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March 2018 – upcoming gigs – Echo Trails and Djanan Turan in London (10th March); Echo Trails, Ingrid Plum, Kyriakides and Polbrone soundtrack old Russian animations for Colliding LDN in London (8th March); Antigen night in Ipswich with MacGillivray, Sealionwoman and Polly Preacher (16th March)

6 Mar

Echo Trails + Djanan Turan, 8th March 2018

Echo Trails + Djanan Turan
The Betsey Trotwood, 56 Farringdon Road, Clerkenwell, London, EC1R 3BL, England
Saturday 10th March 2018, 7.30pm
information

This month, the roiling, thrilling, mostly-acoustic post-folk band Echo Trails resurface for a Clerkenwell gig in the vaults of the Betsey Trotwood. If you missed them a month ago (at the Magic Garden), here’s what I said about them back then:

“Selling Echo Trails as being some kind of hopeful mashup of “epic groove and post-rock” is a massive undersell. Just because they’ve got a little Godspeed string thunder in them on occasion (and know a thing or two about old-school jazz’n’R&B propulsion) doesn’t mean that they’re one of those bands that milk the juice out of other genres and feed it into papery approximations.

“A well-honed acoustic band is like a set of unhindered precision muscles, able to flex rhythms on the fly and dance in unexpected curves, and this is just such a band. Fronted by Dimitra Tzanakaki (a ballsy, smouldering Greek blend of Beth Gibbons, Tori Amos and Bette Midler) they’re a supple alliance of guitar, voluble double bass, viola and drumkit, the song undercarriage slipping easily from Mediterranean folk to psychobilly to a salsa set-to or to shedbashing Led Zeppelin thrills. Since their arrival in 2014 they’ve phased out keyboard and phased in pedalwork, enriching texture even as the instrumentation shrank: hence the post-rock tag, but there’s Schönberg, Piaf, Korn, Temper Trap, bebop and Hidden Orchestra tucked into their bag of influences along with Godspeed.”




 
In support is Turkish singer turned Egg collaborator and London bandleader Djanan Turan, who specializes in light, chatty near-acoustic party pop with a timeless perpetually-youthful feel. Into the pot – along with her own warm and garrulous vocal – go Turkish beats, cabaret pop, mellow synth riffs, raga, woody spiralling clarinet lines and slithering Romani/Med-jazz guitar (the latter courtesy of Funkshy’s Fatih Ebrem).

Djanan’s also known for organising one of London’s female artist platforms (the Anatolian/Middle-Eastern-flavoured Hura Nights). In keeping with this, her own songs always sound and feel as if she’s invited you back into her kitchen to keep you abreast of developments and to talk a friendly blue streak about whatever’s crossing her mind – world peace, personal disagreements and reconciliations, the position of women, youth recalled and put into deeper perspective. Despite the hints at New Age positivity (I suspect that that kitchen has a couple of crystals hanging in the window), underneath that loquacious flow is an accomplished songwriter with her dancing feet firmly in touch with the ground. There may be gush involved, but it’s never flippant.



 
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A few days earlier, Echo Trails are making another London appearance at New River Studios as part of a film evening. As well as closing the show with a full set of their own songs, they’re one of four artists/bands performing live soundtracks to existing silent films. More below…

Colliding LDN, 10th March 2018Colliding Lines present:
‘Colliding LDN: Reanimation’
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Thursday 8th March 2018, 8.30pm
– information here and here

Live cross-disciplinary art promoters Colliding Lines begin “a new, bi-monthly night of live art, sound and vision, presenting experimental collaborations and post-label projects from select performers. ‘Reanimation’ (is) a live re-scoring of mostly Soviet-era cartoons and surrealist animations by four different artists).”

The programme features two shorts by veteran Russian animator Andrei Khrjanovsky (1968’s anti-bureaucratic musical fable ‘The Glass Harmonica‘ and 1972’s ‘The Butterfly‘), as well as alternative 1968 tellings of Hans Christian Andersen’s The Little Mermaid (‘Rusalochka‘ by Ivan Aksenchuk) and Lewis Carroll’s Alice in Wonderland (the National Institute of Mental Health’s polemical ‘Curious Alice‘, which took a somewhat counter-productive slap at the early ‘70s drug culture by making it look even more fascinating to children).

 
In addition to Echo Trails, live soundtracking will be performed by extended-voice improviser and soundshaper Ingrid Plum (who blends and savages her own glorious clear vocals with sound processing and field recordings, and stirs in influences from neo-classical and from Scottish and Nordic folk music) and by two different sets of electro-acoustic music-making brothers. In-demand collaborators for film, dance and installation work, Kyriakides (Reuben and Jacob, to their mother) build “expansive, enveloping soundworlds” from live instruments, field recordings and found objects across a wide spectrum of musical and stylistic options. Electro-acoustic fraternal drone duo Polbrone are an alternate workframe for Andrea and Simone Salvatici of Glasgow avant-folk minimalists Clorinde, who in this project loop and gradually destroy their own sonic textures (and on this occasion will be aided by improvising cellist Derek Yau).


 
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A little later on, inspired East Anglian “marginal musician” label Antigen are running a concert over in Ipswich…

MacGillivray + Sealionwoman + Polly Preacher, 16th March 2018

Antigen Records present:
MacGillivray + Sealionwoman + Polly Preacher
The Smokehouse, South Street Studios, 6 South Street, Ipswich, Suffolk, IP1 3NU, England
Friday 16th March 2018, 8.00pm
– information here and here

When she’s out and about playing music, writing or committing performance art, Kirsten Norrie goes by her ancestral Scottish name MacGillivray, pulling her matrilineal Highland heritage over her head like a mask. With many wannabe artists, this kind of method ends up as no more than an affectation: people short on colour, scraping at the bottom of the pot of history in a vain attempt to garner the last scraps of savour. With Kirsten, it’s different: if it’s a mask, it’s the kind that renders everyday matters and habits transparent, allowing her to express deeper and stranger ideas and fancies fervently. What emerges is startling. MacGillivray it is, then.

Discovering her is a little like being startled by a slow-motion jack-in-the-box: she’s already got eight albums behind her, a couple of soundtracks and poetry collections, and a collaborator roster which bags a list of left-field folk musicians of all strands and odd definitions, including The Fall (yes, folk, really), The Pogues’ Jem Finer, Dead Rat Orchestra, Trembling Bells and Current 93. Her performance art involves powerful weird rituals – furiously smoking cigars in Sigmund Freud’s garden; conflating mediaeval stocks and death metal; eating chandelier glass in an abandoned shopping centre; carrying a dead sheep on a pilgrimage.

As a musician (both recorder and performer), she’s similarly unnerving: experimenting with loudness and quietness via folk drones, piano, savagely distorted electric autoharp and vocal wails, but refusing to hide behind them. Slender, still and intense, she rules a stage, dragging up distressed ghosts and the aftermath of harsh laws and bare beliefs. On this occasion, she’ll be performing tracks from her forthcoming mini-album, ‘Watermarked in Flame’.




 
Like Kirsten, Colchester’s Ashleagh Claire Hurren immerses herself in a performance persona, although Polly Preacher‘s “wonky folk troubadour” act is a good deal more comfortable than MacGillivray’s harsher hauntology. That said, the original tag makes her sound a lot kookier than she is. You don’t get cute acoustic numbers about spice racks, paintings and milky heartbreaks. Instead you get a crepuscular, witty electric folk with a homemade feel and a few echoes of lo-fi indie rock. There are a few shades of Kristen Hersh, perhaps even a little Lupen Crook, but for the most part a Polly Preacher song follows its own pattern: cryptic feints into storytelling where the supernatural rubs shoulders with grit, and in which haunted cutlery drawers and fairy tales cross imperceptibly over into stories of how to navigate a female life… or at least how to begin the journey and begin mapping the hazards.

 
Sealionwoman slightly buck this gig’s tonal trend of “folk meets New Weird Britain”, being much more of a dark-dusk monochromed blues-and-jazz basement affair, albeit filtered through loops, noise and the canny restrictions of being an unorthodox duo. The bare bones and wizard’s brew of Tye McGivern’s effects-laden double bass steps in and out of the shadows with subtle changes of raiment, sometimes clean-limbed and sometimes masked; Kitty Whitelaw ‘s vocals stretch from distracted torch singer to ghostly and mischievous jazz acrobat, running deft arabesques around the shape of the song.

Bar occasional gig notifications, I’ve not encountered Sealionwoman much since getting very absorbed in a live performance of theirs in a Hackney shopwindow back in 2013. My negligence, not theirs. Go back and have a look at that review: I’ve just done so myself, and it captures the compelling sinewy distractions of their live presence, the transformative implications of their name and their thousand-shades-of-black-white-and-grey better than anything I could come up with right now.



 

February-March 2018 – music and more from across the European borderlands and migrations, as part of the ‘Marchland’ performance season in London (various dates between 7th February and 3rd March) including KultNett, Sefiroth, Carneval String Trio, Åkervinda, Nikos Baroutsakis, Maiden In The Moor, Shiry Rashkovsky, Fran & Flora and Bardos Band…

1 Feb

Sprawling out over a long month between early February and early March, Théâtre Volière’s Marchland performance season will transform the City of London’s Bridewell Theatre into a recreation of “a secluded European theatre” aiming – via discussion and performance, music and acting, photography, discussion and art – “to explore what it means to be European today… everything that is good and bad about the human response to being pushed up against “otherness”…. (to) come together to share and unpick these European stories in an attempt to answer the question, “how do we live together?”…” Slipping in under the frowning threat of a hard, bruising Brexit and the rising of surly, xenophobic British fences, it’s a welcome and timely thing.

In principle, ‘Marchland’ is theatrical. Threaded through the season are performances of Volière’s own ‘Arnika’ dealing with the corrosive effects of dreadful secrets and guilt, post-Nazi occupation, in an Alsace town (exemplifying “the tragic choices forced on a border community trapped in a cycle of international vengeance” and of its quadralingual companion piece ‘Retour au pays‘, “exploring the multi-lingualism of border regions and its effect on their cultures” via the story of Alsatian poet Andre Weckmann and his journey – as a forced military draftee – through the Wehrmacht, the Russian front and the Free French). Also on offer are two pieces by La Soupe Compagnie: ‘Macao et Cosmage‘ (their headphone-driven children’s tale of colonialism – “part Japanese kamishabaï paper theatre, part pop-up storybook” – performed in a tiny twelve-person booth), and their poetry-and-puppetry-incorporating ‘Evocation’, a transposition of ‘Pierrot Lunaire’ (Albert Giraud’s Symbolist poem-cycle of conscious, candid estrangement and displacement) to a Victorian-era Brighton Beach where it’s fed through the experience and cyclic memories of a traumatised young female refugee (scored by electro-acoustic composer Antoine Arlot). There’ll also be a festival-spanning interactive attempt (featuring the combined efforts of Marchlands artists and audience) to create and represent a borderland country of the imagination.

Yet – point for point and performer for performer – the majority of the festival is musical, bringing together a fascinating sweep of players from across Europe and interspersing them with British musicians exploring transcontinental roots and history (whether these are their own – as in the case of British-based Sephardic ensemble Sefiroth – or where their curiosity, studies and sympathies have led them.

Here’s a breakdown of the musical events, condensed from various bits of the programme text.

Carneval String Trio

Carneval String Trio

Carneval String Trio (made up of violinist Kamila Bydlowska, viola player Shiry Rashkovsky and cellist Timothée Botbol) have created a fascinating programme of twentieth-century music for us. Vanished kingdoms and shifting borders here, in an Eastern Europe where identities and allegiances were torn apart under the most savage circumstances imaginable.

“They’ll be playing pieces by Zoltán Kodály, Ernő Dohnányi and Gideon Klein, works that shock and mesmerize in equal measure. Each of these composers used folkloric themes to express their unique national identities, and yet these identities were rewritten for them many times as borders shifted and ideologies fought over their homelands. This is music that challenges us to ask “what is left of our identity when it is warped and usurped by the forces of nationalism?”

