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November 2016 – upcoming gigs – the glorious 12th: some of many gigs scattered around England on my birthday tomorrow – Mother, North Sea Radio Orchestra, ILL, Nick Costley-White, India McKellar, Alice Zawadski, Merrick’s Tusk, Snowapple, Captives On The Carousel, Mark Lewandowski, Steve Strong, Shield Patterns, Jamie Safiruddin, The Yossarians, Boy & A Balloon, Bruxa | Cosa, Ed Dowie, Carl Woodford, Andy Or Jenny, Patrons…

11 Nov

Tomorrow I turn forty-six. About half of those years have been spent as an on-and-off writer, scrambling round the edges of music and music culture, attempting to understand this great amorphous art form with its thousands of doors and voices. I had a sombre, or at least a serious, preamble planned: one of those reflective commentator essays that you see on many of the more literate blogs. I threw it away.

Instead (and in keeping with what ‘Misfit City’ has been up to for most of the year), here’s a particularly long garland of gig notices. It’s not here to illustrate any particular school of thought, being the usual melange of tastes and forms – jazz, folk, art-punk, acoustic singer-songwriter, prog, performance art, drone, classical fusion and lush noise. It’s that particular kind of broad, inconsistent, credibility-trampling aural palette which (back when I started doing this in the mid-’90s), wasn’t suggested much outside of the pages of ‘Organ’ or the less austere corners of ‘The Wire’, or indeed ‘Misfit City’; but which now seems to be almost a mainstream stance.

Some other day – perhaps some other birthday – will be the right time for an essay or a grand declaration. If I’ve got a point to make right now (if only by implication and example), it’s that at a tired, fairly battered forty-six I’m still curious, still enthusiastic, still in the business of learning; at a time and place in life which might otherwise ossify my tastes and reduce music to just another commodity or flattened signifier. Spread out over this post are details on concerts, all of them in England, all of them scattered across my birthday. There’s no way I could attend all of them, even with an entirely free hand, but all of them attract me; and at any one of them you’d have found me leaning against a wall, pen and pad in hand, taking notes, looking for new thoughts.

I’ve already posted about the iamthemorning/Tim Bowness teamup for the iO Pages festival, but I can’t really squeeze in the flight to the Netherlands. (Besides, I’m catching them in London on Monday). I’ve also posted about the evening’s Hallkvist/Taylor/Goller/Hayward jazz-fusion show (plus a side order of Charlie Stacey) at the Lambeth art incubator of IKLECTIK, as part of an update on Charles Hayward’s burst of late-year shows. Since that one’s in London, it’s a more likely option for me; but also down at IKLECTIK, in the early afternoon, London jazz incubator Jazz Nursery will be joining in with the ongoing EFG London Jazz Festival in order to present a couple of young bandleaders with relatively accessible projects.

Well, why not start there – start mellow…

Guitarist Nick Costley-White has a trio featuring Conor Chaplin on double bass and David Ingamells on drums and offers fresh, swinging takes on Jerome Kern and Cole Porter (with the leader described by ‘Jazz News’ as “a classy player with an elegant and subtle way with a good tune”). Bassist Mark Lewandowski (“sonorous, fluent… an indispensable part of our scene” – ‘London Jazz’) sets aside his busy calendar as a sideman to compose for and lead a quartet of American drum legend Jeff Williams (Stan Getz, Lee Konitz, Joe Lovano etc) as well as tenor saxophonist Tom Challenger (Brass Mask, Wedding Music, Dice Factory, Ma) and pianist Liam Noble (Stan Sulzman, Bobby Wellins, many records as leader).

Nick Costley-White, 2016Jazz Nursery/EFG London Jazz Festival presents:
Nick Costley-White Trio + Mark Lewandowski Quartet
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 12th November 2016, 2.30pm
information

It looks as if this particular Mark Lewandowski band is too new to have been recorded, but here’s a clip of the Costley-White Trio at work:


 
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'Liberate yourself from my vice like grip", 12th November 2016
Were I up in the north-west I’d be listening to something entirely different, tempted by ‘Liberate yourself from my vice like grip’, the R.D. Laing-inspired exhibition/concert/happening that’s playing at Islington Mill in Salford. Set up by contemporary art organisation Broken Grey Wires, it’s part of their scheme to create safe psychological spaces for people with various mental health issues; to use art as “a facilitator for recovery… to encourage people to make something special for themselves”, following Laing’s own suggestion that “madness need not be all breakdown. It may also be break-through.” 

(Yep – I know how to relax on my own special days.)

For the musical component, co-curators Fat Out have put together a typically eclectic and Mill-ready line-up of mostly local bands. Included are soundscaping folk-indie/jazz-shoegaze performance artists Mother, psychedelic folk-rock jam-jivers The Yossarians and colourful, blippy post-punk femme/art/pop troupe ILL (proudly strident champions of “disobedient noise” who believe in “creating music until something tingles, and performing dance noise until something bleeds”, and who were namechecked in ‘The Guardian’ today as one of the fifty new pop projects shaping the future). Also on the bill are ambient improvisers Andy Or Jenny, the “atavistic” Berlin-based Welsh looptronica singer Bruxa | Cosa, and landscape-ghosting Peak District ambient-pop duo Shield Patterns.

