Tag Archives: Bob Leith

September 2018 – upcoming rock gigs – Rumour Cubes, Agathe Max and Dream Logic in London (14th September); Major Parkinson’s European autumn tour (various dates, 26th September to 6th October)

9 Sep

Rumour Cubes + Agathe Max + Dream Logic, 14th September 2018

Like progressive rock before it, post-rock ended up disappointingly short of genuinely inspiring exponents. The blueprint was all very well: retaining rock’s technology and what remained of its countercultural drive while dissolving its rigid methods, its predictable narratives and textures and its conservative exclusions In practise, few could reach (or be bothered to reach) the heights of the movement’s most inspired figures and their new paths: such as Tortoise’s integration of jazz, dub and electronica; Slint’s taut, grinding refusals; Godspeed’s sprawling/brooding scapes of punk-cinema-versus-conservatoire-grandeur; Talk Talk’s mendicant, increasingly hermetic passage from synth-pop to a dissolution of blues, prog and folk into distressed noise and silence; Moonshake’s abrasive post-everything groove and careening samples; Disco Inferno’s angst-ridden music concrete and social challenge. Most post-rockers, then and now, have stuck with a glowering reduction, a boiling-out of rock posturing leaving a glum muted residue of passive riffs and patterns… actually, more of an opt-out than a boil-out; in which say, the impact of Talk Talk’s ‘Spirit Of Eden’ is much-cited but rarely remembered in terms of how it can inform and colour the music, much less for the intimations it can throw up.

Though they’re not overturners – at least, not in the tradition of the bands I’ve cited above – third-generation London post-rockers Rumour Cubes are a welcome exception to the procession of drab refuseniks that make up the bulk of the post-rock movement. It’s probably partly because they’re proud and self-confessed “counter-revolution(aries)”, founded from the start around violin, guitar and electronics and obtaining their rock instrumentation later rather than using and rebelling against it from the start. Their origins, too, stick in post-rock’s teeth. Violinist Hannah Morgan lied about her knowledge of the genre in order to bluff her way into the starting lineup, while guitarist/main composer Adam Stark and drummer Omar Rahwangi were already impatient with its dour restrictions. In an interview with Chaos Theory, Adam’s stated that “as a band we are painfully aware of how boring post-rock can be… what we are trying to do is take what we find amazing about those bands that have influenced us and that are part of our community, and do something new with it.”

What Rumour Cubes have done is in as much in the in the lines of good prog rock as good post-rock – opening the gates to a variety of ingredients and described as a “luminous re-imagining of very many constituent parts” by ‘Louder than War’. As with underrated Aussie unit Apricot Rail, the toned-down interweave of guitars and the Krautrock groove bass often aim for a slow-building pastoral ecstasy while the band seeks a sweet spot that’s more country and roots than graphs and laboratory. The dancing interplay, in particular, between Hannah and viola player Terry Murphy ducks lemony-minimal string textures in favour of something that’s more country hoedown or folk fiddle. Rumour Cubes often hit their own delightful merge-point between the rustic and the highly technological, performing on bowed banjo and (the ubiquitous) post-rock glockenspiel in addition to the guitars, strings, keyboards and percussion, adding brass and harps where they can, and regularly bringing in instruments like the gestural technology of mi.mu gloves, new uses for joystick controllers, software-synchronised video displays and a battery of custom effects pedals to create new textures. Their gigs are, in consequence, joyous and open-ended experiences: collaborations, on and offstage with poets and filmmakers result in

Following two years of silence, and four without new music, Rumour Cubes return to live work via a gig at the Underdog Gallery near London Bridge, in order to premiere a batch of new music (including upcoming single ¡No Pasarán!, which will be out in a few week’s time). Meanwhile, here are some previous bits of Cubery to whet the appetite.



 
A couple of other acts are joining the show – firstly, amplified French acoustic violinist Agathe Max, who fled classical music around twenty years ago in favour of improvised sonic textural music and electrically-enhanced string-drones. Currently playing with Kuro and Mésange, she’s appearing alone on this occasion in order to offer a set of solo violin works. Secondly, Dream Logic: the recent solo project from Adam Fulford (previously known as the guitarist for Bristolian post-rockers This Is My Normal State) It’s pealing, cool-busting stuff which sees Adam all but drowning his own plagent piano lines, guitars and basses in eager tides of yearning orchestral strings and feverish noise clutter, bringing him comparisons to Nils Frahm and to A Winged Victory for the Sullen. This is Dream Logic’s third show (following previous support slots for Orchestra of the Age of Enlightment’s rulebreaking alter-ego the Night Shift and for rebranded ambient post duo VLMV (previously ALMA) and live arrangements usually involve a string quartet: let’s hope he comes up with the goods on this occasion, too.





 
Echoes And Dust presents:
Rumour Cubes + Agathe Max + Dream Logic
The Underdog Gallery, Arch 6, Crucifix Lane, Southwark, London, SE1 3JW, England
Friday 14th September 2018, 7.00pm
– information here and here

* * * * * * * *

A little later in the month, jumpy and unpredictable Norwegian art-rockers Major Parkinson are dipping into England as part of an autumn European tour presenting their new ‘Blackbox’ album (and which also includes Germany, Switzerland and the Netherlands). A jaggedly muscular alternative pop proposition, Major Parkinson’s music recalls a host of eclectic forebears such as The Monochrome Set and Faith No More: most notably, they’ve become a hit with the sometimes partisan (and often hard-to-impress) Cardiacs fanbase, who appreciate unrestrained complex melodicism and truckloads of energy, and have been up and yelping about this band for a while now.

I can’t really top this for an intro…

“Major Parkinson write tunes. But with influences from across the rock and classical genres (from The Beatles to Cardiacs) and a warped vision of the musical world, their tunes are like no other. You may hear a snippet of an East European folk song, a nursery rhyme, a stage musical, even a rock anthem, all played out on a range of instruments that a symphony orchestra couldn’t muster – synths, strings, old typewriters, brass and reputedly a decommissioned jet fighter engine. The musical scores behind their songs are both monumental and breathtaking – explosive synth and guitar sections that pound at your heart and then instantly make it melt with beautiful choral harmonies, and then drawn in you will dance and sing along as if centre-stage in a West End show.

“With songs too that cover subjects as diverse as Pavlovian hounds to ducks in the pond, the sheer scale and absurdity of the Norwegian band’s extraordinary musical world can only be truly appreciated by seeing their seven-piece stage performances live.”



 
All of the upcoming shows appear to be solo flights for the Major, other than London, Berlin and St Gallen. No news yet on the Berlin guest, but in London support comes (bizarrely, but delightfully) from Sterbus, the quirky Anglophile Italian art-popper similarly beloved of Cardiacs fans and who’s sitting on what promises to be one of 2018’s sunniest and most enjoyable rock albums: he’ll be playing with a band including longterm woodwind-and-vocal sidekick Dominique D’Avanzo, Pocket Gods’ keyboard wizard Noel Storey and Cardiacs drummer Bob Leith. In St Gallen, the gig’s being opened by bouzouki-toting Dutch psych-exotica rockers Komodo, whose music also draws on raga, hip hop, desert blues, rumba and ’60s harmony pop and surf rock.



 
Full dates:

  • The Hare & Hounds, 106 High Street, Kings Heath, Birmingham, B14 7JZ, England, Wednesday 26th September 2018, 7.00pm – information here and here
  • Exchange, 72-73 Old Market Street, Bristol, BS2 0EJ, England, Thursday 27th September 2018, 7.00pm – information here and here
  • The Water Rats, 328 Grays Inn Road, Kings Cross, London, WC1X 8BZ, England, Friday 28th September 2018 7.30pm (with Sterbus) – information here and here
  • Soup Kitchen, 31-33 Spear Street, Northern Quarter, Manchester, M1 1DF, England, Saturday 29th September 2018, 7.00pm – information here and here
  • Hafenklang, Große Elbstrasse 84, 22767 Hamburg, Germany, Monday 1st October 2018, 8.00pm – information here and here
  • Cassiopeia, Revaler Str. 99, 10245 Berlin, Germany, Tuesday 2nd October 2018, 7.30pm (with support t.b.c) – information here, here and here
  • Backstage München, Reitknechtstr. 6, 80639 München, Germany, Wednesday 3rd October 2018, 7.30pm – information here, here and here
  • Grabenhalle, Unterer Graben 17, 9000 St.Gallen, Switzerland, Thursday 4th October 2018, 7.30pm (with Komodo) – information here, here and here
  • Orange Peel, Kaiserstraße 39, 60329 Frankfurt am Main, Germany, Friday 5th October 2018, 8.00pm – information here and here
  • ProgPower Europe 2018 @ Jongerencentrum Sjiwa, Hoogstraat 1a, 5991 XC Baarlo, Netherlands, Saturday 6th October 2018, 8.00pm – information here, here and here


 

Through the feed – free single/upcoming crowdfunder from The Duke Of Norfolk; Cardiacs and Knifeworld reissues; a new Tim Bowness album; disinterring lost Levitation

21 May

I can tell I’ve not kept my eye on the ball – nothing makes a person feel less alert than suddenly finding that three of his favourite musical projects (plus one new recent favourite and one older interest) are suddenly pouncing out new releases and. I step out for a moment, for another writing project, and someone moves all of the furniture around.

The Duke Of Norfolk: 'A Revolutionary Waltz'

The Duke Of Norfolk: ‘A Revolutionary Waltz’

So… let’s start with news of fresh work from The Duke of Norfolk, a.k.a transplanted Oklahoman folkie Adam Howard, now resident in Edinburgh. He’s currently offering a free single – A Revolutionary Waltz – in part-promotion, commenting “I am launching a Kickstarter project in two weeks to fund the making of a live video EP, and would like to give you this recording in the meantime. It’s just a wee sonic experiment, but I hope you enjoy it!”

If you’re wondering whether there’s a Scottish Nationalist tie-in here, given recent political events in Britain, Adam’s adopted hometown, and that beautifully sympathetic and country-tinged setting of Robbie Burns’ Ae Fond Kiss on which he duets with Neighbour, think otherwise. In fact, this song is a darker cousin to An Evening Waltz (from his 2013 album ‘Le Monde Tourne Toujours’): a foreboding meditation on the inexorable turn of fate’s wheel, tying together three histories of power, betrayal and fall. Despite its timeless trad-folk lyric, Adam’s busking roots (and the lusciously acoustic sound of much of his other material) it’s also a rough-and-ready take on digital folk, either demo-rough or intended to display Adam’s other roots in sound design. A clipped electrophonic waltz picks its way across a murky psychedelic smudge and a droning feedback pibroch: its characters sea-waltz to the grim, dry beat of a hand drum and a scattering of cowrie-shell percussion. It’s well worth a listen. As for progress on the Duke Of Norfolk video Kickstarter campaign, it’s probably best to keep tabs on his Facebook page.

Cardiacs: 'Guns'

Cardiacs: ‘Guns’

Following the success of their double vinyl LP reissue of 1995’s ‘Sing To God‘ album, Cardiacs are doing the same with its 1999 follow-up, ‘Guns’. While it’s not the magnificent sprawler that ‘Sing To God’ is, ‘Guns’ offers a more concise take on the pepper-sharp 1990s Cardiacs quartet that featured Bob Leith and gonzo guitarist Jon Poole alongside the band-brothers core of Tim and Jim Smith. As Cardiacs albums go it’s an even brasher beast than usual, hiding its gnarly depths under brass-balled upfront confidence and strong seasonings of glam-bang, pell-mell punk, whirring Krautrock, and jags of heavy metal looning.

‘Guns’ is also one of the most obscure Cardiacs works. Drummer Bob joined Tim on lyric duties, helping to turn the album’s words into a dense hedge-witch thicket of allusion and play, in which typically naked Cardiacs preoccupations (dirt, wartime, suspicion, indeterminate life and death) are tied up into an almost impenetrable web, driven along by the music’s eight-legged gallop. The fact that Tim and Bob were slipping in random borrowings from ‘English As She Is Spoke‘,  a notoriously bungled Victorian phrasebook with its own wonky and unintentional poetry, only added to the tangle.

You can pre-order the ‘Guns’ reissue here for end-of-June shipping. It’s a single vinyl record, with no extra thrills or treats, but does come with the promise of beautiful packaging and pressing. You can expect to hear news on more Cardiacs reissues over the next few years. The current plan is to reissue the band’s whole back catalogue on vinyl after years of exile (predominantly spent huddled exclusively on iTunes).

Meanwhile, see below for a taste of ‘Guns’ magnificent oddness. Here’s the grinding drive of Spell With A Shell (which encompasses the lives of pets, the terror and wonder of transformation, and the cruelty, loneliness and confused loyalties of childhood). Here’s a collision of outsider folk and reggae in Wind And Rains Is Cold (via a fan video of clips from ‘Night Of The Hunter’, from which Cardiacs frequently filch scraps of lyric). Finally, here’s the scavenged, scratchy prog of Junior Is A Jitterbug with its prolonged and celebrated unravelling coda.

Cardiacs: 'Day Is Gone'

Cardiacs: ‘Day Is Gone’

For those without turntables, there’s been a relatively recent CD reissue of Cardiacs’ 1991 EP ‘Day Is Gone’ – which I somehow managed to miss when it was first announced – and which includes the original three B-sides (No Bright Side, Ideal and concert favourite Joining The Plankton). This is from the pre-‘Sing To God’ lineup: another quartet but with Dominic Luckman on drums and, ostensibly, Bic Hayes on second guitar (prior to his explosive stints in Levitation and Dark Star, and to his current position etching dark psychedelic guitar shadings in ZOFFF).

Actually, since this was a time of shuffle and change in the band it’s unclear as to whether Bic or Jon Poole is providing the extra galactic bangs and shimmerings on the EP. However, for Day Is Gone itself the attention should be on Tim Smith’s grand bottle-rocket of a solo, capping what’s both one of Cardiacs’ most autumnal songs and one of their most headrushing cosmic efforts – a bout of November skygazing gone bright and vivid. See below for the original video in all of its low-budget saucer-eyed glory, and pick up the CD here.

Cardiacs: 'Heaven Born And Ever Bright'

Cardiacs: ‘Heaven Born And Ever Bright’

Note also that a couple of other early-‘90s Cardiacs recordings have made it back on CD in the past six months. ‘Heaven Born And Ever Bright’ (the parent album for Day Is Gone) shows Cardiacs at their brightest and bashing-est, but hiding a wounded heart. ‘All That Glitters Is A Mares Nest’ – the recording of a raucous 1990 septet concert at the Salisbury Arts Centre – was both the last hurrah of the 1980s lineup (with carousel keyboards, saxophone and half-a-scrapyard’s-worth of percussion rig) and, for my money, is also one of the greatest live rock recordings ever made. See if you agree.

Cardiacs: 'All That Glitters Is A Mares Nest' (2014 reissue)

Cardiacs: ‘All That Glitters Is A Mares Nest’ (2014 reissue)


‘Mares Nest’ also made a welcome resurfacing on DVD a couple of years ago – see below for a typically quaking example of the band in action. It’s also worth repeating that all of the profits from the recording sales continue to go towards palliative care and physical therapy for Tim Smith, who’s still engaged in the slow painful recovery from his crippling stroke of 2008.

Knifeworld: ‘Home Of The Newly Departed’

Knifeworld: ‘Home Of The Newly Departed’

Meanwhile, Knifeworld – who feature an ex-Cardiac and, while being very much their own eclectic and tuneful proposition, carry a certain continuation of the Cardiacs spirit along with them – have collated early, interim and now-unavailable tracks onto a full-length album, ‘Home Of The Newly Departed’. The seven tracks (dating from between 2009 and 2012) bridge the space between their ‘Buried Alone: Tales of Crushing Defeat’ debut and last year’s tour-de-force ‘The Unravelling’.

If you want to read my thoughts on the original releases, visit the original ‘Misfit City’ reviews of the ‘Dear Lord, No Deal’ and ‘Clairvoyant Fortnight’ EPs from which six of the tracks are taken. (I’ve just had a look back myself and discovered that I’ve previously described them as a band who could drag up exultation with their very fingernails, as starchildren weighed down by dark matter, as possessing “a knack of dissecting difficult feelings via swirling psychedelic sleight-of-hand” and as “an almighty and skilful art-rock mashup, with horns and bassoons poking out of it every which-way and strangely kinking, spiraling spines of rhythm and harmony locking it all together.” I must have been pretty excitable, on each occasion.)

Alternatively, have a look at the videos below. Also, if you’re in England during the end of May, the band (in full eight-person glory) are out on a short tour featuring the debut of new music.

Tim Bowness: 'Stupid Things That Mean The World'

Tim Bowness: ‘Stupid Things That Mean The World’

With his erstwhile/ongoing no-man bandmate Steven Wilson going from strength to strength as a solo act, Tim Bowness also continues to concentrate on work under his own name – sleek, melancholy art-pop with a very English restraint, fired with a desperate passion and shaded with subtleties and regrets. His third album, ‘Stupid Things That Mean The World’, is due for release on July 17th; barely a year after his last effort ‘Abandoned Dancehall Dreams’ (one of my own favourite records of 2014).

If it ain’t broke, don’t fix it. ‘Stupid Things That Mean The World’ features the ‘Abandoned…’ core band of Tim plus his usual cohorts Michael Bearpark, Stephen Bennett, and Andrew Booker, and on spec sounds as if it’ll be a smooth progression and development from the previous album. It also features guest showings from three generations of art rock (Phil Manzanera and Peter Hammill; David Rhodes and Pat Mastelotto; Colin Edwin, Bruce Soord, Anna Phoebe and Rhys Marsh) and string arrangements by art-rock-friendly composer Andrew Keeling.

Expect a typically Burning Shed-ish range of format options: the double CD mediabook edition (with companion disc of alternate mixes and demos including an unreleased no-man demo from 1994), and LP versions in either black vinyl or transparent vinyl (CDs included with each). Pre-ordering gets you a downloadable FLAC version of the 5.1 mix, plus the usual cute postcard. Sorry – I have no early tasters for ‘Stupid Things…’, but here’s a taste of one of the slower, lusher tracks from ‘Abandoned Dancehall Dreams’ for the benefit of anyone who missed it last year.

Earlier on, while discussing Cardiacs, I briefly mentioned Bic Hayes and his time in Levitation. For those of you who are unfamiliar with them – or who weren’t around in early ’90s Britain to witness their brief, Roman candle of a run – they were a band who eagerly fused together an enormous sound, leashing and running with a frenzied and energized take on psychedelic rock, driving post-punk noise and earnest, distressed chanting from their singer, the former House of Love guitar star Terry Bickers. Sadly, they’ve become best known as the springboard by which Terry catapulted himself first into frontmanhood, then into the uncharted and finally (via some tortured decisions and unfortunate outbursts) into the obscure.

In truth, Levitation were an equal conspiracy of five. As well as Terry and Bic, there was Robert White (a baby-faced free-festival veteran and secret-weapon multi-instrumentalist, who’d later lead The Milk & Honey Band), an undersung alt.rock bass hero called Laurence O’Keefe and David Francolini, an astounding and slightly demonic drummer who could run the gamut from pattering rain to pneumatic drill in a single roll round his kit (and who, within Levitation, had the perfect opportunity to do so). Fuelled equally by inspiration, drugs and sheer hard work, they strived for three intense years while living on the outside of their skins, and briefly came close to making some very unfashionable sounds current again.

While they were certainly a “head” band – hippy punks who joined floating threads of British counter-culture, spontaneity and resistance together – it’s vital to remember that Levitation were never your average festival band. They were never complacent, never entitled. More Yippie than trustafarian, they seemed (Bickers, in particular) to be desperately chasing revelations just over the rim of the horizon. Their ethos and experience was best summed up – or, more accurately, caught in a passing flare – in a lyric from their song Against Nature ), with Terry choking out “there is an answer, but I’ve yet to find out where” over a raging foam of guitars. Fingers (and not a few minds) got scorched along the way. In May 1993, it culminated in Terry’s wracked, brutal self-ejection from the band – in a spurt of slogans and despair – during a concert at the Tufnell Park Dome, just a short walk from Misfit City’s current home.

There have been some reconcilations since then (not least Bic, David and Laurence reuniting in the wonderful but equally short-lived Dark Star five years afterwards) but there have been no reunion, and no-one has ever seemed to want to go back. However, on Monday this week – Record Store Day 2015 – the Flashback label released the first Levitation music for twenty years – ‘Never Odd Or Even’, a vinyl-only EP containing three tracks from the band’s lost 1992 album ‘Meanwhile Gardens’ (these being Never Odd Or Even, Greymouth and Life Going Faster). More information is here, although if you want to pick up one of the five hundred copies you’d better find your nearest participating British record store here: they might have some left. (There’s an earlier version of the title track below, in perhaps a rawer form.)

I’ve described ‘Meanwhile Gardens’ as a lost album, which isn’t strictly true. Although the record was recorded prior to Terry’s explosive departure, there was life after Bickers, For just over a year, singer Steve Ludwin took on the frontman role; during this time the band took it upon themselves to partially re-work the album with Ludwin’s vocals rolled out firmly over Terry’s. The resulting version of ‘Meanwhile Gardens’ was only released briefly in Australia. Following the split of the Ludwin lineup and the final end of the band, it’s always been regarded (rightly or wrongly) as something of a bastard appendix to the Bickers-era albums.

The happier news is that, following up ‘Never Odd Or Even’, Flashback are about to give ‘Meanwhile Gardens’ its own new lease of life with the active collaboration of the original lineup (including Terry Bickers). The album’s original vocals have been restored, the songs polished to satisfaction and a final tracklisting agreed upon. Although former album tracks Graymouth and Life Going Faster have been ceded to the ‘Never Odd…’ EP, the 2015 version of ‘Meanwhile Gardens’ keeps four of the tracks familiar from the Ludwin version (Food For Powder, Gardens Overflowing, Even When Your Eyes Are Open and the vaulting soar of King of Mice) and adds five songs previously only available via bootlegs (Bodiless, Imagine The Sharks, Evergreen, I Believe, Burrows and Sacred Lover). Apparently, it’ll be out sometime in “summer 2015” as a single CD and limited-edition double LP, each coming with gatefold sleeve and new artwork by original Levitation cover artist Cally.

It’s probably best to keep track of progress on the ‘Meanwhile Gardens’ release here; but meanwhile here’s the Bickers version of Even When Your Eyes Are Open (the last single the band released before he quit) and a bootleg-sourced version of the startling post-psychedelic stretchout Burrows – just to whet the appetite.

The Duke Of Norfolk online:
Homepage Facebook Twitter Soundcloud Bandcamp

Cardiacs online:
Homepage Facebook MySpace LastFM

Knifeworld online:
Homepage Facebook Twitter MySpace Bandcamp

Tim Bowness online:
Homepage Facebook Twitter Soundcloud Last FM YouTube Vimeo

Levitation online:
Homepage Facebook

ATTN:Magazine

Not from concentrate.

Xposed Club

improvised/experimental/music

I Quite Like Gigs

Music Reviews, music thoughts and musical wonderings

A jumped-up pantry boy

Same as it ever was

PROOF POSITIVE

A new semi-regular gig in London

We need no swords

Static and debris. Skronk and wail. This is music?

:::::::::::: 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!

songs from so deep

Songs and sound. Guitars and stuff.

%d bloggers like this: