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April 2018 – upcoming London jazz/world/folk/classical gigs – Fast Fusion pop-up session at Poplar Union (1st April); Erik Rydvall, Olav Mjelva and Max Baillie’s ‘Nordic Folk Meets Baroque’ (4th April)

24 Mar

News on an interesting jazz/world concert series kicking off at the ever-promising Poplar Union, plus a Scandinavian-tinged classical/folk/fusion event in Stoke Newington…

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Fast Fusion #02, 1st April 2018

Help Musicians UK Jazz Promoter Fellowship & Birikiti Pegram presents:
‘Fast Fusion’:Yaw Asumadu/Louisa Jones/Mulele Matondo/Shirley Smart
Poplar Union, 2 Cotall Street, Poplar, London, E14 6TL, England
Sunday 1st April 2018 – creating: 12pm-5pm / performance: 5.15pm
– information here and here

Fast Fusion is a live pop-up music installation bringing artists from jazz and world music genres together to write ten minutes of new work in just five hours. You get to witness the magic of art being made live in public before artists formally perform their final piece(s) at the end of the afternoon. The live audio is recorded to produce the Fast Fusion Takeaway Track(s), which you can then stream or download free. Sessions are also filmed and edited down to a short documentary-style video of the speed composition process.

“The second session (and first public session) brings together a dynamic group of musicians – singer/multi-instrumentalist Louisa Jones (who plays double bass, accordion and clarinet, and brings the swinging sounds of early jazz styles), Shirley Smart (a versatile, inventive cellist, and rare exponent of jazz cello), Mulele Matondo (a visionary bassist and guitarist from the Democratic Republic of Congo) and Yaw Asumadu (a master drummer, xylophone player and flautist from Ghana).”

The first session (a private jam in Studio Lumumba in East London to test the waters) featured Mulele Matondo plus London jazz trumpeter Mike Soper, Eliane Correa (a prolific Latin/jazz/fusion pianist, composer and arranger) and Lizy Exell (leader of the Old Hat Jazz Band and drummer for some of London’s other finest rising jazz groups, including Nerija). Here’s what they came up with:



 
Further sessions will follow – some of them at Poplar Union, although the idea is to bring the pop-up Fast Fusion format to many different performance spaces around London.

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Woodburner presents:
‘Nordic Folk Meets Baroque’: Erik Rydvall, Olav Mjelva & Max Baillie
The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England
Wednesday 4th April 2018, 7.00pm
– information here and here

Nordic Folk Meets Baroque, 4th April 2018“Two award-winningstars of Scandinavian folk music – nyckelharpa player Erik Rydvall and Hardanger fiddle player Olav Mjelva – team up with violin and viola virtuoso Max Baillie for their debut concert here in London at the gorgeous Old Church in Stoke Newington.

“Having met in the snowy north of Norway in February, they posted some videos of their unique renditions of Bach; a few days and over sixty thousand views later they were quickly picked up by Classic FM online, Norwegian Radio, and were invited to perform live on BBC Radio 3’s In Tune program on April 2nd.

This is their special debut concert in London together. They will present a brand new concert of music including Bach, Merula, and Couperin played in a unique way that brings together string traditions from Norway, Sweden and the Baroque period alongside both traditional and original music from Scandinavia.”

 
(I’m sure I’ve come across something like this before… ah, yes, here it was…)
 

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
 

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

4 Nov

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

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

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

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

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

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


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


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

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Powerdove + Ashley Paul, 15th November 2017

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

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

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


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


 

June 2017 – upcoming London gigs – Scandinavian and British folk and sea-songs with Åkervinda and The Ballina Whalers (June 13th)

28 May

A quick note about what looks as if it’ll be an enchanting concert-for-voices in one of north London’s most atmospheric venues. This is also the first show presented by London folk/acapella label LaLaLa Records, who got in touch recently claiming to have been following and picking up on new music via this blog (it’s always encouraging to hear that that’s happening). I’m happy to give them their own opportunity to be found in turn…

Åkervinda + The Ballina Whalers, 13th June 2017

LaLaLa Records presents:
Åkervinda + The Ballina Whalers
The Old Church, Stoke Newington Church Street (corner of Clissold Park opposite St Mary’s New Church), Stoke Newington, London, N16 9ES, England
Tuesday 13th June 2017, 7.30pm
– information here and here

“An evening of new vocal music curated by LaLaLa. Both Åkervinda and The Ballina Whalers will take your breath away with their contemporary interpretations of traditional folk songs.

“Jazz singers at heart, Linda Bergström, Agnes Åhlund, Lise Kroner and Iris Bergcrantz (the four singers of Swedish/Danish vocal quartet Åkervinda) give new life to ancient Scandinavian folk music and stories of women throughout the ages, through improvisation and their own original arrangements: beautiful, vivid and engaging. The group’s name is inspired by a Swedish wildflower whose roots spread far and wide like rivers under the ground. Like the flower, gracefully entwining melodies, rock solid groove, and ever-intriguing harmonies take root in your mind. Like the flower, they will be impossible to remove. Iris, Lise, Linda and Agnes share a deep love of folk music. They released their debut album ‘Kära Mor’ (Dear Mother) in 2014 and have been touring in Sweden, Denmark, the USA and Canada ever since.



 
“The Ballina Whalers (Pete Truin, Jamie Doe and Sam Brookes) are three musical barnacles clinging to the creaking hull of a vocal tradition stretching back hundreds of years. Using just their voices they explore ballads, shanties and seafaring songs in hearty three-part harmony. They’ve become one of the most sort after shanty bands around, playing folk clubs, harbour sides, beaches, boat sheds and festivals up and down the country. Between December 2012 and April 2015, they released a series of three EPs (‘Lowlands’, ‘Haul The Bowline’ and ‘Pull Down Below’ the last of which was recorded in the rolling belly of the bright red Lightship95). Having already charmed the Nest Collective, Mark Radcliffe and Late Junction, they’ve taken a couple of years away from live performance, but reunited in November 2016 to continue their adventures.”



 

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