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June 2018 – upcoming London gigs – Multi-Storey’s 1st Birthday Party with WorstWorldProblems, Augustus, Tony Njoku, Elsa Hewitt, The Mantis Opera and Socket; experimental choralists Haha Sounds Collective sing David Axelrod, with Blueprint Blue and Lætitia Sadier (both 9th June)

6 Jun

A couple of posts ago I was grumbling vaguely about ‘Misfit City’ getting too rarefied, cubbyholed and white. If I’m absolutely honest, that’s probably my default setting – the subcultural narrowness, that is, not the complaining. Part of the point of the blog is to expand my own musical education: it’s a process of broadening my outlook and involvement as a listener. Still, I’m well aware that I frequently travel and listen more like a toy fisherman in a novelty clock – rotating in a small circle around an established axis while flicking out a line for what must often seem more like show than anything else.

Gratifyingly, a new gig’s hoving into view at the end of the coming week involving two of the acts I’ve previously covered – one outright punk, the other convoluted RIO techprog – rubbing up against hip-hop, textured ‘tronica and avant-soul-pop. On the same day, an indie-slanted choral group duck the spell of Britpop-grunge covers by investigating David Axelrod alongside an Americana band and a showing by Gallo-Anglo lounge-pop queen Lætitia Sadier. Sometimes you don’t have to force or hanker after cross-pollination: sometimes it comes to you, unprompted.

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From promoters Multi-Storey:

“We’ve actually made it to our first birthday and it’s all down to the amazing people who have played, danced, and generally been friendly and encouraging at our shows! We’ve had an absolute pleasure meeting and listening to some of the most thrilling new bands both from London and further afield over the past 365 and a bit days, so we thought that a big monstrous party/gig/exhibition with some of our favourites would be the perfect way to round off a wonderful year. We want to say thanks to those who have been so helpful, say hi to some new friends, and toss ourselves around like a sentient salad. We’ll be joined at one of our favourite venues by an eclectic and spectacular line-up of our favourite and most exciting new acts, which we will be announcing over the next few weeks. Get yourself a ticket for a late night with unexpected levels to it, and some fantastic music that you never knew existed – stay tuned for announcements!”

Multi-Storey's First Birthday Party, 9th June 2018

Multi-Storey presents:
‘Multi-Storey’s 1st Birthday Party’ featuring Worst World Problems + Augustus + Tony Njoku + Elsa Hewitt + The Mantis Opera + Socket
Bethnal Green Working Men’s Club, 42-46 Pollard Row, Bethnal Green, London, E2 6NB, England
Saturday 9th June 2018, 9.00pm
– information here and here

Announcements have duly arrived. Up in the headliner slot, Worst World Problems are a new hip-hop collective. On the evidence of their mini-album ‘Tape One’ their sound’s a blend of chilly ‘80s synthpop nightscapes, data-bus drift and exhausted, hooded, sore-heeled rapping. Inevitable ‘Mezzanine’ and Drake comparisons ensue: there’s that same draggled, overcast feel in the sad ambient production billows and the flow, but WWP take it even further. Their raps feel like echoes around corners, anti-brags, collarbone murmurs from introspective three-quarters-broken boys feeling reamed out and deadened by romantic disintegrations. You feel that at some point they’re going to blow themselves out with a sigh.


 
Augustus is producer/drummer/keyboard player Gus Lobban, who for the past four years has mixed and dispensed cheery ice-cream-flavoured Anglo-J-pop with Kero Kero Bonito, more recently upping the fuzz-rock/stage-school urchin content. I’m not sure what he intends for this solo appearance, but here’s KKB’s recent Only Acting single: pick out his contributions if you can. Here, the breakdown sounds like a literal breakdown: he might still be surfing the shockwave.

 
Anglo/Nigerian/cosmic artiste Tony Njoku writes and sings eccentric, thread-fine, vulnerable electro/sort-of-soul, reflecting a young life spent mostly in “grey areas”. Beneath his papery falsetto, slide-clicking trap beats and silly-putty analogue synthwork align with lyrics about origami swans, seraphim and care-powered balloons. African tin-can beats are sideswiped by colossal dance drones and billowing symphonic modular-synth stackings. Pick-out piano fragments leans against rice-paper inserts of gospel tones. It’s psychedelic, but it’s a long way from the muscularity of P-Funk or The Temptations: Afrodelic in hue, it’s also untrammelled by cultural confines.

Imagine a set of constellatory echoes of David McAlmont and Arca; of Wayne Coyne and Frank Ocean; of Jackie Shane and Ahnoni; even bits of Jon Anderson and Arthur Russell. Gossamer and guts. As for Tony himself, his music comes with the feeling that he’s unhitching from as many enforced identities and narratives as he’s clambering onto: as if he’s escaping in plain sight.

 
“Electronic – lo-fi – avant garde – experimental – singer-songwriter – ambient – if there is one thing I am not, I know that it is pop… catchy nonetheless.” The releaser of a series of cassette albums (rising to a prolific swell in 2017), Elsa Hewitt creates assorted soft and mesmeric musical shapes on samplers, loopers, guitars or pianos; or on captured, folded sounds; or with banked and buried voices. It’s electronica of a kind, but without the matter-of-fact construction – this stuff sounds genuinely collaged and soft-sculptural, its cycles and processes and dream-pop sibilances ready for flexion or redeployment at any time. Some of her work is like chiming cartoon birdsongs, some of it like knitted cirrus or a cove-caught sea of whispering mouths. There are plenty of loopers and glitchers about, but few who can make their work sound so organic and subtly potent.



If you missed my original summary of The Mantis Opera late last month, I suggested that they “fused Henry Cow, Battles and early Scritti Politti…. Guitarist, singer and electronics meddler Allister Kellaway… delivers his stirring, challenging constructions via a full electro-experimental synth-rock band, voicing a collection of “avant-garde grumbles” via a multiplicity of synth sounds and colliding pop tones. If this sounds inaccessible and snooty, it isn’t. It’s just that the tunes arrive in complicated cascading splinters, many parts urging in parallel towards an out-of-sight coda, while a dreamily precise atmosphere prevails: avant-prog keeping watch from under a dream-pop veil.

“The pieces themselves display an ambitious, orchestral thinking – Reykjavik, for example, is less a guitar clang with lofty ambitions and more of a cerebral/visceral string quartet piece transposed for rock band. Allister’s winding, philosophical lyrics, meanwhile, are very reminiscent of Henry Cow and of Rock in Opposition preoccupations, dissecting as they do themes of resistance, logic, language and compliance with the air of a man trying to bring intellectual rigour to the pub, grabbing at the misty answers before the closing bell rings.”


 
As regards emergent punkers Socket, I’ve previously summed them up as “female-fronted firecrackers (who) don’t worry about anything like (angry, disenfranchised boredom and frustration), specialising in a hell-for-leather guitar pelt with capacious Lust For Life drumming and barely controlled chant-yelling.” That’s probably a bit reductive. For a start, they’re female-founded and female-focused as well as female-fronted (with unassuming, supportive drummer Morgan the only bloke in the lineup).

Read the ‘Beautiful Freaks’ interview here for more insight into the intertwining (or lack of it) of their band work with their assorted Fine Art and game music studies and the happy melding of schooled and unschooled musicality within the band. I suspect that you’ll get more out of that than you will out of this Bandcamp posting.


 
Adding to the texture, there’s offstage artwork, writings and chat from grassroots rock zines/nascent promoters ‘See You Mate – Yeah, See You Mate‘, and ‘Some Might Say‘, and from activist/theatre person Maya Harrison, with more to filter in in due course.

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Incredible Society For The Exploration Of Popular Song presents:
Haha Sounds Collective + Blueprint Blue + Laetitia Sadier
The Amersham Arms, 388 New Cross Road, New Cross, London, SE14 6TY, England
Saturday 9th June 2018, 8.00pm
– information here, here and here

HAHA Sounds Collective + Blueprint Blue + Lætitia Sadier, 9th June 2018Part of the broader HAHA musical empire operating out of central Hackney (also including a studio and an independent record label, HAHA Sounds Collective are a new, experimental choral project and supergroup of art-pop-moonlighters exploring avant-garde arrangements. Led by Victoria Hamblett (singer for NO CEREMONY///), and Cathy Lucas (singer for Vanishing Twin, Fanfarlo and Innerspace Orchestra) with input from Syd Kemp, the choir and fully integrated band also includes Lætitia Sadier (more on her later), Clémentine March, Iko Chérie and various unnamed “past and present” members of Ulrika Spacek, Pollyanna Valentine, Broadcast, Blue House, Viewfinder, and Younghusband.

Their first project is a songbook version of David Axelrod’s 1970 jazz-funk cantata ‘Earth Rot’… and when I say jazz-funk, I’m not talking slap-grooves and plastic synth burbles, but the close-harmony vocalising in swagged cadenzas, twang-pocketed funk basslines, a pushing saxophone backed by a battery of brass. Strangely overlooked at the time of its original release on record (apparently down to it being too much of a leap out of Axelrod’s existing groove), it’s a vaulting, stained-glass show of an album: an early venture into pop-culture ecology drawing on Old Testament text and Navajo legend, celebrating the planet and chiding humans for the mess they’re making of it. The music’s now been transcribed for voice, by ear, by Arthur Sajas of Gabelt, ÉPÉE and Syd Kemp (who also serves as HAHA’s conductor).

This will be the work’s second performance, following its debut outing at Servant Jazz Quarters in February – yes, that slipped my notice too. This one doesn’t have to slip yours. Here’s a brief clip of HAHA Sounds Collective warming up, plus a taste of the original album.


 
Ostensibly an Americana band, Blueprint Blue actually use Americana’s moods, tones and characteristics to add coloration to what are otherwise very British songs about weather, walking and mild disappointments – the kind which might appear on the mimsier kind of folk-pop album, or which would have been half-smothered in noise or feedback on first-generation shoegazer records a quarter-century ago. Like a mixed bag of British players before them (including Gomez and Mark Knopfler, but more recently Acadian Driftwood and Horatio James) they’ve certainly mastered the sonic signifiers of American roads and roadhouses; but that’s not enough to fully inhabit the form.

The trouble with Americana is that the further you are from the situations which shaped its tones and subjects (and an ocean’s breadth doesn’t help with this), the more it starts sounding like a tinkle in a hollowed-out theatre. If you’ve got to pay tribute you’ve also got to pay dues, or fake it more convincingly. Songwise, at least, Blueprint Blue need some more grease on their axles; some more heartache and heartstring damage; some more blown-away shacks and more chances to sit dripping angry tears into their johnnycakes. Otherwise, it’s going to be a life of striving to be just a bit more like Mojave 3.


 
There may come a time when Lætitia Sadier isn’t associated, first and foremost, with Stereolab. I hope so. It’s not that there wasn’t, or isn’t, plenty to admire about her former band – just to pick out a few things, there was their unabashed musicality and willingness to draw on broad varieties of tone or reference; their matter-of-fact bilinguality and ready play of ideas; and the fact that they actually managed to revisit their varied roots and to somehow advance and transmute them (something of a holy grail achievement for many musical projects, but rarely achieved). But I, for one, am glad that her post-‘Lab work (with Source Ensemble and others) has unshackled her from that post-Velvets/post-motorik/brainiac-garage pulse: the rhythm cliche that blights so many otherwise promising acts; presses them out into two unforgiving dimensions; makes those who should be innovators and developers into enmired followers.

Lætitia’s set is either an evening opener or a middle-of-the-bill event, so I don’t know whether she’s brought along the Source Ensemble for accompaniment (for all I know, many of them may be in HAHA), or whether this is going to be a chance to hear her alone and independent/unencumbered. Either way, I hope it offers us the chance to hear her as she truly is now – a belatedly great French folk singer, although one neither bonded to the obligations of traditions or the past, nor restricted from broader conceptual and textual pallettes. In effect, an embodiment of a folk impulse reborn into the current age – with all of its opportunities for research and reflection and fresher global instincts – and let loose to create.


 

January 2018 – upcoming London experimental rock gigs – Nøught & Dead Days Beyond Hope (17th January), Data Quack + Alex Ward (31st January)

10 Jan

Another quickie – Oxford-rooted avant-rock guitarists James Sedwards and Alex Ward (who’ve been in cahoots for at least twenty years) take their respective bands to the stage at Café Oto this month.

Nøught + Dead Days Beyond Help
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Wednesday 17th January 2018, 7.30pm
– information here and here

Nøught + Dead Days Beyond Help, 17th January 2018

“All-out, high-voltage line-up with James Sedwards’ avant-punk/jazz-prog/noise-rock group Nøught, and Alex Ward and Jem Doulton’s Dead Days Beyond Help project.

“Nøught is a synthesis of the experimental, avant-punk, jazz-prog and noise-rock credos, distilled into the paradoxical confines of a musically volatile, instrumental power-quartet. Originally formed in Oxford in the late ’90s by eminent guitarist James Sedwards (Thurston Moore Group/Guapo/The Devil), the current line-up has been based in London since 2002.

“Their music is profoundly exhilarating when encountered and often provokes an hypnotic sensation from an audience, as their incendiary live performances can easily entice and captivate a listener due to the highly artful, polished and demanding compositions. Pieces span the extremes of short, catchy, three minute eruptions to long, dense and evolving half-hour incantations. Nøught’s music provides an uncommonly refreshing, non-derivative sensibility and approach, and they continually astound as they develop, invoke and deliver their singularly potent blend of sonic diabolism.


 

“Dead Days Beyond Help have honed a compositional approach heard to its fullest extent on their 2014 Believers Roast release ‘Severance Pay’ described by ‘The Wire’ as “a reminder that there are still thrills aplenty to be gained from the pursuit of complexity… as playful as it is heavy, as atmospheric as it is cerebral”.

“In their live performances, these variously intricate, sweeping and violent compositions sit side by side with free-wheeling improvisational excursions (reflecting the members’ work with the likes of Steve Noble, Alan Wilkinson and Thurston Moore) and the whims of the moment, which could involve a leap into either a wall of flattening noise or the most emotionally direct country song. In negotiating this dizzying range of materials, DDBH bypass the pitfalls of irony and the obstacle course of genre by the simple guiding principle: intensity-at-all-costs.”



 
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And Alex is back again at the end of the month, supporting bubbling-under experimental group Data Quack in one of the increasingly interesting gigs being put on at Westminster Kingsway.

Data Quack + Alex Ward, 31st January 2018

Westking Music and Performing Arts presents:
Data Quack + Alex Ward
WKC Theatre @ Westminster Kingsway College, 211 Gray’s Inn Road, Kings Cross, London, WC1X 8RA, England
31st January 2018, 6.30pm
– information here and here

Data Quack is a relatively new group: hanging in the air like a sunny cloud, a silver nitrate window of manly oomph, pronoun prim, joey pouch casually askew. They are likely to blow your mind. Data Quack’s music moves through an array of abstract textures, car chase sequences and violent grooves. Trigger warning: you will be triggered, that’s what music does.

“They are saxophonist and electronics player Ben Vince (who’s been making waves with a series of solo releases and collaborations with Housewives and Mica Levi, threading his way through the London underground like a goods train); drummer Charles Hayward (follower of a 45 year music journey from This Heat to This Is Not This Heat and beyond); keyboard player Merlin Nova (who works in a variety of media, everything changes everything else, no borders, radio, film, song, movement, spoken word, and drawing, and works solo as well as currently gigging with This Is Not This Heat); and guitar/radio/cassette-tape operater Pascal Colman (lifts heavy objects, installations, minimalist funk agogo; a witty, charming, illegible bachelor).


 
Alex Ward will be supporting in his solo guise, blowing your mind with guitar, clarinet and voice sonic magic.”


 

June 2017 – upcoming London/German gigs – Lindsay Cooper remembered by Half The Sky (22nd June – plus Avantgarde Festival appearance on 25th June)

15 Jun
Half The Sky, 22nd June 2017

Half The Sky (photo © Jean-Hervé Péron)

Long before the knot of current pop culture wrangling over women’s control over the music they make, the late Lindsay Cooper was plugging away in her own corner, striving (and ultimately succeeding) for much the same thing in the often arid and unforgiving spaces of British art rock, improv and jazz. Later this month, the Half The Sky ensemble (led by vigorous curator/arranger /multi-instrumentalist Yumi Hara) will be bringing their showcase of her music both to London and to a small town outside Hamburg, re-animating the work she created for Henry Cow, News From Babel and Music For Films between the late ’70s and the mid-’80s.

Originally formed in 2015 for festival appearances in Japan and France, Half The Sky derive their name from the Maoist/feminist maxim, “women hold up half the sky”, as used by Lindsay as a composition title on Henry Cow’s ‘Western Culture’ album, back in 1978) and feature an impressive alliance of British and Japanese art-rock musicians. As well as Yumi on keyboards, lever harp and vocals, the ensemble features two members of Cicala-Mvta (Miwazow on koto, ching-dong percussion and voice; Wataru Okhuma on alto saxophone and clarinet), the Korekyojinn/Altered States bass guitarist Nasuno Mitsuru; Chlöe Herington (the reeds and melodica player from Knifeworld, Chrome Hoof and V Ä L V Ē) and finally two of Lindsay’s former Henry Cow/News From Babel colleagues (singer Dagmar Krause and drummer Chris Cutler). As Yumi points out, “the gender split follows Lindsay’s general practice and the example of the original bands – Henry Cow (50% female) and News from Babel (75% female).”

Yumi’s comments on the music:

“In 2013, soon after Lindsay passed away, Matthew Watkins made a call for arrangements of her mini-composition ‘Slice’ for a special edition of his podcast ‘Canterbury Sans Frontières‘. I made a transcription of the piece and recorded it for solo clavichord. Chris Cutler and I also played it in Japan and New York. A little later, inspired by the three memorial concerts Chris Cutler organised in 2014 with the original bands, I put Half The Sky together to play Lindsay’s music in Japan.

“With the exception of ‘Slice’, it was only after – and because of – the 2014 concerts that any working scores for the Henry Cow pieces became available, having been painstakingly assembled from Lindsay’s notebooks, original band-members’ surviving parts and careful analysis of the recordings. A handful of the News from Babel songs – none of which had ever been performed live – had already been reconstructed for the memorial concert by Zeena Parkins; the rest I had to work out from scratch – as well as rearranging everything for a mixture of occidental and oriental instruments.

“This programme is approached very much as a music of the present – and not as an academic reconstruction.”

In addition to Half The Sky’s performance, the London show will feature DJ sets from two of London’s more interesting musical personalities. Marina Organ’s known both for three decades of staunch work as writer/co-driving force of ‘Organ’ magazine and for her indefatigable DJ/interviewing work on ‘The Other Rock Show’. James Larcombe is the keyboard player and sometime composer with Stars In Battledress, Arch Garrison, North Sea Radio Orchestra, Zag & The Coloured Beads and the William D. Drake band; now he seems to be extending his talents (or at least his brassy neck), to disc-spinning.

Half the Sky: Music of Lindsay Cooper

  • Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England, Thursday 22nd June 2017, 7.30pm – information here and here
  • Avantgarde Festival, Steinhorster Weg 2, 23847 Schiphorst, Deutschland, Sunday 25th June 2017, 2.15pm – information here and here


 
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Pinning down the nature of a woman’s work in art – or women’s work in general – is not always an easy thing, nor even desirable. Even the most positive intentions can produce more restrictive categories, more unwanted boxings and demands to conform. In the case of Lindsay, whose career always foregrounded honest effort and end product over personality showboating, and which was tinted by doubt and determination, it’s probably best to concentrate mostly on the mind behind the music: to listen to the querying voice coming through.

Operating over a set of times in which both contemporaries and colleagues had a tendency towards answers and stances, stated in both bald pronouncements and modernist-baroque ornamentations, she opted to bring a more questioning tone which nonetheless carried some of its possible answers in both action and presentation. Hers was a polymathic but purer musicality: an instrumental voice which voyaged alongside others’ often harsher pronouncements, détournements and doctrines and drew from them while never being subject to them, and which always kept a gentler, more accommodating side open to allow growing space and to consistently rebuild.

Although she also put in stints with both the cheery Canterbury fusioneering of National Health and the terrifying dark-folk band Comus during the 1970s, Lindsay was probably best known for her work with the powerful political chamber-prog of proto-Rock In Opposition ensemble Henry Cow (a creative ferment which she joined and left twice and, like most Cow-ers, never entirely left behind). Having initially brought in her toolkit of reeds, woodwind and piano skills to play on the band’s second album ‘Unrest’, she subsequently made small inroads into the writing, contributing to a number of group compositions on ‘In Praise of Learning’ and the ‘Concerts’ set. As a composer, though, she finally came into her own on the band’s final, all-instrumental statement ‘Western Culture’, on which she was responsible for most of the piled jazzy grandeur of the second side (finding previously unexplored links between the music of New York, Canterbury and Switzerland).

Lindsay Cooper

Lindsay Cooper

Perhaps more significantly, by this point in the late ’70s Lindsay had already formed the witty, subversive Feminist Improvising Group, or FIG; a project which she co-ran with vocalist Maggie Nichols in parallel with her Cow work. Generally considered to be the preoccupation and property of educated, intense, white men, the British and European free improvising of the time tended to be a little short on jokes (bar occasional pranking along the lines of the Free Art Research Trio). FIG allied Lindsay and Maggie with various other musical and performance talents – “feminist rock” trumpeter Corine Liensol (who’d played in Jam Today with a young Deirdre Cartwright), pianist Cathy Williams (who’d worked with another Cow-er, Geoff Leigh, in the Rag Doll duo), future filmmaker Sally Potter, latterday Cow cellist Georgie Born and Swiss free-jazz pianist Irène Schweizer (the last being allegedly the only European female improviser on the ‘60s and ‘70s scene). In classic feminist tradition, FIG not only enabled previously sidelined female voices onto the improv scene but deliberately upturned expectations as to what such a scene could achieve.

In comparison to the demanding and abstruse Maoist politics of Henry Cow (which, in private, sometimes resembled a brutally masculine university debating society preoccupied with games of political high-grounding), FIG were spontaneous, mutually supportive and – just as importantly – funny. With a strong and personal rooting in lesbian, class-based and feminist activism (plus parallel feelings of sidelining and denial on the part of others) but a suspicion of dogma, they expressed frustration and political challenge by drawing on a collective sense of the absurd and of the sympathetic. In addition to the music, their shows featured parodic stagings and examinations of domestic work (such as kitchenwork and cleaning) and of consumer preoccupations. Vegetables were peeled onstage; household tools such as dustpans and brooms pressed into service as props and noisemakers; oppressive or manipulative memes transformed into call-and-response singing.

Reading accounts of FIG work reveals a tale of tough gigs, audience misunderstandings and frequent frustration. Men carped, frowned and cold-shouldered; women laughed, argued and sometimes welcomed; the group members continually challenged their own sense of self and role; but the work itself sounds joyously unshackled – something I would have loved to have been around to see. It’s a shame that much improv and theatrical work is always of the moment and tends to vanish like dew in the morn. Without recorded evidence or restaging, it fades into hearsay, and in this case an important chapter in Lindsay’s work has to dwell in a kind of word-of-mouth samizdat.

Post-Cow and FIG, Lindsay ran her own Film Music Orchestra to create and record arthouse soundtracks (often working in cinematic cahoots with Sally Potter). She rejoined another former Cow colleague ((the now-mellowed Chris Cutler) for the 1980s post-Marxist art-song project News From Babel: here, Chris’ social and political musings would make a happier marriage with the pop-cabaret end of Lindsay’s music. She also contributed to the counter-cultural jazz colours of various Mike Westbrook and John Wolf Brennan bands, played with Pere Ubu ranter David Thomas, worked in theatre and (in the ’90s) composed a more formal chamber music which nonetheless retained the edge and inquiring spirit of her work in avant-rock and political art. She’d collaborate with Potter again for the Cold War song cycle ‘Oh, Moscow’ in the late ’80s, to which Chris Cutler also contributed. If encroaching multiple sclerosis (which had privately dogged her throughout her post-Cow career) hadn’t dragged her into early retirement in the late ’90s, there would have been more.

Half The Sky provide a welcome re-introduction to Lindsay’s work, performed by committed people whose sympathy with Lindsay Cooper’s music is absolute. However, they should also be viewed as a window onto the wider career of a quietly remarkable woman whose death in 2013 forced a premature coda onto the work of a mind whose personal humility had been more than balanced by its nimbleness, thoughtful and flexibility. Come along to these concerts and hear some of that mindwork and heartwork come alive again.


 

May 2016 – upcoming London and Brighton gigs – Roar, Steve Strong and Tony協Yap get noisy (May 21st); Prescott and The Evil Usses spiralize our ears (May 24th); M U M M Y curate a free cavalcade of psychedelia/folk/oddpop on the side of the Alternative Escape festival (May 19th)

16 May

Roar + Steve Strong + Tony協Yap, 21st May 2017

Best of Bandcamp, SPREAD and New River Studios present:
Roar + Steve Strong + Tony協Yap
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Sunday 21st May 2017, 6.00pm
information

Yokohama band Roar (dipping into London as part of a British and American tour) are a two-piece of Shusei on guitar and Taketo on drums. Noisy and immediate, their sound’s an immediately accessible, unconstrained rock sound churning together aspects of surf music, Hendrix, Nirvana, Foetus and The Melvins.

Two support acts add to the fray. Steve Strong provides his usual one-man-band post-rock loop act, layering assertive, precise live drumkit work with rattling spidery guitar riffs and surging wads of noise texture. Keyboard player Gman Leong & drummer Alessandro Salzano make up London experimental noise/beat duo Tony協Yap: more live drumkit, this time paired with abrasive synth jabs and snarls. Taunting us with the possibility of dynamics, they usually come at us full-tilt – a jammed rave cannonade with occasional vivid lacunae of downtime and ebbed space, stripped and shaped by small sounds (such as the ring of Alessandro’s singing-bowl).





 

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Prescott + The Evil Usses, 24th May 2017

Prescott presents:
Prescott + The Evil Usses
Paper Dress Vintage Bar & Boutique,, 352a Mare Street, Hackney, London, E8 1HR, England
Wednesday 24th May 2017, 8.00pm
– information here and here

Like Tony協Yap, the dogged, quirky Prescott are a band who know a thing or two about teasing. A vehicle for the cellular, bafflingly elasticated compositions of onetime Stump bassist Kev Hopper, they’re also an excuse for underground art-rock drummer Frank Byng, out-there guitarist Keith Moliné and improbable synth player Rhodri Marsden to unpredictably shunt each other around pitch and beat.

With the various members drawing on stints with projects as diverse/perverse as Pere Ubu, Snorkel, The Keatons, Scritti Politti, The Free French, Ticklish and This Is Not This Heat, there’s plenty of scope and impetus for lateral thinking, coupled with a poker-faced goofy accessibility. Their second album, ‘Thing Or Two’, is another stylish raspberry in the face of sensibility and torpor. Imagine the swoop and ping of Brand X rendered in far too many inappropriate Lego bricks; imagine Weather Report fed on a diet of Dada and No Wave; imagine a fusillade of perky post-punk blips like XTC spending a stint as a Koji Kondo covers band.

In support, there’s Bristol’s The Evil Usses, whom I last encountered in the runup to Bristol’s Wakizashi festival last October, and whom I described back then as “a deconstructive, fiercely humorous No Wave jazz-rock quartet, who share some of Knifeworld’s brassy exuberance but take it over the escarpment and down into a stomping, seven-league-booted Beefheart country.” Come along and have your cortex ruffled.



 
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Two of the Alternative Escape gigs in Brighton, 18-19 May 2017

Before either of these, though, there’s a particular free all-dayer at The Black Dove in Brighton on 19th May – part of the extensive Alternative Escape fringe event that’s coiled around the city’s huge Great Escape festival. Certain bands and projects affiliated to the great swarming ferment of the Cardiacs tradition tend to repeatedly pepper ‘Misfit City’ coverage. This particular gig packs a bunch of these together like a explosion of overnight mushrooms (appropriately, since the tang of a particular kind of psychedelia hangs over it).

Up in the curator role are M U M M Y, the psychogothadelic thrumming of Jo Spratley and ex-Cardiac/Dark Star/Levitation-eer Bic Hayes. Bic’s also part of the motorik lysergic driving-machine ZOFFF (who’ll be playing their own set towards the end of the night, fresh from their recent show backing Damo Suzuki). ZOFFF pull together plenty of people from the Brightonian psychedelic axis – including Chris Anderson, who’s bringing along both his shipwreck-and-dreams songwriter project Crayola Lectern and his spacegazing pop band La Momo.

Friendly one-man personality cult Kavus Torabi will take another bare-bones acoustic tilt at the ornate songs he’s written for Knifeworld and the Monsoon Bassoon, while touching on the inspirations he’s shared in his work with Cardiacs and Gong. Psych-tinged folk baroque is provided by Emily Jones and Arch Garrison (bringing liberal dashes of Cornwall and Wiltshire psychogeography with them) and there’s frowning, shadowy, mordantly hilarious Kinks-Gothic popcraft from Stephen Evens. Also on board are noisy punk-prog/alt.pop trio Ham Legion, and Chloe Herington’s experimental music project V A L V E (who make obliquely thoughtful, oddly accessible music from bassoons, melodicas, tape-loops, concert harps, electronics, doorbells and things found on walks and in skips).

Just about the only band here that’s not a ‘Misfit City’ regular is Hurtling, the alt./dream-rock trio featuring Jen Macro and Jon Clayton (formerly of stuffy/thefuses and Something Beginning With L) with Smallgang/Splintered Man bassist Simon Kobayashi. Boasting sturdy support musician links to My Bloody Valentine, Shonen Knife Graham Coxon, Robyn Hitchcock and Bitch Magnet (and taking inspiration from alt.rock heroes such as The Breeders, Sebadoh and Warpaint), they’re possibly the best connected band on the bill: also one of the most straightforward, and a link to the Great Escape outside.


 
Throughout, you’ve got illuminations from south coast psych-lighters of choice Innerstrings. See below for performance schedule and time; see above for links to the wealth of things I’ve previously written about most of these people; go here for the Facebook event page…

Programme:

2.00pm – doors
3.00pm – Ham Legion
3.40pm – Emily Jones
4.20pm – Crayola Lectern
5.00pm – Hurtling
6.00pm – La Momo
6.40pm – Stephen Evens
7.20pm – M U M M Y
8.00pm – V A L V E
8.40pm – Arch Garrison
9.20pm – Kavus Torabi
10.00pm – ZOFFF
afterwards, until 3.00am – DJ Moke
 

April 2017 – upcoming London jazz gigs – Ella Hohnen-Ford Quartet (8th), The Delegation (22nd), TEXTURE (28th)

3 Apr

Three upcoming jazz gigs this month – shimmering vibes-and-voice-led songwork; large-scale and purposeful big-band abstractions like a collapsing city; cartoon-coloured Weather Report-ish synth and drum grooves…

* * * * * * * *

MAP Studio Café presents:
Ella Hohnen-Ford Quartet
MAP Studio Café, 46 Grafton Road, Kentish Town, London, NW5 3DU, England
Saturday 8th April 2017, 7.30pm
information

Ella Hohnen-Ford Quartet, 8th April 2017“The unusual line up of bass, drums, voice and vibraphone adds to the unique sound created by the Ella Hohnen-Ford Quartet, a vibrant jazz/cross-genre quartet of passionate young players, currently studying at the Royal Academy of Music and Guildhall. With influences ranging from the jazz greats (such as Ella Fitzgerald and Shirley Horn), to modern composers (including Kenny Wheeler and Marius Neset) and singer-songwriters such as Nora Jones and James Taylor, the group have a truly individual and confident sound. A debut performance not to missed, featuring arrangements of songs we love and compositions written by and for this specific line up.

“The band features Ella Hohnen-Ford (currently the only singer studying at the Royal Academy of Music’s jazz course), vibraphonist/composer Jonny Mansfield, drummer Boz Martin-Jones and bassist Will Sach (who currently holds the world record for playing the highest altitude bass line, at 40,000 feet). Ella and Boz also play in Johnny’s hotly-tipped Elftet band.”

I couldn’t find anything by the whole band, let alone any sneak previews of their original tunes, but here’s what sounds like Jonny and Ella at work on an old standard:


 
* * * * * * * *

MAP Studio Café presents:
The Delegation
MAP Studio Café, 46 Grafton Road, Kentish Town, London, NW5 3DU, England
Saturday 22nd April 2017, 7.30pm
information

Gabriel ZuckerGabriel Zucker’s indie jazz orchestra The Delegation was founded in 2013, and has already broken new ground in New York’s dynamic music scene. Combining an array of disparate influences into a unique and emotionally immediate sound, The Delegation has performed throughout the Northeast and Canada, and Zucker’s compositions for the group have received awards from ASCAP and the American Composers Forum JFund grant. The group’s singular musical philosophy has been profiled at length by the Ottawa Citizen, Jazz Gallery, and the American Composers Forum.

“Last autumn, The Delegation brought its unique concept to life with the release of ‘Evergreen (Canceled World)’, Zucker’s maximalist 12-movement composition that serves as the band’s sprawlingly ambitious debut record. In ‘World Music Report’, Raul da Gama wrote “in Zucker’s almost confrontational writing I find the vision of one who is hugely expressive. Here is a young man with a profound sense of tone and colour and how it can be wrought from diverse instrumentation to be affectingly “cantorial”, expressive and hugely symphonic too.”

“‘Evergreen’ also received 4.5 stars in ‘Downbeat’ and 4 stars in ‘All About Jazz’. With protean production by Zucker and pop producer Chris Connors, the nearly-two-hour record features everything from angular rhythmic grooves to Radiohead-inspired soundscapes to jarring electronics-infused chamber music to enigmatic lullabies, and is one of the year’s only contemporary releases on the prestigious ESP-Disk label.


 

 

“Support comes from Introspection, a new seven-piece contemporary modal jazz and jazz-rock ensemble, soon to release their eponymous debut EP. The group plays the original compositions and arrangements of its bandleader and guitarist Julian Woods, which explore colourful modal harmony, open improvisation, dense textures, contemporary through-composition, and rock-like timbres.”

* * * * * * * *

IKLECTIK Art Lab presents:
TEXTURE
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Friday 28th April 2017, 8:00 pm
information

TEXTURE, 2014“TEXTURE is an original drums/keyboards duo project of drummer, percussionist and composer Adam Teixeira, featuring Chris Pruden on analogue keyboards and synthesizers. Based in South London and Berlin, the two musicians began playing together in Toronto, Canada in 2012 and have since performed across North America and Europe collaborating with a variety of international musicians.

“Adam has recently released this music on his debut album (also called ‘TEXTURE’), which features hypnotic and infectious drumset grooves, kalimba melodies, atmospheric synth landscapes; exploring a unique blend of folkloric rhythmic traditions stemming from African, Caribbean and Indian classical roots with modern jazz and electronic influences, and providing the perfect setting for the musicians to launch into energetic improvisations.”



 

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