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March 2017 – upcoming London gigs – Ghost Car, Secret Tongues and Strange Lipsticks in Peckham (11th); Hanging Valleys and Swan Levitt in Camden (21st)

4 Mar

Ghost Tongues (photo © Maria Dela O Garrido)

Ghost Tongues (photo © Maria Dela O Garrido)

Ghost Car + Secret Tongues + Strange Lipsticks
The Montague Arms, 289 Queens Road, Peckham, London, SE15 2PA, England
Saturday 11th March 2017, 7.00pm
– information here

What’s on the invite:

Ghost Car are inviting you to the launch party celebrating their debut single ‘Stuck In The Mud’ (released on New York label Greenway Records), on Saturday 11th of March at The Montague Arms, with support from Secret Tongues and Strange Lipsticks.”

What you get:

From Ghost Car – careening, shifting, minor-key garage rock with sweet’n’sour organ punches plus flavours of bolshy girl-group and of honey-and-yoghurt Gallic pop (despite the fact that, although the members hail from a wonderful pre-Brexit splatter of Spanish, Irish and British roots, none of them are French). The video for ‘Stuck In The Mud’ is a little low-budget hymn to female tensions – office-girl restlessness, transposed rage at impenetrable masculine spaces. It’s a collage of impeccable makeup methods, fusty corridors, and slammed or locked doors, with a nod to the way in which the women’s toilets can double as a sanctuary, a place to compose yourself, even a rallying zone.


 
From Secret Tongues, you get relatively conventionally dreampop indie. Permeated with a lazy but lipsmacking eroticism, it switches between languorous, scenic verses and upbeat, jouncy choruses. Recent single ‘Glass Beach’ is typical of their work – a song of arousal, of “pheromones playing with our hormones” (and it comes with a sloppy-sensual video full of orality and come-hither eyes).


 
For my money, the most persuasive reason to pitch up for the gig is for show opener Strange Lipsticks, a.k.a. singer-songwriter Mary Fritz. Over the times during which she’s shuttled between London and Boston, her music’s evolved from lo-fi tick/echo/strum songcraft (orchestrated with tremolo, warble and skate) to a shifting, half-moored folk sound interpolated with background noises and a wan tone of solitary council-estate psychedelia. Mary’s weary folk-chant of a voice (a little reminiscent of the unsettling intonation of Scottish post-folker Pinkie Maclure) remains the key note: breeding her songs’ atmospheres of ill-health and of a disturbed, distracted intelligence feeling its way around, angling for clarity.



 

* * * * * * * *

Hanging Valleys + Swan Levitt, 21st March 2017Hanging Valleys + Swan Levitt
The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England
Tuesday 21 March 2017, 7.00pm
– information here and here

What’s on the other invite:

Hanging Valleys is an alternative band founded by Thom Byles in 2016, in which he’s joined by Mike Phillips (guitar, vocals) and Alexis Meridol (beats, synthesizer). Their music is centred around soaring falsetto vocals accompanied by ethereal atmospheric phrasing on electric and acoustic guitars, which combine to create a rich shifting soundscape. An unusual percussive playing style on the acoustic is blended with percussion and self-produced samples to create pulsing rhythms with captivating crescendos. The band’s debut EP will be released on 10th March 2017.

Swan Levitt is an English singer-songwriter from the Isle of Wight, UK. Blending together acoustic folk with refreshingly modern themes, his emotionally charged voice lets you in on a personal level, taking intricate melodies and crafting them into a fully cinematic experience. Uniquely adept at songwriting, Swan Levitt carries the listener on a character building journey. Using his personal struggles and his passion for science to create music that is acoustic at heart, yet interwoven with subtle electronic atmospheres. Levitt is currently recording his debut album at Studio Humbug on the Isle of Wight with accomplished production duo, Boe Weaver and Organ Records.”

What you get:

Beyond the initial hype (and the little cloud of thumbs-ups from various people at BBC Radio 6), you get two acts coalescing from their initial post-folk vagueness. For the past year or so, as they built themselves up from being Thom’s solo project into being an actual band, Hanging Valleys have been dotting Bandcamp and Soundcloud with individual tracks. On the positive side, they’ve got an exquisite, downy, murmuring sound which – if anything – their press releases undersell. On the other, they’ve sometimes used it to be over-evasive, apparently more interested in capturing the perfect curve of a shadow-croon or the glint of a guitar-string harmonic over anything requiring a commitment of story or setpiece. Their most recent track, ‘T.B.D’, seems to indicate that they’re finally hitting the right balance.



 
As for Swan Levitt, he initially came to general attention last year thanks to two softly pained, quietly dramatic post-Damien Rice-ish singles – ‘Alive’ and ‘Singularity’ – which sounded gorgeous but also on the lazy side of sparse: as with the early Hanging Gardens stuff, songs which seemed to prioritise furnishing over content. His third single, ‘You Were Human’, is a big step forwards; a mourning, brush-drummed lament with an offbeat, unsettling perspective, casting an eye on the destructive vortex of male desire and sentimentality while weaving together ideas of artificial intelligence and human feeling cribbed from ‘Blade Runner’ and ‘Ex Machina’ (and blurring the lines between lovesong and murder-ballad). He’s a lot more interesting now that he’s come out as a questioning geek instead of just being a beautiful attic voice.



 

March 2017 – upcoming gigs – Ramp Local show in New York on the 8th (Lily & Horn Horse, Macula Dog, Gavin Riley Smoke Machine, The Cradle); Whispers & Hurricanes show in London on the 9th (Danielle de Picciotto, Alexander Hacke, Jo Quail)

2 Mar

A little convocation of bands associated with Philadelphia’s Ramp Local label are playing at the Glove, an out-of-the-way Brooklyn performance theater and art shrine. (Apparently the Glove’s been set up by the same people responsible for the Grove performance space, and seems to be so in-the-moment that it’s impossible to find a formal address for it – you’ll either have to private-message their Facebook page, ask the right kind of friend, or get off at the MTA stop by Flushing Avenue and Broadway and take the chance that you’ll spot it.)

Lily and Horn Horse + Macula Dog + Gavin Reilly Smoke Machine + The Cradle, 8th March 2017

Ramp Local presents:
Lily & Horn Horse + Macula Dog + Gavin Reilly Smoke Machine + The Cradle
The Glove, (somewhere in) Bushwick, Brooklyn, New York City, NY 11221, USA
Wednesday 8th March 2017, 8.00pm
information

The gig’s a launch event for the debut album by Lily & Horn Horse, more on which below:

”Lily Konigsberg is a member of the experimental punk band Palberta, hailed by ‘Pitchfork’ for their “mercurial gestures, barking acidity, and off-the-cuff creativity” as well as for their taste for swapping or abandoning instruments midflow. Fellow multi-instrumentalist Matt Norman performs as Horn Horse. Together they formed a group called Lily & Horn Horse, who will release a collaborative cassette album – ‘Lily On Horn Horse’ – on March 3rd 2017 (on the heels of Palberta’s most recent album ‘Bye Bye Berta’), by way of Philly’s Ramp Local Records.

“With ‘Lily On Horn Horse’, Lily and Matt deliver a twenty-eight-track collaboration that synthesizes the eclectic musical talents of both multi-instrumentalists. Originally presented as a CD, the compilation was sold and packaged in origami during an August 2016 tour of the north-east USA. The album is more a snapshot of a creative time and place than concept-album. As Lily and Matt say “The release of Matt’s ‘Horn Horse‘ album featured Lily on most songs, most of which are included in y’own tape. Around the same time Lily was developing a mega set of karaoke music and instructed Matt to blow down some car horn charts which were eventually replaced by baritone horn parts and inserted into the recordings gently sleeping inside thine tape.”


 
“The record ends up a coherent pastiche of diverse tracks full of free jazz-inspired brass freak-outs, ethereal piano ballads, and synth arrangements skewed toward electronic composition. Lily’s siren-like voice calls from a perfume-cloud of disco-inspired grooves while Horn Horse’s vocals hit robotic and angular production. Tracks like Today and She Doesn’t Have A Good Brain bring to mind an Arthur Russell-like elevation of pop-music experimentation. In short, the record is a curated-tour through the frontiers of Lilly and Horn Horse’s creative landscape.”


 
The gig also offers three other acts. There’s discombobulated glitch-funk played with “inebriated, mule-like precision” from Macula Dog. There’s Big Neck Police‘s Paco Cathcart, performing with Palberta’s Ani Ivry-Block and The Gradients‘ Sammy Weissberg as The Cradle – woozy tenement indie-folk songs, a little like an accordion-and-double-bass equipped Mazzy Star at war with drum machines and bad aircon. Finally, there’s the goofy multi-media work of Gavin Riley Smoke Machine.



 
For me the most satisfying of the support acts is Gavin, who creates his own live-music take on a Choose Your Own Adventure paperback. He does this by gumming together a spitball of nerdy white-boy hip hop, blow-by-blow audience interaction and goofy pulp fiction/afternoon TV storytelling (a schoolkid caught up in a whirl of mutants, drug gangs, sinister teachers, the FBI and parents with mysterious pasts), topped off with some endearing homemade animation. In theory, it should fall flat on its face: instead, it can turn an audience of jaded hipsters back into eager, happy children.


 
* * * * * * *

Back in London, Chaos Theory’s airier spin-off Whispers & Hurricanes is back in business with a few old friends:

Hacke & De Picciotto + Jo Quail, 9th March 2017

Chaos Theory presents:
Whispers & Hurricanes: Hacke & De Picciotto, Jo Quail
Strongroom Bar, 120-124 Curtain Road, Shoreditch, London, EC2A 3SQ, England
Thursday 9th March 2017, 7.30pm
information

“The first Whispers & Hurricanes of the year sees the return of two legendary multimedia performers (whose entire life together is an ongoing work of art), as well as a prolific contemporary cellist and loop artist.

“German-American artist couple Danielle de Picciotto and Alexander Hacke are internationally known – she as the co-founder of the Love Parade, he a founding member of the band Einstürzende Neubauten – and both of them together members of Crime & The City Solution. Since 2010 they have been leading a nomadic life, touring the world with music and theatre projects, never staying still for too long. After two breathtaking shows for us at Cafe Oto and at Hackney Attic, this unconventional and versatile duo return to the UK with new additions to their show.

“Tonight they will perform music from their recently released and widely acclaimed album ‘Perseverantia’ – made up of instrumental sounds, a few spoken words by Danielle, throat singing by Alexander, purrs and squeaks of the hurdy-gurdy and autoharp, melancholic melodies of the violin, and bass and guitar hums.

“We will also have a first chance to hear new pieces that they are working on for their next album, comprised of recordings made in a huge cathedral in Austria, mixed with Mexican found sounds and desert drones. It will be intense.

 
Jo Quail is a visionary cellist who never ceases to push boundaries and her own limitations, with equally dramatic and contemplative compositions as well as with her use of loops and effects. Over the last seven years, her career has seen her release three full albums, a live DVD, several collaborative works, and many international tours, most recently with post-rock giants Caspian.

“Her music has captured the hearts of rock, classical, experimental, metal, post-rock, gothic and folk fans alike, and she is known for creating a unique experience with each performance.”


 

February/March 2017 – upcoming gigs – Bob Drake, William D. Drake, Stephen EvEns and friends scramble up and down Britain (19th February – 24th March, variously)

15 Feb

During February and March, three tours sprawl across the country from London to Preston to Tyneside, Brighton to Birmingham, Glasgow to Cardiff and points elsewhere.Occasionally they intermesh, like a trio of amiably warped combs. I’ve been trying to keep track of their plans for the last few weeks, but they keep getting excited and running off to snag in more dates and further musicians (both the like-minded and a set of relatively innocent bystanders.)

One of the three tourers is bear-suit-wearing avant-prog polymath Bob Drake, who enjoyed his one-man-one-guitar “Nameless” British tour last November so much that he’s immediately repeating it, bringing his continually morphing musical tales of strange beasts and weird events for another spin around the island. Another is Stephen Gilchrist: indie-rock journeyman who’s drummed behind Graham Coxon and The Scaramanga Six and led art-garage popsters stuffy/the fuses, but most recently has been trading as solo singer-songwriter Stephen EvEns, peddling a craftily embittered set of finely-honed art-pop songs in the Kinks tradition. The third is ‘Misfit City’ favourite William D. Drake – keyboard virtuoso, former Cardiac and (increasingly) the architect of a charming antiquarian pop styling which moves ever closer to a particular unity of classical, folk and the psychedelic.

Video samples below, followed by a slew of gig details and support act info/noises for the curious and for the unconvinced…




 
Stephen Evens’ Cardiff show on 19th February is probably the straightest show of the lot, with him sitting in the middle of an indie-slanted bill with hooky, cheekily-named Chester girlpop trio Peaness (“for fans of Belly, Letters To Cleo and indie pop songs about George Osbourne”) and Rhondda Valley emergents The Vega Bodegas (who provide a blessed fuzzy-pop escape for post-hardcore refugee and former Future Of The Left guitarist Jimmy Watkins).



 
At Bob Drake’s Harrison show on 24th February (which features a Stephen Evens support slot) there are a few more familiar names – Kavus Torabi brings another of his recent string of solo sets, belting out songs he wrote for Knifeworld and The Monsoon Bassoon on an acoustic guitar; and Arch Garrison play their delicate, summery mediaeval-tinged pop, full of pilgrimages, parenthood and psychogeography.



 

Heading up to Preston on 25th February, Bob’s playing on a bill with a gang of Fylde Coast kindred spirits: sunny, doo-wop skronker schizophonics Condor Moments, whom he helped record their 2007 debut album vigorous, bursting Burnley art-rockers All Hail Hyena, plus the dubious Bonanza Tungsten Ladies. (Allegedly, the last are a trio of stranded Preston-based Peruvian exchange students who move between sofa-surfing and eking out a precarious existence in a haunted train tunnel. I suspect lies, and probably treachery.)



 

Back down in Brighton on the 26th, Bob’s playing a pay-what-you-like show with support by T. House, frontman of ominous surreal post-punkers, Sweet Williams. T.’s songs are subtly alarming. I dare you not to put any money in the hat.


 
Bob’s Glasgow gig on 2nd March seems to have brought out support opportunities for half of the undersung freaks in an art-rock town’s artiest corners. Luminous Monsters bring us the gift of “ersatz fuzz-ragas and igneous doom from beyond the ragged veil of terror” (though I’d’ve settled for a badly-carved figurine.) Presenting themselves as “reptilian” Southside doom-droners, they’re a cut or two above the usual arrant sludge-mongering, since there’s more than a touch of flamenco to leaven the grinding distortions and the Mogwai cascades – presumably those are the “freeform ecstasies” and “ersatz arabesques” mentioned further down the parchment. (Aye, ftagn, caramba.) Herbert Powell claim to offer “twisted evil-doings of mental brainwrongs influenced by the likes of Captain Beefheart, This Heat and Aleister Crowley” ; Glasgow blog ‘Blues Bunny’ laconically tags them as “contrived angularity”, “Postcard guitar pop” and “the check-shirted sound of the street”. Come along and see who’s telling the truth – their Bandcamp page is a yawning void, but I did manage to locate a retina-frying live video.



 
Also on the Glasgow bill, faux-masculinist avant-rock bastards Bloke Music are rooted in other local heroes-of-obscurity such as Elastic Leg Party, Bo Deadly, Super Adventure Club and Gastric Band. They’ve just put out a debut EP packaged with a trowel, riddle their press-sheets with Homebase jargon, deliberately confuse DIY music with handyman work, and grunt out song titles like Mortise And Tenon or It’s Yer Ballcock’s Gone Hen. In person, they’re actually a lot feyer, lampshading nods to prog, contemporary classical and (allegedly) Michael McDonald while coughing up part-digested fragments of lounge jazz and ice-cream van. Singer Chris Flynn carols and quavers his way over his bandmates’ knotty guitar fletchings like an avant-pop Jimmy Scott (or rants like a Glaswegian fraternal twin of Joeyfat’s M. Edward Cole). The group’s flakey nerviness and hints of teatime haunted-house shows suggest dEUS or Pavement reworking a soundtrack for ‘Scooby Doo’, or Beefheart getting a gig with ‘The Munsters’. Should be promising, as long as they don’t drop a hammer and smash their own kneecaps.


 
In Birmingham on 3rd March, Bob reunites with two lightly lysergic sets of local gigmates from last year’s tour for a sweet spring shower of a show. Quizzical, pranky cutepop trio Kate Goes recall Victoria Wood heading up a girl gang with an ever-shifting nature (first West Coast beat-poppers; then The Slits; then The Ronettes, with a sideways dash into jaunty Cardiacs territory) but also the quirky sunshine folk-pop of The Bush The Tree & Me. The Nature Centre innocently cite Syd Barrett and “fololoppy pop” as pointers (you can add XTC and Cardiacs to the list, if they hadn’t been implied already), but underneath their sprightly, jouncing banjo/keyboard tunes the band are conducting little philosophical investigations both cute and serious (the comedy of telepathic entanglements on We Are All Friends Of The Master Brain, but a semi-occult tale of madness and misogyny on Amongst The Shielings).



 
Bob’s second London show – at The Others on 5th March – is his last tour date for now. It’s also a Depresstival date at which he’ll be joined by haughty, theatrical pop tyrant and multi-media demagogue Bing Selfish, plus a host of Others-friendly acts including cowpunk trio Lonesome Cowboys From Hell, the Sanshin Sisters, dada musical comedy trio Consignia, Takeru Brady, Birthday Bread Man, Laminate Everything and Alain Man. It’s tough to keep track of all of these people, but for now here’s two sides of the Bing…



 
Stephen EvEns and Bill Drake, however, continue a two-man waltz for four more gigs together. For Stephen’s London album launch gig on March 9th, they’re joined by various friends from Onamatopoeia Records. The Gasman’s DJ set will presumably provide a window into the thinking behind his odd hyperactive electronica, but voice-and-upright-piano duo Rolf & Sam are a bit of a mystery (or possibly a prank – all I know is that one of them is Stephen’s piano tuner). Barringtone are more of a known quality – driving art pop from former Clor-ster Barry Dobbin which flies the route between XTC’s Swindon and Neu’s Dusseldorf. I know that they’ve got enough material to play full sets. I’ve even heard that they’ve recorded some more of it. Please could someone ask them put it out, so that I’m no longer posting and reposting the same two songs from several years ago? Here’s one of them again…


 
Up under the Gateshead railway arches on 12th March, Stephen and Bill will be joined by another affectionate dramatist of the constrained and absurd – Tyneside urban folk veteran: songwriter and 12-string guitarist Nev Clay, who’s been toting his tragicomic songs of fumbled ambitions, criminal families and hard lines around the area for two decades. At their rather posher Leatherhead gig on the 22nd (look, a Victorian private school chapel!), they’re reunited with Arch Garrison. This should be tremendously genteel and cultured, with everyone’s cordial Englishness brought to a simmer. Stephen will probably feel obliged to lower the tone – and quite right too, since chapels are always improved by a public glower or two. Ask any Calvinist.


 
When Stephen plays Brighton on 23rd March, he’ll be minus Bill but topping a Club Stramonium bill featuring other three psych-tinged sets of performers – hedge-magick Cornish folkie Emily Jones, the dark whisper-pop project M U M M Y (featuring Bic Hayes and Jo Spratley), and what seems to be an unexpected reappearance of Jo’s Spratleys Japs revival (a Cardiacs spin-off who played three ecstatically-received comeback gigs on either side of the New Year, giving a new lease of life to a batch of undersung Tim Smith work). People who followed those shows at the time will note that this is pretty much a reshuffled version of the playing order at the first of the SJ Brighton shows, with the intriguing twist that Spratleys Japs themselves will be playing acoustically. (UPDATE, 1st March 2017 – sadly, this show appears to have been cancelled, but here’s a taste of what might have been, starting with one of Emily’s tracks…)




 
Finally, on 24th March, Stephen plays Oxford – minus Bill, but plus Ally Craig, his once-and-current bandmate in Bug Prentice (the Oxford avant-punk trio whose influences range from American hardcore to British psycheccentricity to arty ’50s jazz, and whose lineup’s rounded out by up-and-coming jazz bassist Ruth Goller).


 
There’s a smattering of other Bill or Stephen shows this spring, but I’ll cover those in the next few posts, since this one’s bursting at the seams.

Here’s the basic tour details:

  • Peaness + Stephen EvEns + The Vega Bodegas – Clwb Ifor Bach, 11 Womanby Street, CF10 1BR, Cardiff, Wales, Sunday 19th February 2017, 7.30pminformation
  • Bob Drake + Arch Garrison + Stephen EvEns + Kavus Torabi – The Harrison, 28 Harrison Street, Kings Cross, London, WC1H 8JF, England, Friday 24th February 2017, 7.00pminformation
  • Condor Moments + Bob Drake + All Hail Hyena + Bonanza Tungsten Ladies – The Ferret, 55 Fylde Road, Preston, Lancashire, PR1 2XQ, England, Saturday 25th February 2017, 8.00pminformation
  • Bob Drake + T House – The Caxton Arms, 36 North Gardens, Brighton, East Sussex, BN1 3LB, England, Sunday 26th February 2017, 8.00pminformation (free event with collection on door)
  • Bob Drake + Bloke Music + Herbert Powell + Luminous Monsters – Nice ‘n’ Sleazy, 421 Sauchiehall Street, Glasgow, Scotland, Thursday 2nd March 2017, 7.30pminformation
  • Bob Drake + Kate Goes + The Nature Centre – ORT Cafe, 500-504 Moseley Road, Balsall Heath, Birmingham, B12 9AH, England, Friday 3rd March 2017, 7.30pminformation
  • Bob Drake + Bing Selfish + Lonesome Cowboys From Hell + Sanshin Sisters + Consignia + Takeru Brady + Birthday Bread Man + Laminate Everything + Alain Man + others – The Others, 6-8 Manor Road, Stoke Newington, London, N16 5SA, England , Sunday 5th March 2017, 7.00pminformation
  • Stephen EvEns (full band show) + Barrington + William D. Drake + Rolf & Sam + The Gasman (DJ set) – The Windmill, 22 Blenheim Gardens, Brixton, London, SW2 5BZ, England, Thursday 9th March 2017, 8.00pminformation
  • William D. Drake + Stephen EvEns – The Ferret, 55 Fylde Road, Preston, Lancashire, PR1 2XQ, England, Saturday 11th March 2017, 7.30pminformation
  • William D. Drake + Stephen EvEns – Prohibition Bar, Arch 3, Brandling Street, Gateshead, NE8 2BA, England, Sunday 12th March 2017, 7.30pminformation
  • William D. Drake + Stephen EvEns + Arch Garrison – Old Chapel @ St Johns School, Epsom Road, Leatherhead, KT22 8SP, England, Wednesday 22nd March 2017, 7.30pminformation
  • Stephen EvEns (full band show) + M U M M Y + Emily Jones + Tesla Girls DJs – The Green Door Store, 2-4 Trafalgar Arches, Lower Goods Yard, Brighton Train Station, Brighton BN1 4FQ, England, Thursday 23rd March 2017, 7:30pm – information here and here (CANCELLED)
  • Stephen EvEns + Ally Craig (Bug Prentice) – The Albion Beatnik Bookstore, 34 Walton Street, Oxford, OX2 6AA, England, Friday 24th March 2017, 7.45pm – more information t.b.c.

 

January 2017 – upcoming London gigs – Society of Imaginary Friends soiree with Swifty Lazarre, Millie George, I Am Her, Cian Binchy & Nighmar Ascouski (6th); Tom O.C Wilson and Beetles play Café Oto (11th)

3 Jan

Another year comes around, and it’s back to the small rooms and the hidden wonders…

Soif Soiree , 6th January 2016

Society Of Imaginary Friends present:
‘New Year Soif Soiree’: Society of Imaginary Friends + The Right Reverend Swifty Lazarre + Millie George + I Am Her + Cian Binchey + Nighmar Askouski
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London N22 6UJ, England
Friday 6th December 2017, 8:00pm
– free entry – information

Kicking off a new year, Society Of Imaginary Friends have another of their left-field, mixed-art, performance’n’protest soirees rolling up in Wood Green this Friday.

As hosts, the Society have previously offered grand Kate Bush-styled prog-pop, transfigured folk, and even miniature rock operas about the speaking clock. This time, they’re unveiling “a sad blues for this ecstatic blue jewel that we ride across the Universe.” There’ll also be soiree regulars performing – two actor-performers (autism-positive Cian Binchy and sometime dark poet Nighmar Ascouski) offer a kind of cross-set dialogue, the one providing “a glimpse of a better world, a Utopian vision of every one stopping messing about and just kind of sorting it out” and the other “a glimpse of what to expect if we don’t.” Julie D. Riley is also returning with her singer-songwriter project I Am Her in order to “fill our hearts with punk fury at the crass stupidity of it all.”


 
In keeping with their taste for statements of resistance and community voicing (and, fresh for 2017, that sense of impending dread), the Society have announced that “the theme for our January Soiree is ‘lets stop climate disaster in 2017’. Sir David Hempleman-Adams has just completed a circumnavigation of the Arctic Polar region in a sailing boat. A journey that would have in the past taken three years because of the ice and pack-ice has just taken him four months. He saw very little ice. The infamous North West Passage was virtually ice-free…

“What are we going to do to meet the challenge we all face? Please give it some thought over the next few days and bring your ideas to the Soiree to be aired. We are hoping to have a video link-up with a genuine climate activist speaking from a secret location… briefing us on the current state of affairs so that we can all work towards a solution to avoid this global catastrophe as the evening progresses.”

Also on hand to entertain and provoke are slide guitar blues preacher and alleged Devil’s poker buddy The Right Reverend Swifty Le Zarre – here to represent “an extremely disconcerted deity” while dipping into a stack of pre- and post-war blues classics – and activist performance-poet Millie George, who’s been compared to both Angela Davis and Sylvia Plath and is representing “the very unhappy youth who are watching us fiddle as the world burns…”


 
Other than that, the usual SOIF circumstances applies – the free entry, the communal atmosphere, the top-notch vegan food; the general likelihood of them pulling some unknown/obscure/future star onstage for you.

* * * * * * * *

Tom O.C. Wilson (photo by James Birtwistle)

Tom O.C Wilson + Beetles
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Wednesday 11 January 2017, 8.00pminformation

A few days later, Tom O.C. Wilson gets to take over the art shack at Café Oto for an evening. Tom was last seen in December, supporting Bob Drake on the latter’s joyful, loose cannon art-rock swings through London. On that occasion he brought along Beetles, his alt.pop duo with Laila Woozeer which he’ll be bringing to this gig too (as well as headlining with his own four-piece band featuring drummer James Ashdown, bass player Steve Haynes and keyboard player Steve Troughton).

Leaner and less cutely baroque than his earlier work as Freeze Puppy, Tom’s more recent solo work on Soundcloud shows how he’s pushing his idiosyncratic and elliptical songwriting voice forwards. Though the half-spoken, half-conversationally-sung vocals are familiar from Puppy Time (as are the clambering, almost-jazzy melodies) the dusty synth trumpets replacing the cute keyboard tones suggest a growing interest in natural timbres. More significantly, he’s shedding some of his previous, precocious preciousness and becoming more literary while at the same time managing to become more compelling a listen: a neat trick to pull off.


 
Itchy and unnerving, swaying between a surprising number of key shifts across its three-and-a-half minutes, The Wagon is a self-proclaimed “song of struggle”, ostensibly about quitting cigarettes; but as the lines and distractions unfold, it could as much be about quitting a person, or jabbing around the edges of artistic compulsion in search of the route to an aim. If you were to pick a comparison, it would have to be a narrative wrangled between Stephen Malkmus at his most effusive and the looping literary embroideries of Stars In Battledress – a delightfully skewed and verbose transatlantic mixture which mirrors Tom’s own mixed English and American roots.

Beetles (photo by Paul @ bitoclass)

Beetles (photo by Paul @ bitoclass)


Beetles – lo-fi unwinders of “intricate, skeletal pop songs” – have a scrappier and almost-unplugged approach, with their instrumentation limited to Tom’s slippery, feathery electric guitar and to the deceptively loose twining of Tom and Laila’s voices. The sparse pair of tracks they put up on Soundcloud this past autumn tease through ideas as if working on stubborn, resistant knots in the hair. Tom and Laila offer thoughtful pop song perspectives from the losing sides of open relationships, from in and around deceptions; stories-in-process from (or about) unreliable people, or people who might have bitten off more than they can chew. They cite Regina Spektor, Nirvana and the other Beatles (the one with the “a”) as inspiration: for me, though, I keep imagining an alternate Sonny and Cher, immured in a thin-walled apartment for months on end, toning down the carolling and coming up with increasingly fractured songs as they start to forget which of them is whom.



 

December 2016 – more Bob Drake shows in London, Birmingham and Brighton (1st, 2nd, 4th, 6th) with Kavus Torabi, Bing Selfish, Kamura Obscura, The Nature Centre, Libbertine Vale and Kate Goes, and including a music/comedy festival orgy appearance via Depresstival….

30 Nov

I’m hopelessly out of the loop. Have just heard that the solo acoustic Bob Drake gig in London which I plugged a few posts ago isn’t just a one-off, but one of several, including a mini-festival.

  • IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England, Thursday 1st December 2016, 8.00pm (with Kavus Torabi + Kate Goes + Kamura Obscura) – information
  • The Dark Horse, 145 Alcester Road, Moseley, Birmingham, B13 8JP, England, Friday 2nd December 2016, 8.00pm (with The Nature Centre + Libbertine Vale + Sir Real DJ set) – information
  • Depresstival @ The Others, 6-8 Manor Road, Stoke Newington, London, N16 5SA, England, Sunday 4th December 2016, 7.00pminformation
  • The Evening Star, 55-56 Surrey Street, Brighton, England, Tuesday 6th December 2016, 8.00pm (with Kavus Torabi and Bing Selfish) – information
  • The Harrison, 28 Harrison Street, Kings Cross, London, WC1H 8JF, England, Friday 9th December 2016, 7.00pm (with Kavus Torabi + Beetles) – information

Also on the 9th, Bob will be the special guest in what promises to be a good, chatty meeting of minds at Marina Organ’s ‘The Other Rock Show’, “playing some songs live and talking and who knows what.”

For those who scroll down rather than click over, here’s a repeat of what I wrote about Bob last time.

“Bob Drake’s last appearance in London (as far as I know) was a startling, affectionate and consensual stage invasion at the very start of a Knifeworld gig at Bush Hall. Clad in the surprisingly convincing snow-white bear suit he’s made famous from capering behind the drumkit at Thinking Plague gigs, he seized the mike and propelled what was already set to be a triumphant show up to a different level of vim and laughter.

“It’s in keeping with what the man does. A veteran of the more rattling, curious end of American prog (not only with the Plague but with 5uus, his own Cabinet of Curiosities and plenty more), Bob’s equipped with all of the production nous and polyinstrumental expertise to act as his own ensemble on record; but he balances his impressive technical skill with just the right dose of lo-fi get-it-done-now irreverence to hit that elusive sweet spot between prog precision and friendly spontaneity. In doing so, he not only gives himself space to indulge an affably friendly musicality but knocks down any of the strict confining fences which might restrict both his freedom and the warm buzz of his audience’s involvement. If something off-beat and of-the-moment isn’t happening at one of Bob’s gigs, then it’s something that’s missing: or to put it another way, if something isn’t going slightly wrong, then the gig’s not going right.

“This has nothing to do with prog spoofery, or comedy rock. It’s got more to do with Bob’s records and shows being intricate shaggy-dog (or perhaps shaggy-bear) stories in which the digressions on the journey, the ragged human edges and distractions, are more important than awe-inspiring structures or a revelatory destination. There’s plenty of nifty fingerwork – and plenty of irregular musical gems and twists that probably took more work and planning than he’s letting on – but what seems to matter the festooning of structure with invention… and with humour, the key to knowing that the moment is here and now, and knocks against expectation and time, and that a laugh isn’t necessarily a punchline, but the acknowledgement of an enthusiasm shared.

“There are plenty of little musical signposts to point the way to Bob – there’s Yes (he got into all of this through a fascination with Chris Squire’s high-stepping buzz-bomb basslines), Henry Cow (for deliberately imperfect noise, and for toppling eagerly over the edge of the comfort zone in search of adventure), Stateside folk and bluegrass (plus the baroque Americana of The Beach Boys), the swivelling dial of midwestern classic rock radio and the mix-and-match repertoire of the zillion bar bands he played in on the way up; and probably the shadow of Zappa. There are other islands in the soup which may be coincidental – the convoluted indie rock of Guided By Voices, the fact that some of his songs sound like a ragged Jellyfish, or as if he’s roughed up an English cabaret star in a trucker’s joint; the possibility that his time in Los Angeles engineering hip hop tracks may have reinforced his interest in cut’n’paste textures. Yet ultimately Bob is Bob; moment by moment; grabbing hold of what’s there, spinning out what comes. Here are a few examples, including a snippet of a Cabinet of Curiosities gig where the theatre of the furry absurd is in full effect.”




 

As detailed last time, Knifeworld‘s Kavus Torabi will be providing support at the Harrison show – and, it now seems, the Brighton show and the additional two London shows at IKLECTIK and The Others. He’ll be playing one of his solo sets; just him and his guitar. I’ve not caught any of these myself, but have heard that he sometimes plays not only Knifeworld songs or work-in-progress, but the occasional song by his old band The Monsoon Bassoon.

Also in support at IKLECTIK are “cutecore” girlband trio Kate Goes, whose avid and omnivorous listening habits include The Beach Boys, Pram, Cardiacs, The Monks, Julian Cope, Mistys Big Adventure, Broadcast and Faust, which might offer some clues as to how they sound (and if that doesn’t, this will) plus Kamura Obscura “a new performance trio fronted by Atsuko Kamura of Mizutama Shobodan (Polkadot Fire Brigade), Frank Chickens and Kazuko’s Karaoke Klub, featuring original material, electronics, viola, vocal experimentation, composition and improvisation with a strong anti-nuclear political message.” I’ve already blethered about the other Harrison support, avant-pop duo Beetles with Laila Woozeer and Tom O.C. Wilson, playing “intricate, skeletal pop songs influenced by Regina Spektor, Lennon and McCartney and Kurt Cobain.” Headlining the Brighton show is satirical pop megalomaniac, twisted crooner, radio dramatist and self-styled “Emperor of the World” Bing Selfish.

In Birmingham, support comes from local psych-pop band The Nature Centre, who play “pop music that has been adulterated by all sorts of strange, nice things… the kind of fololoppy pop that Syd Barrett might make if he headed up a harmony girl group under the influence.” Opening up the show is acapella alt-folk singer (and sometime Omnia Opera member) Libbertine Vale, fresh from work with Maddy Prior and Rose Kemp and bringing a set of “uncomfortable songs about death”: there’ll also be “suitably unconventional musical choices in between bands to intrigue and titillate”, courtesy of DJ Sir Real.

As for the gig at The Others, it’s one of their regular and reliably anarchic Depresstival events (“Music! Comedy! DIY! Antifolk! Noise! Active Nihilism! Free Improv! Live Physics (no one can deny that physics is happening)! Fanzines! Cake!”) and offers a wealth of acts. Since I’m rushing, I’m just going to resplurge their babbling Facebook press release. Besides Bob and Kavus, they’ve got No Cars (three seventeen-year-old girls and a raccoon – my favourite food/cellotape/interpretive dance-based punk band)… Susanna Catz (one of my favourite UK antifolk performers – think China Woman/PJ Harvey)… Michael Brunstrom, one of the most original performers around (i.e., “What If Noel Edmonds Were a Cello?”/”The Mystery of Fennel”/”River Impersonator”/”Hay Wain Beach Ball Dealer”)… Sam & Tom (bloody lovely, excellent double act)… Ben Socrates(really brilliant classical pianist – his Prokofiev is awesome)… Consignia (lower-middle-class funk/brutalism/libraries – excellent, award winning humans)… excellent poet/illustrator Jonathan Marley ClarkBob Slayer (who is rad, orchestrated an entire reading of the Chilcot report at Edinburgh Fringe)… free improv/free improve piano sermon guided by popular non-religious cult leader Alain Man…”

Bob’s also put out the call for other last-minute gigs if anyone wants to organise one, including what he calls a “pass-the-hat livingroom/garage/basement show”. He’s in Britain and available on the 3rd, 5th, 7th, 8th and 10th December – basically, any day when he’s not already booked in to do a show. So if you fancy a spur-of-the-moment house concert from one of the leading lights of current avant-rock, you know what to do. Get in touch via his homepage or Facebook.

Links there if you want them. Gotta dash…
 

November 2016 – upcoming London gigs – a dash through the weekend (26th, 27th) – various adventures in international folk music, experimental music, hip hop and underground rock via Tuesdays Post, Daylight Music, Laura Cannell, Nest Collective Baba Yaga’s Hut and others…

23 Nov

This week finds me ill, exhausted, busy and needing to catch up with things outside the blog – and hence unable to go into the usual detail. Consequently, the usual semi-coherent stammering of recommendations is being cut short. I’m just going to offer a few quick notes and pointers to my picks from this London weekend’s explosion of interesting concerts, and will let you catch up with them yourselves.

Daylight Music 240, 26th November 2016On Saturday, Laura Cannell‘s hosting her ‘Memory Mapping’ afternoon at Daylight Music, including an improvised duet between herself and fellow alt.violinist Angharad Davies, the coastline sound creations of former ‘Wire’ writer Jennifer Lucy Allan and what looks like a Charles Hayward piano piece which may or may not be a song cycle. I’ve already previewed that here a few weeks ago (complete with sounds and visions), so go back and have a look.

The Song Collectors Collective Gathering, 2016At the same time, an incredible wealth of acoustic, folk and international-indigenous music talent will be riding into east London for two twinned and overlapping Nest Collective events at the same impressive Dalston venue – St Mark Church, a grand Early English Gothic Revival pile sometimes described as “the East End’s cathedral”.

Beginning in the morning, the Song Collectors Collective Gathering celebrates and presents the people who conserve rare oral culture within their communities in Britain, Ireland and beyond; and explores ideas spinning off from that. This year it features (among others) storyteller Hugh Lupton, tireless folk archivists Doc Rowe and Paul Wilson, ethnomusicologists Angela Impey and Shzr Ee Tan, and ethnobotanist Sarah Edwards. Topics explored will include song collecting in South Sudan and Taiwan, Doc’s vast archive of unseen videos of Britain’s great traditional singers, political-musical activism on the internet, and “plant knowledge collected with the Songman”.

Starting up in the afternoon is Unamplifire – a jaw-dropping seven-hour assemblage of international folk talent which, at a better time, would warrant a whole post to itself. Traditional and curated music from England, Ireland, Eastern Europe and West Africa, Okinawa and Taiwan, both pure and cross-pollinated; with encompassed styles including griot, London psych-folk and deep-probing acoustic pop and instrumentation including kora, whistles, violins, acoustic guitars, electronics and – above all – the human voice in all of its diversity. For the full list of Unamplifire players, take a look at the details below.

Unamplifire lineup, 2016
 
Tuesdays Post, 26th November 2016Having successfully transferred from north-east London to west London, Tuesdays Post are staging another gig of electronic-slanted progressive/improvisational music on Saturday evening. This week, founder/regular Georgina Brett picks up her voiceloops to engage in a pair of superbly cluttered duets. One of these will be with Jono Podmore (the theremin, delay and ring modulator–wielding Metamono member and Kumo mastermind, who’s promising to bring along an extra selection of intriguing technological gizmos), and another with electro-acoustic instrument inventor Tom Fox (creator of the Springything, the Multi-Dronemachine and the Twitter-triggered Hummingbird). Tom will also be appearing as one-third of improvising experimental textural noise trio YOAF (the other two thirds being Jon Saunders and Tim Yates). Interactive visuals will be provided by Hanzo.

Dälek + Necro Deathmort, 26th November 2016Baba Yaga’s Hut (who haven’t featured in ‘Misfit City’ for a while, thanks to buggered-up mailing list problems) are also doing the honours with two interesting sounding gigs over the weekend. Each of them features what’s becoming a regular Baba Yaga format: an intriguing well-known underground import plus a home-grown Baba regular.

The first of these is an electro/beat fest with long-lived New Jersey hip-hoppers Dälek (whose dense, industrially-slanted noise-stew has annoyed purists and thrilled listeners since 1998) and edge-of-the-seat electronicists Necro Deathmort whose tangled fusion of doom metal, droning dystopian science-fiction synth noise and free-jazz echoes sees them flit like plague mosquitoes from genre to genre. The second is a free showcase for all-female Finnish trio Olimpia Splendid (whose Can-like psychedelic grooves, dogged dour-skew riffing and growly babydoll vocals have been gathering them plenty of attention over the last couple of years) and London pagan “aggrocultural punktronicist” trio Snapped Ankles (the ones who dress up in striking topiary costumes as wild woodwoses, swaying behind various customised instruments like giant hedge carvings while picking out noisy ritual rhythms and post-rural, post-industrial chanting).

Olimpia Splendid, 2016
 
All of this going on… and I’m too knackered to drag myself to any of it. The story of my year, really.

Addresses, links, times etc below.

The Nest Collective presents:
Song Collectors Collective Gathering 2016
St Mark Church Dalston, St Mark’s Rise/Colveston Crescent, Dalston, London, E8 2LJ, England
Saturday 26th November 2016, 10.30am to 6pm
information

Arctic Circle presents:
Daylight Music 240: Laura Cannell presents “Memory Mapping”: Laura Cannell + Charles Hayward + Mythos Of Violins + Jennifer Lucy Allan
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 26th November 2016, 12.00pm
– free event (suggested donation: £5.00) – information

The Nest Collective presents:
Unamplifire 2
St Mark Church Dalston, St Mark’s Rise/Colveston Crescent, Dalston, London, E8 2LJ, England
Saturday 26th November 2016, 4.00pm to 11.00pm
information

Baba Yaga’s Hut presents:
Dälek + Necro Deathmort
Corsica Studios, 4-5 Elephant Road, Elephant & Castle, London, SE17 1LB, England
Saturday 26th November 2016, 7.00pm
– information here and here

Tuesdays Post present:
YOAF + Jono Podmore + Tom Fox & Georgina Brett
The Muse Gallery, 269 Portobello Road, Ladbroke Grove, London, W11 1LR, England
Saturday 26th November 2016, 7.30pm
– information here and here

Baba Yaga’s Hut presents:
Olimpia Splendid + Snapped Ankles
Birthdays, 33-35 Stoke Newington Road, Stoke Newington, London N16 8BJ
– free event (but sign up for tickets) – information here and here
 

November 2016 – upcoming gigs – the glorious 12th: some of many gigs scattered around England on my birthday tomorrow – Mother, North Sea Radio Orchestra, ILL, Nick Costley-White, India McKellar, Alice Zawadski, Merrick’s Tusk, Snowapple, Captives On The Carousel, Mark Lewandowski, Steve Strong, Shield Patterns, Jamie Safiruddin, The Yossarians, Boy & A Balloon, Bruxa | Cosa, Ed Dowie, Carl Woodford, Andy Or Jenny, Patrons…

11 Nov

Tomorrow I turn forty-six. About half of those years have been spent as an on-and-off writer, scrambling round the edges of music and music culture, attempting to understand this great amorphous art form with its thousands of doors and voices. I had a sombre, or at least a serious, preamble planned: one of those reflective commentator essays that you see on many of the more literate blogs. I threw it away.

Instead (and in keeping with what ‘Misfit City’ has been up to for most of the year), here’s a particularly long garland of gig notices. It’s not here to illustrate any particular school of thought, being the usual melange of tastes and forms – jazz, folk, art-punk, acoustic singer-songwriter, prog, performance art, drone, classical fusion and lush noise. It’s that particular kind of broad, inconsistent, credibility-trampling aural palette which (back when I started doing this in the mid-’90s), wasn’t suggested much outside of the pages of ‘Organ’ or the less austere corners of ‘The Wire’, or indeed ‘Misfit City’; but which now seems to be almost a mainstream stance.

Some other day – perhaps some other birthday – will be the right time for an essay or a grand declaration. If I’ve got a point to make right now (if only by implication and example), it’s that at a tired, fairly battered forty-six I’m still curious, still enthusiastic, still in the business of learning; at a time and place in life which might otherwise ossify my tastes and reduce music to just another commodity or flattened signifier. Spread out over this post are details on concerts, all of them in England, all of them scattered across my birthday. There’s no way I could attend all of them, even with an entirely free hand, but all of them attract me; and at any one of them you’d have found me leaning against a wall, pen and pad in hand, taking notes, looking for new thoughts.

I’ve already posted about the iamthemorning/Tim Bowness teamup for the iO Pages festival, but I can’t really squeeze in the flight to the Netherlands. (Besides, I’m catching them in London on Monday). I’ve also posted about the evening’s Hallkvist/Taylor/Goller/Hayward jazz-fusion show (plus a side order of Charlie Stacey) at the Lambeth art incubator of IKLECTIK, as part of an update on Charles Hayward’s burst of late-year shows. Since that one’s in London, it’s a more likely option for me; but also down at IKLECTIK, in the early afternoon, London jazz incubator Jazz Nursery will be joining in with the ongoing EFG London Jazz Festival in order to present a couple of young bandleaders with relatively accessible projects.

Well, why not start there – start mellow…

Guitarist Nick Costley-White has a trio featuring Conor Chaplin on double bass and David Ingamells on drums and offers fresh, swinging takes on Jerome Kern and Cole Porter (with the leader described by ‘Jazz News’ as “a classy player with an elegant and subtle way with a good tune”). Bassist Mark Lewandowski (“sonorous, fluent… an indispensable part of our scene” – ‘London Jazz’) sets aside his busy calendar as a sideman to compose for and lead a quartet of American drum legend Jeff Williams (Stan Getz, Lee Konitz, Joe Lovano etc) as well as tenor saxophonist Tom Challenger (Brass Mask, Wedding Music, Dice Factory, Ma) and pianist Liam Noble (Stan Sulzman, Bobby Wellins, many records as leader).

Nick Costley-White, 2016Jazz Nursery/EFG London Jazz Festival presents:
Nick Costley-White Trio + Mark Lewandowski Quartet
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 12th November 2016, 2.30pm
information

It looks as if this particular Mark Lewandowski band is too new to have been recorded, but here’s a clip of the Costley-White Trio at work:


 
* * * * * * * *

'Liberate yourself from my vice like grip", 12th November 2016
Were I up in the north-west I’d be listening to something entirely different, tempted by ‘Liberate yourself from my vice like grip’, the R.D. Laing-inspired exhibition/concert/happening that’s playing at Islington Mill in Salford. Set up by contemporary art organisation Broken Grey Wires, it’s part of their scheme to create safe psychological spaces for people with various mental health issues; to use art as “a facilitator for recovery… to encourage people to make something special for themselves”, following Laing’s own suggestion that “madness need not be all breakdown. It may also be break-through.” 

(Yep – I know how to relax on my own special days.)

For the musical component, co-curators Fat Out have put together a typically eclectic and Mill-ready line-up of mostly local bands. Included are soundscaping folk-indie/jazz-shoegaze performance artists Mother, psychedelic folk-rock jam-jivers The Yossarians and colourful, blippy post-punk femme/art/pop troupe ILL (proudly strident champions of “disobedient noise” who believe in “creating music until something tingles, and performing dance noise until something bleeds”, and who were namechecked in ‘The Guardian’ today as one of the fifty new pop projects shaping the future). Also on the bill are ambient improvisers Andy Or Jenny, the “atavistic” Berlin-based Welsh looptronica singer Bruxa | Cosa, and landscape-ghosting Peak District ambient-pop duo Shield Patterns.

For the ongoing exhibition BGW have brought in various artists who explore mental health, gender, identity and subjective reality in their work (Lizz Brady, Robert Good, Amy Mizrahi, David Sheery, Kirsty Harris, Paul Kindersley, Jared Pappas-Kelley, Alexander Storey Gordon) all of whom raise so many questions, options and ways of seeing that I’d go on for ages trying to clumsily summarise them. Instead, I’d suggest that you follow them up on Facebook through the second info link below…

Broken Grey Wires & Fat Out present:
‘Liberate yourself from my vice like grip’
Islngton Mill Arts Centre, James Street, Salford, M3 5HW, England
Saturday 12th November 2016, 6.00pm
– information here and here





 
* * * * * * * *

Steve Strong + Patrons + Merrick's Tusk, 12th November 2016If I were in Durham, I could make up for missing one-man post/math/trip-hop band Steve Strong‘s set of simultaneous guitar-loops/drums/electronic-noise hybrids at Wakizashi last month, by catching up with him up at his Empty Shop show in Durham – alongside the trepidatious post-hardcore of Plymouth four-piece Patrons and the blitzing sentimental charge of Derby trio Merrick’s Tusk (currently touring their melodic, heart-on-sleeve half-emo rock around the country). While I was at it, I could feel as if I was contributing more to the community than just the usual couple of hours of head-nodding. (See more about the constructive, cohesion-building Empty Shop ethos here.)

Sapien Records Ltd/Empty Shop presents:
Steve Strong + Patrons + Merrick’s Tusk
Empty Shop HQ, 35c Framwellgate Bridge (above ‘Ciao Ciao’), Durham, DH1 4SJ, England
Saturday 12th November 2016, 8:00 pm
– information here and here




 

India McKellar, 2016

India McKellar

If in Sheffield, I’d probably be in a softer mood, heading over to the Regather co-op for one of their cosier gigs: the second of the recently-established acoustic evenings run by local cello/voice/guitar folk duo Captives On The Carousel.

This week (in addition to the Carouselers usual warm starting set), the night’s playing host to two other Sheffield-area singer-songwriters – India McKellar, whose previous adventures on piano, as a traditional Celtic harpist and as a onetime prog-rocker have set her up well for her matured, quietly captivating role as Laurel-Canyon-by-way-of-West Riding adult songwriter; and rootsier Drake-and-Jansch-inspired guitar-and-banjo picker Carl Woodford.

Captives on the Carousel present:
Captives Vol. 2: India McKellar + Carl Woodford + Captives On The Carousel
Regather Works, 57-59 Club Garden Road, Sheffield, S11 8BU, England
Saturday 12th November 2016, 7.30pm
information




 
* * * * * * * *

Alice Zawadski, 2016

Alice Zawadski

Back in London, I’d also be tempted (were it not already sold out) by Alice Zawadski’s Joni Mitchell evening down at Brasserie Zedel. I’m not keen on the institution of the average cover version, and embarrassingly average covers of Joni songs are the bane of many an acoustic evening: honeytraps for earnest women with guitars who cover them reverently, winsomely and really badly. Every time, I picture Joni seething in the audience, her notorious strongmindededness in full bullish effect: snarling at the women onstage, cursing them out for skipping her weird tunings, for ignoring the orchestral conception behind the compositions, or for just sugaring the fine vinegar.

This one might well be different, for several reasons. One is that Alice already comes with acclaim, experience and enough background to serve the songs – extensively trained in both jazz and classical skills, a violinist and arranger as well as a singer, she’ll be thinking on maybe as many levels as Joni herself. Another is that her gig partner and pianist Jamie Safiruddin has racked up time and plaudits accompanist and/or musical director with prime British jazz, ballad and folk interpreters Ian Shaw, Claire Martin and Barb Jungr and Ben Cox, as well as pop adventures with Will Young (plus he already has Joni-form, having “played Edith And The Kingpin with exquisite poise” according to ‘The Arts Desk’).

A third reason is that this is primarily a jazz gig; Jamie and Alice joined by Seafarers saxophonist Matthew Herd, bassist Conor Chaplin (strolling over from the earlier Costley-White trio show), drummer and Conor’s Fabled buddy and drummerWill Glaser. No matter how many copies of ‘Blue’ you pitch at my head, I’ll always maintain that Joni was at her original best when diving into jazz, interweaving with Wayne Shorter and Jaco Pastorius as her words kaleidoscoped, her notes ached and flexed and the potential in the arrangement spanned and fanned. Alice is promising Joni’s most well-worn hits and folky standards (‘Big Yellow Taxi’, ‘A Case of You’, ‘Woodstock’) but also “lesser-known gems from throughout her long and fruitful back-catalogue”, and it’s not always that you get the chance to hear someone dipping into the more challenging territories of ‘Hejira’, ‘The Hissing Of Summer Lawns’ or ‘Don Juan’s Reckless Daughter’.

Here are the details for anyone who’s a better ligger/doorstaff wheedler than I am; and below that’s a clip of Alice at work with saxophonist Joe Wright on a song which, even if it’s not quite Joni, shows what her mind and approach could be bringing to the Mitchell catalogue.

Jamie Safiruddin & Alice Zawadski
The Crazy Coqs @ Brasserie Zedel, 20 Sherwood Street, Soho, London, W1F 7ED, England
Saturday 12th November 2016, 9.00pm
information


 
* * * * * * * *

As for me, I can only guarantee that I’ll be in one particular place tomorrow. At noontime I’ll be in the Union Chapel, at one of the Daylight Music shows which I constantly plug here but all to often have to miss. Accompanied by family (and perhaps even a few unexpected friends), I’ll be down there listening to the soft, distracted keyboard songs of Ed Dowie; watching the charming and daffy Dutch folk-pop trio SnowApple delight and dazzle an audience in a fizz of swapped instruments, leapt genres, blended voices and eye-catching outfits; taking in the interstitial battered-pop moments from Boy And a Balloon‘s Alex Hall; and finally immersing myself in the ringing, humming chamber-ensemble arrangements of Craig Fortnam’s North Sea Radio Orchestra as they navigate (in a bright-toned weave of nylon-strung guitar, bassoon, strings, keyboards and voice) between the Britten-esque and the kosmische, between gurgling Vernon Elliott and sighing Robert Wyatt, between the hopping pulse of downtown minimalism and the Anglican warmth of a Wiltshire harvest festival.

Maybe Daylight shows are at the cuddlier end of what interests me within this blog; but it’s also fair to say that, out of everything covered here, perhaps the rambling, all-points Daylight positivity reflects ‘Misfit City’s own attitude best of all. And in a similar spirit… say hello if you see me there.

Daylight Music 238, 12th November 2016

Arctic Circle presents:
Daylight Music 238: North Sea Radio Orchestra + Snowapple + Ed Dowie + Boy & A Balloon
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 12th November 2016, 12.00pm
– free event (suggested donation: £5.00) – information here and here





 

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