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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


 
* * * * * * * *

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 2017 – upcoming London gigs – Muckle Mouth bring us Le Ton Mité plus Chris Cundy (May 25th), and The Family Élan plus Plague Dogs (May 27th); Papernut Cambridge’s Beehive Yourself gig-hosting series continues with The Great Electric, Deerful and Mat Flint (May 27th)

20 May

More on that second set of May gigs at the Dentist in Homerton, plus a continuing set of gigs over in Bow…

* * * * * * * *
Le Ton Mité, 26th May 2017

Muckle Mouth and The Dentist present:
Le Ton Mité + Chris Cundy
33 Chatsworth Road/The Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Thursday 25th May 2017, 7.30pm
– information here and here

“This is the first ever London show of Le Ton Mité, a Belgian musical cooperative that revolves around the compositions of itinerant musician, instrument maker and fine artist McCloud Zicmuse, an American expatriate in permanent residence in Brussels.

“Having left the United States in the mid-noughties on a European sojourn that never ended, McCloud wound up in the Belgian capital in the fall of 2008. Half a decade on, a time in which he has embedded himself in European life via puppet shows, archery guilds, folkloric events, theatre projects and a catalogue of idiosyncratic solo and group works (perhaps most recognisably the 2011 Hoquets album on Crammed Discs called ‘Belgotronics’), McCloud returned to the States, to revisit places he had not seen, in some cases, for fifteen years. This informs his current musical set – an idiosyncratic blend of pop, folk, childrens music and jazz performed by a baroque-style quartet.


 
“To open the evening, there’s be a solo set by Chris Cundy performing his own works for bass clarinet. Chris is a musician, composer, and visual artist working on the fringes of experimental and popular music. He has long been interested with the material properties of acoustics and his music explores self-developed playing techniques such as multiphonics, circular breathing, micro-tonality and (generally speaking) a more tactile approach to the instrument.

“Chris performed with Mercury Award nominated indie-pop band Guillemots and continues to work with the bands frontman Fyfe Dangerfield. He has also collaborated with a variety of alt-pop artists both in Canada and the UK including Little Annie, Baby Dee, Timber Timbre, and Cold Specks.”


 
* * * * * * * *

The Family Élan + Chris Cundy, 27th May 2017

Muckle Mouth and The Dentist present:
The Family Élan & Plague Dogs
33 Chatsworth Road/The Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Saturday 27th May 2017, 7.30pm
– information here and here

“Muckle Mouth and The Dentist welcome Bradford psych-folk rockers The Family Élan (and their heady blend of party hits, Hindi film song and Turkish folk dances) back for a fling.

“The Family Élan generally performs as a trio, featuring Krzysztof Hładowski (of A Hawk and A Hacksaw, The One Ensemble, Nalle, Scatter fame) on Greek bouzouki, elektrosaz and vocals, Harry Wheeler on fancy bass, and Shakeeb Abu Hamdan (of Please, Ygrec, Cleckhuddersfax, The Wub) on Western drum kit. The scope of The Family Elan’s output ranges from self penned meditations in the key of Z minor and the odd party hit, to irreverent interpretations of everything from Hindi film songs to Turkish folk dances, delivered with the countenances of psychedelic rockers. Perhaps the unifying strand in all this is a deep interest in traditional music forms and their reinvention through group rock-outs.”


 
As with the Alex Rex gig earlier in the month, Plague Dogs will be in support… but now I know who they are. They’re an alliance of Trembling Bells/Alex Rex kingpin Alex Neilson with writer/curator/artist/cultural geographer Amy Cutler (at least, I’m assuming that it’s that Amy Cutler)… In which case, expect something textural, folk-tinged and audio-visual, probably provoking more questions than it answers..

(UPDATE, 26th May 2017 – this show’s been cancelled, with the hope that it can be rescheduled later in the summer…)
 

* * * * * * * *

I’ve been slow on picking up on renewed gig activity at the Dentist. Likewise with this set of shows over at the Beehive in Bow (the latest of which clashes with the Family Élan show, but there you go…)

Beehive Yourself 2 (Papernut Cambridge + The Great Electric + Deerful), 27th May 2017

Sound Event Solutions & Papernut Cambridge present:
Beehive Yourself #2: Papernut Cambridge + The Great Electric + Deerful + Mat Flint DJ set
The Beehive, 104-106 Empson Street, Bromley-by-Bow, London, E3 3LT, England
Saturday 27th May 2017, 7.00pm
information

“The second of three Saturday night shows for spring and early summer featuring Papernut Cambridge and a hand-picked selection of friends’ bands and DJs.

Papernut Cambridge is led by former Death In Vegas and Thrashing Doves guitarist (and now prolific underground producer/engineer) Ian Button, who has a list of current projects and collaborations that include Go Kart Mozart, David Cronenberg’s Wife, Deep Cut, Darren Hayman, Pete Astor, Rotifer, Paul Hawkins etc. The band is based on an imaginary band from a dream Ian had in 1990 and brought to life in 2013 by assembling a group of friends and collaborators. Papernut Cambridge have now released two albums (‘Cambridge Nutflake’ in 2013, ‘There’s No Underground’ in 2014) and a covers album (2015’s ‘Nutlets 1967-80’), all on Gare Du Nord Records. The next album release is ‘Love The Things Your Lover Loves’ in May 2016.


 
“As ever with this gig series, Papernut Cambridge will be playing the opening set. The very special guests to follow on May 27th are:

The Great Electric – electronic/motorik supergroup featuring Malcolm Doherty (guitars, effects), Rob Hyde (drums), Darren Hayman (synth), Duncan Hemphill (tones, drones and effects) and Pete Gofton (bass). With a band members’ past pedigree that includes Hefner, Kenickie, Go-Kart Mozart and Mum & Dad, expect a determined, nuanced yet mind-melting set inspired by German electronic and prog via Stereolab, music made in space, and radical hypnosis techniques.


 
“Following on from her past work backing or contributing to the work of Darren Hayman, Pete Astor, Owl & Mouse and Enderby’s Room, Emma Winston’s solo electronic project Deerful takes bright melodic indie pop and fuses it with crisp chiptune and electro shimmers, Gameboy beats, and emotive thought-provoking lyrics. Her live shows using an array of TFL-portable synths and devices are always a delight. Deerful’s first full length album ‘Peach’ is released this year on June 2nd.


 
“Former Revolver frontman, Death In Vegas bassist, and now leader of bravado dreampop project Deep Cut, Mat Flint is also a frequent record spinner at The Social, playing sets that range from Northern Soul and hip hop to dub and garage rock. We’re chuffed he’s coming along to pilot the wheel of steel for this show!”

 

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).





 

* * * * * * * *

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.



 
* * * * * *

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
 

May 2017 – upcoming London gigs – Society of Imaginary Friends’ Shakespearian soiree (May 5th); Stergin’s EP launch (May 7th)

1 May

That rapidly approaching stream of babble heralds an imminent Soif Soiree in north London…

Society Of Imaginary Friends present:
Society of Imaginary Friends Soiree: “Are you Shakesperienced?” (featuring Society Of Imaginary Friends + Cian Binchy + Millie George + Amy Neilson Smith + Connor Arnold + others t.b.c.)
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 5th May 2017, 8.00pm – free event
information

Society of Imaginary Friends Soiree, 5th May 2017“KAPPOW!! We have a happening, happening, “zzzz” leave the zeds behind!! and find a corner of your mind.. BAM!!! you got it Sam, no Flim Flam it’s 100% solid 22 carat trip… From Shakespeare (he’s like an early English Ginsberg) Gloriana Street (viola da gambas, crumb horns (sic)… CRAZY!!) to Boulavard Bad Daddio, music to self expressionist possessionist, “silence” from the Ciccada Quartet we take our Tequila at sunset, don’t fret, get un-straight and ZOOM back in to the room with Lord Buckley lying with the Daisies… what??

“It’s Spring, Brothers and Sisters, let’s frolic… with dynamite nytro… Millie GeorgeAmy Neilson Smith… will blow your mind completely up…a secret special guest… Cian Binchy as far out as a shout and the never-ending reverberation echo across the canyon…yeah… Society Of Imaginary Friends…and a special guest DJ…  WE ARE THE MERRY PRANKSTERS!! Don’t forget it is free entry and there is amazing Vegan food and award winning beverages to purchase…”

OK, apart from that last line it made even less sense than usual. There seems to be poets and Elizabethan trappings; they might have gone mad; it’s free. What have you got to lose?

(Update, May 4th – singer/ songwriter Connor Arnold has been added to the bill – a Mountview Academy of Theatre Arts all-rounder whose musical influences are apparently “Newton Faulkner, Scroobius Pip, The Baseballs, Van Morrison, Maroon 5, The Eagles, Fall Out Boy.” And possibly crumhorns. Who knows?)

* * * * * * * *

A couple of days later, there’s this…

Stergin, 7th May 2017

Austrian Cultural Forum London presents:
Stergin + Chaos Theory DJs
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Sunday 7th May 2017, 6.30pm
– information here and here

Stergin are celebrating the release of their EP ‘Caramel Tony In Her Pleasuredome’ with this concert at one of London’s coolest little venues, Servant Jazz Quarters (the record is being released via Naim Records). Expect distorted clarinets, synth basses, vocals, guitar, field recordings turned into beats and electronic noises alongside Adam Betts’s wild, creative drumming. To hear them live is to catch onto something special indeed – something that’s evolving every concert. The amazing guys from Chaos Theory will be DJing before and after the concert.”

Further press splurge:

“A record that you just couldn’t have heard five years ago. It’s completely in the now, in the moment, trying to push the boundaries of what’s possible and what can be done.” Tom Robinson, BBC Radio 6 Music.

“Like most of the great modern music, Austrian Vinzenz Stergin‘s compositions defy genre brackets, combining elements of electronics, blues, classical and rock music. Think whimsical pop in the vein of Anna Meredith.” – ‘God Is In The TV’

“Oddly infectious, the sheer alien nature of the sound is allied to a whimsical pop touch that truly gets under the skin.” – Robin Murray, ‘Clash Magazine’

Regardless of all that, here’s the video for EP track Every Now And Then, which sees Stergin commandeering, amongst other things, the Docklands Light Railway and the horse fountain in Piccadilly Circus as venues for a spot of guerilla filmmaking in which he dozes or dances in front of a slew of unwitting British extras who do their best to ignore him. The dancing – and the music, bear quite a lot of resemblance to the quirkily charming, shape-throwing synthpop which Dan Black did both in and out of The Servant about a decade ago. And the face makeup? Marillion circa 1984.


 

April 2017 – upcoming gigs – performance of Tim Smith/Cardiacs pieces in Amsterdam by jazz ensemble, for free (6th)

31 Mar
Tim Smith (photo © Sarah Mather)

Tim Smith (photo © Sarah Mather)

Just heard this heartening news from INKT/Theater M-Lab/Palmen & Reijmerink bassist Rita Kárpáti, in Amsterdam:

Tim Smith‘s previously-unheard composition ‘Pod, my my look my Pod’ (1983) is going to be performed in the Amsterdam Conservatory during the Jazz Ensemble Festival in the Blue Note hall – alongside with two other classic songs by Cardiacs… The ensemble is going to be rather extended, I don’t even remember the exact number of members – around ten or eleven people on stage, so it’s going to be loud! So if you are around in the Netherlands and want to hear ‘Pod…’ for the first time, performed by the wonkiest of students and alumni of the CvA, conducted by prog-rock professor Jos Zwaanenburg – for free – you know where to find us.”

This is taking part as part of the Conservatorium Jazz Ensemble festival, which runs between 3rd and 6th April this year and features performances from many of the Conservatorium’s budding jazz and cross-disciplinary musicians, mostly for free. If you’re interested in the whole festival programme you can get it here, but if you’re specifically hoping to catch the set of Smith pieces then you need to look out for Alex Brajkovic‘s electric/acoustic ensemble performing on the evening of 6th April…

3rd Jazz Ensemble Festival @ Conservatorium von Amsterdam presents:
Alex Brajkovic (MA)’s Student Ensemble play Tim Smith
Blue Note Zaal @ Conservatorium van Amsterdam, Oosterdokseiland, 1011 DL Amsterdam, Netherlands
Thursday 6th April 2017, 6:30pm – free event

More from Rita regarding the background to this:

“I got Timfected by my teacher at the Amsterdam Conservatory about two years ago. His name is Jos Zwaanenburg, a prog rock flautist who dedicates a whole class to teaching the music of Frank Zappa and related artists. The year I joined that class he decided to throw in a Cardiacs piece for us to learn (we can say he is a big Patient Zero). It was Jibber And Twitch. I still remember the childish joy of playing something so punky in a respected music institution and how impossible those fast quintuplets seemed to play. (I play the bass and I deeply adore Jim (Smith, Cardiacs bassist) for his elaborate basslines and his ability to endure fierce domestic brutality).

“A few years of vigorous Cardiacs listening passed and I graduated. Fast forward to this November, 2016. Jos writes us an e-mail that he finally got the chance to make his trip to England. A trip he had been organizing for years with the help of a mutual friend. He was about to visit Tim Smith and ask him geeky musical questions! He said that during their e-mailing he had been requested to show what he had been doing with his students, but since all the exam recordings sounded crappy we had to make a new, proper home recording of Jibber And Twitch. I couldn’t have been happier to play it again! We rehearsed and made the new version. (It still sounded very lo-fi, but our heart was in it I’d like to think.)

“So Jos went to England, and yes, he actually met Tim. (He is going to cover the details of that absolutely touching encounter in an article soon, so I’m not going into details about how they communicated or what else happened there. I don’t want to take Jos’ credits.) Only my side of the story. After some friendly drinking and whatnot Jos played our silly little recording to Tim. And the anecdote says he looked impressed and he gave it a thumbs up when the song arrived to a part with overdubbed vocals. Even though I wasn’t there (only in a form of an under-mixed bassline) I’m always going to remember this as the most epic ‘Like’ in my life.

“We also got permission to study and record any of his music, including the ones that have never been recorded. We got all the sheet music we need. That’s what kind of a guy Tim Smith is.”

I’m not sure about which three Cardiacs pieces will be played alongside ‘Pod…’ but from hints dropped in various discussions I wouldn’t be surprised if they included Jibber And Twitch and The Duck And Roger The Horse. Below are Cardiacs performances of each of these, plus the English Rose Orchestrations variant on ‘The Duck…’ showing how the original hectic art/prog/punk piece has yielded a set of contemporary classical variations.



 

 

April/May 2017 – upcoming London gigs – across-the-board instrumental progressive – Flies Are Spies From Hell + A-Sun Amissa + Only Echoes Remain (7th); Piko Cloud Booker + Mein Haus + Matt Baber of Sanguine Hum (April 20th); Mouse On The Keys + Mutiny On The Bounty + Strobes (May 1st)

30 Mar

Three upcoming London gigs across April and leading into the start of May: all of them batting around ideas in the progressive field, whichever particular road they took into it. In early April – a Chaos Theory post-rock show with three bands offering successive palettes of solitary guitar sketches, sombre filmic post-Godspeed tonescapes, and bright-toned romantic futurism. In mid-April – the debut of a brand new progtronic trio alongside an experimental string duo and a humble keyboard star. On May Day, an international rhythmatic threesome at Rich Mix mixing up post-Squarepusher tech-fusion, bursting guitar instrumentals and twenty-first century dual-keyboard/drumkit jazz-rock barrage.

* * * * * * * *

Flies Are Spies From Hell + A-Sun Amissa + Only Echoes Remain, 7th April 2017

Chaos Theory Promotions presents:
The Facemelter: Flies Are Spies From Hell + A-Sun Amissa + Only Echoes Remain
The Black Heart, 2-3 Greenland Place, Camden Town, London, NW1 0AP, England
Friday 7th April 7.30pm
information and here

“This month The Facemelter features a glorious night with some truly brilliant veterans of post-rock, drone and ambient sounds, with new and seasoned projects alike.

“Formed thirteen years ago, Flies are Spies from Hell have climbed up from humble beginnings to international fame. The years have seen them move on from small local gigs, to sharing the stage with behemoths such as Russian Circles, And So I Watch You From Afar, *shels, Latitudes and Vessels, to a couple of European tours, and appearances at ArcTanGent and Dunk!festival. Two years after the release of their second album ‘Underdog Underfoot’, they’ll finally grace the stage at The Facemelter.


 
A-Sun Amissa are a powerful (mostly) instrumental collective possessed of “a rusted industrial aesthetic that lurks in the periphery of perception” (‘Rock-A-Rolla’), founded and led by Richard Knox (Shield Patterns, Glissando, The Rustle of the Stars) and Angela Chan (Tomorrow We Sail, Lanterns On The Lake, The Rustle of the Stars) that has featured an array of members and collaborators since its formation in 2011, as well as two albums out on Gizeh Records.

“Producing dense, drone-like atmospheres with evocative, melodic string and woodwind sections, intertwining guitars and field recordings, their live performance is a mixture of recorded output combined with improvisation to explore progressions in the music every time. Their ever-flowing lineup of collaborators have included members of Amenra, Nadja, Gnod, Oiseaux-Tempête and Hundred Year Old Man.


 
Only Echoes Remain serve up incredibly cinematic post-rock, without becoming too cliched thanks to generous smatterings of math, ambient and classic prog influences. They have already played with the likes of Her name Is Calla, TOTORRO, VASA, Poly-Math and Waking Aida, and will be releasing their debut LP early this year.”


 
* * * * * * * *

Piko Cloud Booker + Mein Haus + Matt Baber, 20th April 2017

Piko Cloud Booker present:
Piko Cloud Booker + Mein Haus + Matt Baber
Paper Dress Vintage Bar & Boutique, 352a Mare Street, Hackney, London, E8 1HR, England
Thursday 20 April 2017, 7.00pm
information

Piko Cloud Booker are a modern-day progressive rock trio combining King Crimson-esque cyclical guitar patterns in a mix-up of wacky time signatures with the expansive sequencer-driven explorations of early Tangerine Dream. PCB are guitarist Cameron Piko (mastermind of Australian prog-metal unit Montresor), bassist/violinist Gaz Cloud (one half of dream-technoists Cloud & Owl) and drummer Andrew Booker (no-man, Tim Bowness, Sanguine Hum).”

(This project’s so new that’s there’s no music available to present for it – instead, I’ve had to give you a few ideas via these clips from the member’s other projects, including Andrew’s ten years of undersung work with jamming collective Improvizone:)




 
“Supporting them will be string duo Mein Haus, consisting of Patricia Stepien (violin) and Elliot Murphy (cello, guitar). Their music is by turns creepy and sparse, then intense and dramatic. But whether it’s complex rhythmic interplay, or crunching cello and soaring violin, you feel the humour is never far away. From gigsite ‘Go Out Of Tune‘ – “based in East London but hailing from Poland and Ireland originally, they’ve been making music together since they met on a train in Deptford over a year ago. Their performances are high in energy and musically unpredictable. Their music has been described as: ‘Shostakovich and Arvo Part being kicked down a flight of stairs in an oil barrel’, with influences ranging from the Sex Pistols through Penderecki, Battles and Kraftwerk.”


 
Matt Baber is a co-founding half of the continuing Oxford-based musical journey that is currently Sanguine Hum, having made its way through various earlier incarnations. He has played keyboards throughout, both crafting his unique synth atmospheres plus stamping down complex piano riffs on his Fender Rhodes. Expect more of the latter this time, as he delves into his Jarrett/Emerson-flavoured solo material for his first ever solo keyboard show.”


 
Note that Gaz Cloud – as half of Cloud & Owl – will also be playing this Askarabaskara techno/house gig five days earlier, demonstrating part of the elements-puzzle which makes up his new band.

* * * * * * * *

Mouse On The Keys + Mutiny On The Bounty + Strobes, 1st May 2017Chaos Theory Promotions presents:
Mouse On The Keys + Mutiny On The Bounty + Strobes
Rich Mix, 35-47 Bethnal Green Road, Shoreditch, London, E1 6LA, England
Monday 1st May 2017, 7.30pm
-information here, here and here

“An ultrasonic mammoth of a lineup, packed with dreamlike jazz, vast math rock, ambient precision and mesmerising polyrhythmic beats!

“The extraordinary Mouse On The Keys trio are back from Japan, armed with fresh material from their new album ‘Out Of Body’, out last January via Topshelf Records. This is a pristine example of blending minimal-phrased piano and dynamic drumming, while creating a live experience composed of visual and audio elements. Formed in 2006, with elements of jazz, funk, post‐rock and electronic music, Mouse On The Keys fits into a genre of their own.

“The trio consists of two former members of the influential Japanese underground band Nine Days Wonder – Akira Kawasaki and Atsushi Kiyota – who teamed up with Daisuke Niitome (who has played drums as well as composed music for countless jazz‐funk and hip hop bands). Their unique sound, comprising two pianos, two keyboards and drums, continues to stand at the forefront of the Japanese music scene.


 
“Luxembourg quartet Mutiny On The Bounty bring a torrent of groovy rhythms, guitar acrobatics and joyous melodies our way. These guys have been showcasing their unique brand of math-rock and instrumental music throughout Europe and have played close to five hundred shows supporting bands such as Biffy Clyro, And So I Watch You From Afar, TTNG and Maps & Atlases as well as playing some of the biggest festivals like Roskilde, Primavera and Fusion festival.

“Following on from their album ‘Trials’, released in 2012 and recorded by producer Matt Bayles, Mutiny On The Bounty released their latest album ‘Digital Tropics’ via Small Pond, which encompasses facets of their personalities ranging from rock, to electro, 80’s pop and even hip-hop. A reverb-infused, pop groove-laden feast of staccato guitar melodies, loops and math rock beats.


 
Strobes‘ triangle of electrified polyrhythms, spaced-out synth jams and off-kilter beats will open the evening. Featuring guitar and synth-work by Matt Calvert (Three Trapped Tigers), drums by Joshua Backmore (Troyka) and keys by Dan Nicholls (who has collaborated with Squarepusher and Matthew Herbert), the trio flickers effortlessly between the worlds of electro-improv, minimalist polyrhythm and distinctively original hooks.

“Like a twisted love child of Aphex Twin, Brainfeeder and Battles, Strobes have been heard individually with the likes of Squarepusher, Matthew Herbert and Three Trapped Tigers. Built from collective composition, studio production, live sampling and improv jams, the band smashes out exhilarating odd-tempo loops, polyphonic synth soundscapes and big headnodding beats. Their new album ‘Brokespeak’, out via Blood And Biscuits, is a true work of genius.


 
“With DJ sets from Bojan Nikolic (The Brain Center At Whipple’s, Battleship Grey), this will be an intensely satisfying feast of jawdropping talent and headnodding beats.”

 

April 2017 – upcoming gigs – two shades of prog in Southampton with Haze and A Formal Horse (12th)

29 Mar

Call me an ignorant metropolitan snob if you like, but Southampton isn’t the first place I would have looked to find an interesting or individual music scene – which is why it’s been a delight to find outposts like The Art House striving to prove me wrong. The Talking Heads might well be another such venue (the name already bodes well), and among the upcoming gigs there next month is this prog-happy show, in which veteran neo-proggers from the turn of the ’70s shake hands with an enterprising local band who are picking up the torch in their own particular way.

Haze + A Formal Horse, 12th April 2017

CentralSouthCoast Progressive Rock presents:
Haze + A Formal Horse
The Talking Heads, 16-22 The Polygon, Southampton, Hampshire, SO15 2BN, England
Wednesday 12th April 2017, 7.30pm
– information here, here and here

“Formed in Sheffield during the late 1970s by brothers Chris & Paul McMahon, Haze established their reputation as one of the hardest-working underground bands of the ’80s, releasing two albums, three singles and countless cassettes while playing over five hundred shows around the UK and Europe After the band disbanded in 1988, the McMahon brothers continued with World Turtle, but reformed Haze in 1998 for a twentieth anniversary show. Haze performed intermittently over the next ten years while the brothers mainly focussed on their acoustic folk band Treebeard. In 2013, Haze released a comeback album ‘The Last Battle’ and reissued their first release ‘The Cellar Tapes’ as a thirtieth anniversary CD (remixed and including previously unreleased tracks and online bonus tracks).

“Despite building their reputation as a progressive rock band, Haze have always drawn on a wide variety of influences, ranging from pop, rock, funk, metal and meandering psychedelic jams to tightly structured prog epics. The new material draws on all these, plus a strong folk, acoustic and medieval influence (from Ceri Ashton’s contribution on whistle, flute, clarinet, viola and cello, and sister Catrin’s on fiddle, mandolin and flute), combined with latest recruit Danny McMahon’s powerhouse drumming. The band took part in the ‘2weeks 2make it’ video competition a few years ago with a video for Faces On The Wall, and are currently writing material for a new album.



 
A Formal Horse is a visceral rock quartet working out of Southampton. The band released their debut EP in June 2014, recorded by Rob Aubrey (John Wetton, Big Big Train). They’ve since performed at A New Day Festival alongside The Stranglers and Focus, released a second EP, been nominated for a Progressive Music Award and garnered plenty of critical acclaim (‘Prog Magazine’ saluted their “warmth and charm” plus their “ability to turn on a dime with such élan”, while ‘Classic Rock’ admired their “nervy, twitching rhythms – think XTC playing Voivod’s back catalogue – with pure-as-the-driven female vocals… oddly intoxicating.”). They continue to play shows in the UK and Europe, and are currently working on two follow-up records – their third EP, ‘Made In Chelsea’, is out at the end of March.”

(They’ve also shown up in here before – click here for more of that.)


 

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