punk rock | Misfit City

Archive | punk rock RSS feed for this section

May 2021 – single & track reviews – Loud Women’s ‘Reclaim These Streets’; Penelope Trappes’ ‘Blood Moon’; Spellling’s ‘Boys at School’

The personal, and the political. Flip a coin next time you walk out of doors. If it falls the wrong way, imagine that at some point you’re going to be the target of some kind of abuse while you’re out there – aggressive attention, or being boxed in, or physically assaulted. Possibly murdered.

Loud Women: ‘Reclaim These Streets’

If you’re male (and if you’re taking this seriously), you’re probably feeling slightly paranoid at imagining this sort of a world. If you’re female, you don’t even need me to tell you that you’re already dealing with it – often the actuality, but always the ever-lurking fear and concern, and the rage that comes because of the way that this situation just grinds on and on forever… and of how it not only stalks the street, but seeps into the home, smothers the protest, blocks the initiative.

Spurred into action by two particular deaths, those of Blessing Olusegun and Sarah Everard (two outcroppings of this collective outrage, the first of which has highlighted the relative dismissal which the deaths of black women receive; the second how gynocidal murder can be dealt out even by those who are duty-bound to protect), a choral swarm of female musicians have come together under the umbrella of the Loud Women collective for ‘Reclaim These Streets’. In part it’s a well-deserved fund raiser for Women’s Aid. In part, it’s a righteous kick against this horrible cloud of threat and complacency.

On top of all that, as a protest song it works both in message and in form. Written by Loud Women founder Cassie Fox (of Thee Faction and I, Doris) it sits tight in the crossover pocket of punk and guitar-pop, with perhaps Deb Googe’s ferocious dragster-thrum bass as its prime component. Pounding along, fiercely and hungrily, it simultaneously finds room for a whole spectrum of female thinking, emoting, flavourings and positioning. The assured and assertive whomp of punk protest to the bruised-but-unbeaten notes of confessional; the hookiness of girl-group vigour and the whisper-to-gale push of the female chorale; the empowered party zest of women in solidarity; through to the roar of collective rallying.

As for the words, they’re forthright in their abraded, angry sketching of trepidations and injustice (“From the age of thirteen / I’ve known the fear of dark streets. / I’ve known my body’s danger / – can he hear my heart beat?.. / From the age of thirteen, / been told that it is my fault. / Blamed for male violence, / better watch where I walk… / Every woman’s got a story, / breaks silence with a whisper… / Text me you when get home; / keys between your fingers; / staying close to streetlights – / fear of shadows lingers…”). They’re equally forthright in their call for something better, something more just. “We have a right to safety / She was just walking home / Too many women share a story / You are not alone… / Daring to tell her truth / Calling to her sisters… / Till every woman’s safe from harm in her own home / Till every woman’s safe to live her truth / Till every woman’s safe to walk on every street.”

Perhaps its strongest impression, though is the coming-together – the commonality – of so many female musicians from across nearly five decades. A tranche of 1990s indie queens include Debbies Googe and Smith, Salad’s Marijne van der Vlugt and journalistic ground-breaker Ngaire Ruth; Brix Smith adds a gawky-but-gutsy rap in the middle;. latterday rock journeywomen Charley Stone and Jen Macro serve as guitar backbone. Elder voices (with lippy and lippiness) include Siobhan Fahey and that steadily-evolving, she-punk/polymath-auntie Helen McCookerybook.

As for the extended hand-to-hand patchwork of the Loud Women community choir, it contains among others MIRI, Lilith Ai, Laura Kidd (of Penfriend/She Makes War), Julie Riley, Lee Friese-Greene, Estella Adeyeri (Big Joanie) and Cassie’s I, Doris bandmate Abby Werth; plus dive-ins from assorted members of fierce female and female-slanted bands (such as Dream Nails, The Pukes, The Tuts, Desperate Journalist, Gender Chores, Slut Magic, Deux Furieuses, Berries, Muddy Summers & the Dirty Field Whores), all of them asserting and persuading together. It’s a reminder that few things are as naturally formidable – as naturally authoritative – as adjacent generations of women in full agreement, and who are forcefully letting it be known.

From material certainties to something metaphysical. In ‘Blood Moon’, Penelope Trappes imagines herself as Isis (protecting goddess of women and children, divine healer) but also as struggling against present-day burdens which have grown too heavy, too deadening. In the Agnes Haus short film which accompanies the song, a silver car pulls skittishly into a multi-story car park at night and Penelope-as-Isis (tumble-haired, teary-eyed, all too human in her distress) drags the unresponsive body of another woman across the concrete. The other woman’s face is unseen. Her leopard-print coat is snagging, her mass a dead weight.

There are flickers of power in Isis yet – she summons lightning and snow from her fingertips, and is dogged in her hauling efforts – but the film ends unresolved. Having dragged her burden all the way to the moon-shrouded docks, and with both the lifeless other body and her own wig of blonde curls now discarded on the roadway, the exhausted goddess stares angrily into the camera in a smear of kohl and sweat. Around her, the world continues, part-asleep, part-unregarding; a freight lorry cruising slowly past as if all too aware of damaged and brutalised women, and indifferent to them.

Visually, it’s all a bit didactic: besides Penelope’s goddess-role, there’s the fact that that anonymous dragged woman is eventually identified only as “societal expectations” (like something out of a mummer play for …feminism) It makes up for this with its mingled air of dread, fear, resolve and resentment as Isis shudders, pulls together strengths and repurposes fear, tries to function in the face of a massive injustice which billows between the mythic and the material. Likewise the song, which sounds as if it’s been stitched together from shreds and rags of weariness and resolve. The beats are like sparse, distant artillery; the piano sounds as if it’s been dropped from a great height before Penelope could pick a tune out of it.

Her own voice is a denatured wisp heard round a corner, delivering shadowy ambiguous lyrics. Groundings and splinterings mingle with prayers and protest and, somewhere, deep down, the shards of a mangled love song.“Centre body and guide, /show me what to do. / Serve grace with trebles eye, / turn must push on through. / I , I won’t lose. / I’ll tear up our love… Blood moon rising above… / Lover remember / repurpose fear within / along heated lines. / Can’t hear if you are fine. / I’m strong enough, / I’m strong enough…” The picture never becomes entirely clear. Perhaps it’s something which is felt over time… or in a pull-back. Too many congregating factors which rip a hole in the side of strength. Too many furious stitchings-up.

Bay Area baroque popper Spellling delivers a clearer message, somewhere between the fulsome protest of Loud Women and the abstracted one which Penelope favours, but hovering with purpose in a place of her own. You’d think you’d know what’s coming with a song called ‘Boys from School’ – either girl-group coo left as it is or flipped over to express rage at classroom and playground sexism. Spelling touches briefly on the latter (“I hate the boys at school / They never play the rules,”) but she has bigger fish to fry.

It’s not just the boy-runts who are failing her as a person. Admittedly, there’s a hint at dealing with disinterest and thwarted desire with “the body is the law and I’m only human after all / Wanted to bе the one that you need…”. But mostly it’s the whole institution that’s failing her as she drifts, purposefully, through its corridors while gradually disconnecting from its expectations and requirements. “Take me to the Lord before the boredom takes me over.” she hiss-whispers. “I am waiting on his move. I’m going under the floor. / What am I waiting for? / Floating down the hall / through all the voices, through all the walls. / Thought you could be the one to set me free.”

As a song, it’s in keeping with the genre-fluid approach that Spellling’s shown before: it’s a theatrical, near-orchestral shape-changer incorporating gusts of New Orleans funeral jazz, Kate Bush keenings, blended-in Chinese motifs, glam-prog riffs and chilly synthpop flourishes while always keeping to the pace and poise of trip hop soul. As a manifesto, it’s playful but forceful – an out-and-out rejection of being shaped, not just from the outside but also by pressures coming from the inside. “Tomorrow I turn sixteen years and I don’t want to grow older” sings Spellling, a black Pippi Longstocking; turning a retreat, rejection and revolt against adult expectation into a biting political resistance, ‘Tin Drum’-style. She’s called this a “step back into my younger self, my teenage self to voice my angst, desires and disillusionments,” and she’s taking this all the way, unfinished edges and all.

There’s ambiguity here, for certain, but she wields it with deliberate intent. “Shut out the sun until I’m small again,” she demands, embracing the need for aloneness and self-reliance. “I’m way too tired to climb out of bed. / Four walls is all I need of friends.” Yet there’s also no self-pity here, and she’s always completely clear and centred. “I’m meaner than you think, and I’m not afraid of how lonely it’s going to be./ If I change my mind I’ll go walking outside, / just to see how the law is in place still.” Blending ambitious art-pop with a dose of that original black-girl wokeness, it’s a prologue to further choice and action; a kind of witchy taking-stock. It’s very rewarding.

Loud Women: ‘Reclaim These Streets’
Loud Women (no catalogue number or barcode)
Download/streaming single
Released: 14th May 2021

Get/stream it from:
Bandcamp, Resonate, Apple Music, Amazon Music, Spotify

Loud Women online:
Homepage, Facebook, Twitter, Bandcamp, Instagram

Penelope Trappes: ‘Blood Moon’
Houndstooth Label (no catalogue number or barcode)
Format/other format item type
Released: 17th May 2021

Get/stream it from:
Bandcamp, Deezer, YouTube, Spotify, Tidal, Amazon Music, Napster

Penelope Trappes online:
Homepage, Facebook, Twitter, Soundcloud, Bandcamp, Last.fm, Apple Music, YouTube, Vimeo, Deezer, Spotify, Tidal, Instagram, Amazon Music, Napster, Qobuz

Spellling: ‘Boys at School’
Sacred Bones Records (no catalogue number or barcode)
Streaming/download single
Released: 11th May 2021

Get/stream it from:
Bandcamp, Deezer, Apple Music, YouTube, Spotify, Tidal, Amazon Music

Spellling online:
Homepage, Facebook, Soundcloud, Bandcamp, Last.fm, Apple Music, YouTube, Deezer, Spotify, Tidal, Instagram, Amazon Music

Tags: Abby Werth, Angela Martin, Bananarama, Bec Jevons, Berries, Beverley Kills, Big Joanie, Bows, Brazen Hussy, Brighton (England), Brix Smith, Bugeye, Caroline Gilchrist, Cassie Fox, Charley Stone, Cowboy Racer, Curve, Debbie Googe, Debbie Smith, Desperate Journalist, Deux Furieuses, Dream Nails, Dungareen Jean, Echobelly, Elis Sarv, Ella Patenall, Emily Eagle, Emma Sky, Erika Severyns, Estella Adeyeri, Feral Five, Gail Something-Else, Gemma Cullingford, Gender Chores, Georgie Willsher, Girls Rock Indiana, Gold Baby, Hadda Be, Hagar the Womb, Harriet Doveton, Helen McCookerybook, Her (Julie D. Riley), Holly Carter, Hot Sauce Pony, I Doris, IDestroy, Jade Ellins, Janey Starling, Jen Macro, Jo Bevan, Joyce Raskin, Joyzine, Kat Five, Kel, Kelly Chard, Kimmi Watson, KNM, Kristina Stazaker, Laura Kidd, Lee Friese-Greene, Lilith Ai, listening to women, Liz Hayward, London (England), Lorna Tiefholz, Loud Women, Marijne van der Vlugt, Michelle Marti, Minni Moody, MIRI, Molly Energi, Muddy Summers & the Dirty Field Whores, My Bloody Valentine, Nadia Javed, Naz & Ella, Ngaire Ruth, Nicki Mirage, Noise Noir, Oakland (California - USA), Ode to Sleep, Patsy Stevenson, Paul Maps, Penelope Trappes, Penfriend, Petrol Girls, Priya, Rabies Babies, Ren Aldridge, Ros Cairney, Roshi Nasehi, Rowanna Chown, Salad, Sam McCann, Shakespears Sister, She Makes War, Shona MacMillan, Siân Alex, Sink Ya Teeth, Siobhan Fahey, Slut Magic, Snowpony, Spellling, Stevie B, Suteki Hegg, T-Bitch, The Empty Page, The Fall, The Pukes, Umbilica, women of heart and mind

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

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:

Babyskullz (Jo Spratley) online:

Crayola Lectern (Cola Ray) online:

MUMMY online:

Tags: Babyskullz, Brighton (England), cheap drum machines, Chris Anderson, Christian Hayes (Bic Hayes), Crayola Lectern, Hove (England), Jo Spratley, listening to women, Mikrokosmos, MUMMY, New Weird Britain, the buds and spawn of Cardiacs and Tim Smith, Worthing (England)

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’

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’

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’

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:

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:

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:

Tags: Brighton (England), Godcaster, Heavy Lamb, Jesse Cutts, Jo Spratley, Kryptograf, New York City (USA), Philadelphia (USA), the buds and spawn of Cardiacs and Tim Smith, Vestland (Norway)

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’

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:

Babyskullz (Jo Spratley) online:

Mikrokosmos online:

Tags: Brighton (England), Christian Hayes (Bic Hayes), Jesse Cutts, Jo Spratley, listening to women, Mikrokosmos, MUMMY, Pink Floyd, Syd Barrett, The Breeders, the buds and spawn of Cardiacs and Tim Smith, The Sea Nymphs, Tim Smith, William D. Drake

Comments Leave a Comment
Categories 2020, alternative rock, art punk, art rock, DIY music, EP reviews, experimental pop, experimental/avant-garde rock, pop, post-progressive rock, psychedelic folk, psychedelic pop, psychedelic rock, reviews, rock

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

If 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).”

If 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.

* * * * * * * *

On 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.”

* * * * * * * *

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

Tags: Adrian Lever, almost acoustic, ArHai, Deaf School, Holly Penfield, Ian Ritchie, Joe Stringer, John Lochland, Jovana Backovic, Keith John Adams, Kenny Process Team, Kevin Plummer, Kirk Sylvester, London (England), Manchester (England), Minute Taker, multimedia, Raphaël Neal, Rhodri Marsden, The Happy Couple (acoustic instrumental duo), Zuno Men

December 2019 – Arch Garrison and Emily Jones on tour together around England – folk, psychedelia and other familial connections featuring The Steven Morricone Tyranny, We Are Muffy, Libbertine Vale, Little Robots, Berlin Horse, Chlöe Herington, Ian A. Anderson and Pete Aves (11th to 17th December); plus a Jones and Garrison contribution to Spratleys Japs’ Winter Wonderland show in Brighton with Panixphere, Matthew Cutts and Hot Sauce Pony (21st December)

2 Dec

Craig Fortnam’s most recent surfacing (as North Sea Radio Orchestra) was a Robert Wyatt tribute event back in June, accompanied by assorted European Canterbury-scene aficionados and former Henry Cow-ers. Increasingly, that Wyatt connection’s cleaving more and more closely to his own work. It’s not that he absolutely takes on board that Wyatt whimsicality, the covers work or the delightful melting song-rambles: it’s more something about the lack of pomp, in particular in the tone of voice. Like Wyatt, Craig sings in an unaffected, unperformed manner – a delicate cupboard-voice, a step up from speech or chat, allowing itself to be frail but unsilenced: a singing style that’s like a confidence quietly shared in the back booth of a pub.

