Archive | experimental/avant-garde rock RSS feed for this section

September/October 2019 – upcoming singer-songwriter gigs – Holly Penfield unleashes ‘Tree Woman’ in California and London (22nd September, 31st October)

15 Sep

Visibly enjoying her second wind as a singer-songwriter (and still wielding the exuberance that she brought both to her initial shot as such and to her subsequent role as cabaret supernova), Holly Penfield is finally launching ‘Tree Woman’, her long-delayed fourth album of original songs. There are a couple of launch date shows – one in her birthplace of Berkeley, California and the other in her longstanding hometown, London. On both dates she’s backed by a full band.

Holly Penfield - 22nd September & 31st October 2019

What I wrote about her return to full singer-songwriter action last year still holds true, so here it is (and you can read all about about her over the years by clicking here)…

“From where she’s standing in her life right now, Holly Penfield can reach out in both directions to touch the passionate, large-lunged ingenue singer of her youth and the salty life-loving veteran she’s transforming into. Of course, she’s got a longer, bolder reach than most. Once tagged as “David Bowie meets Liza Minelli” by a surprised and wrongfooted Simon Cowell, she’s a classic torch-pop singer with a stunning voice who’s also both blessed and cursed with an upsetter’s drive. These days, as she rebounds from twenty years as a leading international cabarettier in order to return to her own songs, it’s more of a blessing.

 
“Raised in San Francisco (and a veteran of the 1980s LA pop scene with the scars to prove it) Holly spent much of the ‘90s writing and performing the psychodramatic one-woman pop show ‘Fragile Human Monster’ in London and elsewhere. A show with such troubled and intense undercurrents that it eventually blew itself apart, it’s now spawned a return… but under very different circumstances. The whirling mirror-glass synths and saxophones of the old days have been replaced by a gritty post-Americana rock band (which growls, gnaws and struts through her songs like a Cash or Waits ensemble) while Holly herself has mostly forsaken standing behind a keyboard (except for when a grand piano ballad calls for that set of skills).


 
“It’s funny, sad, uplifting and stirring all at once. Once the very embodiment of storm-tossed waif and precarious survivor, Holly’s now a wiser and much happier woman. She still absolutely owns the stage, though, helping herself to a big dollop of the jazz and blues flavourings which shaped her initial development, playing a dash of ukulele and engaging in some zestful shimmying (and some delightfully ludicrous party outfits, worn with wit and flair – it seems as if her recent steps away from cabaret involved at least one sly step back).


 
“What hasn’t changed is the quality of her singing, and of her songs. While old FHM standards like Misfit, The Last Enemy, puddle-of-grief ballad Stay With Me, and slinking fingersnapper You Can’t Have The Beauty Without The Beast have shed skins and made the transition to the new show, Holly’s also been dipping into a trunk of neglected and mostly previously unheard work, including the tremendous state-of-the-world song Confessions (based around a lyrical hook she once dangled in front of an intrigued Joni Mitchell) and the vivacious Tree Woman (a more recent effort in which she vigorously embraces both her own ageing and the resilience that comes with it).”


 

Dates:

September to December 2019 – upcoming rock/rocktronica gigs – Teeth Of The Sea and The Utopia Strong live in London (5th September) plus further Teethings in Brighton (with Mulholland), Rochester (with Rekkliner and the closer we are to dying) and Brussels (6th/13th September, 4th October); and The Utopia Strong running cross-country with Matters, EWEI and Reidy Scott Duo (8th September, 8th/11th-13th November, 18th-21st December)

30 Aug

Brassy, growling psychedelic/techno/rave-rockers Teeth Of The Sea erupt back up again at Oslo in Hackney, accompanied by The Utopia Strong.

Teeth Of The Sea have long been darlings of the interface between trippy ‘tronica and rock bite. Here’s what I’ve said about them before: “Are they noise? are they rave? are they dream-metal? are they what you might’ve had if Miles Davis had rashly agreed to a Foetus production job?.. a craggy yet celebratory electro-psychedelic throb from a full-band rock lineup embracing techno, polytextured brass, analogue synthwarp, tough corners of metal, and dance imperatives that span Chicago clubs and mud-sodden English field parties… extended brass-laden psych-rock voyages with techno and rave methodology, updated for twenty-first century urban impulses.. driving part-electronic instrumentals packed with wailing guitars, rasping analogue synths and effected kaleidoscopic trumpet ow(ing) equal debts to counterculture techno and to the aggressive end of psychedelic rock (with) the four-to-the-floor beats, the cavernous space echo, and the dark pop shimmer that seals their overall appeal.” They’re currently touring their fifth album, ‘Wraith‘.

The band claim that the album’s haunted: apparent psychic disturbances and psychogeographic slips during the recording sessions. They say that this resulted in a more “vivid and maximalist work”, filled with “alchemised trash, kitchen-sink surrealism, out-of-order intensity and ritualistic overtones… inspiration, irreverence and otherworldly infiltration” and ramping up their influences of science fantasy, hallucinatory welt, horror soundtrack, post-industrial boom and dark-side-folk to new heights. For the recent single – I’d Rather, Jack – they’ve brought in Trash Club/Bugged Out DJ-turned-producer Erol Alkan to grind and polish the original song into an obsidian-smooth trumpet/cyberbeat clash; or, as they put it, “an angular banger equal parts mariachi elegy and electro euphoria.”




 
The Utopia Strong are the latest product of the mutual love-in between ’80s snooker ace-turned-rock promoter Steve Davis and British psych-rock everywhereman Kavus Torabi, which has previously resulted in a radio show, a travelling DJ array and a series of gleeful mutual eggings-on. This, however, is the first actual band that’s emerged out of the friendship – partly as a result of Kavus enticing Steve (at the age of 60) to make the jump from avid music fan to actual music maker, and partly due to Teeth Of The Sea’s Mike Bourne seducing Steve into the block-and-build/sculpted-noise world of modular synthesizers. On paper it sounds like a wheedle too far; in practise it’s actually pretty delightful. Some of this is down to the recruitment of the third man in the triumvirate, Michael J. York, whose previous work (with transgressive ritualists Coil, Shirley Collins-backing folktronicists Cyclobe, interstellar/subaquatic space-rockers The Stargazer’s Assistant and ecstatic droners Teleplasmiste, as well as some live-guest stints with Kavus in Guapo) has expanded his own modular synthwork by winding in enchanting folk elements on skirling bagpipe and woodwind.


 
The music that’s emerged so far – all of it instrumental, but as communicative as a collective crowd singalong – is charged with a beaming, benevolent enthusiasm. Beyond those immediately recognisable Torabi guitar cycles and sundives (sitting generously back in the mix, encouraging the electronics to billow forward), its synthwork and pulsations recall space disco, early Jarre and Cluster, electro-Hillage and the 1981 stars-in-glass futurism of Simple Minds, pre-bloat. Konta Chorus, for instance, isn’t too far off 70 Cities As Love Brings The Fall; a gentle pounding punctuated by electronic drawer-zips and guitar tremulosity, by beatific recorder riffs and piano cycles. More aural beatification comes from Brainsurgeons 3, its beckoning three-note bass riff and sustained guitar anchoring nearly eleven minutes of building aerial-cosmic chitter: a gradual build of ecstatic layering synth bips, whoops and rackets with a bright future in its sights and a sunrise of bagpipes at around the nine-minute mark.

All of this is imbued by an atmosphere of blissful cynicism-slaying love. You can often appreciate friendship within bands. It’s rare, however, to get the kind of opportunity which The Utopia Strong offers: to literally hear what that friendship sounds like.


 
The evening’s bolstered by the efforts of the Black Impulse DJ team: visiting from the Dalston branch of multi-city broadcasters NTS with “the soundtrack of two American friends living in London… transatlantic camaraderie and a laid-back meander though metal, noise, trashy blues, prog, hardcore, hip-hop, free jazz and beyond.”

* * * * * * * *

Teeth Of The Sea have another date lined up immediately afterwards in Brighton, supported by the ringing sweet-surf guitar-and-drums curlicues of translocated Channel Islands experimental post-rockers Mulholland (as well as one other yet-to-be-announced act). They’ve also got a concert in Brussels the following week; and one in Rochester in early October accompanied by experimental rock quintet and “testing band” Rekkliner (proggy post-rockers with a strangely jaunty air and a yen for post-war melodics) and by audio-visually-inclined Medway dronescapers the closer we are to dying (led by Terry Lane with various other musicians drifting through).




 
Utopia Strong, meanwhile are going the whole hog by continuing on a nine-date English tour stretched and peppered across the autumn months and ranging from Cumbria (a slot at British Sea Power’s multi-act Krankenhaus Festival) to Ramsgate. When they have a support act, it’s usually Steve and Kavus themselves playing one of the DJ sets which have put them in demand from Glastonbury to All Points East to the Boiler Room and which keeps alive the memory of their ‘Interesting Alternative Show’: a perky and enthusiastic melange of mind-expanding tunes from avant-psych, avant-tronics, leftfield prog and indeed anything which pings a synapse or two.

In Birmingham, though, The Utopia Strong are supported by “gloomy dystopian” instrumental trio Matters (who, featuring former members of The Wolves allied with current members of Mayors Of Toronto, deliver electronic rock grooves that stretch from meaty guitar chunkalongs to broiling synth-throbs).

Later, in Bristol, there’s a double support. Firstly Louise Brady’s semi-ambient EMEI project: electronica which operates at that New Weird point where the bucolic shades into the neurotic and the mystical, and which regularly works a particular just-on-the-cusp-of-ugliness distortion at the point where a singing tone begins to break down into a pinking whine. Her tracks are like hillside ghosts, built up of hymnal vocal sighs, lapping interference and field recordings (mostly moist, mostly rural); Celtic-tinged accordion passages fed through Raudive wires; glass harmonicas sent through warbling distortion. The second support is the Reidy Scott Duo which unites two distinct Bristolian ambient soloists. Cork-born Aonghus Reidy, better known as Ocean Floor, writes circumstance-triggered burble-to-billow pieces for piano, harmonium, guitar, soft modular synth and other electronics (with sleep deprivation, times of day, and new instrumental discoveries amongst the initiating ideas). Live-looping guitarist John Scott usually trades as Stereocilia, bolstering his densely-effected guitar with synths and drumboxes in search of protracted, slow-wrenching psychedelic drones. This is their first ever duo pairing, so expect it to contain sorted and sifted elements of the varied solo work below…








 
* * * * * * * *

Dates:

Baba Yaga’s Hut presents:
Teeth Of The Sea + The Utopia Strong + DJ Black Impulse
Oslo, 1a Amhurst Road, Hackney, London, E8 1LL, England,
Thursday 5th September 2019, 7.30pm
– information here and here

The other Teeth Of The Sea dates:

  • The Green Door Store, 2-4 Trafalgar Arches, Lower Goods Yard, Brighton Train Station, Brighton BN1 4FQ, England – Friday 6th September 2019, 7.30pm (with Mulholland + one other t.b.c.) – information here, here and here
  • Witloof Bar @ Botanique, Rue Royale, 236, 1210 Brussels, Belgium – Friday 13th September 2019, 7.30pm – information here, here and here
  • The Billabong Club @ Royal Function Rooms, Victoria Street, Rochester, Kent, ME1 1XH, England – Friday 4th October 2019, 7.30pm (with Rekkliner + the closer we are to dying) – information here and here

The other Utopia Strong dates:

  • Krankenhaus Festival @ Muncaster Castle, near Ravenglass, Cumbria, CA18 1RQ, England – Sunday 8th September 2019 – information here and here
  • The Golden Lion, Fielden Square, Todmorden, OL14 6LZ , England – Friday 8th November 2019, 8.00pm (with Steve Davis & Kavus Torabi DJ set) – information here and here
  • The Cluny, 36 Lime Street, Ouseburn, Newcastle-upon-Tyne, NE1 2PQ, England – Wednesday 11th December 2019, 7.30pm – information here, here and here
  • The Hare & Hounds, 106 High Street, Kings Heath, Birmingham, B14 7JZ, England – Thursday 12th December 2019, 7.30pm (with Matters) – information here and here
  • The Cube Microplex, Dove Street South (off top-left of King Square), Kingsdown, Bristol, BS2 8JD, England – Friday 13th December 2019, 8.00pm (with EMEI + Reidy Scott Duo) – information here, here and here
  • The Crescent Community Venue, 8 The Crescent, York, YO24 1AW, England – Wednesday 18th December 2019, 7.30pm – information here and here
  • The Deaf Institute, 135 Grosvenor Street, Manchester, M1 7HE, England – Thursday 19th December 2019, 8.00pm – information here, here and here
  • Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England – Friday 20th December 2019, 7.30pm – information here and here
  • Ramsgate Music Hall, 13 Turner Street, Ramsgate, Kent, CT11 8NJ, England – Saturday 21st December 2019, 7.30pm (with Steve Davis & Kavus Torabi DJ set) – information here and here

September/November 2019 – upcoming rock/folk/psychedelic gigs – My Octopus Mind on tour in Bristol, London and Lille (5th & 6th September, 27th November), Daniel O’Sullivan and Brigid Mae Power in London (13th September)

29 Aug

My Octopus Mind

Now with a debut album behind them (‘Maladyne Cave‘, which popped out last month), propulsive, eclectic, electro-acoustic Bristolians My Octopus Mind are revving up for another handful of dates in England and France for early and mid-autumn.

As I’ve mentioned before, the band “occupy a pleasing position, settled in their own web of connections between a number of different influences but reliant upon none of them.” ‘Maladyne Cave’ reveals how they’ve worked through those inspirations to the full and springboarded to something more urgent and stirring in its own right– strings, twitches and harmonic jumps from Balkan folk and Indian raga; influxes of shifting-terrain jazz rhythms from the interplay of double bass and drumkit, a post-minimalist precision, and surges of distorted amplifier-frying art rock allied to prog atmospherics and dynamics (from acoustic shoegazery to Zeppelin electric-folk drone). Overall, though, it’s about the way all of this is enabled by the mushrooming complexity of Liam O’Connell’s songwriting, a set of shifting organic moods and associations which package up personal restlessness, jokes, retributive snarls (about exploitation and bad politics), Patton-esque character vocals and more.

Other close cousins to what My Octopus Mind currently do would be the psychedelic garlandings of Knifeworld or the more out-there voyagings of The Verve, the protracted lilting commentaries of Damien Rice, and whatever Fyfe Dangerfield’s up to these days; while MOM themselves cite Radiohead, Josh Homme, the Buckleys, Jose Gonzalez and raga/Tagore song specialist Rajeswar Bhattacharya (there’s a version of the latter’s Anundena on ‘Maladyne Cave’). Ultimately, though, the band are already establishing their own identity: a strong debut firming out what should be a lively career. Hopefully they’ll bring out their string section on tour this time. If not, the sinewy acoustic power trio at the heart of the band (with Isaac Ellis taking a bow to his resonantly booming, textured double bass when needs must) has already proved itself well capable of holding an audience rapt.



