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October 2019 – upcoming London experimental gigs – Retrophonica at the Brunel Museum (13th); Charles Hayward presents Sly & The Family Drone, V Ä L V Ē, Timestretch Alarmsong and Atatat (19th)

5 Oct

Retrophonica, 13th October 2019

Retrophonica is a new, very accessible multi-media performance project; currently focussed on the branching aerials, primal wooo and touch-me-not anticipations of theremin playing. It’s launching itself with an evening of two (identical) concerts in the yawning brick gullet of the Brunel Museum’s Grand Entrance Chamber (also known as the top of the southern Thames Tunnel shaft).

Celebrating the instrument’s centenary, these will be an “immersive evening of music for theremin and full orchestra”, while delving into the story of the instrument’s creator, Léon Theremin. From here, it sounds as if the concerts will be a cross between a pops-orchestra occasion, a slide-show history lesson writ large and a session of nostalgic avant-garde tinkering; all of it enclosed in that bleak, beautiful and magnificently functional Victorian civil-engineering maw.

As they say themselves,“prepare for an immersive audio-visual experience, complemented by cocktails, lightshow, and narration, featuring original and adapted music for theremin by Dmitri Shostakovich, Bohuslav Martinů, Miklós Rózsa, Les Baxter, Claude Debussy and John Williams, performed by Retrophonica with thereminist Charlie Draper, new arrangements and works by Alex Palmer, and bespoke narration from author Ken Hollings.”



 
You might already know Charlie from all manner of bookings, everywhere, for both theremin and ondes martenot: here’s an earlier mention. Alex has written and arranged extensively for theatre, film and concert hall, and looks as if he’ll be adding the sweeter edge to the evening. As for Ken, although I suspect that he’ll be operating on calmer terms tonight, he’s most likely to be the one to toss in a wild card or two. Having started work in the 1970s as a literary factual editor (how ominous such a description sounds now) he went on to an early-’80s spell as vocalist and cut-up’er in Manchester post-punk band Biting Tongues, followed by an expansion into essays, libretti and experimental fiction (all of which have dipped into and across other disciplines from Japanese films to twentieth-and-twenty-first century politics to data structures).

I’ve no idea who’s contributed the orchestra. As for the cocktails, there’s no further word on them; nor on how you might mix one called a Thames Tunnel.

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Just under a week later, downriver at Deptford, London art-rock/post-punk/improvisation godfather Charles Hayward will be putting together the second of this year’s “genre-fluid” Charles Hayward Presents concerts at the Albany, unfurling “new sounds from the underground and outsider scenes of London and beyond” and massing together elements of jazz/improv, art punk, noise, contemporary classical and electronic music.

Charles Hayward Presents..., 19th October 2019According to Charles himself, his own performance centrepiece will be the project-cum-band Timestretch Alarmsong… a sequence of tunes and sound snakes that I’ve put together with Tom Challenger (Dice Factory/Ma saxophonist), Yoni Silver (multi-instrumentalist with Hyperion Ensemble and many others), Roberto Sassi (Cardosanto/Anatrofobia/Snorkel guitarist), Nick Doyne-Ditmas (double bassist and Hayward collaborator in Monkey Puzzle Trio).

“It’s tightly rehearsed and goes through a wide range of attitudes and (more importantly) emotional energies. To my ears it’s super exciting and I feel like we’ve pushed at a few barriers and come up with something new that has melody, shape and grooves from light to super heavy/dark. There’s no clips available but we will be recording the project for future release. All the players are fantastic musicians and working on the project has been a study in joyful cooperation.”

In the absence of a collective clip, here’s a scatter of solo ones and examples of related projects:





 
Three other acts join in for the night. ‘Gentle Persuaders’, the latest album from contemporary drum/noise/saxophone ritualists Sly & The Family Drone – is intended as “the politest of bludgeonings”; its creators still merge Ayler-esque free jazz, industrial rock pummel, celebratory machine hiss and the loose-hanging exploratory feel of a bass-less duo. They also still give out drums at their concerts, inviting a congregation of noise.



 
Also back in the fray is V Ä L V Ē, with music that’s less workshop than workshed. Strongly DIY (featuring reed instruments, electronics, invented gizmos, bass guitar, concert harp and singing women), it’s the sound of a trio of highly trained musical minds phasing back into spontaneity and play. A sort of three-way attempt to become idiot savants via assorted glitchery and boink, semi-spontaneous nursery rhymes and tunelets and musical devices (built out of shelves, tobacco tins, old house bells and similar Branestawmery), but via a female pattern.


 
Finally, there’s Atatat – a solo project from Liverpool art-freak music mainstay J.C. Barbara (best known as drummer/ranter for aPAtT and Barberos, and here using a very Haywardian array of drums, contact mics, loops and vocals).


 
Designer Raimund Wong (whose work has adorned posters and releases by Total Refreshment Centre, Church Of Sound and Baba Yaga’s Hut, and who shares Charles’ interest in chance theory and the ingenuity forced on artists via DIY minimalism) will be DJ-ing.

* * * * * * * *

Dates:

Retrophonica
Brunel Museum, Railway Avenue, Rotherhithe, London, SE16 4LF, England
Sunday 13th October 2019, 6.00pm & 8:30pm
– information here, here and here

Charles Hayward Presents… (featuring Sly & The Family Drone + VÄLVĒ + Timestretch Alarmsong + Atatat + DJ Raimund Wong)
The Albany, Douglas Way, Deptford, SE8 4AG London, United Kingdom
Saturday, 19 October 2019, 7.30pm
– information here and here
 

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

1 Oct

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

Moor Mother v London Contemporary Orchestra: 'The Great Bailout' tour, October 2019

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

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

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

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

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


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

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

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





 
* * * * * * * *

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


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



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

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




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

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



 
* * * * * * * *

Dates:

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

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

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

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

September/October 2019 – upcoming singer-songwriter gigs – Holly Penfield unleashes ‘Tree Woman’ in California and London (22nd September, 31st October)

15 Sep

Visibly enjoying her second wind as a singer-songwriter (and still wielding the exuberance that she brought both to her initial shot as such and to her subsequent role as cabaret supernova), Holly Penfield is finally launching ‘Tree Woman’, her long-delayed fourth album of original songs. There are a couple of launch date shows – one in her birthplace of Berkeley, California and the other in her longstanding hometown, London. On both dates she’s backed by a full band.

Holly Penfield - 22nd September & 31st October 2019

What I wrote about her return to full singer-songwriter action last year still holds true, so here it is (and you can read all about about her over the years by clicking here)…

“From where she’s standing in her life right now, Holly Penfield can reach out in both directions to touch the passionate, large-lunged ingenue singer of her youth and the salty life-loving veteran she’s transforming into. Of course, she’s got a longer, bolder reach than most. Once tagged as “David Bowie meets Liza Minelli” by a surprised and wrongfooted Simon Cowell, she’s a classic torch-pop singer with a stunning voice who’s also both blessed and cursed with an upsetter’s drive. These days, as she rebounds from twenty years as a leading international cabarettier in order to return to her own songs, it’s more of a blessing.

 
“Raised in San Francisco (and a veteran of the 1980s LA pop scene with the scars to prove it) Holly spent much of the ‘90s writing and performing the psychodramatic one-woman pop show ‘Fragile Human Monster’ in London and elsewhere. A show with such troubled and intense undercurrents that it eventually blew itself apart, it’s now spawned a return… but under very different circumstances. The whirling mirror-glass synths and saxophones of the old days have been replaced by a gritty post-Americana rock band (which growls, gnaws and struts through her songs like a Cash or Waits ensemble) while Holly herself has mostly forsaken standing behind a keyboard (except for when a grand piano ballad calls for that set of skills).


 
“It’s funny, sad, uplifting and stirring all at once. Once the very embodiment of storm-tossed waif and precarious survivor, Holly’s now a wiser and much happier woman. She still absolutely owns the stage, though, helping herself to a big dollop of the jazz and blues flavourings which shaped her initial development, playing a dash of ukulele and engaging in some zestful shimmying (and some delightfully ludicrous party outfits, worn with wit and flair – it seems as if her recent steps away from cabaret involved at least one sly step back).


 
“What hasn’t changed is the quality of her singing, and of her songs. While old FHM standards like Misfit, The Last Enemy, puddle-of-grief ballad Stay With Me, and slinking fingersnapper You Can’t Have The Beauty Without The Beast have shed skins and made the transition to the new show, Holly’s also been dipping into a trunk of neglected and mostly previously unheard work, including the tremendous state-of-the-world song Confessions (based around a lyrical hook she once dangled in front of an intrigued Joni Mitchell) and the vivacious Tree Woman (a more recent effort in which she vigorously embraces both her own ageing and the resilience that comes with it).”


 

Dates:

June 2019 – upcoming experimental/eclectic gigs – post-classical noise/audio-visualists Ariadne play New York and tour Europe (7th, 12th-28th various) with all manner of contributions from Carl Stone, Dasychira, Salaċ, Lazy Bones, Wolf Scarers, Julia Dyck, Anna Peaker, Ideal, Java Java Wetware, Sound Situation and Ariel Kalma

3 Jun

Long past the point when its cultural context receded into antiquity, mediaeval plainsong remains a ready grab for musicians seeking to bridge classical ideas with (in the broadest sense) pop ones. It’s easy to recall the Gregorian chants stapled to dance loops and succubus exotica pioneered by Enigma at the start of the ‘90s, in the wake of which waddled a million chillout chant albums: though to pick some more inspiring examples from past ‘Misfit City’ coverage, there’s also the post-plague requiem of Jocelyn Pook’s ‘Deluge’ and the acapella-versus-disintegrating-granular-noise of Soaring On Their Pinions.

Perhaps plainsong’s draw is in its sparseness, its directness – the way in which its emphasis on a soloist (or at least a monophonic group line) initially seems like a direct personal meditation or plea, a kind of ecclesiastic monastic blues. It could also be the way in which that sense of vulnerability mixes with a sense of ancient history (the early steps of Christianity, with the classical Hebrew and Greek temple music sources still evident, unobscured by the later agglutinating harmonies of the Renaissance). Or, to be a little more cynical, maybe it’s just that that same sparseness and built-in antique provenance has made it an easier cold sell to an audience in the age of recordings.


 
Ariadne could probably provide a better and more interesting explanation than I can. They’ve certainly got the background to enable them to understand it – electronicist/visual specialist Benjamin Forest and fellow electronicist and mezzo-soprano Christine Papania first formed an allegiance at the music school of the University of Indiana: and Christine also explores various strands of classical in her solo voiceloop project Lanx as well as singing for the Manhattan Chorale. Since around 2015, Ariadne have been investigating and altering plainsong and its relations in a succession of albums, EPs, concerts and installations.

Their 2015 album ‘Tsalal’ was based around Hebrew texts and was about plummeting into darkness, physical and psychological; the same year’s ‘Ex Tempore’ was a psalmic “dialogue between the physical and the ethereal in a languished and dense atmosphere.” Their newest work, ‘Stabat Mater’ is a “twenty-movement cycle of audio/visual ecstatic visions, heavily inspired by the visions of female Christian mystics Hildegard von Bingen and Teresa of Ávila.” The latters’ writings are rearranged and transmuted for the sung texts, with a third source coming via text from the surrealist poet Aase Berg.