While this has been evident in Craig’s vocal moments with NSRO, it’s always been more present in his smaller-scale singer-songwriter work as Arch Garrison, in which he’s less sheltered behind chamber woodwinds and strings. Originally a trio including bass, subsequently trimmed to the two-man interplay between Craig and the delightfully welling, psychedelic-chapel keyboard work of James Larcombe, the upcoming English tour sees AG as Craig on his own – just his voice and artful nylon-string guitar, fingerpicked in a way which suggests a British answer to John Fahey’s American Primitive style while drawing from classical, flamenco, African stylings and intents. New songs are promised, adding to Craig’s existing repertoire of soft pushings and reflections on family, geological time, bereavement, and contact with one’s surroundings.

Craig’s tourmate is Emily Jones – a singer-songwriter who’s a little further underground, with only a single 2014 debut album to her name compared to Craig’s batch of projects (although she’s also made marks via a split woodland-folkadelic album with The Rowan Amber Mill). That said, she’s been making progressively bigger splashes this year; emerging from cottages in Cornwall and Salisbury for a growing number of concert appearances. This tour will be her biggest effort to date – six shows up and down the country bringing her feathery songs of hauntings and lovings which blur in and out of folk mythology and present day magic, accessible and human with a gentle wash of acid dreaming and folk baroque.

Along the way, there’ll be various other meetings. In Hexham, it’s just the two of them playing; but in Weston-super-Mare, they’re part of the Winter Warmer event at the Sunfold Hotel, the Weston-super-Mare guest house which is emerging as an occasional local stronghold for music (thanks to the affable-evil presence of Steven Morricone, the more gonzoid of the two Scaramanga Six frontmen, as co-owner). Not only is Steven playing host, he’ll also be spending time onstage maltreating the piano with his Steven Morricone Tyranny solo project, indulging self-confessed “straw man with a fist of ham” tendencies with a clutch of assorted Scaramanga songs (presumably his own more psychobilly offerings, though he’s recently been straying into more obscure and theatrical art-rock set pieces with assorted flavours of Faust, theatre and radio art), plus some new solo stuff and the odd cover.

Also playing are Brum-born but Cornwall-settled duo We Are Muffy, in which The Lilac Time’s Nick Duffy and Ambassadors Of Sorrow leader/frontwoman Angeline Morrison conjure up “poetic narratives of remembered and imagined pasts, combining vocal harmonies with unexpected instrumentation” – somewhere at the country-folk end of the Witchseason sound, with American banjos and fingerpicked guitar dissolving into more British concerns and storytelling styles.

In Hereford, Craig and Emily are playing with spooky sometime Omnia Opera/7shades singer Libbertine Vale, who sets aside the psych/prog electric trappings of her bandwork in favour of macabre a capella renditions of melancholic folk songs about oppression, cruelty and general perishing, albeit with “seeds of renewal”. You don’t get to see much of Libbertine outside of Birmingham and Herefordshire (where she contributes to the county’s growing reputation for psychedelic folk and sundry hauntological business by co-running Unorthodox Paradox), and she spends much of her time on subversive textile art rather than on music, so it’s best to catch her when you can. Especially since her solo act has, so far, resisted the pull of the internet – so no videos or soundclips here.

The Garrison/Jones booking at a Buds and Spawn night in Sheffield is supported by guitar-and-banjo-toting female harmony trio Little Robots. Though the latter have been going for about a decade, they’re busy women with a host of other activities and a commitment to the moment, so actual recordings are intermittent. You can scoop up what there is from their Bandcamp and Soundcloud pages: doses of impeccable Appalachian/Yorkshire fusion.

In Oxford, the support act is “singer-songwriter-psychedelicatessen” Adam S. Leslie, as his Berlin Horse project, wrapping spiky, silly absurdities, Ray Davies echoes and moments of quirky beauty in unalloyed Pepper-flavoured lushness (like an old Puffin Books joke anthology with extra swirl, wit and Lowrey organ colour)

London is the only date for which Arch Garrison will be a twosome, with James Larcombe returning to the fold. They’ll also be meeting up with Chlöe Herington. Temporarily disengaged from pumping regal bassoons and saxophones into the psychedelia of Knifeworld and Hirvikolari, from celebrating Lindsay Cooper in the Songbook project and from the three-headed avant-femme art-music project that her onetime solo outlet VALVE has become, she’s promised to occupy herself in “rebirthing some very old stuff (the vaults have been unsealed!) and reworking some more recent.”

There are no questions about the folky character of the Salisbury gig – it’s being played with Emily and Craig sandwiched between Ian A. Anderson and Pete Aves. Ian’s credentials are impeccable – a veteran British folkster of five decades standing, continuously active since the mid-60s, he’s led the field in acoustic country blues, had a long spell as head of The Village Thing acid folk label, has been a concert promoter and a critic (in particular, as the leading light of ‘Folk Roots’ magazine. Now in his seventies, for the last couple of years he’s been writing and playing solo again. This year’s ‘Onwards’ album compiles, in his own words “fifty years of deathfolk, blues, psych-fi, trad and world twang.”

As for guitarist/banjoist Pete, he too has been returning to solo work after the drying-up of work as regards his role in the currently slumbering High Llamas (and, more seriously, the uprootings and traumas of a divorce and spell of homelessness). Inspired by his recent travails, he’s now turning out simple songs of reproach, road life, and thumbnail character sketches, mostly in an Anglo-American country-folk vein.

* * * * * * * *
Both Craig and Emily will also be heading down to Brighton on 21st December to play “little guest sets” at the Winter Wonderland concert headed up by Spratleys Japs, featuring yet another joyfully incestuous array of the British psychedelic stew that bubbles around Cardiacs (see passim…).

The event’s already entirely sold out; but assuming that you can manage to prise a ticket from the cold, dead hand of a Cardiacs fan or an eager Brighton psychonaut, what you’ll be seeing apart from Emily and Craig includes the “lo-fi arty ska” of Hot Sauce Pony, a raucous Brixton four-piece with a lineup including the Gilchrist husband-and-wife couple (singer Caroline and bass player Steve, the latter better known as Stephen Evens, as the “Stuffy” in stuffy/the fuses, as a one-tour Cardiac or as the kit-thrasher behind Graham Coxon) and onetime Rat The Magnificent guitarist Ross Davies. They’ve been touting around a Steve Albini-recorded debut album this year. North-western art pop duo Army Of Moths may have had to cancel, but another longterm Cardiacs affiliate, Matthew Cutts, will be spouting some kind of poetry.

Probably the big draw this year, though, is the resurrected Panixphere – the elusive Cardiacs-family thrash-rock band who’ve surfaced occasionally over the past four decades to play a frustrating brief handful of blasting sets and then immediately dipped back underground. Inasmuch as they’ve had much consistent about them, it’s been Bic Hayes – the intermittently active, sputtering jewel of a guitarist/singer whose juddery, effects-laden playing (like Keith Levene invading a fiery Hawkwind lineup) has graced recordings and concerts by Cardiacs, ZOFFF, Levitation and Dark Star, Pet Shop Boys, Heidi Berry and Julianne Regan’s short-lived Mice. In Panixphere, though, he’s off the leash and free from the big concept or the psychedelic ritual. Historically, it’s been a band in which to drink too much beer and play music much too fast, in snotty punk-metal tradition (albeit while test-bedding or providing an alternative vehicle for assorted Cardiacs and Levitation material, as well as crunchy cover versions of songs by XTC, Nomeansno and, if suitably distracted, early Genesis).

Now, however, Panixphere seem to be taking things a bit more seriously, announcing their return with a swishy verbal fanfare and too many capital letters. “A Three Piece. Three timelines. Formed in 1984. Re-imagined in 1992. Returning in 2020. Experience The Past, Present and Future, simultaneously, in PANIXPHERE – appearing LIVE for the first time in 25 years – preview titles from the FORTHCOMING album ‘Cryptic’, currently under construction and to be unveiled in 2020. This Show Is A Beginning.”

While the lineup has previously included (at various points), Craig Fortnam, Cardiacs capo Tim Smith, Bic’s Levitation/Dark Star bandmate David Francolini and mysterious south London 1980s festi-freaks “Little Hicky” and “Flat Hat’, the revived version is a power trio including singing/shouting bassist Jon Poole (back for a second stint) and Cardiacs drummer Bob Leith. Here’s a clip of an earlier Panixphere, complete with Tim Smith, banging about onstage in 1993. Whether they’ll be any less unruly a quarter-century further on – well, it’s possible but not guaranteed. All this talk of an album, though, suggests that for the first time ever they’re thinking beyond the present, or following through on plans which have previously stalled in a shower of rude fat sparks.

As for the headliners, read here for a more in-depth account of Spratleys Japs’ original life as a Tim Smith/Jo Spratley parallel-to-Cardiacs weird-pop studio project, half-hearted disguised as bizarre pond-scummed Anglo-American swamp rock; and of their recent Tim-less/Tim-blessed live revival, with Jo now fronting a selection of Brighton psychedelic luminaries. Still reanimating the original Smith material, they’re now broadening out with their own new work as well as a couple of unheard Smith treasures.

With Jo now handling all of the vocals – and with Tim’s fuming-friendly/baleful-brotherly presence restricted to an affectionate memory – the band have indubitably lost some of their original charismatic quirk and danger. In return, though, they’ve gained a greater access to the beauty behind the music’s peculiar angles and gurgles, which refracted elements of glam, imaginary folk, tastes of post-Bostonian punkaroo (think Pixies, Throwing Muses, Breeders) and celestial Mellotron-classical through a skewed Smithian prism… and which still does, dropping it all off into a murky forest pool surrounded by tea-lights, traces of spontaneous ritual and the odd piece of trash. They’re a warmer proposition than they were before – now unrestricted by that Cardiacs tradition of onstage aggro and awkwardness, Jo’s now playing things more as a dancing priestess than the punkette muse she might have been before, blossoming even as the music does.

If all of this still seems compelling despite your lack of a ticket, word’s coming through that the whole shebang’s going to be live-streamed worldwide, in order to raise further funds for Tim Smith’s palliative care. More details on the event page, with the streaming link here.

* * * * * * * *

Dates:
Arch Garrison/Emily Jones tour:

’Winter Warmer’ @ The Sunfold Hotel, 39 Beach Road, Weston-super-Mare, Somerset, BS23 1BG, England – Wednesday 11th December 2019, 7.30pm (with We Are Muffy + The Steven Morricone Tyranny) – information here
’Weirdshire’ @ The Babar Café, 31 Union Street, Hereford, Herefordshire, HR1 2BT, England – Thursday 12th December 2019, 7.30pm (with Libbertine Vale) – information here
The Vault, 22-24 Hallgate, Hexham, Northumbria, NE46 1XD, England – Friday 13th December 2019, 8.00 pm – information here, here and here
’Buds & Spawn’ @ The Dorothy Pax, Arch 17, Wharf Street, Victoria Quays, Sheffield, South Yorkshire, S2 5SY, England – Saturday 14th December 2019, 8.00pm (with Little Robots) – information here and here
The Library, 182 Cowley Road, Oxford, Oxfordshire, OX4 1UE, England – Sunday 15th December 2019, 8.00pm (with Berlin Horse) – information here and here
The Harrison, 28 Harrison Street, Kings Cross, London, WC1H 8JF, England – Monday 16th December 2019, 7.30pm (with Chlöe Herington) – information here
The Winchester Gate, 113-117 Rampart Road, Salisbury, Wiltshire, SP1 1JA, England- Tuesday 17th December 2019, 7.30pm (with Ian A. Anderson + Pete Aves) – information here and here

Wonderful Winter Wonderland Special 2019 (featuring Spratleys Japs, Panixphere + Hot Sauce Pony + Army Of Moths + Arch Garrison + Emily Jones + Matthew Cutts)
The Green Door Store, 2-4 Trafalgar Arches, Lower Goods Yard, Brighton Train Station, Brighton, BN1 4FQ, England
Saturday, 21 December 2019, 5.30pm – information here and here

Tags: Arch Garrison, Army Of Moths, Brighton (England), Chloe Herington, Emily Jones, Hereford (England), Hexham (England), Hot Sauce Pony, Ian A. Anderson, Jo Spratley, Libbertine Vale, Little Robots, London (England), Matthew Cutts, Oxford (England), Panixphere, Pete Aves, Rat the Magnificent, Salisbury (England), Sheffield (England), the buds and spawn of Cardiacs and Tim Smith, The Lilac Time, The Scaramanga Six, The Steven Morricone Tyranny, Tim Smith's Spratleys Rats (Spratleys Japs), We Are Muffy, Weston-super-Mare (England).

November 2019 – three Tuesdays of (mostly) femmetronica in London – Alice Hubble, Blick Trio and Merlin Nova (5th November), Carla dal Forno and Cucina Povera (12th November), Rachel K. Collier (19th November)

2 Nov

Following (and overlapping) the recent/current set of female poptronic gigs in London (with Caroline Polachek, Imogen Heap, Yeule and others), here are some more.

* * * * * * * *

Alice Hubble (best known as half of tweetronic duo Arthur & Martha) has been striking out on her own this year and is playing at Servant Jazz Quarters on the 5th. Her debut album ‘Polarlichter’, driven by iPad workings on long journeys and transformed at home via Mellotrons and analogue synths, apparently stems from wistful envisionings of faraway places (including Ruby Falls in Chatanooga, USA, Lake Louise in the Canadian Rockies and Dubai’s Atlantis Palm hotel) plus “a desire to work on a project without constraints, to move away from the traditional song writing process and to experiment with the form. Inspired by the ’70s recordings by Tangerine Dream, Ashra and even Mike Oldfield, Alice wanted to take a more delicate approach; a distinctly feminine take on (an) often pompous ’70s progressive synth sound. Other inspirations include Delia Derbyshire, Daphne Oram, Lee Hazlewood’s Swedish recordings and 80’s American synth pop band The Book of Love.”

A good set of reference points, although if you are going to snark about the pomposity of your male predecessors it’s best if you’ve built something startlingly different. Much of Alice’s work still cleaves rather closely to those familiar silvery Germanic/kosmische synth tropes, the cautiousness of several generations of post-Tangerine Dream acolytes, albeit with twists of post-punk melancholy and Stereolab-ilk avant-pop.

As for the femininity, it’s present mostly in the preoccupations of Alice’s lyrics, such as the stern reflections on male gaze and pedestal-placing on ‘Goddess’ (“a man idolising a woman to the point that he doesn’t see her as a person. His ‘love’ is all consuming and the focus of his affection is seen merely as an object. As a result he consumes her and takes from her until she has little left, but thankfully she finds the inner strength to walk away.”). All well and good to state; but, given that the song’s mostly concerned with climbing inside its misguided protagonist in order to critique him from within, leaving the woman in question almost as enigmatic, idealised and unexamined as he did, I’m not altogether convinced. But perhaps I’m snarking now – either way, I can’t help but feel that there’s better to come. Alice has a quiet, determined voice: maybe, at the gig, we’ll find out what else it has to say.

