Tag Archives: book launches

October 2016 – upcoming London gigs (Independent Country, She Makes War and Zoot Lynam at Daylight Music on the 1st; the debut London shows for Flock Of Dimes on the 4th) – plus Simon Reynolds’ glam tome launch events in Sheffield, London and Manchester (4th to 6th)

24 Sep

At the start of October, the Daylight Music autumn season continues with a splash of country, a clash of cymbal, and just a dash of kohl…

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Daylight Music 234

Arctic Circle presents:
Daylight Music 234: Independent Country + She Makes War + Zoot Lynam
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 1st October 2016, 12.00pm
– free event (suggested donation: £5.00) – information

Blurbs by Daylight Music, with interjections by me…

Independent Country are a six-piece band who play country versions of classic indie hits from the ‘80s, ‘90s and 2000s. Hear your favourite shoegazing tunes reimagined with pedal steel, lush three-part harmonies and fiddle.” Sounds as if someone’s taking the Mojave 3 idea and yanking it to the logical ludicrous extreme. Their debut album’s called ‘TrailerParkLife’… Well, at least it’s not another sodding rockgrass band; and Independent Country’s version of an old Jesus and Mary Chain tune (originally from the latter’s oft-slated, synth-pop-slanted ‘Automatic’), pulls off the neat trick of sounding as if it’s the original, rather than the cover. Either they’ve genuinely discovered Jim Reid’s inner roadhouse man, or they’re just really good at putting new blue-denim flesh on pallid British songbones.


 
She Makes War is the gloom-pop solo project of multi-instrumentalist, visual artist and all-round polymath Laura Kidd…” whom ‘Misfit City’s covered before, back at the start of August when she did a runaround British tour with Carina Round. Back then I made a few appreciative noises about Laura’s one-woman cottage-industry explorations: dark, brooding song topics sheathed in driven, melodic alt-(but-not-too-alt).rock, and self-directed videos which make the most of her Goth-next-door/folkie looks and still presence. Here’s one of the latter – a semi-animated video for her song Paper Thin, shot in New York and Boston with a comradely guest appearance from Belly’s Tanya Donnelly.


 
Zoot Lynam doesn’t just march to the beat of a different drum; he plays a different drum altogether: Zoot’s instrument of choice is the handpan (or “hang”), which is essentially a sci-fi spaceship of a percussion instrument. This is the first time a handpan’s been played at Daylight Music, so come and see it in action!” Web information on Zoot is a little thin on the ground – frankly, there’s not much more to that homepage than a bold stare and a waxed moustache – but it seems that he started to make his name back in the 1990s as an actor via work in various British theatres and voiceover performances in cartoons (I must have heard him thousands of times while my son watched ‘The Willows in Winter’).

I’m guessing that his move into music ties in with his theatre work, since I’ve tracked down odds and ends about live scoring and workshops, and because he comes to his gigs with a reputation as a raconteur. All of the evidence suggests that he’s one of those perpetually youthful, puckish characters existing on the dividing line between theatre and other arts: a stage polymath with a little bit of the mystic or magician to him. It’s a little early in the season, but here he is with something Christmassy on the handpans (to be honest, it’s all that I could find…)

 
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promo-2016-flockofdimes

Only a few posts ago, I was writing about Jane Siberry and was musing on other, next-generation musicians who seem to be following the trail Jane beat for a female art pop perspective back in the 1980s (some of whom, apparently guided by a mutual sense of community and affinity, are playing support slots on her ongoing British tour). It seems that I missed another one out.

Tickets are still available for the debut London shows for Flock Of Dimes (the solo project from Wye Oak frontwoman and guitarist Jenn Wasner) in early October. She’ll be playing a lunchtime instore show at Rough Trade East, followed by a full evening show up the road at the Hackney in Victoria. Flock Of Dimes has been developing for the last four years alongside Jenn’s decade-long body of work with Wye Oak (and her occasional ventures into dance pop as half of Dungeonesse. It’s taken until now, however, for Jenn to release a full Dimes album (something which perhaps coincides with her departure last year from her longtime Baltimore home to resettle in Durham, North Carolina). That album, ‘If You See Me, Say Yes’, was released yesterday on Partisan Records, and has been trailed in recent months by a pair of singles, Semaphore and Everything Is Happening Today.

