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August 2018 – upcoming London pop & rock gigs – Loop Pedal Lunacy with Steve Strong, Fetherstone, Alex Taylor, Sam Martin and She, Robot (8th August); plus a rare free Silvery acoustic show (10th August)

3 Aug

An evening of pop-looping at Paper Dress; and the return of some London art-pop rascals…

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First, the loopfest…

Loop Pedal Lunacy, 8th August 2018

Steve Strong is a one man arsenal of beats, tapped guitar and lush textural melodies. His music is as witheld as it is grandiose, as skeletal as it is layered, equal parts shimmering and pulsing. It glimmers, swings and explodes in all the right places, sliding gracefully from one section to another, played as tightly as it is loose and free. Steve’s ability to bridge the gap between technical ability and captivation is completely instinctual, tattoed onto his musical consciousness like the art on his body. His music seems to encompass many different styles without feeling contrived or forced; every strand of inspiration in Steve’s music is carefully placed and melted. This music will not be held down!


 
“As She, Robot, award winning loop artist Suzy Condrad is a seasoned performer and authentic underground artist who has written and self-produced three albums and established herself as a leader in her field, winning the title of Boss Looping UK Champion in 2011. She effortlessly juggles instruments and genres with a dynamic and arresting one-woman show which has amazed and delighted audiences from Shambala to Boomtown Fair, Bearded Theory to Beautiful Days. Dancehall, ska, doo-wop, folk and electro collide with blistering beats and haunting, sublime vocal gymnastics to take you on an ever-looping journey which balances real-time loop juggling against timeless songwriting. Edgy, raw, beatbox and bass driven sensual sounds, layered to perfection, create a mesmerising performance which is powerful yet ethereal. Woman meets machine in a musical maelstrom that will make your head spin, your spirit lift and your feet move.

 
“Already compared by reviewers to the likes of Bill Withers, John Martyn and Jeff Buckley, Bristol-based singer/songwriter and multi-instrumental loop pedal artist Alex Taylor is one of the shining lights of the acoustic scene and a troubadour of world-class standing. Drawing on varied influences from a wide musical spectrum, Alex’s style splices elements of soul, nu-folk and electronica to place his shape-shifting voice and dextrous, original acoustic guitar playing firmly in the spotlight. Touring extensively, Alex has notched up hundreds of gigs, sharing stages with such luminaries as Jack Savoretti, Roachford and Michael Kiwanuka: a festival favourite, he recently headlined the BBC stage at Bristol’s Harbour Festival, and has played many other stages including Cambridge Folk Festival and Cheltenham Jazz Festival. His critically acclaimed debut album features performances from members of The Invisible, Newton Faulkner’s band, Portishead and Massive Attack.


 
“Heavily influenced by her ninety-four-year-old artistic grandmother, Aussie-born Fetherstone brings together the quirky sounds of electronic pop and the swooping melodies of folk, and combines them with her emotive reflective story-telling. Based in London since 2015, 2017’s ‘Debut’ EP was produced and engineered by London native Harry Tarlton (Kobalt, Union J, Stooshe, WarnerUK), with the last single Two Hands On Deck hand-picked by Newton Faulker to feature on the Richer Unsigned record store day Vinyl compilation, April 2018. Fetherstone’s live shows captivate audiences using a loop/effects pedal, percussion and electronic drums. Recent performances include The Camden Assembly (supporting for Frida Sundemo), Richer Unsigned Live at Melomania, TV Nights Upstairs at Ronnie Scott’s, The Servant Jazz Quarters (supporting Ella Janes), Live at The Bedford and The Troubadour (supporting The Modern Strangers).

 
“Since an early age, Sam Martin has written and performed his own music around the UK, both supporting and headlining on nation wide tours. In 2010 he recorded his first independent solo EP and has since recorded three studio EPs which have gained a mass following in the UK and Europe as well as Australia and North America. With a vocal/guitar/loop-pedal musical style incorporating blues, jazz and alternative soul, Sam’s vocal and instrumental ability is testament to both his inspirations and musical evolution.”


 
Loop Pedal Lunacy – A Night of Live Looping (featuring Steve Strong, Fetherstone, Alex Taylor, Sam Martin and She, Robot)
Paper Dress Vintage Bar & Boutique,, 352a Mare Street, Hackney, London, E8 1HR, England
Wednesday 8th August 2018, 8.00pm
– information here, here and here
 

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Meanwhile, the coming week also sees the first gig in a year for London art/glam/pile-on rockers Silvery. Snatching an early night slot before the late-night jazz funk at Jazz After Dark, they’re going for a repeat performance (of sorts) of last year’s free Soho acoustic gig: this time, in order to celebrate the tenth anniversary of their debut album ‘Thunderer & Excelsior’.

Simultaneously effete and rowdy, Silvery are a wonky London pop sense made flesh, sounding as if they’ve sprung from the same zigzagging suburban allotments-of-weird which also brought up The Kinks, The Monochrome Set, Cardiacs and The Stranglers. They’re more urchin-esque than Franz Ferdinand, but less leery than Blur. They’re an erudite and wayward Carnaby Roxy; the Dodgers to Bowie’s Fagin; and as rocking goes, they’re only “garage” if said garage had started life as a spooky Victorian stable block.

In their live heyday, Silvery would dress up as Bow Street Runners and fill the capital’s little venues with sweat and joy; these days, their gigs are few and far between, so make the most of this one. If it’s anything like the last time, it’ll be just the two Silveries – Simon Harris and front guy James Orman – thwacking out the old stuff on 12-string acoustic guitar and piano. Below, to get you in the mood, there’s a couple of full-bore electric ‘Thunderer…’ excerpts plus a teaser for a forthcoming film they’ve been making.




 
Silvery: Live Acoustic
Jazz After Dark, 9 Greek Street, Soho, London, W1D 4DQ, England
Friday 10th August 2018, 8.00pm
– free event – information here
 

July 2018 – upcoming avant-pop gigs – Liam Singer in New York and Catskill with Sontag Shogun, Alexander Turnquist and Tim Mislock (12th, 13th July)

6 Jul

Liam Singer, 2018Bar his efforts in assembling a performance of Terry Riley’s ‘In C’ under the Brooklyn Bridge last year, not enough has been heard from Liam Singer since he released his gorgeously limpid ‘Arc Iris’ album in 2013. In fact, he’s quit New York City and moved upstate to Catskill, where he’s now co-running HiLo – a combined cafe, bar, art gallery, and performance space. New responsibilities, however, haven’t stemmed his musical flow. Two imminent shows (one at HiLo and one in his old Brooklyn stomping grounds) mark this month’s release of his fifth album, ‘Finish Him‘, on Birdwatcher Records.

Centred on his piano and the sweet murmur of his voice, Liam’s previous records brought in strings, glass harmonicas and spectral studio reverb; the clink and clatter of gamelan and prepared instruments, Morton Feldman namedrops, and women’s voices shading into birdsong. They sketched out a sharply etched dreamworld which seemed to take place in and on the towns, roads and headlands of a permeable New England coastline – one in which ancient mythology and personal headspace interpenetrated, and danced their way up and down from the seabed to the constellations. Either that, or they evoked loft life in an idealised, slightly antiquated boho New York or upscale university town – Art Deco bannisters, rumpled stockings discarded by elusive free-spirited lovers; mannered speech, books on the Harlem Renaissance.

It was pop, but pop over which Steve Reich and the aforementioned Feldman presided as occasional guardian angels (as did Henry Cowell and Shaker music), amidst a papery flutter of old books and wallpaper witnessings, and of dust being blown off enthralling junk-shop discoveries. Longtime co-producer Scott Solter likes to link it to “Edward Gorey and the Brothers Quay“. The descriptions may sound precious, but the songs aren’t. No showboater, Liam is nonetheless one of those singers whose tones gently, subtly shift and refract between wonder, melancholy, wry self-deprecation and ecstacy: a caster of light upon things, rather than a hoarder or showcaser. The folding of literary and mythical references into his songs – and their subtly eclectic instrumentation – may bring him comparisons to Elliott Smith (especially in terms of the intimate delivery) and to Sufjan Stevens; but to me he’s a far more gentler character, bringing a human fragility and self-awareness to his steps in and out of a numinous music realm. A bit like an American William D. Drake, perhaps; though minus the occasional overt music-hall flourishes.


 
That said, ‘Finish Him’ (described as “a coming-out party”) sees Liam changing tack. Now he’s fully, publically embracing influences he’s previously only hinted at – predominantly colourful 1980s art pop “from a time when traces of the Baroque and avant-garde began to seep into the margins of the mainstream alongside the iconic synths, gated reverbs and big hair.” The science-fiction bacofoil-meets-CGI video, drum machine and layered synths of pilot single Test Tone determinedly sets out this new stall – like Wes Anderson simultaneously taking on ‘Tron’ or one of those Saturday afternoon space operas – and while new tracks like The Devil and I Want To See Sparks are less immediately brash, they’ve set aside some of the diaphanous sound of previously-on-Liam in favour of grander, brighter colourings, scrim-sweeps of noise, and bolder narratives about the struggle between selfishness and connection, the booting over of applecarts.



 
If there’s a new parallel, it’s the latterday work of Paddy McAloon – the revealing of extra bite and sharp points behind the musical meringue, the emergence of perspective and bone-deep feeling that comes with age and gravity taking more of a hold. The magic and mists are still there, just with a little more lightning.

Main support at both shows comes from Liam’s friends in the “lullanoise” project Sontag Shogun, who travel the world and bring back armfuls of noise and aural capturings of different places and times, only to re-knit them into ambiguous/meaningful post-minimalist mood pieces of piano and soundscape. Evoking or manufacturing memories filled with beauty and displacement, they produce music which is part hypnagogic tape, part four-dimensional postcard or souvenir.

For the Brooklyn show, the core Shogun trio (pianist Ian Temple, laptop/field recordings manipulator Jesse Perlstein and tapesman/oscillator operator/microphonist Jeremy Young) are “reformatting and outfitting” the band with a string quartet (thus forming the Sontag String Ensemble) and are playing “all new music, marrying improvisational and experimental sound with composed string arrangements by Ian.” For the Catskill show, they’re reverting to the trio format.



 
Each of the two shows will be bolstered by another instrumental set, each by a different guitarist/composer. In Brooklyn, it’s Alexander Turnquist, whose instrumental reflections on nature and philosophy blend virtuosic twelve-string acoustic fingerstyle with studio-based electronic noise aesthetics, producing a melodious state-shifting thunder of folk baroque/New Acoustic stringwork and reverberant processing which perhaps makes him the heart of an imaginary triangle between Michael Hedges, John Fahey and Jim O’Rourke.

Alexander’s counterpart at the Catskill show is Tim Mislock, whose use of simple electric figures and slow, ebbing ambient-country pulses… renders him more similar to Britain’s Rob Jackson or to a Nashville-saturated Robert Fripp, while also dipping into the lonesome romantic post-rock minimalism of Explosions In The Sky. His current album ‘Now Is The Last Best Time’ is “a heartfelt ode to (his) mother, who over the course of the past decade, has been the primary caregiver to her husband and Mislock’s stepfather; as he slowly fades into the ever-present silence of Alzheimer’s disease.” It’s a project encompassing love, regret, compassion and drift, and you can feel all of them in every note.


Dates:

  • Liam Singer + Sontag String Ensemble + Alexander Turnquist – Wonders Of Nature, 131 Grand Street, Williamsburg, Brooklyn, New York City, New York 11249, USA, Thursday 12th July 2018, 8.00pm – information here and here
  • Liam Singer + Sontag Shogun + Tim Mislock – HiLo Catskill, 365 Main Street, Catskill, New York 12414, USA, Friday 13th July 2018, 8.00pm – information here

 

July 2018 – upcoming London singer-songwriter gigs – Ana Silvera’s ‘Oracles’ at the South Bank (4th July) and Holly Penfield’s ‘Fragile Human Monster’ in Piccadilly (9th July)

1 Jul

Ana Silvera, 4th July 2018

‘Oracles’ – the BASCA-nominated song-cycle by Anglo-Portuguese singer-songwriterAna Silvera – already has a seven-year history. Created more or less in parallel with her debut album ‘The Aviary’ (and originally a choral piece for the NEC choir at the Roundhouse), it’s now returning this month, freshly re-arranged for Ana and small vocal/instrumental ensemble, for a full album release and the first of two 2018 live shows.

A response to the pain of intimate family bereavement, ‘Oracles’ “draws on folk tales and myths to chart a transformative journey from profound grief to tentative acceptance.” In some senses it’s a wide-spectrum take on adult pop without a trace of that genre’s unnecessary blandening: an as-it-happens assessment of the dramatic personal shifts in position following the loss of both loved ones and of the relationship one has with them while they’re alive.

What I’ve heard of it so far suggests a similar vivacity as her songs elsewhere on album or in her theatrical work – vividly characterised narratives of internal reflection and of landscapes both physical and emotional, mingling detailed, nakedly honest personal verbal imagery and an influx of Portuguese folk feel in a way which makes her sound a little like an Iberian Jane Siberry.


 
For the live performance, Ana’s six-piece band features her co-arranger – Listenpony curator and singing multi-instrumentalist Josephine Stephenson – plus a wealth of folk-jazz talent in the shape of the string trio of Jasper Høiby on double bass, Alice Zawadzki on vocals and violin, and Alice Purton on vocals and cello, plus Will Barry on piano and percussion.

The concert will feature “specially arranged new songs” for the first half and a full run through ‘Oracles’ for the second: the latter including a specially commissioned dance film by Royal Ballet/’Random Acts‘ director/dancer Kate Church and art director Alice Williamson.

Ana Silvera – ‘Oracles’
Purcell Room @ Southbank Centre, Belvedere Road, Waterloo, London, SE1 8XX, England
Wednesday 4th July 2018, 8.00pm
– information here and here


 
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Holly Penfield, 9th July 2018

From where she’s standing in her life right now, Holly Penfield can reach out in both directions to touch the passionate, large-lunged ingenue singer of her youth and the salty life-loving veteran she’s transforming into. Of course, she’s got a longer, bolder reach than most. Once tagged as “David Bowie meets Liza Minelli” by a surprised and wrongfooted Simon Cowell, she’s a classic torch-pop singer with a stunning voice who’s also both blessed and cursed with an upsetter’s drive. These days, as she rebounds from twenty years as a leading international cabarettier in order to return to her own songs, it’s more of a blessing.

Raised in San Francisco (and a veteran of the 1980s LA pop scene with the scars to prove it) Holly spent much of the ‘90s writing and performing the psychodramatic one-woman pop show ‘Fragile Human Monster’ in London and elsewhere. A show with such troubled and intense undercurrents that it eventually blew itself apart, it’s now spawned a return… but under very different circumstances. The whirling mirror-glass synths and saxophones of the old days have been replaced by a gritty post-Americana rock band (which growls, gnaws and struts through her songs like a Cash or Waits ensemble) while Holly herself has mostly forsaken standing behind a keyboard (except for when a grand piano ballad calls for that set of skills).


 
It’s funny, sad, uplifting and stirring all at once. Once the very embodiment of storm-tossed waif and precarious survivor, Holly’s now a wiser and much happier woman. She still absolutely owns the stage, though, helping herself to a big dollop of the jazz and blues flavourings which shaped her initial development, playing a dash of ukulele and engaging in some zestful shimmying (and some delightfully ludicrous party outfits, worn with wit and flair – it seems as if her recent steps away from cabaret involved at least one sly step back).


 
What hasn’t changed is the quality of her singing, and of her songs. While old FHM standards like Misfit, The Last Enemy, puddle-of-grief ballad Stay With Me, and slinking fingersnapper You Can’t Have The Beauty Without The Beast have shed skins and made the transition to the new show, Holly’s also been dipping into a trunk of neglected and mostly previously unheard work, including the tremendous state-of-the-world song Confessions (based around a lyrical hook she once dangled in front of an intrigued Joni Mitchell) and the vivacious Tree Woman (a more recent effort in which she vigorously embraces both her own ageing and the resilience that comes with it).

Holly Penfield’s Fragile Human Monster Show
Crazy Coqs @ Brasserie Zédel, 20 Sherwood Street, Soho, London W1F 7ED, England
Monday 9th July 2018, 9.15pm
– information here


 

July 2018 – upcoming London pop/rock gigs – Velodrome, Hazel Iris and Mally Harpaz at another Blind Dog Studio evening (4th July); Barringtone, Ham Legion and Stephen Evens do art-pop in Brixton (12th July)

28 Jun

Velodrome + Mally Harpaz + Hazel Iris, 4th July 2018

There’s another of multi-instrumental soundtrack composer/Anna Calvi sidewoman Mally Harpaz’s audio-cinematic Blind Dog Studio live events taking place in Dalston at the beginning of July. As with previous Dog days, Mally’s bringing her own small ensemble to play the original pieces she composed in order to soundtrack video artist Clara Aparicio Yoldi’s expansions of fine art paintings, and which win her those comparisons to Steve Reich, Max Richter, and Nils Frahm. Also on hand is another Blind Dog favourite, operatic Californian indie-folk-popper Hazel Iris, who uses “the traditions of romantic lieder, vaudeville, and contemporary styles (to) celebrate the high art of storytelling” and whose vigorous witty songs are fleshed out with cello, accordion, guitar and Mally’s percussion (but mostly by Hazel’s own powerful voice and personality).


 

The newest guest at Blind Dog Studio’s ongoing party is Katherine Christie Evans (previously the bassist for “feminist punk witches” Dream Nails), who’s bringing along her experimental rock project Velodrome. The project takes its cues from various aspects of Katherine’s life and the challenges within it. Musically, there’s her work as a singer of Early Music and her other multi-instrumental skills on guitar, bass and drums (which inspires the music’s layering of choral baroque against lo-fi indie scrawl), while politically and personally there’s the ways in which her determination and talent intertwine with her queerness (and with the more negative elements of her chronic anxiety and fluctuating mental health). As such, she counts herself as an artist “working at the intersections of feminism, social inequality, mental health and queer visibility”, battling the barriers which come with a lack of diversity in the arts while developing her own voice.


 
All of the above makes Katherine sounds furious, but she seems to be fighting her battles with humour, positivity and a gaming spirit. Viz the awkward but cheerfully determined eroticism of last month’s debut Velodrome single His Physique, which makes lustful hay from the epicene figures in mediaeval art (“lean and slender, / no particular gender,”) and sports a witty, low-budget video blending childlike cosplay and jokey New Weird visuals, as Katherine frolics around ruins, green mazes and antique rooms, invades portraits with her bass guitar to “queer the male images”, and dresses up as everything from playgroup knight to Metallica’s Kirk Hammett to towering pagan carnival-stalker. Totally charming – along with Great Dad, she’s definitely one to watch.

Blind Dog Studio presents:
Hazel Iris + Mally Harpaz + Velodrome
The Victoria, 451 Queensbridge Road, Hackney, London, E8 3AS, England
Wednesday 4th July 2018, 7.30pm
– information here and here

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Barringtone + Stephen Evens + Ham Legion, 12th July 2018Down in south-west London, Brixton lurkers Barringtone – presumably recovered from drummer Boomer’s broken wrist – take over the Windmill again for “an evening of left-field pop” as part of the increasing build towards the release of their debut album: a build which has mostly consisted of them playing semi-secret gigs a stone’s throw from their front room and nerve centre. Talk about conquering the world from your bedsit… Here, again, is their most recently released effort Dream Boys, showcasing their switch from motorik power pop towards a Zappa/Partridgean art-pop embracing some greater breadth and complexity: they’ve always had it in them, it’s just that they’ve now decided to be more blatant about it.


 
In support is scowling singer-songwriter Stephen EvEns, whose faux-surly demeanour disguises one of the most slyly humorous British songwriters since the aforementioned Partridge and the previously mentioned Ray Davies. Stints behind the drums for Graham Coxon, The Damned, Charlotte Hatherley and Cardiacs concealed his sharp talent for a crumpled, rumpled song: the two albums he did leading his own band Stuffy/The Fuses revealed it. Last year’s debut solo album ‘Bonjour Poulet’ (“the songs are beautiful and the words are horrible”) dragged it fully into the light, first squinting and then revealing its hulking, deceptive charm. Eyebrow ever-so-slightly raised; a little fang, a guitar, a desultory voice and a crappy little keyboard; a pincushion heart and a wash of downbeat Brit-indie shrug. With the imminent return of The Kinks, he’s probably got a little more competition than he did last week, but trust me, he’ll walk it.


 
Brighton-via-London rockers (and outlying Cardiacs family sprig) Ham Legion complete the bill with their “lo-fi pop… punctuated with proggy outbursts, psychedelic breakdowns and passages of cod-metal joy.” I can’t put it better than that, at least not today.


 
Windmill Brixton presents:
Barringtone + Ham Legion + Stephen Evens
The Windmill, 22 Blenheim Gardens, Brixton, London, SW2 5BZ, England
Thursday 12th July 2018, 8.00pm
– information here and here
 

June 2018 – upcoming London rock gigs – H0nkies, TomZack, Aeddan and Stal Kingsley (14th June)

11 Jun

H0nkies + Tomzack + Aeddan + Stal Kingsley, 14th June 2018
If you’re in London on 14th June (and not already heading for the Lost Crowns show in Dalston), you might consider this free event.

