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June 2018 – upcoming London rock gigs – gloriously complex experimental rock evenings – The Mantis Opera, Barringtone and New Born Animal (8th June); Lost Crowns with Sharron Fortnam and Kavus Torabi (June 14th)

27 May

Several of London’s more convoluted art-rock genii are emerging from the woodwork to play live in the early part of June, accompanied by assorted fellow travellers and burlesque pop sympathisers. Read on…

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The Mantis Opera + Barringtone + New Born Animal, 8th June 2018

If you’ve wondering what a band might sound like if it fused Henry Cow, Battles and early Scritti Politti, you’re in luck… and, to be honest, probably pretty marginal. Come over here and sit next to me.

Stemming from solo work by guitarist, singer and electronics meddler Allister Kellaway, The Mantis Opera now delivers his stirring, challenging constructions via a full electro-experimental synth-rock band, voicing a collection of “avant-garde grumbles” via a multiplicity of synth sounds and colliding pop tones. If this sounds inaccessible and snooty, it isn’t. It’s just that the tunes arrive in complicated cascading splinters, many parts urging in parallel towards an out-of-sight coda, while a dreamily precise atmosphere prevails: avant-prog keeping watch from under a dream-pop veil.

The pieces themselves display an ambitious, orchestral thinking – Reykjavik, for example, is less a guitar clang with lofty ambitions and more of a cerebral/visceral string quartet piece transposed for rock band. Allister’s winding, philosophical lyrics, meanwhile, are very reminiscent of Henry Cow and of Rock in Opposition preoccupations, dissecting as they do themes of resistance, logic, language and compliance with the air of a man trying to bring intellectual rigour to the pub, grabbing at the misty answers before the closing bell rings.



 
Assuming that recent reports of a broken-wristed drummer haven’t entirely torpedoed their availability, Barringtone should be in support, continuing their live drive towards the release of their debut album on Onamatopoeia this summer. Released songs have been sparse over the past few years; but enjoy this new-ish brainy little post-power-pop conundrum, exhibiting Barry Dobbins’ own ambitions as he moves up from the band’s previous wry, ornamented motorik drive into much more castellated, conversational proggy territories while keeping their knuckly XTC-inspired edge intact.


 
Seven-piece big-pop band New Born Animal complete the lineup at this Friends Serene gig. Headed by singer/songwriter/arranger Thomas Armstrong, they’re a sonorous wall-of-drunken-sound effort who sound like Blur (during their music-hall period) dragging the Walker Brothers into a dressing-room tipple too far. If so, they also sound like the stage before it all turns nasty: slightly discombobulated singalongs where self-consciousness is just rags in the breeze, the emotional valves have been opened up and everyone in the room is temporarily your lifelong friend. If this in turn sounds sloppy, then I’d suggest that there’s a lot of craft going into something which sags and collapses so gloriously and visibly, but which never disintegrates. There’s longing, wonder and helpless laughter all brimming at the back of this.


 

On top of this, the whole evening’s free if you turn up soon enough…

Friends Serene presents:
The Mantis Opera + Barringtone + New Born Animal
The Shacklewell Arms, 71 Shacklewell Lane, Shacklewell, London, E8 2EB, England
Friday 8th June 2018, 7.30pm
– free entry – information here and here

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Lost Crowns + Kavus Torabi, 14th June 2018

The following week, Richard Larcombe’s Lost Crowns spearhead “an evening of songs with a lot going on in them”. In many respects, it’s a re-run of their triumphant London debut at the same venue back in January. No Prescott this time, sadly (though their instrumental ping-pong twitch would have been welcome), but Kavus Torabi is back with a guitar, a hand-pumped harmonium and more songs from his ongoing solo project. Launched the other month with the ‘Solar Divination’ EP, this might be 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.


 
As for the headliners, last time I anticipated Lost Crowns as likely to be (deep breath) “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.”

A tall order (even it was based on what Richard’s delivered in previous projects), but I wasn’t disappointed. With Lost Crowns, Richard’s created the most dynamic and surprising music of his career.

As before, the rest of the band’s lineup is a cross-section of London art-rock luminaries: Charlie Cawood, Nicola Baigent, Rhodri Marsden, Josh Perl, drummer “Keepsie”. Certainly the influence of Richard’s brother and usual collaborator James is missed (his genial, warm, embroidering effect on Richard’s work is underrated) but his absence allows both Richard and the band to stretch out in different directions – fiercer, more crammed, sometimes brutal in their complication.

A vortex of influences funnel around Richard, 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. As much at home playfully slagging off the precious venerations of synaesthesia as they are with nine-minute epics with titles like Housemaid’s Knee, Lost Crowns are a delightful self-assembling puzzle.

Frustratingly, with Richard still keeping everything close to his chest (outside of Lost Crowns’ welcoming gig environment), I’ve got nothing to show you. No embedded songs, no videos, nothing but those words and these words. Richard’s likely to keep everything culty, so the best way that you can find out whether I’m just lying through garlands here is to go to the gig yourself.

Originally this was to be a double-header with Lost Crowns’ other friends and allies, the revived psychedelic-acoustic band Lake Of Puppies (re-teaming North Sea Radio Orchestra’s Craig and Sharron Fortnam with William D. Drake, in order to build on the bouncing life-pop they cheerfully hawked around London together in the late ‘90s). Sadly, the Puppies have had to pull out of the show following Bill’s collision with pianist’s RSI in early May. Instead, Lost Crowns will play an extended set with Sharron woven into it as a special guest; while Kavus will be stretching out his own set, covering the remaining time that’s not taken up with snooker-ace-turned-avant-rock-uncle Steve Davis on DJ duty.

Lost Crowns (with special guest Sharron Fortnam) + Kavus Torabi + DJ Steve Davis
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Thursday 14th June 2018, 7.00pm
– information here, here and
here
 

June 2018 – more Daylight Music sessions in London – Pieter Nooten, Moon Gangs and Blasio Kavuma (2nd June); She Makes War, Garance & The Mitochondries and Chaouche (16th June); Sans Soucis Experience, Alisha Sufit and Malin Andersson (23rd June); Henning Fuchs, Takeo Toyama and Kate Ellis (30th June)

26 May

With the cake-crumbs and echoes just settling on the last of Daylight Music’s May shows, it’s time to look forward to their June ones – a treasure-trove of contemporary folk, pop, drones, chamber music, mambo, samplescapes, chanson, and classical and soul fusions. Dip deep.

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Daylight Music 283: 283: Pieter Nooten + Moon Gangs + Blasio Kavuma, 2nd June 2018“The 2nd June show features Pieter Nooten, Moon Gangs and Blasio Kavuma.

Pieter Nooten is a Dutch musician and composer best known for his work with the legendary Clan Of Xymox. Over the course of his varied career in music, he has produced numerous dance, ambient and avant garde records. He will perform songs from his long-awaited new album ‘Stem’.


 
Moon Gangs is the solo project of BEAK>’s keyboardist William Young. His music mixes analogue synth loops with foreboding, cinematic drones, heavily influenced by teenage years spent playing Commodore 64 games and listening to film scores like ‘Terminator’.

 
Blasio Kavuma is a London-based composer, arranger and curator. He has recently completed a collaboration with visual artist Gina Southgate involving live visual responses to his music, and he currently has a residency with dance company Wayward Thread. Drawing from a range of musical traditions, his music is full of rhythmic vitality and stylistic versatility, and is committed to championing forward-thinking music that is accessible to a wide audience.

 
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Daylight Music 284: She Makes War + Garance & The Mitochondries + Chaouche, 16th June 2018

“The 16th June show features She Makes War, Garance & The Mitochondries and Chaouche.

“Making a welcome return to Daylight Music, She Makes War (a.k.a. multi-instrumentalist, producer and visual artist Laura Kidd, blending urgent indie rock with melancholy torch songs) previews new material from her fourth album, which is due for release in September 2018.


 
Garance & The Mitochondries pairs Garance Louis (an extrovert, eccentric composer, singer and accordionist) with a band who mix Venezuelan mambo and psychedelic folk with the melancholy softness of post-musette songwriting. The result is a fresh, new way of interpreting the tradition of French chanson. Garance has busked her way across the world, travelling through New Orleans, Brazil, Portugal and Italy with her accordion in hand, and her adventures are documented in her songs.