Support comes in two parts, one being from jazztronic array Blick Trio, made up of veteran polymathic brass-and-wind-player Robin Blick (from the sprawling Blick/Blake musical dynasty that also includes Mediaeval Baebes’ Katherine Blake), drummer Andrew Moran (who’s put in time in groups including The Violets and Not Cool) and bass player/synth programmer James Weaver (who already plays with Robin in Gyratory System). Prior to Gyratory System, Robin was also in Blowpipe; with both these and the Trio, he’s been building jazz/clubtronic/kosmiche meldings for a good couple of decades. The Trio, however, lean more towards “post-punk rhythms and straight jazz melodies” than the club beats and electrofuzz racket of the previous acts; with Robin’s musicality and wide genre-savviness in particular calling up aural and harmonic/melodic imagery from riffling snake-charmer music to pithead brass band melancholia.

The other support act is Merlin Nova, who vigorously straddles the space between musician and sound artist. Too tuneful to work consistently in the latter mode, and too flat-out sonically ambitious and diverse to be restrained by the former, she instead works both of them to the bone. She creates, records and broadcasts whatever comes to her mind, whether it’s surreal foley-bolstered persona narratives, soundscaped poetry or unorthodox fragmented songs across a vocal range from femme-baritone to skyscraping whistle register.

Merlin’s most recent pair of Soundcloud offerings illustrate her restlessness. Just Calling is one of her most straightforward works (a vocal and reverbscape’d love-song of faith, degrees of separation, faith and independence), while To The Sun is a drone-strings-and-vocalise solar prayer half an hour long, equal parts Alquimia and Sofia Gubaidulina. There’s plenty more to find there, evidence of an ambitious sound creator who’s tapping at the heels of multiple precursors… Ursula Dudziak, Cathy Berberian, outer-limits Björk, Maja Ratkje…

* * * * * * * *

On the 12th, left-field synthpop writer Carla Dal Forno comes to Electrowerks trailing her newest album ‘Look Sharp’, in which “the small-town dreams and inertia that preoccupied (her) first album have dissolved into the chaotic city, its shifting identities, far-flung surroundings and blank faces”, thanks to her wanderings from her Melbourne origins to London via Berlin, telling “the story of this life in flux, longing for intimacy, falling short and embracing the unfamiliar.”

Sonically it’s frowning post-punk basslines and pearly sheens around subtle hollows; occasional touches of plainsong; arrangements stroked into shape by psychedelic-via-radiophonic synthesizer bends, swoops and flutters – a big step up from the queasy lo-fi wobble of her debut. As with Alice Hubble, Carla rarely changes tone vocally, etching momentary stories of subtle revenges, covert assignations and bleak reflectiveness with the same abbreviated unruffled whispercroon; delivering songs with the crisp, faux-reticent undertones and hardnosed observation of a finishing-school ace who’s opted to spend the rest of her life speaking softly but carrying a sharp hatpin. Simultaneously minimalist and expansive, sensual and austere, revealing and forbidding, the songs of ‘Look Sharp’ are measured diary entries enclosed in dove-grey leather, giving away little but hinting at much more. It’s as if one of the early versions of the Cure had agreed to back Jean Rhys during a venture into confessional songcraft, with Delia Derbyshire adding sonic filigrees.

The whole record sounds attractively antiquated. Not in terms of its harking back to early ‘80s proto-Goth, but in the way it feels as if it’s been written for (and in) a monochrome London of the 1930s: sparser crowds, the hiss of steam trains and the rattle of heels in empty housing courts. In fact, ‘Look Sharp’ functions best when Carla relinquishes the more obvious darkwave thrumbles, loses the bass and trusts to her electrophonic textures and spaces. This lends the instrumentals a touch of 5am light, an air of sneaking out into an unfamiliar town while it’s still slumbering unguarded, with a dream-frown shadowing its features. For songs such as Don’t Follow Me (with its deepening undertone of sexual threat), it allows a more sophisticated atmosphere to build, sound becoming character in the way that scenery and lighting do in film.

In support, there’s electronicist, live-looper and spatial explorer Maria Rossi – a.k.a Cucina Povera. As anyone who’s covered Maria before will tell you, “cucina povera” translates as “poor kitchen” – like “poor theatre”, a way of making the most of minimal ingredients and lean times: indeed, of making a virtue of the enforced simplicity, to the point of deliberately choosing it. Maria’s most recent project – ‘Zoom’, released back in January – had her strip back her already-minimal gear choices to just voice and loop pedal plus the digital recorder which gave the record its name: bar the very occasional bit of huffed or clinked bottlework, or synth bloop, that was it.

Last year’s ‘Hilja’ album applied the Cucina Povera methodology to a gaseous, beatless, haunting form of ambient art pop. It was full of folk-ghosts in the machine, bringing along hints of the ecclesiastic, of children’s songs and of traditional song fragments, much of it pillowed on vaporous keyboard textures and meticulous arrangements. In contrast, the Zoom pieces were recorded in “intimate spaces full of acoustic or ideological intrigue” and were a set of impromptu, improvised rituals-for-their-own-sake. Sometimes gabbled, frequently hymnal and monastic, blurring between established language and glossolalia, they build on the mysteriousness of ‘Hilja’ while venturing into more musically naked areas, taking from the previous album’s most cut-down moments without falling back on its cloudy synth-padded comforts or its pleasing banks of harmony.

Whether these pieces can be transported, translated and performed afresh in other locations is not so clear. Perhaps, for Electrowerks, Maria will improvise a new set in honour of the Slimelight’s fallen ghosts.

Also stirred into the evening’s menu will be a DJ set from darker techno/DIY/industrial specialist Kenny White of the Low Company record store.

* * * * * * * *

At the other end of the spectrum, there’s a splash of raucous female colour. Riding the momentum from the release of her debut album last month (if you’re a budding remixer or mash-upper, Bandcamp has it complete with sample and stem packs), Rachel K. Collier plays the Grand in Highbury in mid-November, with live percussion and interactive visuals augmenting her storm of sequencers, keyboards and Abletoning. Her house-inspired, undulating electronic club pop has been evolving over six years or so now, including bold intrusions into the world of adverts, collaborations with garage/house stars Wookie, Mat Zo and Ray Foxx, and more recently her current fearless-sounding solo work.

It’s a powerfully assured and complete pop sound, fusing full dancefloor momentum with righteous girl-power; although one that’s been achieved in the face of considerable bullying, scorn and condescension along the way from male musicians. (If the fuck-you beat and withering dismissal in her Dinosaur single is anything to go by. You can’t say that she didn’t get her own back. Success is the best revenge.)

* * * * * * * *

Dates:

Parallel Lines presents:
Alice Hubble + Blick Trio & Merlin Nova
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Tuesday 5th November 2019, 7.30pm – information here, here and here

Upset The Rhythm presents:
Carla dal Forno + Cucina Povera
Electrowerkz @ The Islington Metal Works, 1st Floor, 7 Torrens Street, Islington, London, EC1V 1NQ, England
Tuesday 12th November 2019, 7.30pm – information here and here

Rachel K Collier
The Grace, 20-22 Highbury Corner, Highbury, London, N5 1RD, England
Tuesday 19th November 2019, 7.00pm – information here, here and here

Tags: Alice Hubble, Andrew Morgan, Arthur & Martha, Blick Trio, Carla dal Forno, Cucina Povera (Maria Rossi), James Weaver, Kenny White, listening to women, London (England), Merlin Nova, Rachel K. Collier, Robin Blick, women of heart and mind

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

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.

* * * * * * * *

In 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.

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

Tags: Baba Yaga’s Hut (event/promoter), Bunny Hoova, Ellipsis (event/promoter), Gribs, Gum Takes Tooth, Halfs, Hurtling, Hyperstition Duo, J.B. Glaser, Junodef, listening to women, London (England), Manchester (England), Stephen Evens, Stuffy/The Fuses, women of heart and mind

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 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.

According 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

Tags: Alex Palmer, Atatat (J.C. Barbara ), Biting Tongues, Bohuslav Martinů, Charles Hayward, Charlie Draper, Claude Debussy, Dmitri Shostakovich, John Williams (composer), Ken Hollings, Les Baxter, listening to women, London (England), Miklós Rózsa, music for theremin, Nick Doyne-Ditmas, Raimund Wong, Retrophonica, Roberto Sassi, Sly & The Family Drone, Tom Challenger, V A L V E, women of heart and mind, Yoni Silver

October/November 2019 – Moor Mother’s ‘The Great Bailout’ with the London Contemporary Orchestra in Kraków, Gateshead, Ghent and London (6th, 12th, 16th, 23rd October), with Galya Bisengalieva and Klein joining in London. Plus further Moor Mother dates in Utrecht, Helsinki and Madrid with Zonal, Eartheater and Cruhda (7th, 11th, 15th November)

1 Oct

The unnerving, brilliant Afrofuturist beat-poet and sonic manipulator Camae Ayewa – a.k.a. Moor Mother – swings back to Europe for a brace of concerts during October and November, during which she’ll showcase her latest project, ‘The Great Bailout’. This is a collaboration with the London Contemporary Orchestra (arguably the capital’s most committed ensemble to both new classical concert music and its intersection with other musical forms and disciplines). It follows Moor Mother’s earlier work this year as part of liberation-jazz group Irreversible Entanglements and her recent contributions to the Art Ensemble of Chicago’s fiftieth anniversary album ‘We Are All On The Edge’ (in which she layered her poetry over the exuberant live improvisations of the surviving members of the original resistance jazz band.) For a more in-depth summary of her explosive protest-griot work, click here.

There’s not much advance publicity regarding ‘The Great Bailout’. What there is lays the ground for performances of “a free-verse poem that acts as a non-linear word map about colonialism, slavery and commerce in Great Britain and the Commonwealth.” Given that Moor Mother’s previous work has consistently exploded conceptual/emotional bombs underneath the economic, social and psychic legacy of slavery and racism in America, you can expect her to have come up with something ferociously critical of the cherished white-British myths and veilings around the history and repercussions of Empire. As the organisers put it, “we can’t help but expect the first few rows… to leave this performance with singed eyebrows and melted glasses at the very least.”

I’m guessing that the project title refers to one of the most miserable semi-secrets of the eventual abolition of British slavery – this being the handsome payoffs eventually delivered (post-emancipation) not to the freed slaves themselves as backpay, apology or recompense, but to their indignant and haughtily entitled British former owners as property compensation. This kind of withering, righteous black interrogation invading white concert halls (in fact, being invited in) is in keeping with the necessary re-examinations of the roots of modern Western culture. I’m reminded of Doris Salcedo’s colossal ‘Shibboleth’ installation at the Tate Modern, in which she slashed the gallery floor with an ever-widening crack standing for the original Tate sugar money, its dirty roots in plantation slavery, and the consequent ethical undermining of the gallery and its history – a microcosm of white Western culture and wealth and the exploitation underneath.

It’s also in keeping with the ongoing rumblings and debate regarding the slave-trading roots of Bristol, the strategic heartland of the Middle Passage’s triangular trade – with the slave trader imprints on the names of its great buildings and statuary (some of which were recently and pointedly encircled with diagrammatics of slave ships and their suffering human cargo). You can’t help thinking that the organisers of ‘The Great Bailout’ really missed a trick by not scheduling a Bristol date, and perhaps a Liverpool one, alongside the London one. Gateshead – which does get a ‘Bailout’ date – has less of a stained history in this matter, along with its sister city Newcastle: distanced from the heart of the trade, and with the Tyneside anti-slavery movement being an early starter. London, though, grew fat on the profits, with its own triangular trade bigger than anywhere else in Britain.

There may be different resonances associated with the two continental European venues on the tour. Kraków is a little detached from diasporan agony, its own kind of historic slavery having been in the form of homegrown serfdom (Poland’s class savagery was traditionally applied to its own peasants, and its colonialist oppressions visited on the nearby Ukraine rather than on Africa). Ghent, on the other hand, hosted and shaped the 1814 treaty in which, in part, Britain and Belgium applied themselves to ending African slavery and the Middle Passage trade (albeit on their own terms, part of the strategic power-plays of the age as much as it was through any humane impulses).

It’ll be interesting to see if Moor Mother will have taken note of these things, dredged up these uncomfortable stains and compromised atonements and woven them in too. Whether each city on the tour route is given its own case to answer – hidden bones coming to light after two-and-a-half centuries of obscuring and snowjobbing.

There will be extras at the London show. Experimental violinist and London Contemporary Orchestra member Galya Bisengalieva will be performing an opening set of her own electroacoustic chamber music, duetting live violin with cunningly sculpted electronic sound-shaping. What I’ve heard so far is elegant and highly dramatic: sonic booms, string drones, eerie hard-eyed processional melodies against harshly majestic electronic architecture and steppe-scapes reflecting Galya’s own Kazakh background.

A second opening set is being provided by British-Nigerian south London glitch artiste Klein. An abstractioneer for three years, she started out being hailed as a kind of reinventor of gospel. Certainly her early recordings dipped into the form and she’s admitted that for many years it was her only reference point. It didn’t take her long, however, to move far beyond it. Other early tracks came across as a collagist log of the sounds of her community: not straightforward field recordings, but crafted patchworks of impressions and implicit meaning, finding vocal and musical fragments as important, in themselves, as actual complete sentences and phrases. Her ‘Tommy’ album, in 2017, was a kind of vaporously dissolved Afro-London laptop opera.

These days, memories of black church music continue to drift and prowl through Klein’s increasingly adventurous recordings, but they’re only part of her palette. While she keeps a toehold on more mainstream black musical ideas (a track like Changes sidles up to drill music, a shuffling slide of plate over plate, of violent masculine monologue recounted), most latterday Kleinwork is miasmic re-sortings of black vocal fragments over dark ambient dreamquakes and feathertwig beats: sometimes sobs or dramatic breaths, or slivers of story (somehow bigger than they appear, the way that individual black stories so often seem to trail implication entire cultural histories). Either that or they’re ribbons of dirty noise, swirls of demonstration with strange vocal glitches playing across them – gasps, lip noises, inchoate expressiveness.

* * * * * * * *

Moor Mother’s own roots are in gospel too, although she’s previously qualified that “my family used to listen to scary gospel—Mahalia Jackson, people who were not just waiting for Jesus to come, but being like, “This is what we’re living with, we’re going to push through. I’m climbing up the rough side of the mountain, and we’re going to get into this chariot and go to a better place”…” There’ll be more evidence of “negro spirituals flipped, remixed, and recaptured” on the second full Moor Mother album, ‘Analog Fluids Of Sonic Black Holes’, which is emerging on 8th November. In keeping with her work so far, the record will cover the themes of “myth, black mothers, vodun, quantum futurism and post-colonial street narratives.”

I’m guessing that this material, or spins on it, will be in strong evidence in the three further European dates Moor Mother will be playing in November following the ‘Great Bailout’ events. The first of these will be in Utrecht, as part of the Le Guess Who? Festival. Here, she’ll be rejoining Kevin Martin and Justin Broadrick‘s “smacked-out hip hop” project Zonal (as one of two featured vocalists, alongside “fire-and-brimstone dub poet” Nazamba).