Hildegard’s work, of course, has regularly blended in nicely with contemporary concerns of spirituality, pain and the female perspective: only last year her work was programmed in underground New York/London arthouse concerts by Daisy Press and Filthy Lucre, juxtaposed against Bowie, Byrne, Charlie Looker’s anguished hard-rock analyses of toxic masculinity and fascism, and the morbid queer romanticism of Claude Vivier… all of which I’m sure is just the tip of an associative iceberg. Hildegard’s ecstasies were paralleled by the rather more masochistic ones of Teresa (who also suffered a particularly grotesque fate-of-a-saint post-death postscript as her corpse was gradually disassembled and traded about by quarrelling groups of nuns, dukes, Popes and priests for open mercantile advantage).

As for Aase, still very much alive, she’s an often-bewildering overturner of expectations with a marked disdain for the “patriarchal… male sexuality” restrictions which she sees applying to standard chronology (“time passes and things have to happen and there has to be a narrative”). Her own work upends this in favour of polymathic siftings of “science, math, probability, string theory, etc.” in weird-fiction settings of post-environmental catastrophes and reconstructed worlds in which standard human perspectives are slipping away, being superseded or disintegrated by impassive, inevitable processes of change. Notably, Aase has also worked as a translator for the horror-struck, pessimistic fantasy texts of H.P. Lovecraft which, though they have an empurpled baroque verbosity which her texts avoid, often operate in similarly blasted philosophical territories.

 
While I’m sure that Ariadne too are paying plenty of attention to all of this, text is secondary to what they’re putting it through sonically. While experimenting with eerie pitchshifting, reverberation and sound chopping, their earlier work backgrounded it in favour of the traditional purity of Christine’s voice. Now they’re bolder, more assured and disruptive: while delivering perverse auto-destructive lyrics like “put my fist through my mouth and pull the roots out of the ground”, Christine’s voice retains its classical beauty but also negotiates its way through a far more confrontational path of distortions, subversions, doppelganger mockings and simple sequences of compline giving ways to gorgeous vomitations like a hopelessly poisoned Kate Bush. The electronically-generated sound, too, keeps its previous haunted/spinning chapterhouse atmosphere while rearing up like a briar thicket destroying a pathway, with distressing organic splatters, acidic treble rills, liquid-sword shatterwhooshes and nightmare distortion-belfry sounds breaking things up; plus vocal capture/turns like the obscene Pachucho squelch that chokes through Burning Sphere.

Like the last-act works of Scott Walker, though, ‘Stabat Mater’ manages to be disturbing and ear-opening without relying on shock-schlock. It hints at and flickeringly reveals dysfunction, confusion and horror without quashing or sneering at the beauty, structure or aspiration of the source materials. Benjamin’s video work, too, makes mesmerically beautiful optical scapes out of disruption, data corruption, trippy fetish hints and perspective explosions.

 
An upcoming Ariadne tour takes ‘Staber Mater’ around selected spots in America and Europe – as well as assorted arts centres, venues include an avant-garde-sympathetic bar at home in New York; an accommodating church crypt in Bristol with a patience for the heretical; a preserved grand Tudor chamber in London; and the marine guts of a permanently harbour-bound Hamburg merchant ship.

That New York hometown concert is taking place at metal/experimental hangout bar Saint Vitus, accompanied by Ideal and Dasychira (with records spun by DJ Clone). Dasychira is a platform for some brilliantly inventive experimental dance music from transplanted, intriguingly alienated South African sound artist Adrian Martens. Adrian explores and celebrates his own psychological vulnerability and resilience via industrial detonations and scatters of mbira chops, alarming darkwave pop interjections and bursts of monastic chorale. Scurrying underneath are thematic undertows of insect regeneration, building new lives from nothing. He debuted with 2017’s ‘Immolated’ EP, while last year saw the ‘Razor Leaf’ single and the ‘Haptics’ EP consolidate his work. The gig’s worth attending for his sake alone. As to whom Ideal are, I’m less sure. I’m assuming that they’re not these German New Wavers from 1982, but within the ever-refreshing and surprising Brooklyn ferment, I probably shouldn’t assume anything.



 
In Bristol, there’ll be slots featuring a pair of duos from the town’s Avon Terror Corps underground label, whose artists draw their loose inspirations and guidelines from“”medieval visions of the future, breakcore, ‘Westworld’ (the original film), industrial, the psychogeography of Castlemead, the legacy of shoegaze, the legend of Goram and Vincent, the total destruction of “deconstructed club”…” Both are best judged by their contributions to the ‘Avon Is Dead’ compilation, which amasses sundry ATC cloud uploads from 2018.

Salaċ – bewildering, serious-playful aural occultists – create long-spooling jump-cut soundscape ceremonials, the outcome of their “sculpting séances of sound with tape machines.” These are aggressive dirtbass rumbles, spasms of object-rolling across metal sheets, complaining recitations of disassociation, punctuated by watertank booms, data-screech waterfalls and a certain amount of dry psycho-geographist’s humour (as in fucked-up cheesy drum machine beats they occasionally summon up and put through the soiling chamber). So far, it’s best to judge Bokeh Edwards and Jade Hybou, a.k.a. “esoterrorists” Java Java Wetware by their track Even Cowgirls Get The Blues – a fragmentary aural story via a dreamy harmonica-assisted trudge through ruined domes and shattered glass, set further off-kilter by lapping folk soprano vocals and ending with secretive whispers and a handful of reverb-muffled gunshots.



 
In Manchester, support acts include obscure local psych/alt.folker and “veteran astral wanderer” Lazy Bones. Whether solo meanderer or journeying band, he/they have been at it for at least a decade and a half, coming up with “gentle melodies hid(ing) strange shadows, hidden yearnings and the promise of the transcendental” with a “whimsical ’70s edge” following the lysergic thicketry of Cope, Barrett and Jansch: some of it may be found on this cobwebbed MySpace site, if you can find your way in. Working in a similar vein (but easier to track down) is the bouzouki-driven power pop and stoner beat of The Peace Pipers, enthusiastic ’60s hippy-punk throwbacks with a taste for dressing up and dancing down the garden paths of The Move, early Pink Floyd and Dave Mason. The evening’s real wildcard is sometime ILL member Sadie Noble, a.k.a. Nummo Twin: generator of woody, baffling dream pop and abstracted yet covertly clever chucking-mud-at-the-wall collages of glitchy electronics, woodworking noises, and half-heard vocal mumbles.





 
The Todmorden show features raffishly arty tenor sax duo Wolf Scarers (Simon Prince and Keith Jafrate) and thrumming audio-visualizer Anna Peaker. With printmaking, DJing and gig promotion as part of her activity alongside the sound and graphics designer (and with an eye on branching out into dressmaking and ceramics.) Anna is an impressive DIY/do-anything character. Across her artwork she takes inspiration from Yorkshire weaving mills, witchcraft, old record sleeves and film posters; from ancient pathways and the millennia-spanning architectural layers of her base in Leeds. By itself, her music is skirling Yorkshire-Germanic variations on assorted psychedelic-chapel organ drones, billowing in and out of focus and sometimes including autoharp and field recordings – for the full effect, though, it’s tied into the cascade of her live visuals.

With Wolf Scarers, Simon and Keith blow a free-brewed stewing of various ingredients and inspirations from the multiple genres each has played individually (and sidestepping the temptations to baffle the acoustic tones any further with computer processing). The results range from “gentle meditations that almost become chamber music across to full-blown shout-ups in the true tenor sax tradition, via, possibly, messed-up marching band funk and deconstructed jazz strut.” Larger Wolfscaring lineups are rolled out when the music necessitates, but on this occasion it’ll be the core duo at work.


 
In Berlin, Ariadne are slotting in at the bottom of a mixed bill in the Kiezsalon series run by Michael Rosen. At the top is American sampling-and-computer-music pioneer Carl Stone, whose 1970s loops and repurposing of library records drew a kind of academic-based parallel to hip hop’s turntablism, and who’s subsequently kept pace with technological collaging possibilities while maintaining an accessible sense of found/captured/manipulated melody, plus a continually expanding taste for incorporating suggestions and content from other cultures’ music (in particular Asian cultures) and a disarmingly bonkers vocal quality. In the middle is French wind instrumentalist/synthesist Ariel Kalma, who’s been dwelling on the borderlines of process music, Paris experimentalism, New Age and electrophonic minimalism since the mid-‘70s.



 
Over at Prague’s Punctum venue, the first of two listed support acts is the acousmatic Sound Situation trio: domestic New Music exponents with electronicist Michal Rataj (electronics), Jan Trojan (more electronics, plate-bashing) and Ivan Boreš (prepared guitar) Veterans of academic music and live improv, as definition they spit out a host of word associations as definition: “sound design, freshly baked bottle in the fridge, movie soundtracks, radio art, pieces of sheet metal, flamenco, sirens, spectral transformations, Kvok!, teaching at the university… Ostrava new music days, abandoned sea beach, Contempuls, Noise Assault Agency Budweiss, BERG Orchestra, Gride”.

 
Unpick and reassemble that little lot if you wish; but note that Punctum have spent far less time expounding on who second Prague support Julia Dyck might be. To be frank, they’ve spent no time at all on it so far… but evidence points towards it being this woman. If so, you can expect to see or hear anything pulled from a bewildering, inspiring rack of potential directions and from a mind seething with forma drawn from feminist/queer/gender theory, from technological awareness and from Julia’s formidable polymathic curiosity about the world. It might be radiophonics, or synth minimalism, or voice-and-fx constructions, or ambient noise; it might be ideas drawing from her time as radio producer, writer and broadcast media artiste; or general conceptual experiments like the miked-up fruit-and-body performance she recorded for a batch of film festivals earlier in the year.

There are a few tasters below – the krautrock-in-the-frying-pan of Passenger, the ambient goo of Changes Made – but there’s too much to Julia to summarise in a paragraph or two or a handful of audio clips. Even briefly looking into what she does is like cracking an eggshell and finding an expansive, challenging pocket universe within, which then maps inexorably back onto your own and changes it behind your back.

 
* * * * * * * *

Full tour dates and details are still being assembled, but here are the ones I know about so far:

 

  • Saint Vitus Bar, 1120 Manhattan Avenue, Greenpoint, Brooklyn, New York City, NY 11222, USA – Friday 7th June 2019 (with Ideal and Dasychira) – information here, here, here and here
  • Blah Blah, via Po 21, 10124 Torino, Italy – Wednesday 12th June 2019, 8.00pm – information here
  • Le Brin de Zinc, 3 ZA Route de la Peysse, Chambery, 73000 Barberaz, France – Thursday 13th June 2019, 8.30pm – information here
  • St Paul’s Church Southville, 2 Southville Road (junction with Coronation Road), Bristol, BS3 1DG, England – Saturday 15th June 2019, 7.00pm (with Salaċ + Java Java Wetware) – information here and here
  • The Golden Lion, Fielden Square, Todmorden, OL14 6LZ, England – Sunday 16th June 2019, 7.30pm (with Wolf Scarers + Anna Peaker) – information here
  • The Peer Hat, 14-16 Faraday Street, Manchester, M1 1BE, England – 17th June 2019, 7.30pm (with Lazy Bones + The Peace Pipers + Nummo Twin) – information here
  • Sutton House, 2-4 Homerton High Street, Homerton, London, E9 6JQ, England – Tuesday 18th June 2019, 7.00pm – information here and here
  • Muziekcentrum Kinky Star, Vlasmarkt 9, 9000 Ghent, Belgium – Wednesday 19th June 2019, 8.00pm – information here
  • MS Stubnitz, HafenCity, Kirchenpauerkai 26, Umfahrung Versmannstraße, Baakenhafen/Baakenhöft, 20457 Hamburg, Germany – Friday 21st June 2019, 8.00pm – information here, here and here
  • Komplex, Zietenstr. 32, 09130 Chemnitz, Germany – 22nd June 2019, 8.00pm – information here
  • Punctum, Krásova 27, Žižkov, 13000 Prague, Czech Republic – Sunday 23rd June 2019, 7.00pm (with Michal Rataj/Ivan Boreš/Jan Trojan + Julia Dyck) – information here and here
  • Wolskie Centrum Cultury, Wolskie Centrum Kultury, ul. Obozowa 85, 01-425 Warszawa, Poland – Monday 24th June 2019, 8.00pm – information here
  • Kiezsalon, Greifswalder Strasse 23a, 10407 Berlin, Germany – Wednesday 26th June 2019, 8.00pm (with Carl Stone + Ariel Kalma) – information here and here
  • Macao, Viale Molise 68, 20137 Milan, Italy – 28th June 2019, time t.b.c.

 

May/June 2019 – upcoming experimental gigs – ‘Towards A Progressive Magic” at the Horse Hospital with Amy Hale and Hawthonn (30th May); ‘Overlaps’ #2 with Kay Grant, Keith Moliné, Jasmine Pender, Tim Hodgkinson, Frank Byng and Chlöe Herington (5th June); the Sonic Electronics Festival at IKLECTIK (30th May to 2nd June)

26 May

At a time when our politics are tangibly darkening with currents of bigotry and nationalism and vicious, exclusionary stories, you might consider that looking at fascism within magic is a frivolous exercise.

Anthropologist Dr. Amy Hale (Atlanta, US) would disagree with you. She’s delivering the spoken-word part of an upcoming “night of magical resistance” at the Horse Hospital (London’s home of esoterica, underground cinema, public magick and wild frocks) for which the musical aspect’s being provided by Leeds-based Hawthonn, made up of “dual star daemons” Layla and Phil Legard, who specialise in “twenty-first century moon musick… underground spectralism meets edgeland herbalism…”

'Towards A Progressive Magic': Amy Hale + Hawthonn, 30th May 2019

This isn’t necessarily a new thing. Plenty of the frowning white-nativist movements in Europe and the States force parasitic roots into ideas about submerged culture, or ideas of a purity predating Christianity, liberalism and rationalism, into which disappointed or indignant people drift in the hope of finding and defining themselves. If you’ve dabbled in Nordic revivalism, for example, you may well have brushed up against it: racism smudging the runes. Similarly, some sonic pagans have always pushed back (having always associated their own musical explorations with a live-and-let-live freedom or a rejection of the controlling homegenisations of fascism), and even more of them are pushing back now.

Amy’s lecture, ‘Is A Progressive Magick Even Possible?’, examines what happens when “as the world takes an awkward lurch towards right wing authoritarianism, underground and fringe cultures, organisations and scenes are becoming increasingly attuned to the attempts by radical right wing groups to infiltrate and coerce their members… Modern occult practice, for many, relies on structures, ideas, values, and aesthetics that are inherently linked to conservative and reactionary thought. Examples of this are the valorisation of tradition, the idea of an initiated spiritual elite and the notion of a highly-ordered Neoplatonic universe, where everything is in its right place – including people and cultures.

“These conservative traits create opportunities for activists to use the social mechanisms of occult subcultures – for example festivals and conferences, book publishing, the music and fashion industries – to promote radical political and cultural agendas without people even noticing that it has happened. Tonight’s presentations discuss how, and why, contemporary magical cultures have become attractive territories for recruitment and expansion by far right organisations… I will discuss how ideas of tradition and “nature” are exploited, and how the discourses of “free speech” are deployed to create and justify platforms for radical, intolerant politics in an occult milieu… We will also learn to recognise such entryism in action, and how to stop it.”

As for Hawthonn, this is their first London appearance; their first live musical ritual within the M25; and their first chance to present their particular stance to the capital. Delving (in the tradition of Coil) into post-industrial esoteric drones and vocalisations, their work has so far embraced edgeland/feminist associations on ‘Red Goddess’ and implied erotic ritualisations on ‘The Well Head’, with more associations and purposes evolving. I don’t know what they’ll be coming up with on this occasion; but I’m assuming that it’s going to pull on their increasing conviction that ritual needs to engage (if not necessarily with materialism) with the fabric of daily practical necessities and practical history.




 
To quote them – “as esotericists we often believe that we have stepped beyond ‘mere politics’ – that our minds are turned to a higher world, which has little relation to the mundane – despite, paradoxically, believing that our magical actions influence the phenomenal world. Yet many contemporary scholars of esotericism and religion analyse the currents of occultism, paganism and the New Age as socially constructed phenomena: elaborate mythic structures enforcing certain norms, beliefs and practices, while justifying themselves through appeals to authority, lineage and experience, even science and rationality. Such historiographic or sociological approaches have been accused by many practitioners of base reductionism, undermining the authority of their particular traditions.

