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April 2017 – upcoming London gigs – “wonk rock” with The Display Team + A Sweet Niche + Ham Legion (3rd); Patricia Hammond & Matt Redman’s Edwardian pop (3rd); SOIF Soiree with Society Of Imaginary Friends, David Skinner, The Support Stockings, Cian Binchy, Millie George, I Am Her, Martin Wakefield, Jed Demochowski, Anne Corrigan etc. (7th)

27 Mar

I was moved to jam these three early April gigs together for a preview. On the Wednesday, it’s up to you whether you go for the tangled electric loom of wonky pop/jazz/punk noise or for the hundred-year-old pop hits with the Keep Calm And Carry On teatowels. Either way, you still get to attend the latest mixed-music-and-poetry SOIF cabaret on the following Friday…

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The Display Team + A Sweet Niche + Ham Legion, 3rd April 2017Bad Hedge presents:
The Display Team + A Sweet Niche + Ham Legion
The Birds Nest, 32 Deptford Church Street, Deptford, London, SE8 4RZ, England
Monday 3rd April 2017, 7.00pm
information

“A repulsive onstage three-way shocker! For one night in April, three heavyweights of the widely ignored wonk rock scene will spill off the stage in one of London’s best (and cheapest) small venues. And all for free! The Display Team: nob-bothering high-octave brutalitarians; like a small orchestra with big balls. A Sweet Niche: skronky honkies that bring an ominous twistin’ y’all can’t be resistin’. Ham Legion: kaleidoscopic power-pop rompers with more dinner ideas than you’ve had hot.”

For a little more on these people from back in the ‘Misfit City’ archives, have a peek here, here and here. Meanwhile, here’s the obligatory fistful of tunes.




 
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Patricia Hammond & Matt Redman - 3rd April 2017Wiltons Music Hall presents:
Monday Night Music: Patricia Hammond with Matt Redman
The Mahogany Bar @ Wilton’s Music Hall, 1 Graces Alley, Whitechapel, London, E1 8JB, England
Monday 3rd April 2017, 8.00pm – free event
– information here and here

“An evening of rousing Edwardian pop! Patricia Hammond and Matt Redman, world-renowned specialists in authentic historical performance, will play an assortment of pop songs from the Edwardian era, including some of the first songs ever written about motorised transport: Willie Had A Motor-Boat, In My Merry Oldsmobile, My Rickenbacker Car, Wait Till You Get Them Up In The Air, Boys, and many, many more delights. If you’re very nice to them, Patricia and Matt also promise some rousing singalongs to gems such as If You Were The Only Girl In The World and, for the WW1 Centenary’s sake, Pack Up Your Troubles In Your Old Kit-Bag.

 
Matt will be performing on piano, guitar, banjo and accordion, and will treat people to instrumentals of some of the new dance crazes of the 1900s and 1910s, such as tango, chorinho, ragtime, Hawaiian and blues. Of course, this being Wilton’s, songs of the great music hall era will also feature. All together now!”

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SOIF Soiree, 7th April 2017

Society Of Imaginary Friends present:
Society of Imaginary Friends Soiree: “For Absent Friends” (featuring Society Of Imaginary Friends + David Skinner + The Support Stockings + Cian Binchy + Millie George + I Am Her + Martin Wakefield + Evie + Jed Demochowski + Anne Corrigan + Dj Onjdrew + others t.b.c.)
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 7th April 2017, 8.00pm – free event
information

The latest in Society of Imaginary Friends’ ongoing series of grab-bag gigs, featuring a number of faces which ought to be familiar from recent performances:

“A sunny spring park comes to life crowded with absent friends, friends turned imaginary, walking with the sun, singing and humming, playing rounders, turning summersaults, laughing with the children,climbing trees, smiling into the breeze and as the sun sets we gather round a bandstand at the centre of a green. Vegan ma-nah is brought out by sensual peace-loving Daleks… a gorgeous offering of sound and light a celebration of friendship.

“Performing on 7th is the virtuosic guitarist and velvety voiced singer David Skinner; harmonious vocal stylings from our choir The Support Stockings; fresh from his sold-out national tour, Cian Binchy; the fabulous young poet and star of the Round House and Young Vic Millie George; urban punk from the mighty Julie Riley‘s I Am Her; Martin Wakefield and Evie with inspiring poetry, music and verse; Jed Demochowski (of the VIPs) and his new band; Anne Corrigan delighting us with her poems; DJ Onjdrew, and a couple of super amazing surprise star guests. Plus us, theSociety Of Imaginary Friends.

“Please come and bring a memory, a line or two about your absent friend to say on the night. Looking forward to seeing you there. Don’t forget it is free entry and there is amazing vegan food and award-winning beverages to purchase.”





 

February to May 2017 – upcoming London jazz gigs – the LUME Lab season with Word of Moth, Julie Kjær, Craig Scott and Anton Hunter

31 Jan

News from London’s LUME jazz organization on their forthcoming season, featuring several of the performers who featured in last year’s LUMEFEST.

LUME Lab, 2017“LUME is back with something new for 2017: LUME Lab. Making a space for artists to create new work, four evenings of brand new composition and improvised music will be accompanied by the LUME Lab project blog, letting the audience in on the creative process.

“LUME Lab marks a change of direction for us: we’re moving away from being a platform for guest artists, rolling up our sleeves and getting involved in creating new music with the community of musicians who have gathered around LUME over the past three-and-a-half years.