 
While there doesn’t seem to be anyone else playing at Bristol, the London gig features a set from past-pop masher-upper-in-chief/swing & bass pioneer DJ Fizzy Gillespie. Playing both host and support at Lille are local latterday heavy/alt.rock trio Paranoid, fronted by émigré Matthew Bush, billed as grunge and citing an undying loyalty to Smashing Pumpkins and Nirvana (as well as to Radiohead and newer Biffy Clyro, to whom their driving, punchy, quick-raid songs arguably have the most similarities).

 
* * * * * * * *

Although his Westminster Kingsway College gig in in June was cancelled at the last minute, Daniel O’Sullivan is back playing live in London mid-September. Since it seems a shame for what I wrote last time round to get buried, here it is again:

Daniel O-Sullivan + Brigid Mae Power, 13th September 2019

“It’s easy enough to own a varied music collection; to shuffle quickly and smoothly between folk music, noise, synthtronica, experimental psychedelia, arthouse sound design, prog, proto-punk, pseudo-Zeuhl and the rest. It’s quite another to work, as a creative musician, across all of these: inevitably some purist will call you out as a fraud or a daytripper. Daniel, however, has made a name for himself as one of the few people who can apparently flit and slide between the scenes without being stalled by suspicion or rejection. Formidable multi-instrumental skills help, as does his apparent willingness to be a utility man as often as a leader. Over two decades, he’s piled up a pyramid of projects – his own Mothlife and Miasma & the Carousel of Headless Horses; duo work with Miracle or Grumbling Fur; a stint effectively directing Guapo; contributions to live and studio work with Ulver, Sunn O))) and This Is Not This Heat; plus sound installations and soundtracks in the fine art and cinema worlds. During the course of this, no-one’s fingered him as an interloper; no-one seems to have frozen him out. It’s a rare talent to be so ubiquitous, so flexible – or so insidious.



 
“Daniel’s most recent album, ‘Folly’, is the second one he’s released under his own name, pursuing something more intimate and personal. Written around the death of a friend and the birth of a son, it sees him continuing to tack away from the experimental rock he made his reputation with in favour of hushed, rich-textured chamber folk, burnished like a picture window by the warm depth of Thighpaulsandra’s production. Still ,a psychedelic perspective follows in its wake, like a contrail of blossom; easily found in the swirl of instrumentation and in the way that Daniel dips in and (more often) out of straightforwardness like a flying fish, offering transient reveals and kaleidoscopic digressions. Live, he’ll be performing solo and won’t be able to dodge behind the arrangements, but will be inviting up a couple of special guests to play along.”

In contrast to the solo gig that was planned for Westminster Kingsway, the Lexington gig will feature Daniel’s full electro-acoustic Dream Lyon Ensemble octet, featuring frequent collaborators Peter Broderick, Thighpaulsandra and Knut Sellevold (of Elektrofant, King Knut), Astrud Steehouder of Paper Dollhouse, dronester Christos Fanaras, Frank Byng on drums and Chlöe Herington on reeds.


 

Supporting Daniel (and probably with Peter Broderick helping out) is Irish singer-songwriter Brigid Mae Power, whose multi-instrumental, multi-layered contemporary folk songs have been causing a stir since the release of her debut album in 2016. Her second album, ‘The Two Worlds’ brings more of them into the world: dark-toned, literate, dreamy, deceptively calm but gradually revealing undercurrents of hope, strength and survival set against sinister depths of intimation.


 
* * * * * * * *
Dates:

My Octopus Mind on tour:

  • The Canteen, 80 Stokes Croft, Bristol, BS1 3QY, England – Thursday 5th September 2019, 9.00pm – information here
  • The Magic Garden, 231 Battersea Park Road, Battersea, London, SW11 4LG, England – Friday 6th September 2019, 9.00pm (with DJ Fizzy Gillespie)– information here
  • La Rumeur, 57 rue de Valenciennes, 59000 Lille, France – Wednesday 27th November 2019, 8.00pm (with Paranoid + guest) – information here

Upset the Rhythm presents:
Daniel O’Sullivan (octet) + Brigid Mae Power
The Lexington, 96-98 Pentonville Road, Islington, London, N1 9JB, England
Friday 13 September 2019, 7.30pm
– information here and here
 

June 2019 – assorted upcoming London gigs – Block4 and Lynda Beckett’s multi-media recorder concert (15th), Arch Garrison, Charles Bullen and Kavus Torabi play Clapham Library (15th); cellotronics-and-percussion improv with BirdWorld at Wigmore Hall (18th June); North Sea Radio Orchestra, John Greaves, Annie Barbazza and others reinvent Robert Wyatt in ‘Folly Bololey’ (27th)

11 Jun

Classical/experimental recorder quartet Block4 (featuring Emily Bannister, Lucy Carr, Katie Cowling and Rosie Land on a variety of instruments from bass to sopranino) are offering a mingled kids’ workshop and multi-media live concert – ‘The Art Of Sound’ – this coming Saturday down in Lewisham. Exploring links between music and visual art, the ‘Stargazing’ concert is a live collaboration with line artist Lynda Beckett, who’ll be creating spontaneous artwork (pursuing “sensual, the rhythmic and the non-binary” via line art in which “the glitch and the eternal return are welcome”) during the course of the show.

Block4 & Lynda Beckett: 'The Art of Sound' - 15th June 2019

While I’ve not got much info in terms of a programme, the music will be in keeping with Block4’s wide-spanning approach to genre, which in the past has mixed Renaissance and Baroque music with reinterpretations of Jimi Hendrix, “contemporary consort” ideas involving electronics, and more. It will include a new piece by Andrew Crossley, a composer whose inspirations include Zen Buddhism and a sheaf of hybrid forms of criticism (so expect something with plenty of silences and digressions, perhaps). Here’s an earlier electro-acoustic minimalist piece which Andrew wrote for sub-great bass recorder (travelling from borderline-subliminal low register to a resonant temple-horn call and back again), along with a couple of examples from Block4’s existing repertoire.

 

The workshop, taking place in the morning, ties in with the concept – allowing kids (from six-year-olds upwards) to “explore music performance, composition, drawing, and (to) creat(e) their own unique work of art to take home.” Best to book early for that one.

* * * * * * * *

Arch Garrison + Charles Bullen + Kavus Torabi, 15th June 2019The timing of the Block4 events also gives you time to slip across London (from the south-east to the south-west) on the same day, in order to take in one of the Lambeth Readers & Writers Festival gigs taking place in the atrium at Clapham Library. Back in April, they hosted the Peter Blegvad Quintet. This month, even as Craig Fortnam limbers up his North Sea Radio Orchestra for an upcoming Café Oto show, he and fellow NSRO-er James Larcombe slip on their guise as the Arch Garrison duo and head down Clapham-wards.

Arch Garrison take the implied baroque in folk baroque and draw it fully out into the light. Craig’s amplified gut-strung fingerstyle acoustic guitar playing has as much Spanish classical to it as it does bullish John Martyn counterpoint (though he’ll more readily cite African-Arabic inspirations like Ali Farka Touré), while James’ dextrous post-classical work on vintage-sounding monosynths makes joyously assured connections between chapel organ studies, progtronic flourishes and psychedelic sound webbings. The Garrison have sometimes been compared to Robyn Hitchcock and Nick Drake, and draw from Tim Smith’s eccentric, unlikely folk wellspring, but they don’t sound like anyone nearly as much as they sound like themselves. The songs, sung in Craig’s soft demotic Wyatt-esque sprawl, start with a lone walking man and travel downwards into conceptual strata of history, geography, familial relationships, art and ageing.



 
There will also be sidestepping solo support sets from Gong/Knifeworld expostulator Kavus Torabi (continuing to mine the unsettled psychedelic angst of his dark-sun guitar-and-harmonium solo EP ‘Solar Divination’ and a related upcoming solo album) and from Charles Bullen, one of the triumvirate behind Camberwell proto-punk experimentalists This Heat during the late ‘70s and early ‘80s (and, more recently, behind the band’s recently-retired latter-day reimagining This Is Not This Heat). I’ve no idea whether Charles will be singing; whether he’ll be playing along with guitar, viola, a mess of programmed samples or his clarinet: whether and how the music will connect to This Heat’s experimental jazz-prog collage polemics, the pocket-dub work he explored with Lifetones or the bright and mellow synth-rock sparkle of his Circadian Rhythms project; or even whether he’s going to be starting anew with a completely fresh slate. Anticipate anything.

* * * * * * * *

North Sea Radio Orchestra/John Greaves/Annie Barbazza, 27th June 2019

Returning to Craig Fortnam – and indeed, to Robert Wyatt – his North Sea Radio Orchestra concert is on 27th June. It’s the live British debut of the NSRO’s ‘Folly Bololey‘ project, which also incorporates Henry Cow bassist/art-rock chansonnier John Greaves and rising prog/art-ensemble singer Annie Barbazza.

North Sea Radio Orchestra/John Greaves/Annie Barbazza, 27th June 2019‘Folly Bololey’ has been around in one shape or form for half a decade, being played at arts concert and Rock In Opposition events in continental Europe, but has only just now crossed the Channel to be performed in Britain. Gently picking up, re-arranging and re-performing various Wyatt works (centring on a complete performance of the ‘Rock Bottom’ song cycle), it sets Wyatt’s flowing, unspooling songs of love, grief, plaintive nonsense and recovery against the pastoral raincloud tug of NSRO’s alt.crossover sensibilities. The results are an interesting blending of Wyatt’s mouth-music jazzing and his deliquescing, playfully vulnerable search for meaningfulness against NSRO’s own softly-yielding Anglo-pastoral formalism (which in turn echoes the open-to-all concert music of another Fortnam forebear, David Bedford).

With Craig acting as master of ceremonies on guitar and Farfisa organ, rounding out the ensemble are NSRO reed and cello regulars Nicky Baigent, Luke Crookes and Harry Escott plus Greaves band member Laurent Valero on strings and recorders and William D. Drake (the former Cardiacs keyboard wizard who turned into a touchingly surreal, avuncular chamber-folkster). Handling the tuned and untuned percussion are Gong drummer Cheb Nettles and vibraphonist Tommaso Franguelli (from Piacenza percussion group Tempus Fugit).


 
* * * * * * * *

On Tuesday 18th, cello/electronics/percussion duo BirdWorld are playing an informal set at the Wigmore Hall’s Bechstein Bar. (When I last touched on them here, they were playing the Frome Festival three years back – too long ago.)

BirdWorld, 18th June 2019

Migrating between twin home-bases of London and Oslo, BirdWorld are cellist/effects twiddler Gregor Riddell and drummer/percussionist Adam Teixeira. For a while, guitarist Alex Stuart was also in the picture; but it’s always been about the core duo, who met in Canada, discussed electronic/acoustic blendings and built from there. Aspects of improvisation, jazz, field recordings and cross-cultural music – plus experimental rock and classical and a battery of kalimbas – wing lightly in and out of their work, which has included film scoring and radio work; and (as of this year) their five-year-delayed debut EP ‘TING TAR TID’, released (in keeping with BirdWorld’s folkloric leanings) on the vernal equinox.


 
* * * * * * * *

All dates:

Block4 & Lynda Beckett: ‘The Art Of Sound’
St Mary the Virgin Parish Church, 346 Lewisham High Street, Lewisham, London, SE13 6LE, England
Saturday 15th June 2019 – children’s workshop 10.00am, concert 3.00pm
(concert free for under-18 year olds) – information here

Lambeth Readers & Writers Festival presents:
Arch Garrison + Charles Bullen + Kavus Torabi
Clapham Library, 91 Clapham High Street, Clapham, London, SW4 7DB, England
Saturday 15th June 2019, 7.00pm
– information here and here

BirdWorld
Bechstein Bar @ Wigmore Hall, 36 Wigmore Street, Marylebone, London, W1U 2BP, England
Tuesday 18th June 2019, 6.15pm
– information here and here

North Sea Radio Orchestra/John Greaves/Annie Barbazza play ‘Folly Bololey’ (Robert Wyatt’s ‘Rock Bottom’)
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Thursday 27th June 2019, 7.30pm
– information here and here
 

May/June 2019 – upcoming pop/rock gigs – VLMV and Thomas Stone (30th May); Daniel O’Sullivan and Tega Mendes (4th June); The Cesarians and The Silver Field (6th June), Thumpermonkey, Lost Crowns and Kavus Torabi (31st May)

27 May

VLMV + Thomas Stone, 30th May 2019

Purveyors of a limpid and extroverted dream pop, Pete Lambrou and Ciaran Morahan previously operated as ALMA. Now, since the advent of a certain “BBC-Sound-of-2018-nominated green-haired Finnish pop star, they’re known as VLMV. Apparently it’s pronounced much the same way, but murmured through hushed lips, presumably to sneak it past the lawyers (just because your lips are compressed, it doesn’t mean that you can’t thumb your nose at the same time).

At the tail-end of a European tour, VLMV are playing a London show at the Rosemary Branch Theatre. A former music hall (currently slanted towards hosting comedy and improv), within its recent history it’s frequently been the home of passionate gay drama, or of chansons – so, loosely speaking, there’s some kindred resonance with VLMV’s epicene falsetto romances; the kind of resonance you might not get at the Water Rats or the Underworld.

To be fair, you need theatres for this kind of music. No matter how many slo-mo/light-show pianos, loops and strings they pile under Pete’s voice, this is blushing drama-pop at root. If you’re taking in one of the Tim Bowness gigs this coming fortnight but suspect it still might not entirely slake your appetite for stricken empathetic romance, maybe you should give these guys a try too.



 

In support, Thomas Stone also serves as a signifier and reminder of VLMV’s experimentalist sympathies. An increasing presence on the London avant-instrumental scene (in which he won NonClassical Records’ Battle Of The Bands in 2015), he creates strong but delicate slow-reveal improvisations for contrabassoon, loop pedals, backup samples and (occasionally) bass guitar; tapping into the grace of classical chamber music and threnodic jazz, and stirring in noise, incidental distortion and other dysfidelities.



 
* * * * * * * *

Westking Music & Performing Arts, who are putting on next Wednesday’s ‘Overlaps‘ concert, are bookending it with a couple of other gigs as part of their Summer Series (which also includes performance showcases for various graduates).

On 4th June, it’s Daniel O’Sullivan supported by Westking alumna Tega Mendes.

Daniel O'Sullivan + Tega Mendes, 4th June 2019

It’s easy enough to own a varied music collection; to shuffle quickly and smoothly between folk music, noise, synthtronica, experimental psychedelia, arthouse sound design, prog, proto-punk, pseudo-Zeuhl and the rest. It’s quite another to work, as a creative musician, across all of these: inevitably some purist will call you out as a fraud or a daytripper. Daniel, however, has made a name for himself as one of the few people who can apparently flit and slide between the scenes without being stalled by suspicion or rejection. Formidable multi-instrumental skills help, as does his apparent willingness to be a utility man as often as a leader. Over two decades, he’s piled up a pyramid of projects – his own Mothlife and Miasma & the Carousel of Headless Horses; duo work with Miracle or Grumbling Fur; a stint effectively directing Guapo; contributions to live and studio work with Ulver, Sunn O))) and This Is Not This Heat; plus sound installations and soundtracks in the fine art and cinema worlds. During the course of this, no-one’s fingered him as an interloper; no-one seems to have frozen him out. It’s a rare talent to be so ubiquitous, so flexible – or so insidious.



 
Daniel’s most recent album, ‘Folly’, is the second one he’s released under his own name, pursuing something more intimate and personal. Written around the death of a friend and the birth of a son, it sees him continuing to tack away from the experimental rock he made his reputation with in favour of hushed, rich-textured chamber folk, burnished like a picture window by the warm depth of Thighpaulsandra’s production. Still ,a psychedelic perspective follows in its wake, like a contrail of blossom; easily found in the swirl of instrumentation and in the way that Daniel dips in and (more often) out of straightforwardness like a flying fish, offering transient reveals and kaleidoscopic digressions. Live, he’ll be performing solo and won’t be able to dodge behind the arrangements, but will be inviting up a couple of special guests to play along.

There’s some tie-in between Daniel’s work and Tega’s; they currently share a taste for a dreamy sheathing of instrumentation, but rather than chamber folk Tega follows on from the quiet storm soul-pop currently exemplified (in Britain, at least) by Lianne La Havas and Laura Mvula, and previously in the States by Roberta Flack and Minnie Riperton. On record, she displays a knack for deepening re-harmonisations of established songs; live, she works on a nourishing and playful full-band exploration of the assorted moods and genres that she touches on. It’s still early days for her, with not much more than a handful of Soundcloud songs to show yet, but even with her musicality still on a slow stir there’s a lot of promise here.

 
On 6th of June, The Cesarians are supported by The Silver Field.

The Cesarians + The Silver Field, 6th June 2019The musical love-child of onetime trash-rocker Charlie Finke (who sang sleaze with Penthouse in the mid-90s) and Justine Armatage (formerly pianist, composer and violinist with ill-fated ’90s theatrical indie types Gretchen Hofner), The Cesarians are virtually ambassadors for the hope of “older, wiser, sexier and funnier”. A loose troupe centred around houseboat life on the River Lea, they encompass showband horns, cabaret, puckish and sometimes self-deprecating wit, via enormous pop hooks which sweep glam, art-punk, chanson and singalong onto the table. They somehow manage to be down-to-earth while still being splendidly glamorous, by dint of turning their lives into theatre: following their songwriting inquisitiveness wherever it leads them and inviting you along.

For today’s crop of twentysomething band players, The Cesarians could (and should) be like anarchically cool uncles and aunts – the kind that zoom in and out of the family on their own orbits, winking as they swing past; cheerfully using inappropriate language and carrying handfuls of intrigue. They’re people whom you feel you could learn from: learn how to be naughty and to be wise; how to smoke and to make mistakes, but also how to become yourself. For us older dogs closer to their age, they’re more about an irrepressible spark persistently pushing up; there’s something luminous about them, as if they’d thrived on misspent youths and come through it all broader and happier as people. For what it’s worth, I get bored by musicians who embrace or act out too much debauchery, but occasionally I meet some whose mental vividness transcends the partying, and when I do I can’t stop talking to them; and generally, they turn out to be a lot like The Cesarians.

The songs? Well, the songs sound a bit like this…



 
The rural post-folk compositions for The Silver Field start off in Coral Rose’s bedroom. A digital delay inherited from her musician father serves as the cauldron for her own multi-instrumental inventiveness on a cupboardful of instruments, within which guitar, harmonica, mandolin, small drums and harmonium make room for cello, double bass, bagpipe chanter and electronics, plus loops captured on a rackety antique reel-to-reel tape recorder bought for a quid at a car boot sale. Assisted on occasion by Vanishing Twin’s Cathy Lucas and by Kiran Bhatt of Red River Dialect, It’s a kind of rough-edged chamber-folk shunting yard, in which plangent instrumental melodies are nudged by noise interference and spatial effects woven in from smartphone field recordings.

Live, Coral calls in more instrumentalist friends (Kiran again, plus Rachel Horwood from Bamboo and Trash Kit, Rachel Margetts from Yr Lovely Dead Moon) to help her recreate and reconsider her work: not absolute reproductions of what’s on record, but pickings-up and hand-ons, the instrumentation and looping shuffled under the requirements of necessity and community and of keeping the music as a living thing. Her debut album ‘Rooms’, meanwhile, comes complete with its own sonic metaphor of growing up, moving on and moving out; of both dispensing of childhood homes and coming to terms with departing from them.



 
* * * * * * * *

Closing off May, there’s a triple-threat art-rock show from Thumpermonkeyc, Lost Crowns and Kavus Torabi – all of whom I’ve already written about so frequently in here that I’m constantly, increasingly in danger of repeating myself. So I’m going to pre-empt myself by collaging some of the things I’ve already said into a new mashup, for the benefit of any of you who might be new readers or just new to any of these people…

Thumpermonkey + Lost Crowns + Kavus Torabi, 31st May 2019Thumpermonkey – “mordant, tricksy brilliance… the missing link between Mastodon and China Miéville (or perhaps between Peter Hammill and Neal Stephenson)… One of Britain’s most ambitious rock bands, deftly striding and shifting between different musical kernels from prog, dark pop or experimental metal to a kind of science-fiction cabaret, languidly licking up and stirring in any intriguing nugget or story fragment they birth or encounter… A latterday Thumpermonkey song’s more like a contemporary classical song: protracted, a lyric-driven musical wandering from thought to thought, but always with that solid rock foundation, that return to purpose… Michael Woodman’s voice (is) pure theatrical cordon bleu hambone, from the bottom of its ominous deep-tenor declamations to the top of its horror-struck falsetto…

“The music, meanwhile, is an ever-flexing full-spectrum crunch and hush, full of stalking shapes and hovering convoluted melodies… Unpacking their decade-plus back catalogue of recordings is like getting trapped in one of those clever-dick contemporary polymath novels written about everything and anything, stitched together with a little magic and mystique – they’ve sung about computer games, Nigerian fraudsters, Mexican acid westerns and strange diseases and made it sound as if it were all part of the same complex semi-submerged story… Game-playing geeks for sure, and clearly ones who are proud of their astonishingly broad armoury of sly references, veiled jokes and fantastical imagery; but also geeks who revel in their absolute mastery of those most un-geeky of rock qualities – muscle and poise… The particular genius of Thumpermonkey is that they can unroll these kind of parodic slipstream plots without ever toppling into cute whimsy.”


 
Lost Crowns – “a barrage of word-dense songs overflowing with full-on prismatic structures and outright rock drive, as if Lewis Carroll and Flann O’Brien had called on the massed forces of Henry Cow to help them hijack Battles… A vortex of influences funnel around (Lost Crowns leader) Richard Larcombe, including Chicago math, witty Daevid Allen psych rampage, contemporary classical music and skipping, tuneful folk singalongs. Shaped by his particular persona and thought processes – as well as his innate Englishness – it all emerges as a kind of prog, but one in which the fat and the posturing has all been burned off by the nerves and the detail, and in which his dry, melodious wit winds around the work playing mirror-tricks, theatrical feints, and the conspiratorial winks of a master boulevardier…

“If he is icing his work with gags, it’s partially because something so musically demanding needs a little judicious sugaring… Imagine a cocktail which didn’t dilute as you built it up, but instead made all of its ingredients stronger, brighter and brasher… A rich, unfolding master-craftsman’s confection… complex, artfully-meandering songs built from delightfully byzantine chords and arpeggios that cycle through ever-evolving patterns like palace clockwork; accompanied by rich, lazy clouds of hilarious, hyper-literate, wonderfully arcane lyrics; all sealed by an arch, out-of-time English manner which (in tone and timbre) falls into a never-was neverworld between Richard Sinclair, Stephen Fry, Noel Coward and a posh, Devonian Frank Zappa.”


 
Kavus Torabi – ” (His) dusky psych-folk EP ‘Solar Divination’…. perhaps draw(s) some influence from (his) other lives in Gong, Cardiacs, Guapo and others, but not nearly as much as it draws from ominous imagined dusk rituals and mysterious old ghosts on the darker hippy trails… A darker, more agrarian take on his psychedelic homeground, this time it’s drumless, bassless, hornless – rinsed clear of the capering squirrel energy he’s shown for twenty-odd years, in order to reveal muted, angsty bones… (It’s) a holiday from the jewelled and roaring intricacies of his main gig with Knifeworld, but it’s certainly not an escape from the psychedelic shadows which nightwing their way through the band’s apparently celebratory rainbow arcs.

“For this isolated, darker, more grinding work, Kavus strips the flash-bangs away and leaves us with the droning echoes: the meditative bruises, fears and queries, many of which nonetheless contain their own seeds of determination and a kind of celebratory acceptance…. Mostly based around slow, smoky-lunged harmonium stretches and sparse flotsam drags of guitar chording, this is a more foreboding turn of song, haunted by deaths, loss and disintegrations… (It’s a) sullen, trepidatious, post-nova ember-glow… trawling through shimmering webs of harmonium, effected drones and knell-clangs of acoustic guitar, exploring a forbidding hinterland of vulnerability and permeable spirit-space… the gravel-grain in Kavus’ voice welling up from deeper, ghostlier territories than before.”


 
* * * * * * * *

Dates:

VLMV & Nice Weather For Airstrikes present:
VLMV + Thomas Stone
The Rosemary Branch Theatre, 2 Shepperton Road, De Beauvoir Town, London, N1 3DT, England
Thursday 30th May 2019, 7.30pm
– information here, here and here

Thumpermonkey + Lost Crowns + Kavus Torabi
The Victoria, 186 Hoe Street, Walthamstow, London, E17 4QH, England
Friday 31st May 2019, 7.00pm
– information here and here

Daniel O’Sullivan (& special guests) + Tega Mendes
Westminster Kingsway College, 211 Gray’s Inn Road, Kings Cross, London, WC1X 8RA, England
Tuesday 4th June 2019, 6.30pm
– information here

The Cesarians + The Silver Field
Westminster Kingsway College, 211 Gray’s Inn Road, Kings Cross, London, WC1X 8RA, England
Thursday 6th June 2019, 6.30pm
– information here
 

May/June/July 2019 – upcoming pop/rock gigs – Tim Bowness out and about in England, Netherlands, Poland and Germany (26th & 31st May, 2nd to 4th June, 7th June, 20th July) – also featuring Anneke van Giersbergen, Hey Jester, Bernhard Wöstheinrich, Imogen Bebb, IQ’s Andy Edwards, Nick Mason’s Saucerful of Secrets and others…

23 May


  
Working off the back of his recent ‘Flowers At The Scene’ album, Tim Bowness will shortly set out on a live lope around Europe for the summer months.

During the decade-long lull in his No-Man activity, Tim’s bloom of solo albums have all been half-hidden treasures. They belong to a current, mysterious class of brilliantly-crafted labour-of-love pop records – the ones which make decent chart performances (in a chart which no longer obeys the simple rules of earlier generations) but which remain strangely invisible, apparently known only to cult audiences. They’re part of a kind of parallel-universe pop culture, only distinguished from our own by luck and chance.

When he was singing sweetly over dance beats for mid-’90s No-Man (a mixture of blush and bleak, stark and swoon), I was creating stubborn little write-ups dragging their art pop over into the prog rock court, armed with some of my suspicions and certainties regarding their eclectic musical appetites, their taste for a bit of well-spoken Anglo grandeur, their cinematic sensibilities. Gradually, over a couple of decades, I was proved right. Tim (like his No-Man partner Steven Wilson) now commands considerably proggy audiences; in Tim’s case, he also generously stewards art-rock megaboutique Burning Shed (something which gives him the additional blending of goodwill and cachet that helps attract silvering art-rock aristocrats like Peter Hammill, Kevin Godley or Ian Anderson into guesting on his records). All of this culminated in the epic kitchen-sink-Ziggy multitrack saga of ‘Lost In The Ghost Light’, in which Tim revisited the imprints of his ‘70s heroes and spikily reinvented them as an embittered, failing dreamshadow self.

Still, call me wayward or a backtracker, but for a while I’ve been wishing that there was less outright prog in the picture. Coincidentally, Tim seems to agree, as ‘Flowers At The Scene’ tempers and bounces away from the progginess of recent years, possessing a delicacy of musical touch to match his lyrical subtlety. At times it’s a missing link between several of his old touchstones (The Smiths, Kate Bush) while at others it flirts with the fan-dance flutters and delay guitars of ’80s art pop, indulges the odd florid arena-rock burst, or touches on glacial latterday synthpop. It’s also a possible curtain-raiser to more No-Man activity. Steven Wilson, always a friendly presence or passing mix wizard on previous Tim albums, quietly shared the full production chair and an open No-Man credit on this one. The songs, too – while recognisably Bownessian in their portraits of make-do-and-mend, subtly cultivated angst and discreet English agonies – have a lapping No-Man urgency to them, the exquisite solipsistic portraits and summaries refitted with a pulsing pop drive.



 
In keeping with the spotty, sporadic live patterns of cult artisty and cottage-industry songsmith, Tim’s tour is less of a tour than a series of temporary outbreaks – a couple of one-off shows at odd-matched English venues, two more in Poland, a festival appearance in the Netherlands, a raid on Berlin. His band continues to exemplify that stylistic spread I mentioned earlier. They’re a collection of friends with sympathies dotted across various British movements – current bassman John Jowitt represents a strand of classy neoprog veterans; regular drummer Andrew Booker flies the flag for the clean-cut clever bastards; a pair of multidisciplinarians (guitarist Michael Bearpark and violinist Steve Bingham) pull the ensemble towards the flexible art rock yearnings which are Tim’s genuine home, and to refresh things, Brian Hulse (Tim and Michael’s companion in recently revived ‘80s Manchester art-pop trio Plenty, and a major co-writer on ‘Flowers…’) is now covering keyboards, laptop and second guitar.

OK, I’m a malcontent. It still feels as if it would be be good, at this stage, to see Tim elsewhere, in a different less cosy, less ‘Prog’ magazine context – wrangling over stage space with spikier arty acts like Rufus Wainwright or St Vincent; Eyeless In Gaza or John Greaves; even Momus. He’d fit in – different moves and intimations might flex within the live show; the tart angst and great-battles-in-small-spaces tone underlying his songs could be seen better for what they are. But we have what we have. He’s appreciated. He has, at least, this home; and he’s making generous use of it in both senses, with several of the upcoming shows (bar the Bowness-only Poland gigs) providing support acts interesting to proggies and non-proggies alike.


 
For the London gig at Dingwalls, there are slots for Ms Amy Birks and Nick Beggs. A ‘Prog Magazine’ chart-topper last year in the female vocalist stakes (and having already made an upcoming name for herself as frontwoman for chamber-prog/classical projects Beatrix Players and Birks&Kroon), Amy is now fitting in space for a solo career, some of which will get an early preview at this show. Refreshingly free of diva blather and of irksome vocal histrionics (both on and offstage), she’s shaping up as a prime exponent for that thoughtful breed of songs pulled up immaculately from source; cool, clear material polished to a classical drawing-room sheen which only increases its impact.

Nick, meanwhile, was initially infamous as the hair-beaded beanpole bassist for Kajagoogoo during the early 1980s. He’s long since been unmasked as a serious and dedicated muso with a vibrant musicality and the requisite interesting arty quirks to put the right kind of distance between himself and the workaday session cat. Having spent his post-Kaja time travelling through Iona and Ellis Beggs & Howard (scoring a hit with the latter via slo-funk effervescer Big Bubbles No Troubles‘) he’s more recently been playing backup in the live bands for John Paul Jones and Steven Wilson, and fronting mildly dystopian prog-poppers Mute Gods. For this concert, he’ll be playing a solo set on Chapman Stick – an instrument on which he’s one of the prime British performers.



 
With John Jowitt in the Bowness band lineup, the Worcester show marks a fleeting IQ rhythm section reunion: IQ’s onetime drummer Andy Edwards is joining in for a couple of songs and is, in addition, the mentor behind the two support acts. The assured young Brummie power trio Hey Jester offer contorting, slightly grunge-y but always theatrical prog-pop something in the vein of Muse – or, to pick another budding band, Tonochrome. Imogen Bebb (better known as one of the British synthpop community’s superfan commentators via her Sound Of The Crowd blog plus her writing for ‘The Electricity Club‘ and various Orchestral Manoeuvres In The Dark sites) finally unleashes a musical project of her own. I can’t scrape up many details on this, but you might expect something rooted in her love for OMD. Alternatively, it might well be a live outing for her singer-songwriter project Music For Your Tape Recorder, which slipped a few tracks out onto Bandcamp last year: promising, shapeshifting piano or guitar ballads, like a nascent Tori Amos or Rickie Lee Jones coming up through British indie-folk.



  
The Netherlands gig is a double-headliner, shared with Anneke van Giersbergen. Another assured no-fuss singer (with a clean, bell-clear voice that can soar across grand pop, arena rock and experimental metal with equal facility), Anneke came up via Dutch doom metal act turned alt-rockers The Gathering (whom she fronted for twelve years between 1995 and 2007). She’s since forged a solo path, as well as being a frequent performer in ongoing rock opera project Ayreon and an equally frequent collaborator with Devin Townsend as guest vocalist, as well as fronting her own prog-metal project VUUR. It’s a little like getting Peter Hammill or David Sylvian to split a show with Nancy Wilson; but Tim’s already got form for gracious stage-sharing with female singers whom you might have thought didn’t fit his precise, rail-thin aesthetic, having already done so with iamthemorning’s Marjana Semkina a few years ago.


  
If you were hoping for something a little less prog’n’hearty – and a lot less rock – as a support act, you’d be better off getting yourself over to Germany for the Berlin gig, where the opening performer is Bernhard Wöstheinrich. Formerly a collaborator with Tim in ongoing avant-electric trio centrozoon, Bernhard’s primarily a visual artist. However, he’s been transposing that way of thinking onto keyboard and programming styles which (over more than twenty years) have been fearlessly and frankly swaying and transmuting between instrumental synthpop, a kind of foregrounded ambient method, faux-tribal rattlings, fierce dance barrages and what’s best described as a kind of pushy shape-building (like a restlessly, rapidly built pop-up city sprouting out of electronic pilings). Here’s a selection…




  
In late July, Tim and co. are back in Germany for the Night of the Prog festival in Loreley. In this case they don’t get to call the shots on who they play with, or how, being fourth on the bill for a day of Europrog (headlined by Nick Mason’s revival of psych-era Pink Floyd via Saucerful of Secrets, and also featuring Overhead, the interesting world/electro-tinged Lazuli, Czech instrumental sphere rock band Fors, Afro/classical-touched Canadians Karcius and the live debut of Thomas Thielen’s “T” project). That said, it does give them option of wheedling away some new fans from the more restless strands of a more traditionally proggy audience…








  
* * * * * * * * *

Tim Bowness dates:

  • Worcester Arts Workshop, 21 Sansome Street, Worcester, WR1 1UH, England – Sunday 26th May 2019, 7.00pm (with Hey Jester + Imogen Bebb + Andy Edwards) – information here and here
  • CreativeColors Stage @ Cultuurpodium Boerdiij, Amerikaweg 145, 2717 AV Zoetermeer, The Netherlands – Friday 31st May 2019, 7.30pm (co-headline show with Anneke van Giersbergen) – information here, here and here
  • Klub Firlej, ulica Grabiszyńska 56, 53-504 Wrocław, Woj. Dolnośląskie, Poland – Sunday 2nd June 2019, 8.00pm – information here and here
  • Club Progresja, Fort Wola 22, 01-258 Warsawa, Poland – Monday 3rd June 2019, 8.00pm – information here and here
  • Prachtwerk, Ganghoferstrasse 2, Neukoln, 12043 Berlin, Germany – Tuesday 4th June 2019, 7.30pm (with Bernhard Wöstheinrich) – information here, here and here
  • Dingwalls, 11 Middle Yard, Camden Lock, London, NW1 8AB, England – Friday 7th June 2019, 7.00pm (with Ms Amy Birks + Nick Beggs) – information here and here
  • Night Of The Prog Festival @ Freilichtbühne Loreley, St. Goarshausen, Rheinland-Pfalz, Germany – Saturday 20th July 2019, show begins 12.00pm (with Nick Mason’s Saucerful of Secrets + Lazuli + Karcius + T + Overhead + Fors) – information here and here

  

May/June 2019 – wayward experimental rock wunderkind Kiran Leonard on tour in England, bumping into Du Blonde, Kermes, Caroline, Humint, Mora Telsnake, Peacetime Romances, Squid, Ichabod Wolf, Don Du Sang and Margate Social Singing Choir en route (5th-10th May); plus a support slot with Soccer Mommy in Berlin (23rd May)

3 May


 
When he first emerged, as a dazzling teenager, out of a Saddlesworth bedroom (singing, drawing on an entire library of exploratory pop and playing every instrument he could get his hands on, as well as drafting in any object that made a useable noise), Kiran Leonard looked set to turn into a latterday Todd Rundgren, or a man hot on the eclectic heels of Fyfe Dangerfield… or, given his self-releasing teething period within homemade experimental electronica, perhaps a second-generation Steven Wilson. His formal debut release, ‘Bowler Hat Soup’ confirmed this: a bursting jumble-sale of home-orchestrated pop treasures, it framed a talent ready for anything from sweaty pub gigs to festival mainstages, and a singer, songwriter, bandleader capable of thrilling anyone from a freshly-hatched indie enthusiast to a committed psychedelic tripper to a long-in-the-tooth Van Morrison fan. It’s not often that someone so universal emerges, still less from such homely beginnings.

As it turned out, Kiran’s instinct for steering means that he’s no less active, no weaker in potential, but less likely to climb the straightforward rungs. Now based in the revived creative ferment of south London (after a spell in Portugal), in many respects, he’s become like the present-day Thurston Moore or the ever-shifting Mike Scott, with his career path now resembling a looping spirograph pattern as he spins from inspiration to inspiration and format to format and back again – ever refreshed, never burned. That melodiousness is still there, but it’s subordinate to (and subverted by) an ecstatically heterogenous enthusiasm for digging into whatever musical shape or form takes his fancy. On record, he’ll turn out simultaneously tight-and-sprawling rock songs packed with loose-limbed cultural critique; looping lo-fi Buckley-esque folk carolling recorded on the hoof between Manchester, Oxford and Portugal; assorted experimental voicings as Advol, Pend Oreille or Akrotiri Poacher; solo acoustic guitar improvisations; themed literary adventures for voice, piano and string trio.

Live, he tends to work as part of a rough-edged four-piece waltzing on the lip of art-rock but playing within the moment, with slick precision utterly sidelined in favour of immediate inspiration or a fringe of incantatory noisepop. Tricky to pigeonhole, at the still-tender age of twenty-three Kiran remains one of our most promising talents while continuing to embrace his own cottage industry rather than sit in the lap of big labels. He’s still working his way around small venues (as he is this month) on a circuit which you’d think was too little to hold him; but which, in many ways, is an ideal continuous crucible for his art, bringing him up close to an audience which fires him up and catches his thrown sparks.



 
In Margate, Kiran and band are part of the third day entertainments of the Caring Is Creepy festival, a new venture between two Margate musical fixtures (promoters Art’s Cool and erstwhile hip London label Moshi Moshi Records, who’ve had an outpost in the town for a while). They’re playing in a bill topped by Beth Jeans Houghton’s Du Blonde, in all of its scuzzy bedsit-punk-blues reflectiveness and its shades of self-aware dysfunction. Also featured are Margate Vocal Studio’s Social Singing Choir, and Brighton/London “underwater boy band” Squid (who add synths, cornet and cello to the usual indie art-rock guitars, drums, bass and sighmurmur vocals to create something stretched-out and oceanic for Margate sunsets); it’s all topped off with DJ work from Rock Solid (Laura Barton and Teri Olins)




 
In Sheffield, they’re on a bill with Midlands singer-songwriter Kieran Smith – a.k.a. Ichabod Wolf – who sings displaced, deracinated Americoustica like Leon Redbone oscillating on the end of an elastic rope. Also on hand are Humint; a brand-new offshoot from jazzy Manchester art-punkers DUDS playing “post-post-robowave” (which translates as choppy noisepop sounding like the young Sonic Youth and the young Devo pecking each other around during an argument over flatpack furniture).



 
In Bristol, they’ll be playing alongside the gently simmering, downbeat-minimal, violin-and-guitar humstrums of London post-rock septet Caroline (through which ghostly inconclusive threads of pemmican-country balladry seep, like a distant campfire duet heard down a winding canyon). There’ll also be dobro-folk from transplanted Frenchwoman Mora Telsnake, who (drawing on ‘60s-to-‘70s solo folk and “80s cheese” and singing in both French and English) delivers an alternating melange of Gallic-accented American Plains music and spindly, blues-infused chansonnerie.

 
In a Berlin date later in the month, the band will be supporting American singer-songwriter Sophie Allison, better known as Soccer Mommy and for the string of Bandcamp releases which eventually led to last year’s full-blown debut album ‘Clean’ with its tales of assorted yearnings and emotional jumbles amongst the young and stoned. Her work’s a peculiar but affecting mixture of detached musicality with feelings spiralling and jagging inside it; thoughts too active and too pointed – too much in need of saying out loud – to submit to the dull rumble of low expectations.


 
The London and Manchester shows are Kieran-and-band only; and the Nottingham one’s a lone Kieran solo appearance, sans band. I’m not sure whether this is due to logistics or to personal choice: I rather hope that it’s the latter, the fervour of the other bands on the bill inspiring him to a more naked and liberated statement than he might have otherwise delivered. Local wonk-poppers Don Du Sang provide murmuring cut-up dance songs with a pleasing wobble, part-sourced from stolen snatches of vinyl, but are rather overshadowed by the political and personal fervour of the two bands providing the rest of the evening’s music.

Outright queerpunk man/woman duo Peacetime Romances actually offer up a kind of broiling, rediscovered underground folk music; toasted with drum clatter and electric guitar wire-rattle, and drawing on twenty years of “every kind of close”, their relationship and perspective has resulted in a batch of songs about “bad men” of all kinds, emotional threshings tinged with nightmare and redolent of resistance. Leicester power/punk-poppers Kermes are even more ferocious, a muscular roil of a band broadcasting a storm of noisy, melodious flechettes showcasing the belligerent, angry stubbornness of trans singer Emily Rose Teece as she wrestles with the weight of heteronormativity, of other people’s boorishness, of struggling to establish her own space while being crushed and bumped by the crude blocks of expectation and restriction.

With Sleater-Kinney and Spook School already floating in the pool of musical comparisons, Kermes’ debut album ‘We Choose Pretty Names’ is also striking in its literary articulacy (inspired by immersion in writers such as Maggie Nelson and Imogen Binnie). In a recent interview with ‘The Four-Oh-Five’, Emily’s described the prime drivers of the album’s songs as “feeling ugly, feeling like a freak, and peacefully existing in a way that make people viscerally hate you.” That’s as may be, but the music Kermes creates is far from lachrymose, whiny or martyrish. It’s constantly buzzing and blurring between dysfunction and self-assurance, with Emily increasingly emerging as someone to follow rather than pity; a tough, tattered-banner leader with dried tear-tracks and a set jaw.




 
* * * * * * * *

Dates:

  • Caring is Creepy Festival 2019 @ Elsewhere, 21-22 The Centre, Margate, Kent, CT9 1JG, England – Sunday 5th May 2019, 6.30pm (with Du Blonde + Squid + Margate Social Singing Choir + Rock Solid DJs) – information here and here
  • Paper Dress Vintage Bar & Boutique,, 352a Mare Street, Hackney, London, E8 1HR, England – Monday 6th May 2019, 7.30pm – information here, here and here
  • The Old England, 43 Bath Buildings, Bristol, BS6 5PT, England – Tuesday 7th May 2019, 8.30pm (with Caroline + Mora Telsnake) – information here and here
  • Gullivers NQ, 109 Oldham Street, Northern Quarter, Manchester, M4 1LW, England – Wednesday 8th May 2019, 7.30pm – information here, here and here
  • Delicious Clam Records, 12 Exchange Street, Sheffield, S2 5TS, England – Thursday 9th May 2019, 7.00pm (with Humint + Ichabod Wolf) – information here and here
  • JT Soar, 2 Aberdeen Street, Nottingham, NG3 1JB, England – Friday 10th May 2019, 8.00pm (solo, with Kermes + Peacetime Romances + Don Du Sang) – information here and here
  • Musick & Freiden, Falkensteinstrasse 48, 10997 Berlin, Germany – Thursday 23rd May 2019 2019, 7.30pm (supporting Soccer Mommy) – information here, here and here

 

Post-Punk Monk

Searching for divinity in records from '78-'85 or so…

Get In Her Ears

Promoting and Supporting Women in Music

The Music Aficionado

a song a post, for a song

ATTN:Magazine

Not from concentrate.

Xposed Club

improvised/experimental/music

I Quite Like Gigs

Music Reviews, music thoughts and musical wonderings

A jumped-up pantry boy

To say the least, oh truly disappointed

PROOF POSITIVE

A new semi-regular gig in London

We need no swords

Organized sounds. If you like.

:::::::::::: Ekho :::::::::::: Women in Sonic Art

Celebrating the Work of Women within Sonic Art: an expanding archive promoting equality in the sonic field

Ned Raggett Ponders It All

Just another WordPress.com weblog

Headphone Commute

honest words on honest music

Yeah I Know It Sucks

an absurdist review blog

Pop Lifer

Waiting for the gift of sound and vision

Archived Music Press

Scans from the Melody Maker and N.M.E. circa 1987-1996

The Weirdest Band in the World

A search for the world's weirdest music, in handy blog form

OLD SCHOOL RECORD REVIEW

Where You Are Always Wrong

Fragile or Possibly Extinct

Life Outside the Womb

a closer listen

a home for instrumental and experimental music

Bird is the Worm

New Jazz: We Search. We Recommend. You Listen.

Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

eyesplinters

Just another WordPress.com site

FormerConformer

Striving for Difference

%d bloggers like this: