Tag Archives: Anton Lukoszevieze

June 2017 – upcoming London classical/experimental gigs – Kammer Klang double event – ‘Soarings: A Salon on Else Marie Pade’ (5th June); Apartment House and Jacob Kirkegaard play Pade and Henning Christiansen, plus Vitalija Glovackyte (6th June)

24 May

The June Kammer Klang is a double event centred loosely around Danish composers Else Marie Pade and Henning Christiansen, who variously pioneered mid-twentieth century electronic music and cross-genre intermedia Fluxus experiments.

Kammer Klang presents:
‘Soarings: A Salon on Else Marie Pade’
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Monday 5th June 2017, 7.30pm
– information here and here
and
Apartment House (performing Henning Christiansen) + Jacob Kierkegaard (presenting Else Marie Pade) + Vitalija Glovackyte + Aguirre DJs
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 6th June 2017, 7.30pm
– information here and here

'Soarings: A Salon on Else Marie Pade', 5th June 2017

“The sounds outside became concrete music, and in the evening I could imagine that the stars and the moon and the sky uttered sounds and those turned into electronic music.” – Else Marie Pade.

Increasingly recognised as Denmark’s first composer of electronic music, Else Marie Pade imagined “aural pictures” during a childhood afflicted by illness, and later learned jazz piano. Operating within the Danish resistance in the Second World War while still a teenager, she was captured by the Nazis and imprisoned in the Frøslevlejren internment: an experience which must have had a long-lasting and damaging effect since it undermined her post-war attempts to train as a classical pianist. Undaunted, she concentrated on composing instead: finding her particular niche after hearing a 1952 Danmarks Radio programme on Pierre Schaeffer’s musique concrète and realising that he’d given aural shape to the same ideas she’d had as a child. From the mid-1950s she was in at the start of art programmes on Danish television, establishing a lifelong position for herself both as a Danmarks Radio producer and as a pre-eminent radio and television composer (at a time when that strand of musical work offered as much genuine creative opportunity as anything in the avant-garde).

Over the course of her lifetime Pade produced a wide variety of sensuous, stimulating electronic compositions to entwine with various broadcast work: avant-garde documentary work, audiovisual ballet and more. Having studied with Schaeffer during the 1950s, she also attended the Internationale Ferienkurse für Neue Musik in Darmstadt during the 1960s and early 1970s, studying under Karlheinz Stockhausen, Pierre Boulez and György Ligeti (and impressing Stockhausen enough that he’d use her own ‘Glass Bead Game’ piece as a lecture topic). Apparently taken for granted in her home country, Pade’s reputation was greater abroad – her work was eventually compiled in a three-LP retrospective on Important Records (‘Electronic Works 1958-1995’) in 2014, two years before her death.

Regarding the ‘Soarings’ salon:

“…”Soarings” is a rough translation of the Danish word “svævninger” – a word coined by Pade to encompass both the phenomenon of different frequencies colliding to make an interference beat, and the more poetic image of soaring through the air. The ‘Soarings’ salon event is a special opportunity to hear more about her work via talks, film screening and discussion.

“The evening begins with a talk from artist and composer Jacob Kirkegaard, a long-time friend and colleague of Pade’s. Jacob will speak about Pade’s life and work from his unique perspective, having both produced her three-LP retrospective and collaborated with her on their joint composition ‘Svævninger’ (released by Important Records in 2012, and from which the evening takes its name). His presentation will include new images (including recently digitised scores) never previously shown in public.

“The evening will include the UK premiere of Pade’s extraordinary audiovisual piece ‘En dag på Dyrehavsbakken’: one of her very earliest works, which was first broadcast in 1955 by DR (the Danish Broadcasting Corporation). It consists of pictures and sounds recorded over two summers at Dyrehavsbakken, near Klampenborg in Denmark, and also includes electronically-produced sine tones and echo effects. This makes it the first piece of musique concrete and electronic music made by a Danish composer.


 
“The salon will conclude with a panel discussion with diverse contributions and reflections on Pade’s work and its wider context from Danish musicologist (and ‘Seismograf‘ editor) Sanne Krogh Groth, sound designer/studio manager Jo Langton and ‘Wire’/’Sight & Sound’ writer Frances Morgan. There’ll also be a reading by sound artist Ain Bailey (whose work includes sonic autobiographies and investigations of both architectural acoustics and the role of sound in the formation of identity).”

Kammer Klang, 6th June 2017Jacob Kierkegaard returns for the full Kammer Klang show the following night, where he’ll be presenting Pade’s 1962 work ‘Faust Suite’, generally considered her masterpiece and described by Jennifer Hor of ‘The Sound Projector’ as “beautiful and mysterious, elegant and eerie music that can express deep solitude or wonder… a secret three-dimensional universe where the most amazing experiences may be had.” Over half an hour of sensually chiming oscillator churn (with nimble, challenging digressions of timbre, tone and emphasis), it places Pade’s work in parallel to the electrophonic imaginings of Delia Derbyshire and Daphne Oram – similarly thoughtful, similarly detailed and discursive; part of a wave of highly individual and original female composers and sonic réalisatrices with much of their work taking place within broadcast media, dancing apart yet in step.


 
Opening the show is composer/performer Vitalija Glovackyte, who “creates deep-felt chirpy music, bringing together conventional and homemade instruments, electronics, lo-fi devices and visuals. Her works span intimate solo sets and large-scale multimedia performances. Aside from her solo work, Vitalija co-runs the Almost Credible Music Ensemble and is one-half of the experimental pop duo Kinder Meccano.”


 
The track above stems from an eighteen month residency Vitalija spent with modern chamber ensemble Apartment House, who are also contributing to the evening in a seven-piece formation of Gordon MacKay (violin), Lucy Railton (cello), Frank Gratkowski (bass clarinet), Simon Limbrick (percussion), Kerry Yong (keyboard/piano), Loré Lixenberg (voice) and AH founder Anton Lukoszevieze as conceptualizer and director. They’ll be presenting the UK premiere of Anton’s adaptation of ‘Requiem of Art (NYC) – Fluxorum Organum’, a Henning Christiansen piece originally performed in 1967 (and reworked three years ago by Anton for an Ultima New York performance).

An adherent to the Fluxus art movement, Christiansen spent his artistic life rejecting standard distinctions of stylistic boundaries (including those between nominally different art forms) and the concept of the lone genius. Instead, much of his work was based on direct, implied or encouraged collaboration, whether he was encouraging others to freely interpret his ideas or whether he was actually working in equalized tandem with another artist. In its original form, ‘Fluxorum Organum’ is an example of the latter situation (having been created as the soundtrack portion to a film collaboration between Christiansen and conceptual art godfather Joseph Beuys) while its Lukoszevieze reinterpretation brings it back under the first method. You can view the original Beuys/Christiansen collaboration below:


 
The month’s Kammer Klang DJ slot is taken care of by representatives of Belgian record label/mail order distributors Aguirre who release and/or stock a wide range of electronic, ambient, experimental to rock, jazz, new wave and reggae. (including Pade and Christiansen recordings plus reissues from the revered French avant-garde record label Shandar. They’ll be playing various selections both from their catalogue and from their enthusiasms.
 

Programme:

Fresh Klang: Vitalija Glovackyte
Henning Christiansen – ‘Requiem of Art (NYC) – Fluxorum Organum’ (1967-68) adapted by Anton Lukoszevieze for Ultima New York at Issue Project Room, 2014 (UK premiere) – performed by Apartment House
Else Marie Pade – ‘Faust Suite’ (1962) performed by Jacob Kirkegaard
DJs: Aguirre
 

October 2016 – upcoming London gigs – two-part experimental concert from Laura Steenberge, Michael Winter and friends at IKLECTIK and Hundred Years Gallery (7th & 9th)

5 Oct

Two Los Angeles composer-experimentalists – Laura Steenberge and Michael Winter – flit between two London art-music venues at the end of this week, joining forces for a two-part concert.

‘Open… and perhaps not yet fully formed’, 7th & 9th October 2016Mira Benjamin presents:
‘Open… and perhaps not yet fully formed’ (with Laura Steenberge and Michael Winter)

  • Part I – IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England, Friday 7th October 2016, 7.30pm – information here and here
  • Part II – Hundred Years Gallery, 13 Pearson Street, Hoxton, London, E2 8JD, England, Sunday 9th October 2016, 3:30pm – information here and here

The two visiting musicians make an interesting and complementary pair. Laura’s linguistic training backs up her musicality and instills a curiosity about the roots of communication, with her ‘Chant Etudes’ series attempting to recreate or recapture a “deep past, when the idea of a musical instrument was not yet fully formed.” Making and playing rudimentary part-salvaged instruments (which combine standard recorder or trumpet mouthpieces with flexible metal or plastic piping), Laura blows and sings into them while also whirling them, combining simple and complex harmonies from instrument and voice while participating in a sound which she partially controls and partially doesn’t. It conflates ideas of natural wind sound, air-hung instruments which play without human intercession (such as Aeolian harps) and human attempts at music making which suggest both the pre- and post-industrial. There’s a mystical element too, as Laura deliberately searches out “the secret vibrations hidden among the controlled tones.”

 
As for Michael, he’s more computationally-minded: setting out his algorhythmic pieces via scores involving minimal standard notation, or minimal graphical cues, or succinct but meticulous lines of text, and drawing structural elements from other disciplines (science, architecture, mathematics, different art fields). Both concerts will feature a performance of Michael’s ‘for Sol LeWitt’ – a text score piece for solo glissando and four sustained tones, which on these occasion will be performed with at least one amplified/processed violin. (Perform it yourself, right now, using any available sound source, from the instructions here – otherwise, cop a listen to the slow-evolving version below).


 
Four London-based players are joining in on both occasions, fanning the event out out into a loose potential sextet. Two of these are avant-garde violinists – prepared-instrument/improv doyenne Angharad Davies; microtonal specialist Mira Benjamin. The remaining two are objects-and-electronics player John Lely and fellow object botherer/roving conceptualist/sometime pianist Tim Parkinson.

I’m being more than a little glib and flippant in my descriptions here. Just think of them as being like the tabs in a pop-up book, something which you pull out to unfold the details what these assorted players really do – a cascade of directions and deconstructions springing off from the music and situations they engage with. Many of the ensemble are also active encouragers or curators of New Music – Mira through the vigorous commissioning and nurturing of new compositions, as well as serving as the impresario for these two ‘Open…’ shows; others through running various performance nights in LA or London (Michael’s experimental institution the wulf.; the ‘Music We’d Like to Hear‘ series which John and Tim run with Marcus Trunk).

In addition, two ‘Music We’d Like to Hear’ semi-regulars – double bass player/onetime Oxford Improviser Dominic Lash and cellist/Apartment House founder Anton Lukoszevieze – will join in for the second concert. (Anton will be playing John Leles’ self-descriptively-titled ‘The Harmonics of Real Strings’).


 

* * * * * * * *

Beyond the pieces I’ve mentioned before, the programmes vary between the concerts, although the general brief is “simple processes and open forms.” One inclusion will be another Michael Winter piece (the rhythmic three-line drone-counterpoint process ‘tergiversate’). Another will be a second John Leles composition, ‘All About the Piano’, in which the initial piano lines are recorded onto a series of dictaphones as they’re played, and are then replayed later on in lo-fi over the top of later lines. (This enables the piece’s history to repeat – the first time as grace, the second time as what sounds like a distant, distracting coterie of ice cream vans.)



 
Tim Parkinson will be contributing two brand-new pieces – ‘No. 4’ and ‘No. 5’ – about which he’s not provided any information. Having recently composed an almost actionless opera with a combined orchestra-pit-cum-stage-set of trash and rubble, without any music (bar stolen snippets of Handel and Rossini as performance bookends), and which mostly consists of the performers wading through the wreckage, he’s arguably the most playful of the composers contributing to ‘Open’. Expect anything; and then expect to see that anything dismantled.

Outside of music sourced by the ensemble members themselves, ‘Open…’ will see a performance of one of the Circular Music piano pieces by Swiss composer Jürg Frey (a member of the Wandelweiser Group, who pursue a John Cage-inspired integration of silence and humble reticence into composition). ‘Circular Music part 6’ is part of a series in which Frey seems to have been skirting around the avant-garde composer’s fear of (or suspicion of) virtuoso cliché or cultural determinism – aiming instead to naturally compose something which is both starkly simple and, at the same time, significant.

In an interview with Sheffield record label Another Timbre, Frey expanded on this by talking about how he was “looking to find a confidence in chords, dyads and single notes… I hope that accordingly they will resonate with confidence. This applies to every material, whether stones or a piano, but with the piano it seems to be more challenging because of the clarity of the material and how the instrument itself suggests it should be used.” (Full interview text here, while one of the other Circular Music pieces is linked below.)


 
The last piece confirmed for the concert (although there should be others) is ‘Another’, by Christian Wolff: conceptual composer, final survivor of the Cage-led New York School of experimental classical, a muso-political provocateur in step with Cornelius Cardew, and an avowed influence on both Tim Parkinson and John Leles. ‘Another’ isn’t a piece I can actually find in Woolf’s catalogue. It may well be a version of his floating, fragmentary but surprisingly lovely nine-minute electric guitar piece ‘Another Possibility’, which is and was a response to a 1966 piece which Woolf’s friend Morton Feldman had composed for him to perform on electric guitar (despite Woolf’s own unfamiliarity with the instrument).

Woolf would later recall the process of making ‘The Possibility Of A New Work For Electric Guitar’ as “we immediately set to work, (Feldman) at the piano, playing a chord: “can you do that?” I could. “How about this?” With some contortions (the guitar was laid flat so I could better see what I was doing – I’m not a guitar player, and this way I could finger and pluck with either hand), yes.”This?” Not quite. “Now” (with changed voicing, or a new chord)? Yes. And so on, until he had made the piece. Tempo was slow and dynamics soft, the structure dictated by the amount of time we were able to concentrate on the work. The sound, the chords or single notes, were reverberations set off by his (characteristic) piano playing, feeling for a resonance, then confidently transferred to the guitar within that instrument’s capacities (sometimes adding one of its particular features, the ability to make small slides with a vibrato bar).” Woolf only performed Feldman’s composition three times before both guitar and the manuscript were stolen from his car the following year – but he’d subsequently use the memory of the lost piece for inspiration.

Incidentally, three years after Woolf composed ‘Another Possibility’ (and some forty years after the theft), a recording of the stolen Feldman score was recovered, and it was subsequently transcribed and put back into the repertoire. The full story is here, and you can compare the two related pieces below – ‘Another Possibility’ via an interesting effect-sprinkled performance (Andy Summers-gone-avant-garde) by Swiss omin-guitarist Gilbert Impérial, and the original Feldman ‘…Possibility…’ in a straight, reverent reading by Japanese classical/electric crossover player Gaku Yamada.



 
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Here’s a quick rundown of ‘Open…’ again.

Performers:

Laura Steenberge (objects and voice)
Michael Winter (guitalele, objects, electronics)
Mira Benjamin (violin)
Angharad Davies (violin)
John Lely (objects, electronics)
Tim Parkinson (piano, objects)
Dominic Lash (double bass – Part 2 only)
Anton Lukoszevieze (cello – Part 2 only)

Programme:

Part 1 includes:
Laura Steenberge – The Chant Etudes
Michael Winter – for Sol LeWitt
John Lely – All About the Piano
Jürg Frey – Circular Music No. 6
Tim Parkinson – No.4 (2016) & No.5 (2016)

Part 2 includes:
Laura Steenberge – The Chant Etudes
Michael Winter – tergiversate
John Lely – The Harmonics of Real Strings
Michael Winter – for Sol LeWitt
Christian Wolff – Another
 

December 2015 – upcoming gigs, London & elsewhere – Serafina Steer & Bas Jan at Kings Place; assorted Others cabaret from punk to accordiana with The Bohemianauts and Bad Fractals; a Lost Map afternoon with The Pictish Trail/Seamus Fogarty/Tuff Love/Kid Canaveral at Daylight Music; Thumpermonkey, The Mayors Of Miyazaki and Lolita Laytex hit The Albany in Deptford; and the 2015 London Contemporary Music Festival part 1 (sounds for and from London, West Coast America and the time continuum). Plus the return of Mark Mulholland and Craig Ward in a Scottish village hall; Olga Stezhko in a Staffordshire chapel; and Rocket From The Tombs in London and Leeds.

6 Dec

The end of the month, and the year, is nigh – so what are we looking forward to this week?

Mulholland, Ward, Sissoko & D'Hoine @ Ford Village Hall, 8th December 2015

Mark Mulholland, Craig Ward, Yacouba Sissoko & Hannes D’Hoine (Ford Village Hall, Ford, Argyll, Scotland, Tuesday 8th December 2015, 7.30pm) – £5.00 minimum – information – tickets on the door

Back in 2012, two wandering Scottish singer-songwriter-guitarists – Mark Mulholland (ex-Two Dollar Bash) and onetime dEUS member Craig Ward – quietly released one of the finest records of the year. A compelling murmur of acoustic guitar folk, ‘Waiting For The Storm’ was soaked in the Scottish and British folk-baroque of Davey Graham, Pentangle and John Martyn but, in its settings of moist heat, tin roofs, typhoons and dark forces, it was also informed by the Haitian setting of Port-au-Prince, Mark’s home for the previous two years. Some of you may remember that I liked it.

With Mark now relocated to Mali and Craig settled in the little Argyll village of Ford, the duo are collaborating on a follow-up (provisionally called ‘The Darkness Between The Leaves’) on which they’ll be joined by Flemish double bass player Hannes D’Hoine – who played the Danny Thompson anchor-cable role on ‘Waiting For The Storm’ – and by Mark’s newest collaborator, the Malian djely and multi-instrumentalist Yacouba Sissoko, a master kora and ngoni player. The quartet have been preparing and recording in a number of different countries, and the end of the Scottish sessions will be marked by a Ford performance both taking place in and raising funds for Ford Village Hall, with prices set on a pay-what-you-like basis starting from five pounds.

In its quiet way this should be one of the gigs of the year, so if you’re in western Scotland and have a free Tuesday evening, consider heading over to Ford (at the south-western end of Loch Awe, north-west of Glasgow, with the nearest substantial town being Kilmartin.) If you miss this one, they’re playing again in Glasgow at 7.00pm on Wednesday 9th; a low-key gig at the Hidden Lane Gallery in Finnieston.

* * * * * * * *

After that – for me – the week doesn’t pick up until a very busy Friday and weekend. Too subjective, probably. Here we go, anyway.

Serafina Steer & Bas Jan (Hall Two @ (Kings Place, 90 York Way, Kings Cross, London, N1 9AG, England, Friday 11th December 2015, 8.00pm) – £9.50-£12.50 – information & tickets

The hitherto independent worlds of contemporary harp music and experimental kraut-pop will collide – or at least bump each other – in this concert of two halves by harpist/songwriter Serafina Steer and her new band Bas Jan.

After a few years of mainly only using the harp for her own writings, Serafina went on a roadtrip around Eastern Europe busking, discovering and rediscovering pieces along the way. The result of this experience will form the first half of the programme, which will feature compositions by Richard Barratt (‘tendril’), Benjamin Britten (‘Suite For Harp’), Stephen Dodgson (‘Fantasy’), Rhodri Davies (‘Aqcua Alta’) and Serafina’s own father Michael Maxwell Steer (‘Grovelly Wood’)

The second half of the show will be a performance by Bas Jan, Serafina’s latest collaborative project in which she plays bass guitar and keyboards and writes minimally arranged songs about the Essex coast, the Anglo-Saxons, sex, part-time work and love; with sound artist Sarah Anderson playing violin and OP1 mini-synthesizer and performance visual artist Jenny Moore playing drums (all three women also sing). Bas Jan’s first gig was to six thousand people at Brixton Academy and since then they have gone on – via support slots for Xylouris White and The Decemberists – to entertain smaller and smaller audiences.


 

On the same night, one of ‘Misfit City’s favourite classical musicians is spreading her own particular musical gospel up in Staffordshire:

Olga Stezhko (Abbotsholme Arts Society @ Abbotsholme School Chapel, Rocester, Uttoxeter, Staffordshire, ST14 5BS, England, Friday 11th December 2015, 8.00pm)information – limited number of tickets available, phone 01543 263 304 for details

Olga Stezhko, 2015Following up her recent debut performances at both the Wigmore and Bridgewater Halls (at which she performed full or partial versions of her ‘Lucid Dreams‘ assemblage, a programme of music exploring people’s changing perception of reality from childhood through to adulthood), classical pianist and multi-disciplinary thinker Olga Stezhko is bringing her sophisticated, metaphysical perspective and repertoire to the audience at Abbotsholme.

On this occasion, her choice of music is a little more conventional (leaning on well-established favourites by Mozart, Bach and Prokofiev rather then stretching to the Sophia Gubaidulina pieces she was playing last month). However, there’s still room in the programme for work by one of her compositional touchstones, Alexandr Scriabin; and you can be assured that whichever pieces Olga plays will have been carefully thought out and put into context as part of a programme intended to inspire thought and broader conceptual connections as well as straightforward musical enjoyment.

Programme:

Wolfgang Amadeus Mozart – Sonata in B flat major, K.570
Johannes Brahms – Six Pieces, Op.118
Alexandr Scriabin – Two Dances Op.73; Five Preludes Op.74; Vers la flamme Op.72,
John Adams – China Gates
Sergei Prokofiev – Sonata no.4 in C minor, Op.29

Back in London, meanwhile, there’s cabaret afoot, plus breathless press releases.

Bad Fractals vs Bohemianauts @ The Others, 11th December 2015

The Bohemianauts + Bad Fractals (Bohemiocracy @ The Others, 6-8 Manor Road, Stoke Newington, London, N16 5SA, England, Friday 11th December 2015, 8.00pm) – £8.00-£10.00 –  information & tickets here and here

An epic face-off between two amazing, unique and bizarre bands.

Bad Fractals are shaman gangsters shooting bullets of love, tearing their way through acid punk, malevolent music hall and trailer-trash blues in a world gone mad. Join us at the crossroads, in a theatre of the absurd: hear story and song shift with the wild wonder of fractals! Watch psychedelic punks get drunk with clown kings! Glare at artificial angels dancing with deadbeat demons! Gasp as astral travellers gather in galactic taverns!

The Bohemianauts are decadent divas of demi-monde carnivalism, playing weird waltzes, pithy polkas and rollicking rhumbas: they will take you on a theatrical musical journey through strange landscapes with absurd humour, exquisite noise and songs of unrequited dread. Tonight they will unleash their female alter-egos, as they parade in their geezer-bird finery, performing for your pleasure as the rarely-seen Bohemianauts – Drag-ed on Stage. (Trigger warning: Bearded Drag.)

PLUS – Visuals and projections from Jaime Rory Lucy‘s Rucksack Cinema and half-time performance interventions from Oleg the Mystic.


 

Friday also sees the start of the London Contemporary Music Festival, which (as if it were part of a conspiracy theory) is lurking in a giant underground bunker near Baker Street…

LCMF 2015: ‘Collective Capital’

LCMF 2015: ‘Collective Capital’ (London Contemporary Music Festival 2015 @ Ambika P3, University of Westminster, 35 Marylebone Road, London, NW1 5LS, England, Friday 11th December 2015, 6.30pm) – £11.25 – information – tickets

London takes centre stage in our opening night, as we celebrate the exploratory fringes of the city’s music scene and the collective imperative that has been a spur to some of the capital’s greatest experiments. The proliferation of collectives among young musician-composers is reflected in new commissions from some of the most adventurous of these musical laboratories. The night will include premieres from Charlie Hope and Jamie Hamilton   (a.k.a. Topophobia), Neil Luck (performing with his Squib Box ensemble) and John Wall & Tom Mudd (Utterpsalm and Contingent Events). We hear recent work by composers Edward Henderson (Bastard Assignments), Shelley Parker and the artist duo Claudia Hunte. We welcome an iconic figure and chronicler of London’s musical edgelands, David Toop, and offer a live improvisation from Poulomi Desai (Usurp), who started the Hounslow Arts Co-op at the age of 14.

We also offer a world premiere from artists Richard Wilson and Anne Bean. In the 1980s, Anne, Richard and Paul Burwell formed the legendary Bow Gamelan Ensemble, enthralled by the aural poetry and parallel visions of the Thames. Now, Wilson and Bean enter the territory as W0B. Theirs is a world that cracks and splinters and grinds into being as it races backwards and forwards through friendships of forty years. ‘NALEMAG’ becomes the totemic incarnation of their endless scrabbling around boat-yards, scrap-yards, gas depots, pyrotechnic munitions, voyages on many rivers in countless vessels and a frenzy of carrying, welding, investigating and making across the planet. The trajectory culminates with a landmark new AV performance from south London’s Visionist, whose singular language emerges from the fragmentation of dubstep and grime.

Programme:

David Toop – Many Private Concerts
Anne Bean/Richard Wilson – NALEMAG (world premiere)
Poulomi Desai – Vermillion Sands (world premiere)
Neil Luck – Via Gut (world premiere – LCMF commission)
Jamie Hamilton/Charlie Hope – New work (world premiere)
Edward Henderson – Tape Piece
Claudia Hunte – The Elephant In The Room Is Afraid Of Dying
Shelley Parker – Live set
John Wall – Live set
Tom Mudd – Live set
Visionist – Live set (AV)

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On Saturday, there’s what looks like a particularly engaging Daylight Music afternoon, with the return of a familiar face…

The Pictish Trail & other Lost Map artists at Daylight Music, 12th December 2015

Daylight Music 210 – The Pictish Trail + artists from the Lost Map label: Seamus Fogarty + Tuff Love + Kid Canaveral (Union Chapel, Saturday 12th November 2015, 12.00pm) – free (suggested donation £5.00) – information

Wrapping up this season of Daylight Music are Lost Map; a loose-knit DIY label/collective from the Hebrides founded by alt-folk troubadour, Johnny Lynch, a.k.a. The Pictish Trail. For this special Christmas show, Johnny will be ice-skating back to the mainland, bringing a selection box of pals from his Lost Map roster, for a cosy festive afternoon of stripped back acoustic merriment, frost-bitten Casio hymns, and mulled-tea fuelled carols.

While The Pictish Trail often comes across on record as an eerie digifolk creation (like a Scottish oil-town-and-fishing-port David Lynch, with that surreal supernatural undertow suffused by Gaelic angst rather than Americana), anyone who’s caught one of the live acoustic shows will know that Johnny has an altogether more joyous side as unplugged strummer. Many of his tales may be based on shyness, grief and confusion, but I’ve seen few people who take such unalloyed pleasure in warming up and including an audience the way he does. For a reminder of this, have a read of my review of his last Daylight Music appearance back in January… and see below.

Mayo-born but London-based, Seamus Fogarty plays and sings his own soulful version of contemporary Irish folk, dabbled with electronic found sound. His output’s been described as “songs about mountains that steal T-shirts, women who look like dinosaurs and various other unfortunate incidents” and as “summoning all manner of odd noises and audio ghosts”. Taken from his current album ‘God Damn You Mountain’, here’s Rita Jack’s Lament, which showcases all of his various tendencies to the maximum.


 

Glaswegian fuzzy-pop duo Tuff Love represent Lost Map’s more-out-and-out indie rock side, although their cottage-industry approach (recording and producing everything at home themselves rather than chasing studios and jaded professional engineers) reflects the label’s d-i-y philosophy. Julie Eisenstein and Suse Bear (augmented for concerts by Phantom Band drummer Iain Stewart deliver “dazzling, sun-streaked guitar pop songs with mesmerising lyrics, heart-wrenching vocals and dreamy melodies like the sound of pure summer.” Over a scant few years of existence, they’ve already supported Paulo Nutini and Ride and played several overflowing handfuls of rock festivals. ‘Resort’ – a not-quite-debut album pulling together the three EPs that Tuff Love have put out so far – is out in January, but meanwhile here’s what will either be a reminder of their existing delights or an introduction to their world: somewhat shoegaze-y but with mischievous glimpses up through the eyelashes.

Edinburgh four-piece Kid Canaveral (whom Lost Map described as “ADHD pop splendour”) met at university in St Andrews and have been playing together ever since. Imaginative alternative pop, they manage to recall the early-‘80s cleverness of Postcard Records pop or the ramshackle poignancy of Belle & Sebastian without actually sounding much like either. It’s more a matter of spirit, a discreet but inclusive sophistication which reaches out, brushes your arm and invites you along. Two albums in, with a third in preparation, they’re a delightful discovery whenever you happen to encounter them. Their clever videos are a treat, too – here are a couple of tastes below, the first of which had my four-year-old son continually tapping the replay button.


(For anyone who wants a more substantial dose of Kid Canaveral, note that they’re playing a full set at the Shacklewell Arms on the evening of the same day.)

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On the Saturday evening, you’ve got your pick of twisty London rock and West Coast American art music (plus Rocket From The Tombs, but I’ll come to them shortly…)

Thumpermonkey @ The Islington, 30th July 2015

Thumpermonkey + Mayors Of Miyazaki + Lolita Laytex (Something’s Gonna Happen @ The AlbanyDouglas Way, Deptford, London, SE8 4AG, England, Saturday 12th December 2015, 7.30pm) – £3.00-£5.00 – information – tickets on the door

Welcome back everybody: and once again we have two superb outfits centre stage, Thumpermonkey (heavy progressive music) and Mayors Of Miyazaki (DIY 3-piece based in south London, guaranteed to spit and sweat on us at close quarters). The lovely Lolita Laytex will be joining us to add the flavour of burlesque. Yes, people of the universe, with all those ingredients in store, you know the score: £3.00 concessions and a fiver on the door. Bring ya skin!

I’ve said quite a bit about Thumpermonkey over the course of the year. Grand, clever and atmospheric, they also have enough sly, self-aware wit and humour to undercut all of the previous. They’re also tricky to pigeonhole – a band who create intricate catastrophe epics (part Radiohead, part Van der Graff Generator) but also trill the occasional Mastodon cover in the style of early Kate Bush; a prog band with a singer who sounds like an old-time theatrical knight, but also a noise band who happen to wrap their wildness into tightly-composed structures; geeky popcorn information omnivores drawing from Jodorowsky to Lovecraft to William Gibson, but salting it with Chomsky and science magazines before whipping it up into artful tornados of song. This little sample here is both characteristic and unique within what Thumpermonkey do, which in itself probably tells you all you need to know.


 

I don’t think Mayors Of Miyazaki have been in here before, but they should have been. In their way, their music’s as grand and complex as that of Thumpermonkey and even more enthused by its options. It’s punk with all the chains blown off, joyriding math-rock, de-Ritalined bratprog. A typical song sounds like both chase sequence and protracted explosion: spiky, switch-and-swap assemblages of guitar parts doubling back through alleys and charging halfway up walls, over which sibling team Gareth and Claire Thomas declaim a punky boy-girl barkathon, a speaky-drawl of sparking thoughts. Fugazi and The Fall both might be in there, though you could also pull Bis and long-lost ‘90s psych tanglers The Monsoon Bassoon out of the root cluster.


 

I don’t know much about Lolita Laytex except that she’s a fetish model as well as an alternative burlesque performer and fetish model. Not much information about a third-stream digression into music: so perhaps you should expect something sensual and mobile, which squeaks a little when it flexes. (UPDATE, 10th December – Well, that’s that laboured gag wasted. Lolita’s off the bill, replaced by Deptford punk-poppers The Kill Raimi’s. Some video evidence below…

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The second London Contemporary Music Festival night sees the series take a broad stylistic and historical sweep across twentieth and twenty-first century California (with one digression to Alaska, so it’s not all sun.)

LCMF 2015: ‘West Coast Night’

LCMF 2015: ‘West Coast Night’ (London Contemporary Music Festival 2015 @ Ambika P3, University of Westminster, 35 Marylebone Road, London, NW1 5LS, England, Saturday 12th December 2015, 6.30pm) – £11.75 – information – tickets 

The second night of LCMF 2015 is dedicated to the music of the American West Coast, an exploration of 100 years of musical non-conformism, from the piano insurrections of Henry Cowell to the deep listening of Pauline Oliveros (performing her own music on v-accordion). Oliveros is joined by another founding legend of the pioneering San Francisco Tape Music Center, Morton Subotnick, who presents a solo Buchla set and the UK premiere of a 1960s Tape Center composition with a film by Tony Martin. Another composer associated with the Tape Center was Terry Riley, whose ‘Keyboard Study No. 2’ gets a rare outing.

Alongside this we zig-zag through the experimental landscape, calling on John Cage‘s concussive ‘First Construction (In Metal)’, which premiered in Seattle in 1939, John Luther Adams‘s monumental ‘Among Red Mountains’ and Catherine Lamb‘s subterranean ‘Frames’. We excavate two gems from California’s 1980s computer music scene, Maggi Payne‘s ‘Flights Of Fancy’ and Carl Stone‘s ‘Wall Me Do’. On the fiftieth anniversary of the Watts Uprising we present an extremely rare performance from Otis O’Solomon, whose collective The Watts Prophets emerged from the rubble of that uprising and helped lay the foundations for hip-hop.

Programme:

Henry Cowell – The Banshee (for piano) – performed by Gwenaëlle Rouger
John Cage – First Construction (in Metal) (for percussion ensemble) – performed by PERC’M and Serge Vuille
Morton Subotnick/Tony Martin – PLAY! No. 3 (1965) (UK premiere)
Terry Riley – Keyboard Study No. 2
Maggi Payne – Flights of Fancy
Carl Stone – Wall Me Do
John Luther Adams – Among Red Mountains (for piano) – performed by Gwenaëlle Rouger
Catherine Lamb – Frames for cello & bass recorder (UK premiere) – performed by Anton Lukoszevieze/Lucia Mense
Otis O’Solomon – Selected poems
Pauline Oliveros – Pauline’s Solo (1992)
Morton Subotnick – solo Buchla set

 

 

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On Sunday, the third LCMF event has a polycultured and temporal feel:

LCMF 2015: ‘Five Ways to Kill Time’

LCMF 2015: ‘Five Ways To Kill Time’ (London Contemporary Music Festival 2015 @ Ambika P3, University of Westminster, 35 Marylebone Road, London, NW1 5LS, England, Sunday 13th December 2015, 6.30pm) – £11.75 – information – tickets 

Time is stretched, bent and finally dissolved in ‘Five Ways To Kill Time’. Sound artist Ellen Fullman opens the night with a UK premiere of The Watch Reprise, which will be performed on her 50-foot Long String instrument that one writer compared to “standing inside a giant grand piano.” Ethiopian composer, pianist and nun Emahoy Tsegué-Maryam Guèbrou makes her first visit to the UK to perform a selection of her intimate piano miniatures that seem to drift through space. Plus Minus Ensemble, meanwhile, offers up the intricate and disorientating world of Bryn Harrison‘s ‘Repetitions In Extended Time’ (conducted by Mark Knoop and featuring strings, organs, piano, guitar and clarinet). Mixing spoken text and music, theatre maker Tim Etchells (Forced Entertainment) and violinist Aisha Orazbayeva offer a set of fragmentary improvisations in ‘Seeping Through’, a work fresh from a critically acclaimed run at the Edinburgh Fringe. We end with a time-obliterating live set from doom pioneer Stephen O’Malley, whose work within and beyond his seminal group Sunn O))) exists in a kind of transcendent stasis.

Programme:

Emahoy Tsegué-Maryam Guèbrou – selected piano works
Bryn Harrison – Repetitions in Extended Time
Tim Etchells/Aisha Orazbayeva – Seeping Through
Ellen Fullman – The Watch Reprise (world premiere)
Stephen O’Malley – live set


 
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And finally…

Rocket From The Tombs, 2015

Rocket From The Tombs + Luminous Bodies (Baba Yaga’s Hut @ The Brewhouse, @ London Fields Brewery, 369-370 Helmsley Place, South Hackney, London, E8 3SB, England, Saturday 12th December 2015, 8.00pm) – £19.25 – informationtickets

Rocket From The Tombs (Brudenell Social Club, 17 Brudenell Road, Leeds, LS6 1HA, England, Sunday 13th December 2015, 8.00pm) – £17.60 – informationtickets

In their initial lifetime they never got past a series of scorching mid-‘70s gigs in their Cleveland hometown (plus a handful of demos and radio sessions). Yet Rocket From The Tombs have long been counted as proto-punk ancestors, kicking up a frumious Velvets-and-Stooges racket long before every other garage band was doing it. These days, onstage rock rage is quotidian; when Rocket From The Tombs brought it to the gig, it was a revelation. Following a headstrong and punchy split, they even spawned several other key bands. Main ranter David Thomas, doomed-and-driven guitarist Peter Laughner and soundman-turned-bass-player Tim Wright would create the first lineup of Pere Ubu. Second guitarist Cheetah Chrome and drummer Johnny Blitz hooked up with Stiv Bators and others to form hardcore punk pioneers Dead Boys. The rest was bootlegs and rumbling mythology. Rocket From The Tombs became one of the ur-bands, a surviving impression holding its ghostly mark but pushing onwards, providing inspiration above and beyond its initial ideals.

Rocket From The Tombs/Luminous Bodies @ Baba Yaga's Hut, December 2015By the ex-members’ accounts, being in the band had been a short, brutal and vivid experience; but it seems that there may also have been an unspoken, slow-burning sense of unfinished business. Twenty-eight years later, in their grizzled early fifties, and with plenty of other experience clocked up, most of the surviving band members (minus the retired Blitz and the long-dead Laughner) reunited for piss-and-vinegar-fuelled gigs, a long-delayed debut album and an actual afterlife. Although Laughner’s initial replacement (ex-Television guitar star Richard Lloyd), left in 2011 and a tour-burned Cheetah Chrome is now opting to sit out the live gigs, Rocket From The Tombs are still going – very much the garage end of Cleveland’s infamous avant-garage, making the most of this ornery self-driven second shot while bleeding in lessons learned from Pere Ubu and elsewhere.

The band have never played in Britain before, something which is being remedied with these two gigs in Leeds and London. In an interview with ‘The Guardian’ earlier this year, a currently chair-bound David Thomas growled “I’m approaching the end of my life, I’ve got my foot to the floor and I’m going to be going full speed ahead when I hit the wall.” It’s probably worth your while coming to one of these shows to check out his main accelerant.

There’ll be no support band at the Leeds gig, but in London things will be warmed up by Luminous Bodies, a “knuckle-dragging rock & roll” supergroup stealing members from Part Chimp, Terminal Cheesecake, Ikara Colt and others. See below.

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And that’s that. More coming shortly with the remaining December gigs and the seasonal parties… keep warm…

 

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