“The cultural and political history of the former Yugoslavia features large in this year’s ‘Marchland’. Greek guitarist Nikos Baroutsakis joins the conversation with a recital of music from the Balkans and the wider region, where Europe meets the Middle East. He’ll be playing pieces inspired by the folk culture of Armenia, the Balkans (including the former Yugoslavia) and Turkey.

“Carlo Domeniconi’s Variations on ‘Uzun İnce Bir Yoldayım (I’m On A Long Narrow Road)’ – a Turkish folk song of pain and suffering – opens the programme. It is followed by four traditional Armenian dances arranged for guitar by Iakovos Kolanian. Finally, a rare performance of Dusan Bogdanovic’s ‘Six Balkan Miniatures’, composed for and dedicated to, world peace during the Yugoslavian Civil War.


 
Fran & Flora are cellist Francesca Ter-Berg and violinist Flora Curzon. BBC Radio 3’s Late Junction described them as fiercely passionate and a string duo bound for glory, and that says it all about their approach to music making and their musical influences. For ‘Marchland’, they will be exploring musical styles from Eastern Europe, and how they are influenced by ongoing exchanges and tensions across borders and migrating communities. Expect soulful laments, exquisite songs, irresistible dance tunes, and tales of their musical adventures as outsiders intent on incorporating traditional music-making into their own, unique style.


 
“In addition, they’ll also perform in a double bill of music and conversation with Nikos Baroutsakis (extending their programme, their distinctive music-making interspersed with anecdotes and insights from their musicological travels in the Balkans) and, in another event, pairing up with Alex Batesmith’s dramatised talk ‘Blackbirds and Blue Helmets’ (about his experiences as a UN war crimes prosecutor in Kosovo and his travels in the former Yugoslavia).

Bardos Band

Bardos Band

“We were keen to programme work for ‘Marchland’ that explores the way culture is transformed as it crosses borders. ‘The Oak of Two Greens’ (from mediaeval music specialists Bardos Band, combining the talents of Sophia Brumfitt, Rebecca Austen-Brown, Corinna Silvester, Arngeir Hauksson and Leah Stuttard) shows us that this is an ancient and ongoing process.

“This is a melting-pot of rare and deeply-affecting music, woven around an ancient folktale. A resourceful harper charms his audience to sleep in order to steal their magical harp – The Oak of Two Greens. The harp belongs to the king of the Tuatha da Dannan; a legendary tribe which, according to legend, brought music to Ireland. Bardos Band follow the route this music might have travelled, using voice, harp, medieval fiddle, gittern, flutes and symphony to create an enchanting wash of sound.”

(Unfortunately, I couldn’t find any embeddable examples of the Bardos’ treatment of ‘The Oak Of Two Greens’, but it’s close enough to Christmas for me to offer you this…)


 
“The Bardos Band’s Sophia Brumfitt and Leah Stuttard also make up the early-music due Maiden In The Moor. For their own ‘Marchlands’ performance they’re reviving the music of Occitania, a vanished kingdom that once straddled Southern France and Northern Spain.

Maiden In The Moor

Maiden In The Moor

“The Occitan Troubadours sang of loyalty, love and longing, and their language and music survived through travelling poets and illuminated songbooks long after their culture was devastated by the Albigensian Crusade. Their work had a profound influence on European music and culture, and echoes of it can be heard in lieder, folk music, and the work of the singer-songwriters of our own time. The programme includes Troubadour and Trouvère songs, songs from the courts of Aquitaine and the Languedoc, and Spanish pilgrim songs.”

(Although there’s not much Maiden In The Moor material online, here’s an example of Occitan songcraft…)


 

“Norway’s KultNett bring together some of the foremost folk musicians and storytellers from beyond the Arctic Circle to examine the history of the peoples of Northern Norway, Sweden, Finland and Sápmi, the land of the Sámi people. Storytelling, a fast and furious fiddle and the traditional ‘joik’ of the Sámi are interwoven to create a performance that explores and interrogates the dynamics of cultural and ethnic hegemony in the Nordic region of Europe.


 

Ignacio Evangelista: 'After Schengen'

Ignacio Evangelista: ‘After Schengen’

“Adapted especially for Marchland and illustrated by a multi-media presentation, this is a truly immersive experience; a rare insight into a rich and vibrant borderland culture from the Northernmost reaches of Europe. They’ll also play in a separate double bill with Bardos Band, presenting an extended version of their Marchland programme.

“Inspired by Ignacio Evangelista’s photography sequence ‘After Schengen’, we brought together three artists to create an interdisciplinary event, ‘Before and After Schengen’, exploring the politics and the poetry around notions of the vanishing border.

Shiry Rashkovsky

Shiry Rashkovsky

“In front of a screening of his work, Ignacio will be talking about his fascination with Europe’s disused border posts. His talk will be interwoven with poems by Hungarian-born poet George Szirtes, written in response to Ignacio’s images and read by George himself. The whole will be framed by a unique performance of musical fragments and improvisations devised by Carneval String Trio violist Shiry Rashkovsky (also an associate member of the Philharmonia Orchestra).

This is a truly international collaboration that encapsulates perfectly the spirit of ‘Marchland’). Expect to find yourselves pondering the ephemeral and often arbitrary nature of borders. ‘Before and After Schengen’ will also be performed as a separate double bill with another extended performance of Kultnett’s ‘Sound of the Arctic’.


 
Sefiroth is an international collective of musicians founded by brothers Nick and Alex Roth to explore traditional Sephardic repertoire. music from the descendants of the Jews who left Spain or Portugal after 1492. Sung in Ladino (a language primarily spoken by Sephardic Jews), these ancient songs weave stories of love, loss and yearning for home, and evoke the lands where the diaspora settled: Iberia, the Mediterranean and the Middle East.

“The group’s arrangements are as porous and wide-ranging as the history of the Sephardim, combining acoustic and electric instruments, improvisation, modern harmonies and trance-inducing rhythms. They’ll also be performing separately alongside Maiden In The Moor in a double bill; setting the revived music of a vanished culture alongside the living, evolving traditions of a banished people.


