Archive | post-punk RSS feed for this section

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

 

February/March 2019 – upcoming British folk/experimental gigs – Bell Lungs on tour with Raiments (20th February to 2nd March, various) with appearances by Despicable Zee, Michael Clark, The Nature Centre, Halcyon Jane, Tara Clerkin Trio and various DJs. Plus sundry other Bell Lungs shows in March including a København evening with Hugh Tweedie and Tanja Vesterbye Jessen, a show with David Toop and Rashad Becker, a date with Gaze Is Ghost.

16 Feb

Working with a multi-instrumental, device-heavy palette which includes guitar, harmonium, Omnichord, electric violin, lyre, bouzouki, saz, voice and a host of effects pedals, avant-folk singer/writer/sometime promoter Ceylan Hay (a.k.a. Bell Lungs) sits at the middle of a host of possible routes. Her sound incorporates post-folk and drone, dream pop, noise and free improv, psychedelia and site-specific realisations, while her psychohistorian subject matter takes in the ancient, the near-ancient and the presently numinous: probing prehistoric spaces, the ghosts of the industrial age, day-to-day feelings and the slide into a new virtual existence space via online culture.

Reflecting these overlaid levels (and what might be, at different perspective points, either shockingly near or completely occluded), her vocal delivery steps between ornamental trad-folk crenellations, feathery ambient warbles and horrific screams. You can never quite tell whether she’s going to lull you or scare you, but you know she cares about what she’s ferrying across to you.

With a new EP, the wintry ‘Wolves Behind Us‘, to promote (apparently it’s a return to folk and landscapes after recent science fiction/site-specific digressions, and is “Joan Aiken’s ‘Wolves of Willoughby Chase’, Olaf Stapledon’s ‘Last and First Men’, caravan living in the Highlands and the ancient cosmology idea of dividing the year into two halves; the opening and closing of the wolf’s mouth”), Bell’s embarking on five weeks of touring (primarily alongside Raiments) through Scotland, England, Wales, followed up by other Raiments-less shows in Scotland, England and Denmark. (She’ll also be playing in Wales next month, but more on that later…)




 
Before taking a look at the tour, let’s take a look at her tourmates. Formed on the Berlin avant-garde scene, Raiments are fronted by sing-murmurer/left-field guitarist Mano Camatsos, and they sound like a soft-stepping muttering blend of Lou Reed and Momus fronting a band that mixes lurking dark-jazz styling (hardwood clarinet burr and groove-pattering trashdrums) with the DIY rattle of Pram and the dark throb of Morphine. Mano’s wildcard guitar is a clinking noisemaker and pulse generator taking note of hip hop, of avant-garde classical extended techniques and of mysterious instruments and methods gleaned from ethnological recordings. His songwriting voice is a oddball surreal instinct leading inexorably towards songs about ants or baffling seductions.



 
Tracing their upcoming footsteps on the tour is a joy, like following a plough which turns up small treasures as it reveals what’s in the earth. It’s partly the succession of intriguing off-the-beaten-path venues – squatty art-pubs, recovered eighteenth-century coal basins, pocket cinemas and art centres, diehard folk rooms and out-of-the-way sipperys – but also the revealing of similarly off-the-wall musical talents and enthusiasts they join up with en route.

In Edinburgh, Bell and Raiments are playing with Claquer – previously three-piece improvisers Claque until they spun off their American drummer an unspecified time ago. Now it’s just the Edinburgh contingent: free/experimental guitarist Jer Reid and viola player/speaker Lisa Fannen. They deal in lo-fi clangs, loopings and scrapes and spoken word: momentary moment-music.


 
In Newcastle, the main support comes from the soft melody murmurs and drowsy, cushioned keens of ambient/improv folk duo Halcyon Jane, a Tyneside/Humberside teamup. Upfront with the voice, guitar and devices is Newcastle performance art polymath Jayne Dent, better known via her own electronic/noisy folk project Me Lost Me, in which she buffers and buffets her singing with concertinas and samplers: when she played Hull back in December, support came from local ambient electronic beatsman Halcyon Neumann, who’s worked with The Body Farmers and with Sarah Shiels and who carries out sonic explorations of “the technological vs. the archaic/the spiritual vs. the scientific/the supernatural vs. the psychological.” Together they tease out a semi-improvised border music, part weird electro-folk and part post-shoegaze wisp.

Also playing is Michael Clark, providing slurred, wise, trepidatious and crepuscular folk music with fogrolls of noise behind an acoustic guitar. Despite being a Londoner, he sounds more like a moor-dweller; or like someone who lives in the kind of port city London used to be, one in which strange tales and intimation billow up the streets with the dock mist: this time out, his strange tales are backed up by a full band.

 
I’ve encountered The Nature Centre before. Headlining the Club Integral-hosted Birmingham show above Bell Lung and Raiments, they’re an affable rural/suburban pop quartet like a four-person one-man band, sprouting banjos and clarinets and found percussion alongside their drum kit and guitars. Drawn to playing at weirder gigs, they’ve shared bills with people like Bob Drake and have their own batchful of three-minute pop songs avidly reflecting the off-kilter visions of previous English songwriter eccentrics (the Syd Barretts, Robyn Hitchcocks and Tim Smiths). Handling the in-between-bands slot is someone new to me but not new to Brum’s vinyl-istas: Moseley Folk Festival’s house DJ and Moseley Record Fair co-organiser DJ Rome, promising his own selection of crate-dug oddities and inspirations.


 
In Bristol, the DJ backup comes from “bleary-eyed staggerer” Siegfried Translator of the Grey Area radio show (another haven for intriguingly weird music from all over the globe), but the gig predominantly features the Tara Clerkin Trio: the DIY musical brainchild of a ceramicist who also seems to have a yen for gamelan/minimalist-sounding pattern tinkling sprinkled with voiceloops, friendly saxophonic intrusions and other pitch-ins from whichever musical friends she can rope in for the occasion. (At other times, she creates her own slumberous take on experimental countrified pop.)

 
The Oxford show (promoted by Divine Schism) is primarily a launch event for the second EP by Zahra Haji Fath Ali Tehrani, a.k.a. Despicable Zee – a live-looper, improviser and conscious patterner of fifteen years standing, mixed Anglo/Irish/Iranian heritage, and a history of drumming in Oxford bands since her teens. Now the drums (plus loopstations and recordings) are used to create live solo tracks in which Zee employs a lo-fi, lo-technique approach to overlapping rhythm garlands and triggered conversations. As an artist (as well as an educator and mother), Zee’s increasingly conscious of the female lines she carries within her: the patched-in samples which wobble her current project along feature the voices of her mother and grandmother, mingling with Zee’s own sing-speak-raps as if they’ve dropped by for some kind of experimental music cross-cultural kaffee klatsch.


 
The London show (at Paper Dress Vintage) is an evening of music and spoken word put together by promoters Spilt Milk in order to raise money and awareness for North London Action for the Homeless. Shapeshifter experimental pop poet Alabaster dePlume comperes: also in the corner is Jenny Moore’s Mystic Business, who showed up in ‘Misfit City’ a little over a year ago.

Jenny’s another artist whose field extends from the visual and situational into action and music: the Mystic Business involves pulling together friends and strangers into a collective performance event that’s part communal clapalong choir, part percussion workshop and good-natured culture-jamming protest (with food). Guileless and charming, but nonetheless political and détournementational, it’s an attempt to get collective conscience back into the body, containing and encouraging a cheerful but insistent protest.



 
The Conventry and Brighton gigs appear to feature just Bell Lungs and Raiments on their own, but news just coming in re. the Liverpool date (at dockside art-pub Drop the Dumbulls) says that support there comes from Merseyside “synthwhisperer” and outsider synthpopper Claire Welles. She’s been rolling out her contrary songs for over a decade now, singing increasingly unsettling lyrics in a deep deadpan tone with a sarcastic medicated edge, while the backings deliquesce from elegant ageless Europop into something a little misshapen. It all becomes something like those conversations during which you wake up a third of the way in, not quite sure how you got into them, not quite believing that you’re stuck in there and will just have to ride it out.



 
* * * * * * * *

Following the Raiments tour, Bell heads off separately for other shows. A mid-March showing at Manchester’s Peer Hat is a solo gig, but there’s also an Argyll event (in the enchanting recording-studio-as-art-nook surroundings of St Marys Space) at which she’s supporting baroque poptronic project Gaze Is Ghost: itinerant Northern Irish singer/songwriter/post-classical composer Laura McGarrigle, noted for “spectral vocals and impressionist piano playing” as well as drifts into harmonium and ambient atmospherics. In recent years Laura’s let Zed Penguin drummer/artist Casey Miller into the project and (following a number of pre-Casey singles), Gaze Is Ghost are finally readying a debut album as a duo.

 
A return to Glasgow on 28th March sees Bell performing on a talk’n’play bill with musicologist and audio culturer David Toop and Berlin sonicist Rashad Becker (who, having polished over a thousand records by other people spanning noise to techno, has begun stepping out into music creation of his own with the resonant faux-ethnological synthwork of ‘Traditional Music of Notional Species, Vol. I’).

On the 30th she’s back in Edinburgh to support another experimental folker, looper and performance artist: David Thomas Broughton, whose brilliantly wayward path has included looping his own heckles, blurring the line between song performance and experimental theatre. Along the way he’s released eight albums of accessible, tremulous, oddly haunting alt.folk delivered in an arresting genderless vocal tone a little reminiscent of Anthony/Anohni, and won the respect and collaborative contributions of (among others) Beth Orton, Sam Amidon, and Aidan Moffat. David will be in the early stages of his own tour, which I really should cover on its own.





 
Before any of these, though, she’s crossing the North Sea to perform at an experimental folk event in København. Part of the city’s Fanø Free Folk Festival, it’s hosted by local label Dendron Records, specializers in “small runs of abstract electronics, ghostly folk songs and surprisingly hummable tunes.” The concert will also feature two København-based British emigres Hugh Tweedie and Tanja Vesterbye Jessen. Hugh’s been operating for years under various names including The Weave And The Weft and Taiga Taiga, creating shadowy understated mostly-acoustic songs with a literary bent, and he regularly helps out with David Folkmann Drost’s homemade folk project Moongazing Hare. Previously known as a radical electric guitarist in Vinyl Dog Joy, Amstrong and Distortion Girls, Tanja recently struck out on her own with a solo debut, ‘Feeling Love’ in which she embraces and deconstructs pop songs, writing them acoustically before bringing assorted damaged amplification and effects-pedal interference to bear on them, resulting in songscapes covering a field from heavy-lidded noise-folk to cataclysmic “drone-metal disco”.