For the ongoing exhibition BGW have brought in various artists who explore mental health, gender, identity and subjective reality in their work (Lizz Brady, Robert Good, Amy Mizrahi, David Sheery, Kirsty Harris, Paul Kindersley, Jared Pappas-Kelley, Alexander Storey Gordon) all of whom raise so many questions, options and ways of seeing that I’d go on for ages trying to clumsily summarise them. Instead, I’d suggest that you follow them up on Facebook through the second info link below…

Broken Grey Wires & Fat Out present:
‘Liberate yourself from my vice like grip’
Islngton Mill Arts Centre, James Street, Salford, M3 5HW, England
Saturday 12th November 2016, 6.00pm
– information here and here





 
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Steve Strong + Patrons + Merrick's Tusk, 12th November 2016If I were in Durham, I could make up for missing one-man post/math/trip-hop band Steve Strong‘s set of simultaneous guitar-loops/drums/electronic-noise hybrids at Wakizashi last month, by catching up with him up at his Empty Shop show in Durham – alongside the trepidatious post-hardcore of Plymouth four-piece Patrons and the blitzing sentimental charge of Derby trio Merrick’s Tusk (currently touring their melodic, heart-on-sleeve half-emo rock around the country). While I was at it, I could feel as if I was contributing more to the community than just the usual couple of hours of head-nodding. (See more about the constructive, cohesion-building Empty Shop ethos here.)

Sapien Records Ltd/Empty Shop presents:
Steve Strong + Patrons + Merrick’s Tusk
Empty Shop HQ, 35c Framwellgate Bridge (above ‘Ciao Ciao’), Durham, DH1 4SJ, England
Saturday 12th November 2016, 8:00 pm
– information here and here




 

India McKellar, 2016

India McKellar

If in Sheffield, I’d probably be in a softer mood, heading over to the Regather co-op for one of their cosier gigs: the second of the recently-established acoustic evenings run by local cello/voice/guitar folk duo Captives On The Carousel.

This week (in addition to the Carouselers usual warm starting set), the night’s playing host to two other Sheffield-area singer-songwriters – India McKellar, whose previous adventures on piano, as a traditional Celtic harpist and as a onetime prog-rocker have set her up well for her matured, quietly captivating role as Laurel-Canyon-by-way-of-West Riding adult songwriter; and rootsier Drake-and-Jansch-inspired guitar-and-banjo picker Carl Woodford.

Captives on the Carousel present:
Captives Vol. 2: India McKellar + Carl Woodford + Captives On The Carousel
Regather Works, 57-59 Club Garden Road, Sheffield, S11 8BU, England
Saturday 12th November 2016, 7.30pm
information




 
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Alice Zawadski, 2016

Alice Zawadski

Back in London, I’d also be tempted (were it not already sold out) by Alice Zawadski’s Joni Mitchell evening down at Brasserie Zedel. I’m not keen on the institution of the average cover version, and embarrassingly average covers of Joni songs are the bane of many an acoustic evening: honeytraps for earnest women with guitars who cover them reverently, winsomely and really badly. Every time, I picture Joni seething in the audience, her notorious strongmindededness in full bullish effect: snarling at the women onstage, cursing them out for skipping her weird tunings, for ignoring the orchestral conception behind the compositions, or for just sugaring the fine vinegar.

This one might well be different, for several reasons. One is that Alice already comes with acclaim, experience and enough background to serve the songs – extensively trained in both jazz and classical skills, a violinist and arranger as well as a singer, she’ll be thinking on maybe as many levels as Joni herself. Another is that her gig partner and pianist Jamie Safiruddin has racked up time and plaudits accompanist and/or musical director with prime British jazz, ballad and folk interpreters Ian Shaw, Claire Martin and Barb Jungr and Ben Cox, as well as pop adventures with Will Young (plus he already has Joni-form, having “played Edith And The Kingpin with exquisite poise” according to ‘The Arts Desk’).

A third reason is that this is primarily a jazz gig; Jamie and Alice joined by Seafarers saxophonist Matthew Herd, bassist Conor Chaplin (strolling over from the earlier Costley-White trio show), drummer and Conor’s Fabled buddy and drummerWill Glaser. No matter how many copies of ‘Blue’ you pitch at my head, I’ll always maintain that Joni was at her original best when diving into jazz, interweaving with Wayne Shorter and Jaco Pastorius as her words kaleidoscoped, her notes ached and flexed and the potential in the arrangement spanned and fanned. Alice is promising Joni’s most well-worn hits and folky standards (‘Big Yellow Taxi’, ‘A Case of You’, ‘Woodstock’) but also “lesser-known gems from throughout her long and fruitful back-catalogue”, and it’s not always that you get the chance to hear someone dipping into the more challenging territories of ‘Hejira’, ‘The Hissing Of Summer Lawns’ or ‘Don Juan’s Reckless Daughter’.

Here are the details for anyone who’s a better ligger/doorstaff wheedler than I am; and below that’s a clip of Alice at work with saxophonist Joe Wright on a song which, even if it’s not quite Joni, shows what her mind and approach could be bringing to the Mitchell catalogue.

Jamie Safiruddin & Alice Zawadski
The Crazy Coqs @ Brasserie Zedel, 20 Sherwood Street, Soho, London, W1F 7ED, England
Saturday 12th November 2016, 9.00pm
information


 
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As for me, I can only guarantee that I’ll be in one particular place tomorrow. At noontime I’ll be in the Union Chapel, at one of the Daylight Music shows which I constantly plug here but all to often have to miss. Accompanied by family (and perhaps even a few unexpected friends), I’ll be down there listening to the soft, distracted keyboard songs of Ed Dowie; watching the charming and daffy Dutch folk-pop trio SnowApple delight and dazzle an audience in a fizz of swapped instruments, leapt genres, blended voices and eye-catching outfits; taking in the interstitial battered-pop moments from Boy And a Balloon‘s Alex Hall; and finally immersing myself in the ringing, humming chamber-ensemble arrangements of Craig Fortnam’s North Sea Radio Orchestra as they navigate (in a bright-toned weave of nylon-strung guitar, bassoon, strings, keyboards and voice) between the Britten-esque and the kosmische, between gurgling Vernon Elliott and sighing Robert Wyatt, between the hopping pulse of downtown minimalism and the Anglican warmth of a Wiltshire harvest festival.

Maybe Daylight shows are at the cuddlier end of what interests me within this blog; but it’s also fair to say that, out of everything covered here, perhaps the rambling, all-points Daylight positivity reflects ‘Misfit City’s own attitude best of all. And in a similar spirit… say hello if you see me there.

Daylight Music 238, 12th November 2016

Arctic Circle presents:
Daylight Music 238: North Sea Radio Orchestra + Snowapple + Ed Dowie + Boy & A Balloon
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 12th November 2016, 12.00pm
– free event (suggested donation: £5.00) – information here and here





 

September 2016 – upcoming London gigs – ANTA + Lords Of Bastard + Thumpermonkey at the Black Heart (2nd)

28 Aug

Here’s very quick news on another psychedelic, proggy, metallic Facemelter show in London at the end of the week… Since I’m in a hurry, all rushing, enthusiastic verbiage below is courtesy of Chaos Theory…

Facemelter, 2nd September 2016
Chaos Theory Promotions presents:
The Facemelter: ANTA + Lords Of Bastard + Thumpermonkey
The Black Heart, 2-3 Greenland Place, Camden Town, London, NW1 0AP, England
Friday 2nd September 2016,
– information here and here

“A fantastic lineup for fans of modern and classic prog, with ’70s psychedelic twists, off-kilter melodies, seriously heavy bass, stoner rock riffs and heavy organ sounds.

ANTA are a truly thunderous modern prog band, driven by heavy organ and bass sounds, vast soundscapes calling back to classic 70’s progressive rock, yet maintaining a distinctly modern sound that remains very much their own. We’ve been fans for many years, having seen them perform crushingly heavy sets at gigs in London and at ArcTanGent, and they’ve shared the stage with legends such as Mugstar, Trans Am, Chrome Hoof, Thought Forms and Bardo Pond. We continue to play their extraordinary albums ‘Centurionaut’ and ‘The Tree That Bears The Equine Fruit’ to this day, but they serve only as a reminder of the velvetine cosmic textures delivered as a hammer blow to the soul that ANTA are capable of when in front of you on stage. A genuine experience and we can’t wait to hear some new material that they’re recording as we speak…


 
Lords Of Bastard are a four-piece heavy psychedelic rock band from Edinburgh, most recently described as “out of the box, out of your mind, psychedelic stoner sludge” as well as “Scottish”. Following the global success of their 2nd album, ‘Cuddles’ in 2012, they released an EP entitled ‘I’m Fun’ last year, to international rapture. As writing new material for their next album is going so well, they’re taking a break to travel down and play for you southerners.


 
Thumpermonkey are a hugely acclaimed band who’ve spent years arguing between themselves about whether to play prog, punk or art-rock, and never seem to have quite settled. After a hugely successful show with them supporting The Display Team during their album launch, we are super uber mega stoked to have them grace the stage of The Facemelter.


 
“We’ve been waiting a long time to get these people down to The Facemelter, and their live shows are rare, so this is a great chance to catch all three bands together in a spectacular show.”

There’s more on ANTA and on Thumpermonkey elsewhere on the blog…
 

July 2016 – a pair of one-day English festivals on the 16th (EppyFest 5 in Stroud, The Whole World Window in Preston)

13 Jul

This Saturday sees a couple of interesting pocket festivals taking place in the west and north-west of England – there’s still a chance for last-minute tickets or walk-ups for each of them.

The fifth in the series of EppyFests is happening this Saturday in Stroud, Gloucestershire. As with the previous four, it’s the brainchild of Stroud-based psychologist and music enthusiast Ian Fairholm and is a spinoff of his well-respected Epileptic Gibbon music podcast, whose remit rambles enthusiastically across “prog rock, art rock, post rock, prog metal, jazz rock, folk rock, math rock, downtempo, chill-out, ambient electronica, IDM, chamber pop, folktronica, psychedelia , neo-classical , film and TV soundtracks and experimental/avant garde music”.

EppyFest is an attempt at translating the podcast’s flavour into live music and live socializing. A well-run, self-starting pocket occasion (complete with its own T-shirts and integral dinner options) its previous events have featured ferocious British post-prog (Thumpermonkey, The Fierce & The Dead, Trojan Horse), latter prog/jazz-rock/jam acts (Sanguine Hum, Schnauzer, Henry Fool, Unto Us, Flutatious and Andy Pickford) and (in the case of Stackridge and The Korgis), a 70s prog outfit and a band of Britpop precursors sharing a last hurrah in the same body. Also in the mix has been loop guitar (Matt Stevens), classical/world chamber-fusion (Firefly Burning) and folk performers with extra ingredients stretching from neo-Celticana to chalkhill psychedelia, European electronica or Balkan jazz (Sheelanagig, I Am Your Autopilot, Tinker’s Cuss, Arch Garrison). As you might expect from a thoughtful curator married to an accomplished female musician, Eppyfest has also featured a healthy proportion of women players including bandleaders and solo artists (such as Becky Rose, Candythief and She Makes War).

Assuming that you’re not already committed to attending the Felix M-B gig down the road on the same day, EppyFest 5 looks set to carry on the tradition in fine form. (I’m jealous. I wouldn’t mind running something like that myself. It’s time to start thinking about empire, or benevolent despotry…)

The Epileptic Gibbon Podcast presents:
‘EppyFest 5’: William D. Drake + Judy Dyble & Her Band of Perfect Strangers + Marvyn B. Naylor + Darkroom (with Elif Yalvac) + Tom Slatter + Sirkis/Bialas International Quartet
Lansdown Hall, Lansdown, Stroud, GL5 1BB, England
Saturday 16th July 2016 , 4.00pm to 11.00pm
information & tickets

Eppyfest 5, 2016

Over the years, I’ve said plenty about this year’s EppyFest headliner William D. Drake over the years, and will probably say more. Woody-throated singer and former Cardiac; the organic keyboard wizard who turns television sets into organs; the man you might find if you went looking for the place where baroque pop meets Punch-and-Judy professor. Bill’s songs suggest a parallel English music: one in which antique pop songs on crackling wax cylinders mingle seamless with both Henry Purcell and Frank Zappa.

In his mid-fifties, and with the release of his fifth album ‘Revere Reach’, Bill’s reached a crucial point in his career, in which the jolly avuncular eccentricities of his earlier work have finally given way to the blossoming kernel of beauty within his compositions. He’s probably far too rounded a person and songwriter to entirely give into it, though. Expect the full range of glorious pastoralism and bouncy humour from a full chamber pop band including members of Stars In Battledress and North Sea Radio Orchestra.

 

I’ve also said plenty about Darkroom , the textural electro-morphic partnership of sometime No-Man/Samuel Smiles/Henry Fool guitarist Michael Bearpark and loop/synth/woodwind/patch-man Andrew Ostler. Over two decades Darkroom have delivered a massively underrated body of work straddling gigantic cosmic soundscapes like deliquescing Hubble images, intricate cerebral dance rhythms, broodingly beautiful guitar tones and (recently) cryptic bass clarinet and flute strands, touching upon influences as diverse as OMD, Autechre, Robert Fripp, Neil Young, Delia Derbyshire, Can and Bennie Maupin.

For this concert their polyglot electronica is augmented by a special guest, Turkish electronic guitarist Hazal Elif Yalvaç an Istanbul-based composer, musician and linguist. We’ll have to see whether Elif’s work (much of it glitching, grumbling guitartronic abstractions) brings out Darkroom’s more abstract instincts; or whether Os and Michael’s knack for direct expressiveness brings out that proggier aspect which Elif’s threatening to reveal in her forthcoming Light Curve project.


Show opener Tom Slatter also shows up in ‘Misfit City’ quite often. He’s a Victorian town-crier with a guitar and a slew of fantastical tales about monsters of air, land and sea, strange goings on in laboratories, haunted gentlemen and master criminals loose on the railways. On record he’s a multi-instrumental steampunk proggie, building himself instrumental Rube Goldberg machines (and occasionally collaborating with one). Live, he’s mostly unplugged and solo, letting his charm make up for the shortfall in instrumentation. One day he will build himself a bicycle-powered, bat-winged portable orchestrion out of old tuba piping and traction engine spares, to allow him to merge both situations. It will probably go off course and fly him somewhere horrible.

One of the prime strengths of jazz players is that they can come from anywhere in the world, meet each other for the first time and immediately speak a common improvising language of immediate flexibility. The four musicians who make up the Sirkis/Bialas International QuartetAsaf Sirkis (drums, Israeli, Londoner), Sylwia Bialas (voice, Polish, currently a Londoner but only recently a Würzburg resident), Kevin Glasgow (bass guitar, a Scottish Londoner via Ireland, but Invernessian rather than actual Glaswegian, replacing an Englishman who originally reached the band via Australia, Scotland and the United States) and Frank Harrison (keyboards, English, surprising lack of other complications) – make more of their scattered nature than most.

With all of that in mind, you’d expect a riotous mix of cultures, making hay out of clashes. What you actually get is aquamarine almost-acoustic jazz, cupped and propelled by Asaf’s winds-of-the-forest percussion subtleties, sung in Polish or vocalese, sheathed in softness and in smoothly-flowing instrumental gestures. The lightness of touch and the Northern hemisphere reserve hearken towards both Pacific Northwestern new age and ECM atmospherics; the light-as-a-feather scatting, twirling Rhodes piano and lissom six-string electric bass suggests a hushed Kurpie version of Flora Purim’s time with Return to Forever.

While the pure, piping soprano tones of co-headliner Judy Dyble might distract you from her full story, they do tie her firmly to the 1960s folk revival. It’s a true tie, as well – teenage friendships with Ashley Hutchings and Richard Thompson led her to spend a year as the singer for the original lineup of Fairport Convention. This auspicious start was followed by a brief, obscure stint in King Crimson prelude band Giles, Giles & Fripp, a more celebrated year as half of much-touted psychedelic folk duo Trader Horne; and finally a handful of gigs in the company of Canterbury characters Lol Coxhill, Steve Miller and Phil Miller.

A gentle, often reticent character, Judy’s musicality wasn’t enough to keep her comfortably engaged with the bruising demands of the music business; and in 1973, after six years of flitting nervously in and out of the spotlight, she retired from music into a quiet life of family and library work while still barely into her twenties. Perhaps it wasn’t as mysterious or dramatic a withdrawal as that of peers such as Anne Briggs or Vashti Bunyan, but it was enough to reduce her reputation to a shadow for all except those who dug up her handful of recordings in search of half-forgotten treasure and found something that didn’t deserve to be overshadowed.

Bar a couple of flitting, fitful Fairport reengagements at Cropredy in the early ‘80s, little was heard from Judy for three decades until – widowed and empty-nested – she was inveigled back into recording by Astralasia’s Mike Swordfish in 2002. Since then she’s pursued a quiet but exploratory revival of her musicality, working in fields fromfolk-rock to trancetronica and experimental art pop, and with collaborators including Dodson & Fogg, Tim Bowness, Sand Snowman, Joxfield Projex, Fuxa and Thee Faction. Her regular home, however, is with her Perfect Strangers ensemble (mostly drawn from co-writer Alistair Murphy’s Cromerzone project) with whom she’ll be performing at EppyFest. Throughout all of this, Judy’s signature tone has remained intact – the folk sweetness, the subliminal hint at hesitancy and tremble which betrays the nerviness and unsurety which has both interrupted her career and given her work its humanity and honesty. As she heads towards her seventies, both tone and temperament have become allied to a longer perspective of value, loss and change – something which, strengthened and deepened by time, she’s grown into and fleshed out with natural experience.

Completing the bill is another, even less well-known hidden treasure. Winchester singer-songwriter Marvyn B. Naylor has been delivering music for twelve underappreciated years now. His mixture of intricate, allusive psychedelic pop songs and pulsating 12-string guitar folk instrumentals tip nods to and shake hands with inspirations including the early David Bowie, Edward Elgar, the Beatles, Joyce Kilmer, Frank Sinatra, Francisco Tarrega and Guy de Maupassant: but he’s a whole meal in himself.


 

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There’s just one former Cardiac on the bill at EppyFest. Technically speaking – unless it’s true that Kavus Torabi is DJ-ing – there are no former Cardiacs at The Whole World Window, which takes place on the same day as EppyFest but five counties up (in Lancashire). In spite of this the bill, spread across two stages, is suffused with Cardiacs enthusiasm. Unsurprising, since it’s the latest in a series of benefits for the band’s stroke-felled leader Tim Smith.

Greg Braysford presents:
‘The Whole World Window – A Benefit for Tim Smith’: Britney + All Hail Hyena + 7Shades + The Scaramanga Six + Sweet Deals On Surgery + Sterbus + Trojan Horse + Adam Shaw + The Jackpot Golden Boys + Sean Keefe + Ahsa + others tbc (or fibbed about)
The New Continental, South Meadow Lane, Preston PR1 8JP, England
Saturday 16th July 2016, 2.00pm
– information here – tickets here and here

The Whole World Window, 2016Bellowing Scots Britney are as garish and hardcore as a fairground teddy-grabber covered in backstreet tattoos. They’re given to one-and-a-half-minute bursts of earsplitting rock numbers plastered with crumpled ice-cream-van melodies. The latter trait, something of a Cardiacs stock-in-trade, tinkles through several of the other bands on the bill – be they outright disciples 7Shades (who lovingly pillage the ornate Cardiacs style wholesale) or pyjama-clad Burley power-pop trio All Hail Hyena (who sound like Bo Diddley rocking an birthday-cake castle).


Something more grandiose is offered by Huddersfield rock bullies The Scaramanga Six. They’ve devoted twenty-one years and enormous musical flair to hammering out poperatic tunes and bursts of garage gonzo, providing tragicomic insight into the flawed and unsettled ethics of everyday men (all carried out with assured baroque brutality and gallows humour). Self-styled “noisy prog rock bastards” Trojan Horse might not be returning to EppyFest this year, but they are bringing their omnivorous Salfordian rock cocktail to Preston: a catalogue of work which plunges into swaggering ‘70’s funk, belting avant-garage moments, broad-spectrum Beatles-pop and audacious psychogeographic experiments. Power-poppers Sweet Deals On Surgery lean towards the punkier side, bucketing towards the end of a song as if it were a race, but distractedly bursting into different versions halfway. For God’s sake, keep them off the Haribos…



All the way from Italy, Sterbus (Smith/Fripp/Zappa obsessive and noblest-Roman-of-them-all) will be coming to either yomp through some of his triple-jointed proggy power pop or to play leafy psychedelic summer-lounge acoustica (which may or may not include some of his takes on Cardiacs, Spratleys Japs and other limbs of Smithiana). If he doesn’t hold up the acoustic end, rest assured that Ivan Campo frontman Adam Shaw will, as he brings along his light-touch, thoughtful folk pop for us to unravel.


The rest of the bill’s made up of bands which predominantly reflect the humour (if not necessarily the horse-laughs and art-punk prankery) of the Cardiacs world. Silly-goodtime pop culture obsessives The Jackpot Golden Boys throw assorted metal, pop and funk chops at things from TV theme tunes to geek topics and hope that a few of them stay embedded. Militant hat wearer, slide guitarist, Strumstick player, comedy yarner and genre-mash novelist Sean Keefe – brings along his own version of honky-tonk Americana.



 
The (known) lineup is completed by acapella singer Asha Hewitt (seen below performing with Gummo Cleyre and Alex Dickinson as Yorkshire Latin pop band Solana). Asha might be the last kind of musician you’d expect to see getting up at a Smith benefit gig; but her presence is proof positive that the happy skewed tastes of the Cardiacs audience let in all kinds of light. Once they’ve stopped cheerfully bawling for their mashed-up chord sequences, that is…


 

April 2016 – upcoming gigs – London rock entanglements this week: mystery superstar(s) sneak into Deptford, supported by Nøught, First and The Kill Raimi’s; Knifeworld go acoustic in Shoreditch; The Display Team, Thumpermonkey and A Formal Horse twist some metres in Bethnal Green.

18 Apr

The folk running the Birds’ Nest in deepest Deptford are wildly, inordinately excited about whom they’ve got to fill their postage-stamp-sized stage at the start of this week, but they won’t tell us who it is

Nøught + First + The Kill Raimi’s  + mystery guests, 19th April 2016Birds Nest TV presents:
(extra special guest band) + Nøught + First + The Kill Raimis
The Birds Nest, 32 Church Street, Deptford, London, SE8 4RZ, England
Tuesday 19th April 2016, 8.00pm
– free entry – more information

“A marvellous occasion is about to happen at the Birds Nest pub, Deptford. We cannot express the sheer excitement at being able to host a night of great local bands and international legends: music conceptualists that have inspired countless bands and still continue to inspire generations of new talent. This is the event we have been waiting for. Get down early to this one as once the venue is full we won’t be letting any more people in.”

We do know that Nøught are playing. After years of being mostly out of the picture while leader James Sedwards ran around playing with everyone bar his main band – including work with shapeshifting prog confounders Guapo, improv blaster Alex Ward, Country Teasers spin-off The Devil, and Thurston Moore (…hmmm?…) – Nøught plunged back into action earlier this year with a Café Oto headliner and a Lydia Lunch support slot, continuing to demonstrate their one-band-fits-all approach of wedding classically precise John McLaughlin/King Crimson-esque jazzprog riffage to blocks of Sonic Youth/Big Black/post-hardcore noise, and how it bridges a stylistic credibility gap which others founder at or don’t even dare to take on.

Filling out the bill are two Deptfordian power trios. First are a third-decade third crack at warm, crunchy Bolanesque grunge-pop by former Stony Sleep/Serafin singer-songwriter Ben Fox Smith (a.k.a. “Young Sawbones”), while The Kill Raimi’s last showed up in here as part of a Thumpermonkey support in December. First’s drummer Jim Devese also happens to play guitar for The Display Team, which ties nicely into events later in the week… read on…



 

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Knifeworld (acoustic set)
Flashback Records, 131 Bethnal Green Road, Shoreditch, London, E2 7DG, England
Friday 22nd April 2016, 7.00pm
more information

Knifeworld: 'Bottled Out Of Eden'

Knifeworld: ‘Bottled Out Of Eden’

I hardly need to introduce Knifeworld these days. They’ve never been strangers to this blog (ever since their first releases, and further back if you’re counting coverage of head Knifer Kavus Torabi’s 1990s work as half of the mainspring of The Monsoon Bassoon), but an ever-building profile is beginning to make them, if not a household name, at least not the kind of name which you end up repeating to a succession of nonplussed faces. The world seems to be waking up to the cartwheels and streamers of their music, their meticulous complexity and at least some of the elusive substance lurking behind Kavus’ daffy freak-flag charm.

To celebrate this week’s release of ‘Bottled Out Of Eden’ – their third album proper, and the first to be group-composed – Knifeworld are playing a special acoustic gig at the Shoreditch branch of Flashback Records: perhaps a nod, in part, to Flashback’s role in nurturing that effusive London psychedelic rock tradition in which Knifeworld swim (and which they themselves have a strong role in promoting and sustaining). For plenty of bands, an acoustic session is an excuse to steal a little bit of Proms respectability – some string quartet garnishing, a dig at some previously scorned rootsiness. For Knifeworld, it’s simply a matter of bringing forward what’s integral to the group already. Effectively an electrified chamber octet transfixed by a flaming psychedelic spear, they’re already half-acoustic with their three-line, reeds’n-air whip of saxophones, clarinet and bassoon, with Ben Woolacott’s spacious airy drumming and with their chatty, ever-expanding cloud of harmony vocals. It’ll be interesting to see how full acoustica works on recent tracks like High Aflame, but I can already imagine how it might add a new glint to older songs like The Prime Of Our Decline…

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For the fleet-footed, there might be a chance to catch both the Knifeworld show and part of this next one, which is just in the next neighbourhood over on the same night. Knifeworld finish at 8pm, so the chances are high (as are the chances that you’ll be racing the band – fans themselves – along Bethnal Green Road and Squirries Street to get to the second gig).

The Display Team + Thumpermonkey + A Formal Horse, 22nd April 2016

Chaos Theory presents:
The Display Team + Thumpermonkey + A Formal Horse
The Sebright Arms, 33-35 Coate Street, Bethnal Green, London, E2 9AG, England, Friday 22nd April 2016, 7.30pm
more information

Over to the Chaos Theory publicity factory:

“A frenzied night of prog, punk, ska and rock madness, with bands hiding immense technical prowess under gloriously unhinged music,

Local heroes The Display Team are a band we’ve loved for years but found really hard to place on a lineup! Sounding like a cross between The Specials and Mr Bungle, this prog-punk orchestra create a heavy assault of surprisingly upbeat, melodic nonsense. They’ve impressed DIY audiences all over the UK and beyond with their riotous live shows and their last album ‘Drones’, so after seven years it’s high time for their latest sounds to be captured on another album – ‘Shifts’, which they’re launching this evening.


 

Thumpermonkey are a hugely-acclaimed band who’ve spent years arguing between themselves about whether to play prog, punk or art-rock, and never seem to have quite settled. This creative process somehow produces music that is heavy, delicate, classically and dramatically influenced, sardonic and divisive.


 

Nominated for a Progressive Music Award, A Formal Horse are a progressive quartet hailing from Southampton with a thoroughly uplifting rock sound, playing dense instrumental passages inspired by the sonic worlds created by Mahavishnu Orchestra and Queens Of The Stone Age, whilst still taking cues and colours from twentieth-century art music.”


 

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Next time, some latecoming news on various folk-related tours in England which kick off this week…
 

April 2016 – upcoming gigs – two for April 16th: the third Festival Ambient de Paris with Ujjaya, Asmorod and others; and roaring about in London with Godzilla Black plus cohorts.

15 Apr

Tomorrow – two cities, two gigs. In Paris, people will be filing into the mediaeval cellars, all serious and attentive, fascinated by texture and the warp and weft of sound. In London, it looks as if they’ll be torn between wanting to be handsome psychotic brutes in sharp suits or shabby, demented hermits in bird masks.

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3ieme Festival Ambient de Paris, 2016 3ieme Festival Ambient de Paris
Crypt du Martyrium de Saint-Denis, 11 rue Yvonne Le Tac, 75018 Paris, France
Saturday 16th April 2016, 4.00pm
– more information here and here

From the organisers…

”Crypt du Martyrium is the most mystic and secret of Paris crypts (the head of the first bishop Denis was found here in 300 AD, and it was also the birthplace of the Jesuit Society). For one night only, artists from Paris and its suburbs will enchant this unique historical place with the kind of music you will hardly hear anywhere else in France.

The festival welcomes :

Ujjaya – an French ethno-ambient veteran, deeply influenced by Robert Rich, Steve Roach, Jon Hassell and Jorge Reyes. With his new found interest in suspended gamelan (which he’ll be enchanting the crypt with tonight), Loren Nerell has become another point of reference for his ongoing work. (For more information, try one or both of his two free-to-download albums: ‘De Retour’ and ‘The Master of Crossroads’.)


 
Onde Poussière – an experimental duo specializing in hypnotic minimalism and controlled chaos, and featuring Doedelzak (synth) and Kecap Tuyul (table-top prepared guitar). Think an ambient version of Jim O’Rourke , Taku Sugimoto or even Autechre.


 
Patrick Wiklacz – also known as Prats – is influenced by Terry Riley, Klaus Schulze and Bernard Parmeggiani. He will unleash his own electronic universe on synth and MIDI controller – a mix of repetitive minimalism, ambient and electro-acoustic music.


 
Archetype – an heir to Oöphoi, Alio Die and Mathias Grassow (and performing on guitar , synth, voice and table harp)Archetype makes deep listening music and also plays some ethno-ambient music not unlike Dead Can Dance.


 
Asmorod – the founder of the Snowblood label, synth/keyboard player Asmorod is both very discreet and very influential in the dark ambient scene (he’s an acknowleged influence on Kammarheit’s ‘Hysope’ album).


 

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Godzilla Black + Bobbie Peru + Punching Swans + Mashiro
The Hope & Anchor, 207 Upper Street, Islington, London, N1 1RL, England
Saturday 16th April 2016, 7.00pm
more information

Godzilla Black + Bobbie Peru + Punching Swans + Mashiro, 16th April 2016Godzilla Black have been unsettling ears since 2006 with their own personal brand of depraved heaviness. This is the official launch party for their new album, ‘Press The Flesh’, which was released on 1st April through Quisling Records. ‘Press The Flesh’ is the most ‘normal’ Godzilla Black record to date, drawing on influences such as Cardiacs, Liars and The Jesus Lizard, underscored by feeling of sensuality in all the wrong places. ACCEPT NO IMITATIONS.”

I may have to revise that “James-Barry-in-a-sleetstorm” description with which I always saddle Godzilla Black. Listening through to ‘Press The Flesh’ reveals the band in all of their romping glory, sometimes sounding like gonzo-industrial hero Foetus hijacking a soul revue, sometimes like late Cardiacs channelling early Roxy. Glam-descends meet blaring beefhorns, with lyrics full of dark jokes and carnivorous, cannibalistic disassociation. They’re flowering into something sharky and vivid. Clips below for album opener ‘The Other Other White Meat’ and the first ‘Press The Flesh’ single, ‘First Class Flesh’ (note that there’s a theme developing here…)


In support are Bobbie Peru, whose music is heavily influenced by punk, post-punk, rockabilly and 60’s garage; and who offer “an abrasively grooving electric live show with a vibe somewhere between Sonic Youth, Nomeansno and Groop Dogdrill.” Currently recording their third full-length album in Manchester (and constantly playing live around the north-west of England), the band are something of a fixture in the world of indie and post-punk tours, having racked up road support slots with Black Francis, Buzzcocks, Spear Of Destiny, Killing Joke and The Fall since their own emergence in the mid-2000s.

Medway convulsers Punching Swans are self-described as “thrilling dischordance for fans of Future Of The Left and Fugazi”, although I can hear hints of The Residents lurking in their threshing pop-savvy upending of rituals, and when they’re not hammering alarmingly at a darker idea they’re out on the whoop chasing the spirit of ‘Song 2’. It’s the cryptic strangeness that makes them special, though – they’ve recently brought out a concept album about “a man cast out from society and taking on the habits and compulsions of a depraved bird, gone to seed,”, and are making the woodsbound videos to match. There’s a peek into this particular world below.

Oxford abstract mathcore metallists Masiro bring “heaviness, other-wordly atmosphere and headfuck grooves. Touching on Pelican, Isis and Battles. Don’t expect a singalong.” All right, then. Evidence of their jabbing attention-deficit methods is here:

 
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More shortly…
 

April 2016 – upcoming gigs – three for London – expanded hip hop tag with Beardyman’s Dream Team Sessions (with Bellatrix + Disraeli + LeeN + DJ JFB + Rob Lewis + Emre Ramazanoglu + Ben Sarfas); Poly-Math, Theo & evillookingbird play Chaos Theory’s late-night math-rock Facemelter; a LUME jazz evening with the Dave Kane Quartet and a Corey Mwamba/Cath Roberts/Olie Brice trio at the Vortex.

30 Mar

Three more interesting-looking early April London shows for the coming weekend, from improvisatory hip hop to assorted math rock to jazz. There should still be tickets (or, in the case of the Facemelter gig, free spaces) left for all of these. I’m in a hurry again, so the following is all promoter blurb… and if you’re quick on the Saturday, you could even catch most of the first two.

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Beardyman Dream Team Sessions, 2nd April 2016

Beardyman & Soundcrash present:
Beardyman: The Dream Team Sessions (featuring Beardyman + Bellatrix + Disraeli + LeeN + DJ JFB + Rob Lewis + Emre Ramazanoglu + Ben Sarfas)
Electric Brixton, Town Hall Parade, SW2 1RJ London, United Kingdom
Saturday 2nd April 2016, 7.00pm
more information

“Improvisation. Telepathy. Imagination. Beatboxing. One album. One hour.

Soundcrash are extremely happy to announce that the prodigiously talented Beardyman will be taking to the stage at Electric Brixton along with a mind-blowing ‘dream team’ consisting of some of the finest freestyle MCs and improvisatory talents the world has to offer. This team of extraordinary individuals will be using a mixture of telepathic communication and improvisatory prowess to create a brand new album right in front of the lucky audiences eyes, inspired by that same audience’s dreamt-up song titles.


 
Beardyman has made a name for himself for being one of the most multi-talented musicians on the face of the planet. One minute he’s winning the UK Beatbox competition, twice, next he’s winning best MC at Breakspoll, and then he’s playing a sold-out run of solo comedy shows at the Edinburgh Fringe. As if he didn’t already have enough strings to his beat bow Beardyman outgrew the restrictions of the human mouth and stepped into the world of live looping using Kaoss pads to take his music into the rapturous world of live production.

Beardyman currently performs using the self-designed Beardytron, the world’s most advanced live music production system. This device allows him to improvise studio quality, cutting edge music in realtime. Using the Beardytron has led Beardyman to recently collaborating with Herbie Hancock and led him onto the collaborative path that has ended up with the formation of the ‘Dream Team’.


 
In this brand new show Beardyman will be combining his own improvisatory prowess with some of the leading talents in the UK’s improvisatory scene. Female World Beatbox Championship winner Bellatrix will be bringing her vocal and bass talents to the mix as well as her old band leader Dizraeli on freestyle vocals. Rob Lewis will be providing tantalising string parts on the cello whilst Emre Ramazanoglu shows us how he drummed on the last Michael Jackson record amongst many others.


 
One of the world’s leading freestyle MCs, LeeN, will also be spitting lyrics; whilst 3 times UK DMC champion JFB takes to the decks along with additional strings and saxophone from Ben Sarfas.”


 
(As a further indication of what’s on offer, here’s a previous full-length Dream Team Sessions show, from the Jazz Café…)


 

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Poly-Math + Theo + evillookingbird @ The Facemelter, 2nd April 2016

Chaos Theory presents:
The Facemelter: Poly-Math + Theo + evillookingbird
The Old Blue Last, 38 Great Eastern Street, Shoreditch, London, EC2A 3ES, England
Saturday 2 April 2016, 10.30pm
– free event – more information

“It’s a no-brainer really – a late-night, free entry math-rock party.

Brighton band Poly-Math are an absolute belter of a trio, who have mastered walking the line between complex polyrhythmic math rock and head-noddingly bouncy riffs. In only few short years, they’ve independently amassed a huge following across Europe’s prog and math rock scenes with the release of a few blindingly good early singles, hugely anticipated debut EP ‘Reptiles’, and some carefully chosen gigs, including an early slot at the first ever ArcTanGent, where we discovered them by accident. With new mini-album ‘Melencolia‘ coming out soon via Superstar Destroyer Records, we can expect some new sounds from the Brighton trio.


 
Theo is a one-man riff factory, known for setting up in the middle of the audience, laying down incredible math rock guitar riffs and looping them on top of each other, before sitting down at his drum kit and banging out some incredible rhythms. The fact that he manages to do this, create extraordinary dynamic changes, crescendos and down-tempo sections, while never letting the pace slack too much, explains why his name has rippled across the underground math rock scene all over Europe.


 
evillookingbird are an instrumental project from Belgium, who combine classical music, post-rock, noise and psych, to end up sounding a bit like Mogwai, Chopin and Battles are all fighting over the keys. This may be their first trip out of their home country, but evillookingbird are no stranger to familiar names in the European math rock scene, having supported the likes of Alright The Captain, Bear Makes Ninja, Mannheim, Hibagon, Celestial Wolves and more, as well as having been asked to perform at one of Europe’s biggest street festivals Gentse Feesten. They’ll be heading into the studio to record some new material, which we’ll get to hear at the show, but check out their EP ‘Labyrinth’ for now.


 
Afterwards Chaos Theory curator Kunal will DJ post-hardcore and math rock riffs, and Chaos Theory photographer Magda will DJ classic rock, power ballads, and anything you’ll love dancing to after a few beers at 3am.”

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LUME presents:
Dave Kane Quartet + Corey Mwamba/Cath Roberts/Olie Brice
The Vortex Jazz Club, 11 Gillett Square, Dalston, London, N16 8AZ, England
Sunday 3rd April 2016, 7.30pm
– more information here and here

Dave Kane, 2016“The Dave Kane Quartet – Dave Kane (double bass), James Allsopp (saxophones and clarinet), Alex Bonney (trumpet) and Joost Hendrickx (drums) – will be playing music from their forthcoming album, to be released on Two Rivers Records later this year.

Dave says ‘This music is my own personal reflection and dedication to the jazz lineage, all of the music that I have listened to and the music that has influenced me the most. Each track on the record is a dedication to a composer/person that has influenced me greatly throughout my career. There are tracks dedicated to the following people: Charles Mingus, John Zorn, Hamid Drake, Eric Dolphy and Henry Threadgill. For me “the jazz lineage” means the records that are in my collection… my own personal lineage to the tradition, and my resulting music as a composer influenced and shaped by the music. Most people think of the jazz tradition as jazz standards, etc. This is not what I do, or what I am interested in. I have always listened to more adventurous composers & musicians who always pushed the music forward. This is what I have achieved with my new record. Although this music is still on the contemporary/avant garde side of jazz… I would say it is some of the most accessible music I have ever written.’


 
The improvising trio of Corey Mwamba (vibraphone), Cath Roberts (baritone saxophone) and Olie Brice (double bass) first played together in 2014, bringing together three musicians active on the UK jazz and improvised music scene. Olie Brice leads his own quartet as well as playing in numerous other collaborations including a trio with Toby Delius and Mark Sanders; BABs with Alex Bonney and James Allsopp; Nick Malcolm Quartet; Loz Speyer’s Inner Space Music; and Alex Ward Quintet/Sextet. Cath Roberts leads two groups playing her compositions, Sloth Racket and Quadraceratops, as well as writing and improvising new music with guitarist Anton Hunter as Ripsaw Catfish. She is a member of the Madwort Sax Quartet, Anton Hunter’s Article XI, the eight-piece improvising saxophone group Saxoctopus and the collaborative quartet Word Of Moth. Corey Mwamba leads his own trio, Yana, and is involved in a variety of other groups including Sonsale; duos with Rachel Musson, Orphy Robinson and Robert Mitchell; Martin Archer’s large ensemble Engine Room Favourites; and Nat Birchall’s quintet. He is recognised as a highly creative improviser and composer working across a wide range of jazz and contemporary music, as well as a programmer of forward-looking music in his home city of Derby.”

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More shortly on the upcoming Gnod weekender – or on anything else that flits across my radar.
 

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