland’s most forward-thinking creative musicians. His work intersects folk, free improvisation, jazz and traditional music.



 
Hatchie is the world of Harriette Pilbeam. To hear her music is to step inside her mind; a dreamy landscape where cascading synths, jangling guitars, propulsive rhythms and white noise undulate beneath undeniable and irresistible pop melodies. This will be a special acoustic set.


 
* * * * * * * *

Daylight Music 282: Vesperados + Guastalla Quartet + Marcus Corbett

“The 26th May show features Vesperados, Guastalla Quartet and Marcus Corbett. Award-winning composer and jazz musician James Brady first formed Vesperados in 2011, bringing together musicians to explore African, Caribbean and Latin American influences in jazz through original music. Formed in 2013, The Guastalla Quartet brings together musicians from the finest conservatoires in Europe to form a chamber music group dedicated to the exploration of the string quartet repertoire from its roots to as yet unwritten works. Between them, they have performed at world-famous venues including the Royal Albert Hall, Wigmore Hall, Konzerthaus Berlin, Katara Opera House and the National Concert Hall of Taiwan.



 
“The Guastalla Quartet will also join Vesperados for an octet set during their performance: the use of strings will allow the full expression of rich jazz harmony alongside the rhythmic engine of Vesperados’ Latin-infused grooves.

“Completing the lineup, Marcus Corbett is a singer, acoustic guitarist and composer based between the UK and Pune, Maharashtra, India. He has been studying Indian classical music and working with musicians in India for over 10 years, skillfully combining the worlds of Indian classical and British folk music and producing a string of albums. He will perform with one of his key Indian collaborators, Tabla maestro Nitin Gaikwad.”


 
* * * * * * * *
As ever, all gigs are at Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England and are free, though it’s good form to donate a fiver on the way in or out. Dates below:

  • Daylight Music 280: Green Seagull, respectfulchild + Twenty-Three Hanging Trees, Saturday 12th May 2018, 12:00pminformation
  • Daylight Music 281: Firestations, Seán Mac Erlaine + Hatchie, Saturday 19th May 2018, 12:00pminformation
  • Daylight Music 282: Vesperados, Guastalla Quartet + Marcus Corbett, Saturday 26th May 2018, 12:00pminformation
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