Tag Archives: accordion music

April 2019 – upcoming London experimental gigs – Sonic Imperfections at Telegraph Hill Festival with Darkroom, Handäoline, Jo Thomas and Minus Pilots (5th) and your chance to jump into some more of their Festival work yourself (13th)

1 Apr

Having inveigled their way into a second home in a hilltop church a stone’s throw from New Cross (and half a klick away from their usual home at the Montague Arms), south London experimental evening Sonic Imperfections are presenting an early April sound’n’space gig at the end of the coming week, continuing their ongoing work with the Telegraph Hill festival. It features various contributions from Darkroom, Handäoline, Jo Thomas and Minus Pilots, all endeavouring to fill up the nave and the arch with reverberance of one kind or another.

Sonic Imperfections, 5th April 2019

Despite now being geographically split between Hertfordshire (where guitarist Michael Bearpark lives) and Edinburgh (where synthesist and reedsman Andrew Ostler is making solo inroads into the Scottish improvisation scene), the Darkroom duo remain tightly loyal to each other even as they stay conceptually loose, artistically inscrutable and absolutely in command of their vivid, grand scale abstractions after twenty years of making them. The boiling, heavy-ambience starstuff of the early years (with its post-prog wails, stepped pyramids of piled-up textures and the pulses which snaked alongside club music while never being shackled to it) has long since given way to something different: Darkroom now sound woody, or deep-carved and ancient, even as their music takes place behind winking lights and modular plug-ins.

Still underrated as one of Britain’s top guitarists in that rarified field where commanding emotion meets marvellous texturology, Michael’s playing exudes both confidence and a broadminded framework; sometimes stirring up a broody hauntological fog, sometimes exuding a cobweb of ominous data, sometimes licking at the music with the fiery tongue of a melodic soloist on a tight leash. Os (increasingly drawn to his bass clarinet booms and voicings) brings the wind through the bracings and the horns to the shoreline even as he runs Darkroom’s complex instinctive sonic architecture through his custom preamps and plugins. Any Darkroom performance is an ear-opener, and this should be no exception.



 
Handäoline is a new-ish familial teaming of Death In Vegas founder-turned-experimental sonics journeyman Steve Hellier, ‘Late Junction’-eer Freya Hellier and (in a sense) Steve’s late great-uncle Wally, a soldier killed in action during the World War II offensive in Italy. The inspiration is Wally’s old melodeon (rescued from his possessions after his death and kept in the family) and his handwritten notes for a piece of 1940s pop called ‘The Chocolate Soldier’s Daughter’. On accordion, Freya recreates and acknowledges some of this history while Steve passes her playing through sound processors and adds his own contributions via laptop and mixing: laced with further sound samples from the Hellier family archives, it’s a different kind of album project, surrealizing and loosening familial memory and once-or-twice-removed community history.

It’s all new enough to stop me from being able to bring you a soundclip or two, so you’ll just have to imagine your own way into this one. As compensation, here’s the original version of Wally’s old favourite…


 
Freeforming with “raw and sensitive sonic matter” (and working mostly from her own processed voice, tabletop electronics, found sounds and a Chapman Stick), electronic instrumentalist Jo Thomas explores the world around herself in a matter-of-fact manner which emerges as suggestive, obliquely sensual abstractions. By this I don’t mean erotic-sensual (although that shouldn’t be entirely ruled out). I mean that she records her impressions of atmospherics, situational weight and association, weighs them and returns them to us transformed or blanketed in evocative, unearthly, sometimes confrontational noise.

By some distance the most experimental act on the bill, Jo’s an abstract expressionist of sound. Her music takes varied shapes – the slow-evolve fluting-organ drones of 2017’s ‘Random Feathers’ (electrophonically realising her reflections on Emily Dickinson); the conglomerations of large-scale equipment hiss and rumble from a particle accelerator, as recorded and reworked on 2011’s Crystal Sounds Synchrotron; the recent Radiophonic inspirations of Natures Numbers (in which Jo follows in the blip-and-ghost-ridden footsteps of Delia Derbyshire and Daphne Oram, and adds a few of her own, a fellow traveller). At the input stage, her inspirations are clues: by the output stage, they’ve become mysteries.


 
Minus Pilots are bassist Adam Barringer and percussionist Matt Pittori: post-rockers who’ve drifted far from rock. Their sounds are gentle, post-industrial, even a little reverent. They’re the kind of holy minimalism you might get from an allegedly reformed psych-rocker sitting quietly and shaggily among the congregation towards the back of the church, secretly tonguing a decal of blotter acid as he eyes the rose window and daydreams of the ruins of an old chocolate factory. Expect hum and crackle, expect frayed fences and distant boom; expect the sound of a parched-out spiritual rinse; expect, too, the shatter of free jazz as Matt cuts a little loose.



 

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Sonic Imperfections, 13th April 2019

Continuing their Telegraph Hill Festival work this month, Sonic Imperfections are also running a sign-up and turn-up immersive event for improvisers in Telegraph Hill Park on 13th April, as part of the Festival’s 25th Anniversary Spectacular. This involves a shifting, spontaneous play-along to a silent film or two as well as providing the sonic backdrop to an audience being led around the park. If you’re interested in playing, you can put your name down here on the Facebook page.

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Dates:

Sonic Imperfections presents:
Darkroom + Handäoline + Jo Thomas + Minus Pilots
St Catherine’s Church, 102a Pepys Road, Telegraph Hill, London, SE14 5SG, England
Friday 5th April 2019, 8.00pm
– information here

Sonic Imperfections presents:
Sonic Imperfections @ Telegraph Hill Festival 2019 – 25th Anniversary Spectacular
Telegraph Hill Park (Lower Park), Pepys Road, Telegraph Hill, London, SE14 5TJ, England
Saturday 13th April 2019, 8.30pm
– information here
 

March 2016 – upcoming gigs – a polymusical London Wednesday and weekend – young Royal Academy of Music composers invade the Forge; King Capisce, Jam Tarts Choir and Grace Lightman mellow out at Daylight Music; and Nøught, Golden Oriole and Dead Days Beyond Help (with Alan Wilkinson) tear up Café Oto

9 Mar

Some gig previews for what remains of the week…

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The first of the three gigs I’m posting about here features music that’s mostly new enough not to have any videos or soundclips available… If I’m wrong about this, I’ll post a few up later, but since I’m putting the original post up on the day of the gig, if you’re going you’ll just have to go on faith…

Academy Composers at The Forge: a concert of new works by composers from the Royal Academy of Music
The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England
Wednesday 9th March 2016, 7.30pm
– more information here and here

“Join us for an exciting evening of new music and film! The concert will showcase a selection of new works by young composers, performed by the Royal Academy of Music‘s talented student ensembles and soloists. The evening will also feature a screening of new animation shorts, created during the annual collaborative project between the Royal Academy of Music and the Bristol School of Animation.”

Programme:

Short films from the Bristol School of Animation
Thomas Gibbs – Etudes Tableaux
Yuanfan Yang – Silhouettes
Maya Hishida – Three pieces for flute and piano
William ColeHer face was full of woe (for solo harp)
Matthew Olyver – Miranda’s Lesson (for mezzo soprano & accordion)
William Marsey – Three piano pieces about food
Tim Tate – Endless Present

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Daylight Music’s offering for this coming Saturday shows their knack for promoting and harbouring music which walks a line between the intriguingly arty and the lunchtime cosy. This week, they’re putting on a young singer-songwriter who melds the sex-kitten rasp of Eartha Kitt with the sinous, sensuous spiritual dissolve of a latterday Kate Bush piano ballads; plus one of those energetic pop choirs which specializes in indie hits; and finally, a band which merges indie-rock and jazz (falling somewhere between Duke Ellington, South African township jazz, the easygoing Anglo-romanticism of Perfect Houseplants and string-shredding Mogwai-ish post rock).

Daylight Music 219

Daylight Music presents:
Daylight Music 219 – King Capisce + Jam Tarts Choir + Grace Lightman
Union Chapel, Compton Terrace, Islington, London, N1 2UN, England
Saturday 12th March 2016, 12.00pm
– free/pay-what-you-want event (suggested donation: £5.00) – more information

Over to the Daylight word-of-mouth machine…

King Capisce is a five-piece from Sheffield have been moving from strength to strength in recent years, gathering praise from ‘The Guardian’ and ‘Drowned in Sound’. Tom Robinson at BBC 6Music, claims they’re “an exciting cross-genre talent, fusing jazz with other influences to create a sound that is unmistakably their own”.

The current set for 60-piece Brighton indie choir Jam Tarts Choir includes barnstorming interpretations of songs by artists as diverse as The Cure, Goldfrapp, Arcade Fire and Lambchop.

There’s something timeless about Grace Lightman. Maybe it’s that honeyed voice that ever so gently tugs at your heartstrings. Perhaps it’s those careful and considered nods to the iconic moments, faces and places of musical history….”

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The third gig rounds up jazz, prog, noise, grandeur and chaos and flings them all at the wall…

Nøught @ Cafe Oto, 13th March 2016

Nøught + Golden Oriole + Dead Days Beyond Help (with Alan Wilkinson)
Cafe Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Sunday 13th March 2016, 7.00pm
more information

“A killer, high-voltage line-up…

Nøught is a synthesis of the experimental, avant-punk, jazz-prog and noise-rock credos, distilled into the paradoxical confines of a musically volatile, instrumental power-quartet. Originally formed in Oxford in the late 90’s by eminent guitarist James Sedwards (also of Thurston Moore Group, Guapo ,The Devil), the current line-up has been based in London since 2002. Their music is profoundly exhilarating when encountered and often provokes an hypnotic sensation from an audience as their incendiary live performances can easily entice and captivate a listener, due to the highly artful, polished and demanding compositions. Pieces span the extremes of short, catchy, three minute eruptions to long, dense and evolving half-hour incantations. Nøught’s music provides an uncommonly refreshing, non-derivative sensibility and approach, and they continually astound as they develop, invoke and deliver their singularly potent blend of sonic diabolism.

“Featuring members of Norwegian noise-rock bands Staer and of Tralten Eller Utpult, skull-twisting face-melters Golden Oriole produce abstract and minimal music – musique pommes frites meets funky concrète.


 

Dead Days Beyond Help (Alex Ward and Jem Doulton) take the physical assault of rock and the free-wheeling exploration of post-idiomatic improvisation to new levels of power and density, while Alan Wilkinson comes blazing out of a saxophone tradition that includes the likes of Albert Ayler, Roscoe Mitchell, Mike Osborne, Evan Parker and Casper Brötzmann with a highly vocalized and personal style. DDBH’s most recent album (2014’s “Severance Pay” on Believers Roast Records), was described by ‘The Wire’ as “a reminder that there are still thrills aplenty to be gained from the pursuit of complexity”; and Stewart Lee has called Alan Wilkinson’s trio with John Edwards and Steve Noble “as powerful as The Stooges and as fluid as John Coltrane”. Given their collective pedigree of collaborations with such luminaries of free music and avant-rock as Derek Bailey, Thurston Moore, Tatsuya Yoshida, Talibam!, Weasel Walter and Chris Corsano, it is no surprise that when the three musicians join forces the results are brutally intense, deliriously virtuosic, and utterly untrammelled by stylistic constraints.”

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More March gigs to follow…
 

Upcoming London gigs – The Orchestra Pit’s “Scaledown #110” on Friday

24 Jun

If you’re in central London, there’ll be assorted noises in Fitzrovia this Friday evening… and so, over to the Orchestra Pit’s blurb-roll…

Gagarin + Hamilton Yarns + Gold Vox + Lisa Jayne + Bobby Barry + Bad Moth @ The Orchestra Pit‘s “ Scaledown #110” (The King & Queen, 1 Foley Street, London, W1W 6DL, UK, Friday 26th June 2015, 7.00pm – free)

Mrs June Sunshine rises and climbs majestically up the wooden staircase, gliding along the corridor until Mrs June Sunshine rests and shines her golden spotlight in the scaledown room. She shines upon each scaledown invited artist in no particular order:

Gagarin – also known for his work with Ludus, Nico, John Cale and Pere Ubu, but best loved around these parts for being one half of both Roshi (featuring Pars Radio and Low Bias), and the whole of Gagarin; Graham ‘Dids’ Dowdall is a masterful musician, whose latest album ‘AOTICP’ continues to mine and define “that sonic interface when nature comes back into the city”.

Hamilton Yarns come from Brighton and they create beautifully hand-crafted musical packages on their own hark! recordings imprint. They are Hamilton Yarns, and we are delighted to welcome them back after a five year absence.

Gold Vox are an elegant exciting recorder duo. Close undulating harmonies, mediaeval, modern, trilling and thrilling. Be blown into another dimension.

Lisa Jayne is a poet, artist, life model and one half of Map 71 (the words/drums + noise combo).

Mr Bobby Barry shall be performing compositions from his book of prose ‘Music In Text‘.

Bad Moth – be prepared to be tickled and highly amused by this eccentric accordion/violin duo who make a most welcome return to scaledown heights.

It’s free – just turn up.

Glowing House: ‘Taming Lions’ single (“beating time on a tumbledown shack”)

12 May

Out at the helm of Glowing House, Steve Varney is raw, ruffled, hollering and sounds born to run. This is just as well. Trouble is hot on his tail. “I don’t think there is a gauge that will save me – / somehow they overpower gunpowder, like it’s easy…”

The head-up single for the second Glowing House album, Taming Lions is all about the incipient, savage disaster that’s just about to crash down on Steve’s head. The band’s fall-apart folky acoustic noise catches the feeling perfectly. They sound like the kind of band which survives credit crunches, small nuclear wars and the collapse of most of the functional parts of civilization. You can see yawing flashes of light straight through the gaps in the barefoot, wind-tossed rhythms.

Besides the cluck and clunk of Steve’s banjo, the song’s a superb stomping wobble of school piano, Salvation Army brass, foggy rasps of accordion and dirty cello, and someone beating time on a tumbledown shack with a handful of big sticks. (I checked back on this – it’s actually a third of the band playing on church pews. Talk about muscular Christianity…) At the top of his carrying, celebratory bruise of a voice, Steve’s making it quite clear that he’s stuck in a rigged and increasingly dangerous game. “They gave me a ten-minute head start, and they started counting. / I need a top-notch hiding spot I can hide out in. / Don’t be fooled they’ll give you space in the chase for a reason – / they wait for the perfect minute to stop the healing.”

Off he hurtles; firing a cartoon blunderbuss for cover, and to no great effect. They keep coming. As the song bounces on, there are more than a few suggestions that what Steve’s actually fleeing are his own demons, bouncing after him like a tin can tied to his ankle. Not much hope in escaping that way. But the sheer vigor of the band – of the song itself – suggests that they’re people who thrive on this kind of peril and the energy it kicks up. This is enormous fun. Keeping one step ahead of disaster rarely sounded so lively.

Glowing House: ‘Taming Lions’
Bandcamp
download-only single
released: 8th May 2012

Get it from:
Free download from Bandcamp

Glowing House online:

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The Nazgul: ‘Plujectories/Habitually’ single (“ugly things going about their business”)

18 Sep
The Nazgul: 'Plujectories/Habitually'

The Nazgul: ‘Plujectories/Habitually’

The Nazgul – shadowy figures from the most obscure Krautrock fringes of the ’70s – are back. And lurking in full public view.  They’ve been occasional housemates of Tom Waits, and probably got the chance to have a gnaw on his bone machine. They’ve been studio ghouls scratching atmospheres out of trash and implements down in the Turkish quarter of Cologne in the mid-’70s, and they’ve been people who don’t just seem to coax sound out of the most unlikely sources, but draw it out via seance. The rumour is that they’ve even developed a way of recording ghost voices from over-amplifying the signals impinging on bare wires. And these two tracks – crouching malignantly on a new slice of black vinyl – were recorded using only voice, twenty-foot drainpipe and 270 feet of microphone cable. Oh, plus an accordion, for that homely folk edge. As if.

Forget the motorik aspects of Krautrock; forget the shapes it scratches and growls, whatever its texture. The Nazgul have taken it to a point where there’s almost nothing but texture: a rhythmless, frighteningly impure cloud of sound shot through with disturbing noises. Plujectories is a thick worm of static hiss, whirring compressor grind and bass-bin hum, scratching through your ears like a fibreglass cotton swab. Lunging ghostlike through the centre are flattened steam-whistle screeches, the shrill treble songs of nerve-fibres being burnt through, sometimes a barely-recognisable voice stretched in a submerged roar. It’s the sort of sound you’re scared to imagine a microphone collecting, because of what that implies about the world it’s listening to. You close your eyes, and imagine the solar flares burning through your house.

Habitually is more accessible. Hmmm. As if that mattered at this stage of the game. Although as soon as it’s let you in, you feel as if something dark has closed in behind you and cut you off. It’s an experience, a sound picture of an unsteady walk along a polluted foreshore. The crunching and crackling noises that slide around you could be the sand crumbling beneath your feet and dissolving under the dirty water, could be the stone and mortar of the old dock wall disintegrating like perished rubber; could even be the air frying and corroding under the malignant fumes emanating from that squat, broad, frightening factory over the estuary. Distant boats slither past on the sullen greying surface of the water, no faces showing on deck. Occasionally harsh dark chords and dischords blow out, looming up to enormous foghorn dimensions – something to flinch at. There are slammings, as of giant train doors: and, always around, the barely-there voices. Whistling, rustling, wheezing and gasping, part of the architecture of this corner of nowhere good.

But The Nazgul somehow seem to make all of this sound like… just another dark day, ugly things going about their business as the world slowly chokes on the last polluted shreds of its poisoned lifetime. One of the scariest things to consider is the fact that people can get used to anything. The Nazgul are up on the harbour wall watching you as you come to realise this, while you’re knee-deep and imperceptibly sinking in the dull sand. And they’re wraithed in smiles.


The Nazgul: ‘Plujectories/Habitually’
day Release Records Ltd., DR103
12-inch vinyl-only single
Released: July 1999

Buy it from:
Best looked for second-hand.

The Nazgul online:
No dedicated websites available.

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