Friends Serene presents:
H0nkies + TomZack + Aeddan + Stal Kingsley
The Lock Tavern, 35 Chalk Farm Road, Camden Town, London, NW1 8AJ, England
Thursday 14th June 2018, 7.30pm
– free entry – information here and here

As you might have noticed in previous posts, I’ve got an ambivalent relationship with Americana: but while H0nkies dabble in it (the official line is that their work is “Americana, bluesy, post-punk country cuts”) they don’t pay it much undue respect. They pick it up, drop it on the floor, and then drunkenly gum it back together with added noise and clatter and hooty keyboards.

Here’s ‘Pagans’, their half of a recent split single. It’s a punky-tonk, a little as if The Libertines, Tom Waits, Jim White and Madness had collaborated in a round of happy mutual arse-kicking. Their singer keeps peering out of the racket (and out from beneath his own looning bawl) as if to wink at us, as if we were in on the gag. I think I like him.

 
In the space of a year, Tottenham art-rock/post-punk quintet TomZack have travelled from the industrial dance feelers of their debut single Too Much To Love to the theatrical flair of their current incarnation, delivering peculiar badlands singalongs and rumblesongs on record. A band with at least one parallel life, they’re also working on a live soundtrack to the upcoming theatre version of ‘The Forbidden Zone’ (Oingo Boingo’s cult 1980 film showcasing the early work of Danny Elfman amid a riot of transgressive cartoonish imagery, as if John Waters had transformed ‘Alice In Wonderland’ into American burlesque). Expect the latter, plus the debut TomZack album, in the autumn.

Meanwhile, here’s current single Caroline (Still In Love With You): a mordantly downbeat piece of grinding melancholy (again with that Waitsian tone) unmoored to fly on a strange junk/space-opera background narrative of starship troopers, gender wars and time-travelling bereavements. Either they’re writing their own bit of long-form twisted steampunk, or they just like bamboozling people with their press releases.


 

Wrapping up the bill are a couple of solo songwriters. Aeddan Williams (or just “Aeddan”) fits firmly into that line of singing multi-instrumental play-and-record-everything craftsmen: the one which includes Roy Wood, Karl Wallinger and other blokes who’ve either shaped, or paid glorious expansive tribute to, British pop. His debut album has shades of The Move, World Party, Kinks, Small Faces and the usual jaunty suspects. The album and EP he’s popped out so far have been filled with songs of kooky chicks and small adventures, indie protest songs about racists, and (just under the bonnet) subtle little twists which reveal that craft doesn’t blind him to ironies and changes in perspective.


 
Stal Kingsley, on the other hand, is already well embedded into that skewed-perspective zone. A lo-fi pop aficionado with an ear for the grand gesture, he enjoys but can’t quite stay slouched in his tape rumble; and chooses instead to bring his eccentricities out into the light of the mainstream. Comparisons to Ariel Pink and Cleaners From Venus abound; his live gigs apparently stretch out into performance art (with “live drawing countdowns”, filmed ad breaks and the backing band on an old tape cassette); but I think that what he really wants is to bring his music into your sitting room, even if it’s not quite the right size to fit through the door, or keeps sliding off your sofa.


 

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.

 
* * * * * * * *

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

 

ATTN:Magazine

Not from concentrate.

Xposed Club

improvised/experimental/music

I Quite Like Gigs

Music Reviews, music thoughts and musical wonderings

Make Weird Music

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A jumped-up pantry boy

Same as it ever was

PROOF POSITIVE

A new semi-regular gig in London

We need no swords

Static and debris. Skronk and wail. This is music?

:::::::::::: Ekho :::::::::::: Women in Sonic Art

Celebrating the Work of Women within Sonic Art: an expanding archive promoting equality in the sonic field

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Just another WordPress.com weblog

Headphone Commute

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Yeah I Know It Sucks

an absurdist review blog

Pop Lifer

Waiting for the gift of sound and vision

Archived Music Press

Scans from the Melody Maker and N.M.E. circa 1987-1996

The Weirdest Band in the World

A search for the world's weirdest music, in handy blog form

OLD SCHOOL RECORD REVIEW

Where You Are Always Wrong

Fragile or Possibly Extinct

Life Outside the Womb

a closer listen

a home for instrumental and experimental music

Bird is the Worm

New Jazz: We Search. We Recommend. You Listen.

Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

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FormerConformer

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musicmusingsandsuch

The title says it all, I guess!

songs from so deep

Songs and sound. Guitars and stuff.

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