 
“Sweden and Denmark’s Åkervinda perform their unique, modern Scandinavian folksongs. Jazz singers at heart, and influenced by artists such as Björk and The Real Group, they share a deep love of folk music. Through improvisation, they breathe new life into traditional songs, singing stories of women through the ages in a programme of haunting harmonies and dazzling improvisations inspired by women’s history and the shifting populations of Europe. Their appearance at Marchland marks the opening of a UK tour and the release of their latest album. They’ll also be performing in a separate double bill with Maiden In The Moor.


 
“What can we say about our show ‘A Vanished Kingdom’? Not much, since it’s actually mostly your show and you’ve yet to devise it! Come and help make a season-long, open-access interdisciplinary event to be presented on the closing day of the season.

“On three consecutive Saturdays we’ll be meeting to create our own Vanished Kingdom – an imaginary borderland with its own culture, geography, history, language… All devised by you. If you’re a visual artist, writer or performer, if you’re someone who wants to share ideas in a supportive and respectful environment, if you’re someone who enjoys playing and make believe, then join us and artists from the Marchland season to help make something truly unique. You are welcome to come and go as you please for the duration of each workshop, and even to just quietly observe the controlled chaos! It’s completely free to participate.

On the 3rd March, we’ll be presenting the audience with a free ‘Vanished Kingdom’ event featuring the stories, songs, dances, artwork, history, geography of a European borderland of our participants’ collective imagination. As an opener to the presentation, there’ll be another chance to hear a performance by Åkervinda (giving us their perspective on women’s history and cross border co-operation) plus a one-off set from three members of Sefiroth (Alex Roth, Alice Zawadzki & Olesya Zdorovetskay).

“Expect, perhaps, robust and lively debate about the tensions between regional identity and cross-cultural fertilisation, absurd flights of fancy and charming anecdotes, and a rich tapestry of differing viewpoints and traditions. Looking forward to meeting you at the crossroads!”

All events are at The Bridewell Theatre, 14 Bride Lane, Blackfriars, London EC4Y 8EQ, England. Dates are as follows.

Single concerts:

  • Carneval String Trio – Wednesday 7th & Wednesday 14th February 2018, 1:15pm
  • Nikos Baroutsakis – Thursday 8th February 2018, 1:15pm
  • Fran & Flora – Friday 9th February 2018, 1:15pm
  • KultNett’s ‘Sound of the Arctic’ – Friday 9th February 2018, 7:30pm; Tuesday 13th February 2018, 1:15pm; 16th February 2018, 1:15pm; 17th February 2018, 9:00pm
  • Bardos Band’s ‘The Oak of Two Greens’ – Monday 12th February 2018, 1:15pm
  • Before and After Schengen – Thursday 15th February 2018, 1:15pm
  • Sefiroth – Friday 16th February 2018, 7:30pm; Saturday 17th February 2018, 2:00pm; Friday 23rd February 2018, 7:30pm
  • Maiden in The Moor – Wednesday 28th February 2018, 1:15pm
  • Åkervinda – Friday 2nd March 2018, 1:15 pm

Double-bill concerts:

  • Nikos Baroutsakis + Fran & Flora – Saturday 10th February 2018, 2:00pm
  • Bardos Band’s ‘The Oak of Two Greens’ + KultNett’s ‘Sound of the Arctic’ – Saturday 10th February 2018, 7:30 pm
  • ‘Before and After Schengen’ + KultNett’s ‘Sound of the Arctic’ – Thursday 15th February 2018, 7:30 pm
  • Alex Batesmith’s ‘Blackbirds and Blue Helmets’ + Fran & Flora – Tuesday 20th February 2018, 7:30 pm
  • Maiden in the Moor + Sefiroth – Thursday 22nd February 2018, 7:30 pm
  • Åkervinda + Maiden in The Moor – Thursday 1st March 2018, 7:30 pm

‘A Vanished Kingdom’:

  • Free-entry workshops – Saturday 10th February 2018, 9.30am; Saturday 24th Feburary 2018, 2.00pm, Saturday 3rd March 2018, 10.00am
  • Presentation concert (plus pre-concert performances by Åkervinda + Alex Roth/Alice Zawadzki/Olesya Zdorovetskaya) – Saturday 3rd March 2018, 2:00 pm


All further details at the festival website, the Marchland Facebook page and the Bridewell event pages, with blogging here throughout the course of the season.
 

Marchland logo
 

December 2017 – upcoming London folk gigs – Gaelynn Lea at The Old Church (6th December); Tartine de Clous, Alasdair Roberts & Neil McDermott with guests Ivor Kallin & Sholto Dobie and The London Hardingfelelag (11th, 12th December); Gitta de Ridder and The Balkanoes at Collage Nights (13th December)

2 Dec

I keep missing Gaelynn Lea’s shows… and missing the opportunity to post about them. With her return to London for another gig this season, I’ve got a chance to catch up.

Blow the Fuse presents:
Gaelynn Lea
The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England
Wednesday 6th December, 2017, 8.30pm
– information here and here

Gaelynn Lea, 6th December 2017A classically-trained twenty-year veteran of violin playing whose limbs have been shortened from birth by osteogenesis imperfecta, Gaelynn plays her fiddle like a cello and sings original songs drawing from the well of traditional American, Irish, Scottish and English folk sources and blending them with her own ideas and experience. Her wistful honey-gravelled singing, her songwriting artistry and her textured playing (supplemented by improvisation and loop-pedal) is powerful and universal enough to have won NPR Music’s 2016 Tiny Desk Contest, seeing off competition from around six thousand other American songwriters and performers.


 
Meanwhile, her performance presence and physical courage have moved audiences to tears and applause in her native Minnesota and across American and Europe (and have won her both admiration and a shared stage from Low’s Alan Sparhawk, country bluesman Charlie Parr, and New Acoustic touchstyle guitar star Billy McLaughlin). In addition to her musicality, Gaelynn is a powerful disability community advocate – speaking and blogging forthrightly and fearlessly about iniquities and the need for social change to accommodate and support disabled people, and covering subjects from everyday practical challenges to the expression and enjoyment of sexuality. Come for the music, stay for the strength; maybe leave with the encouragement to help make things better.

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Over in Homerton, the brilliantly ramshackle Old Dentist venue continues its rewarding partnership with Muckle Mouth, hosting yet another enthralling fringe-folk gig (although this one’s of a more traditional bent)…

Muckle Mouth, 11th December 2017

Muckle Mouth and The Old Dentist present:
Tartine de Clous, Alasdair Roberts & Neil McDermott, plus Ivor Kallin & Sholto Dobie (11th)/The London Hardingfelelag (12th)
The Old Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Monday 11th December 2017, 7.30pm
– information here, here and here
Tuesday 12th December 2017, 7.30pm – information here, here and here

“We are honoured to host a very special collaboration between French harmony-singing trio Tartine de Clous, legendary Scottish guitarist and folk singer Alasdair Roberts and fellow Glasgwegian fiddler Neil McDermott over two nights at The Old Dentist following their residency at Cube Microplex in Bristol.

“Tartine de Clous (Geoffroy Dudouit, Thomas Georget and Guillaume Maupin) are a singing trio originally from the department of Charente in western France. Following in the footsteps of some of the great French groups of the late twentieth century folk revival (such as Mélusine and La Bamboche), they sing largely unaccompanied three-part harmony arrangements of the traditional songs of their native land.


 
“In an echo of The Auld Alliance, Tartine de Clous will perform in collaboration with the Scottish songwriter, guitarist and folk singer Alasdair Roberts and his fellow Glaswegian, fiddler Neil McDermott over two nights at The Old Dentist. Alasdair has worked with Drag City Records for some twenty years, releasing records featuring both interpretations of traditional songs and those featuring his own songwriting. In addition to being a fine fiddler in the Scottish traditional style, Neil McDermott is currently researching the musical and political engagement of the 1960s Scottish folk scene with the anti-nuclear movement.

 
“They are joined on the 11th by veteran improviser Ivor Kallin (onetime co-curator of the 2:13 improvisation club, once rather unpleasantly described by The Times as “a bearded Scotsman given to stream-of-consciousness spew”) and Muckle Mouth curator Sholto Dobie (on viola and diatonic symphony hurdy gurdy respectively), and on the 12th by The London Hardingfelelag playing Norwegian tunes for Hardanger fiddle.”

There’s not much out there on the London Hardingfelelag (though I did find out that their ranks include Sylvia Hallett, Catherine Martin of the Gabrieli Players, Clare Salaman, Tania Simon, Clifford Rowe and until a few years ago, the late Wilf Gibson of ELO/’Spirit of Eden’ fame), but I did turn up a couple of videos of Ivor and Sholto, supplemented by one of the Hardanger fiddle in action…




 
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I caught up with the Collage Nights shows in Wood Green last month, just in time to learn about the final two gigs in their season. The last one rolls around mid-month, featuring Dutch-English singer-songwriter Gitta de Ridder and Balkan-styled party band The Balkanoes.

Collage Nights, 13th December 2017

Collage Nights presents:
Gitta de Ridder + The Balkanoes
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Wednesday 13th December 2017, 7.00pm
– information here and here

Gitta’s debut album ‘Feathers’ came out last year. With its songs of family, friends and lovers (as opposed to hill gods, surreal landscapes or twisted urban short stories) it has a conventional tinge for the current time, but the delight is in the detail and the musicality. She’s a Joni Mitchell disciple less in the sense of pursuing the confessional or the coffee-table mope, more in the delightful flowering of orchestral chords and cats-cradle harmonies (as well as in her domestic wit).

As for the Balkanoes, they provide the standard pellmell Eastern European spaghetti-junction of Greek, Ottoman, Slavic and Romani musical threads, but have been known to career off into ‘Star Wars’ covers as well.

There’s also a special guest, but they’re keeping quiet about who that might be.




 

November 2017 – London and Birmingham instrumental giggery – Kabantu at 1901 Club (16th); Alex Roth double bill playing with Future Current and scoring Kasia Witek’s ‘One Wall of Me’ for Olie Brice & Ruth Goller (17th); Steve Lawson with Bryan Corbett at Tower of Song (19th)

9 Nov

A quick sweep through three diverse mid-month gigs in London and Birmingham, covering duets of loop-bass and trumpet, some global acoustic fusion, and a double-bill of experimental guitar trio plus double-bass-accompanied dance piece…

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Kabantu, 16th November 2017

Hattori Foundation presents:
Hattori Foundation Rush-Hour Recital: Kabantu
1901 Club, 7 Exton Street, Waterloo, London, SE1 8UE, England
Thursday 16th November 2017, 7.00pm
– information here and here

“Reinventing global sounds, rewriting the rulebook – winners of the Royal Over-Seas League Competition 2017, Kabantu (meaning “of the people”), is a five-piece hailing from Manchester who unravel new marriages of music from around the globe to celebrate the space where different cultures meet. Formed in 2014 at the Royal Northern College of Music and combining the virtuosity of classical training with the opportunity to explore music from around the world, Kabantu musically reflect their interest in global cultures, arrangement and improvisation.

“The instrumentation comprises violin (Katie Foster), cello (Abel Selaocoe), guitar (Ben Sayah), double bass (Ali McMath) and percussion (Delia Stevens). Vocal harmonies from South Africa coalesce with everything from Celtic reels and Brazilian samba to Balkan folk music and beyond. Kabantu use music to bridge countries and cultures, creating an exuberant and joyful sound. They have just recorded their debut album with Mercury-nominated producer Gerry Diver and very much look forward to releasing it alongside a UK-wide launch tour in February 2018.

“The programme will include Scotland/Good Call (a set of two tunes, one penned by the group’s Edinburgh-born violinist Katie Foster and one traditional, fused with Kabantu’s take on Scottish music, including bowed banjo woven with intricate rhythmic decoration) and Ulidzele (a traditional song brought to Kabantu by their South African cellist Abel Selaocoe, using a blend of African vocal harmonies preceded by vibrant chanting and percussion to tell the story of a funeral celebrating a life, rather than mourning it.”



 
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London Jazz Festival presents:
Kasia Witek’s ‘One Wall of Me’ (featuring Olie Brice & Ruth Goller playing music by Alex Roth) + Future Currents
Jazz Cafe POSK @ POSK (Polish Social & Cultural Association), 238-246 King Street, Hammersmith, London, W6 0RF, England
Friday 17th November 2017, 7.30pm
information

Kasia Witek/Future Currents, 17th November 2017“Conceived specifically for a new company of three dancers and two musicians, Kasia Witek‘s new performance piece ‘One Wall of Me’ investigates and celebrates the intelligence of the body. Through the practice of embodied awareness, the performers awaken a sense of belonging, togetherness, and joy. Watch and listen as the meditation on endless interconnectivity unfolds before you.

“An original score by award-winning composer/improviser Alex Roth, drawing on the deep sonorities and physicality of double bass (played live by renowned improvisers and “double double bass team” Olie Brice and Ruth Goller), provides an integral counterpoint to Kasia’s highly physical choreography, danced by Elisa Vassena, Stella Papi and Tora Hed.

Future Currents is an electric guitar ensemble formed by Alex Roth to explore the full range of the instrument’s sonic potential. Bringing together three of the UK’s most acclaimed improvising guitarists, (Alex, Chris Montague and Chris Sharkey, who between them are members of Troyka, Sephiroth, trioVD, Otriad and Blue-Eyed Hawk), the group creates new music of extremes, informed as much by composers like Morton Feldman, Frank Zappa, Olivier Messiaen and Richard D James as by pioneering guitarists such as Fred Frith, Robert Fripp, Marc Ducret and Bill Frisell.”


 

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Steve Lawson & Brian Corbett, 19th November 2017

Steve Lawson with Bryan Corbett
Tower of Song, 107 Pershore Road South, Kings Norton, Birmingham B30 3EL, England
Sunday 19th November 2017, 7.00pm
– information here, here and here

Back at Tower Of Song in Birmingham, bass guitarist, loop musician and ToS/’Misfit City’ regular Steve Lawson embarks on a launch gig for his latest album ‘PS, You Are Brilliant’.

The sunny title may seem to counterpoint Steve’s recent set of more sombre-toned releases such as ‘If They Had Won’ and ‘Referendum’, mourning the enmity, deprival and confusion of Brexit and the austerity age (as well as providing a restful break before he reimmerses himself in the polemical communitarian thrash/protest metal of Torycore later in the month). However, it seems that the music is more of an extension of the work on his last full album ‘The Surrender Of Time’ (“dark, dissonant layers of sound coupled with glitchy, wonky hip-hop beats and odd time-signature chance-based loops that bring an even more complex set of relationships between the various layers at work”).

The title itself is a quote from and tribute to the late arts producer Roanne Dods (of the Jerwood Foundation and Small Is Beautiful) whom Steve describes as “one of the most relentlessly encouraging people I’ve ever come across… she brought a sense of possibility to every conversation, and alongside that was so, so good at actually making things happen, at organising and pulling together teams to make sure that those ideas, that impetus and all that amazing encouragement came to fruition. I think about her pretty much every day, as I do things that she encouraged me to do, as I reach to be the best that I can be in every area of my life, and pass on that encouragement to others.”

Joining Steve at Tower of Song is “one of my most favourite collaborators ever as special guest – Bryan Corbett on trumpet. Bryan is one of the most brilliant improvisors I’ve ever worked with – he has an otherworldly ability to arrange and orchestrate his sounds on the fly, using subtle effects and exemplary technique to lift everything he plays on to a higher level. It’s been way too long since we last played together, and this will be our first ever duo gig.”

The eticket deal includes a free download of If They Had Won (one of the tracks from ‘PS, You Are Brilliant’). Have an advance listen to it here…


 

June 2017 – the month’s Daylight Music gigs in London – Jherek Bischoff, Emma Gatrill & Liam Byrne (June 3rd); Epic45, The Great Albatross, and BJ Cole & Emily Burridge (June 10th); Louis Barabbas, Melissa Parmenter and Ben McManus & Clara Delfina (June 17th); Trans-Siberian March Band, Antony Elvin & His Men and Toby Hay (June 24th)

25 May

The people behind eclectic, free, family-friendly London event (and ‘Misfit City’ favourite) Daylight Music are swirling back into action in June with four weekly gigs to start their summer season (even if two of them aren’t nominally DM events, the Daylight imprint shows clearly). Here’s me simply boosting the existing signal…

* * * * * * * *

Daylight Music 252, 3rd June 2017

Arctic Circle presents:
Daylight Music 252 – Jherek Bischoff + Emma Gatrill + Liam Byrne
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 3rd June 2017, 12.00pm
– free event (recommended donation: £5.00) – information

“Only Jherek Bischoff would record an album in an empty, two-million-gallon underground water tank (with a reverb delay lasting forty-five seconds). A fabulously inventive and playful musician, Jherek is a mostly self-taught composer whose music dazzles, confounds and delights.

 
Liam Byrne divides his time between playing very old and very new music on the viol. ‘The Times’ praised his “nuanced and expressive, stylish virtuosity”. He’s worked with artists including Damon Albarn, Nils Frahm and Matthew Herbert, and the likes of Nico Muhly have written works for him.

 
Emma Gatrill is a multi-instrumentalist based in Brighton. Playing live, she augments her harp and vocal with ambient analogue synths and drums machines, layered with guitar atmospherics from Marcus Hamblett.”


 
* * * * * * * *

Daylight Music 253, 10th June 2017
Arctic Circle presents:
Daylight Music 253 – Epic45 + The Great Albatross + BJ Cole & Emily Burridge
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 10th June 2017, 12.00pm
– free event (recommended donation: £5.00) – information

“The much-loved epic45 — championed by the much-missed John Peel — have been making music for over twenty years. Their celebrated EPs and albums are inspired by the ever-changing English landscapes.


 
The Great Albatross tug gently on the heartstrings with their sweetly shimmering indie songs. Formed in Glasgow by A. Wesley Chung (formerly of Boris Smile), the group has an expansive, international list of contributors and collaborators.


 
“If you had to combine any two instruments, you might not immediately think of putting cello and steel guitar together, but BJ Cole and Emily Burridge confound expectations with their dynamic, sophisticated music. Hailed as “languorous, sensuous, moving music…amazing!” by ‘Art Nouveau’, these fine musicians weave around each other, mixing their intuitive improvisations with inspired, moving interpretations of classic pieces.”


 
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Louis Barabbas, Melissa Parmenter + Ben McManus & Clara Delfina, 17th June 2017

Arctic Circle presents:
Louis Barabbas + Melissa Parmenter + Ben McManus & Clara Delfina
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 17th June 2017, 12.00pm
– free event (recommended donation: £5.00) – information

Louis Barabbas is a Daylight Music favourite, thrilling the audience and tearing up the stage with his caustic love songs and energetic show. A writer, performer and label director, he’s performed all over the world and shared stages with acts including Motörhead, Supergrass and The Blockheads.


 
Melissa Parmenter is a well-respected film producer, who’s collaborated closely with director Michael Winterbottom over the last fifteen years, including producing all three series of ‘The Trip’ trilogy. She’s also an accomplished composer and pianist, having scored a number of films including ‘Genova’, ‘The Killer Inside Me’ and ‘Comes A Bright Day’.


 
“After repeatedly meeting at various festivals last year, Ben McManus & Clara Delfina decided to join forces to sing American old-time and bluegrass music, blending banjo, fiddle and guitar with their beautiful harmonies.”


 

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Trans-Siberian March Band, Antony Elvin & His Men and Toby Hay, 24th June 2017

Arctic Circle presents:
Trans-Siberian March Band + Antony Elvin & His Men (with Nina Miranda) + Toby Hay
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 24th June 2017, 12.00pm
– free event (recommended donation: £5.00) – information

“Summer Solstice edition…

“It’s always a party when the Trans-Siberian March Band are around! A riotous jumble of cabaret, carnival and overwhelming joy, this 13-piece Balkan brass band have delighted audiences at Glastonbury, Woman and the Royal Albert Hall. The Times called them “hugely entertaining… perfect festival crowd-pleasures.” They’ll be playing their winning mix of traditional Turkish and gypsy tunes, Russian sing-alongs and swinging klezmer.


 
Antony Elvin (“a Noel Coward for the Noel Fielding generation!’, according to Julian Barratt of The Mighty Boosh!) is a singer/songwriter from London. His songs take the listener out on a ridiculous spree, in ‘Perfect London’ – a London of your dreams, gaslit yet modern,­ pastoral yet subliminally violent. In a strong English accent, he sings about the characters he meets and the romances of the day without the vulgar baggage of angst. Special guest for this concert is Nina Miranda of Smoke City, Shrift and Zeep – she of ‘Underwater Love’ fame.

Toby Hay makes instrumental music inspired by the landscape, people and history of Mid Wales. A guitarist and composer, ‘Folkroom‘ claim that “he’s one of the finest storytellers… and he’s never sung a word.”


 

* * * * * * * *

As ever, there are likely to be interstitial musical acts filling in the gaps between acts (via loops, atmospheres or turns on the venue’s grand piano or massive church organ), plus late in-the-day extra recruitments. These will be announced closer to the time.

Good to see Toby Hay on one of the bills – his debut EP featured in ‘Misfit City’ several years ago, and since then he’s become a mainstay of the Lamplight acoustic nights up at Regather in Sheffield…

April 2017 – upcoming London experimental gigs – very messy play with the Lone Taxidermist plus Martin Tomlinson and Heart Years (25th); Myth-O-Rama evening with Eleventh Hour Adventists, Seven-Headed Raven, Miss Roberts and Rotten Bliss (28th April)

20 Apr

A couple of imminent gigs from the dark-cabaret end of experimental music:

Lone Taxidermist, 25th April 2017
Homemade Disco presents:
Lone Taxidermist + Martin Tomlinson + Heart Years
Paper Dress Vintage, 352A Mare Street, Hackney, London, E8 1HR, England
Tuesday 25th April 2017, 7.30pm
– information here, here & here

Homemade Disco put on a Laura Cannell/Hirvikolari double bill back in March, which I managed to miss but which set out their wide-ranging experimental stall. Headlining this next effort is Lone Taxidermist, the multi-media-friendly project helmed by Natalie Sharp, who’s been variously described as a “cosmic Cumbrian synth artist”, an “all-round creative explosion”, a “synth-eating powerhouse with a voice that rolls like hot thunder” and “a cavewoman crossed with an urban Ava Gardner.”. Aided by Tunng bassist Philip Winter and electronicist Will Kwerk (part of a shifting backline of collaborators) she’s using this gig to showcase her current, brand-new Lone Taxidermist project ‘Trifle’ which explores “the murky, intertwined depths of sexual fetishes and food (including) the shadowy worlds of sploshing, cake-sitting and crush fetish.”

Expect ‘Trifle’s fittings and features to include spongecake-rubber/full-fat plastic costumes, “giant cream-squirting custard vaginas” and “extreme female grooming techniques”, plus projections from audiovisual artist Ross Blake intercut with footage from obliging YouTube cake fetishists. For a dripping taste of the Ross-eye view of the project, see below; for other peeks at ‘Trifle’, see this ‘Manchester Metalheads’ review of the performance at this month’s Fat Out Fest or this interview/preview in ‘The Quietus’.

 
Squelch.

For more on the world of Lone Taxidermist, have a read of this ‘onepointfour’ interview, and below is a Soundclouding of an earlier, unrelated live set:


 

Support comes from spangly but spiteful Martin Tomlinson, former clown-suited lead provocateur with Selfish Cunt (the trans/ag/gressive electronic noise-rock project with London’s most family-friendly bandname, even if Shitwife are mounting a latterday challenge).

The evening opens (presumably in a dastardly attempt to soften us up) with wispy-boy-vulnerable London dream-poppers Heart Years. Their twang-echoed synthscapes deal in “lost thoughts, hopeless ideals and ‘80s fade outs” and sound like a determined teenage mope in the Balearics; and whose new single ‘The Great Fades’ has been out for a month or so.



 
John Doran from ‘The Quietus’ will also be contributing a DJ set…

* * * * * * * *

Myth-O-Rama, 28th April 2017

The Light & Shadow Salon presents:
Myth-O-Rama: Eleventh Hour Adventists + Seven-Headed Raven + Miss Roberts + Rotten Bliss
The Horse HospitalThe Colonnade, Bloomsbury, London, WC1N 1JD, England
Friday 28th Apr 2017, 7.00pm
information

“An evening of sonic adventures… featuring various exciting collaborations between the various performers.

Eleventh Hour Adventists are a collaboration between Jasmine Pender (who is a vocalist and electric cellist), and Jowe Head (ex-Swell Maps, Television Personalities, The Demi-Monde), who contributes vocals, slide guitar and mandocello. They usually operate as a duo, with guest Ravi Low-Beer contributing his unique deft skills on drums and percussion. Between them, they weave a tense and terse sound-world. Jasmine’s electronically treated cello emits deep hypnotic drones and bursts of uncanny minimal melody. Jowe’s clipped manipulation of stringed instruments usually providing the pulse, and interjections of top-end shards of shiny noise. Their vocals tend to blend together in close harmonies, their voices twisting together in a sensual struggle.

“Their work is mainly self-composed, some of it referring to ancient mythological themes. Material includes Jasmine’s reflective and often profane imagery on one hand, and Jowe’s more quirky lyrics on the other. The material includes an eerie ballad about Tempelhof airfield in Berlin and a series of mythological tableaux. There is also an ancient murder ballad that’s undergone gender reversal, and a radical arrangement of a song by blues pioneer Skip James. This is their first headlining performance since returning from their first overseas concert, in Berlin.


 
Seven-Headed Raven are an international, multi-national folk ensemble, performing, performing both traditional and contemporary music, featuring cello, kookie (Latvian dulcimer), and bowed saw. Their sound suffused in nature worship, melancholy and nature. This weird band has a pagan feel, and features multi-instrumentalist and singer Catherine Gerbrands (Valerie & Her Week of Wonders, An Infernal Contraption) and cellist/vocalist Tim Bowen (Chrome Hoof), both former members of Jowe Head’s band The Demi-Monde, who shall be leading a multi-national band playing their own arrangements of traditional tunes and their own material.

“The mysterious and ethereal Miss Roberts (chanteuse with the decadent surreal Rude Mechanicals) presents a performance called ‘Curious Contraption’, which shall weave a sinister web of surreal intrigue featuring surreal stories, dramatic monologues, poetry and song in a visual whirlwind of bizarre costumes, audience interactions and gestures, with sound effects and ambient music provided by Jowe Head.

“Jasmine Pender has described her solo project, Rotten Bliss, as a research project into the outer limits of the electric cello and voice. Part exploration and part revelation, Rotten Bliss builds up sonic storms of exploratory textures with FX-laden cello, giving way to brutally bare arrangements made from haunting vocals sung over sparse bass riffs. Jasmine defies expectations of the cello her abrasive playing style, evoking the possession and freedom of rock and roll, deconstruction and decay. The result is a hypnotic, seasick voyage that takes in elements of folk, noise, surrealism and drone, referencing dystopian harbours, amorous fishes, nightwatchmen and transcendence.”

 

March 2017 – upcoming gigs – kletzmer in New York, Southampton, Liverpool and London, from Geoff Berner/Luisa Muhr and She’Koyokh (7th, 9th, 10th, 17th)

27 Feb

Some news on some upcoming kletzmer-related gigs in New York and across England during the first couple of weeks in March.

Geoff Berner & Lisa Muhr, 7th & 9th March 2017

In New York, as part of the Jalopy Theatre’s ongoing NY Klezmer Series in Brooklyn, there’s a newly created, first-collaboration show from two Vancouver-based musicians – singer-songwriter-accordionist Geoff Berner and singer Luisa Muhr (both of whom can collectively muster up talents across novel-writing, theatre directing, community activism and movement art, but that’s several other stories…)

“Being part of the Klezmer and Yiddish music and performance scene in the US, Canada and Europe, Geoff and Luisa first met at the renowned KlezKanada music camp where they spent many hours singing together. ‘Songs of People Other People Don’t Like So Much’ has been created out of the necessity of producing political work in times that need it. Geoff and Luisa will sing you stories of the underdogs (and unpopular overdogs) of our society: some in Yiddish, some with quite some Klezmer, some in their own words, some in someone else’s. Join us, listen, engage, and enjoy!”

The project’s too new for soundclips or videos: but here’s Geoff performing a solo song from 2013 (tearing with righteous venom into Vancouver’s rotten civic developments), and Luisa fronting a Yidishe Lider concert about a year ago.



 
In addition to the Jalopy show, Geoff and Luisa are presenting another Brooklyn performance, in the shape of a preview version a couple of days earlier at Freddy’s Bar & Backroom. This is a pay-what-you-like event (though they suggest a ten bucks minimum and you’re also tied to a minimum-of-two-drinks rule). This particular evening is for twenty-one year olds or over: not because of any added salty adult content, but purely because of licencing laws for the bar.

Dates:

* * * * * * * *

She'Koyokh, 2017

Meanwhile, back here in England, She’Koyokh – who have been hailed as “one of London’s musical treasures” (‘Evening Standard’) and “one of the finest kletzmer ensembles on the planet” (‘The Australian’) – are out on the road launching their fourth studio album, ‘First Dance On Second Avenue’.

“With a name roughly translated from the original Yiddish as “nice one”, She’Koyokh have spent over a decade absorbing the rich folk music traditions of Jewish Eastern Europe, Turkey and the Balkans. Their evolution spans the origins of busking at East London’s Columbia Road flower market to performing in the famous concert halls of Europe including Amsterdam’s Concertgebouw, the Gasteig in Munich and London’s Southbank Centre. She’koyokh’s members hail from the UK, USA, Serbia, Sweden and Turkey, forging a unique sound that is traditional yet original.

“Their live shows are an expertly crafted, multi-lingual exploration from the Baltic to the Black Sea virtuosic, toe-tapping klezmer instrumentals, Gypsy music, soulful songs and the best Balkan dance tunes from Bulgaria, Romania and Serbia. They’ll take you on a journey sampling polyphonic singing from Bulgaria, a Serbian song about a pigeon on the raspberries, a steamy quarrel between mother-in-laws in a Turkish sauna, a duet between a father and daughter about who she’s going to marry – in the end she chooses the drunken one! – and a love song for a Gypsy girl with penetrating green eyes.”


 
Dates:

 

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