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

5 Oct

Retrophonica, 13th October 2019

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

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

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



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

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

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

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

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

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





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



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


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


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

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Dates:

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

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

October 2019 – sundry classical and postclassical events – Carla Rees’ ‘Solo Flute Quartet: Music for Flute and Electronics’ tour of England and Northern Ireland (9th, 12th, 16th, 18th, 24th October); Xenia Pestova Bennett plays Luc Ferrari and Annea Lockwood in London (29th October)

3 Oct

Carla Rees: 'Solo Flute Quartet: Music for Flute and Electronics' tour, October 2019

Rarescale‘s Carla Rees is performing an October solo tour of England and Northern Ireland, playing music for various flutes (standard and Kingma Systems, alto and bass, baroque flute d’amour and piccolo) augmented by Kyma electronics.

Several compositions are being performed. The first, giving the evening its title, is Simon Emmerson’s ‘Solo Flute Quartet’ which employs extra-keyed Kingma System flutes (optimised for multi-phonics and quarter tone pitches) alongside live sampling and surround sound. Simon: “Following a recording session in the summer of 2017 the idea of using multiphonics as the generator of both harmony and melodic mode evolved rapidly and the piece was completed in January 2018 and performed a month later at City University. The four flutes (piccolo, concert flute, alto, bass) are played in varying rotations for the 16 short sections of the work. The live electronics freezes, spatialises, echoes and projects the live sound into labyrinths of colour on a surround sound system.”

The second piece (being performed at Coventry, London and Bristol) is ‘Islands’, by Carla’s regular Rarescale collaborator Scott Miller. According to Scott: “‘Islands’ is more about the river than the islands. The river is dynamic, in constant motion, many layered. It responds to the presence of objects – fish, birds, people, islands–and moves, transforms, and shapes these same objects. We can observe its passage and potential, and we can enter and navigate it. As a metaphor for the composition, the performer enters the river of processing and navigates it sonically, from island to island. The islands emerge from the river, made of the stuff that lies beneath the surface, providing unique environments that are a part of and separate from the river. The performer’s interactions with the river and the islands influence the environment immediately and downriver, which is really just a function of time, like in music. Islands can be understood as the confluence of many independent environments which unfold in generally predictable ways over the course of the composition.”

To represent this musically, Carla will be feeding her flute through ecosystemic programming within her Kyma system to create “a sonic environment modelled on a stretch of the Mississippi River.”


 
A third piece (being played at the Leicester, London and Belfast dates) is ‘tree flute’ by Karen Power, who has written a number of works in which specific recordings of environmental sounds inform and are played against live solo instruments. For ‘tree flute’, field recordings of wind moving through trees are paired with the baroque flute d’amour, an instrument which Karen finds “more vulnerable than its modern equivalent, which for me makes it more interesting. Each and every note has a unique character that is brought out when performer and instrument meet. The wooden and simple frame of the flute is the starting point and why I have paired it with the wind.”

Commenting further on the piece, Karen explains that “the field recordings are all sounds of wind moving through trees and the ground. They are not audible, but do surround us in every forest or park. They may not be audible, but they do adhere to their own time and pacing, which is governed not by man but by the weather. This pacing forms the basic structure of this piece. In the live performance the flautist is partially cut off from the aural score and only hears an individual private aural part, which guides her. The audience only hear the first ‘wind’ sound at 0’40’’ therefore the performer must prepare us for this. She will hear such sounds in her aural part ahead of us and so tries to add the missing context for us. This pull back and forth between the private aural part and the public aural score is a core component of this and other works, which I believe provides the perfect platform for true interpretation and active listening and responding to happen.”

The Belfast date also features Sungji Hong’s 2015 piece ‘Shine’, originally written for Carla and featuring a double performance by her (the live in-concert performance and an electronically treated recording of the same part for her to play against).


 
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Back in London, at the end of the month, inquisitive experimental pianist Xenia Pestova Bennett pops up at City University to play Luc Ferrari’s ‘36 Enfilades for piano and tape’ to celebrate the ninetieth anniversary of his birth.

