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September 2018 – women singing (in London, mostly, and Cambridge) – Ana Silvera (15th), Susanna Wallumrød (27th), Hear Her Sounds evening with The Butterfly Wheel, Mary-Grace Dineen and Imogen Bliss (19th)

4 Sep

In Cambridge on, the 15th, there’s a repeat performance for Ana Silvera’s ‘Oracles’ song cycle, following its appearance at the South Bank Centre back in July, where Ana was bolstered by a Kate Church/Alice Williamsondance film, a folk-jazz string trio, piano, percussion and the multi-instrumental/singing skills of Listenpony’s Josephine Stephenson. The Cambridge show’s stripped down (just Ana and Josephine this time, and perhaps the dance film) but should still deliver. Beautifully crafted and sung, it’s an Anglo-Portuguese meditation and discussion of familial bereavement (Ana’s mother and brother) and of the shifting landscapes of migration. Originally conceived to have a choral sound and scape, it draws “on folk tales and myths to chart a transformative journey from profound grief to tentative acceptance.”

The last time around, I suggested that it was “a wide-spectrum take on adult pop without a trace of that genre’s unnecessary blandening: an as-it-happens assessment of the dramatic personal shifts in position following the loss of both loved ones and of the relationship one has with them while they’re alive. What I’ve heard of it so far suggests a similar vivacity as her songs elsewhere on album or in her theatrical work – vividly characterized narratives of internal reflection and of landscapes both physical and emotional, mingling detailed, nakedly honest personal verbal imagery and an influx of Portuguese folk feel in a way which makes (Ana) sound a little like an Iberian Jane Siberry.”




 

In London on the 27th, Norwegian singer Susanna Wallumrød plays her only British show of 2018. Originally – during the mid-Noughties – her ghostly, questioning, sighing vocal originally fronted The Magical Orchestra’s Nordic-jazz/ambient-pop reinventions of assorted pop, country and rock standards. Since then she’s moved on to other collaborations – with holy-meditative jazz pianist Tord Gustavsen; with boundary-running song experimentalist Jenny Hval; and in particular with baroque harpist Giovanna Pessi (who’s contributed to three of her seven solo albums). Along with violinist Sarah-Jane Summers and accordionist Frode Haltli, Giovanna will be performing at this London concert, which showcases Susanna’s newest album ‘Go Dig My Grave’.

Post-Magical Orchestra, Susanna’s kept up her role as re-interpreter. While the majority of her solo albums (up to and including 2016’s consummate ‘Triangle’), have featured her own songs, her ongoing work is littered with cool-toned covers, reworkings, reframings. Songs by Sandy Denny, Thin Lizzy, ABBA, Prince, Nico, Will Oldham and others were cultivated on 2008’s ‘Flower Of Evil’; while her 2011 collaboration with Giovanna and fellow baroque/Early Music musicians Marco Ambrosini and Jane Achtman provided parallel takes on Nick Drake, Henry Purcell and Leonard Cohen.

‘Go Dig My Grave’ builds on this inquisitive, restaging impetus, with Susanna’s original pieces cheek-by-jowl with her takes on “Charles Baudelaire to Joy Division, English folk to American blues, a seventeenth-century lament by Purcell to Lou Reed’s Perfect Day” , all blended with “echoes of traditional music, baroque classics and dark ambient sounds.” It’s a project of timeshifts: or, more accurately, of superimposed time, in which songs and stylings of different eras interpenetrate and merge in spellbinding manner.



 
Dates:

  • Ana Silvera: ‘Oracles’ – The Junction, Clifton Way, Cambridge CB1 7GX, England, Saturday 15th September 2018, 7.00pm – information here and here
  • Susanna Wallumrød: ‘Go Dig My Grave’ – Rich Mix, 35- 47 Bethnal Green Road, Shoreditch, London, E1 6LA, England, Thursday 27th September 2018, 7.00pm – information here and here

* * * * * * * *

In between – on 19th September, in London – there’s the second in Hoxton’s ongoing ‘Hear Her Sounds’ evenings; a semi-acoustic live event in a small space, with cocktails, vegan snacks, all-female lineups and organisers/initiators The Butterfly Wheel as regulars, aimed at supporting emerging female musicans. (The first one slipped my attention back in July. That was a shame, featuring as it did Margot Weidemann’s desert-sparse psych-folk project Daisy Oracle and the “twist(ing) song structure(s), striking hallucinatory lyrics, and unexpected radiophonic sounds” of former Joanna And The Wolf frontwoman Johanna Glaza.)

Alongside the Wheel-ers, mandolinist/singer/loop-stationeer Imogen Bliss played support at The Mantis Opera’s August gig last month at Paper Dress. Now, as then, you can expect to hear her weaving together songs from the East and the West: delivering slender, sparkling arrangements of old pop hits from hither and yon, plus original songs and layered one-woman folk chorales with Romani, Armenian and Balkan origins.

A few examples are below, along with a couple from by billmate Mary-Grace Dineen. A south-east Londoner, Goldsmiths graduate and sometimes session multi-instrumentalist, Mary’s output as singer-songwriter seems to vary between zippy, polyrhythmic jazz-coustica reminiscent of Eva Abraham, Roberta Flack (or, more recently, Gabriela Eva) and sour-sweet Lauryn Hill-esque pop-reggae. Her lyrics betray restlessness, compassion and a conversational impatience with the unresponsive and the inert. It seems she’s been quiet for a few years; now she’s coming out to play again.


 

As for The Butterfly Wheel, they’ll be bringing their Gothic romance, their ritual chant and their vocal flair. Previously I’ve sniped a bit about the duo’s showy, overtly flowery mysticism; their self-hype, their claims of originality and experimentalism despite a transparent debt to Early Music-toting Goth-tinged forebears like Dead Can Dance or Miranda Sex Garden. But when the hype is done, and they get down to business, they do bring a new flavour to that ripe old stew.

Reading beneath the lush electrophonic drones and the climbing priestess incantations, you can draw that personal touch out of their songs like long strands of myth-soaked twine – those places where they’ve taken old bronze-age stories, boiled them down to their most archetypal juices and then infused a latterday consciousness, an active female note of resistance, a little #TimesUp and sky-father toppling amidst the bones and sinews. When I hear that peeping through, I’m sorry that I bitched…



 
The Butterfly Wheel and MOVI present:
Hear Her Sounds: An Evening of Live Female-Led Music featuring The Butterfly Wheel + Mary-Grace Dineen + Imogen Bliss
Matters of Vinyl Importance, 163 Hoxton Street, Hoxton, London, N1 6pJ, England
Wednesday 19th September 2018, 6.30pm
– information here and here
 

August 2018 – upcoming London pop and rock gigs – The Mantis Opera, Bozo Zoo, The Butterfly Wheel and Imogen Bliss (25th August); Norwood & Brixton Foodbank fundraiser with Treasure Of Woe, Carl White and Apocalypse Jazz Unit (also 25th August)

15 Aug

The Mantis Opera + Bozo Zoo + The Butterfly Wheel + Imogen Bliss, 25th August 2018There are several reasons that I’ve been following the exploits of The Mantis Opera this year. One is the music: an illuminating synth-rock rush through cunningly orchestrated post-classical complexity and brainiac alternative pop, topped with similarly cerebral lyrics which slide fizzing, thinking ribbons through philosophy, logic and linguistic theory before binding them back into more down-to-earth life situations.

If this sounds hideously dry or snooty, it isn’t. This is simply music which is neither ashamed of its own cleverness, nor too self-absorbed or chilly to invite you along for the ride. They’re among an increasing number of newish, bumping-along-in-the-underground acts who share this kind of quirky enthusiasm and possess the requisite smarts and chops to back it up. Tom O.C. Wilson, Prescott, Thumpermonkey and Lost Crowns spring immediately to mind: bands and songwriters who see nothing wrong with turning out songs with the depth and twists of playful short stories, of compressed novels-of-ideas or of meandering Flann O’Brien-esque digressions.

As regards The Mantis Opera, I’ve been chucking around terms like “wide-awake brain music” and “avant-prog keeping watch from under a dream-pop veil” and I’m not going to drop those yet, although I might have to come up with a few more if the band are going to keep up regular performances.



 
The other reason that I’m keeping an eye on The Mantis Opera is that they tend to keep interesting gig company. Whether they’re good at being invited or are inordinately good at charming their way into lineups, the band seem to have a knack for fitting onto a wide variety of different bills, and this end-of-the-month gig at Paper Dress Vintage is no exception.

Two summers old, already pegged as “rust-bucket swing” and compared to “Mark E. Smith manning the Hot Five”, Bozo Zoo play rootsy jazz-folk and rhythm & blues on drums, double bass and comfortably sleazy sax. Hollering, theatrical vocalist and off-the-wall lyricist Mark Warren (who also handles the inevitable, ubiquitous ukulele) ensures that they tilt into a similar realm of bulging-vein vigour and twisted circus berserkery to that of The Tiger Lillies. A few decades ago he was bobbing about in the kind of lucky-dip underground bands that showed up on Org Records compilations: now he’s singing up budding cabaret gallimaufries of music hall songs and ditties about chess grandmasters. On top of all this, Bozo Zoo seem to have fused Spinal Tap with Schrödinger, via recent online mutterings about “a new drummer but we’ve also kept our drummer… but it ain’t a band with two drummers… but we have got two drummers… it’s complicated.”


 

Hailing from east London and extensively festooned with mysticism, The Butterfly Wheel aren’t quite the esoteric revelation that they’d like to make out. Plenty of their surface schtick – the Gothic theatrical trappings, the Early Music dirge-wails, the stripping away of Western pop tropes in favour of frowning middle-continent antiquity – is more than familiar to anyone with a passing knowledge of Dead Can Dance (or of the host of intense, tousled imitators DCD spawned over three decades). What is refreshing is the shifts underneath those surface. A female duo, their songs reshuffle and transform archetypes for an increasingly feminised new time. There’s the sense of old stone patriarchal gods and legends being chipped away at; of more hopeful alternatives being birthed out of the sea; of the stories sitting up and rewriting themselves. We’ll have to see where it leads.



 
From Camberwell and Coldharbour, Imogen Bliss reshuffles Eastern European folk songs and tufty pop covers on voice, mandolin and loop station. The examples below are Armenian and Balkan/Romani, sandwiching a reworked Cure hit: the latter may not sound a great deal different to those pixiedreamgirl uke songs which still bog down every other cinema advert, but Imogen sounds awake and illuminated rather than sun-drenched and casually dreamy. I’m guessing that she’s got other tricks up her sleeve…

 
Paper Dress Presents…
The Mantis Opera + Bozo Zoo + The Butterfly Wheel + Imogen Bliss
Paper Dress Vintage Bar & Boutique,, 352a Mare Street, Hackney, London, E8 1HR, England
Saturday, 25 August 2018, 7.45pm
– information here and here
 

* * * * * * * *

Norwood & Brixton Foodbank Fundraiser: Treasure Of Woe + Carl White + Apocalypse Jazz Unit, 25th August 2018On the same night, there’s this. Lovers of righteous noise, here’s your chance to sample some noise that’s a bit more righteous…

“London promoters Wrongpop and Chaos Theory have gotten together for a one-off special event to raise money for Norwood & Brixton Foodbank: some of the best new underground bands out there have agreed to bring you their sounds for this excellent cause, so it’ll be a phenomenal evening with extra positive vibes. 100% of ticket sales go to the charity.

“Formed from members of Long Slow Dissolve,The Love Me Tenders and Witchfist, Treasure Of Woe play stoner and psychedelic jams on guitar and drums. We’ve seen this duo doing their thing at The Facemelter last September and they just keep on recording their jams and releasing them online, so have a listen at the link and get down for the full live experience.


 
Carl White are a guitar/drums experimental rock duo, originally formed in Brighton and now based in London. Over the years they’ve shared the stage with acts such as Nitkowski, Alpha Male Tea Party, Flies Are Spies From Hell, Witching Waves and The Mae Shi.They’re currently working on a new EP, from which there will be a single/video released in the next couple of months.


 
Apocalypse Jazz Unit were started in 2013 by Rick Jensen as a recording project, after nearly three years of not making music. After numerous albums, Rick recruited some new and old musician buddies and started playing live. AJU quickly went from a small group to an over-the-top collective of psycho improvisers, with up to seventeen members at any one time. To date, they have released over seventy albums and have played a ton of gigs. AJU harnesses the spiritual fire of free-jazz of the ‘60s, mixed with a bit of disco when the mood takes them. Always high-energy and with a heavy sense of humour, AJU can easily swing from delicate and sombre, to full-blast horn mayhem.”


 
Wrongpop & Chaos Theory Music Promotions present:
Norwood & Brixton Foodbank Fundraiser: Treasure Of Woe + Carl White + Apocalypse Jazz Unit
The Black Heart, 2-3 Greenland Place, Camden Town, London, NW1 0AP, England
Saturday 25th August 2018, 7.00pm
– information here and here
 

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