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December 2017 – strange and wonderful sounds in and out of London – Alien, Adrian Lane and Stuart Bowditch in Leigh-on-Sea (14th December); Dean McPhee, Sam McLoughlin, David Chatton Barker, Amy Cutler and Sylvia Hallett up in Homerton (16th December)

6 Dec

As Christmas approaches I find myself in a tearing hurry; so don’t be too surprised if the remaining gig posts for the year rely even more on text ripped straight off Facebook or other gig notifications. I’m just here to boost the signals and blend the options for the month, though I’ll also patch in any missing information as I go.

Now – December news on various Essex sonic artists coming together out on the Thames estuary, and on a Homerton gathering of atmosphere-guitar, homemade instruments and film…

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Alien + Adrian Lane + Stuart Bowditch, 14th December 2017

Courier Sound presents:
Alien + Adrian Lane + Stuart Bowditch
Phuse Media, Polar House, 103 Rectory Grove, Leigh-on-Sea, Essex, SS9 2HW, England
Thursday 14th December 2017, 8.00pm
information

“Courier Sound invite you to a launch party celebrating the release of Alien‘s ‘Perimeter’. Al Johnson’s long form piece, made with a bass guitar and a variety of electronics, is presented on a super-limited edition (30) mini CD in a bespoke arigato pack (designed by Machindo, cut by Damien Robinson), with two inserts, a sticker and a decal on the CD. In the small and intimate setting of his own office, Al will be playing a live improvised set, alongside live sets from Adrian Lane and Stuart Bowditch. Entry is free and early arrival is advised. Bring some booze.”

An intermittent surfacer, Alien has previously released work on labels including Southend’s Hottwerk; but here’s some very recent material (uploaded to Soundcloud yesterday!) plus a video swiped from Facebook…

 
And here’s some more I dug up on the guest acts…

Adrian Lane – who’s also recorded as Calicoade and (in collaboration with Guido Lusetti), as That Faint Light – is a man of mutually superimposed talents. He’s a visual artist as well as a musician, or perhaps he’s better described as a simultaneously visual and musical artist: his music integrating acoustic and electronic elements, struggling in a dreamy web of neoclassical/mediaeval folk inspirations and textural ambient foggings. Adrian’s newest album, ‘Playing With Ghosts’, uses cut-up and re-ordered samples of hundred-year-old wax cylinder recordings as its main sound source (something Adrian goes into in greater depth in this interview with his record company Preserved Sounds.

 
The work of Stuart Bowditch (who also records under the names of Hybernation, USRNM and Furrows) is primarily based in sound design and field recordings. As his biog puts it, he’s mostly “inspired by location and the people and experiences he encounters there. He is interested primarily in the sounds of everyday life and those who create them, making work that is inclusive and accessible.His music, sound tracks and art installations are often site-responsive and developed with community groups, the public or people who would not consider themselves interested in ‘art’. In this way of working he tries to make sense of the world he lives in and his place within it. Simultaneously, the creations and experiences of others end up intrinsically embedded in his work, creating a rich texture of layers, representing his life and those he has encountered along the way.”

 
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Dean McPhee + Sam McLoughlin & David Chatton Barker + Amy Cutler & Sylvia Hallett, 16th December 2016

The Old Dentist presents:
Dean McPhee + Sam McLoughlin & David Chatton Barker + Amy Cutler & Sylvia Hallett
The Old Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Saturday 16th December 2017, 7.30pm
– information here and here

“A night of deep audio-visual sorcery in three acts to mark the release of solo electric guitarist Dean McPhee’s much anticipated third album ‘Four Stones’ – featuring Dean’s hypnotic drone-folk guitar work and the visual feedback footage of Barry Hale, the homemade instrument/OHP séance shadow-puppetry of Folklore Tapes duo Sam McLoughlin & David Chatton Baker and the films and musical improvisations of Amy Cutler and Sylvia Hallett.

Dean McPhee is a solo electric guitarist who combines fluid, chiming melodic lines with shimmering drones and deep layers of decaying delay and echo. He has a unique style of playing which draws together influences from British folk, dub, kosmische, post-rock and Mali blues, and his music has a hypnotic and dreamlike quality. His latest album ‘Four Stones’ is due to be released on Hood Faire (a label run collectively by Dean, Sam McLoughlin and David Chatton-Barker) in January 2018… For this gig Dean will be playing to footage of video artist Barry Hale‘s Intraference visual feedback films.



 
Sam McLoughlin plays homemade instruments and contraptions along with guitar, analog synths, harmonium and pump organ. Sometimes he sings songs; at other times he combines handmade Moondog-like percussion with microphone feedback, synth drones and unpredictable bowed textures to produce improvised music with magical and shamanic overtones. Sam recently released the album ‘Flaming Liar’ on Them There Records and has previously released music on Andy Votel’s Twisted Nerve as well as Folklore Tapes, Pre Cert Entertainment and Hood Faire.

“David Chatton-Barker is the co-founder and captain of the highly regarded Folklore Tapes label which was recently described by Brainwashed.com as “possibly the most unique and fascinating label around”. As well as being a visual artist and film-maker, David also specialises in playful and atmospheric collages of sound, dictaphone recordings and live improvisation. Like Sam, he also builds his own very inventive and visually striking homemade instruments and sound-making devices, which he uses to perform live (along with projections and ritualistic interventions).

 
“As a new duo, geographer-poet Amy Cutler and multi-instrumentalist Sylvia Hallett draw on the dark sides of nature: from sea parasites to forensic botany to elegies based on Arctic bird migrations. They perform live improvisatory settings of pieces drawing on natural history, such as ‘you, the stingbearers’, based on Jean-Henri Fabre’s nineteenth-century chronicle of human desolation, ‘The Life of the Fly’. Instruments include the viola, the musical saw, and Sylvia’s Russian garden vines. Amy’s projections include kaleidoscopes of tree rot and insect forms in nature documentaries, and she will also screen some of her short music videos inspired by drone music and experimental landscape cinema.”
(See below for Sylvia at work on a bicycle wheel, plus Amy’s short film ‘Incantations From Yin Valley’ – made this year with experimental drone musician Bridget Hayden, previously of Vibracathedral Orchestra).



 

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

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

11 Nov

Cosmo Sheldrake, 2017

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

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


 

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

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






 
Here are the live dates:

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

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

 

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