Xenia Pestova Bennett: Luc Ferrari and Annea Lockwood, 29th October 2019

One of the pioneers of musique concrète (alongside his Groupe de Recherches Musicales colleagues Pierre Schaeffer and François-Bernard Mâche), Ferrari was known for his tape pieces observing and reproducing daily life and the flow of ideas. The ‘Enfilades’ (a rarely-performed duet between piano and reel-to-reel tape) are an example of this technique crossing over to link with more traditional performance, scored piano material played in time with assorted taped sonorities which alternate rapidly between the industrial and the musical, the eerie and the whimsical.

Some of the pieces last for no more than a handful of seconds. Xenia describes them as “witty, virtuosic miniatures… a whirlwind exploration of style, riven with quotations from other composers including Schumann and Brahms.” Ferrari himself noted “they start and they are already finished. Sometimes, they do not even start, do not have a beginning. Then, is it a suite? It is perhaps a theatre. Is this the old dream never to finish or that always to start again? And then, the ideas which pass so quickly and then the desire to take up the ideas already given and then the pleasure of transforming them as themes which come to give a rhythm to the travel. Then, finally, these small pieces, they make large one…”

French pianist and frequent Ferrari interpreter Michel Maurer has reinforced the idea that the entire piece is like a self-contained episode of musical theatre in which “the solo protagonist (is) a pianist playing the role of a musicologist who had discovered an anonymous manuscript”; also, that it is something like “a treasure hunt” in which both the score and the tape recording themselves contain written or spoken texts and clues from the “unknown” composer, and in which the performer (has) to question himself about the music he (is) playing.” Here’s Michel presenting his own performance of ‘Enfilades’ plus discussion.

 

Xenia will also be performing several small compositions from her repertoire of John Cage pieces, as well as two compositions by Annea Lockwood, who’s celebrating her own eightieth birthday at around the same time as the Ferrari ninetieth. While she’s gained the most attention for her conceptual “piano transplant” events (in which defunct pianos are removed from concert halls and music rooms and taken far away to meet various ritualistic but natural ends, such as immolation, immersion, or being planted into the ground like seeds), Annea is also the creator of a varied chamber music catalogue including piano compositions and tonescapes with multiple extended-technique string moves.

In this particular concert, Xenia will be playing Annea’s ‘Red Mesa’ (in which a minimal/apprehensive mood of tolling midrange notes, abrupt fanning chords, interior piano mutings and zither strums develops into a shifting and sketchy open-ended study, a stormy interlude of high drama and a fade into unresolved nothingness) and her pouncing, highly dynamic ‘RCSC’ (in which skeletal notes and silences play against strum-scurries, scratched harmonics, choked hammer mutes, slow dive-bombs and so forth).

To illustrate, before the event, here’s a Ricardo Descalzo performance of ‘RCSC’ and an Andrea Lodge performance of ‘Red Mesa’ as well as Xenia’s own performance of some Cage music on toy pianos (accompanied by her duo colleague Pascal Meyer).




 
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Dates:

Carla Rees: ‘Solo Flute Quartet: Music for Flute and Electronics’ tour dates:

  • Ellen Terry Building @ Coventry University, Jordan Well, Coventry, West Midlands, CV1 5RW, England – Wednesday 9th October 2019, 1.00pm – information here
  • IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England – Saturday 12th October 2019, 8.30pm – information here and here
  • PACE1 @ De Montfort University, Mill Lane, Leicester, LE2 7DR, England – Wednesday 16th October 2019, 7.00pm – information t.b.c.
  • Victoria Rooms, Queens Road, Bristol, BS8 1SA, England – Friday 18th October 2019, 1.15pm – information here
  • Sonic Lab @ Sonic Arts Research Centre, 4 Cloreen Park, Belfast, BT9 5HN, Northern Ireland – Thursday 24th October 2019, 1.00pm – free event – information here

City University Concerts presents:
Xenia Pestova Bennett: Luc Ferrari and Annea Lockwood
City University Performance Space @ City University Social Sciences Building, 32-38 Whiskin Street, Finsbury, London, EC1R 0JD, England
Tuesday 29th October 2019, 7.00pm
– information here, here and here
 

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

1 Oct

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

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

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

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

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

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

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


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

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

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





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


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



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

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




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

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



 
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Dates:

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

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

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

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

October 2019 – upcoming rock gigs in England from mathcore to magic, part 2 – The Display Team’s October tour (with Project Mork, The Mighty Bossmags, Masiro, Lonely Dakota, Mutant-Thoughts, Flag Fen, Spank Hair, Barringtone, Memory Of Elephants, Alter Ego and Vonhorn); a Jazz from Hell concert in Brighton including Son Of Ugly, BallPointKen and Fukushima Dolphin (23rd October); The Hare and Hoofe, The Galileo 7 and Ulysses in London (26th October)

1 Oct

The Display Team on tour, October 2019In the last post, I covered this month’s Octobear tour of assorted post-hardcore sproutings, plus the Portals All-Dayer of math rock, post-rock and similar.

At around the same time, London post-Zappa/post-Cardiacs jitterbugs The Display Team will be embarking on a brief east-to-west English tour of their own, delivering densely-written, yelling wrangles and conniptions of guitars, drums and heavy brass to various appreciative audiences.



 
At both of their East Anglian dates in Cambridge and Ipswich, The Display Team are playing with the same backup. One of the two bands in tow are Norwich-based Project Mork, who juggle a spasming, shape-shifting pulp-culture impasto of sung comic-book catchphrases, thrash-riffs, ska bumps, and stunt-metal guitars. The other are crunchy Warrington art punk/ska cabaret rockers The Mighty Bossmags, monster-mask-clad theatricals with leering “cirque du punk” stances and a taste for macabre chanson and heavy bursts.



 
There’s something of a different support set up in Bristol, where sleek proggy art rockers Mutant-Thoughts provide their glistening, synth-heavy groove explorations, and where Flag Fen provide psychogeographic drone. The latter is a “bio-electrical resistance project” developed by Adam Burrows and Keith Hall, featuring noise guitars atop a dirty flag of drone and rattling drums, with bits of folky recitation pulled through like a flaxen thread. There’s a backstory in there somewhere about a possibly occulted, potentially dangerous Bronze Age archaeological site with a tendency to firebug any situations connected to it. What’s less uncertain is that Adam and Keith are both former members of Bristol noise-beat outfit Big Joan, and pull in collaborators such as Mancunian industrial poet-rapper and Gnod associate Michael O’Neill, Steve James (from screeching Bristol flailers Geisha Noise Research Group) and My
Octopus Mind frontman Liam O’Connell.

 
In Oxford, support comes from post/tech metal act Masiro whom I’ve previously referred to as “a melange of prog, metal and funk grooves… if that makes them sound like early ’90s macho blokes in shorts, imagine a trio who went the other way, reframing and reappraising those elements from a confusing refracted perspective. As a listener, they make you work to get back to the sources, but it’s a compelling game of reconstruction.”. Also present are local rhythm-warping “twinkly emo-punk” trio Spank Hair. In Southampton, the support acts are straightforward London/Hampshire hard rockers Lonely Dakota and the rather more-difficult to track down Alter Ego: I’ve got something swaggering from the former, but sadly nothing from the latter.




 
In London, urban-baroque pop trio Barringtone open the show (plenty more on them, their Clor heritage and their journey from motoric cool to increasingly proggy enthusiasm is here), while Memory Of Elephants bring a multi-decker pink noise sandwich of joyous experimental metal along with them. While I can still get away with requoting myself, I’ve called them “a restless, conspiratorial mask-dance of a band” and as playing “a welter of restless multipolar mood changes and psych-cyclones with a bewildering delightful stockpile of guitar tones; from mechanistic hissing growls, fire-ribbon swishes and sudden injections of Detroit proto-punk to great woozy carousing fuzzwalls of MBV dreampop, Chinese orchestras and – at one point – what sounds like a gnarly old organ playing itself.”



 
In the late-nighter at Gloucester, support is by sharp Hereford-&-Worcester mutant-power-pop band Vonhorn. While drummer Dominic Luckman brings cult value (and a stylish precision) from his years in Cardiacs, frontman Adam Daffurn has been boinking around the Hereford scene for ages, previously leading Noughties-wave Britpop act The Dandelion Killers, who betrayed many of the same aspects as Vonhorn does: crunchy crisp pop with unexpected chords, rhythmic flicks and spiked-cream harmonies. Consider XTC and the more circus-y moments of The Beatles; consider latter-day clever-classic underground guitar pop acts like Flipron and The Downing Poole.


 
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Towards the end of their tour, The Display Team are also headlining Fresh Lenin’s Jazz From Hell night in Brighton, an “autumnal commie cocktail of jazz, prog, ska, punk, rock and psychedelia made with the help of trombone, sousaphone, bagpipes, saxophones, multiple pedals and all of the less weird instruments.”

'Jazz From Hell', 23rd October 2019

Plenty of Brighton musical fringery is springing into the spotlight for the occasion. The aforementioned bagpipes and sousaphone (stirred with a drumkit) come courtesy of pranky, deliberately obscure psychedelic wind trio BallPointKen (who are playing two sets). “Cinematic weirdcore” quintet Son Of Ugly are instrumentalists and Secret Chiefs 3 fans who’ve gobbled up and regurgitate “elements of 60’s and 70’s cartoons, spy action, noir jazz, surf and world music, sometimes in the same song.” In fact they’re less frenetic and Zorn-y than such a summary would suggest, being drawn more to the driving drama of theme songs and the glitter of exotica, thereby turning Brighton’s Lanes into swerving Prague alleyways and glittering dream-souks.

 
That just leaves Fukushima Dolphin – a full band last year, but now a drums-and-guitar loop duo fronted by the irrepressible Josh Butler (who stretches them toward a kind of energised, tuneful pure pop, whatever else happens or whatever tools they need to employ. In the current incarnation, Josh sometimes sounds surprisingly like a junior Mike Scott trying to sing his way out of a post-shoegazer’s cocoon of ‘90s indie-dance beats and dreampop echo. Earlier this year, Fukushima Dolphin were bulking up their setlist with an interleaved cover-version set, with textural art-rock versions of MGMT and Nirvana songs coming to the forefront alongside the band’s own urgent originals.


 
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For five or six years now, the various members of Kentish psychedelic troupe The Hare And Hoofe have incubated various tunes down in Folkestone, with an album finally bulging out last year. In the last week of October, they’ll be splurging it all over Islington in a London gig with fellow spirits The Galileo 7 and Ulysses.

What unites all three bands, I guess, is that they’re a collective love-letter to the glitter and stubble and mind-bubbles of a particularly British corner of ‘60s and ‘70s British rock – the clank and rough brinksmanship of garage bands, the rustle of the dressing-up box, the brickie harmonies of power-pop, the quivering flush of freakbeat. Various common enthusiasms loom large: Syd Barrett, Question Mark & The Mysterians, fuzz pedals. It’s all going to be pretty old-school, but expect enough of a surging, hairy, enthusiastic evening that nobody will mind about that.

The Hare And Hoofe + The Galileo 7 + Ulysses, 26th October 2019

Given their leader Allan Crockford’s lengthy background with those crowd-pleasing Medway garage-psych and mod-friendly bands who swirl, in a familial cloud around, The Prisoners and The James Taylor Quartet, The Galileo 7 are the least likely of the three bands to be caught fannying around dressed up as knights in armour, as wizards or Roxy Music’s vampire doppelgangers. Instead they deal in familiar bucketing Prisoners-esque ’60s musical purity: creaky electric organ swerves, fuzz pedals, tambourines and ooh-oohs. In contrast, brash Bathonians Ulysses swagger into view like the second coming of Roy Wood being cheered on by Slade (and are cute enough to confess to a liking for Wings and The Cars). They do like dressing up, and they bring with them hooky, stomping songs like rocking wooden cabinets buffed to a mighty sheen with golden syrup and sandpaper.



 
It’s got to be said that The Hare And Hoofe are the most outrightly magical and theatrical of the three, though – a kind of amicable collision of most of the above ingredients, topped by a meeting between Hawkwind, ‘Piper At The Gates Of Dawn’ and Steeleye Span (or, to pick a more recent example, Circulus on fizzing monkey drugs). If they’re garage, they’re the garage that gets transformed into Santa’s den. They’re all about jolly singalongs in which all manner of additions and interjections are poking through or going on behind. Lysergic guitar and spurting proggy keyboard figures crash around dopey harmonies, delirous mistrals of solo flute wind their way through folk singalongs; as psychedelic mixing and screeching echo froth is boosted to the max, the music changes shape and speed as if jerked into form by a solid brass gearshift. They’ll play heavy rhythm-and-blues version of eighteenth century English myths, and the second half of their debut album is a full-blown pocket rock opera of time-travelling scientists and giant laser-eyed robots. It’s called The Terror Of Melton.



 
Admittedly in magical terms all of this isn’t exactly cabalistic frenzy or New Weird hauntology. It’s more about capering blokes in pointy paper hats with moons-and-stars on. But The Hare And Hoofe are clearly enjoying the party too much to worry about this, and we sometimes need the kind of silliness which makes us nine years old again, happy, and laughing ourselves well.

* * * * * * * *

Dates:

The Display Team on tour:

  • The Stage Door, 78 West Marlands Road, Southampton, SO14 7FW, England – – Friday 18th October 2019, 7.30pm (with Lonely Dakota + Alter Ego) – information here and here
  • The Blue Moon, 2 Norfolk Street, Cambridge, CB1 2LF, England – – Saturday 19th October 2019, 8.00pm (with Project Mork + The Mighty Bossmags) – information here and here
  • The Steamboat Tavern, 78 New Cut West, Ipswich, Suffolk, IP2 8HW, England – Sunday 20th October 2019, 8.00pm (with Project Mork + The Mighty Bossmags) – information here
  • Port Mahon, 82 St Clement’s Street, Oxford, Oxfordshire, OX4 1AW, England – Sunday 20th October 2019, 8.00pm (with Masiro + Spank Hair) – information here and here
  • The Crofters Rights, 117-119 Stokes Croft, Bristol, BS1 3RW, England – Tuesday 22nd October 2019, 7.30pm (with Mutant-Thoughts + Flag Fen) – information here, here and here
  • Paper Dress Vintage Bar & Boutique,, 352a Mare Street, Hackney, London, E8 1HR, England – Thursday 24th October 2019, 8.00pm (with Memory Of Elephants + Barringtone) – information here and here
  • Café René, 31 Southgate Street, Gloucester, Gloucestershire, GL1 1TP, England – Friday 25th October 2019, 11.00pm (with Vonhorn) – information here

Fresh Lenins presents:
Jazz from Hell (featuring The Display Team + Son Of Ugly + Fukushima Dolphin + BallPointKen)
The Green Door Store, 2-4 Trafalgar Arches, Lower Goods Yard, Brighton Train Station, Brighton, BN1 4FQ, England
Wednesday 23rd October 2019, 7.30pm
– information here, here and here

The Hare And Hoofe + The Galileo 7 + Ulysses
The Lexington, 96-98 Pentonville Road, Islington, London, N1 9JB, England
Saturday 26th October 2019, 7.00pm
– information here, here and
here
 

October 2019 (and onwards) – various upcoming jazz gigs – Yazz Ahmed’s Electric Dreams, Rosie Turton Quintet, Alina Bzhezhinska in London (3rd October); Electric Dreams in Newcastle (4th October); Forq and SEN3 in London (30th October); SEN3 in London and Brighton (1st & 8th October); Jim Rattigan’s October-to-January Pavillon tour of England (6th October onwards)

29 Sep

At the start of the month, a Women In Jazz summit in London brings Yazz Ahmed’s Electric Dreams, the Rosie Turton Quintet and Alina Bzhezhinska to the Jazz Café.

Trumpeter/flugelhorn player Yazz Ahmed has been covered in here before (thanks to Polar Union’s Jazz Herstory series) – a young British-Bahraini already being dubbed “the high priestess of psychedelic Arabic jazz” thanks to her exploration (across two previous albums) of her mixed cultural heritage, and via the use of a custom quarter-tone flugelhorn which enables her to explore the microtonal pitching within Arabic music. Electric Dreams is her electrophonic/acoustic multi-textural tie-up with drummer Rod Youngs, guitarist Samuel Hällkvist and “vocal sculptor” Jason Singh. Emerging from Yazz’ interest in spontaneous composition, “these free-flowing and conversational improvisations make use of electronic effects, sound design, live looping and sampling, in an exploration of contemporary jazz from a different angle.”

Trombonist Rosie Turton is usually to be found as part of all-female Tomorrow’s Warriors-linked octet Nérija alongside other expanding-profile bandmates including Nubya Garcia, Cassie Kinoshi, Zoe Rahman and Shirley Tetteh (the latter of whom, not content with being a jazz guitar name to watch, also operates as one-woman pop project Nardeydey). As I’ve noted before, Rosie’s own leanings are towards Alice Coltrane and Pharoah Sanders, with digressions via hip hop and Himalayan ragas; and her quintet (sometimes known as 5ive) “works around a sensually airy intertwining of Indian violin (played by Johanna Burnheart), trombone and electric piano (from Maria Chiara Argirò), in which adventurous tunes effloresce and sway around light-on-their-feet rhythm grooves: a clever, flowing, flowery architecture.” The quintet’s completed by drummer Jake Long and bassist Twm Dylan.


 
The orchestral harp is always a potentially explosive instrument. Particularly so when it’s under the fingers of Alina Bzhezhinska – a soulful beast of a player who steps easily between classical demands and jazz immediacy. She’ll be playing a solo jazz set to open the evening.

 
Yazz and Electric Dreams will also be playing – on their own, this time – up in Newcastle the day after the London gig.

* * * * * * * *

At the end of the month, New York new-school jazz rock quartet Forq also play the Jazz Café. Fluid, grooving and highly accessible improvisers, they’re strongly Snarky Puppy-affiliated. Two of the current Forq-ers, plus the band’s departed co-leader Michael League, also play in the celebrated Brooklyn jam family, while keyboard-playing Forq leader Henry Hey is even something of a Big Apple mentor to League, having first convinced the Snarky Puppy leader to move and set up shop there.

As originally conceived by Hey and League, Forq’s music doesn’t stray too far from the Snarky blueprint (dextrous young super-sidemen put together a fizzy stew of everything they’ve learned from playing jazz, blues, rock, funk, etc), but according to League “we had the idea to start a band that was bi-i-i-i-i-ig on groove and sonic exploration, without getting caught in the snags of the modern jazz world. We want to play shit with personality, character, and not nerdy, brainy stuff. Also, we want people to shake their asses. I think the band has a very hard, NYC-style sound that is industrial but also innovative, but also has some serious Texas flavour…” League moved on a couple of years ago, replaced on bass by Kevin Scott, but the band, currently completed by Snarky guitarist Chris McQueen and drummer JT Thomas, continue the initial work.


 
In support is London trio SEN3: in some respects, a transatlantic Forq mirror image. They’re another grouping of top-notch overtrained pop and rock sidemen who fancied doing something fun, immersive and different. Citing “Pink Floyd’s ethereal epic-ness, Thundercat’s psychedelic soul-funk, a touch of J-Dilla/Madlib beat conducting with a twist of Led Zeppelin riffs” as inspiration and aims. Max O’Donnell (on guitars, synths and assorted tuned percussives), Dan Gulino (on bass guitar and synths) and Saleem Raman (on drums) put together something jazzy, dubby, reverb-y and floaty: very much a product of the London melting pot they’re proud of.


 
SEN3 are also playing two dates of their own earlier in the month – at Kansas Smitty’s in London on 1st October, and at The Mesmerist in Brighton on 8th October.

* * * * * * * *

French horn virtuoso and bandleader Jim Rattigan continues to step up activity with his Pavillon twelvetet, currently featuring Martin Speake, Andy Panayi and Mick Foster on saxophones, Percy Pursglove, Steve Fishwick and Robbie Robson on trumpets, Mark Nightingale and Sarah Williams on trombones, and a rhythm section of Hans Koller (piano), Dave Whitford (double bass) and Martin France (drums).

Pavillon’s new album ‘The Freedom Of Movement’ comes out in mid-October, featuring more of Jim’s original tunes (which have been compared to Charles Mingus, Gil Evans and Duke Ellington). To help it on its way, he’s taking Pavillon out extensively (around southern England and the Midlands) on assorted dates over the next four months, between early October and mid-January.

Previous Pavillon commentary from me – “confident, breezy, swing-happy music seamlessly blending inspirations from different times and places; beery, wise and cosmopolitan but also very English. It’s the sort of sound you’d expect to hear currently curving its way around London’s seawall, if such a thing existed.”



 
* * * * * * * *
Dates:

Women In Jazz presents:
Yazz Ahmed’s Electric Dream + Rosie Turton Quintet + Alina Bzhezhinska
The Jazz Café, 5 Parkway, Camden Town, London, NW1 7PG, England
Thursday 3rd October 2019, 7.00pm
– information here, here and here

Jazz North East presents:
Yazz Ahmed’s Electric Dreams
Gosforth Civic Theatre, 125 Regent Farm Road, Newcastle-upon-Tyne, NE3 3HD, England
Friday 4th October 2019, 7.30pm
– information here, here and here

SEN3:

  • Kansas Smitty’s, 63-65 Broadway Market, Dalston, London, E8 4PH, England – Monday 1st October 2019, 7.00pm – information here
  • The Mesmerist, 1-3 Prince Albert Street, Brighton, West Sussex, BN1 1HE, England – Monday 8th October 2019, 8.00pm – information here and here

Forq + SEN3
The Jazz Café, 5 Parkway, Camden Town, London, NW1 7PG, England
Wednesday 30th October 2019, 7.00pm
– information here, here and here

Jim Rattigan’s Pavillon:

 

October 2019 – upcoming London experimental gigs – a London visit for Asuna’s ‘100 Keyboards’ (2nd); psychonauts UnicaZürn step up to save the Horse Hospital (5th); Andrew Heath & Anne Chris Bakker play an ambient evening with Matt Atkins, Andrew Sherwell and Kevin Buckland (6th)

28 Sep

As part of London ambient sound festival MODE 2019, Japanese sound/drone artist Asuna will bring the occasional travelling installation in which he arranges a hundred battery-powered budget (or toy) analogue keyboards in concentric circles within a studio space (in this case, South London Gallery’s Clore Studio) and plays, sets up or alters single notes or clusters off each of them (usually sticking keys down with Sellotape) to produce “waves of overlapping sound”.

The results are a chorused spatial drone which you can wander through, in which the intention is to “generat(e) an undulating sonic harmony both mesmerising and mysterious. Sound waves on the same frequency multiply and bounce off in myriad directions, creating a complex sonic field of interference and reverberation that swells and changes over time. Subtle acoustic variations emerge, hover and retreat based on your location in the performance space.” The cheapness of the technology, the variability of battery performance and other factors will also provide additional variations to the setup. The three-minute excerpt below gives an idea of its grating shimmer.


 
On 5th October, psychedelic trio UnicaZürn (uniting members of Coil, Cyclobe, Guapo and Shock Headed Peters) will be playing at Bloomsbury avant-garde stronghold The Horse Hospital, showcasing music from their recent ‘Sensudestricto’ album plus brand new pieces created especially for the concert.

UnicaZürn, 5th October 2019

I’ve previously described their work as a “scenic but chilly slow-evolving boil of waterside atmospherics and psychedelic sound-painting”. ‘Sensudestricto’, explicitly based around situational revolt (“has there ever been a better time to fuck off to the stars? Is a prison breakout “escapism”? Crisis carve some wound-space to let the dreams back in…” ) continues to build on that promise, evoking late ’60s oil projections and space rock, ’70s synth patterning and occult counterculture, and various subsequent shades of psych revolt, dark folk and hauntological weirdness.

The Horse Hospital itself (a twist of history, art and countercultural resistance lurking like a bold and salty tattoo in the heart of one of London’s plushest districts) is once again under threat of being priced out of existence via a rent increase demand of over three hundred per cent, plus other bullying gentrification pressures, so this is a benefit gig. Attend, talk, add some cash to the Kickstarter, etc.

 
Having been releasing ambient/drone/experimental atmospheric music for a little under two years now from its Farnham base, not-for-profit independent tape label Rusted Tone Recordings is starting off a live season at IKLEKTIK with a concert by Aqueous keyboard player/piano minimalist Andrew Heath and Dutch ambient bowed-guitarist/slowcore escapee Anne Chris Bakker.

Rusted Tone Recordings Live #1, 6th October 2019

The duo have recently collaborated on an upcoming RTR release (the north-Netherlands-recorded ‘A Gift for the Ephemerist’) which blends both men’s interest in space, sparseness and field recordings into a record which “is overwhelmingly informed both by an open, minimal landscape and a love of process, allowing lower case sounds to form as you would unfold a map – each section revealing a new and uncharted vista…suspended in time and place, are modulating drones, fragile notes, texture and immersive driftscapes which shimmer and pulse with half-glimpsed melodies that seem to hang in the air.”


 
Support slots come from fellow ambientarians and experimentalists Matthew Atkins, Andrew Sherwell, and Kevin Buckland. Although he’s sometimes a drummer for assorted projects he’s encountered or helped form via the London Improviser’s Workshop, Matthew spends most of his time on sound and visual art. When performing his own music he uses percussion, assorted objects, cassettes and laptop for sound collaging which pursues (or more properly, accepts) elements of “reductionism, chance, repetition and texture.” (Usually he’s working in collaboration with someone else; usually, it also seems, he’s providing the odder or more exploratory parts.) Similarly, Kevin is sometimes a solo bassist, but spends more time outdoors as a traveller, photographer and field recordist intrigued by “the underlying intrinsic musical character that I believe is present within the everyday soundscape; whether rural or urban, indoors or outside.” This in turn takes him back to slow-evolving electronic music of his own, often released on his own Quietest Records label and playing dusky subliminal spells with sound he’s captured along his voyages.



 
As for Andrew, he’s found a niche of his own, and sticks to it; but it’s a particularly cavernous, ecclesiastical niche. He marries field recordings from churches and cathedrals from across Britain and Europe with existing choral recordings, plunderphonicised from random choir albums found in charity shops or, when he can, recording the genuine article first-hand. The results are a devotional post-Christian drone, heavily processed from its source material, flooding through an imaginary nave like a ghostly draught.


 
* * * * * * * *

Dates:

South London Gallery/Thirty Three Thirty Three/Laurel Halo/The Japan Foundation present:
MODE 2019: Asuna presents ‘100 Keyboards’
South London Gallery, 65-67 Peckham Road, Camberwell, London, SE5 8UH, England
Wednesday 2nd October 2019, 7.00pm
– information here and here

UnicaZürn – A benefit gig in support of the Horse Hospital
The Horse Hospital, The Colonnade, Bloomsbury, London, WC1N 1JD, England
Saturday 5th October, 2019, 7.30pm
– information here, here and here

Rusted Tone Recordings presents:
Rusted Tone RecordingsLive #1: Andrew Heath & Anne Chris Bakker + Matt Atkins + Andrew Sherwell + Kevin Buckland
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Sunday 6th October 2019, 7.30pm
– information here and here
 

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