 
* * * * * * * *
Dates:

Bell Lungs & Raiments tour:

  • Henry’s Cellar Bar, 16A Morrison Street, Edinburgh EH3 8BJ – Wednesday 20th February 2019, 7.00pm (with Claquer) – information here
  • Cobalt Studios, 10-16 Boyd Street, Newcastle-upon-Tyne, NE2 1AP, England – Thursday 21st February 2019, 7.00pm(with Michael Clark + Halcyon Jane) – information here
  • The Edge, 79-81 Cheapside, Digbeth, Birmingham, B12 0QH, England – Friday 22nd February 2019, 8.00pm (with The Nature Centre + DJ Rome) – information here and here
  • Cube Cinema, Dove Street South (off top-left of King Square), Kingsdown, Bristol, BS2 8JD, England – Sunday 24th February 2019, 8.00pm(with Tara Clerkin Trio + The Grey Area DJs) – information here and here
  • Fusion Arts, 44b Princes Street, Cowley Road, Oxford, OX4 1DD, England – Monday 25th February 2019, 7.30pm(with Despicable Zee) – information here
  • Paper Dress Vintage Bar & Boutique, 352a Mare Street, Hackney, London, E8 1HR, England – Tuesday 26th February 2019. 7.30pm (with Jenny Moore’s Mystic Business + Alabaster dePlume) – information here and here
  • The Rose Hill Tavern, 70-71 Rose Hill Terrace, Brighton, West Sussex, BN1 4JL, England – Thursday 28th February 2019, 7.00pm – information here
  • The Tin @ The Coal Vaults, Unit 1-4 Coventry Canal Basin, St. Nicholas Street, Coventry, CV1 4LY, England – Friday 1st March 2019, 8.00pm – information here and here
  • Drop the Dumbulls @ The Bull, 2 Dublin Street, Liverpool, L3 7DT, England – Saturday 2nd March 2019, 7.00pm (with Claire Welles) – information here

Bell Lungs standalone dates with various others (tbc):

  • Fanø Free Folk Festival @ Alice, Norre Alle 7, DK-2200 København N, Norway – Monday 4th March 2019, 7.00pm(with Hugh Tweedie + Tanja Vesterbye Jessen) – information here
  • St Marys Space, Fasnacloich, Argyll, Scotland, PA38 4BJ – Saturday 9th March 2019, 7.00pm(supporting Gaze Is Ghost) – information here
  • The Peer Hat, 14-16 Faraday Street, Manchester M1 1BE – Thursday 14th March 2019, 7.00pm – information here and here
  • Stereo/The Old Hairdressers, 20-28 Renfield Lane, Glasgow, G2 5AR, Scotland – Thursday 28th March 2019, 7.00pm (with David Toop + Rashad Becker) – information here and here
  • The Waverley, 3-5 St. Mary’s Street, Edinburgh, EH1 1TA, Scotland – Saturday 30th March 2019, 9.00pm (supporting David Thomas Broughton) – information here

February 2019 – upcoming London eclectic/multicultural gigs at Poplar Union – Grand Union Orchestra (22nd February); Mishti Dance (23rd February) with Conspirators of Pleasure, The Tuts, Kapil Seshasayee and Soundar Ananda

15 Feb

I don’t go down to Poplar that often, but despite its more confusing aspects – the hurtling convergence of the eastern motorway routes out of London; that strange dislocated/disassociated/dispossessed neighbour’s relationship which it has with the glittering towers of Docklands to the south – the place has always felt welcoming; from the wry hardiness of its shopkeepers to the gentle courtesy of the djellaba-clad pair of Muslim brothers (one twentysomething lad, one eight-year-old kid) who spotted me wandering (a lost, bald, bearded middle-aged white bloke) all nonplussed by the Limehouse Cut, and were kind enough to redirect me to Poplar Union.

PU still feels like a beacon for the area’s future – enthusiastically aspirational in its bright, clean, modern bookishness but also happily embedded in the area’s colourful swirl of cultures; decidedly unshabby but also entirely inclusive. Here are another couple of gigs coming up there this coming week.

* * * * * * * *

Grand Union Orchestra, 22nd February 2019

Sporting a thirty-plus roster of musicians from all across the world, Grand Union Orchestra have spent two decades playing and personifying an ethic of joyous multicultural cooperation onstage. With a tradition of creative diasporan work, and with an additional set of roots in left-wing community theatre, they’re a living rebuttal to British insularity. Usually there’s about eighteen of them on stage, drawn from a flexible roster of around thirty top-flight musicians from a variety of cultures and generations. You’ll see Bangladeshi, Chinese, English, Turkish, Caribbean, Roma, Bulgarian, Mozambiquian people and more, from striplings to grandmothers, all playing together, long accustomed to assembling rolling caravans of sound into which assorted musics – Carnatic and Bangladeshi classical, salsa, jazz – can be folded.



 
You can pick out the various components (even a quick dip will turn up players like Jazz Warriors trumpet veteran Claude Deppa, Carnatic violin virtuoso Claude Deppa, Roma accordionist Ionel Mandache, guzheng star Zhu Xiao Meng and a poly-hued battery of singers with backgrounds including fado, jazz, opera and Bengali classical) but you’re better off just enjoying the sweeping palette. Just looking at their gig flyers reminds me of the happy, souped-up neighbourly multiculture festivals in and around my primary school. It makes me want to bare my teeth against the chilly white monocultural wind that’s blowing from the future, from Brexit and from the surly side of Englishness; or – if I can’t do anything else – to at least turn up my collar, turn my angry back against the freeze and head for the lights, the warmth and the rhythms.