 
“The music of Bristol-based singer/musician/producer Chaouche has been described as “heartbreaking and spine tingling hymns” by ‘Wonderland’ magazine. Her delicate piano playing features prominently and is bolstered by balanced production of her own massed vocals, programmed drums, sub-bass, cello, violin and an obsession with reverb and delay.

 
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Daylight Music 285: Sans Soucis Experience + Alisha Sufit + Malin Andersson, 23rd June 2018“The 23rd June show features Sans Soucis Experience, Alisha Sufit and Malin Andersson.

Sans Soucis Experience is a fusion soul collective of musicians based in London. Coming from different countries and meeting in the heart of Europe, they bring together a shared love for their own folk music, blending Central African and European influences and border interests in hip-hop, jazz and soul for this acoustic performance.


 
Alisha Sufit was the singer/songwriter with the pioneering British psychedelic folk band Magic Carpet, who released an album of the same name in 1972 on the Mushroom label. The album is now highly sought after. British guitarist Davey Graham wrote “her voice, full of love, soars and swoops, her lyrics full of keen observation and tender comment.” Alisha also sang and recorded with Amorphous Androgynous, and has recorded four solo albums.

 
“Swedish singer-songwriter Malin Andersson grew up close to nature, and her songs reflect the sound of the wilderness and honest Scandinavian simplicity. Her style of gentle fingerpicking guitar playing, mixed with contemplative lyrics and evocative melodies, has gained considerable support outside her homeland.


 
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Daylight Music 286: Henning Fuchs + Takeo Toyama + Kate Ellis, 30th June 2018

“The final June show, on the 29th, features Henning Fuchs, Takeo Toyama and Kate Ellis.

“Film composer Henning Fuchs will perform ‘A New Beginning’, a performance that combines live music and live sampling together with sound artist Patrick Muller and visual artist Sven Mücke. This bewitching performance celebrates silence and stillness of the mind. Silence is never solely the end. It is also always the beginning of something new. This idea is reflected throughout the composition.

 
“Discordant harmonies and fast-changing beats are the trademark of the sound variations of pianist Takeo Toyama. His innovative digital compositions for analogue instruments have attracted considerable attention. After recording five full-length albums, he has now started to arrange tracks for various artists, TV shows and animations. He is also in great demand as a composer for modern dance choreographies.


 
“Cellist Kate Ellis is dedicated to the performance and exploration of all things with the shiny label of new music. Kate is the Artistic Director of Crash Ensemble, and a member of the Taquin Experiments, Yurodny and Fovea Hex.”


 
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As usual, 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 283: Pieter Nooten + Moon Gangs + Blasio Kavuma, Saturday 2nd June 2018, 12:00pminformation
  • Daylight Music 284: She Makes War + Garance & The Mitochondries + Chaouche, Saturday 16th June 2018, 12:00pminformation
  • Daylight Music 285: Sans Soucis Experience + Alisha Sufit + Malin Andersson, Saturday 23rd June 2018, 12:00pminformation
  • Daylight Music 286: Henning Fuchs + Takeo Toyama + Kate Ellis, Saturday 30th June 2018, 12:00pminformation

 

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 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/June 2018 – gigs for Crayola Lectern in London and Brighton with Joss Cope, The Rt. Rev. Jennifer Husband and others t.b.c. (16th May, 1st June); ‘A Spring Symposium’ fundraiser for Tim Smith near Salisbury with Lake Of Puppies, Arch Garrison, Crayola Lectern, Bob Drake, Kemper Norton and Emily Jones (12th May)

1 May

Crayola Lectern + Joss Cope + The Rt. Rev. Jennifer Husband, 16th May 2018First things first: the murmuring, brass-dappled Crayola Lectern trio are making their way up for a rare London gig in the middle of May, followed by a Brighton launch show for the new Crayola Lectern album, ‘Happy Endings’, at the start of June. The vehicle for Chris Anderson’s tidal, sometimes melancholic, often softly funny songs – low-key dramas of reflection, resignation and not-quite acceptance – they’re powered by his piano, Al Strachan’s sleepy cornet and percussion and Brighton uberdrummer Damo Waters’ parallel skills on keyboards.