The second event is her headlining show in Helsinki. There, she’ll be supported by Alex Drewchin – a.k.a. non-binary multi-media art’n’music hopper Eartheater: who, over a five-year span in New York, has graduated from straightforward, deliquescing dreampop covers of Kate Bush songs to flittering unorthodox trance pop and sprawling, deconstructed anti-manifestos of collaged noise and brain-jumps. Beyond the electronics, current Eartheater work reflects the idea of body as instrument, psyche as testbed, ears and memory as record-and-playback devices.

The most recent Eartheater album, ‘IRISIRI‘, is a simultaneous explosion and dismantling of sonic and conceptual ideas across the spectrum. Plunderphonic chamber music samples, scraping noise effects, dance beats and thoroughly masticated chunks of ruined pop spat out and left on New York lamp posts, in apartment stairwells and practise spaces, leaving a scattering of recombinable fragments for other people to get stuck on and to mull over; flitting word associations and deconstructions of gender, of memories, of momentary definitions. There’s even the occasional joke (“I have no metaphor for you today – I’m off work…”). It’s both impersonal and entirely personal in its blink-and-you’ll-miss-‘em running of personal insights and questions through a mill of big city information overload. Yes, it raises more questions than it provides coherent answers, but at least it’s intent on chopping out a space of possibilities in the first place.

Moor Mother’s other headliner is in Madrid, where she’ll be supported by emerging Spanish eclectician Cruhda. The latter’s work is softer and in some ways more accessible than that of most of the other people covered in this post, but that’s selling it short. It’s disruptive, just in a subtler way.

Crudha’s debut EP ‘Íbera Morte‘ is founded on selections and deliberate echoes of Spanish folk music, refracted through any number of home-studio cut-up-and-stick-in methods and stylings – musical box clinkings, Dead Can Dance Gothicity; Autotune and didgeridoo buzzes; structural interruptions and glitchtronics. Sylvan organ-drone folk gets carved into by straying intrusive beats like a prowling beast on a campside sortie; by warping bass synth growls; and by vocal cut-ups and lead lines from raw railing roars to dovelike sighs and monastic harmonies. It’d be crass simply to call Crudha a Spanish Björk, but there’s a similar breadth of imagination and reconstructive willpower here, as well as a similar reluctance to abandon melody.

* * * * * * * *

Dates:

Moor Mother v London Contemporary Orchestra: ‘The Great Bailout’

Unsound Festival, (location t.b.c), Krakow, Poland – Sunday 6th October 2019, time t.b.c. – information here, here and here
Tusk Festival @ Sage Gateshead, St Mary’s Square, Gateshead Quays, Gateshead, NE8 2JR, England – Saturday 12th October 2019, 9.30pm – information here
Kunstencentrum Vooruit, Sint-Pietersnieuwstraat 23, 9000 Ghent, Belgium – Wednesday 16th October 2019, 8.00pm – information here, here, here and here
Milton Court Concert Hall @ Guildhall School of Music & Drama, 1 Milton Street, Barbican, London, EC2Y 9BH, England – Wednesday 23rd October 2019, 7.30pm – information here, here and here

Zonal feat. Moor Mother & Nazamba;
Le Guess Who? 2019 @ TivoliVredenburg, Vredenburgkade 11, 3511 WC, Utrecht, Netherlands – Thursday 7th November 2019, time t.b.c. – information here, here and here

Moor Mother + Eartheater
Tavastia Klubi, Urho Kekkosen katu, 6 Helsinki, Finland – Monday 11th November 2019, 7.00pm – information here, here and here

Moor Mother + Cruhda
Siroco, Calle de San Dimas 3, 28015 Madrid, Spain – Friday 15th November 2019, 9.30pm – information here and here

Tags: Cruhda, Eartheater, Galya Bisengalieva, Gateshead (England), Ghent (Belgium), Helsinki (Finland), Justin Broadrick, Kevin Martin (The Bug), Klein, Kraków (Poland), listening to women, London (England), London Contemporary Orchestra, Madrid (Spain), Moor Mother (Camae Ayewa), music for violin, Nazamba, Utrecht (Netherlands), women of heart and mind, Zonal

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

In 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.”

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.

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

Tags: Alter Ego, Ballpointken, Barringtone, Bicurious, Big Joan, Brighton (England), Bristol (England), Cambridge (England), Cardiacs, Flag Fen, Fukushima Dolphin, Geisha Noise Research Group, Gloucester (England), Gnod, Ipswich (England), Jazz From Hell (event), London (England), Lonely Dakota, Masiro, Memory Of Elephants, Michael O'Neill, Mutant-Thoughts, My Octopus Mind, Oxford (England), Project Mork, Son Of Ugly, Spank Hair, The Display Team, The Galileo 7, The Hare And Hoofe, The Mighty Bossmags, Ulysses, Vonhorn

Comments Leave a Comment
Categories 2019, art punk, dance pop, DIY music, experimental pop, experimental/avant-garde rock, instrumental music, jazz, jazz rock, math rock, pop, post-progressive rock, previews, progressive pop, psychedelic pop, psychedelic rock, rock, ska, skronk, synth pop

October 2019 – upcoming rock gigs in England from mathcore to magic, part 1 – the Octobear tour with Civil Villains, Goldblume and Bisch Nadar plus Web, Günk, Quiet Lions, Pandapopalyse, Edward Fox and Smack Jack (12th to 26th October, various); the Portals All-Dayer in London including Hawk Eyes, Lost in the Riots, Bicurious, Lakes and Cody Noon (19th October)

30 Sep

The upcoming Octobear tour is a loose alliance between three British post-hardcore bands – Civil Villains, Goldblume and Bisch Nadar – in which they twitch around a number of southern and middle England’s more oddness-friendly rock venues, in search of wall-bars to hang off and people to charm.

London-to-Brighton art-punks Civil Villains aren’t necessarily the tour owners, but they are the only one of the bands who are playing all seven dates. They have a yen for “math-tinged post-hardcore”, but play it with a bit of fucking swing – such a relief after the frozen miserly jerking you get from too many acts in the same ballpark. With two American tours under their collective belt to date, Civil Villains also sport a profound love of sonic details from the flappery drums to the interest in static and noise or the precise gronk of a bass string. Right from their debut single Fallow/Pale Horse, they’ve also had an lyrical interest in the preoccupations of American Gothic, barking out tough gritted scenarios which, over time, have become more playful, surreal, sophisticated and critical as the band’s songs grow closer to their onstage banter.

Cambridge adepts Goldblume describe themselves as “math-grunge-wizards” in the Pulled Apart By Horses vein, pumping out what they claim is a “cathartic truce (of) math-rock, post-rock, grunge, punk and prog.” In practise, though, they’re as spacious and punchy as The Clash. Like Civil Villains, they’ve got an ear and a feel for hot space and anticipation. Goldblume’s own sound and approach, however, is more of a clattering pop journey, with last year’s ‘Husk’ album focusing on tales of mental health and self-help. Set against the mathy area’s usual clanging certainties, they’re an opportunity for conversation.

“Pummeling, playful” Liverpudlians Bisch Nadar are a winning blend of melodic rock and post-hardcore snap. Their riffs trigger busy little sub-riff reels, as if they were growing auxiliary tentacles: a concise melodic rock vocal and power-pop harmonies tie in with shredding screams. Instrumentally, they sound like someone falling down the stairs but with a stuntman’s precision; vocally, they lean more towards John Lennon, The Milk & Honey Band or indeed any bunch of boys with a taste for chorus singing, but with disruptive punk screams sometimes scissoring through the honey slides. The overall impression’s as if you’d picked up a really good mug of tea, only for an affectionate cuttlefish to pounce out of it and smooch you.

Playing at the Southsea date (before Bisch Nadar joins the tour), are Pompey trio Web (who have a demo of lean smoker-stoner rock available). In Leicester, also without Bisch Nadar, the bill gap’s filled by a pair of promising new-ish psychedelic grunge acts – Ashby de la Zouch trio Günk, (with their spacey country/desert trappings of keyboards and echo) and Smack Jack. In Brighton, local post-progressive heroes Quiet Lions headline the show as special tour guests. Unveiling rapid, cascading strafes of ever-complicating rock drama, they’re following in the wake of Mike Vennart and Oceansize.

The Oxford show sees Civil Villains minus both of their two usual tour partners and wiggling into the middle of a baffling inconsistent show between the bouncing big-beat dance-pop of Pandapopalypse and what’s probably going to be spindly thrumming and pallet-dragging heaviness from the brand-new Edward Fox (Welsh-born Goth-pop songwriter D. Gwalia teaming up with former members of sludge/doom metal act Undersmile – previous examples of both below).

* * * * * * * *

The London tour date (which Goldblume are sitting out) actually stands on its own: it’s a Portals All-Dayer in which Civil Villains and Bisch Nadar join a lineup of noise, math and post-rock outfits.

The day is headed up by a couple of well-established acts – Leeds metalcore stalwarts Hawk Eyes and London post-progressive riffmongers Lost In The Riots. Also on hand are the playful/serious Irish math-loopers Bicurious (who season their gleaming musical pinwork with politically-minded radio cutups), the carefully-controlled math-pop twitch of Watford’s Lakes (who take the dividing line between complex structure and unfettered pop song and dance delightfully along it, scuffing it out as they go), and Cody Noon (who initially seem to be holding up the inevitable post-Mogwai tradition of clunk-and-downstroke-frenzy, but actually work within a much greater sparseness and post-punk death-pulsery, hinting at the storm rather than always calling it down).

* * * * * * * *

More, shortly, on the Display Team tour happening at around the same time, and on The Hare and Hoofe’s upcoming London shindig…

Meanwhile, dates:

Octobear tour:

The Wave Maiden, 36 Osborne Road, Southsea, Portsmouth, Hampshire, PO5 3LT, England – Saturday 12th October 2019, 7.30pm (Goldblume + Civil Villains + Web) – information here and here
The Blue Moon, 2 Norfolk Street, Cambridge, CB1 2LF, England – Sunday 13th October 2019, 7.30pm (Goldblume + Civil Villains + Bisch Nadar) – information here and here
The Chameleon, 17 Angel Row, Nottingham, NG1 6HL, England – Monday 14th October 2019, 7.30pm (Goldblume + Civil Villains + Bisch Nadar) – information here and here
The Shed, 5 Yeoman Street, Leicester, LE1 1UT, England – Thursday 18th October 2019, 7.00pm (Goldblume + Smack Jack + Civil Villains + Günk) – information here and here
The Pipeline, 6 Little East Street, Brighton, BN1 1HT, England – Friday 18th October 2019, 7.00pm (Quiet Lions + Goldblume + Civil Villains + Bisch Nadar) – information here and here
The Wheatsheaf, 129 High Street, Oxford, OX1 4DF, England – Saturday 26th October 2019, 8.15pm (Edward Fox + Civil Villains + Pandapopalypse) – information here and here

Portals All-Dayer (featuring Hawk Eyes + Lost in the Riots + Bicurious + Lakes + Bisch Nadar + Civil Villains + Cody Noon)
The Victoria, 451 Queensbridge Road, Hackney, London, E8 3AS, England
Saturday 19th October 2019, 4.00pm– information here and here

Tags: Bicurious, Bisch Nadar, Brighton (England), Cambridge (England), Civil Villains, Cody Noon, D. Gwalia, Edward Fox (band), Günk, Goldblume, Hawk Eyes, Lakes, Leicester (England), London (England), Lost In The Riots, Nottingham (England), Oxford (England), Pandapopalypse, Quiet Lions, Smack Jack, Undersmile, Web

June/July 2019 – upcoming London gigs – Jewdas’ summer shindig with Geoff Berner, Fran & Flora and Rokhl Merlot at Balabam (20th June); Sefiroth at JW3 (4th July)

17 Jun

A couple of vibrantly Jewish gigs coming up in London…

* * * * * * * *
I mostly know about Jewdas thanks to them apparently being among Jeremy Corbyn’s favourite Jewish organisations, and hence having been dragged in the wretched palaver over where and how much anti-semitism might be marring British politics. A determined “radical Jewish voice for the alternative diaspora”, they could probably have done without the blowback; or perhaps they take it as a badge of pride; but they’ll wear and weather it regardless.

In Britain and elsewhere, the internet’s rotting under the feculent, polluted weight of this particular debate, and I’m not going to wrangle the point here (I’ll leave that to the single-issue soapboxers who love it so much) but it would plainly be nonsense to suggest either that Jewdas might not be deeply rooted in Jewish culture, or that they’re not deeply proud of it. If you want to know more of what they’re about (and don’t mind Jonathan Sacks being twitted a bit) you can read about that here: alternatively, you could consider their summer party show at Balabam this week. It’s Jewish to the core – bright and lively, opinionated and warm; pugnacious in intellect and politics and personal engagement; sometimes superbly vulgar; and loaded with music that weaves itself into a shawl of pain, laughter, chatter and living.

They’re hoping to offer “the best in radical Yiddish music” (trigger warning for the humph-y: they tend to favour Yiddish over Hebrew) and it’s certainly going to be left-wing, and anarchic. Headliner Geoff Berner is a Jewish-Canadian punk-klezmernik; a singer, songwriter, accordionist and sometime novelist who prides himself on “dragging klezmer kicking and screaming back to the bars where it belongs. For the past fifteen years or so, he’s travelled the world, garnering a sizable, passionate following of odd, bookish people who like to drink. Clever and literate, Berner’s songs can make you want to weep, laugh, grind your teeth, or kick out a window – often all at the same time. His writing can be overtly political, overtly left wing, leaning towards anarchy, but free of easy slogans or cliches.“ I couldn’t talk him up any better than that, so here he is in action in concert and on video:

I’m better acquainted with one of the other acts on the bill – Fran & Flora – the once-seen, immediately-loved cello-and-violin duo of Francesca Ter-Berg and Flora Curzon, who’ve been bringing string duets from eastern European folk and improvisatory traditions to events like Marchland for a few years now, and who’ve now documented it on record with their debut album ‘Unfurl’. Presumably they’re providing the more serious and sober core to the evening, though I doubt that it’ll dominate if someone called Rokhl Merlot is also providing “Yiddish cabaret on an out-of-tune piano”. I suspect there’s a pseudonym involved and that it’s probably going to be riotously funny. As for DJs, there’s a “tuchas-shaking selection of klezmer, Jewish jazz, kosher blues and circumcised soul” from the Kosher Nostra DJs, who are presumably turning nasty gags about “Jewish mafias” on their heads before spitting them back. (Either that, or it’s a nod to the ghost of Bugsy Siegel.) I can’t track down anything on Mr or Ms. Merlot, but here’s a dose of the other two.

My own favourite Jewish joke? You didn’t ask for it, but it’s from within the community; and it’s about how if you leave a Jewish guy alone in a room for long enough, he’ll start arguing with himself. That’s how it ought to be, and I’m guessing that it’s something Jewdas are more than happy to embrace.

Postscript – I’ve just found out that Jewdas’ response to some wretched fascist pledging to take Stamford Hill (a strongly Jewish area of north-east London, and the place where my own mother worked in Jewish youth organisations on her first arrival in this country, fifty-odd years ago, as a concerned and wandering New Jersey Gentile) and to liberate it from “Jewification” was to stage a ‘Jewification’ party; and to then invite everyone, including Muslims and “everyone who has ever been threatened for being different, everyone who has ever been othered and made to feel like an outsider…. We did not let them pass before (at Cable Street), and we will stop them again – this time with furious dancing.” Now that’s just treasurable.

* * * * * * * *

If this all sounds a little raucous, there’s also an upcoming chance to catch the (frankly magical) contemporary British Sephardic ensemble Sefiroth out at JW3 at the start of July.

Built up from some of the best young British jazz and folk musicians from the Sephardic Jewish community (the rundown being the Roth brothers – Alex, Simon and Nick – plus Alice Zawadzki, Olesya Zdorovetska, Ruth Goller, Shirley Smart, Alex Bonney and Francesco Turrisi) the band rearranges and revives Jewish songs and melodies from fifteenth-century Iberia where Moorish, Balkan, North African and Mediterranean ideas merged with the music brought out of Israel. The repertoire’s a mingling of ancient love songs, children’s rhymes, dances, songstories and yearning airs; bringing to mind warm winds, scintillating desert nights, homesickness, melodies hummed and murmured in kitchens and tented marketplaces… the entire musical texture of a community.

Sefiroth play all of this beautifully. Over the last few years, I’ve spent several evenings sitting spellbound at their feet as they spun these tunes out of brass, percussion, shofars, Alice and Olesya’s vocals (capturing ache, nurture, memory and desire), Alex’s slips, swells and ebbs of gorgeously understated electric guitar, and barely-perceptible laptop sound mutations. You could, too.

* * * * * * * *

Dates:

Jewdas presents:
Geoff Berner + Fran & Flora + Rokhl Merlot + The Kosher Nostra DJs
Balabam, 58-60 High Road, Tottenham, London, N15 6JU, England
Saturday 22nd June 2019, 8.00pm – information here, here and here

Sefiroth
JW3, 341-351 Finchley Road, West Hampstead, London, NW3 6ET, England
Thursday 4th July 2019, 7.30pm – information here and here

Tags: Alex Bonney, Alex Roth, Alice Zawadzki, Fran & Flora, Francesco Turrisi, Geoff Berner, London (England), Nick Roth, Olesya Zdorovetska, Rokhl Merlot, Ruth Goller, Sefiroth, Shirley Smart, Simon Roth

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

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.

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 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 – “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

Tags: contrabassoon, Daniel O’Sullivan, Gretchen Hofner, Kavus Torabi, Kiran Bhatt, London (England), Lost Crowns, Penthouse (Fifty Tons Of Black Terror), Rachel Horwood, Rachel Margetts (Yr Lovely Dead Moon), Red River Dialect, Richard Larcombe, Tega Mendes, The Cesarians, The Silver Field, Thomas Stone, Thumpermonkey, Vanishing Twin, VLMV (ALMA), Westking Music (event/promoter)

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

Tags: Berlin (Germany), Beth Jeans Houghton, Brighton (England), Bristol (England), Caroline, Don Du Sang, Du Blonde (Beth Jeans Houghton), DUDS, Humint, Ichabod Wolf, Kermes, Kiran Leonard, Leicester (England), London (England), Manchester (England), Margate (England), Margate Social Singing Choir, Mora Telsnake, Nottingham (England), Peacetime Romances, Sheffield (England), Soccer Mommy, Squid

February/March/April/May 2019 – upcoming English experimental/rock gigs – Markers and Haress on tour with appearances by Tom House, Anji Cheung, Caius Burns and Aby Vulliamy; plus later dates with Jaye Jayle and Motes

23 Feb

One of the connections which particularly intrigues me (for which read “always baffles me and induces me to go over it again”) is the one between folk music and hardcore punk. Apparently it’s a love based on a number of things – the inclination towards keeping to the basics, the austerity which is fostered both by that and by a distrust of commercialism and toys, a sense of political purity and of dodging corruption… It’s perhaps a little one-sided – punk tends to love folk more, although you’ll get some acknowledgement coming back the other way, increasingly so as more young folkies grow up with punk. Regardless of the relative exchange, you’ll see quite a bit of traffic moving around here. An upcoming British tour looks into this particular dynamic and feel, at the stripped-down point where the genres meet: along the way, there are more overlappings and enfoldings.

Markers’ Jodie Cox always seemed like a gifted guy that strolled into hardcore with a positive attitude, rather than hunching or raging his way into it. Even when he was blitzing and shrieking away at the front of short-lived London seedbedders Ursa during the late ‘90s, he seemed cheerfully unlimited by the constraints of form. Ever since then (via transatlantic journeys through Earth, Narrows, Bullet Union, Sex Swing, Exes and others) he’s always seemed to be where he wanted to be rather than being forced into it: a sunny, enthusiastic character who’s helped humanise and hearten any project he’s been in. Jodie’s bandmate, contemporary and friend Jason Carty began his career in the same time and place. Stubborn, meticulous and sometimes anxious, he twitched and reeled various fluent post-rock/prog/post-metal guitar complexities through Geiger Counter and Foe like a ferocious engraver, then threw all of that aside to play blattering post-hardcore doom bass in Art Of Burning Water before embracing silence for a number of years.

Now reunited and united, Jason and Jodie’s all-instrumental work as Markers sees the two of them eschewing other musicians and hairy-arsed distortion in order to see what they can get out of two (mostly) clean electric guitars. Their debut album ‘Heaven In The Dark Earth’ is a beautifully executed thing. As Jodie’s put it elsewhere, rather than roaring easily through fuzz they’re now aiming for something “tonally heavy” (Even if they have covered Jesus Lizard, they went for one of that gonzo band’s rarer gentle tunes, and it came out sounding like late lamented bass frowners Rothko.)

Markers’ music is immediately atmospheric, recorded at a larger-than-life scale in which the listener feels as if they’re about a foot high, wandering around the duo’s feet and their suddenly gargantuan amplifiers. When processing does turn up it’s mostly in the form of encompassing shivers of reverb, or discreet echo – wider brushstrokes and spongeings to complement delicate penwork. Apart from that it’s wood, wire, pickups and an intuitive, space-filled musical marriage between the two players, pursuing a fluid sparseness and a sombre/passionate flaring of arpeggios and arabesques, flotsam folk figures and fragments rubbed smooth enough for their provenance to stay ambiguous. It’s a kind of post-industrial classical guitar, making the most of sparse resources and close-mouthedness, mysterious conversations through fingers and dusty speaker-cones. These buggers always had a lot more depth than previous circumstances have allowed them to show: or perhaps, more than they allowed themselves to make clear. In Markers, they no longer have either of these problems.

Following their recent showing at a mid-February gig in Brighton (hands up, I admit that I missed it) Markers are setting out on tour with kindred spirits Haress. Hailing from arty market town Bishop’s Castle in Shropshire, Haress are fundamentally the guitar duo of David Hand and Elizabeth Still. Mantric, minimalist, low-hanging and close-knit, theirs is a music in which several tight and lowering musical disciplines meets. Art-rock, hardcore edge, meditational post-rock and American electric folk fragments emerge via very loud, mostly clean electric guitars (on the lip of distortion and at the precarious peak of electromagnetic responsiveness) and meet shruti and amp drones plus delicate percussion tingles. Below are a couple of clips of David and Elizabeth meeting inside and outside:

Haress sometimes expand for live dates. The current ones see them augmented by a third guitarist (Chris Summerlin of dubby Notts psych/noise-ians Kogumaza, accelerated post-Beefheart screamers Wolves of Greece, and bluescore trio Lord), by a singer (Tom House, best known as the frontman for a pair of Brighton bands, hollering post-hardcore act Charlottefield and its more tender-fleshed followup Sweet Williams) and by drummer David Smyth of Liverpudlian synthcore/space-punks Kling Klang. No clips for that, I’m afraid…

At the London show (also the Markers album launch, with ticket/LP/download bundles available for those who want them), Anji Cheungprovides “audio intermissions”. She was in here earlier this month being previewed at the Matthew Shaw/English Heretic show, sandwiched between rural synth ambience and psychogeographic audio-visual. I can’t immediately improve much on what I said about her back then, so here it is again – “unnerving, frowning amplifier buzzes rolling over the listener like a gigantic clumsy wheel, with dramatically chopped/distorted/otherwise incomprehensible vocals implying pirate-radio-eavesdropping on a covert ritual… car-boot clatter under a lowering sky… beautiful lost female murmur-melodies stalked by drainage-ditch fuzz…. Another aspect of New Weird Britain: ambiguously multicultural and urban, mixing and obscuring London and Chinese references, but sounding mostly as if it stems from a place where jerry-built tower blocks break up old fields around the city’s tired periphery and where unknown syncretic practises are carried out (perhaps only half-understood even by the people involved).”

In Nottingham, Kagoule’s frontman Caius Burns will be bolstering the evening: sidestepping the noisy fantastical post-hardcore of his main band to deliver an acoustic voice-and-guitar set of his own songs, all in an old-school folk baroque form complete with slippery Jantschian fingerpicking. (And here he is in transient mode, halfway between folk and electropop…)

The Shipley show is the most extensive on the mini-tour: a four-act event with Tom House stepping forward out of the Haress lineup to perform a set of his own queasy, sludgy, draggy-pop slowcore. Hometown girl Aby Vulliamy is also joining the evening. A multi-instrumentalist (piano, viola, flute, musical saw, accordion) and singer/composer across a remarkable range of genres, she was covered in here a few years ago via her part-written/part-improvised Mothercore project, in which she teamed up with established musicians Laura Cole and Maria Jardardottir plus an ever-shifting cast of local musician/mothers who joined in whenever the main trio rolled into their town. Mothercore was inspired by, and triggered by, the ambiguous experience of motherhood, and appears to have led into last year’s long-overdue Aby solo album, ‘Spin Cycle’.

If Mothercore thrived on solidarity, ‘Spin Cycle’ places itself, sometimes unnervingly, on “mother alone yet not alone”: its songs tracing their way across a webwork of maternal experience (broader voicings of political anger at the forcing of roles onto women of childbearing age; the claustrophobic vortex of love, fear and exhaustion surrounding breastfeeding; an awareness of the greater female timespan of girl baby to young woman, watched over by mother all the way). Depending on your gender, your situation and where you are in your own lifespan, it’ll either shed light onto a much generalised-over, much-misunderstood state of being, or simultaneously rue and celebrate what’s one of the greatest and most turbulent tasks, all to a DIY backing of diverse, intimate floating-folk instrumentation.

The final tour show, in Liverpool, is just Haress and Markers on their own. I can’t tell you where the Old Brazilian Embassy is, although longstanding Liverpudlians might be able to hazard a guess, while the organisers appear to be a collective who throw concerts at home and overlap with avant-garde rock ensemble Ex-Easter Island Head (so now you know who to chase up and pester if you really want to come). Apparently this isn’t the only show these guys are putting on, although the proximity of neighbours and license issues means that they’ve got to keep the volume down… Merseyside art musicians who operate at the quiet end of things, here’s a new place to beat a pathway to (if you can find it yourself).

Outside the tour, Haress and Tom House will also be plying their trade at a mid-March gig in Bristol, for which they’re joined by obscure Somersetters Motes, who come bearing the priceless label of “drunk-minimal/hypnotist-un-rock based at the ventriloquistic intersection of Barrow Gurney and Old Market”. There’s no way I can better that sentence – it’s its own short film, all by itself – but here they are, playing a couple of their lo-fi guitar-and-drum, barn-under-the-motorway scrambles:

San Haress, Markers go on to play a couple of dates in Brighton and Leeds on the cusp of April and May with American “dark-indie” band Jaye Jayle. Formed in Louisville around onetime Young Widows songwriter Evan Patterson and with other personnel sporting a history including The For Carnation, Freakwater, and Phantom Family Halo, Jay Jayle connect American roots music and Southern Gothic musical sensibilities with drone, garage rock, and bits of kosmische analogue-tronic drive (much of it brought by Corey Smith’s “auxiliary instrumentation”). They’re an exciting thrumble of Velvets-y deathmarch, down-home fucked-up country backroads, factory sirens, momentary blackouts and haunted, incoherent confessionals. They sing the songs of drifters on long, dark trips; of people in back-prickling situations; and of people who’ve picked at the scabs of guarded obscure places just enough to show you why you shouldn’t pick at any more of them. Jay Jayle are compelling. I think I’ll be back to give them another listen.

Also on hand at the first of those two shows – the one in Brighton – is Nick Hudson’s own home-grown take on the “psychedelic dystopian gnostic-Gothic post-punk” approach, The Academy Of Sun. Some overlap with Jay Jayle’s sound, perhaps, but quite a bit more verbose and self-consciously literary, to be honest. Somewhere between Johnny Cash and dark cabaret, with a dash of biting chanson – but then as Brightoneers they’re not much more than a stone’s throw away from either the sea or Nick Cave (and, judging by the sound of this, from a mouldering salt-stained stack which when pulled apart bursts into a sprawl of old Furniture records and bright West Coast glad-rags).

* * * * * * * *

Dates:

Markers & Haress on tour:

Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England – Tuesday 26th February 2019, 8.00pm – (Markers album release gig, also featuring Anji Cheung) – information here, here and here
JT Soar, 2 Aberdeen Street, Nottingham, NG3 1JB, England – Friday 15th March 2019, 7.30pm – (also featuring Caius Burns) – information here
The Triangle, 47 Bradford Road, Shipley, Bradford, West Yorkshire, BD18 3DS, England – Saturday 16th March 2019, 7.00pm (also featuring Tom House + Aby Vulliamy) – information here
The Old Brazilian Embassy, somewhere in Liverpool, England – Sunday 17th March 2019 – ask around for information

Haress + Tom House + Motes
The Old England, 43 Bath Buildings, Bristol, BS6 5PT, England
Thursday 14th March 2019, 8.00pm – information here

Jay Jayle and Markers:

The Prince Albert, 48 Trafalgar Street, Brighton BN1 4ED, England – 29 Apr – (with The Academy of Sun) – information here and here
Brudenell Social Club, 17 Brudenell Road, Leeds, LS6 1HA, England – Thursday 2nd May 2019, 7.30pm – information here, here and here

Tags: Aby Vulliamy, Anji Cheung, Art Of Burning Water, Bradford (England), Brighton (England), Bristol (England), Caius Burns, Foe, Geiger Counter, Haress, Jason Sylvan (Jason Carty), Jaye Jayle, Jodie Cox, Kagoule, Leeds (England), Liverpool (England), London (England), Markers, Motes, Nottingham (England), Sex Swing, Tom House

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

15 Feb

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

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

* * * * * * * *

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

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

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

* * * * * * * *

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

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

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

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

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

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

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

* * * * * * * *

Dates:

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

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

Tags: Anokha (event), Claude Deppa, Conspirators Of Pleasure, DJ Soundar Ananda, Grand Union Orchestra, Indigenous Resistance, Ionel Mandache, Kapil Seshasayee, London (England), Poulomi Desai, Simon Underwood, Talvin Singh, The Tuts, Zhu Xiao Meng

January/February 2019 – upcoming London rock/noise/eclectic gigs – BYH’s Fun House show with Gum Takes Tooth album launch extravaganza (25th January); from guitar crunch to harp’n’dulcimer chime with fifteen bands at 9 Years of Chaos (2nd February)

19 Jan

A couple of gigs happening at Electrowerkz demonstrate that the noisy, beaty, psychedelic end of things is alive and in rude health in London. In such rude health, in fact, that I’m not even sure that they need me to provide this last-week/last-fortnight push, but I’ll just briefly go through the details anyway…

* * * * * * * *

Ripping the can open on the 25th January is Baba Yaga’s Hut’s Fun House show, an expansion of the launch of the third album by noise-band-cum-two-man-sound-system Gum Takes Tooth (keyboardist/vocalist Jussi Brightmore and percussionist Tom Fug). Preoccupied by the ravenous, toxic/intoxicated development frenzies which envelop contemporary cities (and not least the Aldgate neighbourhood where Jussi’s been working), ‘Arrow’ is a turnaround from GTT’s previous cosmic flights, dropping back to street level and to a more urgent, less indulgent headspace which they define as centring around “gentrification, uncertainty, self-empowerment” as well as meditations on the incitements to tribal violence and competition which become ever louder in the current environment.

