Tag Archives: benefit gigs

July 2016 – a pair of one-day English festivals on the 16th (EppyFest 5 in Stroud, The Whole World Window in Preston)

13 Jul

This Saturday sees a couple of interesting pocket festivals taking place in the west and north-west of England – there’s still a chance for last-minute tickets or walk-ups for each of them.

The fifth in the series of EppyFests is happening this Saturday in Stroud, Gloucestershire. As with the previous four, it’s the brainchild of Stroud-based psychologist and music enthusiast Ian Fairholm and is a spinoff of his well-respected Epileptic Gibbon music podcast, whose remit rambles enthusiastically across “prog rock, art rock, post rock, prog metal, jazz rock, folk rock, math rock, downtempo, chill-out, ambient electronica, IDM, chamber pop, folktronica, psychedelia , neo-classical , film and TV soundtracks and experimental/avant garde music”.

EppyFest is an attempt at translating the podcast’s flavour into live music and live socializing. A well-run, self-starting pocket occasion (complete with its own T-shirts and integral dinner options) its previous events have featured ferocious British post-prog (Thumpermonkey, The Fierce & The Dead, Trojan Horse), latter prog/jazz-rock/jam acts (Sanguine Hum, Schnauzer, Henry Fool, Unto Us, Flutatious and Andy Pickford) and (in the case of Stackridge and The Korgis), a 70s prog outfit and a band of Britpop precursors sharing a last hurrah in the same body. Also in the mix has been loop guitar (Matt Stevens), classical/world chamber-fusion (Firefly Burning) and folk performers with extra ingredients stretching from neo-Celticana to chalkhill psychedelia, European electronica or Balkan jazz (Sheelanagig, I Am Your Autopilot, Tinker’s Cuss, Arch Garrison). As you might expect from a thoughtful curator married to an accomplished female musician, Eppyfest has also featured a healthy proportion of women players including bandleaders and solo artists (such as Becky Rose, Candythief and She Makes War).

Assuming that you’re not already committed to attending the Felix M-B gig down the road on the same day, EppyFest 5 looks set to carry on the tradition in fine form. (I’m jealous. I wouldn’t mind running something like that myself. It’s time to start thinking about empire, or benevolent despotry…)

The Epileptic Gibbon Podcast presents:
‘EppyFest 5’: William D. Drake + Judy Dyble & Her Band of Perfect Strangers + Marvyn B. Naylor + Darkroom (with Elif Yalvac) + Tom Slatter + Sirkis/Bialas International Quartet
Lansdown Hall, Lansdown, Stroud, GL5 1BB, England
Saturday 16th July 2016 , 4.00pm to 11.00pm
information & tickets

Eppyfest 5, 2016

Over the years, I’ve said plenty about this year’s EppyFest headliner William D. Drake over the years, and will probably say more. Woody-throated singer and former Cardiac; the organic keyboard wizard who turns television sets into organs; the man you might find if you went looking for the place where baroque pop meets Punch-and-Judy professor. Bill’s songs suggest a parallel English music: one in which antique pop songs on crackling wax cylinders mingle seamless with both Henry Purcell and Frank Zappa.

In his mid-fifties, and with the release of his fifth album ‘Revere Reach’, Bill’s reached a crucial point in his career, in which the jolly avuncular eccentricities of his earlier work have finally given way to the blossoming kernel of beauty within his compositions. He’s probably far too rounded a person and songwriter to entirely give into it, though. Expect the full range of glorious pastoralism and bouncy humour from a full chamber pop band including members of Stars In Battledress and North Sea Radio Orchestra.

 

I’ve also said plenty about Darkroom , the textural electro-morphic partnership of sometime No-Man/Samuel Smiles/Henry Fool guitarist Michael Bearpark and loop/synth/woodwind/patch-man Andrew Ostler. Over two decades Darkroom have delivered a massively underrated body of work straddling gigantic cosmic soundscapes like deliquescing Hubble images, intricate cerebral dance rhythms, broodingly beautiful guitar tones and (recently) cryptic bass clarinet and flute strands, touching upon influences as diverse as OMD, Autechre, Robert Fripp, Neil Young, Delia Derbyshire, Can and Bennie Maupin.

For this concert their polyglot electronica is augmented by a special guest, Turkish electronic guitarist Hazal Elif Yalvaç an Istanbul-based composer, musician and linguist. We’ll have to see whether Elif’s work (much of it glitching, grumbling guitartronic abstractions) brings out Darkroom’s more abstract instincts; or whether Os and Michael’s knack for direct expressiveness brings out that proggier aspect which Elif’s threatening to reveal in her forthcoming Light Curve project.


Show opener Tom Slatter also shows up in ‘Misfit City’ quite often. He’s a Victorian town-crier with a guitar and a slew of fantastical tales about monsters of air, land and sea, strange goings on in laboratories, haunted gentlemen and master criminals loose on the railways. On record he’s a multi-instrumental steampunk proggie, building himself instrumental Rube Goldberg machines (and occasionally collaborating with one). Live, he’s mostly unplugged and solo, letting his charm make up for the shortfall in instrumentation. One day he will build himself a bicycle-powered, bat-winged portable orchestrion out of old tuba piping and traction engine spares, to allow him to merge both situations. It will probably go off course and fly him somewhere horrible.

One of the prime strengths of jazz players is that they can come from anywhere in the world, meet each other for the first time and immediately speak a common improvising language of immediate flexibility. The four musicians who make up the Sirkis/Bialas International QuartetAsaf Sirkis (drums, Israeli, Londoner), Sylwia Bialas (voice, Polish, currently a Londoner but only recently a Würzburg resident), Kevin Glasgow (bass guitar, a Scottish Londoner via Ireland, but Invernessian rather than actual Glaswegian, replacing an Englishman who originally reached the band via Australia, Scotland and the United States) and Frank Harrison (keyboards, English, surprising lack of other complications) – make more of their scattered nature than most.

With all of that in mind, you’d expect a riotous mix of cultures, making hay out of clashes. What you actually get is aquamarine almost-acoustic jazz, cupped and propelled by Asaf’s winds-of-the-forest percussion subtleties, sung in Polish or vocalese, sheathed in softness and in smoothly-flowing instrumental gestures. The lightness of touch and the Northern hemisphere reserve hearken towards both Pacific Northwestern new age and ECM atmospherics; the light-as-a-feather scatting, twirling Rhodes piano and lissom six-string electric bass suggests a hushed Kurpie version of Flora Purim’s time with Return to Forever.

While the pure, piping soprano tones of co-headliner Judy Dyble might distract you from her full story, they do tie her firmly to the 1960s folk revival. It’s a true tie, as well – teenage friendships with Ashley Hutchings and Richard Thompson led her to spend a year as the singer for the original lineup of Fairport Convention. This auspicious start was followed by a brief, obscure stint in King Crimson prelude band Giles, Giles & Fripp, a more celebrated year as half of much-touted psychedelic folk duo Trader Horne; and finally a handful of gigs in the company of Canterbury characters Lol Coxhill, Steve Miller and Phil Miller.

A gentle, often reticent character, Judy’s musicality wasn’t enough to keep her comfortably engaged with the bruising demands of the music business; and in 1973, after six years of flitting nervously in and out of the spotlight, she retired from music into a quiet life of family and library work while still barely into her twenties. Perhaps it wasn’t as mysterious or dramatic a withdrawal as that of peers such as Anne Briggs or Vashti Bunyan, but it was enough to reduce her reputation to a shadow for all except those who dug up her handful of recordings in search of half-forgotten treasure and found something that didn’t deserve to be overshadowed.

Bar a couple of flitting, fitful Fairport reengagements at Cropredy in the early ‘80s, little was heard from Judy for three decades until – widowed and empty-nested – she was inveigled back into recording by Astralasia’s Mike Swordfish in 2002. Since then she’s pursued a quiet but exploratory revival of her musicality, working in fields fromfolk-rock to trancetronica and experimental art pop, and with collaborators including Dodson & Fogg, Tim Bowness, Sand Snowman, Joxfield Projex, Fuxa and Thee Faction. Her regular home, however, is with her Perfect Strangers ensemble (mostly drawn from co-writer Alistair Murphy’s Cromerzone project) with whom she’ll be performing at EppyFest. Throughout all of this, Judy’s signature tone has remained intact – the folk sweetness, the subliminal hint at hesitancy and tremble which betrays the nerviness and unsurety which has both interrupted her career and given her work its humanity and honesty. As she heads towards her seventies, both tone and temperament have become allied to a longer perspective of value, loss and change – something which, strengthened and deepened by time, she’s grown into and fleshed out with natural experience.

Completing the bill is another, even less well-known hidden treasure. Winchester singer-songwriter Marvyn B. Naylor has been delivering music for twelve underappreciated years now. His mixture of intricate, allusive psychedelic pop songs and pulsating 12-string guitar folk instrumentals tip nods to and shake hands with inspirations including the early David Bowie, Edward Elgar, the Beatles, Joyce Kilmer, Frank Sinatra, Francisco Tarrega and Guy de Maupassant: but he’s a whole meal in himself.


 

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There’s just one former Cardiac on the bill at EppyFest. Technically speaking – unless it’s true that Kavus Torabi is DJ-ing – there are no former Cardiacs at The Whole World Window, which takes place on the same day as EppyFest but five counties up (in Lancashire). In spite of this the bill, spread across two stages, is suffused with Cardiacs enthusiasm. Unsurprising, since it’s the latest in a series of benefits for the band’s stroke-felled leader Tim Smith.

Greg Braysford presents:
‘The Whole World Window – A Benefit for Tim Smith’: Britney + All Hail Hyena + 7Shades + The Scaramanga Six + Sweet Deals On Surgery + Sterbus + Trojan Horse + Adam Shaw + The Jackpot Golden Boys + Sean Keefe + Ahsa + others tbc (or fibbed about)
The New Continental, South Meadow Lane, Preston PR1 8JP, England
Saturday 16th July 2016, 2.00pm
– information here – tickets here and here

The Whole World Window, 2016Bellowing Scots Britney are as garish and hardcore as a fairground teddy-grabber covered in backstreet tattoos. They’re given to one-and-a-half-minute bursts of earsplitting rock numbers plastered with crumpled ice-cream-van melodies. The latter trait, something of a Cardiacs stock-in-trade, tinkles through several of the other bands on the bill – be they outright disciples 7Shades (who lovingly pillage the ornate Cardiacs style wholesale) or pyjama-clad Burley power-pop trio All Hail Hyena (who sound like Bo Diddley rocking an birthday-cake castle).


Something more grandiose is offered by Huddersfield rock bullies The Scaramanga Six. They’ve devoted twenty-one years and enormous musical flair to hammering out poperatic tunes and bursts of garage gonzo, providing tragicomic insight into the flawed and unsettled ethics of everyday men (all carried out with assured baroque brutality and gallows humour). Self-styled “noisy prog rock bastards” Trojan Horse might not be returning to EppyFest this year, but they are bringing their omnivorous Salfordian rock cocktail to Preston: a catalogue of work which plunges into swaggering ‘70’s funk, belting avant-garage moments, broad-spectrum Beatles-pop and audacious psychogeographic experiments. Power-poppers Sweet Deals On Surgery lean towards the punkier side, bucketing towards the end of a song as if it were a race, but distractedly bursting into different versions halfway. For God’s sake, keep them off the Haribos…



All the way from Italy, Sterbus (Smith/Fripp/Zappa obsessive and noblest-Roman-of-them-all) will be coming to either yomp through some of his triple-jointed proggy power pop or to play leafy psychedelic summer-lounge acoustica (which may or may not include some of his takes on Cardiacs, Spratleys Japs and other limbs of Smithiana). If he doesn’t hold up the acoustic end, rest assured that Ivan Campo frontman Adam Shaw will, as he brings along his light-touch, thoughtful folk pop for us to unravel.


The rest of the bill’s made up of bands which predominantly reflect the humour (if not necessarily the horse-laughs and art-punk prankery) of the Cardiacs world. Silly-goodtime pop culture obsessives The Jackpot Golden Boys throw assorted metal, pop and funk chops at things from TV theme tunes to geek topics and hope that a few of them stay embedded. Militant hat wearer, slide guitarist, Strumstick player, comedy yarner and genre-mash novelist Sean Keefe – brings along his own version of honky-tonk Americana.



 
The (known) lineup is completed by acapella singer Asha Hewitt (seen below performing with Gummo Cleyre and Alex Dickinson as Yorkshire Latin pop band Solana). Asha might be the last kind of musician you’d expect to see getting up at a Smith benefit gig; but her presence is proof positive that the happy skewed tastes of the Cardiacs audience let in all kinds of light. Once they’ve stopped cheerfully bawling for their mashed-up chord sequences, that is…


 

May-into-June 2016 – upcoming gigs – Andrew Howie’s new album/video and shows, plus Refuweegee songwriter/spoken word concert in Glasgow, Carol Laula in Stirling and Yvonne Lyons in Birmingham

26 May

Andrew Howie, 2016

As part of a recent burst of activity, Andrew Howie (who for many years released his beautiful skeletal balladry and scuds of tingling noise as Calamateur before reverting to his own name), has recently released ‘Scars Are Like A Beacon’, a companion album to last year’s ‘The Great Divide’. He describes it as “a completely instrumental re-imagining of (‘The Great Divide’) but it sounds nothing like that record. Instead, it’s full of dark, ambient, textural soundscapes that are sometimes reminiscent of the more left-field music I used to make as Calamateur. The feedback I’ve had from listeners so far has been really encouraging, so if you’re tempted to think this one might be too weird for you then please do give it a listen – you might be surprised! This album is only available to stream and download from my Bandcamp shop (for a tempting mere £3!), where you can also buy it on cassette – my first! So if retro analogue tape is your thing, then just click here. I’ve also made a short series of black & white films to accompany some of the songs. Here’s the first – ‘Tremble’…”


 

An enthusiastic performer of house concerts, Andrew has two British ones coming up in June – one on Saturday 4th June in Westerton, Glasgow and one on Saturday 11th June in London (tickets available from his live page, with further information). In addition, he’s making appearances at three other shows between late May and mid-June, as follows:

* * * * * * * *

Carol Laula + Andrew Howie
The Tolbooth, Jail Wynd, Stirling, FK8 1DE, Scotland
Friday May 27th 2016, 8.00pm
more information

Carol Laula has been dear to Glasgow’s heart ever since her song Standing Proud was picked as the anthem for its year as European City of Culture in 1990. Her eight albums to date have continued to showcase Laula’s vibrant voice and soulful folk-pop songwriting, interwoven with strands of country and blues. 2016 heralds the release of Carol’s latest offering, ‘The Bones of It’ (produced and engineered by her longtime friend and colleague Marco Rea, who plays on the record along with many others including Ken McCluskey and Davie Scott). Her live performances are warm, embracing, intimate and engaging. Stirling based singer-songwriter Andrew Howie will open the evening, with a selection of his most recent songs.”



 

* * * * * * * *

Refuweegee and raukarna present:
A Night of Notes: Ross Clark + Kim Edgar + Dave Frazer + Lucy Cathcart Froden + Andrew Howie + Nicolette Macleod + Jamie Robert Ross + Tiff Griffin + Martin Cathcart Froden + others tbc
Kelvinside Hillhead Parish Church, Observatory Road, Glasgow, G12 9AG, Scotland
Friday 3rd June 2016, 7.30 pm
more information

“Refuweegee is a new initiative aiming to welcome refugees and asylum seekers to Glasgow in style, with welcome packs that include ‘letters fae the locals’, and return envelopes so that recipients can respond with their own words and stories. Join us for a night of new songs inspired by these amazing letters. Note that five pounds from the eight pound face value of every ticket sold will be donated to Refuweegee, and that asylum seekers and refugees will be admitted for free.”

Songwriters performing include Ross Clark (of hillbilly rock’n’rollers Three Blind Wolves), Kim Edgar (a provocative solo artist as well as a member of both Scottish/Canadian alt-folk supergroup The Burns Unit and German/Irish trad-folk band Cara), alt.country-tinged Dave Frazer, literary song-siren Lucy Cathcart Froden (of raukarna), Andrew Howie, looping folk vocalist Nicolette Macleod and upside-down-guitarist Jamie Robert Ross. There will also be spoken word contributions from Tiff Griffin and Martin Cathcart Froden, and from some of the brand new Glaswegians who’ve benefited from the project.

Here are some examples of what’s on offer:









 

* * * * * * * *

Finally…

Lobelia’s Lazy Sundays presents:
Yvonne Lyon + Andrew Howie + Lobelia Lawson
Tower of Song, 107 Pershore Road South, Kings Norton, Birmingham B30 3EL, England
Sunday 12th June 2016, 7:30am
more information

“Come one come all to the Tower of Song to see the best touring singer songwriters in the UK and beyond! This month we’ve got Yvonne Lyon, among the best and brightest talent currently emerging from the UK. She has consistently stirred audiences across the UK and beyond with her emotive performances, combining poignant lyrics with creative melodies and demonstrating a voice that can be both fragile and intense. Yvonne was among the winners of the Burnsong International Songwriting Competition and performed her winning song All Is Not Lost at the Scottish Parliament in Edinburgh. Support comes from the amazing Andrew Howie, and a few songs to start from host Lobelia Lawson.”


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