It’s not been confirmed yet who’s joining in at Brighton, though the whispers are that it’ll be someone – or several someones – drawn from Chris’ Brighton psychedelic circles, which includes driving psych-rock ensemble ZOFFF, Kemper Norton (more on whom shortly), CLOWWNS and Spratleys Japs. However, the London bill has its two support acts.

Psych-pop journeyman Joss Cope, armed with his strongest project yet (last year’s ‘Unrequited Lullabies’) will be along for the ride. I recently described the album as “a luscious living-room tranche of psych-pop with a sharp wit; dappled with dextrous pop guitars, carousel prog, fake horns and laps of Mellotron”. Live, you may get a little less of the texturing, but you’ll still get the songs: chatty, wry commentaries on a world wobbling off the rails. The Rt. Rev. Jennifer Husband also happens to be Nick Howiantz, who otherwise divides his time between running Brixton Hill Studios and fronting sporadic, noisy Brighton psych-pop rompers Ham Legion. I’ve no idea about what’s behind the genderswapping ecclesiastical mask, but he/she/they are being tagged as a “veritable modern day Syd Barrett”, so come along and see whether that’s a claim worth claiming or whether it falls interestingly wide of the mark.




 
Dates:

  • Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England, Wednesday 16th May 2018, 7:30pm (with Joss Cope + The Rt. Rev. Jennifer Husband) – information here, here and here
  • The Rose Hill, 70-71 Rosehill Terrace, Brighton, BN1 4JL, England, Friday 1st June 2018, 8.00pm (support t.b.c.) – information here

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A Spring Symposium (for Tim Smith), 12th May 2018
I was talking about Crayola – and William D. Drake – only a few posts ago, as regards their Worthing fundraiser for Tim Smith on 19th May. A week before that, both of them (in various permutations) will be joining another Tim fundraiser – this one an all-dayer in Coombe Bissett, nestled in the Wiltshire chalk downs south-west of Salisbury.

‘A Spring Symposium’ is the brainchild – or heartchild – of onetime Cornish folkie Emily Jones, who’s now joined the cluster of Cardiacs family musicians living around Salisbury. Her own songs of seal-wives, haunted bungalows, witchery and other glimpses beyond the vale will be part of the event, alongside contributions from various other characters well-known to Cardiacs followers or to aficionados of certain weird-folk, Rock in Opposition and hauntological camps.




 
Emily’s near-neighbours, Craig and Sharron Fortnam of North Sea Radio Orchestra, will be taking part in various permutations. Craig will be bringing along his Arch Garrison duo with James Larcombe, singing soft songs (on gut-strung acoustic guitar and buzzing organs and monosynths) about long walks, lost brothers, ancient roads, dogs, death and bereavement and the various gentle tug-of-wars between family and necessary solitude, compromise and truthfulness, art and earning. Craig and Sharron will both be playing in a second reunion of Lake Of Puppies, the rollicking, affectionate acoustic-psychedelic folk-pop band they formed with avuncular ex-Cardiac and alternative keyboard virtuoso William D. Drake over twenty years ago. During the mid-‘90s they’d play regular small gigs around London; bobbing up with their bouncy songs of life, good humour and growing things, like a rosy apple in a tub. Sadly, they went their separate and amiable ways after only a few years and no more than a couple of rough demos. Having reconvened in the summer of 2013 (for a lovingly received appearance at the Alphabet Business Convention), they promptly disappeared again, but have been working out a long-delayed debut album on the quiet. Some of that ought to show up at this concert. See below for a couple of dashes of their particular flavour. Large Life might be billed as Bill’s, but it’s Puppies to the bone, and their 2013 set from Salisbury should give you an idea as to how they are now.




 
I’ve already mentioned the Crayola Lectern set; there’ll also be one from Bob Drake (the onetime 5uus and Thinking Plague guy currently bouncing around the country on a tour of his own). Sit at Uncle Bobby’s feet; listen to his electric guitar jangle, pop and change its mind every other mid-phrase; and take in some loveably bizarre constantly changing one-minute songs about sinister meerkats, experiments gone wrong, and the way in which assorted eldritch beasts from dark dimensions annoyingly disrupt your life, your shopping and your evening’s relaxation. If Ogden Nash, Fred Frith, Roald Dahl and Neil Young had all crept up to H.P. Lovecraft’s house one larky summer’s evening with a pint of moonshine and some tall tales – and really made him laugh – it would have sounded something like this.