GUO’s current, workshop-driven project – ‘Bengal, Bhangra and the Blues’ – is helmed by tabla ace Yousuf Ali Khan: it leans back towards the music of the Asian sub-continent with classical ragas, Bengali songs and the aforementioned bhangra at the heart of it. Various young participants, having already enjoyed the previous week’s free instrumental youth workshops incorporated into the project programme, will be joining the main band for the concert.

* * * * * * * *

Mishti Dance featuring Conspirators of Pleasure + The Tuts + Kapil Seshasayee + Soundar Ananda, 23rd February 2019

I know Grand Union Orchestra, but I’m less familiar with PU’s Mishti Dance evenings and their Asian club/dance initiative. The idea strikes a fond chord of memories stemming from the Talvin Singh Anokha nights I’d occasionally attend in the mid-‘90s, in which all of the sounds I’d been vaguely aware of during an upbringing in multicultural Haringey suddenly seemed to grow up and stream together. Anokha, though, had its road laid down for it by the bhangra grooves and post-rave dance culture of the times, and while you could skulk up to the chillout room to listen to Shakti if you wanted to, it was predominantly about immersing yourself in sub-bass, remix chops and tabla frenzy.

Mishi, however, looks like a much looser bag: admittedly hung on the same British Asian peg but more tenuously, with room for just about anything and anyone with a Asian connection and in particular those who are following their own path out of the immediate cultural confines and bringing their innate cultural qualities to question, alter and enrich other spaces. The closest Anokha-type dance exemplar in this month’s gig looks as if it’s DJ Soundar Ananda of Indigenous Resistance, a French-Asian “conscious beats” deliverer, promoter and compilation curator working with “cutting-edge, futuristic, nu-skool, Eastern electronic music influenced by dub, dubstep, d’n’b, breakbeat, jungle, reggae.”

 
The Tuts, on the other hand, are a long way from Anohka beat culture, although I think Talvin and co would have appreciated their ethic. A fiesty, witty, self-propelled female throw-forward from the all-too-brief days of ’70s post-punk inclusivity, they’re a young DIY pop-punk trio of “proud Caribbean, English and Indian/Pakistani origin” and an immediate, salty working-class attitude of immediate self-assertion and street wit. Full of chop-and-change musical sharpness and girl-group zest (they’ve happily covered Wannabe, though there’s as much Fuzzbox or Slits to their vigour as there is Spice Girlhood), they’ll be inspiring girl moshers and wallflowers alike from Wolverhampton to Leicester, with little for old white gits like me to do but gently get out of the way, smiling as we do so. Bluntly inspirational.



 
The remaining two acts take us into delightfully eclectic and weird experimental pop and noise terrain. Bringing the majority of the weird noises are headliners Conspirators Of Pleasure: multi-media artists Poulomi Desai (who’s been in here before a few times over the year, toting her polydisciplinary stage shows and their festoonings of gizmos and collated contradictory content) and onetime Pop Group/Pigbag post-punk/funk/dub bassist Simon Underwood (once compared by Dennis Bovell to a white Robbie Shakespeare). Their adventures together have included helping to set Joyce’s ‘Finnegan’s Wake’ to music, and touring with Stewart Lee and other restless upsetters in the ‘Usurp Chance Tour’. Using repurposed tools of the cultural trade (Poulumi’s context-yanked sitar played with everything from an axe to a massage vibrator, Simon’s prepared bass guitar) plus assorted noisemakers, drone-sources, toys, stylophones and radios and a battery of makeshift audio-visual, they’ll spend their time onstage forking over textures and flotsam, touching on the industrial, on dance culture, on noisy improvised chaos and on the voices and ideas which emerge from this conflation.


 
Glaswegian-Asian singer-songwriter Kapil Seshasayee has parked himself on a junction where a variety of different ideas and approaches are coerced into meeting. He takes his beats from hardcore machine punk and Arca-ian experimental electropop; his guitar choices from a superimposition of Carnatic traditions and skinny-wire Hendrixian note-bending, crashes and hammer-on blues; his song structures from the kind of improvisational bardic rock which itself is drawing from griots or the ecstatic traditions which bubble away in various cultures despite having been vainly tarmac-ed over by Western rationalism.

His voice… well, I’m not entirely sure where that comes from. A beautiful Western/Indian rock clarion with hints of boy angel, Quwalli pronouncer and open-ended Beefheartian abstractioneer, it barrels up out of a position of assured strength only to lyrically splatter itself across parts of the landscape you’d not even noticed before. I could wave in Tim Buckley, Thom Yorke, Nick Harper and Van Morrison as whiter comparisons; I could point to some of the fiery ecstastic pitches and timbres of Nusrat Fateh Ali Khan, or toward youthful bluesmen with an axe to sharpen; but I still wouldn’t get it across to you or do it the right kind of justice.

Bald and impressively bearded (beating me on both counts, in fact), Kalil additionally decorates his wrenched-cable music with electronic fizz and spookings plus the eldritch acoustic wails he can scratch out of a waterphone. As for his songs, whether they’re upended experimental blues or club-leaning avant-pop abstractions (and often they’re both), they sound like distracted revelations in train marshalling yards, Kapil as a spasming, pointing Blakean figure continually spotting and sweeping the hidden numinous into his narratives and fracturing them into cracked landscapes. Somewhere inside Kalil there’s a bloke who wants to sing straightforward young-man songs about love gone wrong. Fortunately, his own brain continually waylays him in between impulse and expression.



 
* * * * * * * *

Dates:

Grand Union Orchestra: Bengal, Bhangra and the Blues
Poplar Union, 2 Cotall Street, Poplar, London, E14 6TL, England
Friday 22nd February 2019, 7.30pm
– information here and here

Mishti Dance presents:
Conspirators of Pleasure + The Tuts + Kapil Seshasayee + Soundar Ananda
Poplar Union, 2 Cotall Street, Poplar, London, E14 6TL, England
Saturday 23rd February 2019, 7.00pm
– information here and here
 

January 2019 – upcoming London gigs – Monelise, Laura Victoria, Paul Reynolds and Paul Go free in Peckham; Amy Balog at the Poetry Café; The Osiris Club, Kavus Torabi and ANTA in Camden (all 9th January)

4 Jan

Three for next Wednesday…

* * * * * * * *

Monelise + Laura Victoria + Paul Reynolds + Paul Go, 9th January 2019

A free gig down in Peckham showcases four independent songwriters, with recent Goldsmiths graduate Monelise at the head of the bill. Positioning herself in the dreamy, arty end of pop, she tosses leading comparisons and tells around like chiffon scarves – David Lynch, Kate Bush, her own synaesthesia – and the talk-up seems to be working so far, with her videos being played in Topshop and a Pledgemusic campaign working hard at getting her debut EP completed (and her live shows up and running across a Mediterranean living-room tour and an Edinburgh Fringe fixture). She’s clearly as much a visual artist as a musical one, with her final degree show at the Deptford Albany last December already featuring screens, visuals and drifting snatches of 1920s opera shellac as well as a four-piece band.

I admire the ambition and industry, even if I’m not yet sold on the output. The influences Monelise is citing have the ability to reach down into your deep dreams and jar you. In comparison, she herself still seems content to drift along on the surface of a dusk dream, sounding pretty and basking in moonlight. I can only go by what I’m seeing. It’s possible that Monelise’s keeping her cards close to her chest as regards what she’s put out so far, and perhaps the live show’s the only current way of appreciating her in full. Available evidence shows two versions of her – the managed one (who releases slick spiritual-couture videos and tracks which blend contemporary pop and trip hop into seamless, depthless musings), and the far more interesting and unpolished live Monelise (who strives and juggles simultaneous singing, keyboards and theremin, and who might be shakier and more erratic at the moment but who also offers possibilities of growing, learning and interacting which her hermetically-sealed recorded persona currently doesn’t).



 
There are no such abstractions or evasions in the music of Laura Victoria. A onetime scion of Tyneside youth folk ensemble FolkESTRA North, she belts out punchy songs of life and love drawing from English folk, acoustic pop and Americana, accompanying herself on cello and leading a three-piece band featuring drummer Josh Wolfsohn and fiddler/banjoist Jo Cooper. Now up to her third album, and having been a regular presence on folk scene gigs up and down the country for twelve years, she’s confident and fully formed: what you see is what you get. I see sunniness, vigour and empathy in equal measure. In addition, she runs folk singing classes at Morley College and IKLECTIK, and has done at least one sprightly, ramshackle Joan Jett cover, if anyone’s interested…



 
Paul Go is another transplanted Northumbrian folkie, although of a very different order and style to Laura. His only available song so far is soft, shy and sweet – a gentle, momentary folk-pop sketch with brush drums, donkey-ride fingerpicking and fiddle contrasting awkward human reclusiveness with the unconscious confident grace of animals. Of the other two tracks he’s released, one’s a skittish, part-broken guitar improvisation designed to make use of the acoustic space of Ealing’s Vestry Hall. The other shows an unexpected interest in Chinese music, featuring the slithering sigh of an erhu fiddle, chimes and a guest narrative in Mandarin. Hopefully some of these other sides of Paul will bleed through in the concert: soft suburban musing and amiability are fine, but extra dimensions are better.



 
That’s something which already holds true for Paul Reynolds. Sometimes part of triple-threat modern folk trio Vespers, he plays bass for his own projects and for various other people, but graduates to piano for his own solo songs and for spacious, introverted instrumental improvisations (sometimes artfully jarred by odd tunings and by interspersed sound effects and electronics). I’m guessing that the songs will take preeminence this time around. Evidence so far suggests that they’re in the classic vein of chamber-folk touched with elements of classical and chanson, and thrumming behind a patina of English reserve: a mixture of craft and of carefully harboured emotion. Paul’s also got a sideline in little sonic experimental dramas such as The Brading Experience, suggesting a quietly uncontainable musician and aural imagination behind the meticulous skill.

 
* * * * * * * *

All right – in advance of her spoken word/musical set at the Poetry Cafe, here’s Amy Balog‘s opening statement:

“The hungry vulture of feminism is circling in the grey sky above the dying Femme Fatale. She’s being tortured to death by girls who don’t understand her power, thinking it somehow makes them weaker. Her admirers are collecting her sweet, priceless blood in vintage crystal flasks, trying to preserve at least this one colour still left in a humourless and passionless world. But she’s still breathing, and it’s not too late to save her from a cruel demise…”

Amy Balog: 'The Dying Femme Fatale', 9th January 2019

I’m not sure quite what to make of Amy yet. She’s a Hungarian Londoner infused with Gothic prose and horror erotica; a refugee from science journalism who carried out a moonlight flit into the world of speculative fiction and dream psychology. Having reinvented herself as a novelist and poet, she’s now (at the age of twenty-seven) standing up in front of audiences to deliver a performance-poetry manifesto exploring “the nature of femininity and feminine power from a perspective critical of contemporary feminism… other themes include political correctness, identity politics, religion and mental illness.” As part of the process, she’s struck up an alliance with jazz-psych guitarist Carlos Ferrao, who brings a splintery musical soundscape to her recitations – hollowbody chugs, echoes and grumbles, deliquescing now-you-see-them-now-you-don’t riffs.


 
Heh. I’ve never much trusted anyone who scorns and decries “political correctness” and uses that ire as a rallying call. Having watched or suffered losses and setbacks related to mental illness, I’m suspicious of anything which politicises or potentially celebrates madness; and the fact remains that if you’re a woman arguing against feminism, you’re basically aiming an axe at your own ankles. That said, there’s more to Amy than flashy reactionary advertising or self-indulgent apologism. By her own admission, there’s plenty of Camille Paglia in her work, plenty of Jung, Nietzsche, Poe and the Comte du Lautréamont – the bloodwork of surrealism, expressionism, contrarian thought, like a kind of Goth take on Lydia Lunch.

Don’t expect measured, objective consideration here. Amy’s interested in transformative apocalypses, irrational dream quests and night journeys, the truth implicit in the fluid and contradictory power balance between artist and muse, or about the flip side of objectification. Her female narrators may be thwarted or humiliated or imperilled, but they’re also resistant and strangely bulletproof, with a core of self-will: heroic archetypes determined to establish their own concept of femaleness. Core to this is Amy’s own perception of beauty as a force in its own right – it threads through her words, and her Gothic redhead looks and sensual witchy Tori Amos presence are an integral part of her work; the vessel for the wine.

Perhaps it’s best to allow for the fact that feminism, by its very nature, is a broad church with room for multiple perspectives and considerations; that there are many pathways to female assertion and that none of them should be readily shouted down; and that Amy’s still in the early stages of her night journey. Despite her determined stance, at the moment there are more questions and challenges in place than answers. It may be interesting to see where she goes.



 
* * * * * * * *

The Osiris Club + Kavus Torabi + ANTA, 9th January 2019A heavier, more masculine psychedelia gets an airing up at the Black Heart, where record label Old Empire are putting on a night of darker and/or harder sounds, headed up by occult post-punk/progressive metal metallers The Osiris Club.

Originally formed with the intent of fusing horror film soundtracks with instrumental avant-metal, the OC has now swollen to a full-on song septet. The changes seem to be resulting in accessible, gloomily elegant tritone epics of tingling guitar and droning indie vocal; as if The House of Love had thrown their hands up in the air and confessed to having been fantasy comics fans all along (while various members of Fantômas grinned and egg them on in the background). That said, for epics such as A Winter’s Night On Sentinel Hill the Club pull out all of the Hawkwind oscillators and Van Der Graaf/Iron Maiden declamations, unveiling a Lovecraft-prog grandeur in full glorious/ghastly melodrama.



 
No such code-switching games for ANTA – described by Chaos Theory as the purveyors of “velvetine cosmic textures delivered as a hammer blow to the soul”, they open the show with their own enthusiastically convoluted, heavy-prog brain-tangling rock swing. Sandwiched in the middle is Kavus Torabi. Having recently exploded the Garage at the helm of his psychedelic prog octet Knifeworld, he returns to the sullen, trepidatious, post-nova ember-glow of his solo work; trawling through shimmering webs of harmonium, effected drones and knell-clangs of acoustic guitar, exploring a forbidding hinterland of vulnerability and permeable spirit-space.



 
* * * * * * * *

Dates:

Monelise + Laura Victoria + Paul Reynolds + Paul Go
Rye Wax, 133 Rye Lane, Peckham, London, SE15 4ST, England
Wednesday, 9 January 2019, 7.30pm
– information here

The Poetry Society presents:
Amy Balog: ‘The Dying Femme Fatale – An Evening of Poetry and Music’
The Poetry Cafe, 22 Betterton Street, Covent Garden, London, WC2H 9BX, England
Wednesday 9th January 2019, 7.00pm
– information here and here

Old Empire presents:
The Osiris Club + Kavus Torabi + Anta
The Black Heart, 2-3 Greenland Place, Camden Town, London, NW1 0AP, England
Wednesday 9th January 2019, 7.00pm
– information here, here and here
 

December 2018 – upcoming London rock gigs – Terry Bickers guests with ZOFFF at a psychedelic extravaganza also featuring Knifeworld, Spratleys Japs, assorted Cardiacs and Mike Vennart (21st December)

4 Dec

Spratleys Japs + Knifeworld + ZOFFF. 21st December 2018Just before Christmas, Terry Bickers (evergreen cult guitarist with The House of Love, and one of a slim pantheon of late ’80s/early ’90s Brit-indie guitar heroes alongside Johnny Marr, John Squire, Nick McCabe and a handful of others) is playing a London guest slot with Brightonian psych-rockers ZOFFF. This isn’t the first time he’s done it. A similar collision and happy entanglement is recorded and celebrated on ZOFF’s brand new live album ‘IV’, capturing the September 2017 set in Brighton in which Terry first joined them on stage.

