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February 2018 – upcoming London gigs – Society Of Imaginary Friends Soiree with Meg Lee Chin, Keiko Kitamura, I Am Her, Kosmic Troubadour, Math Jones (2nd February); Peter Blegvad Trio and Bob Drake (9th February – plus the Club Integral Resonance Benefit Gala on the 8th); Evil Blizzard and Nasty Little Lonely (10th February)

29 Jan

SOIF Soiree, 2nd February 2018

Society of Imaginary Friends presents:
“Into The Forest” Soiree: Meg Lee Chin + Keiko Kitamura + I Am Her + Kosmic Troubadour + Math Jones
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 2nd February 2018, 7.30pm
– free event – information here

After a few events which were perhaps a little more predictable than we’d’ve hoped, this month’s Society Of Imaginary Friends-hosted concert moves up a gear with the involvement of “two goddesses of Earth and Heaven”. Purple twilight time:

“We take the path that leads down from the fell, over the style, over a stream and into the heart of the forest. At first it seems completely lifeless in the wood, all of its creatures hibernating deep in the ground; but as our eyes become adjusted to the dusky dark and senses atuned to its music..the rustle of a robin in the dried leaves, a squirrel’s staccato, a falling pine cone. Suddenly we are in a clearing of softest moss – a place of refuge and rest, where a clear spring rises and sunlight dances. Welcome to our “Into the Forest” Soiree.”

A mid-‘90s Pigface member (and the former frontwoman for female noise band Crunch), industrial pop/darkwave/hip hop songstress and hands-on producer Meg Lee Chin is a prime example of longstanding female creativity and independence. Having rattled cages and excited commentators with her turn on Pigface’s ‘Nutopia’, she then spearheaded contemporary home-studio recording with her 1999 solo album ‘Piece and Love’ and went on to found pro-audio community Gearslutz. Although released music has been sporadic for the last couple of decades, Meg’s kept her reputation as a fascinating, brilliant performer and composer and as an outspoken, sometimes contrary blogger. SOIF, in turn, have a reputation for coaxing people’s slumbering performance talents out of semi-retirement: if Meg’s risen to the occasion in response, this ought to be pretty exciting.

Also on hand – and in delightful contrast – is Keiko Kitamura: known for activities ranging from replaying Japanese court music to Jah Wobble’s Nippon Dub Ensemble, is a leading international koto player (in particular, the 17-string bass version) as well as a singer and shamisen player. Expect a mixture of tradition and originality.




 
The rest of the appropriately quirky SOIF bill is filled out by eccentric rainbow keyboard warrior The Kosmic Troubadour, poet/dramatist Math Jones (with a sheaf of forest poems) and Soiree regular I Am Her, a.k.a. ex-Rosa Mota singer Julie D. Riley (who also, with fellow Rosacian Sacha Galvagna, makes up transatlantic transcontinental electropop minimalists Crown Estate). As ever, the Society themselves are performing, presenting (presumably) art-pop forest ballads to take in with the Karamel vegan feast that’s part and parcel of a SOIF event. This time, you get an appropriately woody wild forest mushroom soup, a mushroom and root vegetable pizza and some Black Forest gateau…


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Here’s news on one of the several fundraisers for London alt.culture radio station Resonance FM, helping it to keep up its mission of broadcasting the wild and wonderful across the Smoke’s airwaves and around the world online. Even setting aside the calibre of the night’s performers, it’s pretty much worth going along for that reason alone.

Peter Blegvad Trio, 9th February 2018

Resonance FM presents:
Peter Blegvad Trio with Bob Drake
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Friday 9th February 2018, 7.30pm
– information here and here

I’ve always had a lot of admiration for Peter Blegvad – not only for the owlish wit of his songs (including his skill as palindromist and wordplayer) and the enviable polymathic breadth of skills which means he’s also a fine experimental cartoonist, audio dramatist and commentator. It’s also because anyone who can get himself sacked from ‘70s avant/oppositional prog gods Henry Cow by outrightly twitting their seriousness at the height of their brow-furrowing Maoist phase (and apparently by writing a lyric about a woman chucking raisins at a skeleton) is a man who knows something about whistling in the face of sternness.

Well, perhaps I shouldn’t make too much of this. For one thing, despite (and because of) Henry Cow’s high-flying, generally admirable idealism, spending time there seems to have been argumentative for everyone (in particular during the period in which almost every potential action appeared to have its cripping counter-bourgeois condemnation, during which a man of Peter’s wayward questioning wit and self-declared flippancy would have stuck out like a slammable thumb in the way of a door). Once out of the mothership, though, it was evidently easier to be familial. Showing up most artistic spats and internal rock band feuds for the pique and piffle that they are, all of the ex-Cow-ers grew up (and grew past their arguments) to become a mutually supportive bunch. Threading in and out of each other’s concerts and solo careers, they rapidly learned to welcome and celebrate the diversity of their collective interests and ideas, and they’ve stayed that way.


 
Proving this yet again, whenever the Peter Blegvad Trio comes back together it reunites Peter with two regular Cowfriends: John Greaves (bassist and longtime ally both during and after Cowdays, from the ‘Kew.Rhone.’ project onwards) and Chris Cutler (drummer and owner of the eclectic and honourable post-Cow record label ReR Megacorp which, since 1988, has released four widely-spaced Blegvad albums – ‘Downtime’, ‘Just Woke Up’, ‘Hangman’s Hill’ and last year’s ‘Go Figure’). Thirty-seven years of on/off playing together has resulted in a relaxed, gently telepathic connection: not a mysterious communion, nor an alliance of breakneck musical stuntwork, but an easy, comfortable instinct for what’s required to frame the song and no more. As for Peter himself, if you’re unfamiliar with his work it’s best to think of someone with one foot in the sardonic-wit songworld of Loudon P. Wainwright, Leon Rosselson, Richard Thompson and Kinky Friedman, and the other in the counterflow rock camp which the Cow shared with (among others) Faust and Pere Ubu.


 
And that brings me to the second point – ultimately, it’s really pretty misleading to define Peter by the lineaments of Henry Cow, art-prog or Rock In Opposition. Granted, he’s spent quite a bit of time paddling away in those areas (in addition to ‘Kew.Rhone’ and the Cow work, there’s been Slapp Happy, Faust and The Lodge, as well as swing-by dates with The Golden Palominos and Art Bears). Yet if you put him firmly in the driving seat on his own, what you get isn’t hyperliterate trickery, but intelligent, light-touch, surprisingly roots-rocking songs with a smart economy of tale-telling and reflection.

He’s still got a yen for throwing up a thesis and exploring it (this is, after all, a man who once explored the roots and fears of the European Union via a teasing, erudite and baffling lyrical mirror-maze of classical borrowings), but more often than not he’ll now use a folk or country-folk form to do so, or pick a nuanced idea to polish in a few simple strokes: something a child could pick up on but which an adult might savour. From some angles you could even confuse him (via that nasal, tuneful, breathy bark of a voice) with a more relaxed Mike Scott in acoustic mode, or even with Mark Knopfler in a moment of sardonic humanism. Although neither of them would have written a love ballad as sparse and sorrowful as Shirt And Comb, honed a metaphysical gag like Something Else (Is Working Harder) or tweaked, explored and upended a common cultural assumption the way Peter does on Gold.


 
One of the contributors to ‘Go Figure’ (along with Karen Mantler) was the delightful Bob Drake – the erstwhile Thinking Plague and 5uu’s mainstay turned offbeat producer and solo artist. For more of my rambles on him, take a look over here. The long and the short about him, though, is that he’s a multi-instrumentalist and hedge-bard with broad and rambling ideas about just how far you can stretch and mutate an open-ended thought or song, who now regularly heads out for solo voice-and-guitar gigs (often performing, for reasons both flippant and serious, in a lovely white bear-dog suit). Like Peter Blegvad, Bob’s got a liking for complexity and warm perverse wit; but what you take away from his shows is literal shaggy-doggery: peculiar sung tales both finished and unfinished about strange mammals, haunted houses, odd habits, monster-movie scenarios and twisted eldritch dimensions.

When I originally posted this, I was under the impression that Bob was playing a solo Oto support slot, but it now appears that he’s actually beefing up the Trio to a quartet, with or without the animal suit. If you still want to see Bob in solo mode, however, you could set aside some time the previous evening for another Resonance FM fundraiser: Club Integral‘s annual Resonance tin-shaker, being held south of the river at IKLEKTIK on Thursday 8th.

Offering “thirteen minute sets from thirteen acts”, this features a wealth of music-and/or-noise-makers from the Integral playlists: improv pranksters Glowering Figs, audiovisual sculptress Franziska Lantz, ARCO composer Neil Luck, mixed-ability folk internationalists the No Frills Band, Found Drowned/Four Seasons Television guitar manipulator James O’Sullivan, sound designer/Howlround member Robin The Fog, Bob and Roberta Smith (a.ka. artist/advocate/utopian Patrick Brill) playing with his own “musical intervention” project The Apathy Band, restlessly morphing New Wave survivors Spizz, and whoever St Moritz, Two Horns, Robert Storey, Strayaway Child, Swordfish and King/Cornetto happen to be. Plus Bob – who was hoping to balance his thirteen-minute time limit with the playing of thirteen one-minute songs, but has apparently opted to settle for eleven.


 
(If Bob’s wily, he’ll also strap a few tentacles onto that fur-suit and go up and do a bit of busking by Camden Lock, staking out the London Lovecraft Festival that’s also taking place that week…)

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Evil Blizzard, 10th February 2018

Baba Yaga’s Hut presents:
Evil Blizzard + Nasty Little Lonely
The Underworld, 174 Camden High Street, Camden Town, London, NW1 0NE, England
Wednesday 10th February 2018, 6.00pm
– information here and here

Filling in a three-cornered gap between Public Image Ltd, Poisoned Electrick Head and The Residents, hilariously distressing Preston lords of misrule Evil Blizzard are bringing their act south in order to launch their ‘Fast Forward Rewind’ single (from upcoming third album ‘The Worst Show On Earth’). Their gigs are part banging art-punk party and part horror-comedy masked ball, featuring four cranky and disparate bass guitarists; a singing, chanting drummer; and a pair of in-house stage invaders in the shape of a dancing money-chucking pig and a man running wild with a mop.

The assorted masks (hilarious and creepy) and the threatening mannequin/orc lunges may make it all look like an Auton’s cheese-dream or a riot in a Black Lodge dollhouse, but underneath the screaming horse-laughs are a rattling good party band. Over the years, they’ve won over many a psychedelic or underground festival audience and even their own musical heroes (with Killing Joke, Hawkwind and PiL having invited them on for support slots).



 
Also playing are stomping industrial post-punk duo Nasty Little Lonely, who provide a bandsaw-guitar set of “post apocalyptic decadence, discarded trappings of consumerism gone awry, alienation and small furry creatures with very sharp teeth.” They might possibly be tempted to dance afterwards if you encourage them enough.


 

January/February 2018 – The Ecstatic Music Festival in New York (part 1) with Kronos Quartet, Xenia Rubinos, Face The Music, Adam Schatz’s Civil Engineering and Bang On A Can (27th January, 5th February, 15th February)

15 Jan

Looking over to America, the Saturday after next sees the first date in New York City’s snappy, broad-based Ecstatic Music Festival.

Ecstatic Music Festival, 2018

“Starting on 27th January and running through 26th April 2018, the festival, hailed as “the alt-classical world’s main showcase” (‘The New York Times’), will feature collaborations from more than seventy-five composers and performers from different musical genres across the sonic spectrum, including Kronos Quartet, the Bang On A Can All-Stars, Margaret Leng Tan, Glasser, Xenia Rubinos, Mantra Percussion, Mahogany L. Browne, Carla Kihlstedt, Patrick Zimmerli, Ethan Iverson, Buke & Gase’s Arone Dyer, and many more. A collaboration between New Amsterdam Presents and Kaufman Music Center, the festival has nine collaborative one-night-only performances featuring world premieres, new arrangements and the exclusive opportunity to hear artists discuss their work.”

Here are some details for the first three shows (taken from the programme and tweaked/expanded where necessary), spread out from the end of January to the middle of February:

Xenia Rubinos & Adam Schatz's Civil Engineering, 27th January 2018

Xenia Rubinos can make social consciousness sensual,” says the ‘New York Times’. Her catchy yet exuberantly visceral songs meld weighty social issues with intimately personal ones and draw from a broad palette of influences ranging from Caribbean and jazz to indie rock, hip-hop and punk.


 
“Xenia will team up with Adam Schatz’s Civil Engineering, a high-energy, ten-member multi-dimensional big band led by the protean multi-instrumentalist Adam Schatz, “New York’s indie-rock Zelig” (‘New York Observer’) and Landlady frontman, to perform new arrangements of her songs, his songs, and composers they love, and to premiere new works written for the Ecstatic Music Festival.


 
“Regarding the project, Adam claims to be “chasing the spirits of Duke Ellington and Gene Wilder. I am trying to operate at a large scale that hits at the heart and can go anywhere at any time. Songs, improvisations, and adventures with a big band of impossibly talented people. This is Civil Engineering.” The band has included Alec Spiegelman, Ross Edwards, Brandon Seabrook (Seabrook Power Plant, Needle Driver), Ross Gallagher, Noah Garabedian (Big Butter And The Egg Men, Ravi Coltrane), Stephanie Richards, Curtis Hasselbring (The New Mellow Edwards, Decoupage, The Curha-chestra) and Patrick Breiner.

Kronos Quartet & Face The Music, 5th February 2018

“The adventurous, Grammy-winning Kronos Quartet – one of the most celebrated and influential ensembles of our time – joins NYC’s acclaimed youth new music ensemble (and Kaufman in-house orchestra) Face the Music to perform new works written for Kronos’ “Fifty for the Future”, a commissioning, education and legacy project showcasing contemporary approaches to the string quartet that features new works by some of today’s foremost composers.



 
The two ensembles will perform separately and together: there’s no details on the Kronos setlist yet, or on the combined programme, but Face the Music will be performing Yotam Haber‘s ‘From The Book’ and Kala Ramnath‘s ‘Amrit’.

Bang On A Can People's Commissioning Fund Concert, 15th February 2018

“Co-founded in 1987 by composers Michael Gordon, David Lang and Julia Wolfe, Bang On A Can has grown from a one-off concert band to a ceaselessly active, multi-bodied and internationally famous New Music ensemble, building a world in which powerful new musical ideas flow freely across all genres and borders. Set up in 1997, long before crowd-funding became the norm through Kickstarter and the like, Bang On A Can’s People’s Commissioning Fund has pooled contributions of all sizes from hundreds of friends and fans. Since its inception as a radical partnership between artists and audiences to commission works from adventurous composers, it has commissioned over fifty works of music for New York’s electric Bang on a Can All-Stars.

“This concert, compiling new commissions for 2018 and a few old favourites, is a New Sounds Live co-presentation: it will be hosted by WNYC’s John Schaefer and streamed live. There will be world premieres of pieces by George Lewis and Angélica Negrón, plus a new look at “historic” PCF-commissioned pieces by Pamela Z, Annea Lockwood, Lukas Ligeti and Sonic Youth’s Thurston Moore.”


 
All concerts are performed at Merkin Concert Hall @ Kaufman Music Center, 129 W 67th Street, Upper West Side, Manhattan, New York, NY 10023, USA. Dates and times below:

  • Xenia Rubinos & Adam Schatz’s Civil Engineering – Saturday 27th January 2018, 7:30pm – information here and here
  • Kronos Quartet & Face The Music – Monday 5th February 2018, 7:30pm – information here and here
  • Bang on a Can People’s Commissioning Fund Concert – Thursday 15th February 2018, 7:30pmhere and here

For those who might not have already followed up on the remaining six dates between March and April, I’ll stick up reminders closer to the time…
 

January 2018 – upcoming London rock and folk gigs – twists and weaves with Prescott, Lost Crowns and Kavus Torabi (11th January); a carpet of acid-folk/chanson dreams with Alison O’Donnell & Firefay (18th January); a lysergic lattice with a Knifeworld double-set (20th January)

6 Jan

Prescott + Lost Crowns + Kavus Torabi, 11th January 2018

Prescott + Lost Crowns + Kavus Torabi
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Thursday 11th January 2018, 7.30pm
– information here, here and here

Reunited with guitarist Keith Moliné (who had to sit out some of their engagements last year), instrumental avant-rockers Prescott bring their springy barrage of warm, bouncy tune-mozaics back to London at Servant Jazz Quarters. On the evidence of last year’s ‘Thing Or Two’ album, the band (completed by spacey fretless bassist/composer Kev Hopper, keyboard quibbler Rhodri Marsden and swap’n’go drummer Frank Byng) is growing like a tricksy hedgerow. New layers, extensions and scrabbling digressions continue to bud out of their riotous cellular approach; and out of the games of post-minimalist chicken which they use to hold and release each other from their stack of cunning microloops.