 
While there may be a couple of extra guests showing up as a surprise, the Symposium roster is formally rounded off by Kemper Norton and by Libbertine Vale – the former an electro-acoustic folk-culture miner of music and landscapes, (armed with instruments, electronics and field recordings to remap both physical terrain and song terrains), the latter the Omnia Opera/7shades singer who’s revealed herself as a rebel Midlands folkie, digging deep into the more macabre corners of the folk-song catalogue and coming back with “uncomfortable songs about death, a capella sqwarking that will kill or heal your ears, dependent on your disposition.” It’s tough to track Libby down on the web, but here’s a bit of Kemper.



 
There’s only ten days to go ‘til the event, but there’s still time to arrange to get there. There’ll be cakes and ale, there’ll be vegetarian food; Tim Smith himself will probably be in attendance, and Emily’s suggested that you caravan-camp out on the chalk downs. If this English May makes its mind up (and settles for being a good springsummer), it all ought to be lovely.

Emily Jones presents:
A Spring Symposium: Lake of Puppies + Crayola Lectern + Arch Garrison + Bob Drake + Kemper Norton + Libbertine Vale + Emily Jones
Coombe Bissett Village Hall, Shutts Lane, Homington Road, Coombe Bissett, Salisbury, Wiltshire, SP5 4LU, England
Saturday 12th May 2018, 2.00pm
– information here, here and here
 

May 2018 – upcoming London gigs – SOIF Soiree in Wood Green including John Moore, Society Of Imaginary Friends, Magdalena Grabher, John Glyn & Richard Bolton, Circulus’ William Summers and assorted poets and spoken-worders (May 4th)

29 Apr

It’s always nice to have free events bob into view, even if it’s at short notice. Into my face blows a excitable new balled-up missive from operatic art-pop auteurs and eclectic monthly salon curators Society of Imaginary Friends. Once I’ve opened it, smoothed it out and vigorously curry-combed it for loose grammar and punctuation, I’m offered a remarkable selection of goodies: a webbing of poetry and musicality which links together Shakespeare, The Jesus & Mary Chain, psychedelic folk troupe Circulus, Black Box Recorder, Rosa Mota, autism, X-Ray Specs and vegan cuisine.

I’ll let him/her/them do the talking:

SOIF Soiree, 4th May 2018

“I was taking the escalator over the hill… hang on… something’s burning… It’s our Beltane Birthday Soiree on the 4th May!!! The extraordinary Alfie Thomas (SOIF has hit a very significant number of earth years… Oh, what a dancing dragon of a party we have in store for YOU… Yee…


 
“Hah!!! Our star-studded night includes the fantastic John Moore (Black Box Recorder, Expressway and Jesus & Mary Chain) performing a couple of his hits from his new album ‘Knickerbocker Glory’ (“couched in shimmering rock, Sixties girl-group pop and even a touch of operatic soprano on Anne of a Thousand Days, this is a literary pop gem” – ‘The Times’) – guess who the operatic soprano is? Punk legend virtuosic saxophonist John Glyn (X-ray Specs and Wreckless Eric) will be astounding us with his magical improvisation, weaving his beautiful tones with the incomparable virtuosic guitarist Richard Bolton. Their inspiration is the vibe of the night: we all have a part to play in creating something totally original.


 
“The beautiful, soulful Magdalena Grabher will be looping her intricate musical motifs to create ethereal soundscapes and gorgeous songs; the wonderful highly acclaimed poetess Lady Amy Neilson Smith and master of woodwind Sir William Summers (Circulus, Princes in the Tower) will be astounding us with their Shakespearian-inspired set.




 
“Award-winning spoken-word performer Cian Binchy will be making us think (catch him before he takes his sell out show ‘MADHOUSE re:exit’ to Manchester for a month), urban punk goddess I Am Her will be performing songs from her brand new album; the superb Math Jones will be sharing his Beltane musings; welcoming to the Soiree mystery new poet Charlie and author Samuel Bates. Special guest DJ t.b.a, and special birthday songs from Society Of Imaginary Friends. Fabulous vegan cuisine by Roger and Kathy – it is also Roger’s birthday!! So much to celebrate. FREE ENTRY: Looking forward to seeing you there… xxx”

Society of Imaginary Friends presents:
Beltane Birthday Soiree: Society Of Imaginary Friends + John Moore + John Glyn & Richard Bolton + Magdalena Grabher + William Summers & Amy Neilson Smith + Cian Binchy + I Am Her + Math Jones + Charlie + Samuel Bates + others t.b.c.
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 4th May 2018, 7.30pm
– information here
 

April/May 2018 – some more immersive London gigs of various kinds – brain voyages with You Cry Wolf, Joe Corbin and Bokoyono (23rd April); righteous resistance with ‘Gerrard Winstanley’s True and Righteous Mobile Incitement’ (6th May)

19 Apr

Concerts which go a little deeper… a trip to the heart of the illuminated brain in Brixton and a remounting of past dissent in Poplar, both of which you’re invited to soak yourselves in.

* * * * * * * *

You Cry WolfMath-rock usually constructs and communicates meaning from the abstraction of numbers, even though it’s generally played to non-mathematical people. Ducking underneath song forms, it communicates less through stories, textures and timbres than through its attempts to mine the ecstatic human response to pattern-building. For Brighton math-rock trio You Cry Wolf this clearly isn’t enough. From the start, they’ve not followed the usual mathy practise of turning their back on vocals and words, with guitarist Owain Arthur delivering a near-continuous murmur of cryptically anxious lyric over the bare-bone instrumental notes.

Building from their earlier, more straightforward mathwork (and from their occasional taste for plaintively en-mathening mainstream pop such as Coldplay’s Trouble), You Cry Wolf have broadened out into their own brand of rock theatre projects – ingenious and immersive low-budget affairs in which projected film, sound, venue decoration and even live scent have become integral to the work; a sort of DIY 4D cinema. Their quarter-hour piece ‘A Fresh Start (for Peter Russo)’ (which toured around various fringe festivals in 2015) delved into the psyche and day-to-day experiences of an obsessive, alcoholic middle-aged gardener.

On spec, it sounds like an earnest ‘70s-to-‘80s collision between a lost piece of melancholic English prog and a stern German art cinema – or perhaps a glummer, hushed take on a Mars Volta extravaganza. The proggy theatrical elements were increased by the fact that the band played inside a pod of angled sheets, obscured from view by projected filmwork (from video artist and onetime Polar Bear collaborator Jacek Zmarz) and bolstered by wafts of floral scent as they tried to induce their audiences into following the story through Peter’s eyes and senses: sharing his day-to-day impressions and actions, coming to understand his personal search for meaning and a possible redemption.


 
From the accounts I’ve heard, it was quite an experience, moving from the earthbound and mundane to the magical. Here’s what ‘The Line Of Best Fit’ made of it during its home stint in Brighton, and see above for a video clip of the film and music content, (though it’s evidently a pale shadow of the mirrored and scented storytelling environment which the band summoned into being for each performance.

Transcendence was the climax and key to the ‘Fresh Start’ show; heartened by the success of ‘A Fresh Start’, You Cry Wolf expanded to a related but even larger conceit for 2017’s ‘Only God’ (which ran to a couple of shows in Brighton and south London in June last year and now makes a return to Brixton as the centrepiece of a three-hour concert tagged as “a new fantasy to lose yourself inside”).

You Cry Wolf + Guests
Upstairs at the Ritzy, Brixton Oval, Brixton, London, SW2 1JG London, England
Monday 23rd April 2018, 8.00pm
– information here and here

In many respects, it sounds like a souped-up twenty-first century take on those 1960s psychedelic gigs which attempted to induce altered states with oil-slide projections and the flickering low-tech visual pulses of dreamachines. With ‘Only God’, the band are attempting to stage “a lurid dream-world, a hallucination comprised of fragments of a waking-life reordered into dreamy irreality… a vivid journey inside the dreaming mind.” As with ‘Fresh Start’, the live band setup is augmented by a custom-designed set (this time devised by club installation specialists Moonstone), video projections (specifically commissioned from Cargo Collective artist Agathe Barré) and scene-setting aromas.

According to the band “the concert marks an exploration of the significance of dreams and their effectiveness as tools for introspective self-discovery. As we are prone to futilely create meaning from our dreams, so too is the audience encouraged to create their own conclusions from the fragments of the story provided in its performance. Making use of pithy and surreal lyrics, sensational abstract imagery and fresh emotive rock-music, You Cry Wolf invite the audience to take centre-stage as they are transported inside the narrative, to see through the eyes and into the soul of the sleeping protagonist. There is no stage, no spot light; You Cry Wolf have created a window into their music and inside their protagonists’ fictions, where human experience and narrative supersede traditional performance convention, where concept and character-construction form the all-consuming conditions for this music-based escapade to unfold.”

In support – and perhaps at least partially integrated into the bigger idea – are Bokoyono (an “instrumental psych/desert/surf-rock band, ready to rip you a new one”) and modern electric blues guitarist Joe Corbin (on this occasion armed with “a set specially prepared to rip open the doors of perception until all inhibitions disappear and your mind is malleable for the moulding!” Moonstone member Cal Lewis (also of and loft-party specialists Solis and Palooza) pulls double duty by taking over the DJ slot, which is intended to be as immersive as the rest of the evening…


 
* * * * * * * *

From psychedelic innerspace to direct action and a spot of tea… a change of tone.

Over at Poplar Union in early May, there’s what appears to be an insurrection boutique. Deptford’s Black Smock Band (“South London’s premier gay socialist folk band”) are collaborating with Bethnal Green’s Daedalus Theatre Company to revive a spot of English radicalism and invite you to participate.

'Gerrard Winstanley’s True and Righteous Mobile  Incitement', 6th May 2018

“The Black Smock Band and Daedalus Theatre Company have worked with Tower Hamlets residents and students from the Applied Performance course at Queen Mary University to create a truly unique, local gig-theatre performance, teaming up with a seventeenth-century rebel to uncover England’s history of protest and ask what it all means today. Expect a song, a dance and perhaps the start of the revolution! They also invite you share your thoughts on East London life over a cup of tea at their pre-show tea party, along with a spot of placard-making and protest-song writing too, if you fancy.

“Part of a long-term project to explore past and present stories of protest and dissent, this performance has been made with a special focus on current and historical protest and dissent in Tower Hamlets. It was developed at Ovalhouse in South London through a series of scratch performances leading to a commission to create a full production for Brixton City festival. The project is an ever-changing, locality-responsive piece of gig-theatre using historical texts and songs alongside new material, using gatherings over tea with local people to inform each new version of the performance.”

The piece is inspired by Gerrard Winstanley, an oft-obscured figure from English history. As one of the founders of the Diggers movement, he led the squatting and constructive reclamation of enclosed private land during that seventeenth century period in which England teetered between the traditions of monarchy and the possibilities of communitarianism. Viewed back through the lens of a twenty-first century London (one being gradually consumed by the kind of landgrabs and land-banking which insidiously push out and exclude its long-term occupants), he and some of his arguments have gained a new resonance and timeliness.

Expect current issues to seep into the story, primarily the erasure of working-class home neighbourhoods and the displacement of their communities by gentrified developments (the transformation of the Heygate Estate into the gentrified Elephant Park, the looming threat of a similar outcome via the Haringey Development Vehicle, and – for Poplar residents – three decades’ worth of the marginalisation of poorer householders and tenants by the glittering elite massing of the Dockland developments).

Travelling around with band, actors and crew is The Mobile Incitement Unit – “a portable installation by artist Andy Bannister containing everything needed to stage a performance, run participation workshops and, of course, foment revolt”. Art is a hand grenade, but sometimes it’s a tea urn.

All going well, the piece should tour nationally in 2019 – for the moment, you can be a part of it here in London, or get more involved by inviting them over to your neighbourhood via the page here.

Black Smock Band & Daedalus Theatre Company present:
‘Gerrard Winstanley’s True and Righteous Mobile Incitement’
Poplar Union, 2 Cotall Street, Poplar, London, E14 6TL, England
Sunday 6th May 2018, 1.00 pm-2.30pm (tea party), 3.00pm (performance)
– information here and here

Here’s a video explaining some more about the project (and offering a peek at the M.I.U.)…


 

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