“Yet, what if practitioners of esotericism were to accept – or at least entertain for a moment – a constructivist, rather than transcendentalist, paradigm? We posit that such an acceptance can lead to another form of practice, which acknowledges the way in which esotericism is inseparable from the historical, social and economic fabric of our lives and which – rather than denying the viscerality of ritual and experience – uses them as tools to question the traditions and assumptions of the esoteric worldview, leading to a fluid and reflexive ‘critical magick’.”


 
* * * * * * * *

Drifting through Kings Cross – away from the cosy confines of the Harrison and back to its spiritual home at Westminster Kingsway College – and still driven by joint organisers Chlöe Herington (V A L V E, Knifeworld, Lindsay Cooper Songbook, Hirvikolari) and Keith Moliné (Pere Ubu, Prescott), the Overlaps “six musicians on the spot” concert series continues to burnish its particular niche. Improvising, but outside of the usual free-jazz grammar; perhaps owing something to art rock, but tearing one end wide open. Assimilating injections of the wilder shaggier side of experimental pop. Tag-teaming, but with a little friendly risk; part-prepared, but mostly of the moment.

'Overlaps 2', 5th June 2019

In addition to Chlöe’s avant-rock reeds and home-made noiseboxes and Keith’s startling bricolage guitarwork, the debut Overlaps evening back in January also featured jazz/art-rock-toned drum-and-bass artist Farz and fringe-pop experimenter/spoken-word persona shifter Merlin Nova; plus another British art rock guitar mainstay in Chloe’s Knifeworld bandmate Kavus Torabi and creative sideslip drumming from Keith’s Prescott bandmate Frank Byng (also of Snorkel and This Is Not This Heat). Chlöe, Keith and Frank are all back for round two, with the remaining three players coming in from other assorted corners of noisework, avant-garde and New Classical – often simultaneously.

While performing her dramatic, noisy electric cello soundscapes, Jasmine Pender usually goes under the alias of Rotten Bliss, sousing her sound in effects and singing along with a terrifying gorgeousness: storm-strings and surreal marine tales. For Overlaps, though, she’s performing under her own name. Perhaps it’s in solidarity with the other, unmasked performers not hiding behind their project names or band tags; or perhaps it means she’s going to be trying something a little different. You’ll need to turn up and see.


 
Originally coming up through the New York downtown arts, in her time Kay Grant has sung pop, jazz, rock, choral classical and opera (and built the ranges for each). She still touches on several of them today – most notably the jazz, with her own vocalise-based Kay Grant All-four and song duo Living Standards, and via guestings with the more standards-slanted Cyril Bass Quartet and Big Swing Big Band. But when she gives herself full improvisatory range her voice is an untethered exploratory device – coasting, feinting and arcing with the full subliminal structural knowledge of her training, but completely free to embrace a scattering palate of noise, tones and intimations.


 
Tim Hodgkinson, of course, is best known for his 1970s work as a founder and consistent member of Henry Cow: foundational art-rock radicalism within which he and his bandmates pursued a continuous course of questioning, dissonance, learning and overturning. Since then (usually armed with reed instruments, tapes, lap steel guitar and keyboards), he’s maintained a core Cow method: exploring, playing and composing via a cerebral and committed musicality which initially challenges and overwhelms his own technical skills but constantly forces him to advance. He’s equally likely to be found at work in art-house shows worldwide or in ferociously experimental British pub gigs, stretching his skills between improvised blowings, committed collaging or the conduction of post-classical chamber music which sounds like the skitterings of unruly ghost feet pursuing an unfinished argument.

Again, I’ve little idea of what he’ll be doing – it could be solo clarinet, it could be something with tapes and counterpoint, it could be something which bridges his interest in shamanic music and cultural anthropology.




 
* * * * * * * *

Sonic Electronic Festival, 30th May to 2nd June 2019There’s also time to mention (in brief) the concerts and chat around the sprawling Sonic Electronics Festival coming up at IKLECTIK and straddling late May and early June. Fascinated by coding and by digital evolution, the event’s as much academic as it is instinctive and will contain far too many ideas, implications and theory to be easily abridged and listed here. So this is a quick sketch of what’s lined up rather than a definitive description.

On 31st May, the evening concert is a London live AV performance incorporating toys/scrabbles/tapeloops collective Morphogenesis (bolstered by audio sculptor John Wall and electro-acoustic/noise performer Mark Durgan), the electronic-junk-assisted dronescapes of raxil4, woodwinder-turned-synth minimalist Bernhard Living and masked audio-visual circuit-building ritualists Isn’tses (the last of whom will also be running a Fort processor building workshop on the morning of Saturday 1st June). The Saturday evening is a pass-it-on event of international live audiovisual performance with VJ and visual/sonics encoder Chris Speed, videomapping performance artists Blanca Regina, extended vocal/multimedia performer Alessandra Eramo and feminine-industrial explorers Slow Slow Loris

The show on the evening of 2nd June involves the 4.1 Soundsystem. Here you can hear and watch a teaming of sound foleyist Rebecca Glover and the squelchy Fritha Jenkins (who’s inspired by shorelines of sand and mud);
spacial-stereo sound artist Bioni Samp (whose work and subject matter is informed by his own beekeeping and by concerns about bee extinction); the “theogynous” industrial/classical polyphonic vocals of Vera Bremerton; “grainyl”-ist Tony James Morton (who takes the cut’n’plunder techniques of hip hop DJs and feeds them through the alterations of granular synthesis); and the deep-listening drones of Johannes de Silentio (a.k.a. Lucius Works Here, a.k.a. Barcelonan sound art DJ Shak Benavides).

If you want to immerse yourself in theory, debate and other verbals, you’ll be wanting to go along to the event launch on the evening of 30th May. Here, there will be talks from Lucia Farinati, Nina Power and Giles Greenaway (about the intersections, overlaps and interferences of audiovisual technology with philosophy and live culture, and about process patterns taken from living creatures). There’ll also be a live AV performance of experimental electromagnetic power noise from Laura Netz, using hand-built technology.

* * * * * * * *

Dates:

Strange Attractor presents:
‘Towards a Progressive Magic’ (featuring Dr. Amy Hale + Hawthonn)
The Horse Hospital, The Colonnade, Bloomsbury, London, WC1N 1JD, England
Thursday 30th May 2019, 7.00pm
– information here and here

Sonic Electronics Festival: Digital Arts & Analogue Devices
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 30th May 2019 to Sunday 2nd June 2019, various times
– information here, here, here, here, here and here

Westking Music and Performing Arts presents:
‘Overlaps’ #2: Kay Grant + Keith Moliné + Jasmine Pender + Tim Hodgkinson + Frank Byng + Chlöe Herington
Westminster Kingsway College, 211 Gray’s Inn Road, Kings Cross, London, WC1X 8RA, England
Wednesday 5th June 2019, 6.30pm
– information here
 

April/May 2019 – upcoming English gigs – soul, folk, hip hop, poetry, glimmer pop and more on Lilith Ai’s Bare Radical tour through Cambridge, Bradford, Nottingham, Bristol, Reading and London (9th/14th/19th April, 1st/3rd/9th May) with her assorted support club of singer-songwriters, performance poets, folksters and dream/garage rockers

8 Apr

If you just took Lilith Ai at her word as being the possessor of a “pretty mouth and a dirty tongue”, and you’d also heard that she rapped, you’d be expecting a London version of Nikki Minaj.


 
Not the case. A more accurate parallel would be a latterday Joan Armatrading, or perhaps a lower-key Lauryn Hill; Lilith’s an accomplished and intimate singer-songwriter drawing subtly on folk, soul, hip-hop and R&B and pulling them onwards. Comparisons will only get you so far, though, since Lilith bypasses Armatrading’s discreet ’70s reticence and instead owns a lippier and punkier streak; and although she shares Hill’s love of a street beat, a bent note and a woke stance, she lacks the latter’s self-righteous, self-sabotaging chippiness. Dirty tongue claims notwithstanding, she’s also less of an out’n’out cusser than she might suggest. The occasion f-bomb strike is part of the no-nonsense, “you-can-stop-right-there-boy” feminism which provides the steely core to what she does: offset by the engaging warmth of an artist who is as much interested in people as in stances.

The British music biz isn’t always kind to talented black girls with guitars – Joan might have done OK, but whatever happened to Peppercorn? – but Lilith isn’t the sort to be eaten alive. Untangling her past provides some interesting complexities and clashes. There’s some fine material for legend-building here – her mingled Afro, Chinese and Indian ancestry, and the fact that she spent part of her early twenties sleeping rough and near-penniless in both Tottenham and Queens (at one point in a wrecked car, later towed away in a scenario that wouldn’t have been out of place in a Tom Waits song). Set against that is her additional background as a music school grad who can hang with and work alongside a surprising breadth of allies, from fearsome bluespunknoise grrlforce Skinny Girl Diet to rising fashion aristocracy in the shape of Georgia May Jagger.



 
The key to understanding how this all fits together is in how Lilith structures her approach to art and community. With artistic roots in comic-writing geekery, she’s always had a strong sense of mood and detail. Later along the line, as a developing songwriter, she’s allied it to a fervent desire to create a mostly female (and queer-friendly) movement which rejects counterproductive competitive bitchery in favour of an ethic of sympathy and mutual support, stepping up to political solidarity. All of this also needs to be seen through the arty barrier-trashing lens of punk spirit, which explains her Fight Like A Girl crew. A loosely-defined friendship-in-art arrangement, F.L.A.G. is a feminist/LGBT+ art/music collective inspired equally by late ’70s summers of Britpunk, by the political ferment of ’90s Olympia and by latterday movements like #TimesUp. It involves zinework, recording and enthusiastic intimate gigs in makeshift scratch locations, all within a fearless female atmosphere allied to a sense that rigid genre (and rigid gender) boundaries are less important than constructive intent and political engagement.

While Lilith’s upcoming Bare Radical mini-tour isn’t explicitly a Fight Like A Girl event, it bears all of the hallmarks. It’s packed with other female artists (plus assorted sympathetic male players and a hefty proportion of non-binary artists) and takes place in a dissimilar scatter of formal venues and found spaces in bookshops, community centres, cafes and co-operatives up and down England. Lilith will also be laying off on her beats and concentrating on the acoustic/unplugged side of things as she performs and promotes her new ‘Bare Radical’ EP. She’s still budding, still climbing, poised on the lip of the excellence her early work promised. Now is a perfect time to join the event, while she’s still in venues close enough to share breath.



 
* * * * * * * *

Along for most of the dates is the delightfully energised craft-popper Myles McCabe (generally best known as guitarist for London pop punkers Fresh), who’s playing at Cambridge, Bradford and Nottingham with his Me Rex project. On the surface Myles has got a pretty high tweeness count. All of his Rex albums and EPs are named after prehistoric creatures from mammoths to stegosauri, most of his pet sounds are cheap ones (synth parps, guitar clunks, snatches of bedroom rave, a little piano), and his voice is sweetly vulnerable, bending under a little rhotacistic twist and folding like paper on the high notes.

On the other hand, there’s a blazing articulate passion to what he does, his songs volcanoing out of an initial small hotspot and expanding into broadening emotional tapestries in which simple ideas link inexorably to others like agitated mercury blobs, layering into a gorgeous pop outburst. He describes himself as “kind of like a cross between Art Brut and Kraftwerk. That started off as a pun about arts & crafts but then I really liked the way it sounded.” It’s a good gag, but self-deflating indie jokes aren’t really what he’s about.


 
At Cambridge, a couple of singer-songwriters are hoppping on board. There’s local girl Helen Robertson, an enthusiastic music homecrafter and constant collaborator who (although she seems to have been a bit quiet recently) released a twelve-month sprint of EPs across 2014. Hers is an unfussy, chameleonic, DIY hobby-table approach which embraces strummy-or-noisy kitchen-sink indie, blobby instrumental synth pop, pub gig comedy, and various overdubbed a cappella work from solo folk-pop chorales to patter songs. There’s also Sophie Foster, the self-professed teenaged “lever harp megababe” who usually lurks behind the name of The Sunday School. To be honest, I’m baffled about her: this brief appearance on YouTube and the couple of Soundcloud demos below suggests that rather than harping she blip-pongs away on a little keyboard and murmurs reflections on uncertainties and diary notes; while other Soundcloudings suggest a lo-fi guitar trudger, and there’s something else on Spotify which I don’t know about thanks to my still holding out on the platform. Her Twitter presence suggests someone fierce and grrly behind the whispering.

I’m guessing that Sophie’s someone whom you have to discover and to follow live for quite a while, picking up scraplings before you get the full story. As for Helen, attempting to pick a key track seems to be a waste of time, so I’m just throwing three together at random here.

 
It’s the same at Bradford, where self-propelled onetime busker-for-a-bet Liam Jarvis joins the bill, alongside gently punk-oustic Leeds folkie Sarah Carey (whose music is divided between disaffected urban acoustica and committed folk baroque instrumentals, groping between them for a doorway to somewhere better). I’ve got nothing for Liam, but here’s Sarah:


 
In Nottingham, Lilith’s supported by both Jemma Freeman & The Cosmic Something and Matt Abbott. Once the guitarist for heavy dream-rockers Landshapes, Jenna now offers up sardonic psychedelic glam-rocking with a band featuring Furniture/Transglobal Underground drummer Hamilton Lee, moonlighting producer/bassist Mark Estall, and Krupa on synth and backing vocals. Wakefield wordsmith Matt runs the spoken word label Nymphs & Thugs and both writes and performs poetry for kids and adults replete with “socio-political commentary, human struggle and kitchen sink realism” (plus, for the kids “playful rebellion (and the) challenging (of) societal stereotypes”).




 
Matt and Me Rex both resurface for the London date, which also features a pair of junior traditioneers in the shape of “teenage lo-fi soul singer” Charlie Mburaki (who sang with Lilith on the latter’s recent Warrior Queen) and drawling junior-Dylan-esque folk rocker Oliver Rodzianko

 
There are more fierce, plangent words at the Bristol gig. It’s a free event in a bookshop in which punk and slam poetry have an equal presence to musicin the shape of Bridget Hart (teller of tough, gritty tales and compiler of a poetic “love-letter to women and female solidarity”) and in the sliding, pulsing genderqueer cadences of Aiysha’s accounts and explorations of “mental illness, love, trauma and gender identity”.

Also on hand is the slow, sad, beautiful “shimmer pop” and voiceloops of Georgie Biggins, a.k.a. GINS, who from one angle sounds like a lo-fi gender-swapped bedsit Blue Nile passed through an a capella dream-pop filter and from another like f.k.a. Twigs morphing into ’90s goth-wispers Cranes. Don’t be entirely misled by the soft and introverted textures, though. Underneath Georgie’s apparent mournfulness, the gossamer delicacy and the blurred, haunting visuals there’s both resistance and outright challenge, just framed in a different way; the secret thought that’s a couple of steps away from a marching flag.



 
GINS is also onboard for the Reading show, where Lilith is joined by the fluttering acoustic pop-soul singing of Amya-Ray; by the sometimes-psychedelic, sometimes-instrumental acoustic-indie-folk of Colours & Fires (who’ve placed themselves firmly on the gender-equality frontlines); and by the mysterious, frankly undocumented RIYA (who could be punk or poet, first-person singular or group, for all the info they’ve provided… but the open-ended mystery’s at least in keeping with the rest of the Bare Radical openness).

 

* * * * * * * *

Full Lilith Ai ‘Bare Radical’ tour dates:

  • The Blue Moon, 2 Norfolk Street, Cambridge, CB1 2LF, Cambridgeshire, England – Tuesday 9th April 2019, 9.00pm (with Me Rex + Sophie Foster + Helen Robertson) – information here and here
  • The 1 in 12 Club, 21-23 Albion Street, Bradford, BD1 2LY, England – Sunday 14th April 2019, 7.00pm (with Me Rex + Sarah Carey + Liam Jarvis) – information here and here
  • City Arts, 11-13 Hockley, Nottingham, NG1 1FH, England – Friday 19th April 2019, 7.00pm (with Me Rex + Jemma Freeman & the Cosmic Something + Matt Abbott) – information here and here
  • Hydra Books, 34 Old Market Street, Bristol, BS2 0EZ, England – Wednesday 1st May 2019, 7.00pm (with GINS + Bridget Hart + Aiysha) – free event – information here and here
  • Reading University Students Union, Whiteknights Campus, Reading, Berkshire, RG6 6AZ, England – Friday 3rd May 2019, 7.30pm (with GINS + RIYA + Amya-Ray + Colours & Fires) – information here and here
  • VFD, 66 Stoke Newington Road, Shacklewell, London, N16 7XB, England – Thursday 9th May 2019, 8.00pm (with Me Rex + Matt Abbott + Charlie Mburaki + Oliver Rodzianko) – information here, here and here

 

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