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May 2016 – upcoming London gigs – The Magic Lantern, Nick Ereaut, Amy Walker and Sky Coloured at Rain Today (May 18th); Vanishing Twin and Dijf Sanders at Total Refreshment Centre (May 19th); Quiet Boy, Roxanne Tataei and Brigitte Aphrodite at Total Refreshment Centre (May 25th)

9 May

Pulled out of the bag for today’s post of “soon-to-arrive” shows in the capital – a free baroque pop songwriter’s night and a pair of oblique pop evenings with fairly diverse bills. Almost entirely cut’n’pasted info here, since I’m up against time again.

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The Magic Lantern + Nick Ereaut + Amy Walker + Sky Coloured, 18th May 2017Rain Today and Sky Coloured present:
Rain Today: The Magic Lantern + Nick Ereaut + Amy Walker + Sky Coloured
The Junction, 171 Coldharbour Lane, Loughborough Junction, London, SE5 9PA, England
Thursday 18th May 2017 , 7.00pm
– free event – information

The Magic Lantern is the musical moniker of Jamie Doe. A multi-instrumentalist with an immediately arresting voice, he is currently recording his third album ‘To The Islands’, mostly written during a tumultuous journey to Australia, where he was born, after nearly ten years away.

“Following the stripped-back intimacy of Jamie’s second album, ‘To This Islands’ features a powerful new ensemble exploring memory, hope and our perennial search for acceptance with an intriguing variety of musical textures. ‘To The Islands’ is due for release in the winter of 2017/18.


 
Nick Ereaut is an East London based singer-songwriter and jazz musician. He grew up studying classical piano and double bass before becoming a jazz bass player by trade. Aside from these roots, his influences include Joni Mitchell, Paul McCartney, Donny Hathaway, Nik Bärtsch and the poetry of Allen Ginsberg and Ted Hughes. He’s currently working on his debut EP, featuring a string quartet.


 
Amy Walker‘s slow, folky songs tell tales of dropping out of university, facing adversity in the workplace and the treasures and trials of love. Born in London in 1984 (and recently returned after a decade in Paris) she originally studied songwriting and the physics of sound in Dartington, Devon: she has gone on to record in an aircraft hangar and a mine, and her piano duet ‘My Head Is A Piano’ called for the pianists to sit cross-legged under their pianos.

“Her first studio album, ‘Unravel’, tells the story of the last decade of her life, from abandoning university (Michael And The South West Useless Brigade), to being paid less than her male counterpart (Filthy Little Shrew), to finding peace (Angels Come Down), and losing it again (She Did Tell You).

Sky Coloured are a symphonic pop band from south-east London. A collective of brilliant musicians playing songs of outstanding craft and originality, they put out their debut LP, ‘Starting Time’, in December 2016.”



 
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Vanishing Twin + Dijf Sanders, 19th May 2017Total Refreshment Centre presents:
Vanishing Twin + Dijf Sanders
Total Refreshment Centre, 2a Foulden Road, Shacklewell, London, N16 7UR, London, England
Friday 19th May 2017, 7.00pm
information

“Oblique pop ensemble Vanishing Twin formed in 2015 over a love of unusual instruments, freaky records and the irresistible seduction of A Good Groove. Founder Cathy Lucas, after releasing a string of conceptual cassettes on her own RAM* label under the name Orlando, put a band together and named it after her Vanishing Twin, a sister absorbed in utero, when they were both still a cluster of cells.

“For the launch of the project’s new EP, Cathy is joined by drummer Valentina Magaletti (Tomaga, Shit and Shine, Raime, Neon Neon), bassist Susumu Mukai (a.k.a. primitive electronic producer Zongamin), library music head Phil M.F.U. (Man From Uranus) on strange sounds, and film-maker/visual artist Elliott Arndt on flute and percussion.


 
Dijf Sanders‘s last album, ‘Moonlit Planetarium’, takes you to a trip of yet undiscovered regions where the most diverse individuals have met in a flawless vibe to retire in harmony and peace whilst wondering what so-called civilization has done to their former planet. Tribal rhythms, warm melodies, electronics, deep melancholy and spoken word fused to a seamless and beautiful musical work in utopia. Dijf is based in Gent, Belgium and produced ‘Moonlit Planetarium’ in collaboration with brass and flute players Nathan Daems and Jon Birdsong.”


 
There’ll also be a DJ set helmed by psychedelic “out-of-this-world music” band Flamingods.

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Quiet Boy + Roxanne Tataei + Brigitte Aphrodite, 25th May 2017Quiet Boy presents:
Quiet Boy + Roxanne Tataei + Brigitte Aphrodite + Gemma Cairney (DJ set)
Total Refreshment Centre, 2a Foulden Road, Shacklewell, London, N16 7UR, London, England
Thursday 25th May 2017, 7.00pm
information

“Multi-instrumental pop quintet Quiet Boy (offering a heavy poly-rhythmic punch, weaving lines, pretty piano, romantic strings and deep bass webs) are celebrating the release of their first EP, ‘Earwig with an evening of new material and video projections. It’s an incredibly important night for the Quiet Boy project, which has been in the making for over three years.


 
Roxanne Tataei (a.k.a. Rox) describes herself and her new music as “the lovechild of Minnie Riperton and Stevie Nicks, by way of South London”: her critically acclaimed debut album ‘Memoirs’ was released in 2010 on Rough Trade and led to tours with Mark Ronson, Paul Weller and Nitin Sawhney.

“Wanderlust sated, the last few years have been dedicated to writing and recording new material. Her second album’s on the way with new creative collaborators including Nick Trepka (Emmy the Great), Grammy award winning producer Al Shux (Lana Del Rey/ Alicia Keys) and NTS maverick Lord Tusk (Dean Blunt, Hyperdub) in tow. Roxanne Tataei is gearing up for 2017 – more expressive, exploratory and emancipated than ever before.


 
Brigitte Aphrodite is a multifaceted punk showgirl and performance artist committed to social expression. She is most recently known for her critically acclaimed show ‘My Beautiful Black Dog’ a part-gig/part-theatre punk musical exploring depression. The show sold out at the Edinburgh Fringe, featured on the BBC 10’O Clock News and in the Guardian and Elle magazine, and toured the UK with sold-out shows at Southbank Centre and The Wellcome Collection in London.

“Brigitte is soon to release her debut album, book and second theatrical show (‘Parakeet’).”

 
To round things off there’ll be a DJ set by Radio 1’s Gemma Cairney.
 

April 2017 – upcoming London jazz gigs – Emma-Jean Thackray + Pie Eye Collective + Sky Coloured (14th); Taeko Kunishima’s Iridescent Clouds (23rd); Jonny Gee Trio with Alex Garnett (24th)

7 Apr

Another London jazz and jazz-ish update for April. Minglings of jazz, pop, turntablism and glitchtronica in New Cross; Taeko Kunishima’s Anglo-Indo-Mediterranean-Japanese mixed-media ensemble taking flight in Lambeth; and Jonny Gee’s latest warm-toned jazz-and-curry evening in Archway.

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Rain Today presents:
Emma-Jean Thackray + Pie Eye Collective + Sky Coloured
The Amersham Arms, 388 New Cross Road, New Cross, London, SE14 6TY, England
Friday 14th April 2017, 7.00pm
information

Emma Jean Thackray, 2016

Emma-Jean Thackray, 2016

“London live music series Rain Today returns with a dazzling bill of some of south London’s most original groove-based artists.

Emma-Jean Thackray is an award winning composer, arranger, producer and instrumentalist, and a recent Red Bull Music Academy alumni. She has been described by RBMA as “one of the UK’s most exciting new jazz artists” and Rhythm Section has said that her recent ‘Walrus’ EP is “one of the most exciting and unique jazz records of 2016”. ‘Walrus’ now sits in the collections of some of the world’s best selectors: Bradley Zero, Sean P, Mr Scruff, Theo Parrish, Jeff Chairman Mao and more…



 
“Often seen manipulating the unseen sounds within Emma-Jean Thackray’s Walrus quintet and the London SoundPainting Orchestra founded by Diego Ghymers, composer-producer Pie Eye Collective presents a brand new solo live show of abstract improvisation, electronic dimensions, hypnotic textures and entrancing rhythms (in anticipation of the soon-to-come Pie Eye Collective debut EP, due to be released late 2017).


 
“New south-east London nine-piece Sky Coloured return to the Amersham (where they launched their debut LP ‘Starting Time’) to present a set of ‘symphonic alt-pop’. Described by AmericanaUK as ‘Saturday Night and Sunday Morning scored by Miles Davis’, they are a collective of brilliant musicians playing songs of outstanding craft and originality.”



 
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IKLECTIK Art Lab presents:
Taeko Kunishima: ‘Iridescent Clouds’
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Sunday 23rd April 2017, 8:00 pm
information

“Previously a long-term resident in London, pianist Taeko Kunishima is now moving between the UK and Japan, performing in both countries. With a background in both classical and jazz, she has toured the UK (with support from Jazz Services), and has four albums on the 33 Jazz label.

Taeko Kunishima - Iridescent Clouds, 23rd April 2016“Her trademark lyricism is all over the most recent of these; ‘Iridescent Clouds’, on which she has newly composed eight beautiful pieces in a mellow, melodic vein with occasional atmospheric twists, as her music shifts elegantly from melody to improvisation and back again. Her core group again features the ethereal, Zen-like tones of the Japanese shakuhachi flute, warm double bass, the zinging rhythms of the three-stringed Tsugaru shamisen and percussion from tablas, cahon and gongs.

“The album also conveys the listener to surprising locations thanks to Jeremy Hawkins’s subtle use of field recordings made in both Japan and the UK, from the spring call of the uguisu bird (a type of Japanese bush warbler) to the rustling of oak leaves in autumn. For instance, the track Iridescent Seashell provides a stunning duet between piano and uguisu, with additional splashes of colour from khene and Cretan double pipes.  

“Evan Parker has hailed the album’s “good clear concept… well interpreted by the musicians” and it was put forward by James Nadal of ‘ All About Jazz‘ as one of the best albums released in 2016. (“Acknowledged for her trademark lyricism, (she) reflects upon the wonders of nature on ‘Iridescent Clouds’, offering elegant improvised passages encased in a meditative concept.”)

For this concert, Taeko will be playing with the other contributors to the ‘Iridescent Clouds’ project: shakuhachi/flute player Clive Bell, double bass player Paul Moylan (She’Koyokh, Michael Garrick, Johns Dankworth and Etheridge), Indo-classical/reggae/electro-acoustic tabla player Camilo Tirado (Nitin Sawhney, James Holden, Lemn Sissay), and Hibiki Ichikawa (one of the world’s top-rank shamisen players and a prime representative of Japanese musical culture in London).

The video clip below was recorded at the Iridescent Clouds performance at Aberjazz 2016; the subsequent one’s been added from a previous project as an example of the films projected at some of Taeko’s concerts.



 
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Jazz @ The Sitara, 24th April 2017

Jonny Gee presents:
Jazz & Curry!: Alex Garnett + Jonny Gee Trio
The Sitara, 784 Holloway Road, Archway, London, N19 3JH, England
Monday 24th April 2017, 7.00pm
information

Lastly, here’s one of the low-profile, high-powered jazz gigs in north London led by Archway-based double bass whiz Jonny Gee. No frills, no gimmicks, no particularly grand concepts – just superbly-played music by several of the capital’s most skilled and flexible musicians, in one of the best of London’s Indian eateries (itself a longstanding jazz haunt).

If you’ve been following previous posts on Jonny you’ll know that he plays everything from baroque to bebop and then some, having worked with King Salsa, Antonio Forcione, Ravi Shankar and Cleo Laine as well as a host of orchestras and dance bands. You might also know that his drummer Andrea Trillo has played with both Herbie Hancock and Jerry Dammers (as well as with Don Weller, Dave O’Higgins, Jon Toussaint, Simon Purcell and Tim Richards). The trio’s pianist Dave Oliver plays with Mamas Gun, Sugar Kings and Marta Acosta as well as MD-ing for Lisa Stansfield.

On this particular occasion, Jonny’s also conjured up a guest slot from Alex Garnett, one of our best & wittiest saxophonists, (who) joins my trio for the evening… before running off to Ronnie Scott’s at 10:30pm sharp, where he runs the house band.” This gig only seats thirty people, and tickets are running out fast…
 

December 2016 – upcoming gigs – ‘Staggerlee Wonders’ with Robert Mitchell, Debbie Sanders, Corey Mwamba, John Edwards, Elaine Michener, Mark Sanders and others (London, 8th); Trio Generations with Maggie Nichols/Lisa Ullén/Matilda Rolfsson (Cheltenham and London, 9th & 11th)

5 Dec

StaggerLee Wonders
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 8th December 2016, 8.00pm
– information here and here

'Staggerlee Wonders', 8th December 2016Billed as “an evening of radical poetry and prose fused with free improvised music”, this event’s title is taken from James Baldwin’s blazingly scornful, almost conversational poem – itself named for the black outlaw/hoodlum who flits and thunders through a set of conflicting American tales and songs, taking on the roles of murderer, proud badass, pimp and more.

In all cases, Stagger Lee’s become a byword and signifier for transgressive black resistance to cultural pressure and norms. A lengthy lope in a thickly jazzy, declamatory style, Baldwin’s version takes up the final, revolutionary Stagger Lee position, setting aside the thuggery, choosing instead to weigh up the protests, delusions and not-so-secret wickednesses of white hegemony in one Afro-American palm (seamed with exile, scepticism and righteous ire) before firing up his sardonic, acidic tongue to flay and spit the flesh right off their bones. It’s not clear whether Baldwin’s take will be performed as the evening’s centrepiece, or whether it simply serves as an inspiration; but it certainly sets the bar high, both artistically and politically.

Various performers, both black and white, are confirmed to attend. Hopefully, they’ll all rise to the explicit challenge. Reknowned for his weighty slowhand approach, jazz pianist Robert Mitchell has worked with Epiphany3, F-ire Collective and Panacea. Jazz/folktronicist Corey Mwamba plays small instruments, dulcimer and electronics across assorted projects but is best known for his highly dynamic, hammers-to-humming vibraphone playing and for the ongoing questioning spirit which he explores in both live music and academia (and any intersections he can make between the two). Voices come from restless, movement performer and polygenre singer Elaine Michener (recently seen at the Cockpit Theatre in a quartet with Alexander Hawkins) and from storytelling singer/composer Debbie Sanders (currently heading up Mina Minou Productions, previously embedded in proto-acid-jazz, trip-hop and British R&B via work with Skylab and Chapter & The Verse).

Bass and drums are provided by two stunning soloists who also happen to make up one of London music’s most formidable rhythm partnerships. Both double bass player John Edwards and drummer Mark Sanders are capable of a breadth of sound and attack on their respective instruments, running across an orchestral breadth from whisper to hailstone attack (via conversation or monologue, from growling belligerence to kidding conversation or querying patter).

More people may be showing up to play, but that’s already a pretty thrilling loose sextet to work with and to choose from.

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Trio Generations is an intermittent name for a convocation of three top European improvisers, Maggie Nichols, Lisa Ullén and Matilda Rolfsson. Formed last year, they’re playing a couple of English shows to bookend the upcoming weekend. Outlines below, mostly from the Café Oto pages:

Trio Generations, 2016

Trio Generations, 2016

Maggie Nicols joined London’s legendary Spontaneous Music Ensemble in 1968 as a free improvisation vocalist. She then became active running voice workshops with an involvement in local experimental theatre. She later joined the group Centipede, led by Keith and Julie Tippets and in 1977, with musician/composer Lindsay Cooper, formed the remarkable Feminist Improvising Group. She lives in Wales and continues performing and recording challenging and beautiful work, in music and theatre, either in collaborations with a range of artists (Irene Schweitzer, Joelle Leandre, Ken Hyder, Caroline Kraabel) as well as solo.

Matilda Rolfsson is a Swedish percussionist and free improviser, based in Trondheim, Norway. During the spring of 2015 she was temporarily based in London where she finished her masters in free improvisation and the relationship between improvised music and dance at Trinity Laban Conservatoire of Music and Dance. During her London stay Matilda got the chance to meet and play with some of Londons most efficient improvisers: Phil Minton, Sylvia Hallett and London Improvisers Orchestra with Maggie Nichols. With her 20” vintage Gretsch bass drum, Tibetan bowls, gongs, bells and plastic isolations, sticks, fingers and brushes, Matilda explores the free improvisation and the instant compositions shaped in the moment: dynamics, orchestrations – structure and chaos. To make rules and break rules, always with the question: where’s the music going, and where’s the freedom?

“Pianist Lisa Ullén grew up in the northern part of Sweden, and is based in Stockholm. A versatile player with a singular musical vision, Lisa has repeatedly proven her ability to imprint her absolute sense for tonal texture on whatever musical context she appears in. Besides working as a soloist and leader of her own groups, Lisa has collaborated extensively with many well-known Swedish artists and dancers, and has also scored several dramatic productions. She’s also performed and recorded music by contemporary composers.”
 
To provide a sense of what might be coming, here’s the full half-hour set from their debut performance at IKLECTIK in 2015: a fractured, prolonged collective improvisation which swaps mood, pace and suggestions like a game of speed poker, with passing shreds of blues. Although Lisa and Matilda match her with lethally-aimed flinders of explosive, challenging percussion and piano, Maggie remains the centre of attention via a performance that’s as much stand-up comedy or theatre piece as it is free jazz. She produces not only the clucks, hisses, pants and operatics of free-voice improv but a bewildering spiky cavalcade of female voices and archetypes (hopeful chitterer, wise sly crone, mother in labour, put-upon wailer, deft gossiper) while including fleeting lyrics from jazz, blues or music hall and assorted Dada twists (including a phase which sounds like a demonic toothbrushing session).


 

This month’s Trio Generations dates:

  • Xposed Club @ Francis Close Hall, University of Gloucestershire, Swindon Road, Cheltenham, GL50 4AZ, England, Friday 9th December 2016, 8.00pm (with Chris Cundy) – information
  • Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England, Monday 11th December 2016, 8.00pminformation

At the Café Oto show, John Edwards will be joining in to make the group a quartet. While there’s no support act at Oto, at the Xposed Club Cheltenham reedsman/multi-instrumentalist Chris Cundy will be providing a solo slot on bass clarinet and saxophone. A tactile extended-technique player, Chris began as a self-taught Medway busker coming into his own under the combined influence of Eric Dolphy (on record) and Billy Childish (in the flesh and in the kitchen). Following a relocation to Cheltenham to pursue fine art, Chris has broadened his scope into a world of other collaborations in film, electronica, free improvisation and pop. He’s worked extensively with Fyfe Dangerfield (as part of the Guillemots horn section and as an integral member of Gannets), with Canadian freak-folkers Timbre Timbre and a succession of left-field singer-songwriters. His extended techniques (including multi-phonics, circular breathing and microtonality) have also led him into exploring the works of Cage and Cardew and those of contemporary avant-garde composers such as Thanos Chrysakis and Pete M Wyer, as well as producing a growing number of albums of his own work.


 

October 2016 – upcoming gigs – this weekend’s Wakizashi music festival in Bristol – two days of underground allsorts (22nd, 23rd)

19 Oct

Wakizashi Festival, Bristol, 22nd & 23rd October 2016There may still be tickets left for the “glut of experimental and cross-genre artists” descending on Bristol this weekend for the two-day, twenty-band Wakizashi music festival.

The shared brainchild of two Bristolian gig engines – PROBO Titans (who incubate and deliver bi-monthly rock, pop and experimental gigs) and Harry “Iceman” Furniss (restless jazz cornetter and leading fringeman within the Avon jazz underground), Wakizashi offers an exciting, intimate and intelligent spill of psychedelia, noise, post-punk, math rock, jazz strains, electronica and much more.

PROBO Titans & Harry Iceman Furniss present:
Wakizashi Festival:
– Get The Blessing + Hysterical Injury + Twin + Iyabe + Iceman Furniss Quartet + Human Bones + Charivari + Luui + Saltings (Saturday)
– Knifeworld + Edward Penfold + Evil Usses + Milon + Halftone + Drone Soul + Rafael Dornelles Trio + Uther Modes + Perverts (Sunday)
The Old Malt House, Little Ann Street, Bristol, BS2 9EB, England
Saturday 22nd & Sunday 23rd October 2016 – starts 1.00pm, Saturday
– information here and here

Harry Furniss makes the most of his own involvement by appearing with his Iceman Furniss Quartet. His flowing cornet leads punk-art jazz moves over dogged springy bass rhythms and shuddering No Wave electric-curtain guitar (care of Danny Le Guilcher from Dynamite Pussy Club, whose other career as a printmaker seems to have literally rubbed off on his playing).


 
Further jazz directions are provided by Saturday’s headliners Get The Blessing (founded sixteen years ago over a mutual appreciation of Ornette Coleman,) provide rumbling, doomy trip-hop-tinged jazz-rock. They boast a rhythm section of art-rock/trip-hop/drum & bass go-to-men Clive Deamer and Jim Barr (who between them have kept the pulse going for Portishead, Radiohead, Hawkwind, Peter Gabriel and Roni Size) plus saxophonist Jake McMurchie (of Michelson Morley) and trumpeter Pete Judge (Eyebrow and Three Cane Whale), with another Portisheader, Adrian Utley, sometimes guesting on guitar. Their music brings along some of the flash and flair of jazz pioneers, but also the sense of being trapped in a small room with a lumbering, powerful inscrutable beast – with an equal chance of being either impressed or squashed.


 
Post-punk bass/drums/voice duo Hysterical Injury have a toe in the improv scene and a touch of folk. Their recent press tagging as some kind of “better version of Savages” belies the hovering thoughtfulness and the gentle dignity in their music beyond the softly roiling industrial bass textures. Singing bassist Annie Gardiner has a way with the writing and delivery of a surreal, conceptually suggestive lyric which baffles and entrances.


 
There’s something similarly compelling about the voice of Sophie Dawes, who sings for Iyabe further down the bill. As it was with missing-in-action Delicate AWOL singer Caroline Ross, Annie and Sophie’s voices and words are clear, weightless and elusive – keeping you listening while you try to figure out the messages and hidden narratives floating past in slow streams of isolated moment and fleeting detail.

Regarding Iyabe – considering that they’re a five-piece, they sound remarkably skeletal. Soft pings, drum clicks, bass shadows. At their most expansive, they’re a pencil-sketch ghost of Seefeel’s dub-rock dreaminess: other tracks are a hypnotic rain-drip of slowly growing consciousness. Recent moves towards alliances with remixers, further fleshing out the band’s sound, may point the way forward: but, as with Hysterical Injury, there’s already plenty in place.


 
Two more of Saturday’s bands provide further dispatches from rock’s dissolving, dreamier side. The mystery brainchild of Christelle Atenstaedt, Twin’s drawn-out one-woman Gothpop offers a wealth of detail in its hypnotic overlaid folk drones and its reverberant, tangled-roots guitar chug, which seems to reference both Cranes and Sandy Denny. With electric cello adding occasional extra texture to a droning, crashing armoury of blood-stained guitar fuzz, Bath-based post-rockers Charivari have a sombre lysergic depth; plus a repertoire of zurna-like Mediterranean melodies to add to their gloaming-murmurs, their evenstar twinkles and their post-Mogwai cascades of noise.



 
Begun as a solo project by Andrew Cooke (inspired by ancient ghost stories and the concept of the English eerie), Saltings has evolved into a three-piece drone collective. Andrew (plus string players Liz Muir and Caitlin Callahan) gradually unveil an occult soundtrack full of marine and maritime references, maybe as much inspired by Andrew’s origins in the port of Dublin as by the current trio’s Bristol harbouring. Sampler-moulded sounds (noise-grates, hull-knocks, whistles, water-throbs and motors) are enfolded with double bass and cello parts – whispered, minimal elegies for the undetermined; or baleful shadings; or queasy, discombobulated, John Adams-styled loops both shaken and slurred.



 
The sole hip hop representative on the bill, Luui, rolls out complex, constantly unfolding raps over seductively silky, time-flexed instrumental samples: slurred, narcotic Rhodes piano doodles, bits of glowing solo jazz guitar smeared into something blunted and sinister. Arced out in short, enveloping doses – most of his tracks are over and done in a couple of minutes – it’s both intimate and claustrophobic: a growing autumnal darkness, a slowly moiling confusion.


 
As Luui harmonises with himself (in subtle dischords), his flow folds over and over onto itself like piling lava, journeying from memories of childhood cheeriness into an increasing broody adult disaffection, shot with regrets, spiked with quick vicious jabs of obscenities and flashes of temper. As with the best, most unsettling confessional rap, you get a crooked window onto Luui’s unresolved world, see him wrestle with his conscience and his instincts and, though you see a little too much of him for comfort, for a while you’re matching breath with him too.


 
Initially known for upbeat Lou Reed drawls larded with guitar fuzz, Human Bones now seem to be moving towards a languorous cardboard-box take on Americana. Multi-instrumental looper Steve Strong, meanwhile, has set himself up as a one-man trip hop/math rock band, in which much of the emphasis seeming to be on the drum rhythm. See below for his Godspeedian live take on a grim, violent found story of road anarchy, in which his hopeful, orderly and dreamy guitar introduction gives way (under the growing brutality of the tale on tape) to the controlled heat of a drum beat through which he seems to be trying to slough off the increasing horror.




 

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It’s an odd festival indeed in which Knifeworld (Sunday’s headliners) are virtually the straightest act on the bill. That this is the case says plenty about Wakizashi, but it also says something about where Knifeworld are at the moment. Currently cruising on self-created, sunny psychedelic uplands, the London octet are enjoying a period of relative bliss and (for now) a more familial creative approach, as Kavus Torabi starts to share more of the writing with the crew of expert instrumental heads who make up his band. But if Knifeworld are the closest that the festival comes to pop, it’s still a zestfully spiked pop – brazen and crenellated, filled with monkey panache, their tunes still running exuberantly out of the ears with loopy spirals of melody and unexpected double-backs. If Henry Cow had woken up one morning and decided to steal a march on The Flaming Lips, they couldn’t have done much better than this.


 
More lysergic hints string through the day via the sleepy, lo-fi acidic pop of Edward Penfold, whose songs and instrumentals halo the everyday with a softly vibrating warmth. Sometimes they hint at a might-have-been Syd Barrett; one who ducked the madness and fled away to a healing West Coast hideaway, sending missives back to Cambridge in a rested, sprawling hand; faint blue ink on pale blue paper. On the other side of the coin are The Evil Usses – a deconstructive, fiercely humorous No Wave jazz-rock quartet, who share some of Knifeworld’s brassy exuberance but take it over the escarpment and down into a stomping, seven-league-booted Beefheart country.


As with Saturday, two fringe full-jazz groups will be taking the stage. Led by saxophonist Dino Christodoulou, Milon are a mostly acoustic quartet, edging into something more speaker-warping via Neil Smith’s electric guitar and Pasquale Votino’s judiciously over-amplified double bass: Eager Legs sounds like Charles Mingus being pursued down a stuck groove by a bounding ball of Sharrock/McLaughlin electric guitar grit, with Dino keeping one hand on the wheel by some riffling, ruffling Coltrane-ish sax lines. While the Rafael Dornelles Trio might have Brazilian roots, don’t expect samba or even Tropicália: electric guitar, bass and drums are aiming for somewhere far more heatedly lyrical and direct. Tunes like Slave’s Escape and Indigenous Mass grab you straight from the title and power off in muscular, quick-sprung directions, with a fierce and formidable vigour (plus a buccaneering hint of the knife).



 
Saltings’ double bass player Caitlin Callahan returns as one-quarter of part-improvising, part-compositional, female quartet Halftone, alongside two similarly-inclined Bristolians (violinist Yvonna Magda, flautist Tina Hitchens) and a London ally (cellist Hannah Marshall). Formed earlier this year, the foursome play an unsettling, absently beautiful post-classical music evoking wind in the trees, unresolved conversations and difficulties around corners.


 
Drone Soul boast about their “sheer bleak nihilism” and stake a claim to the abrasive post-punk heritage of The Pop Group. At least part of that’s true – the post-punk bit, anyway – but I’d bat away the nihilistic posturings. This music might be on the dark and cavernous side, but it’s illuminated with a vivid energy which belies the band’s collective grizzliness. If they’re bringing you news of falling buildings or collapsing people, they’re doing it with an exuberant dark snarl. Think of Iggy Pop in-yer-face, think Suicide’s assault-by-sine-wave; and also give a little credit to a lost Bristol band, Lupine Howl, whose gonzo millenial motorik finds a fresh echo here.


 
Rhodri Karim – the Welsh-Arabian heart of Uther Modes – used to be a mournful pop scientist, making his name with sepulchural computer-pop songs which bobbed gently at the juncture of philosophy, physics and bedsit soul. More recently he’s swapped this for a new kind of songcraft, strapping up a bass guitar and pulling in other musicians. Now he reels out shifting part-sombre part-jazzy mutters, winding slate-grey but sensual vocals around echoing guitar curlicues; like a fresh breed of post-rock which refuses to stagnate and instead flexes its muscles and goes haring around the park.


 
While he can sometimes be found paddling around in the warm, shallow pools of downtempo electronica, Traces will shake the drips off his feet once he’s warmed up enough. His studio recordings are fine, but it’s his live improvisations that show him at full strength. They’re heart-warmingly intimate and cheery stretches of pick-you-up synthery – like an enthusiastic half-drunken 2am conversation between Max Tundra and Guy Sigsworth, following which they track down Jean-Michel Jarre, drag him away from his pyramids and lasers and force him back into a kitchen full of analogue keyboards. From tabletop synth noodles to Pong blip and cheekily squirting techno, a cunning wonkiness prevails without diminishing the music’s straightforward ambition. Traces sometimes labels it “devotional”, and I’m not entirely sure that he’s joking.


 
Finally, there’s the fall-apart electronic gagpunk of Perverts, with their squalling songs about angry muppets and guilty onanists; their one-finger clickstab of synth drums; their beady-eyed sampler-shreddings of lachrymose film music. I guess that they’re there to remind musicians and punters alike not to take it all too seriously. It’s just that they’re staring me out a little too intently. On record, at least, Perverts deliver their spoofs and squibs with a crazed and chilly eye: a brattier Residents with a crappier laptop; a young digital Punch waiting to knock everything down.


 

October 2016 – upcoming London gigs (Independent Country, She Makes War and Zoot Lynam at Daylight Music on the 1st; the debut London shows for Flock Of Dimes on the 4th) – plus Simon Reynolds’ glam tome launch events in Sheffield, London and Manchester (4th to 6th)

24 Sep

At the start of October, the Daylight Music autumn season continues with a splash of country, a clash of cymbal, and just a dash of kohl…

* * * * * * * *

Daylight Music 234

Arctic Circle presents:
Daylight Music 234: Independent Country + She Makes War + Zoot Lynam
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 1st October 2016, 12.00pm
– free event (suggested donation: £5.00) – information

Blurbs by Daylight Music, with interjections by me…

Independent Country are a six-piece band who play country versions of classic indie hits from the ‘80s, ‘90s and 2000s. Hear your favourite shoegazing tunes reimagined with pedal steel, lush three-part harmonies and fiddle.” Sounds as if someone’s taking the Mojave 3 idea and yanking it to the logical ludicrous extreme. Their debut album’s called ‘TrailerParkLife’… Well, at least it’s not another sodding rockgrass band; and Independent Country’s version of an old Jesus and Mary Chain tune (originally from the latter’s oft-slated, synth-pop-slanted ‘Automatic’), pulls off the neat trick of sounding as if it’s the original, rather than the cover. Either they’ve genuinely discovered Jim Reid’s inner roadhouse man, or they’re just really good at putting new blue-denim flesh on pallid British songbones.


 
She Makes War is the gloom-pop solo project of multi-instrumentalist, visual artist and all-round polymath Laura Kidd…” whom ‘Misfit City’s covered before, back at the start of August when she did a runaround British tour with Carina Round. Back then I made a few appreciative noises about Laura’s one-woman cottage-industry explorations: dark, brooding song topics sheathed in driven, melodic alt-(but-not-too-alt).rock, and self-directed videos which make the most of her Goth-next-door/folkie looks and still presence. Here’s one of the latter – a semi-animated video for her song Paper Thin, shot in New York and Boston with a comradely guest appearance from Belly’s Tanya Donnelly.


 
Zoot Lynam doesn’t just march to the beat of a different drum; he plays a different drum altogether: Zoot’s instrument of choice is the handpan (or “hang”), which is essentially a sci-fi spaceship of a percussion instrument. This is the first time a handpan’s been played at Daylight Music, so come and see it in action!” Web information on Zoot is a little thin on the ground – frankly, there’s not much more to that homepage than a bold stare and a waxed moustache – but it seems that he started to make his name back in the 1990s as an actor via work in various British theatres and voiceover performances in cartoons (I must have heard him thousands of times while my son watched ‘The Willows in Winter’).

I’m guessing that his move into music ties in with his theatre work, since I’ve tracked down odds and ends about live scoring and workshops, and because he comes to his gigs with a reputation as a raconteur. All of the evidence suggests that he’s one of those perpetually youthful, puckish characters existing on the dividing line between theatre and other arts: a stage polymath with a little bit of the mystic or magician to him. It’s a little early in the season, but here he is with something Christmassy on the handpans (to be honest, it’s all that I could find…)

 
* * * * * * * *

promo-2016-flockofdimes

Only a few posts ago, I was writing about Jane Siberry and was musing on other, next-generation musicians who seem to be following the trail Jane beat for a female art pop perspective back in the 1980s (some of whom, apparently guided by a mutual sense of community and affinity, are playing support slots on her ongoing British tour). It seems that I missed another one out.

Tickets are still available for the debut London shows for Flock Of Dimes (the solo project from Wye Oak frontwoman and guitarist Jenn Wasner) in early October. She’ll be playing a lunchtime instore show at Rough Trade East, followed by a full evening show up the road at the Hackney in Victoria. Flock Of Dimes has been developing for the last four years alongside Jenn’s decade-long body of work with Wye Oak (and her occasional ventures into dance pop as half of Dungeonesse. It’s taken until now, however, for Jenn to release a full Dimes album (something which perhaps coincides with her departure last year from her longtime Baltimore home to resettle in Durham, North Carolina). That album, ‘If You See Me, Say Yes’, was released yesterday on Partisan Records, and has been trailed in recent months by a pair of singles, Semaphore and Everything Is Happening Today.

Jenn has described her vision for the former single as the “struggle to communicate with each other, over distances literal and figurative, great and small,” and worked with film directors Michael Patrick O’Leary and Ashley North Compton to create a striking animated video for the song. According to Ashley and Patrick, all involved “wanted to present the tension of reaching out and not being able to touch. Fleeting communication with an outside world, felt but not seen, and Jenn’s interaction with her own double, create a hallucinatory sense of limbo. It creates a solitary confinement, wherein no matter how partnered or joined we find ourselves, those selves, our own best and worst companions, are all we have.”



 

Fantasies of isolation aside, the current form of Flock Of Dimes sounds liberating and upbeat, with less of the noisy indie mumble of Wye Oak. The project brings her pop melancholy into focus. Wye Oak might have become a poppier proposition in the last few years – 2011’s Spiral single definitely had a touch of the funk – but even Spiral left Jenn echoing in the distance like a mermaid dream, while the same year’s Civilian had more of an indie mumble. In contrast (and maybe on account of Jenn’s earlier dry runs at R&B with Dungeonesse), Semaphore is percolating electronic commercial art-pop in a 1986 Jane Siberry/Peter Gabriel vein, with a dash of country and bursts of beefy funk-roll bassline: qualities shared by Everything Is Happening Today, even if the latter has a more contemporary-sounding, speaker-busting alt.rock distortion halo wrapped around the chorus.

As you’ll gather from the names I’m dropping here, Dimes also has 1980s art pop written all over it – the stadium-scale reverb in which the guitars float and jostle like belfry runaways; the slick electronic technology which sounds as if it’s on the verge of cracking and hatching into a giant ungainly chick; and most of all the sense of an empowered, expressive perspective using all of this sonic trickery to blow open the windows and release the songs. I hate to sound as if I’m trying to ring a band’s death-knell (and I suspect that Jenn’s personal loyalties inform, inspire and justify her musical work as much as anything else) but on record, at least, Flock Of Dimes suggests ways forward for Jenn which Wye Oak simply doesn’t.

  • Rough Trade East, Old Truman Brewery, 91 Brick Lane, Spitalfields, London, E1 6QL, England, Tuesday 4th October 2016, 12:45pminformation
  • The Victoria, 451 Queensbridge Road, Hackney, London, E8 3AS, England, Tuesday 4th October 2016, 7.30pminformation

Flock Of Dimes: 'If You See Me' (promotional flyer)

* * * * * * * *

Simon Reynolds: 'Shock And Awe'

Simon Reynolds: ‘Shock And Awe’

Finally, legendary music writer Simon Reynolds – the man who defined post-rock and re-canonised post-punk, and has striven to contextualise and illuminate every ingredient in contemporary pop (from the most challenging Afro-American sub-bass growl’n’gurgle to the flossiest bit of floating white vanity-froth) has most recently been focussing on glam rock.

He’ll be launching his new book ‘Shock And Awe: Glam Rock & Its Legacy‘ via a short English book tour in early October. Dates and summary below:

“In ‘Shock And Awe…’, Simon Reynolds explores this most decadent of genres on both sides of the Atlantic. Marc Bolan, David Bowie, Roxy Music, Alice Cooper, The Sweet, Gary Glitter, New York Dolls, Sparks, Slade, Suzi Quatro, Cockney Rebel, Iggy Pop, Lou Reed, Mott The Hoople — all are represented here. Reynolds charts the retro-future sounds, outrageous styles and gender-fluid sexual politics that came to define the first half of the seventies and brings it right up to date with a final chapter on glam in hip hop, Lady Gaga, and the aftershocks of David Bowie’s death.”

All events will also feature a glam rock film screening: there’s no information on what’s playing at Sheffield, but for Manchester it’ll be Ringo Starr’s 1972 T-Rex rockumentary ‘Born To Boogie’ and for London it’ll be a “special curated series” of glam rock videos.

Again, there’s no mention of a sparring partner at Sheffield: but in Manchester Simon will be talking with a fellow ‘Melody Maker’ polymath (journalist, curator, pop historian, film director and St Etienne member Bob Stanley) and in London with ‘Guardian’ pop music critic Alexis Petridis from ‘The Guardian’. Simon Price (a Reynolds friend and contemporary who knows more than a little about the glamour chase and how to spin a polemic on it) will be joining in at London with a guest DJ set.
 

August/September 2016 – upcoming gigs – an English tour for Sage Francis & B. Dolan’s ‘Strange Speech, Famous Development” (Aug 29th-Sep 3rd); The Four Owls, Virus Syndicate, Mr Woodnote and Lil Rhys, Bellatrix, Divinity Roxx and Steve Lawson variously mix it up in London (17th, 29th).

26 Aug

Here’s some info on various upcoming shows from London to Leeds, with hip hop as the binding element in common. (Though what you’ll actually get stretches as far as ambient bass guitar soundscapes, spoken word and – on one occasion – some suspect sweary bird impressions.)

* * * * * * * *


 
Following a stint at the Edinburgh fringe, left-field rapper-poets Sage Francis and B. Dolan start to take their ‘Strange Speech, Famous Development’ spoken-word show on tour around selected venues in England. Roll the blurb:

“Sage Francis and B. Dolan are two internationally renowned hip-hop lyricists & spoken word poets – dynamos touted for their lyricism, activism, humour & performance art – with oddly parallel stories. Without prior knowledge of each other, both were born & raised in Rhode Island, where they developed an unlikely love of hip hop music. Although they grew up only one town apart from each other, they didn’t cross paths until 2002 via the Providence Poetry Slam. Each moved to New York City in search of the art-form, stumbled into the spoken word scene and developed a knack for razor sharp lyricism and stagecraft.


 
“Noted as one of the most articulate and broad-focussed of underground MCs, Sage came to widespread media attention in 2001 after his song ‘Makeshift Patriot’(which critiqued the behaviour and language of American media during, and immediately following, the September 11 attacks) became an internet hit. Though he’s released records on labels including Epitaph and Anti, he’s also seen his own Strange Famous Records grow from a late-’90s tape label releasing his own less obviously commercial material to a full-fledged fifteen artist independent.


 
“B. Dolan has made his own name via more than a decade’s worth of continually shapeshifting presentation, outsider perspective, and masterful execution. He enjoyed wide-spread attention for his activism in addressing homophobia in hip hop, and notably for his video single/campaign ‘Film The Police’ (which Russell Brand explored in a highly entertaining episode of ‘The Trews’.


 
“Although B. has been releasing records on Strange Famous since 2008 – when he made his career breakthough with the lo-fi, apocalyptic concept record ‘The Failure’ – he and Sage were working on music together as early as 2005. Several world tours later, their platonic life partnership was made official by forging a rap group called Epic Beard Men. ‘Strange Speech/Famous Development’ is the debut show that brings two legends of underground rap together on a very intimate stage. They’ll trade poems, songs, vivid stories and their now signature blend of offensive and insightful content. From personal to political and back again, the duo promise an inspiring performance.”


 

And here they are, drumming up business in Edinburgh…


 
Dates below:

* * * * * * * *

Mid-month, various spurs and outcrops of British hip hop make a showing in London at the Underworld for a night of rhymes, beats, and gimmicks-turned-triumphs.

Four Owls, 2016

Nightshift Promotions presents:
The Four Owls vs Virus Syndicate + Mr Woodnote & Lil Rhys + Bellatrix
The Underworld, 174 Camden High Street, Camden Town, London, NW1 0NE, England Saturday 17 September 2016, 5.30pm
information

Headlining London crew The Four Owls might look like trim, slightly self-conscious lucha libre wrestlers lurking behind bird masks, but come out bating and striking. More lairy, scruffy hawk than owl, they certainly make a racket. A supergroup of High Focus Records solo rappers Leaf Dog, Fliptrix, BVA & Verb T, they specialise in souped-up, combative, old-school-cum-gang-surreal battle flow, echoing tumbling Wu-Tang semi-sequiturs and arcane/profane Kool Keith gabble, with additional British street lip and humour.


 
For the Owls, a shot of bad taste just adds to the juiciness of a spit. If you’ve got the stomach for the occasional nasty switchback, check out the outrageous braggy stack-ups and lyrical misbehaviour on ‘Much Too Much’ from back in 2011 (though its dips into shockery and the tacky sex-horror-in-the-woodz video ain’t for all tastes, to put it mildly.) But if it gets you riled up about hip hop misogyny squashing or sidelining women, the presence of Bellatrix on the bill provides a fine corrective. A onetime Boxette and award-winning world-champion beatboxer, she’s since been revealing multiple further talents – fine, jazz-inspired double bass playing; off-the-wall singer-songwriter tactics which make her sound like a West Country Björk; a knack for burbling textural synth loops and choral layering. All done live and solo, interwoven in real time, without a net. And she’s still talking about it as if it’s baby steps. What’ll she have proved herself capable of once she feels she’s fully up to speed?



 

Elsewhere on the bill, Manchester provides the dubstep/grime collective Virus Syndicate, who deliver claustrophobic, compelling narratives across chilly isolationist beats. In turn, Bristol offers the irresistibly peppy partnership of Lil Rhys and Mr Woodnote (the former a freestyle rapper who chatters like an engaging dancehall singer; the latter a saxophonist, EWI player and beatboxer who creates a smart-stepping one-man-band via loops and timing).



 

* * * * * * * *

A few weeks later, just down the road from the Underworld, Divinity Roxx will be slamming it out at the Jazz Café.

Divinity Roxx + Steve Lawson
The Jazz Café, 5 Parkway, Camden Town, London, NW1 7PG, England
Tuesday 27th September 2016, 7.00pm
information
 


 

If I were to say that Divinity was Beyoncé’s bassist and musical director for two world tours, some might think that was the most interesting thing about her. I think that it isn’t. Being taken seriously as a player is good; for a female player, even more so. Being handed the MD-ship on one of the biggest shows in the business is even more of an honour – but there are plenty of yo-cat session players around who can handle that kind of thing, including plenty of female ones. Biz-wise, Divinity might be a bass player’s bass player, but there’s more to her than that, and it rolls out best in her solo work.


 

Playing flexible and diverse basslines, leading bands, delivering complex and confident live raps on top of her grooves, and possessing generous star quality of her own, Divinity can own a stage every bit as well as her erstwhile employer. With a repertoire already mining jazz, R&B, fusion, rock and hip hop, she can even deliver potential hits. In 2012’s ‘Get Here’, she swung old-school MC braggadocio around funk rock and a raw look-at-me stance; in last year’s ‘We Are’ she changed tack to wrap some flower-child hippy optism and civil-rights march vibes up with slick CCM-friendly gospel pop. Live, however, is where to catch her; and this month you can see her up-close before more people really start to cotton on to her. It’s only going to be a matter of time now.



 

For the Jazz Café show, Divinity will be joined by her musical buddy and fellow bass ace Steve Lawson. Steve’s otherworldly cinematic soundscapes, improvised live with nothing but a bass guitar, a MIDI controller and a bewildering array of pedals, have helped make him the most celebrated solo bassist in the UK. Since he’s also willing and eager to chat the legs of a fieldful of donkeys, it’ll be interesting to see what his daffy, teasing wit (and glammy dress sense) bring to the occasion. It’ll probably be like Ross Noble crashing a Neneh Cherry gig… assuming that Ross then went on to treat you to a set of tunes like Bootsy Collins, Pat Metheny and Boards of Canada all playing a convivial pass-the-parcel with Robert Fripp’s stage rig.



 

Steve has another couple of British gigs earlier in the month, which I’ll plug during the next jazz gig update in a few days’ time. If you can’t wait until then, click here to get the info direct from the source, and click here to read more about Steve from what’s been splashed across this blog over the years. Meanwhile, here he is busking in Frankfurt – in a jazzy mood, and without his usual wall of effects.


 

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