It’s a reconciliation as much as a guesting – after his first spectacular falling-out with The House Of Love, back in 1989, Terry spent four years fronting post-punk psychmonsters Levitation, interweaving his cetacean-contrail guitars with those of former Cardiac Bic Hayes. It’s a period of his career that’s played down now, in the usual, conservative prodigal-son narrative which implies that he was a one-band indie hero who went astray, fiddled about with nothing much, finally saw sense and came back. But while Levitation lasted they were pretty inspirational: a hell-for-leather band of roaring textures and high anxiety which lasted until a depression-fuelled spat saw Terry falling out with the entire band and very publically ejecting himself.


 
It took a long time – and a long course of growing up – for rapprochement to happen, but happen it did. Bic now strums, wails and noises for ZOFFF (alongside Brighton go-to drummer Damo Waters, modular audio-visual synth maverick Richard Gorbutt and Crayola Lectern duo Chris Anderson and Al Strachan) creating a massive brass-laden textural throb of psychedelic sleet. As part of the renewed friendship, Terry’s increasingly been invited along to ZOFFF shows by Bic to resume their mutually supportive, strange-bedfellow guitar duello. By all accounts, he fits right in. Here’s a preview of all of them, including Terry, raising consciousness and the roof down at the ‘IV’ gig in Brighton last autumn (plus a brief phone clip of Terry in action and in the moment)…



 
ZOFFF are playing as part of a pre-Christmas bill which maintains a much-missed tradition. Until they were brought to a crashing halt a decade ago, Cardiacs hosted an annual gathering of their diverse fantribe (usually at the London Astoria) at which they’d play their exuberant, noisy, cryptid pop songs (transmissions from some imaginary Atlantic plateau where no musical forms either died out or became incompatible) and, like kind eccentric uncles, fostered support slots for the likes of Oceansize, Goddamn Whores, The Monsoon Bassoon, Sidi Bou Said, Johnny 4 and other acts from off the beaten track. It was one of the most warm and exciting nights in the alt.rock, or alt.universe, pop calendar, and since Cardiacs’ enforced retirement in 2008 (when leader Tim Smith got very sick indeed – see plenty of past posts), it’s been down to people from those bands, and others, to keep the tradition going. Which they have, building up to this biggest-yet post-Cardiacs event.


 
Nominally headlining are Spratleys Japs – at one time, an obscure Cardiacs/Tim Smith spinoff. In recent years they’ve been resurrected by their co-vocalist Jo Spratley to celebrate this studio-bound hedge-rock corner of Tim’s work: a kind of wild forest variant on Cardiacs (like a series of strange tome pages, faulty language primer scraps and tufts of Syd Barrett’s pubes ritually scattered and hung from briars throughout Mythago Wood). Now, they’re advancing along the neglected but still-open pathways it set up. Joined by her son Jesse on bass, plus ZOFF’s Damo Waters and psychedelic French escapees the Rodes brothers, Jo’s reinvigorated the original knotty/peculiar Japs songs and (over the past year) built some more of them from scratch, much to Tim’s delight. (“You get wisped away round some corner of God knows wot. You knew it was gonna be good, but not this good…”)

A few of these new songs will be made available at the show as the band launch a boutique vinyl single – the usual deal: limited edition, double-yer-action a-side, hand-carved by trained mice, signatures and so forth. For a longer, more fleshed-out story, try here. For a taste of Spratleys old and new, see below.




 
Also at the party are ever-rising post-Cardiacs crew Knifeworld, led by the irrepressible Kavus Torabi. His ever-broadening string of exploits have included fronting the current Gong and the long-lost Monsoon Bassoon, guitarring for Guapo and the late-lineup Cardiacs, gabbling nonsense in between records on DJ dates with snooker ace-turned-weird-rock patron Steve Davis, and adding a little extra weirdness to the interim-Pogues music of Spider Stacy. Over the course of a decade and four records, his Knifeworld work has spiralled up from a solo project to become a honkingly powerful brass-and-reed-laden all-star octet; interlacing prog, indie rock, psych, experimental tones and cycling minimalism into an exuberant package of lysergic babble and quadruple-ended hookery.


 
Everything’s being lit by south coast psychedelic illuminators Innerstrings; and for bonuses, Bic’s contributing a DJ set, as are Kavus and Steve Davies. Plus, there’s going to be a jamboree set of Cardiacs covers and reinterpretations. This will feature a pile-on scratch band featuring Spratleys Japs bolstered by members of all three of the night’s other bands, plus yet another former Cardiacs guitarist (wildcard and Wildheart Jon Poole) and former Oceansize frontman Mike Vennart (currently stretching ears and punishing stages with his post-Oceansize projects Vennart and British Theatre, as well as putting big-league time in as a hired-hand guitar ace for Biffy Clyro).

As a low-key taster for what this might be like, here’s Kavus guesting with Spratleys Japs for a couple of Cardiacs numbers in Brighton last year. This month’s full show is likely to be a friendly cyclone full of flying twigs and bright colours. If you want to find out what all the fuss is about, get on down there.


 
Spratleys Japs + Knifeworld + ZOFFF
The Garage, 20-22 Highbury Corner, Highbury, London, N5 1RD, England
Friday 21st December 2018, 6.00pm
– information here, here and here

October 2018 – upcoming London pop gigs – Bellatrix and Amy León; Clémentine March, Garden Party and Svetlana Smith (both 2nd October)

29 Sep

Bellatrix + Amy León, 2nd October 2018Polydisciplinary pop-charmer Belle Ehresman – better known as Bellatrix – pops up at Elektrowerx at the start of October. She’s been on the up for a couple of years now: the former leader of The Boxettes and a onetime UK beatboxing champion (as well as someone who’s chalked up a parallel musical life as a jazz double bassist), she’s recently subsumed all of these skills into a freeform pop approach.

I caught her a couple of years ago at Rich Mix, just her on her own. Citing influences from Bjork, Ravel, Nina Simone and Sun Ra, to Mingus, Fleetwood Mac and The Pharcyde, she was nothing if not eclectic. For half an hour the venue was her sketchpad as she flung out work-in-progress – a set of unclenched, openhanded musicality in which she finger-painted in assured fashion on mini-synth, loop station and double bass; unfurling songs, meditations and mouth-driven beatscapes in jazz, experimental pop and the loosest of hip hop tones; floating dreamily a little way above the earth.

Since then, Belle’s put together a band, spat out a couple of quirky EPs and stormed the big streaming services, bypassing Bandcamp and Soundcloud to go straight with the Tidals, the Deezers and the Spotifys. For all the boho trappings and the whimsicality (her first EP was called ‘Real Stuffed Owls’), there’s clearly quite a bit of faith and funding behind her. While her former freeformery has settled into more accessible attention-gripping songcraft, I’m hoping that her wholesome world will mesh enough with the demands of that level of glaring attention sharky commercial demands: dropping into one of her sessions should feel like visiting an enchanted workshop, not like chasing a YouTuber.



 
In support is New York singer, songwriter and slam-poet Amy León. Once part of the Nuyorican Slam Team, she now rolls solo: a powerful, joyous, positive-political performer with her work rooted in specific experiences (blackness, womanhood, social inequality) and fusing them all into a compulsive stew of hip-hop spoken-word and sung R&B. Amy’s subject matter’s stirred by rage and outrage, the surviving of brutality and broad sweeps of oppression. Her ethic is to overcome it (in time-honoured civil-rights-movement manner), via a celebration of love, bursting through shame and tears with defiance.

She can sing like battered, determined grass, giving with the gale; she can speak soft; she can wail with rage. Her hard-hitting grit will anchor Belle’s dextrous free-floating thistledown. It would be fascinating to see what they came up with together.

 
Bellatrix + Amy Leon
Electrowerkz, 7 Torrens Street, Islington, London, EC1V 1NQ, England
Tuesday 2nd October 2018, 7.00pm
– information here and here

* * * * * * * *

Clémentine March + Garden Party + Svetlana Smith, 2nd October 2018 On the same night, Friends Serene are putting on a show of their own. Headlining is former Water Babies member and current Snapped Ankles-er Clémentine March – French-born, Brazil-schooled, London-cradled. Solo, she mixes the pressing, noisy dynamic of ‘90s indie rock with the airy, summery liberation of French and Latin pop melodies. Clanging, precisely-tooled guitar parts (like little iron chandeliers) mesh gently with her sleepy Gallic coo, which in turn rises to indie-siren clarions as she rambles across three languages at will. She’s a sleepy intermittent whirlwind, variously flicking up the debris and festival decorations in Mediterranean towns, and sometimes swirling them into intent little vortices as the mood takes her.


 
In support, Garden Party are the duo of singer Yujin Jo and instrumentalist George Edmondson. They bring along bedsit-glamour trip hop sounds in a Portishead/Moloko tradition, reaching towards a skinny R&B feel. It sounds thin as tissue paper or thrift-shop bedsheets at points, and Yujin’s voice is a tiny Eartha-kitten laze. Still, Garden Party revel in the worn, recovered texture of their soundworld and – on recent track Real Tapes – sometimes reach out for something a little more ambitious; rattling their collection of instruments, oddments and samples to reach out through the radio towards a bigger world.

 
Russian-inspired “neurotic synthpop duo” Svetlana Smith complete the bill: they’ve had a debut EP out since July, which you can find on Spotify if you like. As with Bellatrix, they seem to have vaulted a promotional stage: and since I object to streaming services which rip their clients off, I avoid Spotify like the plague and have stayed pretty ignorant as to what SS sound like. However, both ‘Bittersweet Symphonies‘ and ‘From the Streets‘ caught them just under a year ago: the latter highlighted “innocent but empowering love songs, preaching about love for yourself not another, all bought together in an elegant package taped together by sickly sweet and catchy melodies” while the former reported back on something “cynical and sexy, sweet but deadly… synth-pop with bitter lyrics of heartbreak and disdain.”

That’s the way of it, I suppose: a person can show completely different faces to different people on the same occasion, and one man’s light ear candy is another’s compelling poison. At least they agreed on the initial sweet taste; while I’m left wondering whether Svetlana Smith is deliberately Janus-faced, a kind of emotional double agent or just some kind of cannily blank song-canvas. You’ll have to find out for yourself.

This is a free event, but the usual “book-your-slot-first-and-turn-up-early” business applies.

Friends Serene presents:
Clémentine March + Garden Party + Svetlana Smith
The Shacklewell Arms, 71 Shacklewell Lane, Shacklewell, London, E8 2EB, England
Tuesday 2nd October 2018, 7.30pm
– free event – information here, here and here
 

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

Same as it ever was

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

musicmusingsandsuch

The title says it all, I guess!

%d bloggers like this: