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

11 Nov

Cosmo Sheldrake, 2017

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

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


 

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

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






 
Here are the live dates:

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

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

 

November 2017 – upcoming London gigs – ‘Anonymous Was a Woman’ with Anne Garner, Mary Currie, Lis Stewart (9th November); Powerdove and Ashley Paul (15th November)

4 Nov

There’s a pair of interesting female-focussed gigs coming up over the next two weeks in two of London’s more creative music corners, mingling elements of latterday folk, post-punk, Rock In Opposition, experimental noise and avant-garde pop…

Partly due to the pressure of time, and partly due to the eloquence of the press releases, I’ll let them speak for themselves…

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Club Integral: 'Anonymous Was A Woman', 9th November 2017

Club Integral presents:
‘Anonymous Was A Woman’: Anne Garner + Mary Currie + Lis Stewart
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 9th November 2017, 8.00pm
– information here and here

“A night of music by women. Three very different sets from three extraordinary artists.

Anne Garner‘s lyrical work is inspired by curiosity and a sense of wonder, a hunger to explore and explain the emotional inner life. The magic lies in the ambiguity, in the unanswered question and the breath between notes. It’s in poetry and harmony that Anne finds her safe space, in enveloping and beguiling moods, a place from which to speak the unspoken. Anne will be performing music from her upcoming album, joined by Jack Hayter on pedal steel guitar, Nick Samuel on saxophone and James Murray on guitar.


 
Mary Currie is a singer perhaps best known for her work with Gareth Williams (This Heat). Williams and Currie recorded a limited-run cassette-only album, ‘Flaming Tunes‘, in 1985, which over time has become a classic of the lo-fi DIY underground. Since Gareth’s death at forty-eight from cancer, Mary has worked with several collaborators including Howard Jacques (These Records, Bermuda Triangle Test Engineers) and Mick Hobbs (Officer!) in folk group Bucket, and with Mick, Howard and Monica Ruud on a project called Whole New Concept. Mary will be be singing with Alison Craig (Shötley Crüe) – essentially traditional sea songs and modern folk songs.


 
Lis Stewart plays mostly folk music on a 1918 Lachenal 55 key Maccann Duet concertina. She plays from time to time with south London folk collection The No Frills Band. For Iklectik, she will be performing English, French and Scandinavian folk tunes, both traditional and modern. Expect driving rhythms and haunting melodies.”

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Powerdove + Ashley Paul, 15th November 2017

Muckle Mouth, 33 Chatsworth Road + Murailles Music present:
Powerdove + Ashley Paul
33 Chatsworth Road/The Old Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Wednesday 15th November 2017, 7.00pm
– information here, here and here

Annie Lewandowski​ ​is​ ​a​ ​composer,​ ​improviser (piano, accordion),​ ​and​ ​multi-instrumentalist​ (singer,​ ​guitarist,​ ​and keyboardist) ​whose​ ​work​ ​has situated​ ​her​ ​between​ ​the​ ​worlds​ ​of​ ​improvisation​ ​and​ ​independent​ ​rock​ ​music.

“In​ ​the Powerdove​ ​combination – in which she’s ​​​joined​ ​by​ ​trouble-makers​ ​Thomas​ ​Bonvalet​ ​​(once of Cheval de Frise) and​ Chad​ ​Popple (Collossamite, Behemoth), and​ ​previously​ ​John​ ​Dieterich​ ​of Deerhoof – Annie’s​ ​songwriting​ ​is​ ​transformed​ ​into singular,​ ​arresting,​ ​and​ ​strange​ ​pop​ ​music​ ​that​ ​sees​ ​graceful​ ​melodies​ ​set​ ​against​ ​raucous percussion​ ​arrangements;​ ​a​ ​music​ ​that​ ​”rumbles​ ​with​ ​immediate​ ​beauty​ ​and​ ​unsettling​ ​events.” The band has​ ​released​ ​eight​ ​recordings​ ​and​ ​performed​ ​at​ ​festivals​ ​and​ ​venues​ ​across​ ​the United​ ​States​ ​and​ ​Europe. Currently touring their new album ‘War Shapes’, this will be ​their first​ ​full-band​ ​show​ ​in​ ​the​ ​UK.​ ​


“They​ ​are​ ​joined​ ​by​ ​the​ ​awesome​ ​London-based​ ​American​ ​composer​/​​performer​ Ashley Paul​, who uses​ ​an​ ​array​ ​of instruments​ ​including​ ​saxophone,​ ​clarinet,​ ​voice,​ ​guitar,​ ​bells​ ​and​ ​percussion,​ ​mixing​ ​disparate elements​ ​to​ ​create​ ​a​ ​colorful​ ​palate​ ​of​ ​sound​ ​that​ ​works​ ​its​ ​way​ ​into​ ​her​ ​intuitive​ ​songs;​ ​free forming,​ ​introverted​ ​melodies.​ ​This​ ​blend​ ​manifests​ ​beautiful​ ​and​ ​simple​ ​musical​ ​forms​ ​against acoustic​ ​experimentation. She’s known​ ​for​ ​her​ ​tense,​ ​raw​ ​and​ ​delicate​ ​compositions,​ ​playfully​ ​combining​ ​introverted​ ​melodies, free-form​ ​song-like​ ​arrangements​ ​and​ ​an​ ​unadorned​ ​approach​ ​to​ ​improvisation.”


 

November 2017 – upcoming London folk gigs – alleged folk/electro-folk clash with Rivers Of England, Boe Huntress and The 150 Friends Club at Collage Nights; a world-swirl with Firefay, The Scorpios and Bread And Circus (both 8th November)

31 Oct

I’m late to the party as regards Wood Green’s regular Collage Nights (which play in the same lively vegan restaurant that also houses the Society of Imaginary Friends soirees and some of outer London’s most vigorous jazz sessions). Just as I discover it, the current every-second-Wednesday-of-the-month season is rolling to a close; but a couple more gigs will see out the autumn. Though November’s gig is billed as a clash (or at least a head-on nuzzle) between straight folk and electrofolk, I’m not sure that it’s as simple as that.

Collage Nights, 8th November 2017
Collage Nights presents:
Electrofolk meets Folk: Rivers Of England + Boe Huntress + The 150 Friends Club
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Wednesday 8th November 2017, 7.00pm
– information here and here

In the “straight folk” corner, Bristolian quintet Rivers Of England (fronted by songwriter Rob Spalding) are a fine example of how latterday Anglo folk attempts to hone and counterbalance its nostalgic tendencies, keeping a foot in tradition while steering away from twee fustiness and trying to stir in a contemporary consciousness. Much of their sound has a clear ’70s electric folk lineage (the Fairports or the Albion Band, the stirring in of jazz and blues elements a la John Martyn) but there’s also a conscious effort to get away from that wipe-down synthetic sound that’s plagued many such acts as they hit the studio or deal with increasingly digitised technology.

While there’s plenty in their music to link them to folk roots, their current album ‘Astrophysics Saved My Life’ displays the band’s eclectic instrumental flexibility and takes pains to explore the broadened scope of the present-day educated rural/urban person attempting to make sense of life across a much broader conceptual canvas, with “themes ranging from the inner self to the outer cosmos – the emotional to the scientific… a nautical theme present with a blend of rivers and the sea, alongside the more common personal themes of failed relationships, mental illness, memories of family holidays, childhood bicycle adventures, jobs woes, loneliness and universal love.”



 
If Boe Huntress really is occupying the electro-folk corner, it’ll be yet another alteration in a career built on transformations. Once known as Rebecca Maze (under which name she came to attention via a set of songs critiquing the misogyny around Gamergate), she changed her name circa 2013 in order to dive deeper into her troubadour impulses, mystical femininism and social protest.