It’s still fair to say that Prescott’s relationship with their own instrumental cleverness is an edgy and oblique one. Fine and rebellious players all, they’re too suspicious of straight prog, jazz or lofty experimentalism to have a straight relationship with any of them. Consequently they come across on record as jitterbug countercultural eggheads – ones who play obstinate, transfigured parallels to clavinet jazz-funk (post-Miles, post-Headhunters) or twinkly-marimba’d Zappa passages, but who nail it all down to a precise post-punk, post-virtuoso sensibility. Still, this only sketches part of the Prescott picture while missing the heart of it. Despite the band’s tendencies towards deadpan stage presence (and the eschewment of anything even vaguely wacky), each and every Prescott gig ends up as a generous, audience-delighting puzzle of pulses, traps and tickles on the funny bone.

Maybe if they’ve got anything as corny as a raison d’être (that is, beyond executing Kev’s pieces with deftness, style and pleasure) it might be about evaporating the frequently frustrating and gummed-up relationship between musicality, suffocating ideology and good humour. For all of their self-imposed restrictions, Prescott are in some senses a freer band than almost anyone else in their field: an expansive Lego set of musical options concealed in a deceptively small box.


 
Thanks to both the burgeoning stature of Knifeworld and his helming of the post-Daevid Allen Gong (plus entanglements with Guapo and Cardiacs, and his garrulous showings on radio and in print), Kavus Torabi is rapidly becoming a senior figure at the culty end of psychedelic art-rock. Even his rough-and-ready solo acoustic performances are becoming a draw in their own right, although he’s mostly (and modestly) restraining them to support slots, presenting gravelly-voiced house-party strumalongs rather than electric-genius showcases. Such is the case with his opening slot for Prescott, which also sees him broaden his guitar playing with trips to the harmonium.

On previous form, expect established songs, songs-in-progress and song unveilings from Kavus’ Knifeworld catalogue (plus visits to his old work with The Monsoon Bassoon and possibly a bit of latterday Gong-ing if any of it translates away from the group’s electric Om). If you’re hoping for Guapo stuff, you’d better wait for one of his gigs with them. If you want him to rip into a Cardiac song, you’re best off catching him guesting at one of the growing number of Spratleys Japs shows (increasingly become rolling parties celebrating the Cardiacs spirit, pulling in hit-and-run appearances from the band’s alumni and songbook).


 
Invigorating as a Prescott/Torabi summit might be, the night’s real draw is Lost Crowns: only the third live venture for this carefully-concealed solo project from Richard Larcombe. You might have seen the Crowns step out at either one of a culty pair of Alphabet Business Concern shows in 2013 and 2017: otherwise, you’ve not seen or heard them at all. If you’ve followed Richard’s on/off work singing and guitaring for fraternal duo Stars In Battledress (alongside his brother James), you’ll have some idea of the rich, unfolding master-craftsman’s confection to expect. 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.

Reared on English folk and art-rock but steeped in both Chicago math-rock and (via radio, television and film) in sophisticated comic absurdity from the likes of the Marx Brothers, Spike Milligan and Vivian Stanshall, Richard is in fact one of the most aggravatingly unknown, self-effacing, even self-concealing talents of his generation. In the fifteen years since his last, short-lived solo foray Defeat The Young he’s kept his own work closely hidden, apparently preferring the shared burden and brotherly warmth of occasional shows with the similarly-obscure Battledress, or to play supporting roles with William D. Drake or sea-shanty-ers Admirals Hard. Were he not so damn elusive, he’d be regularly cited alongside the likes of Colin Meloy or Neil Hannon as an exemplar of bookish art-pop wit. For the most part, though, Richard seems happiest with his other career (in children’s theatre, an area in which, incidentally, he’s equally talented) although I suspect that the truth is that his perfectionist’s need for control gets a little on top of him, though never enough to ruffle his brow. According to Richard, this particular live surfacing’s going to be a “limited-capacity probably-not-to-be-repeated-often event”, but he clearly means business, having armed himself with the kind of musical crack squad that can do his work justice – London art-rock go-to-guy Charlie Cawood on bass, Drake band regular Nicky Baigent on clarinet, the enigmatic “Keepsie” on drums and a doubled-up keyboard arrangement of Rhodri Marsden (hopping over from Prescott) and Josh Perl (coming in from Knifeworld and The Display Team).

As regards firmer, more specific details on what Lost Crowns will be like, Richard himself will only murmur that the songs are “quite long, with a lot of notes.” Rhodri Marsden (a man more given to gags than gush) has chipped in with a wide-eyed “utterly mindbending and completely beautiful”; rumours abound re ditties about synthesia and/or the quirks of historical figures; and what’s filtered through from attendees at those previous ABC shows is that the Larcombe boy has seriously outdone himself with this project. The rest of us will have to wait and see. Meanwhile, in the absence of any available Lost Crown-ings to link to or embed, here are a couple of live examples of Richard’s artistry with Stars In Battledress.



 
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Alison O’Donnell + Firefay
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Thursday 18th January 2018, 7.30pm
– information here, here and here

Same time, same place, but one week later – another rare treat in the shape of a London appearance from “fairy queen of acid folk” Alison O’Donnell, allied with Anglo-French folk-noirists Firefay.

Alison O'Donnell & Firefay, 18th January 2018The possessor of a warm declamatory folk voice (one well suited to storytelling), Alison began her musical journey at convent school in 1960s Dublin with childhood friend Clodagh Simonds. Writing and singing folk songs together, the two became the core of mystical folk-rockers Mellow Candle: scoring a faintly lysergic orchestral-pop single before either girl had turned seventeen, Clodagh and Alison then spent five years exploring and finessing the baroque/progressive folk sounds eventually captured on Mellow Candle’s one-and-only album ‘Swaddling Songs’.

Ahead of its time (and mishandled by the record company), it followed the example of other recent genre-stretching folk albums by Trees and Nick Drake and sold poorly. By the time that the disillusioned band disintegrated in 1973, Alison was still only twenty. She spent the next three decades travelling in a slow arc across the world and across music: spending long stretches of time in South Africa, London, and Brussels before returning to Dublin in 2001, she passed – en route – through traditional English, Irish and Flemish folk bands (including Flibbertigibbet, Éishtlinn and Oeda) as well as stints in theatre and satire, and in contemporary jazz band Earthling. As she entered her mid-fifties, though, Alison’s career entered a surprising and fruitful second stage. She finally began releasing material under her own name – initially with multi-instrumentalist Isabel Ní Chuireáin (for the part-trad/part-original ‘Mise Agus Ise’ in 2006), and then alone or with her band Bajik from 2009’s ‘Hey Hey Hippy Witch’ onward.

Meanwhile, the slow transition of ‘Swaddling Songs” from forgotten ’70s flop to early Noughties word-of-mouth lost classic brought Alison into active collaboration with a fresh generation of musicians who’d been captivated by the record. Agitated Radio Pilot’s Dave Colohan came in for on 2007’s ‘World Winding Down’, Steven Collins of The Owl Service for 2008’s ‘The Fabric of Folk’ EP, and Graham Lockett of Head South By Weaving for 2012’s ‘The Execution Of Frederick Baker’. Colohan in particular has become a regular ally and co-writer, playing a big part in Alison’s 2017’s ‘Climb Sheer The Fields Of Peace’ album and inviting her into his Irish psych-folk collective United Bible Studies. There have also been teamups with metal bands Cathedral and Moonroot, with folktronicists Big Dwarf, and with Michael Tyack of psych-folkers Circulus.

Among the most promising of these latterday collaborations has been her 2012 teaming with Firefay (fronted by the trilingual Carole Bulewski) for the much-admired ‘Anointed Queen’ album. This month’s concert revisits that project and beyond, Alison and Firefay performing in a meticulously interwoven partnership which will dip into songs from ‘Anointed Queen’ in addition to Firefay material and songs from Alison’s own back catalogue, from Mellow Candle through to ‘Climb Sheer The Fields Of Peace’. Come expecting a world/wyrd-folk wealth of keyboard drones, strings, bells, reeds and ouds, all mingled in a lysergia-flecked folk-rooted song continuum stretching from Ireland to Brittany and Flanders (across the British Isles and London, with look-ins from Gallic chanson, kletzmer, urban baroque, boozy sea songs, tints of Canterbury art-prog and even hints of the Sudan and Middle East.)


 
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Knifeworld, 20th January 2018Guided Missile presents:
Knifeworld (double set)
The Lexington, 96-98 Pentonville Road, Islington, London, N1 9JB, England
Saturday 20th January 2018, 7:30pm
– information here , here and here

Just over a week after their leader disports himself (mostly) unplugged and exposed in Dalston, Knifeworld themselves burst back into action in Islington, getting a whole show to themselves at the Lexington. Currently revelling in the flexibility and range of tones available to their eight-piece lineup, they’ll be drawing on their last couple of years of songwriting and performance by playing a full acoustic set followed by a full electric set.

If you’re not yet familiar with Knifeworld’s work, you’re probably new to the blog – ‘Misfit City’ has been saturated with it ever since the band first emerged eight years ago – look back over past posts to acclimatise yourself to their dancing, springy, psychedelic mix of oboes, guitars, saxophones, drums and warm, wood-rough head-next-door vocals. It’s a skewed but precise brew of pointillistic acid-patter pulling in sounds, tones and attitude from five decades of music – you can spot ’50s rockabilly, late ’60s lysergic swirl, full on ’70s prog/soul complexity, ’80s and ’90s art pop noise and suss and beyond – all topped off by Kavus’ particular wide-eyed worldview. Eccentric and garbled on the surface, his songs still couch pungently honest depths of feelings, fears and hope if you’re prepared to push past the distraction of tatters and gags – as with two of his mentors, Tim Smith and Daevid Allen, Kavus treats psychedelia as a tool to explore, question and deepen the subject of human existence rather than trance it away in a blur.

Exceptionally excited by what’s coming up, the band are promising “a gig like no other…. your chance to hear many rarely- or never-played songs before. A whole night of delirious, mindbending and beautifully strange music.” Below is forty-one minutes of slightly shaky, slightly scratchy Knifeworld footage from the Supernormal 2016 festival, in order to light the fuse…


 

December 2017 – various upcoming gigs in Bristol and London – Seitz, Tom O.C Wilson and Northwest (17th December); Colonial Sun, Mally Harpaz and V Ä L V E (19th December); The Secret Crowd and The Many Few (15th December)

7 Dec

Here are three more upcoming December shows across the coming fortnight which caught my interest. There’s a three-helping dose of sophisticated underground pop on a decommissioned barge in Bristol; another triple-decker in London covering moody post-colonial balladry, electro-acoustic film music and experimental collage-composing; and finally an easy-going London indie rattlethrough…

As I’m still rushed, what follows is the usual textgrab from press releases and gig guides, although I’ve leaned in to dab in extra information where needed…

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Seitz + Tom O.C Wilson + Northwest, 17th December 2017

Seitz + Tom O.C Wilson + Northwest
Grain Barge, Mardyke Wharf, Hotwell Road, Bristol, BS8 4RU, England
Sunday 17th December 2017, 8.00pm
– information here and here

“A Sunday night triple-bill of advanced accessible music. Here’s what to expect:

“Hailing from Germany via California and incubated in Bristol, singer and pianist Carolin Seitz formed Seitz in 2015 – a glacial chamber trio bringing you some vast and microcosmic torch hop. Think Lotte Lenya on Pukka tea!


 
Tom O.C Wilson is an Anglo-American pop composer with an insatiable appetite for musical discovery. His music straddles the line between the classic English pop songwriting tradition (Ray Davies, Andy Partridge, Damon Albarn) and the sophistication of current US acts such as Dirty Projectors and Deerhoof. Yet his musical canvas also draws upon wider influences, from the exuberance of contemporary jazz (Denys Baptiste, John Hollenbeck), to the irresistible rhythmic pull of Sardinian guitarists such as Paolo Angeli and Marino De Rosas.

“Tonight he is joined by the dynamic and musically sensitive trio of James Ashdown (drums), Steve Haynes (bass) and Steve Troughton (keyboard), to perform songs from his recently released album “Tell A Friend” (Pickled Egg Records).


 
Northwest are an experimental pop duo based in London, formed by the Spanish-born singer and composer Mariuca García-Lomas and producer and multi-instrumentalist Ignacio Simón. Their music explores different genres (from contemporary classical music and avant-garde electronica to experimental pop, psychedelia and trip-hop) and has drawn comparisons to artists such as Julia Holter, Portishead or Grouper. Their euphoric performances have quickly become recognized as one of the most captivating and mesmerizing live shows around.”

 
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Colonial Sun + Mally Harpaz + V Ä L V E, 19th December 2017

Blind Dog Studio presents:
Colonial Sun + Mally Harpaz + V Ä L V E
The Victoria, 451 Queensbridge Road, Hackney, London, E8 3AS, England
Tuesday 19th December 2017, 7.30pm
– information here and here

Colonial Sun is the brand-new musical moniker of James Marples, an Australian singer-songwriter who sings dark ballads set amongst minimal cello and percussion arrangements, and whose work has drawn comparisons with Howe Gelb, Sun Kil Moon and Mark Lanegan. Emotionally lucid and at times surreal, these songs explore history, nostalgia and a sense of place and draw on imagery ranging from the Australian landscape to the decaying monuments of empire. This is only the second Colonial Sun gig, for which James will be joined onstage by a new and very special guest…

“James has previously released music (including 2006’s ‘Heads Are Down, Collars Are Up’ EP) on two independent record labels and performed his own compositions at the Glastonbury Festival and at theatres and venues in Europe and Australia. He worked with Second Hand Dance on the music for the shows ‘Creepy House’ and ‘Grass’, and (during 2017) has been the songwriter-in-residence at the Menzies Centre for Australian Studies at King’s College, London.

“Drummer, pianist and multi-instrumentalist Mally Harpaz (who’s played with Lunatic Crash, Anna Calvi, Hazel Iris, Ciara Clifford and Jessica Lauren) will be performing her original compositions joined by a small number of phenomenal musicians and special guests. These distinct pieces were mainly written as part of a collaboration with award-winning video artist Clara Aparicio Yoldi for several short films including ‘Iconosfera’, ‘Zoom Out’, and ‘Zoom In’: the original recordings feature (among others) Anna Calvi, Mark Neary and Mally’s old Lunatic Crash bandmate Eran Karniel.

“Mally’s reverence for the profound creates mysterious melodic lines and shares a luscious ambience with other contemporary pioneers such as Steve Reich, Max Richter, and Nils Frahm.

 
V Ä L V E is the outlet for the compositional work of composer/performer Chlöe Herington (also a member of Chrome Hoof, Knifeworld and Half The Sky), using text and image as the starting point for scores. Chlöe collects sounds and diagrams – such as score fragments found in skips, or electrocardiograph printouts – composing predominantly for bassoon, saxes, electronics and found sounds to explore synaesthetic memory and collective experience.

“Live (joined by Emma Sullivan on bass, Microkorg and vocals and by Elen Evans on harp), the music traverses the realms of noise and improv into songs, punctuated with found sounds and eases into spacy soundscapes.”



 
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The Secret Crowd + The Many Few, 15th December 2017

If you fancy something a little more straightforwardly poppy, then there’s this show a little earlier in the week. The Secret Crowd headline with their sunny semi-acoustic pop-punk (with added ukulele and trumpet), supported by endearing ‘Misfit City’ faves The Many Few playing material from their brand new album ‘Sharkenfreude’, (plus Fleetwood Macs – I don’t know, covers band or ironic indie?). All of it preceding the usual ’60s Mod, Motown and soul disco at the Crawdaddy! clubnight.

The Secret Crowd + The Many Few (Christmas Special) + Fleetwood Macs + Crawdaddy Club Night
The Fiddler’s Elbow, 1 Malden Road, Kentish Town, London, NW5 3HS, England
Friday 15th December 2017, 6.00pm
– information here, here and here

Here’s The Many Few sounding like a delightfully rickety collision of Deacon Blue and XTC with West African highlife; and (due to newness of band and shortage of online material) some muffled recent-gig phone footage of The Secret Crowd…

 

November 2017 – Cosmo Sheldrake’s new album news and European mini-tour (17th-30th November) including an appearance by Jenny Moore’s Mystic Business

11 Nov

Cosmo Sheldrake, 2017

Fresh off a September tour with ex-Bombay Bicycle Club frontman Mr Jukes (and an October one with actor-folkie Johnny Flynn and Holly Holden Y Su Banda), one-man experimental pop orchestra Cosmo Sheldrake is finally gearing up to release his debut album. He’s celebrating with an entirely premature string of headlining dates in England, Germany, France and Switzerland during the second half of November.

They’re only premature in that the album’s still at least a season away, but why stop when you’re on a roll? “Am soooooo happy to announce my debut album ‘The Much Much How How And I’ is finished… it has been a very long time coming. Three years in the making! I’m very excited and can’t wait to have it out in the world.” Though this isn’t happening until 6th April 2018 (on the Transgressive label), pre-orders are here if you’re already intrigued – and meanwhile, you can take a peek at the hilarious, macabre Josh Allott-directed video for one of the tracks, Come Along, which “explores the experience of both having head lice and being a head louse. Microscopic worlds expand and consume the world of the large. Human heads become continents, scalps become landscapes, salons become solar systems. Come along now.”


 

With its skewed but loosely unified focus on nature, myth, science and intuition, both song and video are typical of Cosmo’s work – an generous and omnivorous corpus enveloping traditional folk and glitch mashups; hipster chic and novelty records; Bjork, Bobby McFerrin and the Fariñas; process music, Partch and prog; rhymes, reels and street parties; old Lomax recordings, beatboxing and Edward Lear. Cosmo himself is an extraordinary collagist and multi-instrumentalist whose roster includes thirty or so instruments (from guitar and piano to samplers, euphonium and duduk topped off with the distinct, lilting and mustardy twang of his vocals) and who’s spurred by a restless urge to reinvent anything he touches and any place that he plays. He’s been rumoured to pursue extinct animal recordings in order to get the noises and voices he wants, so not even death is an obstacle to curiosity. Of course, as one of the children of therapist and vocal shaman Jill Purce and of rebel biologist/parapsychologist Rupert Sheldrake, he’s long been growing in interesting soil. In many respects, it’s hardly surprising that he’s turned out the way he has.

As the further video clips below show, Cosmo is not someone whose talents and ideas are best contained by a support slot. It’s best to see him when he’s more in command of the evening, even if he’s just up on a little stage somewhere rather than out there subverting a swimming pool or model village, capering in front of a brass band or preparing to keelhaul an accordion.






 
Here are the live dates:

Fresh news in for the London gig – as well as a DJ set from Gentle Mystics (like Cosmo, unpeggable underground everything-ists whose own records yaw wickedly and knowingly between Balkan folk, Brit-hop, 2 Tone, Eartha Kitt and occasional world/prog/folk re-arrangements of Stravinsky), there’ll be support via a performance of Jenny Moore‘s ‘Mystic Business’, emphasing just how far Cosmoworld stretches from the average pop show. A member of drum-heavy art/femme/punk/party trio Charismatic Megafauna, Jenny works across a variety of performance art fields from radio show to performance installations, turning up live investigations of artistic responsibility, sexual “humanifestos“, proposals for rock operas and more.

‘Mystic Business’ is one such project: originally a set of communal workshopped songs for percussion and voices which explore and shows off a range of expressio. These range from single-voice-and-slapped-thigh rap to involved group-drumming chorales and minimalist loft-music singalongs (like post-Riot grrrl echoes of Philip Glass and Arthur Russell). Topics explored include body politics, doubts/immediacy/questioning, ripples of revolt, premature ejaculation and marimba-assisted paeans to feminist science fiction hentai. See below for a five-minute excerpt (a kind of post-structuralist spiritual/canon) and for the full forty-two minute version. I’ve no idea how this might work in the more structured context of a formal gig, but I’m sure that Jenny will come up with a new twist.

 

October 2017 – upcoming London gigs – art pop and stories from Tom O.C Wilson, Eley Williams and Kept Cairns (22nd October); holy electro-noise folk and beats from Jarboe, Father Murphy and Metalogue (23rd October)

17 Oct

Tom O.C. Wilson, 22nd October 2017

Pickled Egg Records presents:
Tom O.C Wilson + Eley Williams + Beetles
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Sunday 22nd October 2017, 7.30pm
– information here and here

Until recently operating as Freeze Puppy, Tom O.C. Wilson is now venturing out under his own name with ever-more-intricate and compositionally complex conversational songs, venturing into hitherto unexplored territory between (to pick a few loose examples) Stephen Sondheim, Frank Zappa, Neil Hannon, Django Bates and The Carpenters.

‘Tell A Friend’ – his debut album as himself – is “lovingly crafted, infectiously playful arthouse pop… a frothy, colourful twelve-song collection that pushes the raw materials of pop into dazzlingly surprising shapes, from the polyrhythmic fervour of Give Yourself Some Credit to the Steve Reich-meets-Motown stomp of The Ones. Yet as with similarly cerebrally-minded pop acts such as Field Music, Max Tundra and Dutch Uncles, the intricacy of the music is coupled with an unusually high hooks per-minute quotient — these are songs to sing along to as much as ponder.” While previous records have revelled in a certain literary playfulness, each song on this one is based on Tom’s own life and friendships. It’s in keeping with Tom’s decision not to hide behind kooky project names any longer: he’s never likely to create a standard-issue confessional album, but this is explicitly “a celebration of human interaction” in all its richness. Judging by the tone of start-up single The Ones, it’s predominantly positive.

Tom was originally providing his own support as half of his other band Beetles, but they’ve had to pull out. Fortunately, a more-than-worthy replacement’s been found in the shape of singer-songwriter Kept Cairns, a mysterious pseudonymous friend and fellow traveller from Tom’s Bristol days. His songs (which he himself describes as “gradually accret(ing)” rather than being written) “sketch and explore the unseen world of interiority: mental health, transcendence, relationship breakdown, the limits of communication, ambiguity, time and love.” Generally that’s a recipe for broken-handed strumming and murky lo-fi mumbles; so it’s surprising to find percussive, intricate acoustic guitarwork (recalling Michael Hedges and John Martyn) and carefully-drawn lyrics and vocal lines as crisp as new book pages (detailing complicated and frequently unresolved situations but describing them with an immaculate grace and economy). To see what I mean, you’ll need to take a trip over to his music page: bar a quiet presence on Spotify, he’s so far underground that gigs like these are the only other chance to get the measure of him.

Appropriately for an evening of literary pop, the middle act on the bill is a writer. Eley Williams is an acclaimed prose-poet of confusions, mental transformations and fairytales whose stories sweep across their settings like an investigating light passed over text. Here she is in action:

* * * * * * * *

The following day, Chaos Theory will be vibrating the rafters as they take over St Pancras Old Church and shake out its more shadowy corners for a particularly ambitious gig. Expect an evening of dark drones and noises, Euro-American cloister-folk and cinematic/industrial music textures, filled with dark-refracted Catholicism and a decidedly ecclesiastical tone.

Jarboe + Father Murphy + Metalogue, 23rd October 2017Chaos Theory Promotions presents:
Jarboe + Father Murphy + Metalogue
St Pancras Old Church, Pancras Road, Camden Town, London, NW1 1UL, England
Monday 23rd October 2017, 8.00pm
-information here and here

From the Chaos Theory blurb:

“Original Swans member Jarboe joins forces with Italian occult propagators of insight-through-terror Father Murphy, as they perform a single set in three parts. Father Murphy will open with their avant-garde dark creations, to be joined by Jarboe to perform their new collaborative EP (which came out on Consouling Sounds on 22nd September). Jarboe will then perform her own material, with Father Murphy providing their own twist to her sounds as her backing band.

“Ambient darkness will be provided before and after the performance by producer Metalogue, who will create a whole new set for the evening and release it as a new album. This will be an experience like no other.”




 

October 2017 – upcoming gigs – Anglo coastalysergia and Americana with Crayola Lectern, Dr Spacetoad and Billy Bad Band in Hove (21st October); Austrian psychprog with Blank Manuskript in Ramsgate, Leicester and London (26th-28th October)

16 Oct

We’ve just had a dose of daytime pink skies across Britain – appropriate, given the psychedelic tone of this quick posting.

* * * * * * * *

Crayola Lectern + Dr Spacetoad + Bad Billy Band, 21st October 2017
The Real Music Club presents
Crayola Lectern + Dr Spacetoad + Billy Bad Band
The Brunswick, 1-3 Holland Road, Hove, East Sussex, BN3 1JF, England
Saturday 21st October 2017, 8.00pm
– information here and here

The veteran of innumerable bands from punk to power-pop to latterday Anglo-psych, Chris Anderson finally found his core niche during the mid-Noughties as Crayola Lectern. Unspinning wistful, sweetly lugubrious stories of life, loss and learning dusted by his own gently lysergic leanings, he’s crafted “what psychedelic music would have sounded like had the Edwardians invented it.” Having been accompanied in the past by a shifting pool of live collaborators including assorted Cardiacs (Jon Poole, Bic Hayes, Jo Spratley) and Brighton psych luminaries (Joss Cope, the Rodes brothers from Clowwns and Rect.angle), his current cohorts are Alistair Strachan (on brass, percussion and necessary noises) and drummer-turned-synth-moonlighter Damo Waters.

The alter-ego of songwriter/actor/painter Paul Francis, Dr Spacetoad is another long-standing Brightonian: a discombobulated, identity-swapping cosmic troubadour who’s sometimes veered into Dada-styled space-rock in cahoots with Captain Sensible and who (as Jean Paul Dionysus) once played a key role in the London acoustic revival of the late ’80s. Expect him in his guise as melancholy garret-haunting singer, hopeless romantic and nifty fingerstyle guitarist.

Opening for this double bill of life-worn inner-spacemen is Bad Billy Band, who offer a more straightforward blend of Anglo folk-rock and electric Americana: a soften-upper.





 

* * * * * * * *

For further cosmic ventures, go discover the glow-mossed, castellated structures of Austrian art-rock sextet Blank Manuskript next week as they pass through England as part of a European tour. Polyinstrumentalists who layer flutes, tapes, trombone, reeds and glockenspiels into their standard rock armoury, they’re an intriguingly witchy concoction, balancing pretty much equally between grand prog and freak psych. Some of the band are happy to dress like Napoleonic dandies, a la Hendrix; others look like punk-metal flotsam. All of them sit on long and involved instrumental passages with an air of bugged-out wonder, spraying out rivulets of fingertapped guitar, floating ruminative keyboard lines or murmuring breathlessly arcane lyrics.. Sometimes they display their love of classic British ‘70s prog, pulling off expansive structured Yes or Caravan moves. Sometimes they thunder, spasm and gibber like one of the post-Can, post-industrial, post-metal neo-psych bands that Baba Yaga’s Hut tend to put on. You don’t often see that particular gap being bridged.


Dates:

  • Ramsgate Music Hall, 13 Turner Street, Ramsgate, Kent, CT11 8NJ, England, Thursday 26th October 2017, 7.30pminformation
  • The Musician, 42 Crafton St West, Leicester, LE1 2DE, EnglandFriday 27th October 2017, 7.00pm (with River Chickens + Those Amongst Us Are Wolves)information
  • The Water Rats, 328 Grays Inn Road, Kings Cross, London, WC1X 8BZ, England, Saturday 28th October 2017, 10.00pminformation

Only the Leicester show features any support acts, and I’ve scraped up a little info about them. Despite being founded on a rumbling, frowning Mogwai-esque post-rock base of dour guitar minimalism, Coventry four-piece Those Amongst Us Are Wolves tend towards being post-post-rockers, needing little persuasion to roll right into classic-rock bodybuilder riffage. Cheerfully charismatic Ashby rockers The River Chickens, on the other hand, are travelling the other way: moving away from Cult covers toward their own honey-sweet heavy power-pop. Judge for yourselves below.



 

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