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August 2020 – single & track reviews – ReMission International’s ‘TOS2020’; Derw’s ‘Ble Cei Di Ddod I Lawr’; The Forever Now’s ‘Reciprocals’

28 Aug

ReMission International: 'TOS2020'

ReMission International: ‘TOS2020’

You can tease The Mission all you like, but you can’t deny that they’ve got heart… not least because Wayne Hussey is usually waving it at you on the end of a long stick. Even during their full booze’n’powders youthful phase, they had an avuncular, endearing air about them, partly due to Wayne’s effusive need to be loved. Over thirty years later, they’re able to settle into the role more comfortably.

Even though ‘TOS2020’ isn’t quite The Mission in itself – it’s performed by Wayne with a small army of friends and allies under the ReMission International banner – it’s pretty much Mish at heart. Tower of Strength was always the key Mission tune, and it stays timeless when it’s building on its key elements: that elegant spidery twelve-string guitar riff (like a slithering slow jig midway-morphed into a belly dance); that knee-patter of a drum pattern; and, finally, Wayne’s voice (showing less of the cavernous keen of old and more of the intimate warmth underneath it). Drawing on mystic Mediterranean drone, its distant kissing-cousin relationship to Led Zeppelin’s Kashmir, and presumably Wayne’s childhood memories of old Mormon hymns, it’s a spirit-lifter; an admission of weakness, an expression of gratitude, an affirmation of faith.


 
This particular version is a covid/healthcare fundraiser for frontline workers, with its profits to be spread globally across a wealth of charities. The array of contributors include longtime Hussey boon companions Billy Duffy, Miles Hunt and Julianne Regan (the latter slipping smoothly back into her old Queen Eve role), plus assorted characters from Gene Loves Jezebel, including the long-estranged Aston brothers. Other Goth-tinged old-schoolers contributing are Kirk Brandon, Bauhaus’ Kevin Haskins, ex-Banshees/Creatures drummer Budgie, Lol Tolhurst, Martin Gore and Gary Numan. Also on board are Midge Ure, metal/fusioneer Steve Clarke, Smiths bassist Andy Rourke, Guns N’ Roses guitarists Robin Finck and Richard Fortus (the latter reworking the faux-Hindi string parts), Slowdive’s Rachel Goswell and (representing the neo-dark side of things) both Evi Vine and James Alexander Graham of noise-folkers The Twilight Sad. Various packages include a tribal-Goth remix by Albie Mischenzingerze and a lullaby- synthwave one by Trentemøller.

Most all-star collaborations lumber along like a tired old tailback, and you’d expect this one to be the same. Instead, it manages to coast like a streamlined train; a persistent smooth swap-over of duties from voice to voice, guitar to guitar, kit to kit. In its middle age, Tower of Strength seems to have evolved from an individual prayer into a communal round, from lighter anthem to campfire hymnal. The Mission always wanted to be luminous in the darkness. Despite the Goth-y star cast, there’s less glitz in the glow this time around, and it’s all the better for it.

Derw: 'Ble Cei Di Ddod I Lawr'

Derw: ‘Ble Cei Di Ddod I Lawr’

Having opened up with the expansive piano pop of ‘Dau Gam’ during early summer, Welsh-language chamber poppers Derw are rapidly going from strength to strength. There was a dash of Celtic soul and sophisti-pop to ‘Dau Gam’; they’ve kept all of that for ‘Ble Cei Di Ddod I Lawr’, but have incorporated it into an ornate slow-building confection which suggests a Cymrification of various sources including Clannad, Queen and Brian Wilson, with both a contemporary pop dusting and a hook into the past.

Derw’s particular dynamic remains the creative triangle comprising the songwriting partnership between Daffyd Dawson and his mother Anna Georgina, and Daffyd’s overlapping musical and performance partnership with singer Elin Fouladi: two different definitions of family which seem to have combined into a larger one. The Welsh title for the new single translates into English as ‘Where Did You Come Down’; the core concept is apparently Welsh hiraeth, or nostalgic homesickness.

 
Combining with Elin’s own part-Iranian roots, a sense of place pervades the song: more particularly, a sense of place adrift. Elin’s clear, fresh voice zigzags over rolling piano landscapes, a powerful melody skylarking its own way over plenty of places to land but always restless, as if looking for a new locale in which to renew old feelings and to build anew. Stuck in my limited Anglophone world, I’m probably overcompensating, trying to make up for missing out on the Welsh lyric which unfurls alongside the music; but you don’t have to know the Welsh to catch the mood. This is potent stuff; if it’s Celtic soul, it’s of a new, post-insular, hybrid-futured kind, and it’s very welcome.

The Forever Now: 'Reciprocals'

The Forever Now: ‘Reciprocals’

Mutuality is on the mind of The Forever Now, right now. It’s a little unclear as to where and what they are. Known as Winchester up until last year, previously associated with Toronto but now based across the icy seas in Copenhagen, they’re a duo who seem to be a little reluctant to be a duo. If you take The Forever Now as a solo act, then it’s Monty de Luna; Lauren Austin, however, is the “frequent collaborator” who seems to be something of a fixture and stands to the fore on the cover art. Musically speaking, it’s all a bit friends-with-benefits.

This is probably a bit misleading; but these kind of thoughts are provoked when a song like ‘Reciprocals’ surfaces. With a ruminating electric piano ballad at its core, it’s also a duet with no solo spots (Monty and Lauren sing in strict unison and harmony throughout). Contemporary pop choruses come at us in a rush of synthy planetarium twinkle; but the verses drop, line by line, into bitten-off spaces graced by click and patter, tinkles and rattle-rushes. Monty admits, straight out, that it’s “an honest and naked statement about the end of a relationship” as well as “a metaphor for broader statements about the world”. With his group in flux geographically, nominally and practically, it’s difficult not to read the song as a musing on changing terrain of all kinds.

 
If you’re looking for direct answers in the lyrics, there’s enough here to suggest a rationale for an honest break – “If we’re honest, I’ve been here before. / If we’re honest, I can’t see a way forward. / If we’re honest it’s not worth the fuss, / and if we’re being honest, you know I never wanted this much.” But it’s also about wordplay; masking full disclosure with abstractions and constructions, and (as Monty points out elsewhere) blurring the language of love with those of analytical equations. “So if you’ve got the time, then its time we go, / and if you’ve got the lines, then it’s time we draw them. / Because in another life I’d never let you go, / but I’ve been spending mine on reciprocals, on reciprocals.”

You don’t need to know or think about any of this, of course, and you might be more comfortable not knowing.

ReMission International: ‘TOS2020’
SPV, SPV 243541 LP/SPV 243542 CD-EP/SPV 24354D (no barcode)
Vinyl/CD/download single
Released: 28th August 2020

Get it from: buy/download from ReMission International store or Beauty in Chaos store; stream via YouTube
The Mission online:
Homepage Facebook Twitter MySpace Soundcloud Bandcamp Last FM Apple Music YouTube Deezer Google Play Pandora Spotify Tidal Instagram Amazon Music

Derw: ‘Ble Cei Di Ddod I Lawr’
CEG Records (no catalogue number or barcode)
Download/streaming single
Released:
28th August 2020
Get it from: download from Amazon Music; stream via Soundcloud or Spotify
Derw online:
Homepage Facebook Twitter Soundcloud YouTube Spotify

The Forever Now: ‘Reciprocals’
Symphonic Distribution (no catalogue number or barcode)
Download/streaming single
Released:
28th August 2020
Get it from: download from Bandcamp; stream via Soundcloud, Deezer, Google Play or Spotify. This is also the lead track from the ‘Reciprocals’ EP.
The Forever Now online:
Homepage Facebook Soundcloud Bandcamp YouTube Deezer Google Play Spotify Instagram Amazon Music
 

May 2020 – single & track reviews – Heavy Lamb/Jesse Cutts’ ‘CONFINEMENT-release4’; Jack Hayter’s ‘Let’s Go Shopping’ (Sultans of Ping F.C cover); Billie Bottle sings ‘Ted Hughes – Wind: Upheaval Imminent’

11 May

Jesse Cutts/Heavy Lamb: 'CONFINEMENT​/​release4'

Jesse Cutts/Heavy Lamb: ‘CONFINEMENT​/​release4’

The fourth helping of Brighton psychedelia from the Confinement Tapes series is more Heavy Lamb, and more Jesse Cutts. Or perhaps it’s the other way around. As was the case last time, while Jesse isn’t the only Lamb player the line between what’s him and what’s Lamb is blurring into the inconsequential. Certainly ‘All Dust’ is an actual Heavy Lamb piece at least: revisited, re-arranged and re-seasoned by Jesse and the other remaining Lambkin (John Gee), with Jesse’s mum, frequent collaborator and core Confinementeer Jo Spratley back on lead vocals, as she was for last month’s take on Cardiacs’ ‘Odd Even’.

It’s tempting to suggest that they should make it a permanent arrangement: Jo sounds happier doing Lambwork than she does in any other project, and the song itself is a delightful complication, unpacking plentiful musical material from inside a sleek indie-pop/rock shell. Threes against fours, sudden teases of hot spaces; voice keeping inside the chords but finding any conceivable space to hop around inside there; Propelled by Jesse’s cunning, slippery bass the chords themselves obligingly fold over and flip into new spaces so as to give the melody more space to roam and loop back. The Cardiacs influence is strong, but so’s the love for any batch of raucous goodtime English sunshine-pop. The lyric’s as complicated, digressive and warm as the music; something about fragile hearts surviving on the tide, something about continual replenishment. So far, it’s peak Lamb: not just an ideal bridge between rock disco and broader music, but great fun in its own right.


 
As with ‘All Dust’, the two instrumental pieces also contained in the package are new recordings, all played in their entirety by Jesse; in contrast to some of the more archival odds and sods on Confinement Tapes releases, these were only put together this month. In ‘Gutter Pigeon’, wobbled piano encountered during a downpour switching into orchestrated chord clambering, a lazy little pavement circus. After a shimmery start, ‘Small Things’ compresses and unpacks an album’s worth of development in a single six-minute tune. Lovely. If there’s a prog tone to all of this, it’s in keeping with those leisurely Kent’n’Sussex prog tones from Canterbury, Herne Bay and all of the other Mellow-on-Seas these kind of sunny benevolent English meanders come from.



 
From up the Thames estuary (and following his life-blasted, gutter-country cover of ‘The Dark End of the Street’ at the end of last month), Jack Hayter continues his lockdown broadcasts with a visit to 1990s Irish indie. As he recounts, “in 2004 an American band provided the British with a national anthem… ‘Mr Brightside’. Back in 1992 an Irish band did the same thing with ‘Where’s Me Jumper’. In the time of Corona we’re not dancing in the disco bumper-to-bumper. Neither are we going out shopping much… so this is all a bit pants, really. Dunno why I did this.. and I played bum notes too.”


 
Yes, the bum notes are obvious (not least because Jack lampshades each one of them with a quirk and a chuckle), but his warmth, humour and charm – even via webcam – are so engaging that it’s all forgivable. More importantly, it’s what he brings to the song that matters more than a finger-slip or two. The original Sultans of Ping version of ‘Let’s Go Shopping’ – the product of young men imagining a contented, domestic afterlife for a reformed raver and pillhead – almost vanishes under the sweet conscious hokiness of its string arrangements and its honky-tonk drum click. Jack’s version (basic voice and guitar) gently trims off the hints of irony and any tongue-in-cheek trappings.

As I mentioned last time, few people have such a skill at uncovering the tender core of a song. Watching Jack’s treatment is like watching a great little bit of subtle pub theatre story unfold. In his hands, it’s no longer something simple and jolly, but something grown touching and tender. Love for one’s wife, a nostalgia for wilder times but no regrets of any kind; embracing grown-up responsibilities (and burdens) with a sunny chuckle – “you can push the trolley – and I’ll push the pram.” And then, after this cheerful jaunt, lazy and affectionate, the cloud comes: lockdown bleakness casting a shadow over Jack’s face for a moment as the world shrinks and chills, and even dull everyday pleasures become fraught with peril. “Let’s go shopping, / we can wish away our fears. / Let’s go shopping, / the shops are really… near.” Jack plays this cover down as some kind of throwaway. Nothing he ever does is really a throwaway.

Billie Bottle‘s life has been in flux for a while – the transition from “he” to “they” to “she”, the rearrangement of day-to-day living and bands and dressing and sundry ways of doing things. Still, Billie’s an unfailingly positive and proactive character (as shown in her series of songs with non-binary musician/activist Kimwei – the most recently-aired one being here) and most of the unsettledness had eased down just before the plague blew in this spring.

From indoors, she’s just revealed some multi-layered new work taking on and reflecting both her innate calm and musicality, and the impact of an unsettled world. For now, though it’s just a lyrics video, with Billie announcing “well me lovelies, it feels like the right time to share one of the projects that have been on the go here in Bottledom over seven weeks of UK lockdown. My auntie read me the Ted Hughes poem, ‘Wind’, down the phone and I was struck by its power and pertinence. It blew itself into a kind of song, ‘Wind: Upheaval Imminent’. May you also be filled with its gustiness!”

As a member of Mike Westbrook’s band, Billie’s an heiress to his chamber-jazz poetics as well as to the playful jazzy lilt of the Canterbury sound. Both were well in evidence on last year’s ‘Grazie Miller’ EP, and they’re just as clear on ‘Wind: Upheaval Imminent’, a Hughesian account of a storm which “wielded / blade-light, luminous black and emerald, / flexing like the lens of a mad eye.”). Initially it’s an interplay between Billie’s high androgynous tenor and a sketching, dabbing piano; with drums, subtle blocks of organ, a near-subliminal bass, and a few judiciously-placed sound effects and concrete-instrumental coloration making their way into the mix.


 
Mostly, though, it’s the words and the voice. Billie responds to a setting in much the same way that Robert Wyatt handles a cover, and her carefully-timed leaps from note to note (all with an underlying, broken-up sense of swing) recapture the poem’s sense of awe; its trepidation and exultation, its illustration of the way that fragility shades strength. (“The fields quivering, the skyline a grimace, / At any second to bang and vanish with a flap: / The wind flung a magpie away and a black- / back gull bent like an iron bar slowly. The house / rang like some fine green goblet in the note / that any second would shatter it.” ) She uses the sprung challenges of jazz – the rhythm eddies, the intrusion of unexpected harmonic currents – to dig into the hinted upheaval in Hughes’ words.

As with the poem, the music ends unresolved – “now deep / in chairs, in front of the great fire, we grip / our hearts and cannot entertain book, thought, / or each other. We watch the fire blazing, / and feel the roots of the house move, but sit on, / seeing the window tremble to come in, / hearing the stones cry out under the horizons.” Structurally brilliant, captivatingly emotive, and an excellent marriage of text and music, it’s one of the best things Billie has ever done in a persistently ripening career.

Heavy Lamb/Jesse Cutts: ‘CONFINEMENT-release4’
The Confinement Tapes, CONFINEMENT_release4
Download/streaming single
Released: 4th May 2020
Get it from:
free/pay-what-you-like download from Bandcamp
Heavy Lamb/Jesse Cutts online:
Facebook Soundcloud Bandcamp Last FM

Jack Hayter: ‘Let’s Go Shopping’
self-released (no catalogue number or barcode)
Video-only single
Released: 10th May 2020
Get it from:
currently view-only on YouTube
Jack Hayter online:
Homepage Facebook Twitter MySpace Soundcloud Bandcamp Last FM YouTube Vimeo Deezer Spotify Amazon Music

Billie Bottle: ‘Ted Hughes – Wind: Upheaval Imminent’
self-released, no catalogue number or barcode
Video-only single
Released: 11th May 2020
Get it from:
currently view-only on YouTube
Billie Bottle online:
Homepage Facebook Twitter Bandcamp Last FM YouTube Spotify Instagram Amazon Music
 

May 2020 – EP reviews – Mikrokosmos/Babyskullz/Cola Ray vs. MUMMY’s ‘CONFINEMENT-release3’ (“mysteries which slip into shadowed corners”)

7 May

Mikrokosmos/Babyskullz/Cola Ray vs. MUMMY: 'CONFINEMENT-release3' EP

Mikrokosmos/Babyskullz/Cola Ray vs. MUMMY: ‘CONFINEMENT-release3’ EP

Following their pair of releases last month, Brighton’s Confinement Tapes project is back for a second round – this time with Confinementeers Jo Spratley and Bic Hayes joined by honorary family member Chris Anderson (of Worthing’s Crayola Lectern), who’s also worked with Bic in Brighton kosmische juggernaut ZOFFF alongside what seems like a good half of Brighton’s psychedelic contingent (and, occasionally, The House of Love’s Terry Bickers).

(The third original Confinementeer, Jesse Cutts, has his own follow-up single too, but more on that later…)

Unlike the archived cover versions refurbished for the previous EP, ‘Bright Fivers’ is an all-new, all-original April recording in which Chris contributes as the anagrammatic Cola Ray, collaborating with Bic and Jo’s MUMMY. Initially, it’s his arpeggiating pianos (distanced and tinny, as if pulled from a dusty old 78) which dominates ‘Bright Fivers’; a solemn setting for Jo’s singing, which is loaded with both trepidity and authority. That’s only the prelude, though, and it’s severed from the rest of the piece by a jump-cut edit as loud and merciless as a sucker punch or an axe blow. You even hear the clunk as the mood shifts; Jo switching abruptly into deadpan recitation against a Bic backdrop of guitar static and wind texture, as impassive as the prophetess taken over by the voice of the prophecy.

Whether sung or spoken, the sentences are broken off; dark, punching surrealist gobbets of foreseeing and ruin. “Silence in the air. / Things endure, things evolve. / Between the slopes fivers fly up onto the dream floor. / Fire spreads her text of flame as serious as food / Our towers of graph paper fold up into the silence, / delicate as the girl who leaves the stone and the water – / and the bright moan of the green, / the collapse of a black age. / In the end we never know what we know.” It sounds like something buried deep in peat in order to time-travel; transmitting a warning, or possibly a testament.


 
‘The United Kingdom’ is (mostly) another eleven-year-old recovering from Jo Spratley’s Babyskullz solo project: one which just happens to fit in with ‘Bright Fivers’. It’s another recitation, delivered by Jo to pattering drumbox and orchestrated in minimal, thrifty make-do fashion. Two-finger melodica. Guttural just-picked-it up guitar lines and milk-bottle vibraphone. Cobwebby analogue synth gurgles, dub distancings and dirty blats of fireworks.

Something about the rhythm and chant suggests the cheesy old white-rap anti-classic ‘Ice Ice Baby’. Everything about the words doesn’t, as Jo narrates (in newsprint monotone) a set of disappearances. “A man who hears bells who loves cars” misses his train only to drop out of routine and out of existence; a corporate lawyer vanishes during her solo boat trip; fifty years ago, a cancer specialist who “wraps her dolls in graph-paper by the light of the moon” is last seen in car headlights by the edge of a cliff. All three are obliquely connected by hearts: their rhythms or their interruption, their presence as eviscerated occult trophies or as enigmatic markers; presumably also by the locked-up desires, secrets and clues they contain. All cases are left open; mysteries which slip into shadowed corners of modern folklore or Lynchian dreams. There’s a stress on the regular and on the irregular, but no conclusion on either.


 
As haunting as this can be (and it does build on regular repetition, an inconclusion which nags to be solved), it’s still Bic’s dark-psychedelia project Mikrokosmos which dominates this particular set, providing three tracks out of the five. Two are brief snapshot instrumentals, deliberately left incomplete or brought to dismissive halts. Recorded in 1993 during Mikrokosmos’ cramped early sessions in west London, ‘In the Machine Room’ is an jarring but strangely satisfying hybrid of claustrophobic paranoia and sweet naivety. An uncomfortable electronic hum and weirdly organic rattling (like mice beginning to panic inside a generator housing) passes into a bright nursery march played on assorted guitars, drums and bombastic little synths. For forty-eight seconds, post-industrial grot tussles with twinkly daydream.


 
I assume that Bic escaped from whatever it was that was polluting him: ‘Frag. Familiar’, from 2014, was completed nearly two decades later (long after Bic had quit London), but it missed the boat for Mikrocosmos’ ‘Terra Familiar’ abum. It’s as confusing as its predecessor. A sustained cosmic slam: a huge guitar downchord which is allowed to trail away, while delicate waltzing keyboards come forward to shine over the top. They dance with another brutally distorted guitar line – butterflies courting Bigfoot – before everything hits the wall, topples over and cuts off. There’s a farcical humour to this music. It shows you the stars but then suddenly pulls away the rug, or drops the time-clock on the telescope viewing: almost deliberately crass in the way it brings you back down to earth with a bump. I suspect that there’s a touch of reverse psychology here. To move forward properly, you have to overcome the bumps, denials and trip-ups.


 
Another ‘Terra Familiar’ outtake, ‘Cell by Cell’, is more substantial and developed: a six-and-a-half minute song rather than a peculiar fragment. It’s also a dubbier return to Bic’s Dark Star days: almost a Massive Attack take on that band’s life-scarred fin-de-siècle urban psychedelia, taking in similar elements of Hawkwind space rock and Killing Joke post-punk grimness to offset Bic’s sighing, waify sweetness. There’s a Dark Star-ish sense of resignation too, a voice-of-the-casualty effect as Bic reflects on exhaustion and disassociation, on being swallowed by routine and self-absorption. ‘Just swim, / float to the surface – / as if it’s so easy, you show me again. / But time weighs me down so gently / and all our ideas just drift away, / sinking, / lost in the moment. / Ennui is so easy / and to the end we divide. / Cell by cell to solitary worlds – / undesigned, undesired. / Islands in an ocean of thought / turning inwards defied / to meet with the gaze of impermanence eyes…’


 
The formal Confinement message for this EP is one of “a constellation of songs brought together by this rarefied time. Pulled through the thickness of life and her knowing machine. Mixed and mastered in April 2020 and flung into the dark of these ends of days. Here we are. All alone, together, as one.” As a message of solidarity, it’s an ambiguous comfort: but, as they say, here we are. Questions unanswered. Brutal breaks in expectations. People disappearing, grips gradually lost. Name it, share the names, and perhaps fight it.

Mikrokosmos/Babyskullz/Cola Ray vs. MUMMY: ‘CONFINEMENT-release3’
The Confinement Tapes, CONFINEMENT-release3
Download/streaming EP
Released: 7th May 2020
Get it from:
free or pay-what-you-like download from Bandcamp (As with all Confinement Tapes releases, any money earned goes support care funds for Tim Smith, Tim Quy or Jon Poole of Cardiacs – see previous posts.)

Mikrokosmos online:
Bandcamp Last FM

Babyskullz (Jo Spratley) online:
Facebook Twitter

Crayola Lectern (Cola Ray) online:
Homepage Facebook Twitter MySpace Soundcloud Bandcamp Last FM YouTube Vimeo Spotify Amazon Music

MUMMY online:
Facebook Bandcamp
 

April 2020 – single & track reviews – Jesse Cutts/Heavy Lamb’s ‘CONFINEMENT_release2’; Godcaster’s ‘Serpentine Carcass Crux Birth’; Kryptograf’s ‘The Veil’

17 Apr

Heavy Lamb/Jesse Cutts: 'CONFINEMENT_release 2'

Heavy Lamb/Jesse Cutts: ‘CONFINEMENT_release 2’

Following up Jo Spratley and Bic Hayes’ disinterring of interesting outtake/buried gem cover versions for the first of the Confinement Tapes releases, Jo’s son Jesse Cutts offers his own familial reinterpretations.

Firstly, his intermittent Brighton odd-rock band Heavy Lamb (a deliverer of “loud demented pop” since 2014 and currently a duo, victims of persistent lineup changes and self-induced social media wipes) breaks cover again for a cover of a Cardiacs tune, ‘Odd Even’. Bar a dew-sprinkling new proggy midsection, it’s pretty true to the original: perky acoustic guitars, psychedelic organ crunchiness, and a happily teetering stack of chords. They even reproduce its Very Happy Caterpillar of a keyboard solo, down to the last charging feint and twiddle. Jo herself guests on lead vocals, and is less of a punk sphinx than usual – although with a tune as bouncy as this one, that can hardly be helped. Like the best Cardiacs songs, it defies easy comprehension. Odd Even embraces life, death, weeping, burial and trust, and flies to you and away from you like a friendly sparrow that can’t quite make its mind up.


 
Jesse’s other offering is a solo track: his version of ‘Carefree Clothes’, originally by Cardiacs-family folk-poppers The Shrubbies (the perky precursors to North Sea Radio Orchestra). In all honesty, there’s little to tell the difference between Jesse and Heavy Lamb anymore. It’s all a fresh rejuvenation of the bouncy, wilful noisy Anglo-pop line which takes in XTC, Supergrass and Two Door Cinema Club, and which sneakily conceals its sophistication behind its enthusiasm and hookiness.


 
It sounds as if Jo may be on board for this one too, which features vocals recorded on Brighton beach “just after the world flipped on its side”. That’s the only hint of Confinement Tape lockdown blues in the whole effort, which is otherwise a springtime hit. Or, to be clearer, a glittering sun-tickled hit of springtime, romping in the garden and throwing concern to the wind. It’s like a little Deist singalong, pulled into raptures by budding daffodils, and not in the least bit embarrassed. As with the previous Confinement release, you can pick this up for nothing, but any cash that you do chuck into the hat goes to support various seriously incapacitated Cardiacs, so try to give generously.

Godcaster: 'Serpentine Carcass Crux Birth'

Godcaster: ‘Serpentine Carcass Crux Birth’

Since their emergence at the start of last year, Godcaster have spat out a sequence of songs like technicolour hairballs. Sometimes they’ve been wild-haired funk followers, a set of white wastrels getting high off the Mothership’s exhaust; or tuneful noise-botherers in the vein of Mercury Rev or The Flaming Lips. At other times, they’ve been fiddly post-Zappa freaks hiding their own sophistication behind a clattery mask.

‘Serpentine Carcass Crux Birth’ pins them to the more complex corner of their freak flag for now. It wouldn’t be out of place at a Cardiacs celebration: a garage knocking-out which won’t be constrained to basics. A hammering kinked (and Kinked) riff starts off immediate and direct, but then ladders off through far too many chord changes: just because it can, and because that kind of triumphant harmonic parkour is somehow just what it takes to con fleapit-venue punks into yelling bebop licks.

The lyrics fit admirably, wrapping themselves around delusions of grandeur and escalating through a violent shower of weirdness. “When I think about how I was born, / the tearing flesh and scales blow my horror horn… / Circumcision of my eye. / Widows cry, / punctured it was by Satan’s arrow. / Sic Red Sea Pharaoh – / Leaving all my wives to bear my children while I / die to my flesh, die to this world, eating the flesh, drinking the wine. / My soul the divine.” You get two minutes of jarring fireworks, and then that’s it; a micro-epic that does its job and then evaporates, like a ancient temple which suddenly explodes.


 

Krypograf: 'The Veil'

Krypograf: ‘The Veil’

No such flightiness for Kryptograf. The Norwegians give you heavy guitar psych in the late ’60s vein of The Groundhogs; and that’s what you get, seasoned by just a little Motorpsycho and Black Sabbath. It’s heads-down, well-trodden non-nonsense oogly for biker blokes who know what they like, their old acid trips hanging like brooding firefly sparks round their craggy brows.

If you know what that’s like, you’ll have no surprises with how ‘The Veil’ is. A ride around a well-trodden circuit, spinning a well-tended wheel; a journey in which no-one ever really gets off the saddle.


 

Jesse Cutts/Heavy Lamb: ‘CONFINEMENT_release2’
The Confinement Tapes, CONFINEMENT_release2
Download/streaming single
Released: 8th April 2020
Get it from:
free/pay-what-you-like download from Bandcamp
Jesse Cutts/Heavy Lamb online:
Facebook Soundcloud Bandcamp Last FM

Godcaster: ‘Serpentine Carcass Crux Birth’
Ramp Local (no catalogue number or barcode)
Download/streaming single
Released: 13th April 2020

Get it from: download from Bandcamp or Amazon Music; stream from Spotify
Godcaster online:
Facebook Bandcamp Last FM YouTube Spotify Instagram Amazon Music

Kryptograf: ‘The Veil’
Apollon Records, no catalogue number or barcode
Download/streaming single
Released: 17th April 2020

Get it from: download from Bandcamp, stream from Amazon Music or Spotify
Kryptograf online:
Facebook Bandcamp Last FM YouTube Spotify Amazon Music
 

April 2020 – EP reviews – MUMMY/Babyskullz/Mikrokosmos – ‘CONFINEMENT/release1’ (“the triumph of love over fear and torpor”)

10 Apr

Family. Extended. Play. For life partners Jo Spratley (she of Spratleys Japs) and the elusive/ubiquitous Christian Hayes, a.k.a. Bic (who’s played howling, whirling, stuttering textural/post-punk/psych guitars for Dark Star, Cardiacs and Levitation, as well as adding extra noisy or unearthly touchs to projects by Julianne Regan, Heidi Berry and Pet Shop Boys) – plus Jo’s son Jesse Cutts (Spratleys Japs bass player and Heavy Lamb mainstay) – coronavirus lockdown is providing an opportunity to get their musical lives in better order.

M U M M Y/Babyskullz/Mikrokosmos: 'CONFINEMENT​/_release1'

M U M M Y/Babyskullz/Mikrokosmos: ‘CONFINEMENT​/_release1’

Being stuck at home on the Sussex coast means the initiation of the Confinement Tapes. They’re unearthing sundry old recordings from hard drives, biscuit tins, gutted harmoniums or wherever else they may have stashed or forgotten them. They’re polishing them up, and getting them out into the world, while simultaneously raising a bit of money for the ongoing care of various ailing Cardiacs members. (All cash raised from this is going into the support funds for Tims Smith and Quy, as well as the recently beset Jon Poole – if you want to save the Confinementeers a bit of trouble, you can always donate directly via the latter links and just download this lot for free afterwards).

Clearly the Confinementeers see this as something of a resurrection – Jo, in particular, has kept a very low profile for the past year (despite the Spratleys’ triumphant return to action in 2016) and for the past decade or so Bic has been more noted for low-key backups within (or behind) other people’s projects, rather than his own. In their Bandcamp text, they make metaphorical allusions to pregnancy and labour, to inward journeys, the delivery – in all senses – of a new world, and the renewal of loving connections. In many respects, what they actually seem to be talking about is the triumph of love over fear and torpor, and the way in which music embraces and enables this. What you get as this process begins is a window onto the particular, vivid field of English psychedelia which the Confinementeers belong to, both separately and together, and the sense of rootedness and inspiration which offsets emotional paralysis and impels action. I guess that that’s one of the reasons why the first Confinement release is a trio of cover versions – drawing on inspirations and altered perspectives both English and American, and on the soothings, sympathy and compassion behind apparent nonsense and weirdness; and then providing their own synthesis.

Microkosmos is Bic on his own. I could argue that Bic’s work reached a luminous plateau during the short brooding mid-‘90s life of Dark Star (with their atmospheric tales of vision casualties and burnout cases) but he’d be entitled to argue back. Since then, he’s put out three Mikrocosmos albums – scattered meditative space-dust to Dark Star’s supernova, they shucked off the full-band musculature and had Bic revelling in wan-boy spindliness and a ghostly tenderness. In fact, Mikrokosmos both post- and pre-dates Dark Star. This EP’s echoey cover of Pink Floyd’s Matilda Mother dates back to half-forgotten tapes from 1993, when Bic lived and recorded in London’s skinniest house. It’s pretty much a note-for-note cover: while the fey precision of Syd Barrett’s tones have been replaced by Bic’s drowsy starveling keen (and the Floyd’s pattering remnants of beat-band rhythms have been replaced by drumless harmonium roll and wasp-buzzing noise effects), the melting sleepiness and neediness of the original are absolutely recaptured, from the dusky organ washes to the glissando acid harmony vocals. It’s still centred on childlike wonder, and the pang of interrupted sensation; a door-opener.


 
MUMMY is Bic with Jo. They brought out a couple of EPs three or four years ago; strange, slowed-down skeletal garage-goth songs, like the workings of a pair of fasting spiderborgs, or like a distracted feminised/de-brutalised Swans. In this 2015 outtake, they’re reworking an early Breeders song, Oh! (which also happens to share a title with a Spratleys song). The strumming spass-country feel of the original (melancholy fiddle, close-ups, and of-the-moment neophytery) is replaced by MUMMY’s use of drum machine, Gothic reverb and distant angle-grinder guitar sheeting. Jo’s abstracted alley-queen vocal, emotional but enigmatic, is also very different from Kim Deal’s just-rolled-out-of-bed slur. What can one do with the peculiar original lyric, apparently the words of an insect urging others to run and live despite overwhelming and incomprehensible perils? Relate it back to plague fears and to resilience, I reckon.


 
Babyskullz is Jo on her own: and although this is the first we’ve heard of this particular project, Abade is an eleven-year old track, so Jo’s been incubating her skulliness for a long time now. A 2009 take on a song by the Cardiacs psych-folk spinoff (and Spratleys Japs precursors) Sea Nymphs, this is the most directly familial cover on here. While the Breeders and Floyd covers may be the more familiar songs – and carry more of the psychedelic/indie kudos – this one is the most directly satisfying. Reinvented here as a trio of electronic harmonium, bossa-flavoured drum machine and throaty-to-celestial Jo chorale (punctuated by the surge of waves on Brighton beaches, and with a flurry of suspiciously Bic-ish feedback at the end), it keeps faith with the gentle walking pace and sympathy of the Sea Nymphs original. Its fractured lyric keeping step with the wounded, offering solidarity and – like Oh! – an offbeat encouragement. “And though he walks the mid-day sun / he carries his own vile dungeon around / with him and he’s of / all the more reason to be full of life, full of sound and fury. / Don’t be long, / where were we? / Where we belong.”


 

MUMMY/Babyskullz/Mikrokosmos: ‘CONFINEMENT/release1’
The Confinement Tapes, CONFINEMENT/release1
Download/streaming EP
Released: 8th April 2020
Get it from:
free or pay-what-you-like fundraising downloads from Bandcamp. (Update, 9th May 2020 – these tracks were made available in the short term and are currently unavailable – if and when they’re restored, I’ll also restore the soundclips. Other Confinement Tapes items are available in the meantime.)

MUMMY online:
Facebook Bandcamp

Babyskullz (Jo Spratley) online:
Facebook Twitter

Mikrokosmos online:
Bandcamp Last FM
 

January to March 2020 – assorted London gigs – Holly Penfield at 100 Club (8th March) and with Ian Ritchie at the Fiddler’s Elbow (10th January); skewed surf, pop and acoustica with Kenny Process Team, Keith John Adams and The Happy Couple (13th January); Balkan/Gaelic folktronics with Arhai (18th January); plus Minute Taker’s ‘Wolf Hours’ in Manchester (24th January)

7 Jan

Holly PenfieldIf you missed Holly Penfield’s London launch gig for her ‘Tree Woman’ album back at Halloween last year – or if you attended and wanted to see it again – then she’s looping back on herself and staging another one at the 100 Club on 8th March. For those unfamiliar with her, here’s what I wrote (indeed, here’s what I recycled) last time.

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

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

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



 
Holly Penfield & Ian Ritchie, 10th January 2019If you can’t wait until March, Holly and her multi-instrumentalist husband Ian Ritchie (the latter an ex-Deaf School member recently fresh off playing sax on the Roger Waters tour) will be playing another London gig this coming Friday, up at the Fiddler’s Elbow. This one will be an “experimental thirty-minute duo gig of originals with vintage ‘80s drum machine… interesting, quirky,and challenging!”

Although Holly and Ian are going out under their Cricklewood Cats moniker (under which they’ve previously released a few synth-jazz swing songs), theirs has been a long and varied partnership also encompassing cabaret, out-and-out jazz balladry, noisy rock diva songs and the bewitching sequencer-torch-pop of the ‘Parts Of My Privacy’ album. So you could expect takes on all of the above and more, including some of Holly’s newer songs. At the moment she’s on a serious creative upswing, and there’s rarely been a better time to see her than now.


 

* * * * * * * *

Kenny Process Team + Keith John Adams + The Happy Couple, 13th January 2020On the following Monday, the reunited and reinvigorated Kenny Process Team launch their own new album, ‘Travlin’ Light With… Kenny Process Team’. Actually, it’s an old one, recorded as a live session over twenty years ago with the band’s 1998 lineup but lost in the abstracted shuffle of the band’s history, which has seen members swap out, disappear, impale themselves on fences and even join Oasis.

Part avant-surf, part Afro-prog and compared in their time to both The Ventures and Captain Beefheart (while proggies will also find parallels with Television and The League of Gentlemen), there’s more on the Kenny Process back story here. In the present, with the addition of Rhodri Marsden as new guitarist (replacing the late Simon King) and thanks to his existing connections with Lost Crowns and Prescott, they’re further cementing their links with London’s current crop of art/prog/psych/cellularists.



 
Also playing is KPT labelmate Keith John Adams. Once Rhodri’s bandmate in zestful 1990s avant-skifflers Zuno Men, for twenty years now Keith has been a solo act coming at acoustic pop from a gently skewed angle, buffeting around friendly lyrical ideas like a sozzled housefly bumping against a lampshade and turning out understated little song-gems as he does so. His accidental forebears might include Robyn Hitchcock, Kevin Ayers; you might also pretend that he’d been dreamed up from some lazy Walthamstow afternoon when Leon Redbone shared a sofa with the young Bill Oddie.



 

Opening the evening is The Happy Couple, the languid instrumental duo formed by Kenny Process drummer Dave Ross and his life partner Judith Goodman, born out of two decades of inseparable love mingling with the inspiration of the Epping Forest woodscapes where they live. Judith plays a variety of open-tuned guitars, predominantly a Weissenborn acoustic slide guitar but also a 4-string tenor and a 3-string cigar box model (plus a mysterious “early English” example which suggests a rewriting of instrumental history). Leaving his drumkit behind, Dave plays a variety of mouth-held lamellophones: a classic American jaw harp, Indian morchangs in both brass and iron, a Norwegian Munnharpe and a mouth bow harp created in Devon. As for the music, it’s a relaxed evocation of companionship, glissando and boing and intersecting rhythms: or, as Judith comments, “it’s about the sounds that happen when we put our sounds together. We just create a world we want to be in.”



 
* * * * * * * *

Arhai, 18th January 2020

The following Saturday, British/Serbian electronic folk project Arhai slip into the little cellar at the Harrison to deliver their own electro-acoustic atmospheres. A two-decade-long project led by singer/composer Jovana Backovic, they were a traditional Serbian acoustic octet for their first ten years, gradually shifting into electric terrain before dissolving and allowing Jovana to form the current duo with British multi-instrumental specialist Adrian Lever (mediaeval dulcimer, hammered dulcimer, guitar, tambura, Bulgarian lute etc). Now they’re Balkan-cum-Gaelic, intertwining ancient and technological: or, as they put it “rethinking the archetypal modes of music performance in the context of modernity”. Which sometimes means they’re ultra-accessible and synth-quilty in the familiar Clannad model, and sometimes means that they’re off and racing like a cross between izvorna and a hyperspatial hip hop track.




 
* * * * * * * *

All of the above events will be in London: for the next one, you’ll need to head up to Manchester, where singer, songwriter and electronic pop creator Ben McGarvey, a.k.a. Minute Taker, is unveiling his multi-media performance ‘Wolf Hours’. Ben is no stranger to mixing theatre and music, having already presented a love-and-ghosts story on tour with ‘To Love Somebody Melancholy’ featuring animations from Ana Stefaniak. ‘Wolf Hours’ is an even more ambitious undertaking – “a unique performance combining mesmerising film with a dynamic live soundtrack. From forbidden love in the First World War, to the pain and rage of AIDS, to contemporary hedonism and heartbreak, ‘Wolf Hours’ explores the stories of gay men at different points in time through their dreams. This series of stunning new short films (directed by John Lochland, Joe Stringer, Kirk Sylvester, Raphaël Neal and Ben McGarvey) are accompanied throughout by Minute Taker performing an intimate musical and vocal score that both builds the atmosphere and pulls on the heartstrings. Visually explosive and emotionally thrilling, ‘Wolf Hours’ transports the audience through pleasure, grief, lust, joy and our collective historical imagination.”



 
In this interview with ‘Superbia’, Ben expounds on the approach he took when putting together ‘Wolf Hours’, which he describes as “jumbled-up memories, fears and fantasies.. It’s presented a bit like late night TV from back in the ’80s and ’90s (when anything queer was relegated to an after-midnight slot!) with different programmes and images emerging out of the static as you drift in and out of sleep… I also decided to include lots of archive footage in the show, which explores the way homosexuality has been portrayed in the media over the years… all of the stuff that finds its way into the subconscious minds of the characters as they lie awake at night, having an effect on how they view themselves and the gay community.” He’s hoping to take the show out on a broader tour much later this year, but for now this is all that you’re getting…

* * * * * * * *
Dates:

Holly Penfield & Ian Ritchie: The Cricklewood Cats
The Fiddler’s Elbow, 1 Malden Road, Kentish Town, London, NW5 3HS, England
Friday 10th January, 2020, 8.20pm
– no information links, just turn up…

Kenny Process Team + Keith John Adams + The Happy Couple
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Monday 13th January 2020, 7.30pm
– information here, here and here

Folk and Roots presents:
Arhai
The Harrison, 28 Harrison Street, Kings Cross, London, WC1H 8JF, England
Saturday 18th January 2020, 7.30pm
– information here, here and here

Minute Taker presents ‘Wolf Hours’
Hope Mill Theatre, 113 Pollard Street, Beswick, Manchester, M4 7JA, England
Friday 24th January 2020, 8:00pm
– information here and here

Holly Penfield
The 100 Club, 100 Oxford Street, Soho, London, W1D 1LL, England
Sunday 8th March 2020, time t.b.c.
– no information links yet
 

October 2019 – upcoming London rock, pop, noise, dancetronic gigs – Hurtling, Stephen Evens and Junodef (17th October); Gum Takes Tooth and Hyperstition Duo (18th October); Bunny Hoova, Gribs, J.B. Glaser and Halfs (18th October)

8 Oct

Hurtling + Stephen Evens + Junodef, 17th October 2019

Alt-rock trio Hurtling (fronted by My Bloody Valentine tour noisemaker Jen Macro) have a debut record to offer you – ‘Future From Here’, on Onomatopeia Records – and are launching it at north London’s The Islington in the middle of October. Their sound’s relatively easy to peg – post-Pixies, post-grunge, post-dreampop – but difficult to dismiss. There’s a full cupboardful of familiar indie rock ingredients to hand, but all reshuffled and re-examined via Jen’s particular perspective and inspired by the disorientations of touring, the displacement of emotions, the waywardness of health: the bumps and setbacks of a bright, questioning human organism pushed into too much motion. Sometimes, despite the noisy ethic, it’s surprisingly gentle; sometimes sludgy guitar parts pile up like rainbow cement ooze; sometimes it’s all about the vocal harmonies.



 
Once upon a time, most of Hurtling were part of cunningly witty indie/artpop sloggers stuffy/the fuses, and their glowering former employer (and current Onomatopeia labelmate) Stephen Evens is also on hand for the evening: ostensibly in a support slot, but probably to keep a dyspeptic jaded eye on them and to crush their remaining youthful dreams beneath his tapping boot. He’s playing solo – probably with guitar, microsynth and anything else portable which he fancies and which comes to hand – and is still working his own 2017 debut album, ‘Bonjour Poulet’. Which is fine, since it was excellent: a mordant larderful of creaky treats which revealed themselves to be gappy armour-plate wrapped around a surprisingly tender heart. He’ll probably give you all that sardonic, seen-it-all expression: actually, he’ll be pleased to see you.



 
London-based Swedish “post-death music” quartet Junodef fill the other support slot. Their debut single, a soft-strummed slice of spectral folk with additional Gothic guitar boom and the bleakness of a death metal song, was called Make You Die. Subsequent work hasn’t travelled too far from those initial emotional roots, although they’ve toyed with spooky progressive rock keyboards, acid rock shadings and lingering dark-country embellishments (the latter suiting both the paired vocals of Tyra Örnberg and Karin Grönkvist and their admiration for Emma Ruth Rundle and Chelsea Wolfe).

More recently Junodef have been feeding in noirish elements from trip-hop and droning electronica, citing inspiration by Portishead and Young Fathers. At the same time, they’ve upped their Bad Seeds clang and their clarity and put greater emphasis on their visual work, resulting in their most vividly fleshed-out songs and atmospheres yet. Don’t expect floppy Goth ragdolls: this band has a tough core, and a storytelling streak that’s just beginning to come into its own.



 

* * * * * * * *

Gum Takes Tooth + Hyperstition Duo, 18th October 2019In the same week, on the following day, relentless psychedelic noise-fosterers Baba Yaga’s Hut are putting on a Bethnal Green gig for block-party-inspired thunder-twosome Gum Takes Tooth. Singer/electronic bombardier Jussi Brightmore and wired-up drummer Thomas Fuglesang have been at this for a decade now, producing a music that’s
grinding and urgent, slow yet filled with unnerving impetus.

As with plenty of British acts on the weird/occult cusp, Gum Takes Tooth are fascinated by ritual (attempting to initiate it in both their recorded output and, more significantly, in their live performances) and with the jarring subconscious impact on the human animal from the mechanisms of technology, hierarchy and blunt cultural forces which surround us. Their last record, ‘Arrow‘, focussed on London gentrification from the perspective of those squashed under or flicked aside by its well-heeled, well-polished bespoke shoes; and on the savage simultaneous pressures from above to indulge the inner beast in competition, in nationalism, in a fracturing of common responsibility and empathy. While writing ‘Arrow’, Jussi saw all of this as a kind of cultural intoxication with the emphasis on toxic: it gave the duo a musical and moral focus which they’ve pursued ever since.



 
A couple of years ago, open-minded Sheffield Afrobeat/noise/dance-pop combiners Blood Sport called it a day. Two-thirds of them – drummer Sam Parkin and guitarist/Octatracker Alex Keegan – have since resurfaced as Hyperstition Duo, a blistering stew of kit-rattles and synth noise smudging and battering the line between live gig and avant-garde DJ electronica. They’ll be supporting Gum Takes Tooth on this occasion: but where the headliners favour slower pace and a ritual weight, the Hyperstitioneers prefer a break-neck-speed informational barrage.

At the end of this past summer, Hyperstition Duo released their debut EP ‘Virotechnics‘. There’s the usual jargonated hype to go with it – “summoning egregors of the Anthropocene, (they) plunge deep to deliver a maximalist collective immersion into their own lysergic phonosphere. Lurching, polyrhythmic pathways crumble and re-assemble; elastic dynamics snap; propulsion sparks from the nerve-centre of machine and corporeal entanglement… templexing, möbius loops and cybernetic subjectivities abound in an attempt to conjure escape vectors in a world of ubiquitous sound.” For once, the texture of the press release – a plunge into lathering, urgent verbalisation – actually fits the texture of the music.



 
* * * * * * * *

Overlapping the Gum Takes Tooth/Hyperstition Duo concert, Ben Vince’s south-east London clubnight Ellipsis (blending strands and clumps of experimental dance and experimental pop) ventures up north to Dalston on the same night for an evening of seamless switching between stage and DJ deck. I’ve not encountered Ellipsis before, but I’m impressed with what I’m finding out now.

Bunny Hoova + Gribs + J.B. Glaser + Halfs, 18th October 2019

To headline this time, Ben’s enticed the perplexing Dutch-born Mancunian Bunny Hoova down for her full-band London debut. Her work is simultaneously delightful and frustrating. At its simplest, it’s a kind of fall-apart dream pop – intermittent rhythms, addled guitar chording and bass thumbing, a cloudwork of woven-in samples, and a constant tripping over unvoiced questions, obscured conclusions and the track-loops of the thought-train. But while most dream-pop sinks into a narcotized structural conservatism (strumming away in the same key while admiring the whorls of sound coming through the pedalboard), Bunny’s material seems constantly uncomfortable, actively intelligent, and hovering at the midpoint between insight and misdirection. She’s been yoked in with experimental pop deconstructors/faux-idiot savants like Tirzah and Micachu, and I can see why. There’s that classical conservatoire training: coyly hinted at in the PR, for extra credit, but in practise forced off into the distance like a spurned aunt (even as it’s being used as the counterweight to punkish anti-technique). There’s the idea that the usual rules of pop song and riff culture are being scorned in a meticulous matter-of-fact way via an admixture of free play and cerebral manifesto.

Plenty of the songs on Bunny’s debut album, ‘Longing’, have the sensual drag-and-tug rhythm of slow jams; but rather than focussing a mood or a regular pace, they wander off at instinctive mental tangents or hiccup into a different arrangement; the instruments and samples entwining in a scratchy, bewildered, irregular intimacy. At times she seems to be taking up an erratic desert map scrawled by Captain Beefheart and attempting to apply it to close urban living. At other times, she seems to be spontaneously transposing into song experimental short stories about offbeat relationships, jolting encounters or small moments which change the course of a life; rich in detail and significance, short on conclusion. Plot and flavour are stretched out and split into gobbets, like odd-shaped beads necklaced on a guitar string. Her most-talked-about song, Lazy_Easy, is a scrubbing, slurred, pointed dissection-tract covering both the implicit and explicit links between consumerist culture and animal cruelty: more of a wall-collage with blended-in musical notes than an actual song. The world she flits through feels as rickety as a condemned flat; one that she’s too good for and shouldn’t have to live with, but which she has to accommodate and fit her voice to.




 
Also playing are a mixed bag of London and Manchester electronic experimentalists with bedroom studios. Gribs is a creative DJ and electronic musician, a label co-boss (Tobago Tracks) who in her own music weaving connections between straight-up dance music (trap, jungle, bass culture) and lo-fi DIY sound-and-voice experiments. There’s a distinct edge of discomfort to her work: not so much or so often that it repels, but her found vocals and implied song characters seem uneasy, morbidly eccentric or disassociated from the music’s rhythmic propulsion or sensual salve.

More DJ-ing and deckmixing comes from J.B. Glazer, another London-based creator of peculiar counter-intuitive dance music: for him, a kind of relentlessly alienated mirror-image R&B, all of its comfort and slickness rusted away into disassociative ennui. In the work of both Glazer and Gribs, there’s an echo of chopped-and-screwed culture: the slowing, the altered-state disconnections and new connections, the sense that they’re using alienation as a kind of gatekeeper (if you like dance but are prepared to discard much of its qualities of release or of socializing, then perhaps you can squeeze through this door).

Rounding things out (or upsetting any remaining unspilled applecarts) there’s the mysterious and performative Halfs – from what I can work out, a try-anything beat-making romper on Manchester’s queer arts scene. I’ve found a very fruity synthdance EP of his/theirs from 2017, so there are a few slurps of its whooping dayglo industrial tones below. There have also been percussion-favouring mixtapes and albums which have been whipped capriciously on and off Soundcloud, but are gone now: other than that, there seems to be involvement with scratch theatre, video and so on. In order to properly keep up with Halfs, you need to subscribe (both literally, and in terms of consistent loyalty) so just consider this vague, semi-accurate plug of mine to be a jumping-on point and take it from there.


 
* * * * * * * *

Dates:

Onomatopoeia Records presents:
Hurtling + Stephen Evens + Junodef
The Islington, 1 Tolpuddle Street, Islington, London, N1 0XT, England
Thursday 17th October 2019, 7.30pm
– information here, here and here

Baba Yaga’s Hut presents:
Gum Takes Tooth + Hyperstition Duo
The Sebright Arms, 33-35 Coate Street, Bethnal Green, London, E2 9AG, England
Friday 18th October 2019, 8.00pm
– information here, here and here

Ellipsis presents:
Bunny Hoova + Gribs + J.B. Glaser + Halfs
SET (Dalston Lane), 27a Dalston Lane, Dalston, London, E8 3DF, England
Friday 18th October 2019, 9.00pm
– information here and here
 

October 2019 – upcoming London experimental gigs – Retrophonica at the Brunel Museum (13th); Charles Hayward presents Sly & The Family Drone, V Ä L V Ē, Timestretch Alarmsong and Atatat (19th)

5 Oct

Retrophonica, 13th October 2019

Retrophonica is a new, very accessible multi-media performance project; currently focussed on the branching aerials, primal wooo and touch-me-not anticipations of theremin playing. It’s launching itself with an evening of two (identical) concerts in the yawning brick gullet of the Brunel Museum’s Grand Entrance Chamber (also known as the top of the southern Thames Tunnel shaft).

Celebrating the instrument’s centenary, these will be an “immersive evening of music for theremin and full orchestra”, while delving into the story of the instrument’s creator, Léon Theremin. From here, it sounds as if the concerts will be a cross between a pops-orchestra occasion, a slide-show history lesson writ large and a session of nostalgic avant-garde tinkering; all of it enclosed in that bleak, beautiful and magnificently functional Victorian civil-engineering maw.

As they say themselves,“prepare for an immersive audio-visual experience, complemented by cocktails, lightshow, and narration, featuring original and adapted music for theremin by Dmitri Shostakovich, Bohuslav Martinů, Miklós Rózsa, Les Baxter, Claude Debussy and John Williams, performed by Retrophonica with thereminist Charlie Draper, new arrangements and works by Alex Palmer, and bespoke narration from author Ken Hollings.”



 
You might already know Charlie from all manner of bookings, everywhere, for both theremin and ondes martenot: here’s an earlier mention. Alex has written and arranged extensively for theatre, film and concert hall, and looks as if he’ll be adding the sweeter edge to the evening. As for Ken, although I suspect that he’ll be operating on calmer terms tonight, he’s most likely to be the one to toss in a wild card or two. Having started work in the 1970s as a literary factual editor (how ominous such a description sounds now) he went on to an early-’80s spell as vocalist and cut-up’er in Manchester post-punk band Biting Tongues, followed by an expansion into essays, libretti and experimental fiction (all of which have dipped into and across other disciplines from Japanese films to twentieth-and-twenty-first century politics to data structures).

I’ve no idea who’s contributed the orchestra. As for the cocktails, there’s no further word on them; nor on how you might mix one called a Thames Tunnel.

* * * * * * * *

Just under a week later, downriver at Deptford, London art-rock/post-punk/improvisation godfather Charles Hayward will be putting together the second of this year’s “genre-fluid” Charles Hayward Presents concerts at the Albany, unfurling “new sounds from the underground and outsider scenes of London and beyond” and massing together elements of jazz/improv, art punk, noise, contemporary classical and electronic music.

Charles Hayward Presents..., 19th October 2019According to Charles himself, his own performance centrepiece will be the project-cum-band Timestretch Alarmsong… a sequence of tunes and sound snakes that I’ve put together with Tom Challenger (Dice Factory/Ma saxophonist), Yoni Silver (multi-instrumentalist with Hyperion Ensemble and many others), Roberto Sassi (Cardosanto/Anatrofobia/Snorkel guitarist), Nick Doyne-Ditmas (double bassist and Hayward collaborator in Monkey Puzzle Trio).

“It’s tightly rehearsed and goes through a wide range of attitudes and (more importantly) emotional energies. To my ears it’s super exciting and I feel like we’ve pushed at a few barriers and come up with something new that has melody, shape and grooves from light to super heavy/dark. There’s no clips available but we will be recording the project for future release. All the players are fantastic musicians and working on the project has been a study in joyful cooperation.”

In the absence of a collective clip, here’s a scatter of solo ones and examples of related projects:





 
Three other acts join in for the night. ‘Gentle Persuaders’, the latest album from contemporary drum/noise/saxophone ritualists Sly & The Family Drone – is intended as “the politest of bludgeonings”; its creators still merge Ayler-esque free jazz, industrial rock pummel, celebratory machine hiss and the loose-hanging exploratory feel of a bass-less duo. They also still give out drums at their concerts, inviting a congregation of noise.



 
Also back in the fray is V Ä L V Ē, with music that’s less workshop than workshed. Strongly DIY (featuring reed instruments, electronics, invented gizmos, bass guitar, concert harp and singing women), it’s the sound of a trio of highly trained musical minds phasing back into spontaneity and play. A sort of three-way attempt to become idiot savants via assorted glitchery and boink, semi-spontaneous nursery rhymes and tunelets and musical devices (built out of shelves, tobacco tins, old house bells and similar Branestawmery), but via a female pattern.


 
Finally, there’s Atatat – a solo project from Liverpool art-freak music mainstay J.C. Barbara (best known as drummer/ranter for aPAtT and Barberos, and here using a very Haywardian array of drums, contact mics, loops and vocals).


 
Designer Raimund Wong (whose work has adorned posters and releases by Total Refreshment Centre, Church Of Sound and Baba Yaga’s Hut, and who shares Charles’ interest in chance theory and the ingenuity forced on artists via DIY minimalism) will be DJ-ing.

* * * * * * * *

Dates:

Retrophonica
Brunel Museum, Railway Avenue, Rotherhithe, London, SE16 4LF, England
Sunday 13th October 2019, 6.00pm & 8:30pm
– information here, here and here

Charles Hayward Presents… (featuring Sly & The Family Drone + VÄLVĒ + Timestretch Alarmsong + Atatat + DJ Raimund Wong)
The Albany, Douglas Way, Deptford, SE8 4AG London, United Kingdom
Saturday, 19 October 2019, 7.30pm
– information here and here
 

October 2019 – upcoming rock gigs in England from mathcore to magic, part 2 – The Display Team’s October tour (with Project Mork, The Mighty Bossmags, Masiro, Lonely Dakota, Mutant-Thoughts, Flag Fen, Spank Hair, Barringtone, Memory Of Elephants, Alter Ego and Vonhorn); a Jazz from Hell concert in Brighton including Son Of Ugly, BallPointKen and Fukushima Dolphin (23rd October); The Hare and Hoofe, The Galileo 7 and Ulysses in London (26th October)

1 Oct

The Display Team on tour, October 2019In the last post, I covered this month’s Octobear tour of assorted post-hardcore sproutings, plus the Portals All-Dayer of math rock, post-rock and similar.

At around the same time, London post-Zappa/post-Cardiacs jitterbugs The Display Team will be embarking on a brief east-to-west English tour of their own, delivering densely-written, yelling wrangles and conniptions of guitars, drums and heavy brass to various appreciative audiences.



 
At both of their East Anglian dates in Cambridge and Ipswich, The Display Team are playing with the same backup. One of the two bands in tow are Norwich-based Project Mork, who juggle a spasming, shape-shifting pulp-culture impasto of sung comic-book catchphrases, thrash-riffs, ska bumps, and stunt-metal guitars. The other are crunchy Warrington art punk/ska cabaret rockers The Mighty Bossmags, monster-mask-clad theatricals with leering “cirque du punk” stances and a taste for macabre chanson and heavy bursts.



 
There’s something of a different support set up in Bristol, where sleek proggy art rockers Mutant-Thoughts provide their glistening, synth-heavy groove explorations, and where Flag Fen provide psychogeographic drone. The latter is a “bio-electrical resistance project” developed by Adam Burrows and Keith Hall, featuring noise guitars atop a dirty flag of drone and rattling drums, with bits of folky recitation pulled through like a flaxen thread. There’s a backstory in there somewhere about a possibly occulted, potentially dangerous Bronze Age archaeological site with a tendency to firebug any situations connected to it. What’s less uncertain is that Adam and Keith are both former members of Bristol noise-beat outfit Big Joan, and pull in collaborators such as Mancunian industrial poet-rapper and Gnod associate Michael O’Neill, Steve James (from screeching Bristol flailers Geisha Noise Research Group) and My
Octopus Mind frontman Liam O’Connell.

 
In Oxford, support comes from post/tech metal act Masiro whom I’ve previously referred to as “a melange of prog, metal and funk grooves… if that makes them sound like early ’90s macho blokes in shorts, imagine a trio who went the other way, reframing and reappraising those elements from a confusing refracted perspective. As a listener, they make you work to get back to the sources, but it’s a compelling game of reconstruction.”. Also present are local rhythm-warping “twinkly emo-punk” trio Spank Hair. In Southampton, the support acts are straightforward London/Hampshire hard rockers Lonely Dakota and the rather more-difficult to track down Alter Ego: I’ve got something swaggering from the former, but sadly nothing from the latter.




 
In London, urban-baroque pop trio Barringtone open the show (plenty more on them, their Clor heritage and their journey from motoric cool to increasingly proggy enthusiasm is here), while Memory Of Elephants bring a multi-decker pink noise sandwich of joyous experimental metal along with them. While I can still get away with requoting myself, I’ve called them “a restless, conspiratorial mask-dance of a band” and as playing “a welter of restless multipolar mood changes and psych-cyclones with a bewildering delightful stockpile of guitar tones; from mechanistic hissing growls, fire-ribbon swishes and sudden injections of Detroit proto-punk to great woozy carousing fuzzwalls of MBV dreampop, Chinese orchestras and – at one point – what sounds like a gnarly old organ playing itself.”



 
In the late-nighter at Gloucester, support is by sharp Hereford-&-Worcester mutant-power-pop band Vonhorn. While drummer Dominic Luckman brings cult value (and a stylish precision) from his years in Cardiacs, frontman Adam Daffurn has been boinking around the Hereford scene for ages, previously leading Noughties-wave Britpop act The Dandelion Killers, who betrayed many of the same aspects as Vonhorn does: crunchy crisp pop with unexpected chords, rhythmic flicks and spiked-cream harmonies. Consider XTC and the more circus-y moments of The Beatles; consider latter-day clever-classic underground guitar pop acts like Flipron and The Downing Poole.


 
* * * * * * * *

Towards the end of their tour, The Display Team are also headlining Fresh Lenin’s Jazz From Hell night in Brighton, an “autumnal commie cocktail of jazz, prog, ska, punk, rock and psychedelia made with the help of trombone, sousaphone, bagpipes, saxophones, multiple pedals and all of the less weird instruments.”

'Jazz From Hell', 23rd October 2019

Plenty of Brighton musical fringery is springing into the spotlight for the occasion. The aforementioned bagpipes and sousaphone (stirred with a drumkit) come courtesy of pranky, deliberately obscure psychedelic wind trio BallPointKen (who are playing two sets). “Cinematic weirdcore” quintet Son Of Ugly are instrumentalists and Secret Chiefs 3 fans who’ve gobbled up and regurgitate “elements of 60’s and 70’s cartoons, spy action, noir jazz, surf and world music, sometimes in the same song.” In fact they’re less frenetic and Zorn-y than such a summary would suggest, being drawn more to the driving drama of theme songs and the glitter of exotica, thereby turning Brighton’s Lanes into swerving Prague alleyways and glittering dream-souks.

 
That just leaves Fukushima Dolphin – a full band last year, but now a drums-and-guitar loop duo fronted by the irrepressible Josh Butler (who stretches them toward a kind of energised, tuneful pure pop, whatever else happens or whatever tools they need to employ. In the current incarnation, Josh sometimes sounds surprisingly like a junior Mike Scott trying to sing his way out of a post-shoegazer’s cocoon of ‘90s indie-dance beats and dreampop echo. Earlier this year, Fukushima Dolphin were bulking up their setlist with an interleaved cover-version set, with textural art-rock versions of MGMT and Nirvana songs coming to the forefront alongside the band’s own urgent originals.


 
* * * * * * * *

For five or six years now, the various members of Kentish psychedelic troupe The Hare And Hoofe have incubated various tunes down in Folkestone, with an album finally bulging out last year. In the last week of October, they’ll be splurging it all over Islington in a London gig with fellow spirits The Galileo 7 and Ulysses.

What unites all three bands, I guess, is that they’re a collective love-letter to the glitter and stubble and mind-bubbles of a particularly British corner of ‘60s and ‘70s British rock – the clank and rough brinksmanship of garage bands, the rustle of the dressing-up box, the brickie harmonies of power-pop, the quivering flush of freakbeat. Various common enthusiasms loom large: Syd Barrett, Question Mark & The Mysterians, fuzz pedals. It’s all going to be pretty old-school, but expect enough of a surging, hairy, enthusiastic evening that nobody will mind about that.

The Hare And Hoofe + The Galileo 7 + Ulysses, 26th October 2019

Given their leader Allan Crockford’s lengthy background with those crowd-pleasing Medway garage-psych and mod-friendly bands who swirl, in a familial cloud around, The Prisoners and The James Taylor Quartet, The Galileo 7 are the least likely of the three bands to be caught fannying around dressed up as knights in armour, as wizards or Roxy Music’s vampire doppelgangers. Instead they deal in familiar bucketing Prisoners-esque ’60s musical purity: creaky electric organ swerves, fuzz pedals, tambourines and ooh-oohs. In contrast, brash Bathonians Ulysses swagger into view like the second coming of Roy Wood being cheered on by Slade (and are cute enough to confess to a liking for Wings and The Cars). They do like dressing up, and they bring with them hooky, stomping songs like rocking wooden cabinets buffed to a mighty sheen with golden syrup and sandpaper.



 
It’s got to be said that The Hare And Hoofe are the most outrightly magical and theatrical of the three, though – a kind of amicable collision of most of the above ingredients, topped by a meeting between Hawkwind, ‘Piper At The Gates Of Dawn’ and Steeleye Span (or, to pick a more recent example, Circulus on fizzing monkey drugs). If they’re garage, they’re the garage that gets transformed into Santa’s den. They’re all about jolly singalongs in which all manner of additions and interjections are poking through or going on behind. Lysergic guitar and spurting proggy keyboard figures crash around dopey harmonies, delirous mistrals of solo flute wind their way through folk singalongs; as psychedelic mixing and screeching echo froth is boosted to the max, the music changes shape and speed as if jerked into form by a solid brass gearshift. They’ll play heavy rhythm-and-blues version of eighteenth century English myths, and the second half of their debut album is a full-blown pocket rock opera of time-travelling scientists and giant laser-eyed robots. It’s called The Terror Of Melton.



 
Admittedly in magical terms all of this isn’t exactly cabalistic frenzy or New Weird hauntology. It’s more about capering blokes in pointy paper hats with moons-and-stars on. But The Hare And Hoofe are clearly enjoying the party too much to worry about this, and we sometimes need the kind of silliness which makes us nine years old again, happy, and laughing ourselves well.

* * * * * * * *

Dates:

The Display Team on tour:

  • The Stage Door, 78 West Marlands Road, Southampton, SO14 7FW, England – – Friday 18th October 2019, 7.30pm (with Lonely Dakota + Alter Ego) – information here and here
  • The Blue Moon, 2 Norfolk Street, Cambridge, CB1 2LF, England – – Saturday 19th October 2019, 8.00pm (with Project Mork + The Mighty Bossmags) – information here and here
  • The Steamboat Tavern, 78 New Cut West, Ipswich, Suffolk, IP2 8HW, England – Sunday 20th October 2019, 8.00pm (with Project Mork + The Mighty Bossmags) – information here
  • Port Mahon, 82 St Clement’s Street, Oxford, Oxfordshire, OX4 1AW, England – Sunday 20th October 2019, 8.00pm (with Masiro + Spank Hair) – information here and here
  • The Crofters Rights, 117-119 Stokes Croft, Bristol, BS1 3RW, England – Tuesday 22nd October 2019, 7.30pm (with Mutant-Thoughts + Flag Fen) – information here, here and here
  • Paper Dress Vintage Bar & Boutique,, 352a Mare Street, Hackney, London, E8 1HR, England – Thursday 24th October 2019, 8.00pm (with Memory Of Elephants + Barringtone) – information here and here
  • Café René, 31 Southgate Street, Gloucester, Gloucestershire, GL1 1TP, England – Friday 25th October 2019, 11.00pm (with Vonhorn) – information here

Fresh Lenins presents:
Jazz from Hell (featuring The Display Team + Son Of Ugly + Fukushima Dolphin + BallPointKen)
The Green Door Store, 2-4 Trafalgar Arches, Lower Goods Yard, Brighton Train Station, Brighton, BN1 4FQ, England
Wednesday 23rd October 2019, 7.30pm
– information here, here and here

The Hare And Hoofe + The Galileo 7 + Ulysses
The Lexington, 96-98 Pentonville Road, Islington, London, N1 9JB, England
Saturday 26th October 2019, 7.00pm
– information here, here and
here
 

October 2019 – upcoming London experimental gigs – a London visit for Asuna’s ‘100 Keyboards’ (2nd); psychonauts UnicaZürn step up to save the Horse Hospital (5th); Andrew Heath & Anne Chris Bakker play an ambient evening with Matt Atkins, Andrew Sherwell and Kevin Buckland (6th)

28 Sep

As part of London ambient sound festival MODE 2019, Japanese sound/drone artist Asuna will bring the occasional travelling installation in which he arranges a hundred battery-powered budget (or toy) analogue keyboards in concentric circles within a studio space (in this case, South London Gallery’s Clore Studio) and plays, sets up or alters single notes or clusters off each of them (usually sticking keys down with Sellotape) to produce “waves of overlapping sound”.

The results are a chorused spatial drone which you can wander through, in which the intention is to “generat(e) an undulating sonic harmony both mesmerising and mysterious. Sound waves on the same frequency multiply and bounce off in myriad directions, creating a complex sonic field of interference and reverberation that swells and changes over time. Subtle acoustic variations emerge, hover and retreat based on your location in the performance space.” The cheapness of the technology, the variability of battery performance and other factors will also provide additional variations to the setup. The three-minute excerpt below gives an idea of its grating shimmer.


 
On 5th October, psychedelic trio UnicaZürn (uniting members of Coil, Cyclobe, Guapo and Shock Headed Peters) will be playing at Bloomsbury avant-garde stronghold The Horse Hospital, showcasing music from their recent ‘Sensudestricto’ album plus brand new pieces created especially for the concert.

UnicaZürn, 5th October 2019

I’ve previously described their work as a “scenic but chilly slow-evolving boil of waterside atmospherics and psychedelic sound-painting”. ‘Sensudestricto’, explicitly based around situational revolt (“has there ever been a better time to fuck off to the stars? Is a prison breakout “escapism”? Crisis carve some wound-space to let the dreams back in…” ) continues to build on that promise, evoking late ’60s oil projections and space rock, ’70s synth patterning and occult counterculture, and various subsequent shades of psych revolt, dark folk and hauntological weirdness.

The Horse Hospital itself (a twist of history, art and countercultural resistance lurking like a bold and salty tattoo in the heart of one of London’s plushest districts) is once again under threat of being priced out of existence via a rent increase demand of over three hundred per cent, plus other bullying gentrification pressures, so this is a benefit gig. Attend, talk, add some cash to the Kickstarter, etc.

 
Having been releasing ambient/drone/experimental atmospheric music for a little under two years now from its Farnham base, not-for-profit independent tape label Rusted Tone Recordings is starting off a live season at IKLEKTIK with a concert by Aqueous keyboard player/piano minimalist Andrew Heath and Dutch ambient bowed-guitarist/slowcore escapee Anne Chris Bakker.

Rusted Tone Recordings Live #1, 6th October 2019

The duo have recently collaborated on an upcoming RTR release (the north-Netherlands-recorded ‘A Gift for the Ephemerist’) which blends both men’s interest in space, sparseness and field recordings into a record which “is overwhelmingly informed both by an open, minimal landscape and a love of process, allowing lower case sounds to form as you would unfold a map – each section revealing a new and uncharted vista…suspended in time and place, are modulating drones, fragile notes, texture and immersive driftscapes which shimmer and pulse with half-glimpsed melodies that seem to hang in the air.”


 
Support slots come from fellow ambientarians and experimentalists Matthew Atkins, Andrew Sherwell, and Kevin Buckland. Although he’s sometimes a drummer for assorted projects he’s encountered or helped form via the London Improviser’s Workshop, Matthew spends most of his time on sound and visual art. When performing his own music he uses percussion, assorted objects, cassettes and laptop for sound collaging which pursues (or more properly, accepts) elements of “reductionism, chance, repetition and texture.” (Usually he’s working in collaboration with someone else; usually, it also seems, he’s providing the odder or more exploratory parts.) Similarly, Kevin is sometimes a solo bassist, but spends more time outdoors as a traveller, photographer and field recordist intrigued by “the underlying intrinsic musical character that I believe is present within the everyday soundscape; whether rural or urban, indoors or outside.” This in turn takes him back to slow-evolving electronic music of his own, often released on his own Quietest Records label and playing dusky subliminal spells with sound he’s captured along his voyages.



 
As for Andrew, he’s found a niche of his own, and sticks to it; but it’s a particularly cavernous, ecclesiastical niche. He marries field recordings from churches and cathedrals from across Britain and Europe with existing choral recordings, plunderphonicised from random choir albums found in charity shops or, when he can, recording the genuine article first-hand. The results are a devotional post-Christian drone, heavily processed from its source material, flooding through an imaginary nave like a ghostly draught.


 
* * * * * * * *

Dates:

South London Gallery/Thirty Three Thirty Three/Laurel Halo/The Japan Foundation present:
MODE 2019: Asuna presents ‘100 Keyboards’
South London Gallery, 65-67 Peckham Road, Camberwell, London, SE5 8UH, England
Wednesday 2nd October 2019, 7.00pm
– information here and here

UnicaZürn – A benefit gig in support of the Horse Hospital
The Horse Hospital, The Colonnade, Bloomsbury, London, WC1N 1JD, England
Saturday 5th October, 2019, 7.30pm
– information here, here and here

Rusted Tone Recordings presents:
Rusted Tone RecordingsLive #1: Andrew Heath & Anne Chris Bakker + Matt Atkins + Andrew Sherwell + Kevin Buckland
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Sunday 6th October 2019, 7.30pm
– information here and here
 

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

30 Aug

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

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

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




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


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

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


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

* * * * * * * *

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




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

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

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








 
* * * * * * * *

Dates:

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

The other Teeth Of The Sea dates:

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

The other Utopia Strong dates:

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

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

29 Aug

My Octopus Mind

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

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

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



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

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

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

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



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

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


 

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


 
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Dates:

My Octopus Mind on tour:

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

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

June to November 2019 – upcoming London jazz gigs – Greg Foat Band and Neue Grafik Ensemble at Church of Sound (20th June); Niechęć, High Definition Quartet, EABS and trios with Marcin Masecki and Kuba Więcek for the Polish Jazz London Series (4th July, 16th August, 19th September, 18th October, 21st November)

16 Jun

An imminent show at the Church of Sound in Clapton showcases British and French artists – the Greg Foat Band and the Neue Grafik Ensemble. Both play a contemporary take on ’70s soul jazz as it moved on a mystically airy arc away from earthiness and into the more fantastical zones of funk and psychedelia: in Greg’s case laced with tidal Radiophonic electronica via antique suitcase synth, and in NGE’s case celestial Rhodes keying.

Greg Foat Group + Neue Grafik Ensemble, 21st June 2019

More from the Church:

Greg Foat’s latest album ‘The Mage’ threads lineage between the past and future of British jazz, enlisting the talents of jazz/library/soundtrack legends Duncan Lamont, Art Themen, Ray Russell and Clark Tracey to collaborate with their modern contemporaries, Greg Foat, Moses Boyd and Heliocentric’s drummer Malcolm Catto. Something undeniably British but outward-looking and global has been created. Greg’s compositions and arrangements showcase the old and new, downtempo folkscapes, free jazz with notes of hip-hop and soul from the young team flavouring the mix. The album is a testament to the versatility and pure musicality of all those involved and Greg Foat’s ability to bring artists together to record beautiful, timeless music.

“Personnel on the night: Greg Foat (piano, EMS Synthi AKS), Clark Tracey (drums), Eric Young (congas), Phil Achille (bass), Trevor Walker (trumpet), Rob Mach (saxophones), Hugh Harris (guitar) with special guest Duncan Lamont (tenor saxophone).


 
“Parisian-born producer Fred “Neue Grafik” N’Thepe formed his Ensemble last year, consisting of trumpet player Emma-Jean Thackray, Vels Trio’s drummer Dougal Taylor, bassist Matt Gedrych and of course Fred himself on keyboards. Grafik’s sound is a hybrid of jazz, house and hip hop, all with his unique geographical tones of African ethnicity, Parisian roots and a love for London sounds (like broken beat and grime) thrown into the mix. For this session, they will be joined by rapper and poet Brother Portrait who is omnipresent on NGE’s forthcoming EP.”


 
Representing the Church of Sound DJ resources, half of the CoS diumvirate (and Total Refreshment Centre founder) Lex Blondin will be manning the decks, and there’ll be an aftershow party over at Tottenham’s Five Mile club.

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Polish Jazz London Series, July-November 2019

Further north-east, the Polish Jazz London Series is opening up in Waltham Forest. It’s a handshake between a borough celebrating its current status as London Borough of Culture (and pushing hard not to be overshadowed by the existing momentum of Hackney and Tottenham), the Polish Cultural Institute, B Side Events and the Music Halls Project which is opening up church spaces in Walthamstow and Leytonstone as high-quality music performance venues.

Poland isn’t the first place that springs to mind when jazz is mentioned. Cognoscenti, however, are aware of it as an incubator of high-end music with typical Polish determination. Five monthly concerts starting in the summer and leading into the autumn – each featuring some outstanding talent – demonstrate how productive this can be.

The first, on 4th July, features Warsaw avant-fusioneers Niechęć – saxophonist Maciej Zwierzchowski, drummer Michał Kaczorek, guitarist Rafal Błaszczak, keyboard player Michał Załęski and double bassist Maciej Szczepański stir ominous misty shifts of chord-tones and atmospherics into spinning jagged cyclones. Theirs is a frictional engagement with the air, although one which embraces a tight mothership of form rather than a straight free-jazz explosion.

Szczepański’s fondness for arco bowing, Zwierzchowski’s for caustic, cryptic Shorterish sax commentary and the band’s readiness to pursue whistling psychedelic rockscapes close to that of ‘Saucerful’-era Pink Floyd (as well as touching on the tweaked, ring-modulated open-ended fierceness of early electric Miles and the initially freeforming argumentation of Weather Report) pin them as spirit brothers to the permeable explorers of the ’70s cusp. Translated from the Polish, their name means “dislike”; and sometimes their music’s a growling frown, a diet of harsh and undying embers. Despite that, it’s never withdrawn or surly, never dull – it constantly takes you along with its dark and challenging moods.


 
The August concert features a new trio led by pre-eminent young Polish polymath Marcin Masecki. Not new in that his keyboard playing is augmented by his regular project cohorts (Jerzy Rogiewicz on drums and Piotr Domagalski on double bass) but new in that he’s apparently not looked into the possibilities of a classic trio since his schooldays. Since then, he’s been busy mastering and promoting a dizzying variety of projects and musical applications (the program lists it all as “big bands, brass orchestras, classical symphony orchestras, choirs, alternative pop bands, electric quintets, acoustic duets, sextets and nonets, composing for film and theatre, giving masterclasses, classical chamber musicking, and a vast body of solo work”).

It took an extended moment alone to trigger this new project – a jogging session during which Marcin became fascinated by both the bodily mechanics of respiration, extension, heart-rate (and so forth) and the mental changes and separation of mind which occur during the strictures of exercise. He opted to translate this across into music. In this clip, you can see how the post-bop pulse motors away while Marcin plays a succession of complex, diversifying ideas on top of it, maintaining both independence and integration while also sustaining perfect stability and authority.


 
The September gig features the bony, peppery rhythmic work of the Kuba Więcek Trio, whose paradoxical music (authoratively skittish; cerebrally frenzied; making overpowering gestures within a small and disciplined space) has been noted by uber-critic and fellow countryman Piotr Metz for combining the Polish post-bop of the late ‘50s and early ‘60s with knowingly neurotic Manhattanisms. More specifically, “the melody, which seems straight from Komeda songs, also has the noise of the New York traffic.” Each member doubles, musically – bass player Michał Barański spits and mutters konnakol (Carnatic drum-talk vocals), drummer Łukasz Żyta rattles out additional melodies on glockenspiel, and Kuba himself swaps between saxophone and dropped-in synth or electronics.

Packed into the music are funk and marches, transposed tabla burrs, Birdland boptalk and strains of eastern European folk dance. The trio’s also capable of periods of delicate sweetness, but always with a febrile watchfulness and staccato undercurrent; as if they’re tiptoeing precisely over a tough streetscape of broken glass and stray syringes even as they chat or serenade.


 
The October gig features High Definition Quartet, who come with sky-high praise from Randy Brecker: but if, from that, you’re expecting them to fit into his American fusion tradition, you’d be surprised. While this collectively-run quartet are second-to-no-one in hoarding and firing out classic chops, they’re also continual polyreferential box-busters, moving through multiple styles . It’s not just a case of tricksy polystylism, though: not something carried out as a joke. Instead, Piotr Orzechowski (who also rejoices in the nickname of “Pianohooligan”) and his allies (double bassist Alan Wykpisz, saxophonist Mateusz Śliwa and drummer Grzegorz Pałka) come across more as people whose brains process at double-speed: simultaneously and voraciously riffing and developing from anything which flits across their attention or their synapses.

For their current project, Piotr and the quartet have created jazz rearrangements of ‘Bukoliki’, a set of short piano pieces (originally string duets) by Witold Lutosławski – which he, in turn, derived by old Polish folk songs from the distinct Kurpie forest culture of north-east Poland (whose music also inspired Górecki). A second-generation mutation, then; and one which the HDQ deliver with breathtaking speed, precision and invention, respecting the source material by stepping deeply into it and refusing to do anything less than give it and gift it every scrap of their own intuition.


 
The last show (as far as I know) is in November, in the grand Art Nouveau surroundings of Leyton’s Great Hall, sponsored by LVE Foundation. Signing us out is Wrocław septet Electro-Acoustic Beat Sessions, or EABS – a Polish answer to the current club-culture reinvigorations of jazz forms as demonstrated by Shabaka Hutchings, Kamasi Washington and others. Via their technological wildcard Spisek Jednego, EABS merge sampling and looping into their instrumentation in a “reconstruction from deconstruction” approach. The rest of the band consists of Marek Pędziwiatr (on piano, synths and voice), guitarist Vojto Monteur, drummer Marcin Rak, bass player Paweł Stachowiak and a doubled brass line of Jakub Kurek (trumpet) and Olaf Węgier (tenor sax); merging a profoundly lyrical sensibility and a taste for European conceptual landscapery, while pulling in and transforming strong strands of hip hop, jungle, funk, gospel and electronic music.

As with many jazz acts, EABS build into a developing future while looking deeply into a specific cultural past. Among their preoccupations are the ideas of “Slavic melancholy” and the culture’s tendency to have favoured oral transmission over literacy: something reflected in the examination of Polish demonology and general Slavic mythology in their most recent recording, ‘Slavic Spirits’, drawing on accounts from “musicians, historians, journalists, writers and even psychotherapists.”


 
* * * * * * * *

Dates:

Church of Sound presents:
Greg Foat Group + Neue Grafik Ensemble + Church of Sound DJ set
St James the Great, 188 Lower Clapton Road, Clapton, London, E5 8EG, England
Friday 21st Jun 2019, 7.30pm
– information here and here

Polish Jazz London Series:

  • Niechęć – St Mary’s Music Hall, 8 Church End, Walthamstow, London, E17 9RL, England – Thursday 4th July 2019, 6.30pm – information here and here
  • Marcin Masecki’s Jazz Trio – St John’s Music Hall, High Road, Leytonstone, London, E11 1HH, England – Friday 16th August 2019, 6.30pm – information here
  • Kuba Więcek Trio – St Mary’s Music Hall, 8 Church End, Walthamstow, London, E17 9RL, England – Thursday 19th September 2019, 6.30pm – information here and here
  • High Definition Quartet – St John’s Music Hall, High Road, Leytonstone, London, E11 1HH, England – Friday 18th October 2018, 6.30pm – information here
  • EABS – Leyton Great Hall, 1 Adelaide Road, Leyton, London, E10 5NN – Thursday 21st November 2019, 6.30pm – information here

 

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

11 Jun

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

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

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

 

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

* * * * * * * *

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

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



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

* * * * * * * *

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

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

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

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


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

BirdWorld, 18th June 2019

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


 
* * * * * * * *

All dates:

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

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

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

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

June 2019 – upcoming experimental/eclectic gigs – post-classical noise/audio-visualists Ariadne play New York and tour Europe (7th, 12th-28th various) with all manner of contributions from Carl Stone, Dasychira, Salaċ, Lazy Bones, Wolf Scarers, Julia Dyck, Anna Peaker, Ideal, Java Java Wetware, Sound Situation and Ariel Kalma

3 Jun

Long past the point when its cultural context receded into antiquity, mediaeval plainsong remains a ready grab for musicians seeking to bridge classical ideas with (in the broadest sense) pop ones. It’s easy to recall the Gregorian chants stapled to dance loops and succubus exotica pioneered by Enigma at the start of the ‘90s, in the wake of which waddled a million chillout chant albums: though to pick some more inspiring examples from past ‘Misfit City’ coverage, there’s also the post-plague requiem of Jocelyn Pook’s ‘Deluge’ and the acapella-versus-disintegrating-granular-noise of Soaring On Their Pinions.

Perhaps plainsong’s draw is in its sparseness, its directness – the way in which its emphasis on a soloist (or at least a monophonic group line) initially seems like a direct personal meditation or plea, a kind of ecclesiastic monastic blues. It could also be the way in which that sense of vulnerability mixes with a sense of ancient history (the early steps of Christianity, with the classical Hebrew and Greek temple music sources still evident, unobscured by the later agglutinating harmonies of the Renaissance). Or, to be a little more cynical, maybe it’s just that that same sparseness and built-in antique provenance has made it an easier cold sell to an audience in the age of recordings.


 
Ariadne could probably provide a better and more interesting explanation than I can. They’ve certainly got the background to enable them to understand it – electronicist/visual specialist Benjamin Forest and fellow electronicist and mezzo-soprano Christine Papania first formed an allegiance at the music school of the University of Indiana: and Christine also explores various strands of classical in her solo voiceloop project Lanx as well as singing for the Manhattan Chorale. Since around 2015, Ariadne have been investigating and altering plainsong and its relations in a succession of albums, EPs, concerts and installations.

Their 2015 album ‘Tsalal’ was based around Hebrew texts and was about plummeting into darkness, physical and psychological; the same year’s ‘Ex Tempore’ was a psalmic “dialogue between the physical and the ethereal in a languished and dense atmosphere.” Their newest work, ‘Stabat Mater’ is a “twenty-movement cycle of audio/visual ecstatic visions, heavily inspired by the visions of female Christian mystics Hildegard von Bingen and Teresa of Ávila.” The latters’ writings are rearranged and transmuted for the sung texts, with a third source coming via text from the surrealist poet Aase Berg.

Hildegard’s work, of course, has regularly blended in nicely with contemporary concerns of spirituality, pain and the female perspective: only last year her work was programmed in underground New York/London arthouse concerts by Daisy Press and Filthy Lucre, juxtaposed against Bowie, Byrne, Charlie Looker’s anguished hard-rock analyses of toxic masculinity and fascism, and the morbid queer romanticism of Claude Vivier… all of which I’m sure is just the tip of an associative iceberg. Hildegard’s ecstasies were paralleled by the rather more masochistic ones of Teresa (who also suffered a particularly grotesque fate-of-a-saint post-death postscript as her corpse was gradually disassembled and traded about by quarrelling groups of nuns, dukes, Popes and priests for open mercantile advantage).

As for Aase, still very much alive, she’s an often-bewildering overturner of expectations with a marked disdain for the “patriarchal… male sexuality” restrictions which she sees applying to standard chronology (“time passes and things have to happen and there has to be a narrative”). Her own work upends this in favour of polymathic siftings of “science, math, probability, string theory, etc.” in weird-fiction settings of post-environmental catastrophes and reconstructed worlds in which standard human perspectives are slipping away, being superseded or disintegrated by impassive, inevitable processes of change. Notably, Aase has also worked as a translator for the horror-struck, pessimistic fantasy texts of H.P. Lovecraft which, though they have an empurpled baroque verbosity which her texts avoid, often operate in similarly blasted philosophical territories.

 
While I’m sure that Ariadne too are paying plenty of attention to all of this, text is secondary to what they’re putting it through sonically. While experimenting with eerie pitchshifting, reverberation and sound chopping, their earlier work backgrounded it in favour of the traditional purity of Christine’s voice. Now they’re bolder, more assured and disruptive: while delivering perverse auto-destructive lyrics like “put my fist through my mouth and pull the roots out of the ground”, Christine’s voice retains its classical beauty but also negotiates its way through a far more confrontational path of distortions, subversions, doppelganger mockings and simple sequences of compline giving ways to gorgeous vomitations like a hopelessly poisoned Kate Bush. The electronically-generated sound, too, keeps its previous haunted/spinning chapterhouse atmosphere while rearing up like a briar thicket destroying a pathway, with distressing organic splatters, acidic treble rills, liquid-sword shatterwhooshes and nightmare distortion-belfry sounds breaking things up; plus vocal capture/turns like the obscene Pachucho squelch that chokes through Burning Sphere.

Like the last-act works of Scott Walker, though, ‘Stabat Mater’ manages to be disturbing and ear-opening without relying on shock-schlock. It hints at and flickeringly reveals dysfunction, confusion and horror without quashing or sneering at the beauty, structure or aspiration of the source materials. Benjamin’s video work, too, makes mesmerically beautiful optical scapes out of disruption, data corruption, trippy fetish hints and perspective explosions.

 
An upcoming Ariadne tour takes ‘Staber Mater’ around selected spots in America and Europe – as well as assorted arts centres, venues include an avant-garde-sympathetic bar at home in New York; an accommodating church crypt in Bristol with a patience for the heretical; a preserved grand Tudor chamber in London; and the marine guts of a permanently harbour-bound Hamburg merchant ship.

That New York hometown concert is taking place at metal/experimental hangout bar Saint Vitus, accompanied by Ideal and Dasychira (with records spun by DJ Clone). Dasychira is a platform for some brilliantly inventive experimental dance music from transplanted, intriguingly alienated South African sound artist Adrian Martens. Adrian explores and celebrates his own psychological vulnerability and resilience via industrial detonations and scatters of mbira chops, alarming darkwave pop interjections and bursts of monastic chorale. Scurrying underneath are thematic undertows of insect regeneration, building new lives from nothing. He debuted with 2017’s ‘Immolated’ EP, while last year saw the ‘Razor Leaf’ single and the ‘Haptics’ EP consolidate his work. The gig’s worth attending for his sake alone. As to whom Ideal are, I’m less sure. I’m assuming that they’re not these German New Wavers from 1982, but within the ever-refreshing and surprising Brooklyn ferment, I probably shouldn’t assume anything.



 
In Bristol, there’ll be slots featuring a pair of duos from the town’s Avon Terror Corps underground label, whose artists draw their loose inspirations and guidelines from“”medieval visions of the future, breakcore, ‘Westworld’ (the original film), industrial, the psychogeography of Castlemead, the legacy of shoegaze, the legend of Goram and Vincent, the total destruction of “deconstructed club”…” Both are best judged by their contributions to the ‘Avon Is Dead’ compilation, which amasses sundry ATC cloud uploads from 2018.

Salaċ – bewildering, serious-playful aural occultists – create long-spooling jump-cut soundscape ceremonials, the outcome of their “sculpting séances of sound with tape machines.” These are aggressive dirtbass rumbles, spasms of object-rolling across metal sheets, complaining recitations of disassociation, punctuated by watertank booms, data-screech waterfalls and a certain amount of dry psycho-geographist’s humour (as in fucked-up cheesy drum machine beats they occasionally summon up and put through the soiling chamber). So far, it’s best to judge Bokeh Edwards and Jade Hybou, a.k.a. “esoterrorists” Java Java Wetware by their track Even Cowgirls Get The Blues – a fragmentary aural story via a dreamy harmonica-assisted trudge through ruined domes and shattered glass, set further off-kilter by lapping folk soprano vocals and ending with secretive whispers and a handful of reverb-muffled gunshots.



 
In Manchester, support acts include obscure local psych/alt.folker and “veteran astral wanderer” Lazy Bones. Whether solo meanderer or journeying band, he/they have been at it for at least a decade and a half, coming up with “gentle melodies hid(ing) strange shadows, hidden yearnings and the promise of the transcendental” with a “whimsical ’70s edge” following the lysergic thicketry of Cope, Barrett and Jansch: some of it may be found on this cobwebbed MySpace site, if you can find your way in. Working in a similar vein (but easier to track down) is the bouzouki-driven power pop and stoner beat of The Peace Pipers, enthusiastic ’60s hippy-punk throwbacks with a taste for dressing up and dancing down the garden paths of The Move, early Pink Floyd and Dave Mason. The evening’s real wildcard is sometime ILL member Sadie Noble, a.k.a. Nummo Twin: generator of woody, baffling dream pop and abstracted yet covertly clever chucking-mud-at-the-wall collages of glitchy electronics, woodworking noises, and half-heard vocal mumbles.





 
The Todmorden show features raffishly arty tenor sax duo Wolf Scarers (Simon Prince and Keith Jafrate) and thrumming audio-visualizer Anna Peaker. With printmaking, DJing and gig promotion as part of her activity alongside the sound and graphics designer (and with an eye on branching out into dressmaking and ceramics.) Anna is an impressive DIY/do-anything character. Across her artwork she takes inspiration from Yorkshire weaving mills, witchcraft, old record sleeves and film posters; from ancient pathways and the millennia-spanning architectural layers of her base in Leeds. By itself, her music is skirling Yorkshire-Germanic variations on assorted psychedelic-chapel organ drones, billowing in and out of focus and sometimes including autoharp and field recordings – for the full effect, though, it’s tied into the cascade of her live visuals.

With Wolf Scarers, Simon and Keith blow a free-brewed stewing of various ingredients and inspirations from the multiple genres each has played individually (and sidestepping the temptations to baffle the acoustic tones any further with computer processing). The results range from “gentle meditations that almost become chamber music across to full-blown shout-ups in the true tenor sax tradition, via, possibly, messed-up marching band funk and deconstructed jazz strut.” Larger Wolfscaring lineups are rolled out when the music necessitates, but on this occasion it’ll be the core duo at work.


 
In Berlin, Ariadne are slotting in at the bottom of a mixed bill in the Kiezsalon series run by Michael Rosen. At the top is American sampling-and-computer-music pioneer Carl Stone, whose 1970s loops and repurposing of library records drew a kind of academic-based parallel to hip hop’s turntablism, and who’s subsequently kept pace with technological collaging possibilities while maintaining an accessible sense of found/captured/manipulated melody, plus a continually expanding taste for incorporating suggestions and content from other cultures’ music (in particular Asian cultures) and a disarmingly bonkers vocal quality. In the middle is French wind instrumentalist/synthesist Ariel Kalma, who’s been dwelling on the borderlines of process music, Paris experimentalism, New Age and electrophonic minimalism since the mid-‘70s.



 
Over at Prague’s Punctum venue, the first of two listed support acts is the acousmatic Sound Situation trio: domestic New Music exponents with electronicist Michal Rataj (electronics), Jan Trojan (more electronics, plate-bashing) and Ivan Boreš (prepared guitar) Veterans of academic music and live improv, as definition they spit out a host of word associations as definition: “sound design, freshly baked bottle in the fridge, movie soundtracks, radio art, pieces of sheet metal, flamenco, sirens, spectral transformations, Kvok!, teaching at the university… Ostrava new music days, abandoned sea beach, Contempuls, Noise Assault Agency Budweiss, BERG Orchestra, Gride”.

 
Unpick and reassemble that little lot if you wish; but note that Punctum have spent far less time expounding on who second Prague support Julia Dyck might be. To be frank, they’ve spent no time at all on it so far… but evidence points towards it being this woman. If so, you can expect to see or hear anything pulled from a bewildering, inspiring rack of potential directions and from a mind seething with forma drawn from feminist/queer/gender theory, from technological awareness and from Julia’s formidable polymathic curiosity about the world. It might be radiophonics, or synth minimalism, or voice-and-fx constructions, or ambient noise; it might be ideas drawing from her time as radio producer, writer and broadcast media artiste; or general conceptual experiments like the miked-up fruit-and-body performance she recorded for a batch of film festivals earlier in the year.

There are a few tasters below – the krautrock-in-the-frying-pan of Passenger, the ambient goo of Changes Made – but there’s too much to Julia to summarise in a paragraph or two or a handful of audio clips. Even briefly looking into what she does is like cracking an eggshell and finding an expansive, challenging pocket universe within, which then maps inexorably back onto your own and changes it behind your back.

 
* * * * * * * *

Full tour dates and details are still being assembled, but here are the ones I know about so far:

 

  • Saint Vitus Bar, 1120 Manhattan Avenue, Greenpoint, Brooklyn, New York City, NY 11222, USA – Friday 7th June 2019 (with Ideal and Dasychira) – information here, here, here and here
  • Blah Blah, via Po 21, 10124 Torino, Italy – Wednesday 12th June 2019, 8.00pm – information here
  • Le Brin de Zinc, 3 ZA Route de la Peysse, Chambery, 73000 Barberaz, France – Thursday 13th June 2019, 8.30pm – information here
  • St Paul’s Church Southville, 2 Southville Road (junction with Coronation Road), Bristol, BS3 1DG, England – Saturday 15th June 2019, 7.00pm (with Salaċ + Java Java Wetware) – information here and here
  • The Golden Lion, Fielden Square, Todmorden, OL14 6LZ, England – Sunday 16th June 2019, 7.30pm (with Wolf Scarers + Anna Peaker) – information here
  • The Peer Hat, 14-16 Faraday Street, Manchester, M1 1BE, England – 17th June 2019, 7.30pm (with Lazy Bones + The Peace Pipers + Nummo Twin) – information here
  • Sutton House, 2-4 Homerton High Street, Homerton, London, E9 6JQ, England – Tuesday 18th June 2019, 7.00pm – information here and here
  • Muziekcentrum Kinky Star, Vlasmarkt 9, 9000 Ghent, Belgium – Wednesday 19th June 2019, 8.00pm – information here
  • MS Stubnitz, HafenCity, Kirchenpauerkai 26, Umfahrung Versmannstraße, Baakenhafen/Baakenhöft, 20457 Hamburg, Germany – Friday 21st June 2019, 8.00pm – information here, here and here
  • Komplex, Zietenstr. 32, 09130 Chemnitz, Germany – 22nd June 2019, 8.00pm – information here
  • Punctum, Krásova 27, Žižkov, 13000 Prague, Czech Republic – Sunday 23rd June 2019, 7.00pm (with Michal Rataj/Ivan Boreš/Jan Trojan + Julia Dyck) – information here and here
  • Wolskie Centrum Cultury, Wolskie Centrum Kultury, ul. Obozowa 85, 01-425 Warszawa, Poland – Monday 24th June 2019, 8.00pm – information here
  • Kiezsalon, Greifswalder Strasse 23a, 10407 Berlin, Germany – Wednesday 26th June 2019, 8.00pm (with Carl Stone + Ariel Kalma) – information here and here
  • Macao, Viale Molise 68, 20137 Milan, Italy – 28th June 2019, time t.b.c.

 

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

27 May

VLMV + Thomas Stone, 30th May 2019

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

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

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



 

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



 
* * * * * * * *

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

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

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

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



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

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

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

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

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

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



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

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



 
* * * * * * * *

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

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

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


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

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


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

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


 
* * * * * * * *

Dates:

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

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

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

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

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

23 May


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

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

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

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



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

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


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

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



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



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


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




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








  
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Tim Bowness dates:

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

  

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

3 May


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

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

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



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




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



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

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


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

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

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




 
* * * * * * * *

Dates:

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

 

May 2019 – upcoming gigs – theatrical rock and weirdtronica from Major Parkinson, Alwanzatar and Army Of Moths in London (2nd, 3rd); simmering avant-rock angles from Thumpermonkey and A Formal Horse in Southampton (2nd); eclectic music From My Octopus Mind and Daniel Inzani in Bristol plus a dance video premiere by Bethany Stenning (2nd)

23 Apr

Major Parkinson + Alwantazar + Army Of Moths, 2nd & 3rd May 2019The last time that Bergen rock dramatists Major Parkinson came to England, they amazed and were amazed – bringing an evening of dark-tinged theatrical music, and leaving grateful and a little thunderstruck at the attention they’d received and the energy and loyalty they’d stirred up. It had something to do with the fact that they’d unexpectedly tapped into the interests of Cardiacs fans, known for their family loyalty and their generally un-English zest for manic expressiveness and musical complexity. A perfect match, really. Fronted by Jon Ivar Kollbotn and massing up an armoury of violins, guitars and keyboards, Major Parkinson are a Jägerbomb of a band. Rich, heady, a little reminiscent of Cardiacs’ turbulent complexity, but with plenty of other things in the brew – a dash of Nick Cave’s Gothic cabaret, the huge dark orchestral-pop airs of Cousteau, the shipwreck timbers of black metal, the ambitions that come from staring at a shelfload of out-there music while still pawing over your childhood copy of ‘Sgt. Pepper’.

They’re back in England at the beginning of next month to play a London double – an official show at Tufnell Park’s Dome, plus (for Dome ticket holders) a pre-Dome warm-up at a secret location. No idea where the latter is. They’re selling it as some kind of thieves’ kitchen or secret cupboard, in which you’ll come as an audience member but helplessly spill onto the stage, presumably becoming one of the characters in a Parkinson tale. It’s all a mystery. Pick up a Dome ticket and be prepared to make an early weekend of it.



 
At the Dome show, there’s support from Alwanzatar, a solo “extraterrestrial world music” project from Krizla (who plays with Norwegian prog-psych-folkers Tusmørke). Founded around electronics, flute, synth gloop and incantations, it sounds a little like a reanimated Popul Vuh, raised up by dark rites and dragged into the world of bedroom electronica. Also on hand are Army Of Moths: usually a similarly theatre’lectrical racket to Major Parkinson themselves, playing an unhinged kind of power pop (great brick arches of song with a definite Cardiacs-y clamberosity involved, plus vocals scurrying around them like woozy wayward ivy or clamouring like a young Bowie). This time they’re playing in acoustic format.




 
* * * * * * * *

It’s going to be a busy Thursday for this kind of tuneful, extravagant fringe rock. Also on the 2nd – balefully powerful London avant-prog band Thumpermonkey up sticks for an evening and roll their dark laughter, their constantly shapeshifting compositions and their baffling, brainiac-surreal perspective out of London, taking the road down to Southampton to play for the determined diehards at Solent Area Prog.

Thumpermonkey + A Formal Horse, 2nd May 2019Like Major Parkinson, Thumpermonkey are a heady brew of ideas and drama. In their way, they’re one of Britain’s most ambitious rock bands, deftly striding and shifting between different musical kernels from prog, dark pop or experimental metal to a kind of science-fiction cabaret, languidly licking up and stirring in any intriguing nugget or story fragment they birth or encounter. Unpacking their decade-plus back catalogue of recordings is like getting trapped in one of those clever-dick contemporary polymath novels written about everything and anything, stitched together with a little magic and mystique – they’ve sung about computer games, Nigerian fraudsters, Mexican acid westerns and strange diseases and made it sound as if it were all part of the same complex semi-submerged story. Their most recent album, ‘Make Me Young, etc.’ is a surprisingly sober banking-down of the usual playful creative fires: a crepuscular meditation on the end of the world as observed through dreams, portents, reality and intimations.



 
Once a concoction of pointy elbows and sudden shifts, Southampton avant-rockers A Formal Horse (playing in support) are growing up, out and a little away from their post-prog beginnings, powered by Hayley McDonnell’s strong carolling tones. More recent songs (like 2018’s Bird) yearn toward a kind of florid dream-folk, even as the drumming nails mozaics into the floor and the guitar describes steely math-rock machinery forms. A couple of years ago, I described them as “a bounding conceptual glitterball”. In some respects, they’ve calmed down a little since then, but only in order to apply more considered forms of straining at their genre. At the moment, they’re like a muscle developing – over-straining, gently tearing, but with the intention and ability to rebuild and go further.



 
* * * * * * * *

 
In contrast to the journeys being carried out by Major Parkinson and Thumpermonkey next week, My Octopus Mind are staying happily at home in Bristol for their own 2nd May gig. Following their jaunt around the country back in February (and a brief vigorous five-date sizzle through France and Belgium earlier this month) this time they’re choosing to draw the wider world over to themselves.

Here’s what I wrote about them last time, which they’ve liked enough to quote themselves, and which I might as well requote myself – “My Octopus Mind occupy a pleasing position, settled in their own web of connections between a number of different influences but reliant upon none of them. There’s a jazzy rattle, predominantly via the gloriously noisy effected double bass of Izy Ellis (a growling, punchy, conversational art-box; upfront timber and raw electronic treatments). The whole band’s informed by post-Radiohead/Mars Volta art rock and by the mating of contrasts implicit in assorted culture collisions (such the Hindustani-classical meets New-York-loft-music teaming achieved in one particular favourite, Philip Glass and Ravi Shankar’s ‘Passages’). Frontman singer and guitarist Liam O’Connell cites the sonic and psychological crescendos of Jeff Buckley and Josh Homme’s mix of heaviness and irony, but also the restraint of Jose Gonzales. Ex-Lambhorneer Oliver Cocup adds refreshed drum bounce, and racing through the whole thing is a rivulet – or, more accurately, an unstoppable jet of skittish Balkan folk.”

While going out on tour, My Octopus Mind are a trio. On home turf, they’re a sextet. They’ve had an extra pair of plug-in string players for a while, but the sixth member remains a mystery for the moment. The other thing they’ll be unveiling at this gig is their second video release: a “magical” piece of stop-motion animation by Roos Mattaar, part of Bristol’s crop of world-class animators, and the woman previously responsible for most of the video for Father John Misty’s Things It Would Have Been Helpful To Know Before The Revolution.


 
More music visuals come from Bethany Stenning, whose “tender genderless, measureless, dimensionless” Stanlæy project has migrated between Paris, Ireland and Bristol in various shapes and forms since 2016 (with Bethany constantly at the core of the catherine wheel, throwing off strands of violin, piano, guitar, voice, synth and found sound). As musician and multi-instrumentalist, Bethany starts from a perspective of “ethereal gypsy punk-pop” and moves outwards from there into the kind of neverland/neverwas experimental folk music that we used to hear from Joanna Newsom; with her fey, unusual, offbeat-beautiful voice and lyrics exploring “human life in the modern world…our ancient relationships to nature… contemplations about consciousness and free will” while nestling in sparse yet evocative post-classical, free-sounding arrangements.

Stanlæy’s current incarnation (a spacious acoustic quartet) would fit right into the night’s gig lineup; but instead we’re getting a look at Bethany’s broader artistic concerns and abilities. Her involvement tonight has more to do with her visual art side and her passion for painting, illustrating, observing and questioning the human body via story and dance. In collaboration with cinematographer Rob Ellis, she scripts and directs video art, something which first came substantially together in 2017’s ‘The Human Project’ (“seven elements embodied within seven sonic visuals… seven hues, revealing the body as a canvas to represent natural elements as a metaphor for cognitive states of mind, and the evolution of the body. The human body transforms itself into a real life canvas.”) On this occasion, she’s presenting ‘Wear The Line’, a twenty -minute short film that’s “a thought-provoking and uncannily realised representation of the current climate of gender roles and their ambiguity. Set in a universe much like our own where one word or concept can have as many meanings as there are people, the film explores the formula of femininity. It features lead performances by Flora Whitmarsh, Taylor Young and Phoebe Hopwood.” Bethany also provided the music for the film – from what I’ve heard, a hypnotic and open-ended chamber-classical ambience.



 
Also on board for the evening is Daniel Inzani, playing a mid-bill set of piano pieces. Though he’s perhaps best known at the moment for the classical/jazz/folk chamber fusion music (simultaneously luxuriant, ghostly and sprightly) which he composes for his Spindle Ensemble quartet, Daniel’s work has also embraced vigorously visual Ethopian jazz fusion with his Tezeta octet; the performance of ska, rocksteady and Mahavishnu Orchestra music; and support work in a pair of Bristolian psychedelic assemblages (Graeme Smith’s blues-reggae-meets-lounge project Dubi Dolczek and Conrad Singh’s buzz/drone Americana folk-pop array Cloudshoes). His piano solos catch up and rework bits of his own compositions, rearrangements for different spaces.


 
* * * * * * * *

Dates:

Major Parkinson:

  • (secret location, London) – Thursday 2nd May 2019, time t.b.c. – special warm-up gig available to ticketholders for the Dome show
  • The Dome, 2a Dartmouth Park Hill, Tufnell Park, London, NW5 1HL, England – Friday 3rd May 2019, 7.00pm – information here, here and here

Solent Area Prog presents:
Thumpermonkey + A Formal Horse
The Joiners, 141 St Mary Street, Southampton, SO14 1NS, England
Thursday 2nd May 2019, 8.00pm
– information here, here and here

My Octopus Mind + Daniel Inzani + Bethany Stenning’s ‘Wear The Line’ (video premiere)
Cube Microplex, 4 Princess Row, Bristol, BS2 8NQ, England
Thursday 2nd May 2019, 7.30pm
– 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 English folk-rock-but-not-just-folk-rock gigs – My Octopus Mind on tour (13th, 16th, 21st, 22nd February) with Jakabol, The Display Team, Lapis Lazuli and Malika Collective; Hexvessel and Arktau Eos in London (22nd February)

10 Feb

Flexible Bristol almost-acoustic trio My Octopus Mind occupy a pleasing position, settled in their own web of connections between a number of different influences but reliant upon none of them. There’s a jazzy rattle, predominantly via the gloriously noisy effected double bass of Izy Ellis (a growling, punchy, conversational art-box; upfront timber and raw electronic treatments). The whole band’s informed by post-Radiohead/Mars Volta art rock and by the mating of contrasts implicit in assorted culture collisions (such the Hindustani-classical meets New-York-loft-music teaming achieved in one particular favourite, Philip Glass and Ravi Shankar’s ‘Passages’). Frontman singer and guitarist Liam O’Connell cites the sonic and psychological crescendos of Jeff Buckley and Josh Homme’s mix of heaviness and irony, but also the restraint of Jose Gonzales. Ex-Lambhorneer Oliver Cocup adds refreshed drum bounce, and racing through the whole thing is a rivulet – or, more accurately, an unstoppable jet – of skittish Balkan folk.


 
With a debut album, ‘Maladyne Cave’, nearing release, My Octopus Mind are out on a brief English tour wriggle this month, taking in Manchester, Canterbury, London and their hometown. In part, it’s to celebrate the recent release of their debut single Elska, with its increasingly disturbing Coppelian dance video (in which a man wheels an impassive doll-woman around in a suitcase, engaging in secret and increasingly frustrated trysts with her).

While Manchester is an evening for the band on their own, various temporary tourmates slot in elsewhere – in London, it’ll be the accomplished Afro-Latin groove band Malika Collective. The Canterbury show sports an eclectic psychedelic edge with local jam band and “maximalist psych-prog heroes” Lapis Lazuli plus the convoluted Zappa-brass meets London-urchin-pop of The Display Team (see passim) and psych/prog/punk funk/soul/dub/afro combination DJ interludes from Professor Appleblossom. The Bristol tour launch show, meanwhile, also features Jakabol, a warm Bristolian instrumental band in which violin, harp, guitar and drums leap and lurch tunefully around a set pitched midway between post-rock gutter and country hoedown (perhaps a further extension of the rural post-rocking I’ve been hearing from Rumour Cubes and Apricot Rail).



 
* * * * * * * *

Linkings between folk music and heavy rock go back pretty much all of the way to the start of the latter, especially in Europe. In plain sight, Led Zeppelin regularly immersed themselves in Welsh border hillsides and Janschian jangle; a little later, Jethro Tull brought in the jigs, liltings and mandolins while allying them to Ian Anderson’s witty, sardonic absolutely-in-the-moment songwriting voice (which swept in the eclectic interests and erudition of a restless, randy, contemporary urban boulevardier who could’ve make the idea of a leprechaun in your sitting room sound like something contemporary, adult and immediate rather than twee). In the ‘90s a swell of Celtic/Nordic folk metal and Gothic paganism via bands such as Skyclad led to a revival of mythic musical drama; in the Noughties, there was the feeling that the likes of Opeth were peering over their successive ramparts of black metal and prog in search of something offering more air and antiquity. Nowadays, you can hardly move for this sort of thing sprouting up from Ireland to Israel: driving a guitar through a hefty amp seems like one of the most effective ways to kick off an interest in your own folk history.

In many respects, latterday Anglo-Irish-Finnish heavy-folk-rockers Hexvessel hanker back to Tull – some of the lilts and jangles are there, as are the banging barn-door blurts of chunky electric guitar work – but they also trade in some of the dramatic minor keys and broody, nonconforming, subculture-meets-antiquity feel of Skyclad. Of course, this is probably incidental: it would be more constructive to reconsidering the swirling body of interests and philosophy surrounding singer and prime mover Mat McNerney. Despite Mat’s former black metal links (as “Kvohst”, he cavorted across stages with bands like Dødheimsgard and Code), Hexvessel avoid certain predictable pitfalls – no ludicrous demonic posturing; no arid hating; no polluted white-is-right old-Europe nationalism. This is primarily because under the corpse paint Kvohst always seems to have been a thoughtful and sensible chap with a well-calibrated bullshit detector, sorting the nourishing myths from the toxic ones.




 
Instead, Hexvessel explore a range of thinking stimuli – post-/pre-Catholic pagan magick; the connecting threads connecting contemporary Finnish woodland psych with the brooding kosmische stews of Amon Duul and the chatty verbal maximalism of early ‘70s British psych folk; comic book legendariums; and respectful pro-feminist reintegrations of women back into musical forms that have often wandered too far down macho paths. Later this month, they’re setting up camp at St Johns Bethnal Green; playing a London show as part of the European tour in support of brand new album ‘All Tree’, in which they’ve endeavoured to blend Mat’s memories of old ghost stories and other transmissions of folk culture with their own dramatic Samhain vibes and symbolic forest-folk musical experiments (including playing tree boughs with violin bows). Mat sees it as a way of connecting to Samhain’s liminal side; a time when ancestors, as spirits and memories, are that much closer.

Hexvessel’s tree-bowing was captured out by the band’s resident field recording/sound conjuring wizard Antti Haapapuro. In another incarnation – as half of sacking-masked ritual ambient/oneiric duo Arktau Eos – he and fellow Eosian Antti Litmanen open the show, rubbing the psychic gateways open with their primeval sounding drones, swells and invocation of significant spaces – simultaneously post-industrial and prehistoric, thrumming out of a green church, resonating nook or ancient gravehole like a stone-tape playback of ancient, dignified rites.

Steeped in hermetic philosophy and Apophatic theology, Arktau Eos come across as thoughtful ceremonial scholars in interviews such as this one in the ‘This Is Darkness’ ezine. Eloquent and courteous if you care to track them down for a respectful conversation, but unswayed by distractions from their business of the mining of the “ur-currents” of religious faith; the pull of site-specific mysteries, apprehending experience without attempting to stare it in the face or pin it down with sentences. In a similar spirit, I think I should just leave the descriptions there, as they stand. Essentially, it’s all in the sound and the placement, and the ceremonial use of the available moment. Understand them that way.


 
* * * * * * * *
Dates:

My Octopus Mind:

  • The Crofters Rights, 117-119 Stokes Croft, Bristol, BS1 3RW, England – Wednesday 13th February 2019, 7.30pm (with Jakabol) – information here and here
  • The Old Abbey Taphouse, Guildhall Close, Manchester, M15 6SY, England – Saturday 16th February 2019, 7.30pm – information here
  • UCA Bar Canterbury, New Dover Road, Canterbury, Kent, CT1 3AN, England – Thursday 21st February 2019, 7.30pm (with The Display Team + Lapis Lazuli) – information here
  • The Magic Garden, 231 Battersea Park Road, Battersea, London, SW11 4LG, England – Friday 22nd February 2019, 7.00pm (with Malika Collective) – information here and here

Old Empire proudly presents:
Hexvessel + Arktau Eos
St John on Bethnal Green, 200 Cambridge Heath Road, Bethnal Green, London, E2 9PA, England
Friday 22nd February 2019, 7.00pm
– information here and here
 

February 2019 – upcoming London pop/rock gigs – Lost Crowns, Ham Legion and Wryneck (8th February)

1 Feb

Lost Crowns + Ham Legion + Wryneck, 8th February 2019

I guess it’s a thorn in Richard Larcombe’s side that whenever he launches one of his complex poly-referential music projects some reductive oaf like myself strolls up, latches onto those polished, extremely upper-middle-class English vocals, and then starts comparing him to the cuddly Canterbury end of Anglo-prog – Hatfield & The North, Caravan and so on.

This is what you get, I suppose, when you’re musically versed in everything from the Copper Family to English bell-ringing patterns to mid-period Zappa to ‘90s American math rock – and when you can prove it – but when you’re also compelled to ice your lyrical cake with such floating, whimsical humorous concoctions. Almost from the start (when he was banging out strangely Donne-ian Britpop with Magnilda twenty-odd years ago) Richard has sounded as if he’s quipping and musing from an Oxbridge punt floating down ever more complicated river systems. It’s too easy to visualize him eating strawberries dipped in lysergic cream, keeping the witty punchlines coming while the landscape around him gets ever more mozaic-ed and fractalized.

It’s a little unfair to say things like that. Richard’s raised-eyebrow/bell-clear diction might make him sound smug to some ears in these resentful times, but his humour and the content of his songs are far richer, more intricate and upfront than what’s suggested by those Cantabrian comparisons. Lyrically, he’s a driven, glittering absurdist – more interested in extrapolation and unravelling substance than he is in reducing everything to fluff. Rather than offering lazy-lidded Kevin Ayers dreams (or, indeed, weightless Hatfield-ish souffles and toilet jokes), he takes snipes about synaesthesia and develops them until they collapse. He reframes and bricolages ancient bits of mythology as knockabout British arthouse films; or serenade his wife with borderline-ludicrous, self-aware stack-ups of flowery tributes. All of which gives us an anchoring point for listening: if he is icing his work with gags, it’s partially because something so musically demanding needs a little judicious sugaring.

The freshly-released debut album by Richard’s Lost Crowns project is being hailed as his best work yet. It’s certainly his most unrestrained: a barrage of word-dense songs overflowing with full-on prismatic structures and outright rock drive, as if Lewis Carroll and Flann O’Brien had called on the massed forces of Henry Cow to help them hijack Battles. While Lost Crowns sound like few bands in mainstream British rock history, current or past, they take a longer more meandering path along which you can imagine them laying some loving snags on various left-field rockers as they travel. XTC, Field Music and The Monochrome Set to These New Puritans; Gentle Giant, Knifeworld and the Art Bears. Comparisons generally water bands down, but for this one they work more as a health warning. Imagine a cocktail which didn’t dilute as you built it up, but instead made all of its ingredients stronger, brighter and brasher…



 
You can see Lost Crowns in action again – with Richard backed by a dream team of underground music crack-shots from Gong, Scritti Politti, Knifeworld and NSRO – next week at the Slaughtered Lamb. Having made their debut at an Alphabet Business Convention several years ago, they’re proud members of the sprawling and joyous musical family that runs in barking loops around the feet of Cardiacs. Consequently, you can expect to see a batch of the usual Cardiacs-ish faces in the audience. You’ll also get to see some on stage, since Ham Legion are playing support.

Longtime Cardiacs disciples, the Legion started out years ago as the perma-bubbling Little Trophy but following a drawn-out process of shedding fripperies and members, they’re now down to a power trio. All too often, they’re the extra filling in someone else’s gig sandwich. For the first time in a long while, though, they’re coming out armed with an imminent new single, Georgie Porgie. Time, perhaps to reassess them and their grunged-up take on complicated post-Cardiacs songs. A cavalcade of mood-switches and charges in and out of the unknown; a puckish delving into the traditions of English pop eccentricity, but one that’s smeared by tarry black coffee-sludge and amp crunch.


 
A surprise addition to the bill is Wryneck. To find out about them, you’d need to dig even deeper: back to the 1980s when a band with the gonkish name of Zag & The Coloured Beads romped intermittently around London’s free festival scene, playing “complicated tunes in a ragged/bluesy style” fed through the same scene’s omnivorous, hyperactive-hippy mindset. Taking a British post-punk filter, they used it to strain Zappa/Beefheart weird-juice, with memories of trad jazz and kid’s television also cavalcading through. They usually sounded like a drunken race between a squad of seven-legged camels: there was a bit of math to it, for sure (they enjoyed their shabby Brit-squat takes on the New York minimalist pulse, and their five- and seven-time signatures) but it was probably best not to take that too seriously either. After all, the songs had utterly clownish sketchpad titles like Sweaty Thing and Bernard Crapshit, which usually fitted perfectly.

(Gives the critics hives, y’know. Whether you’re aiming for analytical authority or ineffable cool, embracing a certain level of outright and intentional silliness is a bit like cuddling a hand grenade; and Dada just don’t do-do…)

Anyhow… Wryneck was what was left when various Beads dropped off the string in 1989, once keystoner Paul Howard ran dry and ran out of interest and keyboard person Robert White headed on to better-known, less squirrely things with Levitation and The Milk and Honey Band. The remainder (led by guitarist/singer/songfitter Steve Arthur), tried to get serious and to get taken seriously. Duly recast, they dumped the comedy and pulled in and lashed down the ramblings: they took fresh notes from the flourishing noise-pop of My Bloody Valentine and the ringing drive of Levitation and The Belltower, and they acted upon them. Over time, they also factored in a post-James Brown/Zeppelin sense of dirty groove. They produced a few cassettes (and those in the know remember the band as “master tunesmiths”) but, like the Beads, they never rose beyond a backroom cult. After four years – and despite no-one actually turning into a casualty – Wryneck too was missing in action. Musically, everyone kept busy with something or other, but it was only when Steve, Paul and guitar/bass mainstay Mik Tubb resurrected the Beads for more intermittent shows about a decade ago that the old chemistry came back.

These days, it seems as if Beadery and the staggered musical family around it (everyone was always overcommitted to multiple bands) is somewhat like Cardiacs culture – a big attic trunk full of oddments and puzzles which people regularly pull out and reconfigure at while. Joining Steve and Mik (and whoever else they’ve managed to persuade into this micro-revival) is Paul, who might never have been a Wrynecker before, but who seems to be one now.

Sadly the shortage of Wryneck sonic memorabilia online means that there’s nothing I can post up as an illustration of the noise they’re going to make. Lost Crowns are describing them (with tongue in cheek) as “like Mud, but fancier’. Alternatively, you could draw a few clues from the clutch of Beads tangles I’ve crammed in below. If unconvinced, you could consider Wryneck’s presence as a pop-up indulgence and reward for those grizzled old ‘80s festi-veterans in Cardiacs fandom who stayed their course and kept the faith. If you’re any less cynical, you could try saluting them as (even with the post-Beads musical streamlinings) part of a strand of English musical playfulness that’s gone uncredited for too long.




 
Lost Crowns + Ham Legion + Wryneck
The Slaughtered Lamb, 34-35 Great Sutton Street, Clerkenwell, London, EC1V 0DX, England
Friday 8th February 2019, 7.00pm
– information here, here and here
 

January 2019 – upcoming London eclectic gigs – Chlöe Herington curates ‘Overlaps’ with members of Knifeworld, Prescott, Two Pale Boys etc (15th January); No One’s Watching #4 featuring Ale Hop, Jylda, flies+flies and Famous Eno (19th January); a side-date with Dowry and Participant (23rd January)

9 Jan

While she’s been active for much of the past two decades as an ubiquitous reed-blowing sidewoman, 2018 was something of a breakout year for Chlöe Herington in that she became more ubiquitous in her own right. Last year, her V A L V E project seemed to be popping up everywhere. Originally a solo effort (in which she worked her bassoons and saxophones around peculiar avant-garde musical concepts, and orchestrated by building Heath Robinson-meets-Hugh-Davies instruments out of tobacco tins, transistors and bits of shelving), it’s now an all-female singing/multi-instrumental trio with a post-punk/immediate-music ethos. Sporting concert harps, bass guitars and microsynths, it happily dances up what initially look like musical cul-de-sacs only to raucously redecorate them.

'Overlaps', 15th January 2019

On top of that there’s been the regular work – helping to keep Lindsay Cooper’s music alive and performed; adding horn and woodwind razz (and a touch of glamour) to Knifeworld; and (most recently) joining brass-dappled techno outfit Hirvikolari to fatten up the hornwork. Meanwhile, Chlöe’s also been working behind the scenes as promoter and realiser for Westking Music, setting up assorted concerts and musical outlets at the Harrison in Kings Cross covering avant-pop, folk and more. The latest burst of the latter comes in the shape of the new ‘Overlaps’ evening she’s put together for the 17th this month with fellow Westminster Kingsway tutor and current Pere Ubu/Prescott guitarist Keith Moliné (whose own music sounds like a restless cross between a swamp musician, a distant train horn and a 1960s telephone exchange, when it’s not running off into morphing MIDI).

Apparently inspired by a circle of chairs they noticed in the Harrison one college lunchtime, ‘Overlaps’ is intended to be a dedicated experimental tag-team workout involving six different musicians joining up for improvisation, collaboration and the overlapping of work. For the first of these sessions, Chlöe and Keith themselves will be taking part.

 
Of the other players signed up for the launch gig, art-improv drummer Frank Byng usually works with Snorkel (both the band and the recording studio) and plays with Keith in Prescott. For two decades he’s driven, adjusted, pounced around and subverted the beat behind a host of playing projects from This Is Not This Heat to Crackle. Chlöe’s Knifeworld bandmate Kavus Torabi has spent the same two decades overturning rock applecarts as guitarist with Knifeworld, Guapo, Cardiacs and others. Depending on mood, he can sound like Fred Frith throwing it all up one illuminated lysergic evening to go hillbilly, or like a coffin-dragging psych-folk Django staggering home under a black sun.



 
The remaining two contributors are less well-known. Singer/ranter/sound manipulator/explorer Merlin Nova came into music-making via spoken word and radio soundcaping. Last year’s ‘Protect Your Flame’ EP is a happily unsettled beast which sees her travelling between batsqueak acapella songs, fractured megaphone poetics, experimental pop-bounce and strange devotional noise abstractions. Earlier work is a mixture of unsettling sonics and persona-shifting performance art.

Even less is known about the sixth musician, Farz, other than that he’s another shadowy figure from the Westgate Kingsway staff who released a debut EP on drum-and-bass label Peer Pressure last September. Whoever’s lurking behind the mononym, his music’s a dankly ornamental take on the d&b idea. In some ways, it’s reminiscent of the oft-overlooked ventures into art-dance by ex-Japan refugees Jansen Barbieri Karn from the tail end of the ’90s – deracinated from its direct origins (and losing a little of the context and directness), but gaining other context from its expansion elsewhere; carefully textured; occasionally yarping into digressions of curving, cirrus-tailed jazz-fusion synths.



 

If this evening works out then it’ll apparently develop into a gig series with a constantly shifting roster of players. I hope so.

* * * * * * * * *

 
'No-One's Watching #4', 19th January 2019The people behind another semi-experimental music evening, No-One’s Watching, have already managed to get to their fourth night before I got around to noticing them. Par for the course with me, unfortunately, but I think I’ll be keeping an eye on them in future. Tagging their latest event on 19th January as “three wonderfully surreal live acts topped off with a serious session of leftfield dancehall heaters”, they’re aiming for some kind of umami spot between basic pop appeal, beat impulse and avant-garde perspectives, happily seizing on the backdrop of new-ish Dalston art house SET with its mingled milieu of “the Twin Peaks Red Lodge (sic) and a northern working man’s club.”

Despite a name which reads like a Sussex pub folk session, headliner Ale Hop is Peruvian, currently working in Berlin after a spell in New York. Her early work was a strange wedding of discombobulated synthpop, psychedelic guitar sludge and vocal murmurs clinging together in fall-apart structures: sprawling, untethered songs moving sluggishly in drugged amber. Since then she’s been moving even further from formal areas, mostly using her effects-mangled guitar and voice as sonic sources. The results have a strange, off-the-wall drama to them: subterranean tunnelscape walkarounds in which ringing tones, distant treated guitars and scratchy rat-choir vocals are heard around corners and in which surprises lurk (synth-organ steamclouds, club kickdrums, computer register bleeps and sudden bursts of beat program). Her cover of the old black spiritual Sinnerman incarcerates it in a confounding, refracting trapfold of echoing guitar and voice (given additional heft by Caroline Araoz’ huge shofar-ish saxophone parts which rage in the background like natural disasters).




 
The other two live acts are gentle in comparison, but have their own charm and ambition. A recent transferee from Berlin to London, Gianna Gehlhar – or Jylda – strays along the line between a fairly conventional dreamy pop trip and more avant-garde distractions. Not much has been recorded/released beyond The Body, a slightly slurred, distractedly eroticised slice of distraction, with a narcotised drag weaving itself into a gloriously woozy climax of glockenspiel rainfall and synth tingles. Apparently the live show is where it’s at, with Jylda giving full reign to her vocals “constantly drift(ing) between extremes, from sounding high and soft, sometimes operatic and siren-like on the one hand, and keen and metallic on the other.” She won over a Paper Dress Vintage audience a while back, and now it’s Dalston’s turn.


 
No-One’s Watching house band Flies + Flies create their own unsettling pop that hovers that crucial two or three degrees of the normal. Admittedly it’s taken them a while to get there. Early material was bogged down in lead-footedness, but over four years though, they’ve evolved to the point where the interaction of Dan Griffis’ mellifluous vocal and Pet Rok’s subtly tussling instrumentation sounds like Jeff Buckley taking a wrong turn into a Mute-flavoured analogue-electrophonic dystopia. Chilly electronic skybuzzes and analogue bass, along with the clicks and clacks of old school drumboxes, frame a vocal sounding like a balladeer wrenched out of romantic simplicities and forced to navigate stranger dream-logic terrains. There’s a welcome hint of Robert Smith here too, albeit a Smith shorn of The Cure’s rolling, roiling rock traditions and given a tent, an incomplete map and some more interesting books.

 
Bringing some DJ culture to the night, Pet Rok will also be showing up on the decks in tandem with DJ PLS in order to play “weird bangers from across the globe”; while Swing Ting label DJ/producer Famous Eno brings a set of his own, touching on his work in grime, bashment, Afro-house and a host of other overlapping dance genres.


 
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On the 23rd, Éna Brennan is quietly slipping away from the ongoing Bell X-1 tour, on which she’s providing the Irish indie-rockers with violin parts at the helm of her Dowry Strings quartet, and spending an evening simply as Dowry. As part of this, she’s hooking up again with Stephen Tiernan, a.k.a pop soloist Participant, with whom she went out on a successful double-header tour in Ireland last year. This month, London gets its own taste of this down in the basement at Servant Jazz Quarters, now well established as one of the best rough’n’ready showcase venues in town.

Dowry + Participant, 23rd January 2019

Dowry is Éna’s loop-fiddle project. While drawing on her experience as multi-instrumentalist, broadcaster and composer, it sits off on its own as a
kind of unification of Terry Riley systems music with the oft-sidelined traditions of Irish classical (generally overshadowed by the more readily exportable folk tradition, but offering its own Eirean essence of rainsoaked strings and staunch intransigent romance). In a typical piece, overlaid violin parts will pile up like slowing lava flows, increasingly hallucinatory and vertiginous. They’re like a growing conflation of idiosyncratic conversational voices; mutters both gentle and harsh, running increasingly out-of-sync and punctuated by actual subvocalisations and breath punctuations from Éna as she plays.

 
In comparison to Dowry’s heady confusions, Participant could hardly be clearer or sharper. A Dubliner, Stephen Tiernan’s been releasing assorted singles and EPs for four years now. A gawkily handsome presence, he’s an unlikely baby-voiced literalist who rides his intricately-worked-out songs from folk-cellar plucking to enormous, romantic Disney orchestral arrangements. Presumably he’s brought his arrangement dynamics along with him in a black box: otherwise, expect an unplugged hearthside show with trace-elements of other Irish songwriters in there (I can hear the ghostly solo work of Martin Furey, as well as a touch of Damien Rice) but Stephen’s understated precision is all his own.



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Dates:

‘Overlaps’ (featuring Chlöe Herington + Keith Moliné + Frank Byng + Kavus Torabi + Merlin Nova + Farz)
The Harrison, 28 Harrison Street, Kings Cross, London, WC1H 8JF, England
Tuesday 15th January 2019, 7.30pm
– information here

No One’s Watching presents:
No One’s Watching #4: Ale Hop + Jylda + flies+flies + Famous Eno
SET (Dalston Lane), 27a Dalston Lane, Dalston, London, E8 3DF, England
Saturday 19th January 2019, 9.00pm
– information here and here

Dowry + Participant
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Wednesday 23rd January 2019, 8.00pm
– information here, here and here