More on all of that in this recent ‘Wire’ article; a sample of what’s to come is below.

Gum Takes Tooth, 2018

In support are growling, echoey sax-and-clang drone-rockers Sex Swing, whom I described last time around as “inhabit(ing) a post-Can, post-Suicide hinterland of hell, spring-echoed and tannoy-vocaled – a sinister quotidian landscape of blank anomie and oppression; a Los Alamos penal colony haunted by uranium ghosts, ancient Morse telegraphs, metal fatigue and the zombie husks of Albert Ayler and Ian Curtis.” (I must have been feeling a bit excitable.)

Also on hand are made-up-on-the-spot dirty-techno act Coldnose (acid house turned sharling acid factory), Factory Floor/Kaito/Carter Tutti Void person and cut-up industrial electronicist Nik Colk Void; plus the mysterious Michael (one of those unknown acts whom Baba Yaga regularly pluck out of the darkness which only they know about).

Over in the side room there’s a cluster of successive DJs from sympathetic bands and labels – Rocket Recordings’ own Chris Reeder, plus Rikard from Flowers Must Die, Valentina Magaletti from Tomaga, G&T (from Luminous Bodies / Melting Hand) and what may well be the whole of avant-techno rockers Teeth Of The Sea.

* * * * * * * *

On the 2nd February, noisejazzmetalprogfolkoustic promoters Chaos Theory (responsible for the Facemelter, Whispers & Hurricanes and Jazz Market) spend a day celebrating their nine-year-anniversary. Remarkable to think that they’ve been going that long without burnout – it must have something to do with the fact that main Chaosician Kumal Singh’s personal outlook seems to be as sunny as his bill choices are often gnarly, dark and/or earshredding. Loudness therapy, perhaps. At any rate, Chaos Theory has two rooms full of their favoured freaks; lit and otherwise illustrated by Emily Bailey, dotted with artwork by Sagui and also featuring a virtual reality installation by Nicola Plant.

Unsurprisingly, the fourteen-band lineup they’ve prepared feature a number of acts who’ve danced through previous ‘Misfit City’ posts. I’m already familiar with drums-and-noise “happenings” inciters Sly & The Family Drone (with their all-in approach to audience drumming participation), the triple-headed avant-garde women’s sketchpad V Ä L V Ē (with their scope running from reed-honking prog to post-punk glee singalongs to homemade instrumentation – see multiple posts passim), and convoluted Zappa-esque stunt-brass rockers The Display Team (who take the business of living up to their name pretty seriously, but don’t take much else very seriously). Among those I haven’t covered yet, I know that Medway post-rockers Upcdownc have been plying their grand noise since 2005: always looming on the sidelines. I also now know that although Cold In Berlin‘s name makes them sound as if they’re an earnest neoprog band trying to rip off John Le Carre, they’re actually grand-scale post-punkers adding hallucinatory body to their songs via textural guitar like a muezzin’s nightmare.

I’m less familiar with the knot of assorted metallics in the middle. Heavy Essex doomproggers Earthmass; cosmologically/geometrically-preoccupied Sheffield mathboys Body Hound (featuring former members of Rolo Tomassi and Antares); sludge-stoners Prisa Mata, female-fronted slowgrinder duo Bismuth; cross-country prog-metallers PSOTY. But for me, a little metal generally goes a long way, and I’m more interested in the other sounds spicing the mix. Enigmatic, theatrical electronic performer UKAEA (half of Gun Cleaner) seems to swing wildly between pelting techno dance sets on the one hand and ranting performance art (complete with masked violinists) on the other. Then there are the acts which have spilled in from acoustic-ish CT clubnight Whispers & Hurricanes – hammered-dulcimer-toting Fear Of The Forest frontwoman Kate Arnold and jazz harpist Tori Handley. Experimental mood cellist Jo Quail flits mysteriously between gigs in churches and disreputable art cellars like this one, has fairly recently put out a heavy-metal-influenced album called ‘Exsolve’ and will be working up a new project for the 9 Years show (although, given the involvement of various people from Wren, it will presumably be some kind of stately sludge-tone…)

Central to the occasion, though, is Gothic dream-pop siren Evi Vine, who’s using the occasion to launch her ‘Black/Light/White/Dark’ album (including contributions from various Cure men and Nephilim-ites, if you’re familiar with your hats’n’backcombing icons.)

A wall of Chaosnoise follows for those who wanted to keep up with the metal from earlier in the post…

* * * * * * * *

Dates:

Baba Yaga’s Hut presents:
Fun House: Gum Takes Tooth + Sex Swing + Nik Void + Michael + Coldnose + various DJs
Electrowerkz, 7 Torrens Street, Islington, London, EC1V 1NQ, England
Friday 25th January 2019, 9.00pm – information here and here

Chaos Theory Promotions presents:
9 Years Of Chaos Festival
Electrowerkz, 7 Torrens Street, Islington, London, EC1V 1NQ, England
Saturday 2nd February 2019, 2.00pm– information here, here and here

Tags: Baba Yaga’s Hut (event/promoter), Bismuth, Body Hound, cello music, Chaos Theory (event/promoter), Cold in Berlin, Coldnose, Earthmass, Evi Vine, Flowers Must Die, Gum Takes Tooth, harp music, Jo Quail, Kate Arnold, London (England), Luminous Bodies, Melting Hand, Nicola Plant, Nik Colk Void, Prisa Mata, PSOTY, Rocket Recordings (record label), Sex Swing, Sly & The Family Drone, Teeth Of The Sea, The Display Team, Tomaga, Tori Handsley, UKAEA, Upcdownc, V A L V E, Wren

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.

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.

* * * * * * * * *

The 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.

* * * * * * * * *

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 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.

* * * * * * * * *

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

Tags: Ale Hop, Éna Brennan, Caroline Araoz, Chloe Herington, DJ PLS, Dowry, Famous Eno, Farz, flies+flies, Frank Byng, Jansen Barbieri Karn, Jylda, Kavus Torabi, Keith Moliné, Knifeworld, London (England), Merlin Nova, No One's Watching (event/promoter), Participant (Stephen Tiernan), Pere Ubu, Pet Rok, Prescott, SET (promoters)

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

4 Jan

Three for next Wednesday…

* * * * * * * *

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

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

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

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

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

* * * * * * * *

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

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

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

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

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

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

* * * * * * * *

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

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

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

* * * * * * * *

Dates:

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

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

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

Tags: Amy Balog, ANTA, Carlos Ferrao, Jo Cooper, Josh Wolfsohn, Kavus Torabi, Laura Victoria, listening to women, London (England), Monelise, Paul Go, Paul Reynolds, The Osiris Club, theremin music, Vespers, women of heart and mind

October/November 2018 – upcoming English rock’n’rap gigs – Collapsed Lung, The Scaramanga Six and Sleepy People (variously 12th, 13th and 19th October; 2nd, 3rd, 16th, 17th and 30th November)

9 Oct

I wasn’t sure whether to title this post “’90s survivors” – partially since it’s such a cliché (bringing up images of my era’s university bands entertaining my greying classmates at nostalgia festivals around the country) but also because it suggests musicians who’ve grimly plugged away for ages trying to tongue up the last scraps of glitter from a twenty-five-year-old hit. A survivor doesn’t have to be someone who never left their band; nor does it have to mean a band which just never went away. In many respects, a survivor is someone – or some group – that simply didn’t let their experiences burn them beyond all recognition and all enthusiasm.

Essex rap-rockers Collapsed Lung fit the latter definition nicely. Formed in 1992, they had a busy four-year lifespan, but chose to wind down in 1996 barely six months after cracking the Top 20 with ‘Eat My Goal’ (record label skulduggery having painted them into a corner). In their case, the derailment seems to have been more of a choice to get back control over their own lives and satisfaction rather than allow themselves to have become a novelty act at the mercy of scamsters. Artistically, it’s done them a world of good. Having first tested the reunion waters in 2010, they made a fuller comeback in 2014 and have been resurfacing periodically ever since, playing alongside contemporaries and sympathetic spirits like Senser and Jesus Jones.

This year, however, they’ve finally put together a new Bandcamp-hosted album, ‘Zero Hours Band‘, full of “rhymes about what’s “real” to us. These days – middle aged ennui, social mores, feeling utterly out of touch.” They might be selling themselves as a grizzled old joke, but the record is anything but: it’s a clangorous and argumentative pub lock-in of a record, full of waspish English sarcasm, hilarious bellyaching and bang-on-the-nose caricature. By opting out, they stayed themselves: they’re a band devoid of posturing, and a far more honest representation of their wave of British hip hop than they would be had they either allowed themselves to be imprisoned by their hit or ricocheted back off it into faux-American rap swagger.

Their upcoming scatter of British dates from Huddersfield and London to Brighton and Minehead should see Collapsed Lung at their vinegary, middle-aged best: old dogs that can still raise a bark. They’ll probably play the hit, but why not – the brassy ring of newer songs like New Song Old Band and Golf People demonstrate that they’ve earned the right to do what they want. For what it;’s worth, the Minehead performance is part of the Shiiine Weekender, with dozens of other ‘90s or ‘90s-friendly acts: hopefully some of their attitude will rub off on their billmates.

* * * * * * * *
Crossing paths with Collapsed Lung for their Huddersfield date are The Scaramanga Six. It’s tempting to call them ‘90s survivors too; but it wouldn’t be accurate since (a) the Scaramangas only just scraped into the tail end of the ‘90s with their live-in-a-room debut ‘The Liar, The Bitch And Her Wardrobe’ and (b) they’ve never really gone away since, since they’re not so much survivor/revivers as cottage-industry thrivers. Plugging away across nine vibrant self-propelled, self-released studio albums, they’ve been a model of wilful yet canny independence over the course of two decades, with nary a sniff of major-label involvement.

The beefy panache of the Scaramangas’ records belies their cottage-industry model. There’s nothing lo-fi about their arresting, dramatic rock songs which take an American Gothic template and apply it to the simmering discontent of small town England, in the tones of West Country hoodlums with an armoury of loud guitar, snorting brass, Wasp synthesizers and orchestral percussion (and plenty of self-aggrandising, self-aware melodrama on the part of the band).

It’s easy to see the band’s current release – the double album ‘Chronica’ – as a Brexit metaphor. Billed as “an abstract story roughly hewn from a concept of a dystopian island society”, it takes their existing preoccupation with glowering, violent, self-destructive buffoonery and expands it out into a map of “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?” Yet there’s also a hefty dose of the band’s manic theatre involved; digressions into sinister homebound nightmares (like David Lynch hitting the Yorkshire rentals circuit) suggesting that – no matter what the direct politics – the Scaramangas will always be most interested in the monstrosities which we bud by ourselves, within ourselves.

* * * * * * * *

The Scaramangas are playing three more dates during November, including a couple of one-band-only gigs in Bristol and London. Joining them for a second Huddersfield appearance in mid-November, however, are Northumbrian oddballs Sleepy People. They’re another band that you might judiciously paste into that ‘90s survivors category, were it not for the fact that they’re more like some kind of Wacky Races jalopy; one of the ones fuelled by wayward stubbornness and which keeps full-tilt crashing in flames, makes surprisingly effective repairs from unlikely bolt-ons, disappears from the race for ages and then comes roaring back onto the course from an unexpected angle while acting as if it had never left.

The full Sleepies history’s a frustratingly complicated revolving door of a story, with plenty of caught feet and snagged umbrellas. Suffice it to say that, after a lengthy time-out, they returned last year complete with original frontman Tiny Wood: he who also sings righteous freak-flaggery with Ultrasound. Here, he intones songwriter Paul Hope’s tales of sinister orphanages, malls and retirement homes, of wild bestial metamorphoses or hatching turtles, of tumbling sympathetic oddballs caught between their own peculiar daydreams and the unforgiving summary of newspaper pages. As a band Sleepy People are a conscious continuation of a particular kind of serious English whimsy – the kind that simmers and zigzags through Cardiacs, Syd Barrett, Gong, early Genesis.

In the Sleepies’ case, though, the flutes, arcane keyboard twinkles and glissando guitars are beefed up by proletarian disco drive, bullish Jam post-punk and a pumping sugar-rush art-punk ferocity more akin to Bis than any psych or prog act. Sometime frustratingly slow on promotion, there’s not enough of them on the internet, but here’s a slightly scrappy look at them rehearsing one of their off-the-wall epics last year (plus a mix-and-match rehearsal/performance shot at another one from their appearance at WWW2 in Preston earlier this year).

The latest tag they’re toting for themselves is “psychedelic elevator music made by hyperintelligent pre-schoolers”, which captures some of their wide-eyed enthusiasm but not so much of their oblique serious intent. There’s a diffuse swirl of rebellion running through their music – often touching on people’s freedom to think and express in their own way, and on the misunderstandings, deliberate dismissal and persecutions they’re met with. Another common theme is that of rippling the skin of reality to apprehend the mysterious processes running underneath. For those of us who’ve been following them since the ’90s, it would be good to see them recording a new album which somehow pulled all of their wandering strands together, magicalising their North-Eastern home in all of its history and its metaphysical implications. Til then, though, it’s certainly nice to have them back.

As well as the show with The Scaramanga Six, Sleepy People have their own show in their Newcastle hometown at the end of November. Next February, they’ll also be playing support in Sheffield with another of their hero bands and influences, The Monochrome Set, but more on that nearer to the time.

All dates for everyone:

Collapsed Lung + The Scaramanga Six + tbc – The Parish, 28 Kirkgate, Huddersfield, West Yorkshire, HD1 1QQ, England, Friday 12th October 2018, 7.30pm – information here, here and here
Collapsed Lung – The Lexington, 96-98 Pentonville Road, Islington, London, N1 9JB, England, Saturday 13th Oct 2018, 7.30pm – information here
Collapsed Lung – The Prince Albert, 48 Trafalgar Street, Brighton, BN1 4ED, England, Friday 19th October 2018, 8.00pm – information here and here
The Scaramanga Six – Rough Trade, Nelson Street, Bristol, BS1 2QD, England, Friday 2nd November 2018, 7.30pm – information here and here
The Scaramanga Six – Wonderbar, 877 High Road, Leytonstone, London, E11 1HR, England, Saturday 3rd November 2018, 7.00pm – information here and here
Collapsed Lung – Shiiine On Weekender @ Butlin’s – Minehead, Warren Road, Minehead, Somerset, TA24 5SH, England, Friday 16th November 2018 (with too many others to list) – information here
The Scaramanga Six + Sleepy People – Small Seeds, 120 New Street, Castlegate, Huddersfield, HD1 2UD, West Yorkshire, England, Saturday 17th November 2018, 8.00pm – information here and here
Sleepy People – The Cumberland Arms, James Place Street, Newcastle-upon-Tyne, Tyne & Wear, NE6 1LD , England, Friday 30th November 2018, 7.00pm – information here

Tags: Brighton (England), Bristol (England), Collapsed Lung, Huddersfield (England), London (England), Minehead (England), Sleepy People (Blue Apple Boy), The Scaramanga Six

Comments Leave a Comment
Categories art punk, DIY music, garage rock, hip hop, pop, previews, progressive pop, psychedelic pop, psychedelic rock, rapping, rock

October 2018 – upcoming rock/experimental/dance gigs in England – The Evil Usses on tour in Liverpool, Salford and Derby (4th, 6th, 7th October) with shows also featuring Unstoppable Sweeties Show, The Age Of Glass, Mal, Night Stage, Shunya and Unicursal

30 Sep

This coming week, The Evil Usses take their witty, post-Beefheart/No Wave skronk-rock out of Bristol to travel in a brief arc across the Midlands and the North.

* * * * * * * * *

In Liverpool, they’ll be playing a saxophone-heavy Postmusic night with three Merseyside acts.

Jazz-punk absurdists Unstoppable Sweeties Show will be celebrating the release of their second album “Bring Kath her Breamcatcher [the musical]”. Styling themselves as “post-pronk” or as “passive-aggressive progressive prog” they come across as prime nonsensical Scouse upsetters: singer Yashaswi Sharma sounds like a young PJ Harvey yelping nonsequiturs, drug babble and occasional obscenities against an omnidirectional springy racket of guitars, saxophone and drums (while a bassline rushes across the gaps like a spider on a slender bridge, under fire). Incorporating “free improvisation, spoken word, avant-garde, noise, and comedy” as blunt objects in their armoury, USS are part of the scattered North-West English rock weirdness which includes a.P.a.t.t., White Blacula and Poisoned Electrick Head. (They’ve got members of the first two on board, plus people from the LAZE and from Elmo & The Styx, making them something of a Mersey anti-supergroup).

Rounding out the Liverpool bill, Mal provide ritualistic occult-industrial ambient noise (employing synth pads and doubled saxophones for “brutal sermons” and “chilling sideways sweeps at things”), while Unicursal bring cut-up acoustic noise via guitar and tape loop.

* * * * * * * * *

For Salford’s Space Cassette night, Evil Usses will be playing with delightfully spindly Manchester band The Age Of Glass, who employ skinny acoustic guitar skank, rolling jazz bass and crisp percussion to create their own yelping electronic dance/dub/funk combination.

Age Of Glass’ samplehead Alan Keary will also be performing as his own multi-instrumental, multi-genre project Shunya, using his mastery of guitar, programming, jazz double bass and other strings to create a rattled, skittish combination of post-classical, jazz and electronic dance ideas. Firing live beats across live instrumentation that can vary from duo performances to a twelve-piece band, he’s already made a name for himself by remixing the work of latterday choral composer Eric Whitacre, and drawn collaborative interest from members of GoGo Penguin: his future’s looking bright and intriguing.

In addition, Talos 4000 (specialist in “acid rave/cosmic dross”) and Burnibus (curator of eclectic electronica show Non Dualism Podcast) will be providing the DJ sets. Here’s an example of some previous Space Cassette-ing…

* * * * * * * * *

In Derby, Evil Usses’ support comes from Night Stages: the brainchild of Dubrek Studio owner and Derby music stalwart Jay, who’s put together his own “psychedelic noise-rock super group” featuring members of assorted Derby strivers Them Are They, Twinkie and YouNoGoDie. They’re still so underground and emergent that they’ve got no web presence yet, so all we’ve got to go on is an account from Derby arts-blog ‘Storge’, from a previous Dubrek all-dayer – “they are loud, shimmering sludge, and at one point the rhythm section sounds like pure, glorious metal. The guitar sounds Jay provides at times sound like shattering glass and if he hits that red pedal of doom you know it means trouble for your hearing.”

* * * * * * * * *

Full dates:

Postmusic @ DROP The Dumbulls Gallery, Dublin Street, Liverpool, L3 7DT, England, Thursday 4th October 2018, 7.30pm (with Unstoppable Sweeties Show + Mal + Unicursal) – information here
Space Cassette @ Siren Asylum, 24 Missouri Avenue, Salford, M50 2NP, England, Saturday 6th October 2018, 10.00pm (with The Age of Glass + Shunya) – information here and here
Dubrek Studio, 6 Becket Street, Derby, Derbyshire, DE1 1HT, England, Sunday 7th October 2018, 6.30pm (with Night Stages) – information here and here

Tags: Bristol (England), Derby (England), DJ Burnibus, DJ Talos 4000, Eric Whitacre, Liverpool (England), Mal, Manchester (England), Night Stages, Postmusic (event/promoter), Salford (England), Shunya (Alan Keary), Space Cassette (event/promoter), The Age of Glass, The Evil Usses, Unicursal, Unstoppable Sweeties Show

September 2018 – upcoming rock gigs – Rumour Cubes, Agathe Max and Dream Logic in London (14th September); Major Parkinson’s European autumn tour (various dates, 26th September to 6th October)

9 Sep

Like progressive rock before it, post-rock ended up disappointingly short of genuinely inspiring exponents. The blueprint was all very well: retaining rock’s technology and what remained of its countercultural drive while dissolving its rigid methods, its predictable narratives and textures and its conservative exclusions In practise, few could reach (or be bothered to reach) the heights of the movement’s most inspired figures and their new paths: such as Tortoise’s integration of jazz, dub and electronica; Slint’s taut, grinding refusals; Godspeed’s sprawling/brooding scapes of punk-cinema-versus-conservatoire-grandeur; Talk Talk’s mendicant, increasingly hermetic passage from synth-pop to a dissolution of blues, prog and folk into distressed noise and silence; Moonshake’s abrasive post-everything groove and careening samples; Disco Inferno’s angst-ridden music concrete and social challenge. Most post-rockers, then and now, have stuck with a glowering reduction, a boiling-out of rock posturing leaving a glum muted residue of passive riffs and patterns… actually, more of an opt-out than a boil-out; in which say, the impact of Talk Talk’s ‘Spirit Of Eden’ is much-cited but rarely remembered in terms of how it can inform and colour the music, much less for the intimations it can throw up.

Though they’re not overturners – at least, not in the tradition of the bands I’ve cited above – third-generation London post-rockers Rumour Cubes are a welcome exception to the procession of drab refuseniks that make up the bulk of the post-rock movement. It’s probably partly because they’re proud and self-confessed “counter-revolution(aries)”, founded from the start around violin, guitar and electronics and obtaining their rock instrumentation later rather than using and rebelling against it from the start. Their origins, too, stick in post-rock’s teeth. Violinist Hannah Morgan lied about her knowledge of the genre in order to bluff her way into the starting lineup, while guitarist/main composer Adam Stark and drummer Omar Rahwangi were already impatient with its dour restrictions. In an interview with Chaos Theory, Adam’s stated that “as a band we are painfully aware of how boring post-rock can be… what we are trying to do is take what we find amazing about those bands that have influenced us and that are part of our community, and do something new with it.”

What Rumour Cubes have done is in as much in the in the lines of good prog rock as good post-rock – opening the gates to a variety of ingredients and described as a “luminous re-imagining of very many constituent parts” by ‘Louder than War’. As with underrated Aussie unit Apricot Rail, the toned-down interweave of guitars and the Krautrock groove bass often aim for a slow-building pastoral ecstasy while the band seeks a sweet spot that’s more country and roots than graphs and laboratory. The dancing interplay, in particular, between Hannah and viola player Terry Murphy ducks lemony-minimal string textures in favour of something that’s more country hoedown or folk fiddle. Rumour Cubes often hit their own delightful merge-point between the rustic and the highly technological, performing on bowed banjo and (the ubiquitous) post-rock glockenspiel in addition to the guitars, strings, keyboards and percussion, adding brass and harps where they can, and regularly bringing in instruments like the gestural technology of mi.mu gloves, new uses for joystick controllers, software-synchronised video displays and a battery of custom effects pedals to create new textures. Their gigs are, in consequence, joyous and open-ended experiences: collaborations, on and offstage with poets and filmmakers result in the music never stagnating.

Following two years of silence, and four without new music, Rumour Cubes return to live work via a gig at the Underdog Gallery near London Bridge, in order to premiere a batch of new music (including upcoming single ¡No Pasarán!, which will be out in a few week’s time). Meanwhile, here are some previous bits of Cubery to whet the appetite.

A couple of other acts are joining the show – firstly, amplified French acoustic violinist Agathe Max, who fled classical music around twenty years ago in favour of improvised sonic textural music and electrically-enhanced string-drones. Currently playing with Kuro and Mésange, she’s appearing alone on this occasion in order to offer a set of solo violin works. Secondly, Dream Logic: the recent solo project from Adam Fulford (previously known as the guitarist for Bristolian post-rockers This Is My Normal State) It’s pealing, cool-busting stuff which sees Adam all but drowning his own plagent piano lines, guitars and basses in eager tides of yearning orchestral strings and feverish noise clutter, bringing him comparisons to Nils Frahm and to A Winged Victory for the Sullen. This is Dream Logic’s third show (following previous support slots for Orchestra of the Age of Enlightment’s rulebreaking alter-ego the Night Shift and for rebranded ambient post duo VLMV (previously ALMA) and live arrangements usually involve a string quartet: let’s hope he comes up with the goods on this occasion, too.

Echoes And Dust presents:
Rumour Cubes + Agathe Max + Dream Logic
The Underdog Gallery, Arch 6, Crucifix Lane, Southwark, London, SE1 3JW, England
Friday 14th September 2018, 7.00pm – information here and here

* * * * * * * *

A little later in the month, jumpy and unpredictable Norwegian art-rockers Major Parkinson are dipping into England as part of an autumn European tour presenting their new ‘Blackbox’ album (and which also includes Germany, Switzerland and the Netherlands). A jaggedly muscular alternative pop proposition, Major Parkinson’s music recalls a host of eclectic forebears such as The Monochrome Set and Faith No More: most notably, they’ve become a hit with the sometimes partisan (and often hard-to-impress) Cardiacs fanbase, who appreciate unrestrained complex melodicism and truckloads of energy, and have been up and yelping about this band for a while now.

I can’t really top this for an intro…

“Major Parkinson write tunes. But with influences from across the rock and classical genres (from The Beatles to Cardiacs) and a warped vision of the musical world, their tunes are like no other. You may hear a snippet of an East European folk song, a nursery rhyme, a stage musical, even a rock anthem, all played out on a range of instruments that a symphony orchestra couldn’t muster – synths, strings, old typewriters, brass and reputedly a decommissioned jet fighter engine. The musical scores behind their songs are both monumental and breathtaking – explosive synth and guitar sections that pound at your heart and then instantly make it melt with beautiful choral harmonies, and then drawn in you will dance and sing along as if centre-stage in a West End show.

“With songs too that cover subjects as diverse as Pavlovian hounds to ducks in the pond, the sheer scale and absurdity of the Norwegian band’s extraordinary musical world can only be truly appreciated by seeing their seven-piece stage performances live.”

All of the upcoming shows appear to be solo flights for the Major, other than London, Berlin and St Gallen. No news yet on the Berlin guest, but in London support comes (bizarrely, but delightfully) from Sterbus, the quirky Anglophile Italian art-popper similarly beloved of Cardiacs fans and who’s sitting on what promises to be one of 2018’s sunniest and most enjoyable rock albums: he’ll be playing with a band including longterm woodwind-and-vocal sidekick Dominique D’Avanzo, Pocket Gods’ keyboard wizard Noel Storey and Cardiacs drummer Bob Leith. In St Gallen, the gig’s being opened by bouzouki-toting Dutch psych-exotica rockers Komodo, whose music also draws on raga, hip hop, desert blues, rumba and ’60s harmony pop and surf rock.

Full dates:

The Hare & Hounds, 106 High Street, Kings Heath, Birmingham, B14 7JZ, England, Wednesday 26th September 2018, 7.00pm – information here and here
Exchange, 72-73 Old Market Street, Bristol, BS2 0EJ, England, Thursday 27th September 2018, 7.00pm – information here and here
The Water Rats, 328 Grays Inn Road, Kings Cross, London, WC1X 8BZ, England, Friday 28th September 2018 7.30pm (with Sterbus) – information here and here
Soup Kitchen, 31-33 Spear Street, Northern Quarter, Manchester, M1 1DF, England, Saturday 29th September 2018, 7.00pm – information here and here
Hafenklang, Große Elbstrasse 84, 22767 Hamburg, Germany, Monday 1st October 2018, 8.00pm – information here and here
Cassiopeia, Revaler Str. 99, 10245 Berlin, Germany, Tuesday 2nd October 2018, 7.30pm (with support t.b.c) – information here, here and here
Backstage München, Reitknechtstr. 6, 80639 München, Germany, Wednesday 3rd October 2018, 7.30pm – information here, here and here
Grabenhalle, Unterer Graben 17, 9000 St.Gallen, Switzerland, Thursday 4th October 2018, 7.30pm (with Komodo) – information here, here and here
Orange Peel, Kaiserstraße 39, 60329 Frankfurt am Main, Germany, Friday 5th October 2018, 8.00pm – information here and here
ProgPower Europe 2018 @ Jongerencentrum Sjiwa, Hoogstraat 1a, 5991 XC Baarlo, Netherlands, Saturday 6th October 2018, 8.00pm – information here, here and here

Tags: Agathe Max, Baarlo (Netherlands), Berlin (Germany), Birmingham (England), Bob Leith, Dream Logic, Frankfurt (Germany), Hamburg (Germany), Komodo, London (England), Major Parkinson, Manchester (England), München (Germany), Noel Storey, Rumour Cubes, Sterbus, string quartet, violin music

September 2018 – upcoming London rock and experimental gigs – Zimpel/Ziolek and Rotten Bliss in Dalston; Warren Schoenbright, Riotmiloo and Metalogue in Camden (both 7th September)

1 Sep

This coming Friday, 7th September, is looking like a day for hard choices in London. In addition to Pita’s rumbling electronica gig in Homerton with Finlay Shakespeare, there are two more inspiring and atmospheric gigs on the table at the same time…

* * * * * * * *

One of the trump cards for Rocket Recordings at their twentieth anniversary show in London back in March was the first British performance by Polish duo Zimpel/Ziołek. Now Baba Yaga’s Hut have tapped them for their first headlining performance in London, at Café Oto.

Speaking for myself, I don’t buy into the reductive nature of musical genres – acoustica, prog, noise, whatever the hell indie rock/pop is after forty years of arguments. When it becomes more about imposed fan codes than the music, I tend to slip away. Far better to stand back and take in the art of those musicians who aren’t constrained by the fuss and the more constricting tropes… and Zimpel/Ziołek are one of those teamings that step gracefully yet urgently through and around genre.

‘The Quietus’ may have summarised Kuba Ziołek‘s overall work as “magic brutalis(m)“, and that Rocket gig may have been mostly sold to a noise music/post-punk psych crowd, but those lucky or smart enough to make the gig were treated to a fascinating forty-minute Zimpel/Ziołek set-cum-ritual in an all-enveloping, high-volume, high-presence atmosphere; Kuba’s guitar, voice and treatments and Wacław Zimpel‘s saxophones embracing and touching on electric counterpoint, lonesome acoustic folk, rippling electro-psych, ECM ambient jazz and oceanic noise blanketing, all sleeted and sluiced by psychedelic lighting. See below for the full works, and for what you might expect at Oto.

In support is Jasmine Pender’s electric-cello-&-voice project Rotten Bliss (recently seen at a Rude Mechanicals show in July and at a Myth-O-Rama evening in April). Sometimes savage in her playing, Jasmine boils up a weird tempestuous cocktail of noise, textured melodics, bass riffs, drone and unsettling beautiful vocals, intimating surreal stories and events incorporating “dystopian harbours, amorous fishes, nightwatchmen and transcendence.”

Baba Yaga’s Hut presents:
Zimpel/Ziolek + Rotten Bliss
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Friday 7th September 2018, 8.00pm – information here, here and here

* * * * * * * *

On the same night, Chaos Theory present their latest “beautiful medley of noise, industrial, post-punk and electronic sounds” at their homebase in Camden, the Black Heart. Over to them for word on the acts I’ve not encountered before:

“An energetic live experience, Riotmiloo is the project of the singer of garage-punk-riotgrrrl project Venom Seeds. Encapsulating the vocals, screams and protest of women’s real life stories, her haunting and powerful vocals create a cathartic and hypnotic rhythm and noise experience. Often found performing live with producer Eva|3, the integration of post-industrial bleakness with riotous punk fury is an experience to behold. Her debut concept collaboration album, ‘La Pierre Soudée’, was released via German label ant-zen in 2015 and saw her collaborate with different electronic, industrial and noise producers, reflecting their styles and weaving her messages into their music.

“Metalogue is an electronic producer who we’ve seen performing at experimental, post-rock, industrial, live soundtrack and IDM events. His uncompromising attention to detail, with his audio and tactile sensitivity, has led to an already broad selection of lavish records. He has shared the stage with Jarboe, Father Murphy, Huron, thisquietarmy, Only Echoes Remain, end.user and Shelley Parker, has EPs out on Abstrakt Reflections and Section 27, and is one of the minds behind underground IDM promotion Towards Collapse. Tonight he’s going to play an entirely new set.”

Headlining are Warren Schoenbright, whom CT describe as “an improvisational trio who make ritualistic tribal noise using guitar, vocals, electronics and drums. They play to audiences and appeal to fans of metal, ambient, electronic and even prog. Their latest single Excavations, out on Vacant Fulfilment, was inspired by the abandoned machinery of a now-defunct haematite mine. Dominated by fractured absorbing rhythms, being in the room with them is an absolutely exhilarating experience.”

The Schoenbright boys have been in ‘Misfit City’ before. They were participants in a Baba Yaga show in 2016 when, despite their latterday noise rock credentials, I went off on a tangent about how they reminded me of “the hackle-raising anticipatory stillness of Bark Psychosis on ‘Scum’, or of the eerie King Crimson sextet improvs from the mid-‘90s… murky, pulmonary, oft-detonating free-instrumental ghost-rides… Hissing, spitting drum improvisations and head-slithers from a jazz corner combine with boiling brewing ambient vapours from the electronic side to form spectacular instrumental illuminations. Dynamically speaking, it can go from all-out drum hammering and scourscreech to tense gaps and lacunae in which the sound withdraws and poises. Often it sounds like slow-motion night trains caught in a series of stretched-out near misses, watched from the goods-yard shadows by a pair of twitchy, punchy hobos.”

Warren Schoenbright were also at the More News From Nowhere all-dayer in March this year, when I previewed them as “slithering, thickety… craft(ing) lengthy, ambitious and luminous experiments from poised near-silence to hammering viciousness”. By then, a fair amount of what I was writing was out of date. Drummer Daniel McClennan is the only man standing since the early duo days – part of a gradual and piecemeal band shift involving the recruitment of bass player/bellower Alex Virji and this year’s addition of well-established Spanish noise guitarist/vocalist Iker Ormazabal Martínez, plus (and perhaps crucially) the amicable departure late last year after the recording of Excavations, of electronics/noiseman Matthew Pastkewicz, the original sound-sculpting reflector to Dan’s drum attack.

I guess it’s fair to expect a more hardcore noise-rock approach by now; and if a band’s determined and visionary enough, it can keep an interesting perspective and output even after drastic shifts in personnel and instrumentation… but I’m hoping that Warren Schoenbright don’t change too much. The world of noise rock can, in many circumstances, turn into a cul-de-sac full of black mirrors and musicians wedged into them, echoing blankly into each other. The Schoenbrights were much more than that – arresting, head-turning musicians creating absorbing, intriguing musical landscapes; and, like Zimpel/Ziołek, arcing above genre simplicities.

We’ll see what we’ll see. Meanwhile, here’s a video clip of the McClennan/Virji/Pastkewicz lineup last summer; plus Excavations, and sound from an early 2014 live set…

Chaos Theory Music Promotions presents:
Warren Schoenbright + Riotmiloo + Metalogue
The Black Heart, 2-3 Greenland Place, Camden Town, London, NW1 0AP, England
Friday 7th September 2018, 7.30pm – information here, here and here

Tags: Alex Virji, Baba Yaga’s Hut (event/promoter), cello music, Chaos Theory (event/promoter), Daniel McClennan, Iker Ormazabal Martínez, Kuba Ziołek, listening to women, London (England), Matthew Pastkewicz, Metalogue, Riotmiloo, Rotten Bliss (Jasmine Pender), Venom Seeds, Wacław Zimpel, Warren Schoenbright, women of heart and mind, Zimpel/Ziołek

August 2018 – upcoming London pop and rock gigs – The Mantis Opera, Bozo Zoo, The Butterfly Wheel and Imogen Bliss (25th August); Norwood & Brixton Foodbank fundraiser with Treasure Of Woe, Carl White and Apocalypse Jazz Unit (also 25th August)

15 Aug

There are several reasons that I’ve been following the exploits of The Mantis Opera this year. One is the music: an illuminating synth-rock rush through cunningly orchestrated post-classical complexity and brainiac alternative pop, topped with similarly cerebral lyrics which slide fizzing, thinking ribbons through philosophy, logic and linguistic theory before binding them back into more down-to-earth life situations.

If this sounds hideously dry or snooty, it isn’t. This is simply music which is neither ashamed of its own cleverness, nor too self-absorbed or chilly to invite you along for the ride. They’re among an increasing number of newish, bumping-along-in-the-underground acts who share this kind of quirky enthusiasm and possess the requisite smarts and chops to back it up. Tom O.C. Wilson, Prescott, Thumpermonkey and Lost Crowns spring immediately to mind: bands and songwriters who see nothing wrong with turning out songs with the depth and twists of playful short stories, of compressed novels-of-ideas or of meandering Flann O’Brien-esque digressions.

As regards The Mantis Opera, I’ve been chucking around terms like “wide-awake brain music” and “avant-prog keeping watch from under a dream-pop veil” and I’m not going to drop those yet, although I might have to come up with a few more if the band are going to keep up regular performances.

The other reason that I’m keeping an eye on The Mantis Opera is that they tend to keep interesting gig company. Whether they’re good at being invited or are inordinately good at charming their way into lineups, the band seem to have a knack for fitting onto a wide variety of different bills, and this end-of-the-month gig at Paper Dress Vintage is no exception.

Two summers old, already pegged as “rust-bucket swing” and compared to “Mark E. Smith manning the Hot Five”, Bozo Zoo play rootsy jazz-folk and rhythm & blues on drums, double bass and comfortably sleazy sax. Hollering, theatrical vocalist and off-the-wall lyricist Mark Warren (who also handles the inevitable, ubiquitous ukulele) ensures that they tilt into a similar realm of bulging-vein vigour and twisted circus berserkery to that of The Tiger Lillies. A few decades ago he was bobbing about in the kind of lucky-dip underground bands that showed up on Org Records compilations: now he’s singing up budding cabaret gallimaufries of music hall songs and ditties about chess grandmasters. On top of all this, Bozo Zoo seem to have fused Spinal Tap with Schrödinger, via recent online mutterings about “a new drummer but we’ve also kept our drummer… but it ain’t a band with two drummers… but we have got two drummers… it’s complicated.”

Hailing from east London and extensively festooned with mysticism, The Butterfly Wheel aren’t quite the esoteric revelation that they’d like to make out. Plenty of their surface schtick – the Gothic theatrical trappings, the Early Music dirge-wails, the stripping away of Western pop tropes in favour of frowning middle-continent antiquity – is more than familiar to anyone with a passing knowledge of Dead Can Dance (or of the host of intense, tousled imitators DCD spawned over three decades). What is refreshing is the shifts underneath those surface. A female duo, their songs reshuffle and transform archetypes for an increasingly feminised new time. There’s the sense of old stone patriarchal gods and legends being chipped away at; of more hopeful alternatives being birthed out of the sea; of the stories sitting up and rewriting themselves. We’ll have to see where it leads.

From Camberwell and Coldharbour, Imogen Bliss reshuffles Eastern European folk songs and tufty pop covers on voice, mandolin and loop station. The examples below are Armenian and Balkan/Romani, sandwiching a reworked Cure hit: the latter may not sound a great deal different to those pixiedreamgirl uke songs which still bog down every other cinema advert, but Imogen sounds awake and illuminated rather than sun-drenched and casually dreamy. I’m guessing that she’s got other tricks up her sleeve…

Paper Dress Presents…
The Mantis Opera + Bozo Zoo + The Butterfly Wheel + Imogen Bliss
Paper Dress Vintage Bar & Boutique,, 352a Mare Street, Hackney, London, E8 1HR, England
Saturday, 25 August 2018, 7.45pm – information here and here

* * * * * * * *

On the same night, there’s this. Lovers of righteous noise, here’s your chance to sample some noise that’s a bit more righteous…

“London promoters Wrongpop and Chaos Theory have gotten together for a one-off special event to raise money for Norwood & Brixton Foodbank: some of the best new underground bands out there have agreed to bring you their sounds for this excellent cause, so it’ll be a phenomenal evening with extra positive vibes. 100% of ticket sales go to the charity.

“Formed from members of Long Slow Dissolve,The Love Me Tenders and Witchfist, Treasure Of Woe play stoner and psychedelic jams on guitar and drums. We’ve seen this duo doing their thing at The Facemelter last September and they just keep on recording their jams and releasing them online, so have a listen at the link and get down for the full live experience.

“Carl White are a guitar/drums experimental rock duo, originally formed in Brighton and now based in London. Over the years they’ve shared the stage with acts such as Nitkowski, Alpha Male Tea Party, Flies Are Spies From Hell, Witching Waves and The Mae Shi.They’re currently working on a new EP, from which there will be a single/video released in the next couple of months.

“Apocalypse Jazz Unit were started in 2013 by Rick Jensen as a recording project, after nearly three years of not making music. After numerous albums, Rick recruited some new and old musician buddies and started playing live. AJU quickly went from a small group to an over-the-top collective of psycho improvisers, with up to seventeen members at any one time. To date, they have released over seventy albums and have played a ton of gigs. AJU harnesses the spiritual fire of free-jazz of the ‘60s, mixed with a bit of disco when the mood takes them. Always high-energy and with a heavy sense of humour, AJU can easily swing from delicate and sombre, to full-blast horn mayhem.”

Wrongpop & Chaos Theory Music Promotions present:
Norwood & Brixton Foodbank Fundraiser: Treasure Of Woe + Carl White + Apocalypse Jazz Unit
The Black Heart, 2-3 Greenland Place, Camden Town, London, NW1 0AP, England
Saturday 25th August 2018, 7.00pm – information here and here

Tags: Apocalypse Jazz Unit, Bozo Zoo, Carl White, Chaos Theory (event/promoter), fund-raising, Imogen Bliss, London (England), The Butterfly Wheel, The Cure, The Mantis Opera, Treasure Of Woe, Wrongpop (promoters)

← Older Entries

Search

Misfit City

May 2021 – single & track reviews – Loud Women’s ‘Reclaim These Streets’; Penelope Trappes’ ‘Blood Moon’; Spellling’s ‘Boys at School’

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

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

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

November 2019 – three Tuesdays of (mostly) femmetronica in London – Alice Hubble, Blick Trio and Merlin Nova (5th November), Carla dal Forno and Cucina Povera (12th November), Rachel K. Collier (19th November)

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)

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)

June/July 2019 – upcoming London gigs – Jewdas’ summer shindig with Geoff Berner, Fran & Flora and Rokhl Merlot at Balabam (20th June); Sefiroth at JW3 (4th July)

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)

February/March/April/May 2019 – upcoming English experimental/rock gigs – Markers and Haress on tour with appearances by Tom House, Anji Cheung, Caius Burns and Aby Vulliamy; plus later dates with Jaye Jayle and Motes

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

January/February 2019 – upcoming London rock/noise/eclectic gigs – BYH’s Fun House show with Gum Takes Tooth album launch extravaganza (25th January); from guitar crunch to harp’n’dulcimer chime with fifteen bands at 9 Years of Chaos (2nd February)

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

October/November 2018 – upcoming English rock’n’rap gigs – Collapsed Lung, The Scaramanga Six and Sleepy People (variously 12th, 13th and 19th October; 2nd, 3rd, 16th, 17th and 30th November)

October 2018 – upcoming rock/experimental/dance gigs in England – The Evil Usses on tour in Liverpool, Salford and Derby (4th, 6th, 7th October) with shows also featuring Unstoppable Sweeties Show, The Age Of Glass, Mal, Night Stage, Shunya and Unicursal

September 2018 – upcoming rock gigs – Rumour Cubes, Agathe Max and Dream Logic in London (14th September); Major Parkinson’s European autumn tour (various dates, 26th September to 6th October)

September 2018 – upcoming London rock and experimental gigs – Zimpel/Ziolek and Rotten Bliss in Dalston; Warren Schoenbright, Riotmiloo and Metalogue in Camden (both 7th September)

August 2018 – upcoming London pop and rock gigs – The Mantis Opera, Bozo Zoo, The Butterfly Wheel and Imogen Bliss (25th August); Norwood & Brixton Foodbank fundraiser with Treasure Of Woe, Carl White and Apocalypse Jazz Unit (also 25th August)

Archives

Calendar

Blog Stats

Recent Posts

All Categories

Search

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Archives

Calendar

Blog Stats

Recent Posts

Category Cloud

All Categories