Tag Archives: Bill Nelson

More September gigs – Gong’s Dave Sturt and friends travel the world from Derbyshire on the 23rd; London gets more Daylight Music eclectica plus a Blacklisters/Joeyfat/Himself jabber-rock summit on the 26th

17 Sep

Here are details on some more interesting concerts coming up later this month. These run the gamut from soft psychedelic world-folk atmospherics to jabbering electric art-punk noise and sprechtstimme via dream-folk, caustic love songs and extended-technique art-rock instrumentals. (It was a shame to hear about the cancellation of the Charles Hayward gig in London on the 23rd – taking its ANTA, Gnob and Kavus Torabi support slots with it – but I’m sure that something similar will be rescheduled for anyone in need of their art-mash/stoner/prog/psych/metal salad…)

event20150923davesturtwirkw

Dave Sturt presents An Evening of Dreams & Absurdities (Upstairs @ The Red Lion, Market Place, Wirksworth, Matlock, Derbyshire, DE4 4ET, UK, 23rd September 2015, 8.00pm) – £8.00

As part of the Wirksworth Festival Fringe, Dave Sturt (bass guitarist with Gong, Bill Nelson, Steve Hillage and Jade Warrior, as well as being half of Cipher) showcases tracks from his forthcoming solo album ‘Dreams & Absurdities’ in an evening of world-class all-instrumental musicianship featuring beautiful eclectic music, soundscapes and various field recordings from Gong tours and elsewhere. The music is “mostly mellow and ambient – somewhere between melancholy and elation.”

For the performance, Dave will be accompanied by three guests. Chris Ellis (guitar and piano) is a multi-instrumentalist/singer-songwriter/actor, an ex-member of Anglesey band Ghostriders, and an award-winning soundtrack composer – he’s also a collaborator with Dave on the Past Lives Project (which recreates the recent ancestral histories of British communities by resurrecting their old cinefilm recordings and setting them to new music). Brian Boothby (low whistle, djembe) is an acclaimed folk musician, dramatist and writer and a member of the Derbyshire mixed-arts collective Genius Loci. Jeff Davenport (drums, percussion, HandSonic pad) has worked with jazz musicians Andy Sheppard and Phil Robson, pop artists James Morrison and Laura Mayne, and currently collaborates regularly with “Silent Pianist” Neil Brand providing soundracks to silent films, as well as working in Europe and the Far East on various projects with all manner of musicians.

Up-to-date details here  and here, with tickets available online from here or available from Traid Links via email enquiry.

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On the last post, I plugged a London double event on the 19th – a day with a Daylight Music concert at midday and a noisier rock gig in the evening (both events which are still about to happen as I post this). In another week’s time, history’s repeating (fortunately not as farce, though anyone familiar with the bands in the evening show can expect some twists and jabs of humour) so here’s what’s coming up on September 26th…

Daylight Music 200

Daylight Music 200: Ex-Easter Island Head + French For Rabbits + Louis Barabbas, plus a photo exhibition (Union Chapel, Compton Terrace, Islington, London, N1 2UN, UK – Saturday 26th September 2015, 12.00pm-2.00pm) – free entry, suggested donation £5.00

An extra special event to celebrate the 200th Daylight Music, featuring some of the most popular acts from the last six years (643 performances by 530 different acts; 15,254 cups of tea or coffee drunk; 9,863 slices of cake scoffed; 5,003 pieces of quiche devoured) and during which we’ll be raising funds for Daylight Music in 2016.

Ex-Easter Island Head are a Liverpool based musical collective composing and performing music for solid-body electric guitar, percussion and other instruments. They have performed their original compositions solo, as a duo, trio, quartet and as a large ensemble across a wide variety of events from site-specific installation works to live film scores. They create a sensation whenever they play. If you’ve never seen musicians hitting electric guitars with mallets before, then cancel all other plans for the day and head down.

French For Rabbits hail from the remote natural setting of Waikuku Beach, in New Zealand’s South Island. Vocalist Brooke Singer expresses intimate narratives against the cast of the damp colonial cold; her voice delicately steeled against winsome guitar lines and the eerie instrumentation of her bandmates. It’s a weather-beaten dreamscape, nostalgic for warmth and hopefully lilting towards sunnier climes.

Louis Barabbas is a writer, performer and label director, best known for caustic love songs and energetic stage shows that leave you pumped up and breathless.

The icing on the cake this week is an instrumental soundscape provided by Irish singer-songwriter and multi-instrumentalist Adrian Crowley, who (over his six-album career) has been described by the Independent as “a master of understatement” and cited by Ryan Adams as the answer to the question “who’s the best songwriter that no one’s heard of?”

To celebrate the fantastic photography taken throughout the lifespan of Daylight Music by a very talented bunch of volunteer photographers, there will be a lo-fi photo exhibition consisting of 200 postcards on the pews of the chapel for people to take away; plus there will be a limited numbers of brochures to buy featuring all of the photographs.

More information on the concert is here.

In the evening, there’s a change of pace and milieu over in Hackney as post-hardcore rubs up against a bit of playful English Dada. I’ve got a liking for those occasions when rock music drives itself up against persistent, wayward speech and stubs its toes on it; and this gig will offer plenty of opportunities for that…

Blacklisters, Joeyfat, Himself, September 26th

Blacklisters + Joeyfat + Himself (Pink Mist @ The Shacklewell Arms, 71 Shacklewell Lane, London, E8 2EB, UK, Saturday 26th September 2015, 8.00pm) – £8.00

Blacklisters’ aggressive, confrontational and darkly humorous performances have earned them a reputation as one of the best acts on the UK underground, drawing comparisons to the likes of The Jesus Lizard and Pissed Jeans. Their debut album ‘BLKLSTRS’ was released in 2012 to critical acclaim, landing them supports with Scratch Acid, Pig Destroyer, Future of the Left and Big Business, as well as a live session at Maida Vale studios for the Radio 1 Rock Show. Tonight’s special show is in support of their fearsome new record ‘Adult’ on Smalltown America. Produced by Matt Johnson (aka MJ of Hookworms) the album is a clear progression for the band and sees them fuse abstract art-noise with the brutally minimalist riffs that first put them on the radar.

Also playing are amorphous cult stalwarts Joeyfat, a band who’ve been defying conventions of “band logic” longer than most of us have been able to get into shows at all. Their sinewy math-inspired spoken-word has seen them share stages with the likes of Bilge Pump, S*M*A*S*H, Clearlake, Lords, Dartz, Art Brut, Trencher and Green Day, obviously. Catch them at this rare London show.

Direct from Leeds (unless they stopped off some place on the way), Himself’s shouty/talky interactive noise rock has been winning them plaudits up and down the company, including from Radio’s Daniel P. Carter who invited them to record a live session for the Radio 1 Rock Show earlier this year.

Tickets for the Shacklewell Arms gig are available here and here. Note that this is an 18+ event.

 

Album reviews – Bill Nelson: ‘Atom Shop’ (“freefalling away with the breakbeat imprint stamped onto the songs”)

20 Sep
Bill Nelson: 'Atom Shop'

Bill Nelson: ‘Atom Shop’

Compare and contrast. A while ago, Bowie – in a last-ditch attempt to prove he’s still relevant, still the musical chameleon of old – clambered aboard the drum’n’bass gravy train. That music’s normally made by lone bedsit technoheads; Bowie tried to do it with a bloated old rock band. Oops. Still, being Bowie, he could always pick up the phone and request the services of Goldie or some other jungle luminary. The end result sounded clumsy and desperate and – pointedly – as if Bowie had no real interest in drum’n’bass, since he kept dragging the music back towards the ever-more-familiar Bowierock. Not good.

On the other hand… Bill Nelson, him from ’70s Bowie contemporaries Be Bop Deluxe (and a man who mostly holed up in an ambient hermitage in Wakefield during the ’80s and ’90s) has also discovered drum’n’bass. A year before Bowie, too, with 1996’s rattlin’ good ‘After The Satellite Sings’, which sounded – unlike Bowie’s studied “so-how-do-I-do-jungle?” approach – like it had been a revelation and release to him, and without surrendering his own musical personality. Call me romantic, but I could imagine the middle-aged Nelson huddled over his radio each evening, tuning through the FM jungle pirate stations, listening in awe to the complex rhythms and then rushing to his music room to apply what he heard.

‘…Satellite…’ was a suave salvo of smartly retrofitted ’50s-accented art-pop with a bloodstream of “quintessentially English” drum’n’bass, if you can imagine such a thing – Nelson’s laid-back vocals (like a cross between David Sylvian and Cabaret Voltaire’s Stephen Mallinder) topping a very compacted sound, curiously lacking bass oomph but loaded with frenetic drum patterns, beatbox-assaulting jungle snares, burbling electronics and witty speech samples, including someone sounding suspiciously like Maggie Thatcher exclaiming “absolutely dazzled!” over the rush of beats. It was cheeky, it was damn cool, and it had a heart beating under its sharp starched creases.

‘Atom Shop’ is the follow-up; a boxload of demos that failed to get enough funding for the full studio treatment. All the better, ‘cos we know that that way lies ‘Earthling’, Bowie lumbering into a clumsy three-point turn and spilling his load. This album’s rougher edges help – not enough to convert a hardcore junglist, but evading the slickness of most crossover efforts. And it continues ‘…Satellite…’s so-quaint-it’s-cool eccentricity, from Nelson’s memories of being in hock to American glamour during his ’50s childhood and art-college ’60s in Yorkshire.

Pulp fiction, Beat writers, cartoons, natty bebop and cars with silver fins are all part of Atom Shop’s dream fabric. It kicks off with Wild & Dizzy’s swirl of trumpet mixups, dry drum’n’bass pulse, chill synths and blue guitar, peppered with ’50s dude voices. And one of the other songs is called Viva Le Voom-Voom, baby. There’s a lot of fanboy energy here: he’s knocking on 50, but Bill Nelson still sounds naïve and sparkling with enthusiasm, bless the old goat.


 
Though one thing you notice pretty fast is that ‘Atom Shop’ doesn’t have the hurtling clubby drive of ‘After the Satellite Sings’. Train With Fins looks back towards the more drum’n’bassed ‘…Satellite…’ songs like Flipside – fast and clattering upfront snare drum patterns, with a techno twang and banks of horn-like guitars calling up the ghosts of Stax – but, though speedy, it never breaks much of a sweat. Which is also true of Rocket Ship’s sliding jazz/d’n’b snake rattle and Trevor Horn stabs, or Popsicle Head Trip’s Ferry smooch and tight heavy-metal riffs – all mingling through the drum’n’bass dryness, but the beats ain’t so obvious as they could’ve been.


 
Magic Radio has a light d’n’b push to it, but ends up like The Orb doing Somewhere Over The Rainbow. ‘Atom Shop’ sounds more touched deeply in passing by drum’n’bass, rather than grabbed by it; as if it’s freefalling away with the breakbeat imprint stamped onto the songs, a teacher’s kiss. Here you’ll more often feel the pathways of d’n’b rather than the punch; the points where space has been prepared, the dynamics of the beat, waiting for the kick that never quite comes.

Oddly, though, ‘Atom Shop’s a much blacker album than its predecessor, even if it does sound less like a session on Massive FM. ‘…Satellite…’s most awkward point – the strafing, Fripp-like guitar solos – have been phased out for a bluesier approach. Nelson’s guitar is busy everywhere, and if there’s some of B.B.D.’s fluid finickiness to it, he can also sound like a sample-era John Lee Hooker, or the subtler detailing Hendrix of Little Wing and Up From The Sky. All this is dovetailed into the minimal trip-hop feel taken to the top of the charts by Garbage, Sneaker Pimps et al (especially for the more ominous Girlfriend With Miracles), but Nelson’s got a more developed musical sense.


 
So everywhere you look, there are things going on: elements of electronica, samples and live instruments in a complex, but never fussy or muso, interweaving. Dobros and slides are all over Pointing At The Moon’s sleepiness, little bits of rural blues and gospel organs jostle into the arrangements; and so do probably all the “s”s in Mississippi too, if you can find ’em. And jazz dances wherever there’s room; trippy Dizzy Gillespie trumpet cascades, cheeky clarinets, even a bit of scat. Bill Nelson’s found, and gone into, the future we’re starting to guess at from our Portishead records and big-beat singles. A glittering, malleable, disorienting wonderland built out of chewed-up scraps of our past and ghosts in the record players. Something which he pins down in the sizzling hip-hop/jazz hybrid of Spinning Dizzy On the Dial when he sings “I’ve seen the luminous stuff of dreams, / I know what’s going down… Awake to all eternity / with the jazziest ghosts in town.”


 
It’s about a sensibility, I guess, a feeling. Which leaves us with the preoccupations of Nelson’s sighed, sometimes stoned vocals through an album of songs that are mostly poised in dreaminess. ‘…Satellite…’ celebrated the liberation Nelson’s kinetic d’n’b exploits offered him, poked fun at those who thought he might be a little old to join the jungle massive (“I had my sonic youth / When you were lost in ether… / I’ve got nothing to say, and I’m saying it. / Yeah, that’s the stuff for me.”) and had an undercurrent of suspicion at the American dream (“Whither thou goest, America, in thy shiny car in the night?”). But ‘Atom Shop’s more content to bask in sighs about “the way things swing”, “moving stars spun from mirror ball”, “Chet Baker on the lo-hi-fi”, trippy kittens, glamour girls from Mars, and Kerouac’s Dharma Bums. Perhaps he made his point the first time around.


 
Rest assured that it stays on the right side of Austin Powers, thanks to things like the Beat-rapping on Billy Infinity, the shuffling shoe-drag balladry and springy guitars of She Gave Me Memory, and the way in which My World Spins cooks everything together best – gospel emphasis, lucid little guitar and electric piano strums, pitter-pat drum’n’bass velocity, a Cars-style creaky hipness and Nelson’s determination to keep his head clear: “now everybody’s got their information / but none of it matches mine. / Saints preserve my reputation and keep my thoughts sublime.” The sense of a mind open to new sounds and influences pervades. Before the closing Jetsons-style supermarket jingle, Nelson’s declared himself to be “sending signals and leaving clues / from the hymns of history to the far-future blues.”


 
And aside from the excitement for the listener, part of the greatness of Nelson’s current trajectory is hearing a rejuvenated art-rocker enjoying exploring startlingly new musical forms and weaving them into his history. Doing it for himself, without a style guru or scenester shoving a batch of 12-inch white labels into his hands, saying “Sample some breaks from this – it’s what the kids are into.” Keep flicking through those FM stations, Mr Nelson…

(review by Col Ainsley)

Bill Nelson: ‘Atom Shop’
Discipline Global Mobile, DGM 9806 (633367980625)
CD-only album
Released: 15th September 1998

Get it from:
Best obtained second-hand.

Bill Nelson online:
Homepage Facebook Twitter Soundcloud Bandcamp Last FM

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