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December 2017 – experimental gigs up and down Britain – Kammer Klang plays Mary Jane Leach in London (5th December) plus Mette Rasmussen, Sofia Jernberg and Dawn Scarfe; Gnod R&D on tour with URUK and pals (7th, 8th, 10th); Xposed Club at Cheltenham with Alexander Hawkins, Raymond MacDonald, Sharon Gal, Stuart Wilding, Chris Cundy (8th)

30 Nov

Kammer Klang presents:
Kammer Klang: Ashley Paul & Ensemble (performing Mary Jane Leach) + Mette Rasmussen & Sofia Jernberg + Dawn Scarfe
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 5th December 2017, 7.30pm
– information here and here

Kammer Klang, 5th December 2017 The coming month’s Kammer Klang has only a tenuous relationship with contemporary classical, concentrating as it does on musicians who espouse either free improvisation or natural resonance.

The evening centres on an ensemble led by clattering, free-form multi-instrumentalist and composer Ashley Paul (who recently supported Powerdove further north at the Old Dentist) and featuring Hyperion Ensemble bass clarinettist/utility person Yoni Silver, cellist/Kammer Klang organiser Lucy Railton, onetime Sonic Youth guitarist-turned-ubiquitous London art musician Thurston Moore and Charcoal Owls’ multi-instrumentalist Tom James Scott on piano (a man who generally brings a specifically Cumbrian twist to his playing, gizmo fiddling and use of field recordings). They’ll be playing ‘Wolff Tones E-Tude’, a cellular Christian-Wolff-inspired piece by American composer Mary Jane Leach (example performance below).


 
Much of Mary Jane’s work focusses on acoustic properties and how sound environments form in specific spaces with particular resonances and opportunities for difference, combination, and interference tones; in addition, how these may be manipulated by a performer, composer or editor (or by someone who’s a combination of all or some of those things). She herself will be present for the performance, which also includes a stereo-diffused playback of her 1992 radio sound piece/hörspiel ‘Kirchtraum’ (about which she says “Have you ever walked into a church, and it seems as if there is sound rolling around the space that’s been there for a long time? I created ‘Kirchtraum’ to create a sound dreamscape to create that kind of feeling. It uses the phases of a dream, going progressively further back into the past and becoming more chaotic with each phase. I used nightingales to punctuate the different phases of the dream, to differentiate between the dream and the environment…”). In addition, she’ll be present for a pre-concert workshop on Sunday 3rd December from noon until 5.00pm (giving a lecture and offering feedback on pieces any composers care to bring in) and, prior to the concert on the Tuesday, participating in a public talk with Frances Morgan at 7.00pm.

 

Opening in the Fresh Klang slot is Dawn Scarfe, a sound artist preoccupied with “things that seem to sound themselves, such as resonating glasses, Aeolian wires and self-opening swell boxes”, and who’s brought this preoccupation to sound installations between Cumbria and London, Exeter and Estonia, Brussels and Seoul. Her projects include the livestreamed ‘Reveil‘ “an annual crowdsourced live broadcast which “tracks the sound of the sunrise around the world for twenty-four hours” using open microphones provided by streamers around the world: she’s described it as intending “to open a space for listening to something else – especially from places where humans and not humans meet – and in the course of one earth day to provide a sketch of this emerging field.” 2017’s edition included contributions from Maputo, Tehran, New York, Kolkata, Santiago de Cali, nature reserves in Cumbria’s Walney Island and Australia’s Noosa Biosphere Reserve, and even the Fukushima Exclusion Zone. On this occasion, Dawn will be performing ‘Tuning to Spheres’, written for wine glasses, sine tone generators and turntables.

 

Closing the evening out will be a free experimental duet between raw Danish Trio Riot saxophonist Mette Rasmussen (who works with both plain and prepared instruments) and Swedish/Norwegian singer/composer Sofia Jernberg (who works with a twisting barrage of vocal techniques including split tone singing, pitchless singing and distorted singing)



 

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Fresh from some well-publicised collaborations with avant-rock godfathers Faust, countercultural Salford sound wizards Gnod are returning to their ongoing “R&D” tour. For more on their London weekender from last year, click here; at the moment, they’re stripped back down to their core duo of Chris Haslam and Paddy Shine in order to explore the next, as-yet-undecided developments from last year’s seethe of slow, dirty riffage on their bed of dub, urban discontent, psychic reportage and ritual. As part of that development, they’re throwing the stage open to volunteer collaborators on the night, “be it singing , shouting, dancing, bringing an instrument/device to the table or just simply tuning in and coming along for the ride.” Dust off your home-made Azimuth Co-ordinator or pocket Tettix Wave Accumulator; grab that Aztec death whistle from the back of the kitchen drawer; head down and dive in.



 
Gnod + Uruk, 7th December 2017

Following the Italian/Slovenian leg in November (in which they toured with Italian noise-rock guitar/voice/drums duo OvO and Godspeed-associated Montreal wallcrashers Big ‡ Brave), the British tour will see a blurring of support slot and Gnod expansion. The band’s ranks will be pre-swollen in Glasgow by drummer and oscillator king Julian Dicken (from Glaswegian psych-rockers The Cosmic Dead) and in Bristol by murky industral-technoist Tony Child (a.k.a. Surgeon) and drummer Dan Johnson (from jazz-punkers Run Logan Run). In London, they’ll be augmented by a five-strong gang of John Doran (head ‘Quietus‘ ranter), heavy electronicist Mark Dicker (ex-Trencher, Palehorse, Bruxa Maria), Mark O. Pilkington and Michael J. York of synth-and-bagpipe psychonauts Teleplasmiste and Teeth Of The Sea trumpeter Sam Barton. In addition, the London gig has a clearly defined support act in the shape of URUK, a teamup of bass player Massimo Pupillo (of expansive no-wave trio Zu) and synthesist/multi-instrumentalist Thighpaulsandra (Coil, Spiritualized, various Julian Cope bands). URUK originates from 2016 when mutual fans Massimo and Thipe finally got together; the resulting music, debuted on this year’s ‘I Leave A Silver Trail Through Blackness’ album, references both Coil and Zu but sinks deeper into the world of highly textured dark-ambient drones.

Dates:

  • Corsica Studios, 4-5 Elephant Road, Elephant & Castle, London, SE17 1LB, England, Thursday 7th December 2017, 8.00pminformation
  • Broadcast, 427 Sauchiehall Street, Glasgow, G2 3LG, Scotland, Friday 8th December 2017, 7.00pminformation
  • Exchange, 72-73 Old Market Street, Bristol, BS2 0EJ, England, Sunday 10 December 2017, 7.30pminformation

* * * * * * * *
Xposed Club, 8th December 2017
Just time, too, to mention another Xposed Club incident over in Cheltenham, in which there’ll be a meet-up duo of pianist Alexander Hawkins and saxophonist Raymond MacDonald (who between them have notched up work and/or leadership duties with Convergence Quartet, Glasgow Improvisers Orchestra, Decoy and more – we also recently saw Raymond exploring the art of the graphic score in London). Also on the bill is well-respected London experimental vocalist/Resonance FM founder Sharon Gal, engaging in duo work with Ghost Mind percussionist (and Xposed host) Stuart Wilding; and a solo set from avant-garde bass clarinet virtuoso Chris Cundy who, as mentioned here some time back, “dips into everything from the philosophical experiments of Cornelius Cardew and John Cage to out-and-out improv to theatre work.”

Various tasters below:





 
Xposed Club presents:
Alexander Hawkins & Raymond MacDonald + Sharon Gal & Stuart Wilding + Chris Cundy
The Xposed Club @ Francis Close Hall, University of Gloucestershire, Swindon Road, Cheltenham, GL50 4AZ, England
Friday 8th December 2017, 8.00pm
information
 

November 2017 – upcoming London gigs – ‘Anonymous Was a Woman’ with Anne Garner, Mary Currie, Lis Stewart (9th November); Powerdove and Ashley Paul (15th November)

4 Nov

There’s a pair of interesting female-focussed gigs coming up over the next two weeks in two of London’s more creative music corners, mingling elements of latterday folk, post-punk, Rock In Opposition, experimental noise and avant-garde pop…

Partly due to the pressure of time, and partly due to the eloquence of the press releases, I’ll let them speak for themselves…

* * * * * * * *

Club Integral: 'Anonymous Was A Woman', 9th November 2017

Club Integral presents:
‘Anonymous Was A Woman’: Anne Garner + Mary Currie + Lis Stewart
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 9th November 2017, 8.00pm
– information here and here

“A night of music by women. Three very different sets from three extraordinary artists.

Anne Garner‘s lyrical work is inspired by curiosity and a sense of wonder, a hunger to explore and explain the emotional inner life. The magic lies in the ambiguity, in the unanswered question and the breath between notes. It’s in poetry and harmony that Anne finds her safe space, in enveloping and beguiling moods, a place from which to speak the unspoken. Anne will be performing music from her upcoming album, joined by Jack Hayter on pedal steel guitar, Nick Samuel on saxophone and James Murray on guitar.


 
Mary Currie is a singer perhaps best known for her work with Gareth Williams (This Heat). Williams and Currie recorded a limited-run cassette-only album, ‘Flaming Tunes‘, in 1985, which over time has become a classic of the lo-fi DIY underground. Since Gareth’s death at forty-eight from cancer, Mary has worked with several collaborators including Howard Jacques (These Records, Bermuda Triangle Test Engineers) and Mick Hobbs (Officer!) in folk group Bucket, and with Mick, Howard and Monica Ruud on a project called Whole New Concept. Mary will be be singing with Alison Craig (Shötley Crüe) – essentially traditional sea songs and modern folk songs.


 
Lis Stewart plays mostly folk music on a 1918 Lachenal 55 key Maccann Duet concertina. She plays from time to time with south London folk collection The No Frills Band. For Iklectik, she will be performing English, French and Scandinavian folk tunes, both traditional and modern. Expect driving rhythms and haunting melodies.”

* * * * * * * *

Powerdove + Ashley Paul, 15th November 2017

Muckle Mouth, 33 Chatsworth Road + Murailles Music present:
Powerdove + Ashley Paul
33 Chatsworth Road/The Old Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Wednesday 15th November 2017, 7.00pm
– information here, here and here

Annie Lewandowski​ ​is​ ​a​ ​composer,​ ​improviser (piano, accordion),​ ​and​ ​multi-instrumentalist​ (singer,​ ​guitarist,​ ​and keyboardist) ​whose​ ​work​ ​has situated​ ​her​ ​between​ ​the​ ​worlds​ ​of​ ​improvisation​ ​and​ ​independent​ ​rock​ ​music.

“In​ ​the Powerdove​ ​combination – in which she’s ​​​joined​ ​by​ ​trouble-makers​ ​Thomas​ ​Bonvalet​ ​​(once of Cheval de Frise) and​ Chad​ ​Popple (Collossamite, Behemoth), and​ ​previously​ ​John​ ​Dieterich​ ​of Deerhoof – Annie’s​ ​songwriting​ ​is​ ​transformed​ ​into singular,​ ​arresting,​ ​and​ ​strange​ ​pop​ ​music​ ​that​ ​sees​ ​graceful​ ​melodies​ ​set​ ​against​ ​raucous percussion​ ​arrangements;​ ​a​ ​music​ ​that​ ​”rumbles​ ​with​ ​immediate​ ​beauty​ ​and​ ​unsettling​ ​events.” The band has​ ​released​ ​eight​ ​recordings​ ​and​ ​performed​ ​at​ ​festivals​ ​and​ ​venues​ ​across​ ​the United​ ​States​ ​and​ ​Europe. Currently touring their new album ‘War Shapes’, this will be ​their first​ ​full-band​ ​show​ ​in​ ​the​ ​UK.​ ​


“They​ ​are​ ​joined​ ​by​ ​the​ ​awesome​ ​London-based​ ​American​ ​composer​/​​performer​ Ashley Paul​, who uses​ ​an​ ​array​ ​of instruments​ ​including​ ​saxophone,​ ​clarinet,​ ​voice,​ ​guitar,​ ​bells​ ​and​ ​percussion,​ ​mixing​ ​disparate elements​ ​to​ ​create​ ​a​ ​colorful​ ​palate​ ​of​ ​sound​ ​that​ ​works​ ​its​ ​way​ ​into​ ​her​ ​intuitive​ ​songs;​ ​free forming,​ ​introverted​ ​melodies.​ ​This​ ​blend​ ​manifests​ ​beautiful​ ​and​ ​simple​ ​musical​ ​forms​ ​against acoustic​ ​experimentation. She’s known​ ​for​ ​her​ ​tense,​ ​raw​ ​and​ ​delicate​ ​compositions,​ ​playfully​ ​combining​ ​introverted​ ​melodies, free-form​ ​song-like​ ​arrangements​ ​and​ ​an​ ​unadorned​ ​approach​ ​to​ ​improvisation.”


 

November 2017 – upcoming free rock gigs – Tonochrome back in action in London (25th November); All Hail Hyena host a quadruple-headed evening in Preston with Dirty Bare Feet and Soldato plus the return of Sleepy People for their first gig in sixteen years (11th November)

2 Nov

Tonochrome, 25th November 2017

Tonochrome
The Spice of Life, 6 Moor Street, Soho, London, W1D 5NA, England
Saturday 25th November 2017, 7.30pm
– free entry – information

London progressive pop band Tonochrome have been away for a while – they were last onstage towards the end of 2013. This new gig towards the end of the month is something of a return and reshuffle – it’s their first with the newest in a run of bass players (Andres Castellanos), and an opportunity for singer Andres Razzini and his other cohorts (keyboard player Steve Holmes, drummer Jack Painting and, on guitar, transdisciplinary musical wanderer Charlie Cawood) to show us the latest developments for a promising band. Over an increasingly interesting pair of EPs, Tonochrome have explored glam pop, aspirational indie and a touch of expansive prog, building towards a definitive, textured statement. I don’t know if they’ve got there yet, but this show is free, so get in and see what they have to offer.


 
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Dirty Bare Feet + All Hail Hyena + Sleepy People + Soldato, 11th November 2017Hyena Inc. presents:
Dirty Bare Feet + All Hail Hyena + Sleepy People + Soldato
Ships And Giggles, 3 Fylde Road, Preston, Lancashire, PR1 2XQ, England
Saturday 11th November 2017, 7.00pm
– free entry – information here and here

Meanwhile, up in Preston, herky-jerky odd-rock band All Hail Hyena (who’ve made an initial name for themselves by storming and/or organising assorted Tim Smith benefit gigs) continue their work as promoters Hyena Inc. via a free DIY gig celebrating “one night of pop-punk-rap-reggae-soul-psychedelic space ska nursery-rhymes rock lo-fi metal bossa-nova prog tri-fi music from four diverse and very different brilliant northern bands”. As well as putting on the night and providing the lollipops, they’re performing themselves, bringing new songs of “neon lipstick, the thrill of a stolen kiss, and powerful pop ballads infused with filthy guitars and hot sex”. The gig will be closed by another growing Preston institution, Dirty Bare Feet, playing an audience pleasing “myriad of rap, soul, reggae, dance, pop, disco and jazz”; and opened by Chorley hard rockers Soldato (“four hairy northerners making noise with wood and wire”).




 
Of most interest to me, however, is that this gig marks a long-overdue return to live action by Tyneside underground heroes Sleepy People. Teasers and tinkerers at the coalface of psychedelic pop, they’ve always been a wilfully eccentric bunch; mingling the countercultural clowning and cosmic glissandi of Gong with bursts of twinkling synth melody, pulses of ska and post-punk guitar chug, set off by moonstruck flute and held together by Paul Hope’s odd yet jaunty songs (which chunter along like sugar-frosted tank engines). The last time they trod the boards was back in 2001: reunited with original singer Tiny Wood (better known as the frontman for ongoing cult-glamsters Ultrasound) they’re seeing what the contemporary world offers them, and vice versa.

Sleepy People, 11th November 2017Despite a strong work ethic Sleepy People never got as far as they should have done during their first lease of life; partly thanks to a constant stop-start of personnel turnover (with Paul and Rachel Hope the only consistent members) but also due to their continual goofiness and repeated nose-thumbing at any conception of cool. Daevid Allen might well have applauded, but the insouciant clowning tended to obscure surprisingly thoughtful songwriting which – while it happily dipped into a soup of esoterica from Gurdjieff to Freemasonry – frequently raised an arch, quizzical eyebrow at contemporary concerns. Among the tales of the frieze of myth and of men turning themselves into birds, the Sleepies also sang about the encroachment of shopping malls, about futile attempts at freezing yourself into immortality, or about modern-day nightmares in orphanages and retirement homes. At other times they’d cast numinous halos of wonder around everyday occurrences (a winter walk home which slowly becomes freighted with significance; the joy of a child running across a beach; or, perhaps on the same beach, the uncomprehending travails of a newly-hatched turtle perilously navigating by the moon).

Things can only be improved by the ongoing reunion with Tiny (who actually rejoined for part of the band’s final stint as Blue Apple Boy around 2002 before they called it a day). Striving to be Wakefield’s own David Bowie and its David Thomas; possessed of a hulking, dramatic stage presence; singing in foreboding and flinty tones like a pop crooner reincarnated as a battlefield crow… he’s always been the best, and the edgiest, foil for Paul’s songwriting. The tail end of the Blue Apple Boy period saw them writing together, Tiny’s more personalised art-punk anguish proving the perfect sour complement to Paul’s sweet, playful tunefulness: let’s hope that they’ve kept that up for the revival.

As for Sleepy People on the web, they’ve still got much to improve on their Facebook page (you’re better off checking them out on Wikipedia) and embeddable delights are few and scattered. Here’s what I could come up with, though – a twirl through Halfway World (with Tiny’s original replacement Phil Sears); recent rough’n’ready rehearsal footage of Every Wave Is Higher On The Beach and Nicky’s Little Army; and half an hour of grainy, raucous footage of a Tiny-fronted band lineup in 1993 (complete with three-fifths of the original Ultrasound).





 

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