“LUME Lab gigs will take place at IKLECTIK, the South London arts space that played host to our inaugural festival last summer and the LUMEkestra’s debut in November. The series opens in February with a new incarnation of our quartet Word Of Moth, then we settle down for the ride and get ready to enjoy new music from three of the most exciting artists on the UK scene right now. We invite you to join us. Tickets are available for individual gigs, and for slightly less you can purchase a season ticket for all four, or a ticket to use at two dates of your choice. Buy tickets now from our Luminous Bandcamp page.”

Word of Moth (photo © Tom Ward)Word Of Moth
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Wednesday 8th February 2017, 8.00pm
information

Word Of Moth’s ‘spontaneous group explorations and tightly-scored, big-booted riffs’ were praised by Daniel Spicer in ‘The Wire’ magazine after their appearance at LUME Festival. The collaborative quartet explores the intersection of freedom and structure, with LUME founders Dee Byrne (alto sax) and Cath Roberts (baritone sax) joined by Seth Bennett on bass and Johnny Hunter on drums.”
 
Julie Kjær © David LaskowskiJulie Kjær
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 16th March 2017, 8.00pm
information

“Saxophonist Julie Kjær is firmly established on the European stage. Her acclaimed trio with Steve Noble and John Edwards released its debut recording ‘Dobbeltgænger’ on the Clean Feed label in 2016, and she tours with Norwegian drummer Paal Nilssen-Love‘s Large Unit as well as being involved in many other projects in the UK and beyond.”


 
Craig Scott (photo © Josh Crocker)Craig Scott
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Wednesday 19th April 2017, 8.00pm
information

Craig Scott’s music is ‘part human, part machine and revelling the glory and error of both.’ His studio project Craig Scott’s Lobotomy transforms recordings of improvisations by Craig and others using homemade equipment, re-constructing them with digital audio software. He is a member of formidable Leeds quintet Shatner’s Bassoon.”


 
Anton Hunter (photo © Mark Whitaker)Anton Hunter
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Wednesday 24th May 2017, 8.00pm
information

“Improvisation is at the core of Anton Hunter’s work. His Article XI project incorporates the personalities of eleven improvising musicians into the compositional process, exploring the relationship between composer and large ensemble. He leads his own trio with Seth Bennett and Johnny Hunter, and co-founded the long-running Manchester free improvisation night The Noise Upstairs.”


 

September 2016 – upcoming London jazz gigs – Jonathan Silk and Ben Lee bands at Kings Place (16th); Bitch’n’Monk, Survival Skills and Peter Ehwald at Rich Mix (22nd); free show by Tamas Teszary Quartet at Magic Garden (22nd)

14 Sep

More jazz and jazzlike London gigs for the coming month, presented more or less straight from the press releases (to ensure that the month’s news updates don’t drag too much…)

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Jazz at Kings Place/Stoney Lane Records present:
Jonathan Silk Big Band + Ben Lee Quintet
Hall Two @ Kings Place, 90 York Way, Kings Cross, London, N1 9AG, England
Friday 16th September 2016, 8:00pm
information

From Kings Place:

“The third in a series of eclectic performances featuring artists from the burgeoning Stoney Lane Records label – and a special double album launch.

“Drummer and composer Jonathan Silk – dubbed “one To watch” by ‘Jazzwise‘ magazine – leads his dynamic big band, with strong influences from mentors and world renowned composers Maria Schneider and Vince Mendoza, along with contemporary New York improvisors Jim Black and Dave Binney. Playing music from Jonathan’s forthcoming album ‘Fragment’, the big band will perform a suite composed to explore the contrast between the powerful forces of a big band in full cry, and the more delicate touch of orchestral textures.



 
“Young guitarist Ben Lee is tipped as one of the rising stars in the jazz world, and launches his debut album this autumn. His beguiling quintet explore the many sounds and combinations of its unorthodox line-up, featuring guitar, alto sax, trombone, organ and drums. Inspired by a whole host of eclectic musicians, from Nirvana and Radiohead to many of the jazz greats, the Ben Lee Quintet bring punchy horn lines, groove, invention, original melodies and no lack of warmth and technical prowess.”




 

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Chaos Theory Promotions/Jazz Standard/United Artists present:
Bitch ‘n’ Monk + Peter Ehwald + Survival Skills
Rich Mix, 35-47 Bethnal Green Road, Shoreditch, London, E1 6LA, England
Thursday 22nd September 2016, 7.30pm
information

From Chaos Theory:

“This is a special collaboration between ourselves, Tina Edwards of Jazz Standard (one of London’s best promoters of contemporary jazz), Rich Mix (one of London’s hottest hotbeds of contemporary creativity) and daringly experimental duo Bitch ‘n’ Monk, as they launch their new album ‘We Are Peering Over’ in an evening of experimental jazz, improv, art and electronica.

“Described as “a kaleidoscope of musical styles” by the BBC’s ‘Late Junction’ (and by ‘The Quietus‘ as musicians who “will send you into a lovesick coma and give you an electrifying kiss of life all at once”) Bitch’n’Monk are a wayward soprano and screaming flute duo from London and Colombia. They invite you to come to the edge of the music that you know, and peer over into something unpredictable, wild, and new to your ears (the ‘Guardian‘ has observed that “you’ll spend a while pondering how to classify them – prog folk? Operatic post-punk? Gothic reggae? – but they know how to write melodies.” Their new album is a masterpiece, and is a defiant fusion of arts and culture, allowing us each to explore it in our own unique way, with no two people experiencing it quite the same. Tonight ‘We Are Peering Over’ will be premiered live and audience members will have a chance to pre-order the album at a discount, and reserve it for collection at the merch desk ahead of its official release on 30th September.



 
“In support, Survival Skills is an electronic improvisational solo venture by respected contemporary and nu jazz guitarist and producer Chris Sharkey – a fiercely creative individual who is as at home playing the main stages at international festivals, or performing to an intimate audience in a hidden basement venue. Previously known for Acoustic Ladyland and TrioVD, some of you may remember his other projects Shiver at The Facemelter last July, and The Geordie Approach at The Jazz Market last October. Chaos Theory was lucky enough to host the live premiere of Survival Skills almost two years ago, so this will be a great opportunity to see how the solo project has developed.



 
“German musician Peter Ehwald is an adventurous saxophonist with a distinctive sound (described by ‘Jazzwise’ as “an affecting tonal range, moving artfully between Wayne Shorter-type floaty, snaking lines and tougher vocalised timbres.”). He’s known for The Backyard Jazz Orchestra, his collaborative project with the Goethe Institute and Stefan Schultze. He also performs solo with raw energy, creating a remarkably modern sound.”


 
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Tamas Teszary Quartet
The Magic Garden, 231 Battersea Park Road, Battersea, London, SW11 4LG, England
Thursday 22nd September 2016, 9.00pm
free event – information

“If you get the chance to go and listen to the Tamas Teszary Quartet live don’t miss it! This quartet, led by vibraphone wizard Tamas Teszary, brings sizzling new originals to the jazz scene. His compositions invoke sensations from your brain as if traveling from the smoky jazz clubs of New York through the lush landscapes of Canada to the hustling streets of London. With driving bebop lines, funky beats and hip ­hop chills, from melancholic to twisted jazz harmonies, TTQ delivers the mind warp you’ve been thirsty for.”


 

August 2016 – upcoming British tours – Sax Ruins & Barberos (16th-21st) overlap Massicot (18th-27th); with Housewives, a.P.A.t.t., That Fucking Tank, Big Naturals & Anthroprophh, Guttersnipe, Rattle, Negative Midas Touch, Soft Walls and The Furious Sleep all putting in appearances.

14 Aug

I was only intending this post and the last one to be brief… I was going to quickly cover the upcoming Kiran Leonard tour and a couple of avant-prog dates in Yorkshire and London, but looking deeper into the latter meant that a whole lot of other dates and bands came springing out at me, as if I’d hit a tripwire.

Such are the ways of digging around for live previews for ‘Misfit City’ without a map or all of the details… I often come back with information on artists and venues I’ve never heard of before. (It’s exhilarating, and an education in itself, but it plays hell with my schedule.)

Anyway…

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Following their last UK visit (in October last year), Sax Ruins return for another go. The most active current version of the Ruins project (an ever-altering minimal-maximal mash-up of jazz, prog and avant-rock ideas centred, for three decades, around Japanese drummer and vocalist Tatsuya Yoshida) Sax Ruins features Tatsuya alongside Ryorchestra saxophone improviser Ryoko Ono in a spilling, furious, brassy power duo augmented by a battery of effects pedals, covering all bases from skronk to Rock In Opposition and big-band jazz across written and improvised material of baffling complexity.

The London show also features a set by what’s billed as “Ruins” – this is most probably a “Ruins-alone” drums-and-tapes set by Tatsuya rather than a spontaneous revival of the band’s original bass-and-drums lineup (unless a secret call’s gone out for ambitious London bass guitarists to step up and cover).
 

 

Tour dates in full:

  • Cafe Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England, Tuesday 16th August 2016, 8.00pm (with Ruins + Barberos) – information
  • Exchange, 72-73 Old Market Street, Bristol, BS2 0EJ, England, Wednesday 17th August 2016, 7.30pm (with Barberos + Big Naturals & Anthroprophh) – information
  • Delius Arts & Cultural Centre, 29 Great Horton Road, Bradford, BD7 1AA, England, Thursday 18th August 2016, 7.00pm (with Barberos + a.P.A.t.T. + That Fucking Tank) – information here and here
  • The Car Park Space, 45-51 Duke Street, Liverpool, L1 5AP, England, Friday 19th August 2016, time t.b.c. (with Barberos) – information
  • Doune The Rabbit Hole Festival, Cardross Estate, Port of Menteith, Doune, FK8 3JY , Scotland, Saturday 20th August 2016 (with Barberos)
  • Islington Mill Arts Centre, James Street, Salford, M3 5HW, England, Sunday 21st August 2016, 5.00pm (with Barberos + a.P.A.t.T. + Massicot) – information

Along the tour, Sax Ruins are embracing and encouraging a set of post-Ruins bands. Support on all dates comes from Barberos – drumtronic electro-noise experimentalists from Liverpool. Live (and they’re very much a live concern), they resemble a trio convocation of nuclear power station workers and fetish gimps. A pair of kit drummers, swathed in or vacformed into latex bodysuits and full-head masks, batter away in parallel like wrestling brain hemispheres. A single begoggled head-nodding keyboard player exploits a baffling range of electronic organ sounds. Any or all of them can suddenly burst into cloth-muffled shouting. The sound varies from full-clog percussive noise-traps (the kind that’ll have you wondering whether the band’s deliberately using the wrong definition of “jam”), through to passing plateaux of psychedelic reflection and still points of droning, delicate hush.
 

 
In Bristol, both bands are joined by Big Naturals & Anthroprophh – a two-plus-one alliance featuring the noise-rock duo team of bass/electronic warper Gareth Turner and motorik-attack drummer Jesse Webb (Big Naturals) and rogue psychedelic sludge player Paul Allen from longstanding Bristolian psych-stoners The Heads. While it’s ostensibly Paul who travels under the Anthroprophh solo moniker, it’s increasingly unclear where the boundary lies between Anthroprophh and the partner duo, or whether there’s a boundary at all. Best to treat all three as a collective entity delivering a frowning fuzzed wall of experimental psychedelia: a ritual of heavy bricking.
 

 
Chipping in at Bradford and Salford (though, oddly enough, not at the Car Park show) are a.P.A.t.T., the deft and enigmatic gang of Liverpudlians who deliver a rolling multi-media extravaganza best described as “serious pranking”, and who skip around multiple musical styles in a boiling froth of play. Via their loose collective membership, they have family connections with a host of other Liverpool bands (including Barberos) but no-one ever seems to have sat down and laid out who’s who behind the pseudonyms and lab coats, the puffs of suspect facial hair and the occasional maskwork. Perhaps refraining to pin them down and pull them apart counts as a mark of respect.

Similarly, it’s difficult to summarise or bottle a.P.A.t.T. via anything that’s definitely representative, although tagging them as a Scouse spin on the methodology of The Residents is perhaps as good as anything. However, if you take a quick delve into the plinketting synth-pop minimalism and jazz operatics of Give My Regards To Bold St (with its playful am-dram video of everyday banality set against urban terrorism), their atmosphere/installation piece Seachimes or the Devo-esque Yes… That’s Positive (the last of which displays the punchy musicianship behind the art-school stunts) you might get an idea of how they work.
 



 
Also playing at the Bradford show are deafeningly loud drumkit-and-baritone-guitar duo That Fucking Tank, whose abrasive DIY noise rock has quaked venues from Yorkshire to China for nearly a decade and a half now. As with plenty of contemporary bass-end-plus-drums rock twosomes, you can track down a bit of Ruinous DNA in their work (alongside that of Nomeansno and Lightning Bolt), though they seem to be as much inspired by the nodding insouciant momentum of electronic dance as they do by any Rock In Opposition or post-hardcore ideas.
 

 

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At the Salford show, the Sax Ruins tour collides with (and briefly joins forces with) a different one by Genevan art-punks Massicot. Named after an electric paper cutter, the latter are a loose and twitchy four-woman array of scratch and propulsion. They pump out charming sophisti-primitive rhythmic instrumentals in which slice-happy guitar and lunging sproings of toy bass are decorated by squeaky violin and barky vocals, all of it bouncing atop a mattress of intricate drumming which apparently prides itself on a blend of “Krautrock and tropicalia”. All of the members draw on shared backgrounds of fine-art schooling and years of instinctive, untutored pre-Massicot bandwork (which, in drummer Colline Grosjean, has resulted in the creation of at least one accidental virtuoso).

Massicot’s music relies on maintaining and capturing the open-minded approach of the original improvisations which generate it, avoiding polish or emblandening; as a result, it keeps its instinctive, childlike sense of motion and immediacy. This kind of restless work – fizzing in a fug of assertive, iconoclastic female spontaneity – always gets the Slits and Raincoats names chucked at it, as well as that of No Wave: Massicot, however, pull off the trick or the triumph of making it sound like a fresh oblique discovery. For the curious, their first two albums – plus a demo – are available for free/pay-what-you-like at their Bandcamp site.
 

 

Here are the Massicot dates:

 

 
As with Sax Ruins, Massicot will be trailed and complemented by fellow travellers of one kind or another up and down the land. At London, Brighton, Exeter and Cambridge, the support comes from powerful, broody London four-piece Housewives. Noise-rock favourites since their formation in 2013, playing dissonant tectonic music with a future-chaos tinge on home-made guitars, the band mingle their rumbling No-Wave/no certainties approach and surging, forbidding dynamics with an adaptive and pragmatic artistic practicality, making drawbacks and serendipity a strong part of the process.

For instance, when their 2015 recording sessions at a remote country farm in France ran into trouble, Housewives salvaged them with a site-specific ingenuity entirely in tune with their musical ethos. With interference from the farm’s electric fence preventing proper recording of electric guitars and basses, the band postponed those particular tasks for another time and place and switched instead to working with the farm’s fabric rather than against it – making spontaneous field recordings; generating feedback models of the farm architecture by looping its ambient sounds; interacting with agricultural machinery by layering found items for percussion or playing reverberant drumkit parts from inside silage tanks. (The end results, with the guitars added from later and elsewhere, can be heard on their 2015 album ‘Work’. All this and a hint of Samuel Beckett, too.)
 


 
 
At Cambridge, there’ll be extra support from windstripped local post-punk ranters The Furious Sleep and at Brighton from Soft Walls, the psychedelic echo-pop/“Krauty bedroom noise” solo project by Cold Pumas/Faux Discx man Dan Reeves (which played at this year’s Lewes Psychedelic Festival).
 


 
In Leeds, Massicot will be joined by two bands. The only one that’s actually confirmed right now are mysterious local noiseniks Guttersnipe, who seem to have blown up (in all senses) this year. Consisting of cuddly, pseudonymously-frenzied couple Xyloxopa Violaxia and Bdallophytum Oxylepis, they’re a desperate lash-together of fragmenting volcanic drums, edge-of-unbearable guitar, flaying-knife electronics and blind, screeching, ranting vocals. In interviews, they talk up a cheery storm about black-metal fandom and deconstructive anti-technique. In action, they sound like a violent and querulous nervous breakdown, being bounced to pieces down an endless set of spiral staircases.
 

 
At Nottingham, two gigmates have been confirmed. Rattle are a warm, post-punkified union of double drum-set and conversational, exploring anti-pop vocal from Kogumaza‘s Katharine Eira Brown and Fists‘ Theresa Wrigley, whose air of distracted discovery belies their strategic percussive planning. (Read more details on both that and the Rattle mindset here.) Also on board is the writhing, sibilant, whispering one-woman power-electronics concern Negative Midas Touch, completing a lineup which renders the Notts gig an all-female experimentation zone.
 


 

August 2016 – upcoming gigs – three-date British tour of saz balladry by Aşıq Nargile (plus choral fizz, oddrock and pedal steel strangeness from Tut Vu Vu, Muldoon’s Picnic and Heather Leigh – 2nd-4th); Hackney Colliery Band & Bring Your Own Brass kick off Borderless in London (2nd)

30 Jul

In between appearances at the WOMAD and Supernormal festivals, Georgian saz player and singer Aşıq Nargile is embarking on a three-date British microtour in August, calling in at points in Scotland, Yorkshire and London.

Aşıq Nargile

In case you’re looking at the picture and thinking (lazily) “another girl folk singer”, it’s worth noting that “Aşıq” is an honorific, not a forename. It denotes a particular type of traditional Georgian bard, multilingual and mobile, who travels through the country’s diverse regions as vessels for music, news, concepts and culture both old and new. (A little like a Caucasian version of a West African griot, although perhaps without the satirical upsetter elements).

Originally from the Georgian capital of Tbilisi, Nargile Mehtiyeva has carried the cosmopolitan traditions of her home town with her, but has chosen to base herself in the southern Borcali region. For the moment, she’s the only female aşıq at work there. A trilingual singer and player of the saz lute since her mid-teens, she’s now both a teacher of the traditional forms and (via the Sayat Nova initiative) an ambassador for Georgian culture. Her concerts involve interlocking musicality and literacy – a “vocal recital of epic folk poetry (in) Azerbaijani, Georgian, and Russian… by turns ecstatic and deeply expressive… interspersed with bursts of virtuosic, highly ornamented saz.” in the shape of “moving laments or upbeat folk dances.” For those who don’t speak any of those languages, the shows are still musically sensual experiences – propulsive and silvery cascades of wiry stringwork, accompanied by a vocal like an elastic lassoo and the stately assurance of someone backed up by a couple of thousand years of heritage.


 
Tour dates are as follows:

  • The Old Hairdressers, 23 Renfield Lane, Glasgow G2 6PH, Scotland, Tuesday 2nd August 2016, 7.30pm (supported by Tut Vu Vu + Muldoon’s Picnic) – information
  • Delius Arts & Cultural Centre, 29 Great Horton Road, Bradford, BD7 1AA, England, Wednesday 3rd August 2016…. (+ support act t.b.c.) – information here and here
  • The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England, Thursday 4th August 2016, 7.30pm (with Heather Leigh) – information

While the Bradford gig is solo, the Glasgow show sees Nargile playing as part of a splendidly adventurous and diverse triple bill alongside two very different Glaswegian groups who have next to nothing in common bar their musicality.

Despite their cosy and informal appearance, a name that comes from drunken Irish misadventure, a repertoire reaching from “the sublime to the ridiculous” and their emphasis on fun and friendship in singing, acapella group Muldoon’s Picnic unites a number of very dedicated and talented Glasgow-based singer and scholars. Its six or seven regular members (not least in-house arranger Katy L. Cooper) have already made their mark in a brace of other vocal ensembles – Trembling Bells spin-off Crying Lion, Glasgow Madrigirls, The Four Hoarse Men, Voicebeat, Voicemale, Sang Scule, and “barbershop-prog” group Honey & The Herbs – plus more church, chapel, cathedral, workplace and community choirs than you could shake a stave at. As for that repertoire, it embraces gospel, shanties, Scots ballads, English carols, Afro-American spirituals, sacred harp songs, Victorian parlour music and music hall songs and assorted pieces cast up and circulated by the world music movement. Where other choral groups dabble, this one delves. The songs are sung not just in English but in other tongues of the British Isles (Scots Gaelic, Cornish, Manx and Welsh) and further afield: Breton, southern African Sotho, Ugandan Luganda and eastern European languages (Bulgarian, Croatian and Georgian – in the latter’s polyphonic music, they touch base with Nargile.)


 

The third act on the Glasgow bill, Tut Vu Vu, play their dark-browed and looming electrophonic instrumentals in a cloud of disinformation. When someone compares them to Anaïs Nin and David Lynch and they claim that it’s all a misunderstanding; someone else mentions musique concrète and they respond with askance, amused looks. When given the chances to set things straight, they deliver misleading mission statements filled with science fiction technogabble about phased plasma and hydrogen sulphide. What’s demonstrably true is that they’re an alliance of Glasgow art-punks who’ve already been around a decade’s cycle of experimental groups – Iban Perez in The Sparkling Shadazz, Rags & Feathers and A Rhythmtic) Raydale Dower, Matthew Black and Jamie Bolland in rattling theatricalists Uncle John & Whitelock.

Expect something of an oblique and inscrutable wall between the quartet’s current work and their previous brainy trash-lungings. A band apparently in search of a new dialect (while drawing on assorted shredded utterances from Krautrock, Beefheart, ‘90s rave or ‘80s arsequake) a typical TVV track can be a bizarre collage of muffled falsetto wails and feedback drones, of layered tribal toms and analogue-synth bass-farts, of approaching-horns guitar shapes; all of which is cunningly and immediately sculpted for maximum enigmatic impact, rather than being tossed out of the speakers for someone else to sweep up.




 

In London, Nargile is playing a double header gig with Heather Leigh. One of the most unconventional pedal steel guitarists in contemporary music, Heather belies her traditional country music heritage (a West Virginia birth, a descent from coal miners) and instead reinvents both her instrument and her voice as a conduit for strange and ghostly improvisations. Aided by cruel amplifier tones and strange, skittering, instinctive hand techniques, her compositions emerge like spectral possessions of strings, pedals, larynx and language. Often touching on themes of trauma, abuse and hidden, subjective experience, Heather’s eerie and disturbing work has already led her to collaborations with Peter Brötzmann, Jandek, Thurston Moore and plenty of others since her emergence in the 1990s.




 
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August also sees the start of Borderless, a delightfully rambling live music series at Battersea Arts Centre running roughly parallel to the Olympic Games in Rio. Run in collaboration with GOAT Music (set up last year by former Roundhouse music bosses David Gaydon and Lou Birkett) it aim to showcase “the UK’s best homegrown talent and unique artists from around the globe, in the intimate and beautiful setting of the Council Chamber… Borderless will provide an alternative cross-cultural celebration. Samba to tropical beats, dance to Afrobeat legends, skank to reggae and let the new generation of jazz take you to another place. Break down the borders and shuffle your feet to global rhythms to hear the biggest tunes from all over the planet. We’ll also provide a platform for the freshest artists and exciting talent currently taking the UK by storm. Hear the artists sound tracking the underground scene, dominating the airwaves and paving the way for the alternative UK music scene.”

Glad to hear it. Bring it on. What do you have?

GOAT Music and Battersea Arts Centre present:
Borderless: Hackney Colliery Band + Bring Your Own Brass
Battersea Arts Centre, Lavender Hill, Battersea, London, SW11 5TN, England
Tuesday 2nd August 2016, 8.00pm
information

Hearing about Hackney Colliery Band initially caught me between hackles and chuckles. For a moment, I thought it was about taking the piss out of a great and still-living industrial British art form while cynically attempting to replace it. After all, when there are still genuine colliery bands maintaining the tradition across old mining heartlands from Tyneside to Derbyshire, Shropshire to Leicestershire and the Rhondda Valley (and dotted across the Yorkshire pitscape from Grimethorpe to Dinnington, Frickley to Queensbury) why would you want to substitute them with a slick London parody? On the other hand, my sense of the absurd soon kicked in – since Hackney’s been sprouting all kinds of cartoonish artisan features for the past decade (from craft beer to boutique muffins and shoes), why not an ersatz coal mine?

As it happens, HCB have got little to do with any of this. The name’s a little dab of post-modern British showbiz and the band (excellent, by the way) don’t stick to the grand dignity and mournfulness of colliery music, being more of an omnivorous brass beast immersed in and rejigging a variety of horn-party traditions from jazz, r&b, funk and others, including New Orleans tunes from both fun and funerals. Much the same can be said of the support act, Bring Your Own Brass – a band who, as “up-and-coming brass hip-hop ripsnorters”, have been known to parp out a Rakim cover or two. If this makes them sounds like a novelty act, they aren’t. Sound and vision reveal them to be well-scrubbed, well-studied white disciples of a wide span of styles, clambering over Afrobeat, rap, funk and marching-band ideas with head-bopping panache.

Recently, both bands seem to have cornered the market in boutique festivals and showbiz event (between them they’ve got Olympic Games and Brit/Mercury award appearances under their belts, as well as shows at Ally Pally, with slots at Wilderness, Stow and Meatopia to come later in August for BYOB and a hefty European tour for HCB). HCB’s previous set at the MOBO awards suggests that they can impress at a formal roots level as well, unless it was a case of contacts trumping authenticity. Just as long as bands like these aren’t crowding out bands like Kokoroko; although BYOB’s teamup with Bristolian rapper and slam poet Solomon O.B (see below) suggests that, as far as fellow musicians are concerned, there aren’t any practical or philosophical problems.



 

July 2016 – upcoming London gigs – improvisation running rampant at the Classwar Karaoke mini-festival (16th & 17th)

14 Jul

Classwar Karaoke mini-festival, Greenwich, 16th-17th July 2016

Minesweeper Collective presents:
Classwar Karaoke Mini Festival
A secret location in Greenwich, London, England
Saturday 16 & Sunday 17th July 2016, time t.b.c.
information

Experimental music and short-film label Classwar Karaoke celebrates its eighth year of existence and collective-based “unambiguous meritocracy” by assembling a host of improvisers and audio-visualisers for the third in its series of underground mini-festivals. The event will be embedded somewhere deep in the London Borough of Greenwich along with the laser-limned meridian line, the maritime history and the stand-up comedy. We’re told we can “expect such things as improv, free jazz, avant-rock, jokes, theatre, noise, audio-visuals, absurdism, spoken word.”

The first of the two days features a sixteen-strong lineup of Murmurists, the project which coalesces around the work – if not precisely the leadership – of Anthony Donovan (composer, musician, poet, filmmaker and Classwar Karaoke  founder). Murmurists date back to 1991 and use varied lineups to realize Anthony’s compositions in live situations. Over the years, these have moved from being small and predominantly improvisational line-ups to becoming larger and more meticulously-directed ensembles which employ graphic scores and timing instructions to deliver Anthony’s written material. Latterday Murmurist ensembles – both on and off record – use speech, narrative and foley work (spontaneous live sound effects) as key components alongside the musical ones; while live performances employ film projections and dance.

On this occasion, Murmurists are as follows:

  • Anthony Donovan (on voice, bass and film work)
  • dancer-vocalists Rebecca Bogue, Carolyn Roy and Jane Munro
  • foley performers/vocalists Annie Dee (Destroyevsky) and Michael Clough
  • percussionists/vocalists/electronics operators Lawrence Casserley (a frequent Evan Parker/Bob Cobbing collaborator) and David Cunliffe (Spidey Agutter, Igor’s Roomy Labcoat and Coffin Boffin)
  • Geoff Leigh on flute/soprano sax/voice (best known as an early Henry Cow member, but also for Ex-Wise-Heads, The Artaud Beats, Black Sheep, and many others)
  • Mark Browne on soprano sax/percussion/ voice (a three-and-a-half-decade veteran of multiple projects and collaborations including Cockpit Improvised Music, Conspiracy, The Fanatics Of Disaster and The Fastidious Amateurs Of Grief)
  • K.T.Reeder on trombone and voice
  • Martin Archer on bass clarinet/recorder/voice
  • Tim Drage (a.k.a. Cementimental) on electronics
  • Black Howler and Union Furnace duo Anthony and Rosie Osborne (saxophone/keyboards/voice)
  • percussionist/vocalist Walt Shaw

The large Murmurist group will be supported by small-group improv work from various Murmurists members – lineups to be drawn from a hat.


 
* * * * * * * *

The second day of the festival, July 17th, features a wider lineup of individual projects.

  • Lewisham-based improvising trio LOFE describe themselves thus, in lapping wordplay: “driving beats, driven words. jewel carriageway chords. It’s got that biodynamic, organic whole grain texture and that lively lambic yeasty rhythm. It hits 260°C, when it’s baking.” The man who’s probably guilty of scribbling that account is their performance-poet/fractal-rapper vocalist Zolan Quobble (a Deptford Urban Free Festival founder who’s also voiced One True Dog, Rabbidog and Dodmen). Other involved parties are bass guitarist Elwell (a multi-instrumentalist whom at various times has played with Brain of Morbius, Bert Shaft Orchestra, One True Dog, Foul Geese and South East London Music Collective) and one-man keyboard-and-Ableton orchestra NikTheDeks (see also NakeDBeatZ Radio, Furby-Core, Gabber-Karaoke and others)
  • Warrior Squares is a Hastings-based free improvising electronic/acoustic four piece comprising Geoff Leigh (flute, sax, voice, electronics) James Weaver (electronics, guitar), Paul Gardner (iPad, percussion) and Nick Weekes (bass, sticks, found items).

  • Adam Bohman improvises sounds from “stuff we ignore – toast racks, clothes pegs, styrofoam, upholstery springs, you name it” as well as making tape collages (read some more about him here).

  • Harmergeddon is the duo of audio-visual performance artists Nathan and Fae Harmer, who since 2010 have been creating performance material from mongrelised data sources, physical oddments and information detritus (mangled VHS cassettes, bar code check outs, etc), crossing it over from one format to another. They build instruments and performances from “the unwanted, unheard and unseen… rebuilt from the ground up with whatever comes to hand” and present “sound pieces and visuals improvised as a feedback loop between gesture and combined consciousness.” A Harmergeddon performance is usually a collation of profound industrial drones, haunting sounds, voice snatches and found-object noises with lights which interact with signal sources or body movements, plus abstractions on TV screens. (See below.)

  • Jeffersubstanshall Helicopter is most probably another version of whoever’s behind Oblivian Substanshall, the anti-novelist/performance poet/absurdist contributor to various Klasswar and Deptford events of the past. With those pseudonymic hat-tilts to both the Bonzo Dog Band and West Coast psychedelia, expect some late-‘60s-inspired counterculture/cut-up lunacy. Here’s something of what he did under the original moniker:

  • Phil Durrant & Kev Hopper will provide a duo performance from two very different and complementary masters of a musical continuum stretching from avant-garde to pop and dance. A classical music graduate who plays violin, synth, electronics and (increasingly) state-of-the-art software instruments, Phil has been composing, improvising and performing since 1977 over a career that’s spanned over sixty albums, almost as many collaborations and probably thousands of improvised gigs. His work has included being the third leg of an influential trio with John Butcher and John Russell, sundry ensembles (including Secret Measures, Quatuor Accorde, Lunge, Beinhaltung, Assumed Possibilities and the international electronic orchestra Mimeo), 1990s house/breakbeat work with Fabio, Grooverider and Shut Up And Dance, and exploits into dance-theatre music, site-specific installations and sound design. Kev first came to attention as the fretless bassist whose rubberband playing style anchored early ‘90s popsurdists Stump. Subsequent adventures have involved various avant-garde improviser lineups, albums of musical saw playing, and most recent the delightful improv-rock quartet Prescott. He and Phil previously played together in ’90s improvising quartet Ticklish.


     

June 2016 – upcoming gigs in London – Tim Hodgkinson triple event with Zinc Trio, John Greaves, Yumi Hara, Geraldine Swayne, Guy Harries, Static Memories, Tom White and Rob Lyle (14th-17th)

7 Jun

The continued association shared by the former members of Henry Cow (and their ceaseless inspiration to work either collectively and individually) remains a gift that keeps on giving. Over the course of a single week in London this month, Henry Cow reeds-and-keyboard player Tim Hodgkinson (arguably the band’s most prolific and rigorously avant-garde member) plays at two shows at the Iklectik Arts Lab, one of which also features his old Cow sparring partner John Greaves as well as two vigorously creative women from the younger generation of the ever-broadening Cow/Faust/Rock In Opposition avant-rock circles. In between, he’s launching a book and delivering a talk on his own concept of musicality, complete with another live musical performance.

* * * * * * * *

The Horse Improvised Music Club presents:
Gus Garside/Dan Powell/Tom White/Rob Lye + Zinc Trio (Tim Hodgkinson/Hannah Marshall/Paul May)
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Tuesday 14th June 2016, 8.45pm
– more information

At this evening for Lambeth experimental night The Horse Improv Club, Tim Hodgkinson plays clarinet in spontaneous free-jazz team Zinc Trio, which also features Hannah Marshall on cello and Paul May on drums. Paul is the most recent member of the trio, which previously saw Tim and Hannah working with another drummer – English improv legend Roger Turner. The earlier trio can be seen here, scurrying and forging through a full-torrent 2009 improvisation.

Also on the bill are a new and possibly one-off quartet. Brighton duo The Static Memories, made up of Arc/In Sand/Safehouse collective member Gus Garside (double bass player, educator and National Arts Development Manager for Mencap) and Dan Powell (guitar and electronics, also a member of mischievous Brighton performance duo Nil and one of the people behind Brighton’s Spirit of Gravity experimental night) team up with the London duo of Tom White and Rob Lye (who work with electronics and reel-to-reel tape recorder). Here’s a Static Memories clip to clue you in, along with a White/Lye one: soundclash them together all on your own.

 
* * * * * * * *

Tim Hodgkinson book launch, 16th June 2016

CPAD (Centre of Performing Arts Development) at School of Arts and Digital Industries, University of East London, presents:
UEL Practice as Research event Series #1: ‘Music and the Myth of Wholeness’ talk and performance by Tim Hodgkinson (hosted by Yumi Hara and Guy Harries)
US.3.02 (Studio 3) University Square Stratford, University of East London,
1 Salway Road, Stratford London, E15 1NF, England
Thursday 16th June 2016, 7.00 pm
– free ticketed event with very limited space – tickets here

This is a launch event for Tim’s latest book, in which he “proposes a theory of aesthetics and music grounded in the boundary between nature and culture within the human being. His analysis discards the conventional idea of the human being as an integrated whole in favor of a rich and complex field in which incompatible kinds of information — biological and cultural—collide… As a young musician, Hodgkinson realized that music was, in some mysterious way, ‘of itself’ —not isolated from life, but not entirely continuous with it, either. Drawing on his experiences as a musician, composer, and anthropologist, Hodgkinson shows how when we listen to music a new subjectivity comes to life in ourselves. The normal mode of agency is suspended, and the subjectivity inscribed in the music comes toward us as a formative ‘other’ to engage with. But this is not our reproduction of the composer’s own subjectivation; when we perform our listening of the music, we are sharing the formative risks taken by its maker.”

Tim will be expounding on this in a lecture including passing examinations of “three composers who have each claimed to stimulate a new way of listening: Pierre Schaeffer, John Cage, and Helmut Lachenmann.”. In addition, there’ll be a music performance in which Tim is joined by University of East London lecturers and musicians Yumi Hara (voice, harp and found objects) and Guy Harries (flute and found objects). Both are experienced and diverse musicians – as well as being a perpetually active solo performer and serial collaborator, Yumi is a member of various Henry Cow/Faust related projects (The Artaud Beats, Jump for Joy!, Lindsay Cooper repertoire band Half the Sky), was a former Frank Chickens member, and was the driving force behind London’s ‘Bonobo’s Ark’ events (at which ‘Misfit City’ spent a number of intriguing evenings in the late ’90s); while Guy’s work spans singer-songwriter projects, experimental multimedia musicals and opera, and assorted collectives (Bodylab Arts Foundation, the POW Ensemble, Live Hazard) across multiple genres.

* * * * * * * *
'Other, Of Itself', 17th June 2016

Iklectik Arts Lab presents:
‘Other, Of Itself’: Yumi Hara + Tim Hodgkinson + Geraldine Swayne + John Greaves
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Friday 17th June 2016, 8.30pm
more info

Yumi (on voice, harp and piano) and Tim (on bass clarinet and pedal steel guitar) reunite the very next evening for another concert. For this one, they’ll be joined on keyboards, electronics and voice by Geraldine Swayne (fine artist, film maker and – as musician – a member of both Faust and …bender) and by Tim’s old Henry Cow sparring partner John Greaves (voice, bass guitar, piano). It’s a loosely-structured quartet evening during which the four musician will work in various combinations including a Hodgkinson/Hara duet and a John Greaves solo set on voice and piano (performing selections from his own song repertoire).
In addition, Marina Organ (‘Organ‘, ‘The Other Rock Show‘) will be contributing a DJ set.
 

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