Jenn has described her vision for the former single as the “struggle to communicate with each other, over distances literal and figurative, great and small,” and worked with film directors Michael Patrick O’Leary and Ashley North Compton to create a striking animated video for the song. According to Ashley and Patrick, all involved “wanted to present the tension of reaching out and not being able to touch. Fleeting communication with an outside world, felt but not seen, and Jenn’s interaction with her own double, create a hallucinatory sense of limbo. It creates a solitary confinement, wherein no matter how partnered or joined we find ourselves, those selves, our own best and worst companions, are all we have.”



 

Fantasies of isolation aside, the current form of Flock Of Dimes sounds liberating and upbeat, with less of the noisy indie mumble of Wye Oak. The project brings her pop melancholy into focus. Wye Oak might have become a poppier proposition in the last few years – 2011’s Spiral single definitely had a touch of the funk – but even Spiral left Jenn echoing in the distance like a mermaid dream, while the same year’s Civilian had more of an indie mumble. In contrast (and maybe on account of Jenn’s earlier dry runs at R&B with Dungeonesse), Semaphore is percolating electronic commercial art-pop in a 1986 Jane Siberry/Peter Gabriel vein, with a dash of country and bursts of beefy funk-roll bassline: qualities shared by Everything Is Happening Today, even if the latter has a more contemporary-sounding, speaker-busting alt.rock distortion halo wrapped around the chorus.

As you’ll gather from the names I’m dropping here, Dimes also has 1980s art pop written all over it – the stadium-scale reverb in which the guitars float and jostle like belfry runaways; the slick electronic technology which sounds as if it’s on the verge of cracking and hatching into a giant ungainly chick; and most of all the sense of an empowered, expressive perspective using all of this sonic trickery to blow open the windows and release the songs. I hate to sound as if I’m trying to ring a band’s death-knell (and I suspect that Jenn’s personal loyalties inform, inspire and justify her musical work as much as anything else) but on record, at least, Flock Of Dimes suggests ways forward for Jenn which Wye Oak simply doesn’t.

  • Rough Trade East, Old Truman Brewery, 91 Brick Lane, Spitalfields, London, E1 6QL, England, Tuesday 4th October 2016, 12:45pminformation
  • The Victoria, 451 Queensbridge Road, Hackney, London, E8 3AS, England, Tuesday 4th October 2016, 7.30pminformation

Flock Of Dimes: 'If You See Me' (promotional flyer)

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Simon Reynolds: 'Shock And Awe'

Simon Reynolds: ‘Shock And Awe’

Finally, legendary music writer Simon Reynolds – the man who defined post-rock and re-canonised post-punk, and has striven to contextualise and illuminate every ingredient in contemporary pop (from the most challenging Afro-American sub-bass growl’n’gurgle to the flossiest bit of floating white vanity-froth) has most recently been focussing on glam rock.

He’ll be launching his new book ‘Shock And Awe: Glam Rock & Its Legacy‘ via a short English book tour in early October. Dates and summary below:

“In ‘Shock And Awe…’, Simon Reynolds explores this most decadent of genres on both sides of the Atlantic. Marc Bolan, David Bowie, Roxy Music, Alice Cooper, The Sweet, Gary Glitter, New York Dolls, Sparks, Slade, Suzi Quatro, Cockney Rebel, Iggy Pop, Lou Reed, Mott The Hoople — all are represented here. Reynolds charts the retro-future sounds, outrageous styles and gender-fluid sexual politics that came to define the first half of the seventies and brings it right up to date with a final chapter on glam in hip hop, Lady Gaga, and the aftershocks of David Bowie’s death.”

All events will also feature a glam rock film screening: there’s no information on what’s playing at Sheffield, but for Manchester it’ll be Ringo Starr’s 1972 T-Rex rockumentary ‘Born To Boogie’ and for London it’ll be a “special curated series” of glam rock videos.

Again, there’s no mention of a sparring partner at Sheffield: but in Manchester Simon will be talking with a fellow ‘Melody Maker’ polymath (journalist, curator, pop historian, film director and St Etienne member Bob Stanley) and in London with ‘Guardian’ pop music critic Alexis Petridis from ‘The Guardian’. Simon Price (a Reynolds friend and contemporary who knows more than a little about the glamour chase and how to spin a polemic on it) will be joining in at London with a guest DJ set.
 

June 2016 – upcoming gigs in London – Tim Hodgkinson triple event with Zinc Trio, John Greaves, Yumi Hara, Geraldine Swayne, Guy Harries, Static Memories, Tom White and Rob Lyle (14th-17th)

7 Jun

The continued association shared by the former members of Henry Cow (and their ceaseless inspiration to work either collectively and individually) remains a gift that keeps on giving. Over the course of a single week in London this month, Henry Cow reeds-and-keyboard player Tim Hodgkinson (arguably the band’s most prolific and rigorously avant-garde member) plays at two shows at the Iklectik Arts Lab, one of which also features his old Cow sparring partner John Greaves as well as two vigorously creative women from the younger generation of the ever-broadening Cow/Faust/Rock In Opposition avant-rock circles. In between, he’s launching a book and delivering a talk on his own concept of musicality, complete with another live musical performance.

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The Horse Improvised Music Club presents:
Gus Garside/Dan Powell/Tom White/Rob Lye + Zinc Trio (Tim Hodgkinson/Hannah Marshall/Paul May)
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Tuesday 14th June 2016, 8.45pm
– more information

At this evening for Lambeth experimental night The Horse Improv Club, Tim Hodgkinson plays clarinet in spontaneous free-jazz team Zinc Trio, which also features Hannah Marshall on cello and Paul May on drums. Paul is the most recent member of the trio, which previously saw Tim and Hannah working with another drummer – English improv legend Roger Turner. The earlier trio can be seen here, scurrying and forging through a full-torrent 2009 improvisation.

Also on the bill are a new and possibly one-off quartet. Brighton duo The Static Memories, made up of Arc/In Sand/Safehouse collective member Gus Garside (double bass player, educator and National Arts Development Manager for Mencap) and Dan Powell (guitar and electronics, also a member of mischievous Brighton performance duo Nil and one of the people behind Brighton’s Spirit of Gravity experimental night) team up with the London duo of Tom White and Rob Lye (who work with electronics and reel-to-reel tape recorder). Here’s a Static Memories clip to clue you in, along with a White/Lye one: soundclash them together all on your own.

 
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Tim Hodgkinson book launch, 16th June 2016

CPAD (Centre of Performing Arts Development) at School of Arts and Digital Industries, University of East London, presents:
UEL Practice as Research event Series #1: ‘Music and the Myth of Wholeness’ talk and performance by Tim Hodgkinson (hosted by Yumi Hara and Guy Harries)
US.3.02 (Studio 3) University Square Stratford, University of East London,
1 Salway Road, Stratford London, E15 1NF, England
Thursday 16th June 2016, 7.00 pm
– free ticketed event with very limited space – tickets here

This is a launch event for Tim’s latest book, in which he “proposes a theory of aesthetics and music grounded in the boundary between nature and culture within the human being. His analysis discards the conventional idea of the human being as an integrated whole in favor of a rich and complex field in which incompatible kinds of information — biological and cultural—collide… As a young musician, Hodgkinson realized that music was, in some mysterious way, ‘of itself’ —not isolated from life, but not entirely continuous with it, either. Drawing on his experiences as a musician, composer, and anthropologist, Hodgkinson shows how when we listen to music a new subjectivity comes to life in ourselves. The normal mode of agency is suspended, and the subjectivity inscribed in the music comes toward us as a formative ‘other’ to engage with. But this is not our reproduction of the composer’s own subjectivation; when we perform our listening of the music, we are sharing the formative risks taken by its maker.”

Tim will be expounding on this in a lecture including passing examinations of “three composers who have each claimed to stimulate a new way of listening: Pierre Schaeffer, John Cage, and Helmut Lachenmann.”. In addition, there’ll be a music performance in which Tim is joined by University of East London lecturers and musicians Yumi Hara (voice, harp and found objects) and Guy Harries (flute and found objects). Both are experienced and diverse musicians – as well as being a perpetually active solo performer and serial collaborator, Yumi is a member of various Henry Cow/Faust related projects (The Artaud Beats, Jump for Joy!, Lindsay Cooper repertoire band Half the Sky), was a former Frank Chickens member, and was the driving force behind London’s ‘Bonobo’s Ark’ events (at which ‘Misfit City’ spent a number of intriguing evenings in the late ’90s); while Guy’s work spans singer-songwriter projects, experimental multimedia musicals and opera, and assorted collectives (Bodylab Arts Foundation, the POW Ensemble, Live Hazard) across multiple genres.

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'Other, Of Itself', 17th June 2016

Iklectik Arts Lab presents:
‘Other, Of Itself’: Yumi Hara + Tim Hodgkinson + Geraldine Swayne + John Greaves
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Friday 17th June 2016, 8.30pm
more info

Yumi (on voice, harp and piano) and Tim (on bass clarinet and pedal steel guitar) reunite the very next evening for another concert. For this one, they’ll be joined on keyboards, electronics and voice by Geraldine Swayne (fine artist, film maker and – as musician – a member of both Faust and …bender) and by Tim’s old Henry Cow sparring partner John Greaves (voice, bass guitar, piano). It’s a loosely-structured quartet evening during which the four musician will work in various combinations including a Hodgkinson/Hara duet and a John Greaves solo set on voice and piano (performing selections from his own song repertoire).
In addition, Marina Organ (‘Organ‘, ‘The Other Rock Show‘) will be contributing a DJ set.
 

Upcoming London gigs in early June – A Formal Horse & Ham Legion; Olga Stezhko; The Spiders of Destiny play Frank Zappa; a Bowie Night in Soho

29 May

Here’s some quick info on upcoming gigs in early June which I’ve heard about – all of them in London.

Over the last couple of years, Westminster Kingsway College has established itself as one of the capital’s finest homes for quirky art-rock – by which I don’t mean student hobby bands thrown together for campness or for ironic prankery, but a rich, complex, committed electric music spanning the range between gutter-punk and flouncing prog via metal, jazz, folk, avant-gardening and anything else which gets melted down into the stew. Here’s one of those gigs that proves the point.

A Formal Horse, 2015

A Formal Horse + Ham Legion (Westminster Kingsway College, 211 Gray’s Inn Road, London, WC1X 8RA, Tuesday 2nd June, 6.30pm)

A Formal Horse is a new progressive rock quartet based in Southampton. Although the band’s sound is difficult to pinpoint, their dense instrumental passages are reminiscent of King Crimson and Mahavishnu Orchestra, whilst Francesca Lewis’ lead vocals evoke the whimsical surrealism of the 1970s’ Canterbury scene. Wonky melodies and serene vocals over a brutal sound – their music keeps you on your toes. However, A Formal Horse go beyond simply regurgitating the music of their predecessors. With influences as diverse as Bartók and Bon Iver, the band prove that there is still much territory to be explored in the field of British progressive rock.

In June 2014, the band released their debut EP, which was recorded by Rob Aubrey (IQ, Transatlantic). They went on to perform at London’s Resonance Weekend alongside Bigelf and Änglagård, and were described by Prog Magazine as a “festival highpoint”. Since, they have shared stages with Knifeworld and Lifesigns, cementing their position at the forefront of the British progressive scene.

Ham Legion spent 2014 honing their sound and developing a storming live show. You can expect a collision of beaming up beat power pop, grinding metal outbursts, dramatic changes of mood, sudden passages of twistingly epic prog then moments of restrained delivery and somber reflection. They are striking out in 2015 with the release of their debut album towards the end of the year.

Tickets available here – £6.00/£5.00

Olga Stezkho: 'Eta Carinae'

Olga Stezkho: ‘Eta Carinae’

Olga Stezhko (the far-thinking Belarusian classical pianist whose ‘Eta Carina’ album impressed me so much last year) has two London concerts coming up in the first fortnight of the month. The second’s likely to be an all-access crowd-pleaser. Given its charity fundraiser status, I’m not sure whether the first is likely to feature or indulge any of Olga’s intriguing conceptual preoccupations with Scriabin, Busoni, cosmology and early twentieth century consciousness, but even if it isn’t it’s a great opportunity to see a fine musician at work in a grand location.

Olga Stezhko charity piano recital in aid of Friends of the Belarusian Children’s Hospice (St Pancras Parish Church, Euston, London NW1 2BA, Thursday 4th June, 1:15pm – 2:00pm)

Programme not revealed – free admission, donations requested.

EC4 Music in aid of The Prince’s Trust (Barbican Hall, Tuesday 9th June, 7:30pm – 9:30pm)

The choir and orchestra of London-based EC4 Music return for their seventh fundraising concert in aid of The Prince’s Trust with a stirring selection of music from both sides of the Atlantic.

Programme:

Leonard Bernstein – Overture from ‘Candide’
Aaron Copland – Appalachian Spring
George Gershwin – Rhapsody in Blue
Vaughan Williams – Serenade to Music
Leonard Bernstein – Chichester Psalms
Eric Whitacre – Water Night
Hubert Parry – Blest Pair of Sirens

Performers:

EC4 Music Choir and Orchestra
Tim Crosley – conductor
Olga Stezhko – piano
Claire Seaton – soprano
Roderick Morris – countertenor
Thomas Herford – tenor
Adam Green – baritone

Tickets available here – prices from £10.00 – £35.00 plus booking fee.

Some of London’s most active art-rockers are brewing up a free Zappa homage in Croydon at around the same time. Details below:

event-20150606spidersplayza
The Spiders of Destiny play Frank Zappa (The Oval Tavern, 131 Oval Road, Croydon, CR0 6BR, Saturday 6th June, 8:30pm)

Great googly moogly! On June 6th, nine-piece tribute band Spiders Of Destiny come to The Oval Tavern to play a marathon set of music by the late, great Frank Zappa. Featuring world class performers with a sense of humour from notable prog/alternative bands such as: Knifeworld, Perhaps Contraption, Pigshackle, Medieval Baebes, The Display Team, Hot Head Show, Poino, Spiritwo, First, A Sweet Niche and more. So polish up your zircon-encrusted tweezers, trim your poodle, learn the mudshark dance and join us as we propagate the conceptual continuity instigated by one of the masters of modern music.

More info here – this gig is FREE ENTRY but there will be a donations jug doing the rounds during the intermission.

book-bowiespianomanAnyone with an interest in David Bowie, rock history, cabaret, electropop and all of the other things that get swept up into Bowie’s art should head to Soho on Thursday 11th June for A Bowie Night at Gerry’s Club, at which pianist and writer Clifford Slapper launches his book ‘Bowie’s Piano Man: The Life of Mike Garson‘ (which also has its own Facebook page).

As well as readings and signings there will be performances of Bowie songs from avowed fans Danie Cox (from “flock-rockers” The Featherz), Ray Burmiston (of ’80s heroes Passion Puppets), club siren Katherine Ellis (Freemasons, Ruff Driverz, Bimbo Jones etc.) and acoustic singer Jorge Vadio. There’ll also be a performance from a longtime ‘Misfit City’ favourite – London balladeer, Brel translator and onetime ‘Pirate Jenny’s’ host Des de Moor, who’ll presumably be singing his Bowie-gone-chanson interpretations from his ‘Darkness and Disgrace’ show. (I’m particularly pleased to see that Des is back onstage. It’s been a long time.)

More on the book below, and more on Gerry’s Club here.

“It is pointless to talk about his ability as a pianist. He is exceptional. However, there are very, very few musicians, let alone pianists, who naturally understand the movement and free thinking necessary to hurl themselves into experimental or traditional areas of music, sometimes, ironically, at the same time. Mike does this with such enthusiasm that it makes my heart glad just to be in the same room with him.” – David Bowie

Mike Garson has played piano on sixteen David Bowie albums, including Aladdin Sane, with his celebrated piano solo on its title track, Diamond Dogs, Young Americans, 1. Outside and Reality. He has also played live with Bowie on countless tours and shows, and remains his most long-standing and frequent band member.

For some time Clifford Slapper has been working very closely with Garson to write a book which explores the life of this extraordinary and eccentric modern musician. It documents in detail how as a pianist he was catapulted overnight from the obscure world of New York’s avant-garde jazz scene to a close and long connection with Bowie. In addition, Garson is recognised as a classical virtuoso, a jazz master and one of the world’s greatest exponents of improvisation. He has also recorded and performed live with other rock legends such as the Smashing Pumpkins and Nine Inch Nails. All of this is covered by this first ever biography of Mike Garson.

Its starting point was several days of in-depth and frank conversation with Garson himself, and covers a wide range of themes which will be of interest to all Bowie fans, but also to anyone with a passion for music, social history or the process of creative inspiration. Input has also come from many interviews with those who have worked with him over the years, including Earl Slick, Trent Reznor, Sterling Campbell, Reeves Gabrels, Dave Liebman and many others.

event-20150611bowienight

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