Her first album as Boe saw her exploring her own fluid identity via journeys into deep mythology and archetypes from wild women to transformative green dragons to self-examining witches. Inspired (among others) by Woody Guthrie and Bob Dylan, Bikini Kill and Eve Ensler, Victor Jara, Fela Kuti and The Clash, her follow-up EP (2015’s ‘And I Became A Student Of Love’) saw her moving into more clearly defined spiritual protest songs, turning her evolving feminist voice outwards towards the world to advocate awareness while still keeping a toehold in mythology (as in the Inuit-inspired fable of Untangling The Bones, in which compassion overcomes fear). I’ve no idea whether there’s been a billing goof and whether Boe really has set aside the acoustic guitar and solo voice in favour of keyboards, loops or whatnot; but if she has it will be in keeping with her spirit of adventure and motion.

 
As special guests, there’s collapsable party guys The 150 Friends Club (led by “money-crazed, delusional, imbecile” David Goo, who describes the band as his “evil twin sister”). Based around the theory that “society is best managed at a hundred and fifty people”, they’re a band built for small, intimate, cheerful gigs. The music’s a messy-haired lo-fi folk-pop-rock with attention deficit disorder, which sometimes throws on a skuzzy electric overcoat and reels around the room pulling reggae, rap, post-rock and various other stylistic swerves out of its manky pockets.

David, meanwhile, plays it all up to the hilt – sometimes a chirpier, skiffling Lou Reed continually pricking any romantic balloons in sight, sometimes a Tom Petty who shucked the dedication and dived headfirst into cabaret, sometimes a skinny London echo of David Lee Roth cribbing and cherishing his old-time R&B. Apparently, this performance is some kind of comeback. I’m not sure that they’d care about having something to prove, but expect them to warm things right up.




 
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On the same night, over in east London, there’s the option of “a musical journey that will take you across the world in just over three hours”

Firefay + The Scorpios + Bread And Circus, 8th November 2017Firefay + The Scorpios + Bread and Circus
Cafe 1001, 91 Brick Lane, Shoreditch, London, E1 6QL, England
Wednesday 8th November 2017, 7.00pm
– information here, here and here

Formed from “storytelling, wyrd folk, Middle Eastern flavours, things that can only be defined as otherworldly, and still a bit of France somewhere in there… urban baroque, world folk noir, jazz and chanson music… whisky and sailors’ songs” as well as influences from John Dowland and Gabriel Fauré to kletzmer and the Canterbury Scene, Firefay blend keyboards, guitars, ouds, violins, brass and cello underneath Carole Bulewski’s trilingual vocals in a polycultural blend of colourings.

Compared to Art Bears, Françoise Hardy and Broadcast as much as to the Fairports and Pentangle (see the rave review of their 2015 album ‘The King Is Dead’ over at the ‘Active Listener‘ blog), they’ve also recorded with Mellow Candle’s Alison O’Donnell and have spent the last five years becoming one of the London folk world’s most joyous rising secrets. They’re planning “a full set of entirely reworked old songs, some from the ‘The King Must Die’ and some older even, some that took years to complete, and some brand new ones from the album we are currently recording”.



 
Firefay themselves are playing in the middle of the bill. Their cellist Fraser Parry will be opening the show with his own project Bread And Circus, a “musical vanity project (of) songs about anxiety, enjoying oneself, the passage of time and solipsism” with added piano, accordion, brass, and allsorts (depending on which other musicians he can plug in on the night).




 
Closing the show, Firefay’s sibling band The Scorpios will be playing a set of their own material: a Sudanese-based world funk in which “Arabic rhythms and guitar chops (and a kind of swooning cyclical ecstasy) with a raw Eastern funk feel (and) heavy bass, synths, horns and percussions drive through traditional Sudanese forms to create a sound owing to both Detroit and Khartoum.” Expect plenty of crossover, both in terms of musical traditions and in terms of how many members of Firefay also show up in this band.


 

October 2017 – upcoming London gigs – art pop and stories from Tom O.C Wilson, Eley Williams and Kept Cairns (22nd October); holy electro-noise folk and beats from Jarboe, Father Murphy and Metalogue (23rd October)

17 Oct

Tom O.C. Wilson, 22nd October 2017

Pickled Egg Records presents:
Tom O.C Wilson + Eley Williams + Beetles
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Sunday 22nd October 2017, 7.30pm
– information here and here

Until recently operating as Freeze Puppy, Tom O.C. Wilson is now venturing out under his own name with ever-more-intricate and compositionally complex conversational songs, venturing into hitherto unexplored territory between (to pick a few loose examples) Stephen Sondheim, Frank Zappa, Neil Hannon, Django Bates and The Carpenters.

‘Tell A Friend’ – his debut album as himself – is “lovingly crafted, infectiously playful arthouse pop… a frothy, colourful twelve-song collection that pushes the raw materials of pop into dazzlingly surprising shapes, from the polyrhythmic fervour of Give Yourself Some Credit to the Steve Reich-meets-Motown stomp of The Ones. Yet as with similarly cerebrally-minded pop acts such as Field Music, Max Tundra and Dutch Uncles, the intricacy of the music is coupled with an unusually high hooks per-minute quotient — these are songs to sing along to as much as ponder.” While previous records have revelled in a certain literary playfulness, each song on this one is based on Tom’s own life and friendships. It’s in keeping with Tom’s decision not to hide behind kooky project names any longer: he’s never likely to create a standard-issue confessional album, but this is explicitly “a celebration of human interaction” in all its richness. Judging by the tone of start-up single The Ones, it’s predominantly positive.

Tom was originally providing his own support as half of his other band Beetles, but they’ve had to pull out. Fortunately, a more-than-worthy replacement’s been found in the shape of singer-songwriter Kept Cairns, a mysterious pseudonymous friend and fellow traveller from Tom’s Bristol days. His songs (which he himself describes as “gradually accret(ing)” rather than being written) “sketch and explore the unseen world of interiority: mental health, transcendence, relationship breakdown, the limits of communication, ambiguity, time and love.” Generally that’s a recipe for broken-handed strumming and murky lo-fi mumbles; so it’s surprising to find percussive, intricate acoustic guitarwork (recalling Michael Hedges and John Martyn) and carefully-drawn lyrics and vocal lines as crisp as new book pages (detailing complicated and frequently unresolved situations but describing them with an immaculate grace and economy). To see what I mean, you’ll need to take a trip over to his music page: bar a quiet presence on Spotify, he’s so far underground that gigs like these are the only other chance to get the measure of him.

Appropriately for an evening of literary pop, the middle act on the bill is a writer. Eley Williams is an acclaimed prose-poet of confusions, mental transformations and fairytales whose stories sweep across their settings like an investigating light passed over text. Here she is in action:

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The following day, Chaos Theory will be vibrating the rafters as they take over St Pancras Old Church and shake out its more shadowy corners for a particularly ambitious gig. Expect an evening of dark drones and noises, Euro-American cloister-folk and cinematic/industrial music textures, filled with dark-refracted Catholicism and a decidedly ecclesiastical tone.

Jarboe + Father Murphy + Metalogue, 23rd October 2017Chaos Theory Promotions presents:
Jarboe + Father Murphy + Metalogue
St Pancras Old Church, Pancras Road, Camden Town, London, NW1 1UL, England
Monday 23rd October 2017, 8.00pm
-information here and here

From the Chaos Theory blurb:

“Original Swans member Jarboe joins forces with Italian occult propagators of insight-through-terror Father Murphy, as they perform a single set in three parts. Father Murphy will open with their avant-garde dark creations, to be joined by Jarboe to perform their new collaborative EP (which came out on Consouling Sounds on 22nd September). Jarboe will then perform her own material, with Father Murphy providing their own twist to her sounds as her backing band.

“Ambient darkness will be provided before and after the performance by producer Metalogue, who will create a whole new set for the evening and release it as a new album. This will be an experience like no other.”




 

October 2017 – upcoming gigs – Anglo coastalysergia and Americana with Crayola Lectern, Dr Spacetoad and Billy Bad Band in Hove (21st October); Austrian psychprog with Blank Manuskript in Ramsgate, Leicester and London (26th-28th October)

16 Oct

We’ve just had a dose of daytime pink skies across Britain – appropriate, given the psychedelic tone of this quick posting.

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Crayola Lectern + Dr Spacetoad + Bad Billy Band, 21st October 2017
The Real Music Club presents
Crayola Lectern + Dr Spacetoad + Billy Bad Band
The Brunswick, 1-3 Holland Road, Hove, East Sussex, BN3 1JF, England
Saturday 21st October 2017, 8.00pm
– information here and here

The veteran of innumerable bands from punk to power-pop to latterday Anglo-psych, Chris Anderson finally found his core niche during the mid-Noughties as Crayola Lectern. Unspinning wistful, sweetly lugubrious stories of life, loss and learning dusted by his own gently lysergic leanings, he’s crafted “what psychedelic music would have sounded like had the Edwardians invented it.” Having been accompanied in the past by a shifting pool of live collaborators including assorted Cardiacs (Jon Poole, Bic Hayes, Jo Spratley) and Brighton psych luminaries (Joss Cope, the Rodes brothers from Clowwns and Rect.angle), his current cohorts are Alistair Strachan (on brass, percussion and necessary noises) and drummer-turned-synth-moonlighter Damo Waters.

The alter-ego of songwriter/actor/painter Paul Francis, Dr Spacetoad is another long-standing Brightonian: a discombobulated, identity-swapping cosmic troubadour who’s sometimes veered into Dada-styled space-rock in cahoots with Captain Sensible and who (as Jean Paul Dionysus) once played a key role in the London acoustic revival of the late ’80s. Expect him in his guise as melancholy garret-haunting singer, hopeless romantic and nifty fingerstyle guitarist.

Opening for this double bill of life-worn inner-spacemen is Bad Billy Band, who offer a more straightforward blend of Anglo folk-rock and electric Americana: a soften-upper.





 

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For further cosmic ventures, go discover the glow-mossed, castellated structures of Austrian art-rock sextet Blank Manuskript next week as they pass through England as part of a European tour. Polyinstrumentalists who layer flutes, tapes, trombone, reeds and glockenspiels into their standard rock armoury, they’re an intriguingly witchy concoction, balancing pretty much equally between grand prog and freak psych. Some of the band are happy to dress like Napoleonic dandies, a la Hendrix; others look like punk-metal flotsam. All of them sit on long and involved instrumental passages with an air of bugged-out wonder, spraying out rivulets of fingertapped guitar, floating ruminative keyboard lines or murmuring breathlessly arcane lyrics.. Sometimes they display their love of classic British ‘70s prog, pulling off expansive structured Yes or Caravan moves. Sometimes they thunder, spasm and gibber like one of the post-Can, post-industrial, post-metal neo-psych bands that Baba Yaga’s Hut tend to put on. You don’t often see that particular gap being bridged.


Dates:

  • Ramsgate Music Hall, 13 Turner Street, Ramsgate, Kent, CT11 8NJ, England, Thursday 26th October 2017, 7.30pminformation
  • The Musician, 42 Crafton St West, Leicester, LE1 2DE, EnglandFriday 27th October 2017, 7.00pm (with River Chickens + Those Amongst Us Are Wolves)information
  • The Water Rats, 328 Grays Inn Road, Kings Cross, London, WC1X 8BZ, England, Saturday 28th October 2017, 10.00pminformation

Only the Leicester show features any support acts, and I’ve scraped up a little info about them. Despite being founded on a rumbling, frowning Mogwai-esque post-rock base of dour guitar minimalism, Coventry four-piece Those Amongst Us Are Wolves tend towards being post-post-rockers, needing little persuasion to roll right into classic-rock bodybuilder riffage. Cheerfully charismatic Ashby rockers The River Chickens, on the other hand, are travelling the other way: moving away from Cult covers toward their own honey-sweet heavy power-pop. Judge for yourselves below.



 

November/December 2017 – more assorted Smithery – BarmyFiveseveN play Tim Smith at Connector V, Amsterdam (2nd November); Spratleys Japs’ Wonderful Winter Wonderland tour of England (14th-17th December)

15 Oct

Coverage of the complex, perverse and joyful musical work of the sadly incapacitated Tim Smith – whether inside or outside his mothership Cardiacs band – frequently figures in here. It’s good to bring you all more about his continued crossover from cult status to something wider: this time, with news of a conservatory jazz gig in Amsterdam and of the continued afterlife of Spratleys Japs.

Connector V, 2nd November 2017

Broedplaats Lely & Steim present:
Connector V
Steim, Schipluidenlaan 12-3E, 1062HE Amsterdam, Netherlands
Thursday 2nd November 2017, 8.00pm
information

“Composers are not necessarily dead. They also do not necessarily write symphonies in D flat minor in a 4/4 time signature.

“Tim Smith, frontman of the British band called Cardiacs, is a great composer who wrote lots of music permeated with energy, humour, beauty, Britishness. By people who only partly open their ears (or their minds for that matter), his music has been defined as being “chaotic”. The opposite is true, however: it is strongly organised music and all one needs to be able to do is count past four (and not forget about prime numbers). This challenging mix of punk, prog rock, orchestral and live electronic music (also known as “pronk”) will be performed by BarmyFiveseveN, a “small big band” ensemble of around fifteen players from the Conservatorium van Amsterdam, armed with live electronic extensions.”

Connector V is part of a monthly series at Steim: regular readers should recognise this particular one as a follow-up to the Smith-covering set by Alex Brajkovic Ensemble at Amsterdam’s Jazz Ensemble Festival back in April, and it does in fact feature most or all of the same players, put together by rebel prog professor Jos Zwaanenburg. No-one seems to have recorded/posted evidence from the last time, so I can’t show you how it went – but as before, I can give you some very loose indications as to how this concert might might turn out by referring you to English Rose Orchestrations’ string quartet version of one of the featured pieces, The Duck And Roger The Horse.


 

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Spratleys Japs, 14th-17th December 2017The following month, Spratleys Japs consolidate the success of their Brighton and London reunion shows over the last couple of years by setting out on a bigger, broader English tour taking in Yorkshire and the West as well as the south east, with a mass of current/former Cardiacs and friends coalescing as support around the tour dates.

Read more about SJ here: in brief, though, they’re a short-lived and swampy alternate-universe pop project (part alien folk maunderings, part glam-punk punch and part spindly antiprog) which Tim put together in the mid-’90s with then-girlfriend/muse Jo Spratley. Now revived by Jo and a collection of Brighton art rockers, they’ve got a second wind and have been rattling through fresh gigs partially in tribute to Tim and partially because the enthralling, infuriating puzzle-box songs have a peculiar life of their own.


As regards the backup, looming raconteur Stephen Evens brings his scowling, sardonic British pop along to the London, Brighton and Bristol shows (possibly with full band in tow for all of them). In a similar vein, Yorkshire dark-melodrama rockers The Scaramanga Six pile in at the Huddersfield date, while the Brighton show also sports vigorous dream poppers Hurtling and noisy art-rock goons Ham Legion (the latter performing their Syd Barrett tribute as “Vegetable Men” (plus another acoustic set from Kavus Torabi, squeezing in time in between fronting Gong, Knifeworld and his radio broadcasts). At Bristol there’s another onetime Cardiacs guitarist, Jon Poole, possibly bringing both solo stuff and one-man versions of his clever-pop work with The Dowling Poole; plus ZOFFF (the reverberant south coast kosmische/deep-psych band featuring Crayola Lectern‘s Chris Anderson and yet another ex-Cardiac six-stringer, Bic Hayes).

As with most Cardiacs-related events, these give you a cross-section of a under-celebrated ongoing British sub-scene; stretching from surprisingly accessible, sharply written latter-day take on Britpop right through to mantric pedal noise and squirts of lysergic space-cadet juice. Here’s a selection of sundries from all concerned:









 
Full dates:

  • The Parish, 28 Kirksgate, Huddersfield, Yorkshire, HD1 1QQ, England, Thursday 14th December 2017, 7.30pm (with The Scaramanga Six) – information here and here
  • Exchange, 72-73 Old Market, Bristol, Avon, BS2 0EJ, England, Friday 15th December 2017, 7.30pm (with Jon Poole + ZOFFF + Stephen Evens) – information here and here
  • The Green Door Store, 2-4 Trafalgar Arches, Lower Goods Yard, Brighton Train Station, Brighton BN1 4FQ, England, Saturday 16th December 2017, 6.00pm (with Kavus Torabi + Stephen Evens (full band) + Hurtling + Ham Legion As Vegetable Men) – information here and here
  • The Windmill, 22 Blenheim Gardens, Brixton, London, SW2 5BZ, England, Sunday 17th December 2017 (with Stephen Evens + others tbc) – information t.b.c.

UPDATE, 18th October – apparently we can also expect a couple of imminent fundraising Cardiacs cover versions from Spratleys Japs and Stephen Evens (Odd Even and Two Bites of Cherry), plus other surprises they’re keeping a little tightlipped about for the moment.

Meanwhile, Cornish psychedelic folkie Emily Jones (another Spratleys friend from previous gigs) has been added to the Brighton concert, which now also features a Torabi/Steve Davis DJ set. Support for the Brixton Windmill show in London is going to be thrashy prog-pop stuntmeisters The Display Team and rapidly rising Windmill favourites Black Midi. Below are a couple of moments from Emily and the ‘Team. (There’s not much more I can give you about Black MIDI. They’re so new that the paint’s hardly dry on them, and their Soundcloud page is still empty; but I did manage to establish that they’re an experimental/instrumental rock five-piece of teenage Croydonians and that they’re “purveyors of the darkest dreamscapes”…)



 

October/November/December 2017 – upcoming British rock gigs – Matt Finucane’s on-off tourprowl (14th October to 17th December various); The Many Few’s album launch in London with Flying Tailor, The Squares, Money And Family and No Direction (2nd November)

9 Oct

I’m less and less inclined to cover anything which could be described as standard indie rock. In spite of that, some things do slip under my guard.

Matt Finucane on tour, October-December 2017Between October and December, Matt Finucane’s making periodic ventures out from his Brighton cave in order to bring his sardonic solo songs to a grateful nation. I think it’s the first time he’s gone this far afield, so probably most of them won’t have heard of him yet. Hailed by ‘Ringmaster Review‘ as “happy to be an explorer and purveyor of the wonderfully unconventional and confrontational”, Matt takes his influences “from Lou Reed, Mark E. Smith and horrible electronic noise (despite primarily performing on acoustic guitar).”

If Matt’s got a keynote as a songwriter, it’s his knack for seamlessly juxtaposing the macabre with the ordinary (as befits someone who’s a horror fan and occasional horror author). Don’t expect Cave-ian Southern Gothic, though. Though he’s not above using the mythic or the Biblical as a lyrical springboard, Matt leans more towards a sly, wilful British irreverence – a mocking vein of low/no-budget bungalow-bizarre. Something like a blunted Bowie if the latter had never hit the big time but had carried on regardless, sitting on the sidelines chopping out dryly acerbic guitar songs; or like the workmate who suddenly and joltingly reveals that not only is he smart but he also thinks very differently to you; or like the abrupt weirdness in the eleven a.m coffee cup.

At one time, Matt was the driving force behind luckless indie rockers Empty Vessels, who were full of good ideas but had all the strategy of a severed brake cable. These days he’s a little wiser and friendlier, but just as stubborn; and still worth spending time with.


 
Dates below – more info available nearer the time.

  • Bar Metro, 109/111 Bradshawgate, Bolton, BL1 1QD, England, Saturday 14th October 2017
  • Fab Cafe, 109 Portland Street, Manchester, M1 6DN, England, Sunday 15th October 2017
  • Dulcimer, 567 Wilbraham Rd, Chorlton, Manchester, M21 0AE, England, 26th October 2017
  • The Palmeira, 70-71 Cromwell Road, Hove, East Sussex, BN3 3ES, England, Sunday 29th October 2017
  • Market Bar, 32 Church Street, Inverness, IV1 1EH, Scotland, 31st October 2017
  • The Alleycat, 4 Denmark Street, St Giles, London, WC2H 8LP, England, 7th November 2017
  • The Brunswick, 3 Holland Road, Hove, East Sussex, BN3 1JF, England, Thursday 16th November 2017
  • The Hope & Anchor, 207 Upper Street, Islington, London, N1 1RL, England, 23rd November 2017
  • Mr Wolf’s, 32 St Nicholas Street, Bristol, Avon, BS1 1TG, England, 11th December 2017
  • Blue Man, 8 Queens Road, Brighton, East Sussex, BN1 3WA, England, Sunday 17th December 2017

* * * * * * * *
About five years ago, The Many Few‘s wobbly but appealing demo, with its boy/girl vocal fencing and its shaggy-dog pop fumbles made its way to ‘Misfit City’. I was rude about their guitar playing, and about other things (the phrase “a thorough fucking shambles” popped up at one point) but nice about their appealing rubbery songs and the flashes of insight which showed through their gangling home-made pop throws. The band took both the slapping and the stroking with robust good humour, and have swung in and out of my blog orbit ever since. Now they’ve finally completed their debut album ‘Sharkenfreude’ (sometimes it takes a while for a plan to come together) and have a launch gig lined up.

The Many Few, 2017While The Many Few have retained their band-in-next-door’s-garage feel (though the guitar’s less wobbly now, they’ve never entirely lost that shambling gait, nor their habit of being distracted by gags), they continue to bowl shots down the art-pop alleys of bands such as XTC or B52s – artists who thrived on crowd-pleasing quirk and the odd cheery subversion. They’re still likely to go cute, lolloping after a list song or a moment of lyrical parody, but when they’re on course they can produce thoughtful suburban songs populated by interesting, flawed characters engaged with the day-to-day business of staying alive and staying functional. Hopefully ‘Sharkenfreude’ is well packed with these; it might be less close to the band’s heart than is the freedom to roam and wrangle, but it’s where their particular talent flowers.

 
To ease the delivery of ‘Sharkenfreude’, the launch gig sees The Many Few “backed by our fabulous and talented friends who share our passion for real original music, quirks, grooves and eccentricities… Flying Tailor (hyperactive sweet dreams, modern introspective folk with touches of trip hop); the spiky spontaneous blended art pop, folk and blues of The Squares (featuring ex-Blue Aeroplanes-ers Caroline Trettine and Nick Jacobs); the top-notch synthy indie alt-pop of Money And Family; and the stage debut of folk trio No Direction. With more t.b.a., this will be the art pop party of the year!”

Note also that the ticket gets you a discount on the album. As for the support, watch and listen below:



 
The Many Few present:
‘Sharkenfreude’: The Many Few + Flying Tailor + The Squares + Money And Family + No Direction + Stew Whoo DJ set
The Alleycat, 4 Denmark Street, St Giles, London, WC2H 8LP, England
Thursday 2nd November 2017, 7.00pm
information
 

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