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November 2017 – Cosmo Sheldrake’s new album news and European mini-tour (17th-30th November) including an appearance by Jenny Moore’s Mystic Business

11 Nov

Cosmo Sheldrake, 2017

Fresh off a September tour with ex-Bombay Bicycle Club frontman Mr Jukes (and an October one with actor-folkie Johnny Flynn and Holly Holden Y Su Banda), one-man experimental pop orchestra Cosmo Sheldrake is finally gearing up to release his debut album. He’s celebrating with an entirely premature string of headlining dates in England, Germany, France and Switzerland during the second half of November.

They’re only premature in that the album’s still at least a season away, but why stop when you’re on a roll? “Am soooooo happy to announce my debut album ‘The Much Much How How And I’ is finished… it has been a very long time coming. Three years in the making! I’m very excited and can’t wait to have it out in the world.” Though this isn’t happening until 6th April 2018 (on the Transgressive label), pre-orders are here if you’re already intrigued – and meanwhile, you can take a peek at the hilarious, macabre Josh Allott-directed video for one of the tracks, Come Along, which “explores the experience of both having head lice and being a head louse. Microscopic worlds expand and consume the world of the large. Human heads become continents, scalps become landscapes, salons become solar systems. Come along now.”


 

With its skewed but loosely unified focus on nature, myth, science and intuition, both song and video are typical of Cosmo’s work – an generous and omnivorous corpus enveloping traditional folk and glitch mashups; hipster chic and novelty records; Bjork, Bobby McFerrin and the Fariñas; process music, Partch and prog; rhymes, reels and street parties; old Lomax recordings, beatboxing and Edward Lear. Cosmo himself is an extraordinary collagist and multi-instrumentalist whose roster includes thirty or so instruments (from guitar and piano to samplers, euphonium and duduk topped off with the distinct, lilting and mustardy twang of his vocals) and who’s spurred by a restless urge to reinvent anything he touches and any place that he plays. He’s been rumoured to pursue extinct animal recordings in order to get the noises and voices he wants, so not even death is an obstacle to curiosity. Of course, as one of the children of therapist and vocal shaman Jill Purce and of rebel biologist/parapsychologist Rupert Sheldrake, he’s long been growing in interesting soil. In many respects, it’s hardly surprising that he’s turned out the way he has.

As the further video clips below show, Cosmo is not someone whose talents and ideas are best contained by a support slot. It’s best to see him when he’s more in command of the evening, even if he’s just up on a little stage somewhere rather than out there subverting a swimming pool or model village, capering in front of a brass band or preparing to keelhaul an accordion.






 
Here are the live dates:

Fresh news in for the London gig – as well as a DJ set from Gentle Mystics (like Cosmo, unpeggable underground everything-ists whose own records yaw wickedly and knowingly between Balkan folk, Brit-hop, 2 Tone, Eartha Kitt and occasional world/prog/folk re-arrangements of Stravinsky), there’ll be support via a performance of Jenny Moore‘s ‘Mystic Business’, emphasing just how far Cosmoworld stretches from the average pop show. A member of drum-heavy art/femme/punk/party trio Charismatic Megafauna, Jenny works across a variety of performance art fields from radio show to performance installations, turning up live investigations of artistic responsibility, sexual “humanifestos“, proposals for rock operas and more.

‘Mystic Business’ is one such project: originally a set of communal workshopped songs for percussion and voices which explore and shows off a range of expressio. These range from single-voice-and-slapped-thigh rap to involved group-drumming chorales and minimalist loft-music singalongs (like post-Riot grrrl echoes of Philip Glass and Arthur Russell). Topics explored include body politics, doubts/immediacy/questioning, ripples of revolt, premature ejaculation and marimba-assisted paeans to feminist science fiction hentai. See below for a five-minute excerpt (a kind of post-structuralist spiritual/canon) and for the full forty-two minute version. I’ve no idea how this might work in the more structured context of a formal gig, but I’m sure that Jenny will come up with a new twist.

 

November 2017 – upcoming free rock gigs – Tonochrome back in action in London (25th November); All Hail Hyena host a quadruple-headed evening in Preston with Dirty Bare Feet and Soldato plus the return of Sleepy People for their first gig in sixteen years (11th November)

2 Nov

Tonochrome, 25th November 2017

Tonochrome
The Spice of Life, 6 Moor Street, Soho, London, W1D 5NA, England
Saturday 25th November 2017, 7.30pm
– free entry – information

London progressive pop band Tonochrome have been away for a while – they were last onstage towards the end of 2013. This new gig towards the end of the month is something of a return and reshuffle – it’s their first with the newest in a run of bass players (Andres Castellanos), and an opportunity for singer Andres Razzini and his other cohorts (keyboard player Steve Holmes, drummer Jack Painting and, on guitar, transdisciplinary musical wanderer Charlie Cawood) to show us the latest developments for a promising band. Over an increasingly interesting pair of EPs, Tonochrome have explored glam pop, aspirational indie and a touch of expansive prog, building towards a definitive, textured statement. I don’t know if they’ve got there yet, but this show is free, so get in and see what they have to offer.


 
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Dirty Bare Feet + All Hail Hyena + Sleepy People + Soldato, 11th November 2017Hyena Inc. presents:
Dirty Bare Feet + All Hail Hyena + Sleepy People + Soldato
Ships And Giggles, 3 Fylde Road, Preston, Lancashire, PR1 2XQ, England
Saturday 11th November 2017, 7.00pm
– free entry – information here and here

Meanwhile, up in Preston, herky-jerky odd-rock band All Hail Hyena (who’ve made an initial name for themselves by storming and/or organising assorted Tim Smith benefit gigs) continue their work as promoters Hyena Inc. via a free DIY gig celebrating “one night of pop-punk-rap-reggae-soul-psychedelic space ska nursery-rhymes rock lo-fi metal bossa-nova prog tri-fi music from four diverse and very different brilliant northern bands”. As well as putting on the night and providing the lollipops, they’re performing themselves, bringing new songs of “neon lipstick, the thrill of a stolen kiss, and powerful pop ballads infused with filthy guitars and hot sex”. The gig will be closed by another growing Preston institution, Dirty Bare Feet, playing an audience pleasing “myriad of rap, soul, reggae, dance, pop, disco and jazz”; and opened by Chorley hard rockers Soldato (“four hairy northerners making noise with wood and wire”).




 
Of most interest to me, however, is that this gig marks a long-overdue return to live action by Tyneside underground heroes Sleepy People. Teasers and tinkerers at the coalface of psychedelic pop, they’ve always been a wilfully eccentric bunch; mingling the countercultural clowning and cosmic glissandi of Gong with bursts of twinkling synth melody, pulses of ska and post-punk guitar chug, set off by moonstruck flute and held together by Paul Hope’s odd yet jaunty songs (which chunter along like sugar-frosted tank engines). The last time they trod the boards was back in 2001: reunited with original singer Tiny Wood (better known as the frontman for ongoing cult-glamsters Ultrasound) they’re seeing what the contemporary world offers them, and vice versa.

Sleepy People, 11th November 2017Despite a strong work ethic Sleepy People never got as far as they should have done during their first lease of life; partly thanks to a constant stop-start of personnel turnover (with Paul and Rachel Hope the only consistent members) but also due to their continual goofiness and repeated nose-thumbing at any conception of cool. Daevid Allen might well have applauded, but the insouciant clowning tended to obscure surprisingly thoughtful songwriting which – while it happily dipped into a soup of esoterica from Gurdjieff to Freemasonry – frequently raised an arch, quizzical eyebrow at contemporary concerns. Among the tales of the frieze of myth and of men turning themselves into birds, the Sleepies also sang about the encroachment of shopping malls, about futile attempts at freezing yourself into immortality, or about modern-day nightmares in orphanages and retirement homes. At other times they’d cast numinous halos of wonder around everyday occurrences (a winter walk home which slowly becomes freighted with significance; the joy of a child running across a beach; or, perhaps on the same beach, the uncomprehending travails of a newly-hatched turtle perilously navigating by the moon).

Things can only be improved by the ongoing reunion with Tiny (who actually rejoined for part of the band’s final stint as Blue Apple Boy around 2002 before they called it a day). Striving to be Wakefield’s own David Bowie and its David Thomas; possessed of a hulking, dramatic stage presence; singing in foreboding and flinty tones like a pop crooner reincarnated as a battlefield crow… he’s always been the best, and the edgiest, foil for Paul’s songwriting. The tail end of the Blue Apple Boy period saw them writing together, Tiny’s more personalised art-punk anguish proving the perfect sour complement to Paul’s sweet, playful tunefulness: let’s hope that they’ve kept that up for the revival.

As for Sleepy People on the web, they’ve still got much to improve on their Facebook page (you’re better off checking them out on Wikipedia) and embeddable delights are few and scattered. Here’s what I could come up with, though – a twirl through Halfway World (with Tiny’s original replacement Phil Sears); recent rough’n’ready rehearsal footage of Every Wave Is Higher On The Beach and Nicky’s Little Army; and half an hour of grainy, raucous footage of a Tiny-fronted band lineup in 1993 (complete with three-fifths of the original Ultrasound).





 

October 2017 – upcoming English gigs – Holly Penfield chops and changes in London (18th October); Minute Taker’s multimedia love-and-ghosts story ‘To Love Somebody Melancholy’ in Glasgow, London & Brighton (15th, 21st, 22nd October); Cardiacs’ ‘Marenest’ fundraiser showing in Bristol with The Scaramanga Six (21st October); and something on Paul Diello

7 Oct

Holly Penfield presents:
‘Holly Penfield – Spooky Little Girl’
The Royal Vauxhall Tavern, 372 Kennington Lane, Vauxhall, London, SE11 5HY, England
Wednesday 18th October 2017, 8.00pm
– information here

Holly Penfield: 'Fragile Human Monster', 18th October 2017For a while, there, I was spun back. Twentysomething years ago, I was a regular at Holly Penfield‘s ‘Fragile Human Monster Show’ (having first caught her performance on a random Edinburgh night back in 1992). Ostensibly based around sleek ’80s synth’n’sequencer pop, her shows had a number of twists. More like ’70s songwriter confessionals, they stirred yearning jazz and blues strands back into a genre which had mostly eschewed them. Based around Holly, her Kurzweil keyboard and a saxophonist (usually her husband Ian Ritchie, who’s had a hand in everything from Scouse artniks Deaf School to the Roger Waters band and the ‘Lonely Planet’ theme), they also had a compelling and bizarre Californian theatrical edge which variously sat in your lap and purred, wailed over your head, broke down in front of you, or made you feel less alone – always in the same set.

If you can dig up Holly’s long-lost debut album ‘Full Grown Child‘ – a brash early ‘80s Chinnichap production – you’ll hear an Innuendo-strewn, pop-belting cross between Suzi Quatro, a bleach-blond Rizzo, ABBA and full-on coke-blizzard-era Stevie Nicks. ‘Fragile Human Monster’ was the fallout from all that: an onstage realisation of Holly’s independent followup ‘Parts Of My Privacy’, in which she and Ian went back to her bluesier and torchier San Francisco roots, merged it with Ian’s techno-pop skills and teased out a series of passionate, cracked paeans (plus jarring digressions into performance art) about fear, instability and how the lost rebuild their lives and make their way. Tremendously tuneful but at odds to the music biz, the ‘Fragile Human Monster Show’ was that rare thing: outsider music with genuine craft and skill. It was also pretty queer and culty, drawing a diverse squadron of waifs and strays of all stripes (including me) to Holly’s home venue on the Kilburn High Road. Eventually it wore Holly out: putting it to rest, but still hanging onto her stubborn kookiness, she applied her remarkable voice and stage presence to a new career as a jazz cabaret diva. She’s made, I think, just one revisitation to Monster territory since (which you can read about here).

Holly Penfield: 'Spooky Little Girl', 18th October 2017Late this summer, though, Holly announced that she was bringing the old show back for an evening in October, though she wasn’t clear about how she’d be doing it: perhaps reworked for the acoustic jazz band she’s used for the last couple of decades, or perhaps with her going it alone (with the Kurzweil and sequencers brought out of mothballs and will go it alone). At any rate, I thought I’d be going along – possibly in search of my own confused, similarly theatrical mid-twenties self, perhaps to see if I got along with him a little better.

However, everything was upended in early September following Holly’s jolting appearance in the auditions for ‘The X-Factor’. Ubercamp, leather-clad and singing Meredith Brooks’ Bitch, she went full-on nightclub and came on to Simon Cowell like a kinky Weimar nightmare with a riding crop. Inspired by the experience (and not a little miffed at the mocking edit that made it to TV) Holly’s now claiming that “the evil jazz cabaret performer in (me) has clawed its way to the surface”, and has morphed the October show into an upbeat Halloween “Spooky Little Girl” special (billed as “cabaret classics, spooktacular rocking favourites and self-penned songs as only our Diva can deliver them”).

I can’t help thinking that an opportunity’s been lost (or steamrollered) but I might show up anyway. She’s still promising to pepper all of the knowing cornballery with old FHM songs; several existing set standbys (such as Stay With Me, seen below in a torch-jazz arrangement from 2009) originated in the old show, and a new-ish piano/vocal song Confessions (posted up online a year ago) suggests a creative leaning back towards the old days of torch and bearing witness. Regardless of any of that, there’s still the voice; there’s still the onstage magnetism. Should be some sort of a blast.



 
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Minute Taker: 'To Love Somebody Melancholy' (live show)Also during the midmonth, acclaimed LBTQ folktronicist Minute Taker (aka Ben McGarvey) takes his multimedia show ‘To Love Somebody Melancholy’ out on tour in England and Scotland. I missed the news about his summer tour (which spiralled out from his homebase of Manchester, taking in Oldham, Chorlton and the Didsbury Art Festival plus a trans-Pennine appearance at Hebden Bridge) but managed to catch the news about his autumn followups in Glasgow, Brighton and London (including an appearance at the seventeenth century “actor’s church”, St Pauls in Covent Garden). Here’s the story:

“Singer-songwriter Minute Taker and BFI award-winning animation artist Ana Stefaniak have created a haunting, modern fable told through projected film and an epic live band performance of Minute Taker’s upcoming album… Expect to be immersed in a dark and magical world of strange animated characters and piano songs brimming with ethereal harmonies, fizzing synthesisers and orchestral twists.

“In ancient Greek philosophy Aristotle first popularised the notion that artists, poets and writers were of a melancholic disposition. In the middle ages melancholics were thought to be possessed by demons if they could not be “cured” of their depressive tendencies. Set on a desolate seashore, ‘To Love Somebody Melancholy’ explores the notion of the archetypal artist as he journeys through the euphoric highs and the self-destructive lows of his creative cycles. A new romantic relationship brings the artist the contentment he craves but it soon becomes apparent that there’s something else lurking in the shadows; a ghostly, shapeshifting third entity whose form is entirely dependent upon the artist’s current mindset. Sometimes a saviour, a source of inspiration and hope, sometimes a savage, ruthlessly determined on driving his lover away.”


 
Ben comments “one of my biggest influences when creating ‘To Love Somebody Melancholy’ was Kate Bush’s masterpiece ‘The Ninth Wave’. Such a wonderfully magical, otherworldly and at times frightening journey into the unknown. I never tire of going on this adventure with her. Come join our own dark adventure, inspired by Kate’s.”

Dates:

  • Websters Theatre, 416 Great Western Road, Woodlands, Glasgow, G4 9HZ, Scotland, Sunday 15th October 2017, 8.00pm – information here and here
  • St Paul’s Church, 29 Bedford St, Covent Garden, London, WC2E 9ED, London, England, Saturday 21st October 2017, 7.30pm – information here and here
  • Latest Music Bar, 14-17 Manchester Street, Brighton, BN2 1TF, England, Sunday 22nd October 2017, 7.30pm (with Paul Diello) – information here

Additional support comes in Brighton comes from the award-winning “pop/folk/fabulous” singer-songwriter Paul Diello, who recently wowed the Brighton Fringe Festival with a sold out run of five-star-review shows and who promises “a special set of songs” for the occasion. Citing Madonna, Bowie, Kate Bush and Anohni as inspirations, Paul is an increasingly powerful artistic presence in the LGBT underground, operating in the febrile interface between cabaret, chart pop, queerness and visual staging (in particular, via video). Provocative and insidious, with an ear for the brazen tunes of ‘80s synthpop, Paul reminds me of a tougher Marc Almond – albeit with the sturdy physique of a dockside bouncer – while his songs are sharp confections of fists, flowers and standing your ground.


 
* * * * * * * *

Kate Bush seems to have become a recurring presence in this thread. Perhaps I’m alone in this, but I’ve always drawn a vague connecting line between ‘The Ninth Wave’ and Cardiacs’ 1989 album ‘On Land And In The Sea’.

Despite their common south London roots and the bare three years between them, there doesn’t initially seem to be much linking Bush’s silky-petalled Fairlight-driven art pop with the shrill, switchbacking, horns-and-artpunk firepower of Cardiacs, let alone their urchin squawks versus her sensual coo (though I’d have loved to have heard them cover each other). Dipping beneath the surface, however, reveals plenty to unite the two work. There’s the common and commonly transmogrified debt to English prog (in the structural ambition, the little flourishes of grandeur, and the enthusiastic mining of everything from twinkling tunes to violent psychedelic riffs, looming synth orchestration to jigs and jittering dreamscapes). There’s the common immersive marine motif – even when the sea’s banished from the foreground, it’s always present to embrace, propel, threaten or dissolve the bobbing characters within the songs. And although ‘The Ninth Wave’ centres pretty clearly on the near-death experience and night journey of a single castaway, while ‘On Land…’ zig-zags crazily over suburbs, shorelines, skies and inlets while weaving through multiple blurred perspectives (from the individual to that of a kind of profoundly skewed post-war national consciousness) in both works a half-sleeping, half-waking British mythology gets forked up and worked over anew, with a relentless filmic curiosity.


 

‘On Land And In The Sea’ provided most of the songs played in Cardiacs’ 1990 concert film ‘Marenest’, which brings its own chaotic theatrics to a fundraiser showing in Bristol. Live support comes from brutally grand, macabre Yorkshire rockers The Scaramanga Six, bringing a punchy live set based in part on their new crowdfunded ‘Chaotica’ album.

If ‘On Land…’ really was intended as some kind of concept album, it hid the fact under a typically Cardiacs welter of invention and disinformation. In contrast, ‘Chaotica’ wears its conceptual heart on a stained sleeve – the Scaramangas have been pretty open about its roots in “an abstract story roughly hewn from a concept of a dystopian island society. A place where everything has fallen into ruin, yet people still seem to have the same preoccupation with the trivial crap they had before. The population trudge through a chaotic existence on top of each other with absolutely no hope of a better life. Society is reduced to its base behaviour yet people still crave superficial fixes. The human condition carries on regardless. There is no outcome, no lessons to be learned. Familiar?” ‘Chaotica’ might not quite be a Brexit ‘Quadrophenia’, but it’s clearly leaning that way.


 
As is generally the rule with Cardiacs-related events these days, all profits on the day (including bonus donations by bucket or booking-stage gifting) are going to fund the care of Cardiacs’ driving force Tim Smith as he continues to battle against the aftermath of heart attacks and stroke. Note that the venue is quite hard to find, hidden as it is away behind the rubbish bins in a nondescript Bristol car park. Some Cardiacs fans would claim that this is only appropriate.

‘Maresnest’: Tim Smith Benefit with The Scaramanga Six
Cube Microplex, Dove Street South (off top-left of King Square), Kingsdown, Bristol, BS2 8JD, England
Saturday 21st October 2017, 7.00pm
information
 

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