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October 2018 – more Daylight Music sessions in London – Caoilfhionn Rose, Tomorrow’s Warriors StringTing and Abimaro (6th October); Terry Edwards, Seamus Beaghen, Douglas Dare and Deerful for ‘Organ Reframed’ (13th October)

1 Oct

Daylight Music‘s autumn season of free family-friendly Saturday lunchtime gigs continues with organ music, singer-songwriters, brass, jazz strings and synthpop…

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Daylight Music 290: Caoilfhionn Rose + Tomorrow's Warriors StringTing + Abimaro - Saturday 6th October 2018The 6th October show features Caoilfhionn Rose, Tomorrow’s Warriors StringTing and Abimaro.

Caoilfhionn Rose has an eclectic range of influences, including the Mummers, Polly Paulusma, Broadcast, Rachel Sermanni and Peter Broderick. She featured on The Durutti Column’s 2014 album ‘Chronicle LX:XL.’ She is currently recording her debut album with Matthew Halsall of Gondwana Records.


 
Tomorrow’s Warriors StringTing is a flagship ensemble from Tomorrow’s Warriors, the celebrated hothouse for young jazz talent in the UK, led by violinist Rhiannon Dimond. Blazing a wide trail for women and strings in jazz, their musicians are core players in Tomorrow’s Warriors’ acclaimed Nu Civilisation Orchestra and are ones to watch as they begin to make an indelible mark on the London jazz scene.


 
Abimaro is a singer and songwriter from London who is inspired by life, faith and stories. Having previously lent her vocals to bands such as Zero 7, Cinematic Orchestra and The Free, Abimaro released her debut solo EP in July 2017. Abimaro is also a Music Facilitator, regularly leading projects for organisations including The Roundhouse, Spitalfields Music and the Southbank Centre.”


 
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The 13th October show is another in the Union Chapel’s ‘Organ Reframed‘ series, in which a variety of musicians play, interact with or are accompanied by the Chapel’s resident Willis pipe organ. In Daylight Music’s case, a variety of singer-songwriters from different disciplines are involved. On this occasion, the performers are Terry Edwards (with Seamus Beaghen), Douglas Dare and Deerful.

Daylight Music 291: 'Organ Reframed' - Terry Edwards (with Seamus Beaghen) + Douglas Dare + Deerful - Saturday 13th October 2018

“Jazz and rock multi-instrumentalist Terry Edwards has performed and released records both as a solo artist and in collaboration with artists such as Madness, PJ Harvey, Spiritualised, Nick Cave and Tindersticks. For this special performance, he will be joined by composer Seamus Beaghen on Union Chapel’s Henry Willis organ. Seamus has played with Iggy Pop, Death in Vegas, Madness and Morrissey, to name but a few. The performance is going to be semi-improvised in four interlocking sections. A multi-genre musical offering, wind-based without electronics – the improvised giddy sound of pipes, trumpet and saxes (occasionally two at once!).


 
Douglas Dare is a London-based singer-songwriter, originally from the coastal town of Bridport, South West England. His live sound combines acoustic instrumentation including piano and percussion with glitchy electronic elements. Inspired by the likes of Portishead, Elliott Smith and James Blake, Douglas combines a rich and haunting vocal with lyrics crafted from his own poems and short prose. For this performance he aims to play the organ as sensitively as he can, reworking some of his older material and introducing some new as he explores the organ’s sonorities in the chapel, singing tenderly with this powerful machine for the first time.


 
Deerful is Emma Winston, a keyboard player, singer and producer based in London. She writes lush, sad, romantic electropop about feelings on synthesisers small enough to use on the bus. For this performance, Emma will combine the chapel’s Henry Willis organ with electronics.”


 
Daylight add “to get you in the mood for this show, we did an organ playlist from previous years and other related shows. It took a lot of organ-ising so we hope you’ll pull out the stops to make time to listen…ahem…”


 
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All gigs are at the usual place – Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England – with a suggested donation of five pounds (go on, it’s worth it…) Dates below:

  • Daylight Music 290: Caoilfhionn Rose + Tomorrow’s Warriors StringTing + Abimaro – Saturday 6th October 2018, 12:00pminformation
  • Daylight Music 291: ‘Organ Reframed’ – Terry Edwards (with Seamus Beaghen) + Douglas Dare + Deerful – Saturday 13th October 2018, 12:00pminformation

Details on November Daylight concerts to follow in due course…

September 2018 – upcoming London experimental gigs – eight for WITCiH’s ‘The State of Gender?’ festival (26th to 28th September) – Bishi, Chagall, Miri Kat, Di Mainstone, Lia Mice, Vicky O’Neon, Rebekah Ubuntu and Gazelle Twin

17 Sep


 
Music tech initiative WITCiH (positive, feminist, genderfluid, multicultural) returns to its regular canalside home at the end of the month, for its first work as a full commissioning platform. ‘The State of Gender?’ is a full festival following several standalone WITCiH concerts over the past few years. While open to all genders, skin tones and persuasions, the three nights of the festival present, foreground and celebrate WITCiH’s central preoccupations – women, technology and creativity. In additional, they continue to promote WITCiH’s extended interest in teasing out and broadening (and, where necessary, seizing) opportunities generally only offered to the male, the straight and the white, and sharing them out across a wider community.

If this sounds like a revolution, it’s a charming and positive one. The people in and around WITCiH are unafraid to critique and push against orthodoxy, and are equally unafraid of their own strength and potential; but this is primarily a celebration rather than a catharsis. Enthusiastic about its geekery, revelling in dressing up and performance, it seems to call into being a place and time in which the worst of patriarchal glowering and rigidity has been dispelled or dissolved; where the culture wars have been won from dance and crafting studios, and from workshops and sheds where electronic components are used to reel in the future. A place and time in which people are just free to get on with open-ended, humanitarian tech-play.

As regards how to get there, there’s a good interview here, at ‘Wyldemag’, in which WITCiH co-founder (and living, walking, proactive “giant culture clash”) Bishi points out her cultural-creative ethos, and that of WITCiH. “People are deciding – especially women and people of colour – that the simple answer is that you have to invest. I mean, it’s great that there’s more awareness and blah blah blah, but it’s really simple, with the minority groups in society, it’s not just about building awareness; it’s the sustained investment that comes with that. And, of course, all the social media and stuff is helpful, but living in a city is so expensive, and politically, everything is so rough and uneven and uncertain, and there’s something powerful about a collective of people coming together physically.”

On this occasion, it’s eight women (or, to be more precise, seven women plus a non-binary person with a female name) coming together. In amongst the music, three of them are going to be providing lectures – physical-pop explorer Chagall, “movician” Di Mainstone and conceptual wildcard Gazelle Twin.

Amsterdam-born but London-based, Chagall is an electronic music singer-songwriter, producer, and performer inspired by a wide-ranging collective-culture range of influences including “nature, Greek poetry, Bjork, James Blake, Beethoven, Nina Simone, Erykah Badu, Joni Mitchell & Miriam Makeba.”. Her particular musical approach embraces gestural and reactive technology: she was an early adopter of a key gestural synth controller, the Mi.Mu Gloves, and her performances involve choreography and triggered interactive visuals.



 
Chagall’s interest in body-gestural sound sourcing is shared – and then some – by “movician” Di Mainstone: artist-in-residence for Queen Mary College at the University of London, and one of the “new generation visionaries” of the international digital arts scene (according to the ‘New York Times’). Working with researchers from QMC’s Centre for Digital Music and Media Arts & Technology, Di creates musical instruments as wearable technology for dancers: electronic extensions of the human body, triggered by movement. These include the Human Harp (which she uses to play suspension bridges), the spring-based Whimsichord, the squeeze’n’jig Hydrochordion, the limb-like “choreophonic prosthetic” Serendipitichord and – outside of music – the Scorpions (a set of kinetic garments with a life of their own). Di also coined the “movician” term – a name for a player of her devices, “a hybrid artist who explores and composes sound through movement.”


 
Earlier on, I suggested that WITCiH was predominantly utopian. The work of Gazelle Twin provides a hellish counterpoint indicating that there’s still plenty of struggles to go through, whether it’s from sinister social forces or our own unacknowledged darknesses.

Beneath her alarming/exciting dual skins of latex costumery and processed sound, Gazelle Twin is Elizabeth Bernholz – composer, producer, incantationeer, framework-overturner and time-traveller. Via loops, sampling and processing, her work jams and transforms acoustic and Early Music sources (recorder, harpsichord, female chorus) against found sounds and electronic “shades of ‘90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory.” The results buck and bray, ripple and snarl; delivering disturbing, liberating dreamscapes and warning fables with a violently physical component. In her videos, we see hissing ferocious folk devils battling it out; or blank-masked hooded figures capering and proliferating, barking and twitching like dysfunctional maenads. Much of it comes across as mingled summoning, exorcism and terrible warning. There’s rather a lot of teeth, and an underlying exploration of specific modern sicknesses via primeval mythology (redressed in manmade synthetics).

Elizabeth’s lecture promises to unpack and reveal the complex vision of one of Britain’s most unsettling and unexpectedly timely artists: it will cover the creation of the latest Gazelle Twin audio-visual project ‘Pastoral‘, including the influences and ideas behind this year’s Hobby Horse single and video (the aforementioned devilfest). En route, it will branch out into related fields exploring “fascism and horror in the English landscape past and present, (Elizabeth’s) own creative process from writing to recording/production, and her identity as a working artist and mother.”



 
Other musicians will be performing newly commissioned audio-visual music pieces. Bishi herself is performing in the middle of the bill on all three nights. There’s no specific clues as to what she’s doing, but on past form expect a melange of some or all of the following:

  • interlocking pop forms (from classic English to Eurosynth to Hindi filmi songs).
  • a headlong, full-on involvement with the intersection of grand costume and high fashion.
  • sitars, ukeleles, extended voice and Ableton synth controllers.
  • traditional folk material from the Balkans to Bengal; classical ideas from Hindustani tradition to contemporary opera.
  • vocal inspirations from Meredith Monk and Yoko Ono.
  • fervent and earnest positive politics (including song cycles about immigration, and a long-standing loyalty to queer club culture).
  • and finally, Bishi’s own strong and self-willed musical identity, which never rules out a willingness to interact or integrate with anyone from Sean Lennon to the London Symphony Orchestra (and with anything from interactive wind-harps to Christina Rosetti poems and giant floating holograms of Tony Benn).



 
By day, Miri Kat works as a Novation Music engineer, designing and finessing electronic musical instruments. She’s also a combined audio-visual artist and music producer, interested in algorithmic music, webtech and generative visuals, with further interests in hacking, live coding and immersive multimedia in general. Mainly composed with Max/MSP Supercollider (and with found sounds live-coded from open ecosystems with open-source tools), her productions provide “hyperactive textures (and) ephemeral collages, in turns frenetic and and lyrical, in a unique brand of glitchy grindcore for a post-Internet age.”

 
Lia Mice‘s work covers multiple bases: live electronic artist, producer, DJ and instrument designer. Sometimes she’s to be found applying her live analog sampling skills across “high energy vinyl-hybrid” DJ sets of electro, Italo, tech noir, acid and “weird-pop”. At other times she applies them to live sets of original music alongside “self-hacked” instruments and Max/MSP, while her recordings can stir in eight-track tape mangling alongside influences from Laurie Anderson, BBC Radiophonics and electronica across forty years from German pioneers to American outliers. Live sets also feature both live voice sampling and Lia’s own custom-designed tactile-interface instruments – such as the Delia Derbyshire-inspired Reeltime sound manipulator (based on a broken reel-to-reel tape recorder) and the suspended tap’n’tilt/swing/spin ChandeLIA (designed to blend the organic bell-like sound of tapping on a metal chandelier with the sound of the electricity powering its lights).

A major WITCiH supporter, Lia also designs sonic sculptures, is a contributor to the Augmented Instruments Lab in the Centre for Digital Music and is “forever taking refuge in the mysteries of the sonic universe.” Her third solo album, ‘The Sampler As A Time Machine’, is a selection of “experimental dance x wave-y industrial x parallel-dimension pop tracks”. For the festival, she’ll be presenting a lecture based on the album and its studio experiments (themselves inspired by time travel writings by philosophers, physicists, neurologists and psychologists from Mark Fisher to Oliver Sacks to Stephen Hawking).



 
An explosively enthusiastic character (and WITCHiH regular), Vicky O’Neon performs in a dazzle of beats plus shocking day-glo costumery and makeup. Born Vicky Österberg in Finland, she was originally a class-topping, award-winning drummer and percussionist at the British Institute of Modern Music. She went on to work around the world as sessioneer and tour-band member for the likes of Pharell Williams, Johnny Marr, Hans Zimmer and assorted live-set DJs. Since summer 2017, she’s gone solo, buoyed up by the success and positivity of her parallel work in tech/instrumental teaching and in co-founding girl-promoting music initiatives Girls Rock London, Rock Donna and Racuma.

Vicky characterises herself as a “relentlessly optimistic Riot Grrrl multi-instrumentalist, with fluoro-glowing intentions to inspire the masses with harmony, laughter and love … on a mission from a higher plane of consciousness, devoted to the elevation of human vibration.” Her one-woman show involves her making a delightful proactive racket via drum pads, loopstations, acoustic percussion, body-worn percussion triggers and MicroKorg synth, plus her own “tongue-in-cheek lyrics and visuals”. As the founder of the Electric Vegetable Orchestra she also mixes tech with vegetable husbandry, carving new instruments from fruit, tubers and other root vegetables, then playing them through loops and effects to create “catchy tunes and singalongs with the audience.” However she chooses to entertain you at WITCiH, she’s certainly got plenty of options to choose from.



 
Vicky’s fellow BIMM graduate Rebekah Ubuntu is a multimedia performance artist, musician and culture scholar experimenting with “ideas of futurism, rebellion, and paradoxes” filtered through queer, non-binary, black and feminist perspectives. Their work spans synthwave, glitch music, techno and various forms of Afro-futurism (including reference to black poets and writers such as Audre Lorde and Octavia Butler, black rock and punk statement, and Afro-orientated pop/house/trap/beat forms) as well as electronic soundscapes and vocal manipulations.

As with most of the other participants, Rebecca’s got a strong allegiance to (and grounding in) club culture, and they’ve recently played sets at black pride, queer and general futurist events from Berlin to Norwich and Birmingham’s FLUID festival. Outside of clubwork, previous work has included last year’s ‘trans.mission.Q’ sonic installation project for Tate Britain (in which Rebecca posed as an extra-terrestrial DJ encouraging gallery visitors to “add your voice(s) to the live soundscape as we broadcast our earthly messages to the remotest regions of outer space”. They also recently guest-edited new music webzine ‘The Sampler’, interviewing five queer, trans & non-binary sound-and-music artists about the intersection of their identities with their music.

 
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Full dates:

  • WITCiH presents ‘The State of Gender?’, evening 1: Chagall (lecture) + Bishi + Miri Kat – Wednesday 26th September 2018
  • WITCiH presents ‘The State of Gender?’, evening 2: Di Mainstone (lecture) + Bishi + Lia Mice + Vicky O’Neon – Thursday 27th September 2018
  • WITCiH presents ‘The State of Gender?’, evening 3: Gazelle Twin (lecture) + Bishi + Rebekah Ubuntu – Friday 28th September 2018

All events are at The Barge House, 46a De Beauvoir Crescent, De Beauvoir Town, London, N1 5RY, England at 7.00pm. Further information is here, here and here.

Note that on the evening of the 27th – the day before her appearance at the festival – Gazelle Twin will also be making a live in-store appearance at Rough Trade East off Brick Lane, performing tracks from ‘Pastoral’.
 

September 2018 – more Daylight Music sessions in London – The Cornshed Sisters, Mesadorm and Kadialy Kouyate (15th September); The Left Outsides, Sister Cookie and Albecq (22nd September); ‘The Sea at the End of Her String’ with Resina, Emilie Levienaise-Farrouch and Shida Shahabi (29th September)

8 Sep

Daylight Music (London’s best regular free gig series – family-friendly, but never letting that spoil or limit its sense of curiosity and enquiry) sprouts back into action again mid-month for its 2018 autumn season. The gigs in the September set are a typical Daylight melange: art-pop, roots pop, electro-acoustica, folk-pop, post-classical, Kouyate griot and ambient electronica.

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The 15th September show features The Cornshed Sisters, Mesadorm and Kadialy Kouyate.

Daylight Music 287: The Cornshed Sisters + Mesadorm + Kadialy Kouyate,15th September 2018

The Cornshed Sisters are four singer-songwriters based in Tyne and Wear, who weave together pop, folk, ballad and protest music into a unique and distinctive style. Drawing on a palette of solo and harmony vocals and a blend of acoustic and electronic instruments, they convey their stories with sensitivity and humour.

“Formed in Bristol in 2015, Mesadorm is the new collaborative project of Blythe Pepino, formerly of London art pop trio Vaults. Debut album ‘Heterogaster’ is based around ideas of family, sex, trust and disconnection, using layered rich vocal harmonies to represent these issues, resulting in a truly special and original sound.

Kadialy Kouyate is a musician, a singer songwriter inspired by the West African Griot repertoire. Born into the great line of Kouyate Griot in Southern Senegal, Kadialy’s mesmerising kora playing and singing style have been appreciated in many prestigious venues as both a soloist and in different ensembles.”



 
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The 22nd September show features The Left Outsides, Sister Cookie and Albecq.

Daylight Music 288: The Left Outsides + Sister Cookie + Albecq, 22nd September 2018

The Left Outsides (Alison Cotton and Mark Nicholas) are a wife/husband duo based in London. Their atmospheric, hypnotic songs echo Nico’s icy European folk, pastoral psychedelia and chilly English fields at dawn. Their recent album, ‘All That Remains’ album continues to achieve deserved critical acclaim, having been placed as folk album of the month in ‘The Guardian’ during May and receiving regular plays on BBC6 Music and WFMU in the USA.

Sister Cookie is a fixture of the vintage and retro music scenes in London. Having absorbed different genres of music throughout her formative years, from the juju, highlife, reggae and soul records favoured by her mother to the jazz LPs in her father’s collection, she developed a lasting passion for jazz and the blues, together with a unique sound and charisma.

Albecq is the project of three London-based experimental artists and composers – Angus MacRae, James Jones, and Thom Robson. The collective was formed in late 2016 based on a love of vintage synths, unhurried free-flowing soundscapes, and the pioneering ambient expeditions of Basinski and Stars Of The Lid.”

 
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The 29th September show is the collective concert ‘The Sea At The End Of Her String’, showcasing the work of four post-classical female composer/performers on FatCat Records’ 130701 imprint: Resina, Emilie Levienaise-Farrouch and Shida Shahabi. (As previously posted, this last gig is part of a late September tour which also takes in Brighton, Bristol and Faversham.)

Daylight Music 289: The Sea at the End of Her String: Resina + Emilie Levienaise-Farrouch + Shida Shahabi, Saturday 29th September 2018

Resina is the alias of Karolina Rec, a cellist and composer based in Warsaw, Poland. A compulsive live artist, Karolina’s style is primarily characterized by personal language of improvisation and alternative approach to melody.

Emilie Levienaise-Farrouch is an award-winning French pianist/composer currently living in London. Spanning film score, bespoke composition and sound design, her work is connected by its high quality and its evocative, meticulous craft – a common sensibility of elegant, instinctual composition.

Shida Shahabi is a Swedish-Iranian pianist/composer and is currently based in Stockholm. She has made site-specific sound installations, plays in bands and writes music both solo and for dance, film, theatre and fine art contexts. Her debut album is set for release in 2018.”

 
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All gigs are at the usual place – Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England – and are free, but chuck a fiver in the bucket to keep things going. Dates below:

  • Daylight Music 287: The Cornshed Sisters + Mesadorm + Kadialy Kouyate – Saturday 15th September 2018, 12:00pminformation
  • Daylight Music 288: The Left Outsides + Sister Cookie + Albecq – Saturday 22nd September 2018, 12:00pminformation
  • Daylight Music 289: The Sea at the End of Her String: Resina + Emilie Levienaise-Farrouch + Shida Shahabi, Saturday 29th September 2018, 12:00pminformation

 
Details on October Daylight concerts to follow in due course…
 

September 2018 – upcoming experimental electronica gigs in London – Pita plus Finlay Shakespeare and Nik Colk Void at Sutton House (7th & 8th September); Andrew Heath and Toby Marks at the Old Church (21st September)

31 Aug

A couple of interesting electronic music shows in historic buildings, coming up in various parts of Hackney during September…

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Pita (plus guests), 7th & 8th September 2018

Second-wave industrial/noise music star and extreme computer music pioneer Peter Rehberg (a.k.a. Pita) will be filling up the old Tudor space of the Great Chamber of Hackney’s Sutton House with sounds from his current modular analogue electronics work, on a double date postponed from May.

“Born in London, Rehberg has resided in Vienna for his adult life. It was here, in the early ’90s, that Rehberg harnessed aspects of noise, industrial, electro-acoustic and techno to develop a new approach to music. Whether constructing an album entirely from the recordings of a fridge, or harnessing the live electronic potential of laptops soon after they hit the market, Pita has always been at the forefront of contemporary radical music practice.

“Birthing the extreme computer music genre, scoring the works of controversial French theatre director Gisele Vienne, ongoing collaborations with Jim O’Rourke, Fennesz, Marcus Schmickler and Stephen O’Malley… all define Rehberg’s open ended approach to the creative act. As head of the influential Editions Mego family of labels, he has released albums by renowned artists like Fennesz, Heather Leigh, Klara Lewis, Kevin Drumm, Thomas Brinkmann, Florian Hecker, Bernard Parmegiani, Russell Haswell, KTL, Iannis Xenakis, Oren Ambarchi, Bill Orcutt, Mark Fell and many more.

“As Pita, Rehberg has produced over a dozen albums, covering an astonishing variety of experimental electronic styles. The ‘Get Out’/’Get Down’/’Get Off’ trilogy received broad international critical acclaim and helped define the radical underground experimental electronic scene of the 90’s. Pita has played numerous concerts all over the world including SONAR, ATP, CTM Berlin, MUTEK, Donaufestival, Le Guess Who?, Atonal etc. In 1999 he won the Prix Ars Electronica for Digital Musics & Sound Art.”

Pita’s most recent recorded offering is his 2016 album ‘Get In’, his first in twelve years and his first following a 2015 return to live work with a new modular setup. It’s a tremendously assured work, sometimes bullish, with none of the noncommittal airiness that often blights the EM and ambient genres.

Part of this is to do with scale – it’s a varied, huge-sounding record which sidesteps simple vulgar loudness for an impressive architectural dominance. Wherever Pita offers gently scintillating greenhouse meditations, they also happen to be the size of the Eden Project; his Galaxian blip-brainstorms, meanwhile, crack the game cabinet and head for great-hall pronouncements. With barely an obvious beat in sight, this is an urgently physical music which also puts the mind on sharp alert. There’s glitch and squelch; but there’s also grand romanticism which sternly punishes itself, and challenges the listener with passages of synthesized orchestral meditation penetrated by shrieks of solo noise and a frowning, compelled patina of distortion vandalism. This is exceptional stuff.


 
On each of his two Sutton House concerts, Pita will be joined by a guest musician.

On Friday 7th, it will be Finlay Shakespeare: analogue synth minder to the stars (via his work at the Moog Sound Lab) and also chief engineer and founder of Future Sound Systems, where he builds worryingly-named modular components including the Convulsion Generator, the Spectral Devastator and an updated version of Chris Carter’s Throbbing Gristle sound-processing unit, the Gristleizer (as used to unsettling effect throughout the original Gristle’s career).

Since last year, via his prolific series of ‘Housediet’ releases, Finlay has been creating his own passionate and evocative take on old-school experimental European synthpop, filled with flattened analogue blatters, skirling fanfares, cybernetic dance pulses and borderline-hysterical incantatory pop vocals.


 
On Saturday 8th, the guest will be Nik Colk Void. Twenty years ago (as Nikki Colk) she was running songblasts of pop-punk through dense effects-pedal work as frontwoman for Norwich experimental rockers KaitO. These days, she’s to be found as one-half of Factory Floor and one-third of post-Throbbing Gristle trio Carter Tutti Void.

Nik’s solo work leaves songcraft far behind in favour of wonderfully suggestive post-industrial sonic abstractions. Haunted factories, steam hisses and wheel-rim scrapes; neurotically-looped ventilation-duct eavesdroppings on unseen devices; or even something as simple as single-scratch passes (like bored, rolling marbles) paired with intermittent grain bag-rattles, like blank shamanic rituals played out on abandoned machine-shop benches.

 
I-D.A Projects & care in the community recordings present:
The New Arts & Music Programme at Sutton House: PITA
Sutton House, 2-4 Homerton High Street, Homerton, London, E9 6JQ, England
– Friday 7th September 2018, 7.30pm
(with Finlay Shakespeare) – information here and here
Saturday 8th September 2018, 7.30pm (with Nik Colk Void) – information here and here

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A fortnight later, and a mile or so northwest, Toby Marks and Andrew Heath are bringing a softer, spacier double bill of solo electronic music to London within the preserved Saxon confines of Stoke Newington’s Old Church. Full details below.


 
Andrew Heath + Toby Marks, 21st September 2018“A soundscape artist and composer, Andrew Heath creates quiet, ambient, lower-case music based around piano, electronics and field recordings, drawing inspiration from a simple piano motif, an electronic shimmer or a processed found sound. The work he produces blends piano, electronics and found sounds into a mix that on the surface sounds quite minimal and open, but on closer listening, contains detailed fragments, constantly shifting and changing place.

“Early collaborations using Fender Rhodes, piano and electronics with fellow musician, Felix Jay under the name Aqueous led to a partnership with the legendary Hans-Joachim Roedelius. Andrew went on to produce a number of video and site-specific, sound installations which re-introduced him to the technique of working with field recordings, often leaving in the sonic detritus that most would seek to eliminate as being “non-musical”.

“In performance, Andrew re-interprets his studio work weaving multiple layers of textural field recordings balanced with etherial whispers of electronic sound and half-glimpsed piano melodies. Recent performances have seen him add acoustic instruments to his palette – often bowed or e-bowed, but certainly not played conventionally. This is immersive, ambient music. It drifts. It constantly shifts as it charts new topographies, creating and following maps that are full of change.




 
Banco de Gaia’s Toby Marks will be exploring the gentler end of his catalogue, presenting ambient works old and new accompanied by live improvisation and manipulation. Ranging from cinematic grandeur through tender minimalism to otherworldly fantasies, this performance will take you to places of beauty rarely visited.



 
“Visuals will be provided by Patrick Dunn (currently touring with Tangerine Dream) who blends real world imagery and computer generated graphics to create a mesmerising, immersive world.”

Disco Gecko presents:
Andrew Heath + Toby Marks
The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England
Friday 21st September 2018, 7.30pm
– information here and here
 

August 2018 – husk, rime and lanterns – a double dose of Jack Hayter in a Gravesend lightship (18th August)

14 Aug

I like the idea of a mobile arts venue. A seabound one is even better. LV21, a forty-metre decommissioned former lightship, once kept other ships from foundering on the rocks along the Kentish coast. Now it’s a floating art space and performance facility, moving intermittently between Thames estuary towns. Although it’s been resting at a long-term Gravesend mooring since summer 2016, LV21 still fits the measure for art-on-the-move (while its sister vessel, LV18, performs a similar function at a similar mooring up the coast at Harwich).

International Lighthouse Lightship Weekend @ LV21, 18th August 2018

Wherever it happens to be at the time, LV21 opens up in full each summer for the overlapping International Lighthouse Lightship Weekend and International Lighthouse Heritage Weekend, allowing visitors to explore the vessel and immerse themselves in lightship and lighthouse history from around the world. Also on offer at the event this year – this weekend – are lessons in tying sailor’s knots, a soldering and radio workshop (build your own pocket amplifier and speaker) and Nicola Pollard of stripped-down drama company Up The Road Theatre inviting discussion for the next UTR production, ‘Peril At Sea’ (set to explore “stories, memories, myths and songs of smuggling, shipwrecks and survival” and to tour around English coastal towns including Lowestoft, Portsmouth and Wells-next-the-Sea).

Jack Hayter @ ILLW 2018, Gravesend, 18th August 2018Of course, it’s music rather than knots that’s attracting my interest. Also on hand is Jack Hayter – wandering multi-instrumentalist, onetime Hefner member, ex-Dollboy-er, Ralegh Long and Papernut Cambridge collaborator; the writer and performer of memorable contemporary folk songs and a relatively recent new Gravesend resident. He has two interesting – and very different – nautical music productions going on in the bowels of the ship.

The first of these is ‘Flashes & Occultations’, a sonic installation in the generator room comprising “a seventy-seven-minute-long sonic improvisation on lighthouse life.” It was originally released by London indie label Where It’s At Is Where You Are in 2017 as part of their ‘Seven@77‘ compilation, on which it loomed massively over the thirteen other pieces (each of them clocking in at a measly seventy-seven seconds). In typically dry and witty fashion, Jack describes it as a salvage job on a foolhardy, ambitious effort to sidestep the requested seventy-seven-minute pedal steel improvisation in favour of an attempt to make “a transient sound sculpture from the identification patterns of distant lighthouses, buoys and light vessels; to convert their flashes and occultations into small voltages using telescopes, light-sensitive resistors and photodiodes, then to use those derived signals to trigger samples and control analogue synths. I was overambitious and my experiments were largely a technical failure. I also got cold and muddy while recording foghorns. Worse still, those supposedly unique and exciting light patterns often turned out to be “one flash every twenty seconds” or “red occulting thrice every minute on a Tuesday. Then I ran out of time.”

Salvaging the project wreckage, Jack returned to the original brief – improvising on pedal steel around field recordings, stirring in documentary dialogue, eight-bit synth pads and calling in a few friends and favours to obtain further ingredients: poetry, wordless harmony singing, harmonium drones and electronic oscillator. Despite his disclaimers, he came up with an effective, charming piece – at different points lulling, humorous and lyrically haunting – which absolutely deserves its second life amongst the Gravesend solenoids and gauges, where Jack claims he might play along with it “from time to time” on live fiddle. Here’s a short excerpt with accompanying video (filmed up at the Firth of Forth) – also, if you’re curious but can’t make it down to LV21 this Saturday, here’s the whole piece in audio.



 
Jack’s second musical contribution of the day is the one-off free live gig he’s performing in the ship (on deck? in the hold?) during the evening, in which he’s going to be performing “a set of my songs and stories which will loosely follow the river from Deptford down to Gravesend finishing up at Margate, with diversions.” Here’s where you get to see Jack in the raw – a rangy, weatherbeaten feller with a voice as chewed-up and resilient as an ancient poster still clinging onto a seafront fence. His recent album, ‘Abbey Wood‘, is one of 2018’s under-the-radar triumphs, a compelling song collection recorded in defiantly threadbare folk fashion but with infusions of avant-garde turn-up-and-play instrumentation. Its ace in the hole, however, is Jack’s songwriter vision. As ever, he writes with a documentarian’s timing and eye for sparse, telling detail; with a poet’s knack for sifting detritus and forgotten trash to find significance; and with a determination to tell stories from those broad, deliberately ignored margins of society which actually make up its overlooked majority.

Jack’s songbook includes tales of post-war slump and of the rural working class swept into conflict; the hopes and dreams of sewage workers; the luckless POWs sunk with the SS Andora Star; the fumblings of early love under the shadow of the Cold War. Crucially – and despite his sharp, assured literacy – he always writes these from the inside and on the level, rather than as booky preachings from above. These are stories about people on lean means, living within strung-together moments: a compassionate, sometimes subtly angry cinema of life’s grain outside the slick and aspirational. They vouch and voice for the itinerate, the sidelined; the workers who just get on with it; the kids with foggy futures stirred and impelled by vast indifferent forces.

Jack’s delivery of these tales, meanwhile, is battered, warm, inclusive, strangely dignified, and mesmeric. Check out an earlier review I did of one of Jack’s previous live performances; or have a dip into the selection of tracks below.





 
Jack Hayter @ International Lighthouse Lightship Weekend 2018
Light Vessel 21, (currently moored at) St Andrews Quay, Royal Pier Road, Gravesend, Kent DA12 2BD, England
Saturday 18 August 2018
• ILLW full event duration: 12.00pm-11.00pm
• Flashes & Occultations installation: 12.00pm-4.00pm
• Jack Hayter free live set: 7.00pm-11.00pm

– free event – information here, here, here and here
 

June 2018 – upcoming experimental gigs – Darkroom in Letchworth (24th June) and at Ambience Chasers in London with Kieran Mahon (26th June)

17 Jun

Darkroom gigs have perhaps become a little rarer since bass clarinettist/modular synth master Andrew Ostler dismantled their shared Hertfordshire base by moving wholesale to Edinburgh (where he’s currently and happily troubling Auld Reekie’s experimental scene on his own).

That said, geography’s really the only working challenge that Darkroom currently face. The electronica duo are a tight, happy and assured unit who, for over twenty years, have continued a well-paced, well-knit career entirely under their own control; happy to lurk a hair’s breadth under the radar while wedding Os’ fluttering flexing rhythms, synth drones, thoughtful reed interjections and dancing timbral adjustments to Michael Bearpark’s powerfully brooding guitar (a sound and approach which blends a thorny, unsettled widescreen texturalism to the muscular, compelled melodic drive of a Neil Young, a David Torn or a David Gilmour). The results have been labelled as “a crossing point between avant-free jazz improvisation and Fripp/Eno-style ambient looping”, compared to Photek, Paul Schutze, Michael Brooks and supernovae, and described as “by turns beautiful and beautifully ugly… a very human music despite the inevitable technology that produces it.”

Darkroom, 24th June 2018The first of this month’s two gigs is back in their previous Letchworth home, in the Arts-and-Crafts-Movement embrace of the town’s reknowned Cloisters venue, as part of the Letchworth Festival. They’ll be part of a Cloisters afternoon of “amazing pieces of art work, live performances and (information) about the alternative history of Letchworth”. This is more interesting and less parochial than it sounds, given the town’s influential status as the world’s first self-sufficient garden city design as well as its links with Theosophy and British astronomy and its hordes of sinister black squirrels. There’s no info on who else is playing or exhibiting, nor what times Darkroom are scheduled to have sets in place, so either watch the webpages or just turn up in the early afternoon and let the Letchworth experience wash over you.

Darkroom + Kieran Mahon, 26th June 2018Darkroom will also be playing in London a couple of nights later, when they perform at Sonic Cathedral‘s Ambience Chaser electronic night on a bill with minimalist drone-loop-echo man Kieran Mahon. Keiron’s music (informed by hallucination, “acid-drenched dronescapes” and “time and space being ripped apart”) sometimes sounds like the stern ghost of a Highland bagpipe possessing a power sander and then imposing its will on a Tangerine Dream session. For all of the noisy loomings, drapes and abrasions, there’s a sturdy romantic grandeur to his textures and to his constructions: listening to him is never a chore. In addition there’ll be DJ sets from an actual Tangerine Dream-er (Ulrich Schnauss) and from Sonic Cathedral label head Nathaniel Cramp.

Dates:

  • Darkroom @ Letchworth Festival ‘Art, Music & Performance’ @ The Cloisters, Barrington Road, Letchworth Garden City, Hertfordshire, SG6 3TH, England, Sunday 24th June 2018 2.00pm onwards – free entry – information here
  • Darkroom + Kieran Mahon @ Ambience Chasers #16 – The Social, 5 Little Portland Street, Fitzrovia, London, W1W 7JD, England, Tuesday 26th June 2018, 7:00pm – free entry – information here and here






 

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