Archive | punk rock RSS feed for this section

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 on tour, February-May 2019Markers’ 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:

 

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

15 Feb

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

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

* * * * * * * *

Grand Union Orchestra, 22nd February 2019

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



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

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

* * * * * * * *

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

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

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

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



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


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

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

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



 
* * * * * * * *

Dates:

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

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

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

9 Jan

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

'Overlaps', 15th January 2019

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

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

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



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

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



 

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

* * * * * * * * *

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

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




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


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

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


 
* * * * * * * * *

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

Dowry + Participant, 23rd January 2019

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

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



* * * * * * * * *

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
 

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

4 Jan

Three for next Wednesday…

* * * * * * * *

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

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

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



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



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



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

 
* * * * * * * *

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

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

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

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


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

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

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



 
* * * * * * * *

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

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



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



 
* * * * * * * *

Dates:

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

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

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

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

 

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

 

ATTN:Magazine

Not from concentrate.

Xposed Club

improvised/experimental/music

I Quite Like Gigs

Music Reviews, music thoughts and musical wonderings

A jumped-up pantry boy

Same as it ever was

PROOF POSITIVE

A new semi-regular gig in London

We need no swords

Organized sounds. If you like.

:::::::::::: Ekho :::::::::::: Women in Sonic Art

Celebrating the Work of Women within Sonic Art: an expanding archive promoting equality in the sonic field

Ned Raggett Ponders It All

Just another WordPress.com weblog

Headphone Commute

honest words on honest music

Yeah I Know It Sucks

an absurdist review blog

Pop Lifer

Waiting for the gift of sound and vision

Archived Music Press

Scans from the Melody Maker and N.M.E. circa 1987-1996

The Weirdest Band in the World

A search for the world's weirdest music, in handy blog form

OLD SCHOOL RECORD REVIEW

Where You Are Always Wrong

Fragile or Possibly Extinct

Life Outside the Womb

a closer listen

a home for instrumental and experimental music

Bird is the Worm

New Jazz: We Search. We Recommend. You Listen.

Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

eyesplinters

Just another WordPress.com site

FormerConformer

Striving for Difference

musicmusingsandsuch

The title says it all, I guess!

songs from so deep

Songs and sound. Guitars and stuff.

%d bloggers like this: