Tag Archives: Bastard Assignments (event)

March 2018 – London classical gigs – composers fresh from the Royal Academy of Music (20th); an International Women’s Day event for London Composers Forum (8th March); an evening with the Ligeti Quartet and cyberpianist John Kameel Farah (14th March); ‘Rise Of The Machines’ at the Converge Festival fuses classical music and artificial intelligence (18th March)

21 Feb

London Academy of Music: Composer's Platform, 20th March 2018Late in March, the composition department of the Royal Academy of Music makes its way over to IKLEKTIC for “an evening of cutting edge new music, specially written for academy performers. The concert will showcase a hugely diverse range of musical influences. Come along and hear new music from the next generation of composers.” No names have been announced yet… but then, that’s part of the point. Come and be in at the start of some new careers.

Just under two weeks earlier, the London Composers Forum will be running a Composer’s Voice event for March, coinciding with International Women’s Day, with a concept which speaks for itself:

The Composer's Voice (IWD), 8th March 2018“This concert will feature exclusively new live and recorded music composed by the female members of LCF, performed by women. With a mixture of choral, vocal and instrumental pieces, it is sure to be full of variety and interest.

“There will be a discussion on the theme of “music by women” between the composers and performers that we hope the audience will participate in also; and an opportunity to discuss several hot topics relating to IWD, music by women, parity and what happens next…”

The LCF IWD event is free and open to all. Forum composers involved and represented are Janet Oates (director of and participant in the Philomel soprano sextet), wind multi-instrumentalist Liz Sharma, Miriam Mackie (founder of Illumination Chamber Choir), experimental performer and Bastard Assignments cohort Caitlin Rowley, singer/actor/songwriter Jane de Florez, Zillah Myers (a member of and repertoire contributor to The Addison Singers who’s also composed for Bude Choral Society) and Pamela Slatter (who’s composed for the London Concert Choir and, more recently, has set Edward Lear’s ‘The Pobble Who Has No Toes’).

Royal Academy of Music presents:
Royal Academy of Music: Composer’s Platform
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Tuesday 20th March 2018, 7.00pm
– information here and here

London Composers Forum presents
The Composer’s Voice: Music and Discussion for IWD 2018
Tea House Theatre, 139 Vauxhall Walk, Vauxhall, London, SE11 5HL, England
Thursday 8th March 2018, 7.30pm
– information here and here

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Taking a break from performing on ice sculptures and space shuttles in favour of a pub backroom, the Ligeti Quartet have set up a regular monthly gig with Nonclassical in Dalston, to showcase contemporary exploratory string music.

Ligeti Quartet + John Kameel Farah, 14th March 2018

Nonclassical presents:
Ligeti Quartet + John Kameel Farah
The Victoria, 451 Queensbridge Road, Hackney, London, E8 3AS, England
Wednesday 14th March 2018, 8.00pm
– information here and here

This March, they’ll be presenting the European premiere of Anna Meredith’s ‘Tuggemo’), as well as performances of Kate Whitley’s ‘Lines’, Christian Mason‘s ‘Eki Attar’ and Tanya Tagaq‘s ‘Sivunittinni’ (as originally rendered by the Kronos Quartet, with the strings emulating Tagaq’s barrage of Inuit vocal effects via an array of frictional and percussive bow techniques devised by arranger Jacob Garchik).

Here’s a clip of the Ligetis performing an earlier Meredith work, plus the original Kronos performance of ‘Sivunittinni’, an earlier Kate Whitley strings-and-piano piece, and Christian Mason’s ‘Aimless Wonder’.



 
The Ligetis’ guest on this occasion is a pianist – Canadian musician John Kameel Farah, who surrounds and combines his piano playing with an array of synthesizers and processors which filter, warp and orchestrate his performance, which itself allies contemporary classical music with baroque, electronic, Early Music and Middle Eastern elements.

John will be premiering his new composition ‘Spinning Thread’ as well as drawing four more pieces from his back catalogue and from recent album ‘Time Sketches’ (‘Fantasia’, ‘Distances’, ‘Behold’ and ‘Maqam Constellation’) plus a performance of William Byrd’s ‘Hugh Ashton’s Ground’.



 
DJ sets will be provided by Ben Vince (a musician better known for his frenetic sets of improv/loop saxophone playing).

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More Nonclassical DJs (in the shape of Laurence Osborn and others) and more technological approaches and motifs will be showing up for the last of the four events covered in this post. While much of this year’s Convergence festival leans towards avant-garde pop artists with a foot in the contemporary classical world (John Cale, Kamaal Williams, Ben Frost, Simian Mobile Disco and Charlotte Gainsbourg are all appearing over the course of the month), the second in the festivals’s ‘Rise Of The Machines’ concert series takes a witty but serious look at the ongoing crossover between classical music and computer/systems thinking.

Convergence: Rise Of The Machines #2, 18th March 2018

Convergence 2018 presents:
‘Convergence: Rise Of The Machines #2’
Village Underground, 54 Holywell Lane, Shoreditch, London, EC2A 3PQ, England
Sunday 18th March 2018, 8.00pm
– information here, here and here

Conductor Jessica Cottis (who also contributed to the City of London Sinfonia’s ‘Modern Mystics’ series last year) will be leading a thirty-piece orchestra, bolstered by live devices operated by members of Langham Research Centre (who maintain vintage electronic instruments in order both to safeguard the performance of 20th century classic electronic repertoire and to apply “period electronica” to newer compositions). Composers Beni Giles, Laurence Osborn, Josephine Stephenson, Jo Thomas and Max de Wardener have all collaborated on the event’s world premiere centrepiece, ‘Concerto for Drum Machine & Orchestra’, each of them contributing one of five movements to a composition which “places the drum machine centre-stage as solo musical instrument, bringing the sounds of dance music and hip-hop to the classical world.” Plenty of young and youngish contemporary composers have attempted to bring forms inspired by rave, techno, house into New Classical. As far as I know, this is the first such piece to surrender entirely to the primacy of beat and box.

In Nick Ryan and John Matthias’ violin-and-string-ensemble piece ‘Cortical Songs’ “the orchestra is partially controlled by the neural patterns of a tiny computer brain. The resultant work takes the orchestra into an ethereal sound world of lush strings juxtaposed with the skittering crackles of neural activity.” Magnus Lindberg ’s ‘Engine’ (which dates back to 1996) “(was) inspired by the computing language associated with using the Patchwork1 programme. ‘Engine’ is a sort of generator of musical material, which operates according to the rules pre-established by the composer. The texture is composed by the machine, on which the composer imposes dozens of constraints.” Finally, Barry Guy’s 2015 piece ‘Mr Babbage is Coming to Dinner!’ “was inspired by Charles Babbage’s Difference Engine No. 2… The graphic score – hand-drawn and partially coloured by Barry Guy – is a work of art in itself (and) calls on spontaneity and improvisation from the orchestra.”

I tracked down a couple of previous performances of ‘Engine’ and ‘Cortical Songs’ for illustration, so here they are:



 

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.

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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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I Quite Like Gigs

Music Reviews, music thoughts and musical wonderings

A jumped-up pantry boy

To say the least, oh truly disappointed

PROOF POSITIVE

A new semi-regular gig in London

We need no swords

Organized sounds. If you like.

:::::::::::: Ekho :::::::::::: Women in Sonic Art

Celebrating the Work of Women within Sonic Art: an expanding archive promoting equality in the sonic field

Ned Raggett Ponders It All

Just another WordPress.com weblog

Headphone Commute

honest words on honest music

Yeah I Know It Sucks

an absurdist review blog

Pop Lifer

Waiting for the gift of sound and vision

Archived Music Press

Scans from the Melody Maker and N.M.E. circa 1987-1996

The Weirdest Band in the World

A search for the world's weirdest music, in handy blog form

OLD SCHOOL RECORD REVIEW

Where You Are Always Wrong

Fragile or Possibly Extinct

Life Outside the Womb

a closer listen

a home for instrumental and experimental music

Bird is the Worm

New Jazz: We Search. We Recommend. You Listen.

Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

eyesplinters

Just another WordPress.com site

FormerConformer

Striving for Difference

musicmusingsandsuch

The title says it all, I guess!

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