Tag Archives: Café Oto (venue) – Dalston – London – England

April 2018 – upcoming London classical/experimental/folk gigs – Caterina Barbieri solotronic set at Kammer Klang, plus Zwerm Ensemble and the RAM’s Experimental Music Ensemble playing Feldman, Dowland, Brown and Baillie (3rd April); the ‘What is England?’ festival including Bishi/Jeff Cook’s ‘The Good Immigrant”, Ansuman Biswas, Suna Alan and John Spiers (20th-23rd April)

28 Mar

Dips into the mid-twentieth century New York School (including its work with graphic scores) and into unintentionally sprightly electronica characterise a surprisingly sober, instrumentally-based April show for Kammer Klang.

Kammer Klang, 3rd April 2018Kammer Klang presents:
Kammer Klang: Caterina Barbieri + Zwerm Ensemble (playing John Dowland, Earle Brown and Joanna Baillie) + RAM Experimental Music Ensemble (playing Morton Feldman)
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 3rd April 2018, 7.30pm
– information here and here

Opening, the Royal Academy of Music’s Experimental Music Ensemble present Morton Feldman‘s rarely-performed, highly textured septet piece ‘The Straits Of Magellan’. Dating back to 1961, the piece’s graphical score is an array of coded time boxes, each containing representative symbols for single or simultaneous notes/durations/colourations; while the dynamics of the composition are explicitly and sternly noted (with minimal note attacks, a generally quiet approach but multiple instructions for glissandi, harmonics etc), the pitches are left entirely up to the players’ choices. Here’s one of the many possible interpretations:


 
In the middle of the bill are Belgian electric guitar quartet Zwerm Ensemble (avant-garde favourites whose collaborations and performance credits include Fred Frith, Mauro Pawlowski, Larry Polansky, Eric Thielemans, Yannis Kyriakides and Etienne Guilloteau) The four members (Toon CallierJohannes WestendorpBruno Nelissen and Kobe van Cauwenberghe) will present arrangements of ‘Semper Dowland, Semper Dolens’ (by peerless Renaissance lute composer John Dowland), ‘December 1952’ (by twentieth century “open form” pioneer Earle Brown,and, like the Feldman piece, sourced from a graphic score) plus a performance of ‘Last Song From Charleroi’, a new seventeen-minute work for four electric guitars and tape composed by Joanna Bailie. Examples of playing, pieces and general composer tone below…





 
Headlining, Italian composer and voltage-controlled-sequencer specialist Caterina Barbieri will perform a solo electronic set of her “ecstatic computation” music. Berlin-based, she explores “themes related to machine intelligence and object oriented perception in sound through a focus on minimalism” and “psycho-physical effects of repetition and pattern-based operations in music, by investigating the polyphonic and polyrhythmic potential of sequencers to draw severe, complex geometries in time and space.”

In practise, this is surprisingly accessible. Her work (including her recent ‘Patterns Of Consciousness’ album, composed entirely on Verbos Harmonic Oscillator and ER-101 Indexed Quad Sequencer) initially sounds closer to the pop-synth airiness of Kraftwerk or Tangerine Dream records from the ‘70s; even to the rhythmic clink of Larry Heard or the warm chitter of Jean-Michel Jarre. But even if there are similarities to ‘Pong’ or ‘Popcorn’ – especially live – this is merely a side effect of structure. Caterina’s work is intended as an austere examination of qualities: its primitive but plaintive blippery coming about due to her wish to avoid signature synth sounds, concentrating instead on careful shifts of accenture, attack and shaping on basic sine tones, accelerating and decelerating. The emotional content – like the unexpected danceability – apparently comes despite her intentions. Live, she fits right in with populist EM; sometimes, though, in the studio, she can come across as more raw, glitchy and forbidding. Perhaps in the tougher Kammer Klang environment, more of this side will will emerge.


 
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Information’s starting to come through on a defiantly heterogenous and diverse festival springing up in Stoke Newington towards the end of the month, delving into electroclassical and folk music forms, queerness, multiculturalism and the concept of English nationality in (and in spite of) ugly times. Details on this are still taking shape, so I’ll drop in what I’ve got now and add to it later, when I can…

The Old Church, The Nest Collective & others present:
‘What is England?’
The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England,
20th-23rd April 2018, various times
– information here

'What Is England?', 20th-23rd April 2018“A four-day festival in the run up to St George’s Day, ‘What Is England?’ offers a chance for everyone to reimagine ‘Englishness’ in an inclusive, welcoming way, at a time when a toxic form of nationalism is on the rise.

“The festival includes the European debut of ‘The Good Immigrant’, an electroclassical song cycle for voice looper, sitar and electronics about race and identity by vocalist/composer Bishi. Co-produced with composer and sound designer Jeff Cook, the song cycle received its world premiere at The Ferus Festival in January 2018 in New York. The music is inspired by ‘The Good Immigrant’ by Nikesh Shukla, a collection of essays by 21 BAME writers, ruminating on race & identity in contemporary Britain. Each song is a response to a particular essay in the book, with special audio quotes sampled in from personal interviews conducted with writers Nikesh Shukla, Salena Godden and Darren Chetty, ending with a choral setting of Rabindranath Tagore’s ‘Where The Mind is Without Fear’.

“In this work, Bishi takes a personal & intersectional journey reflecting on her experiences. As a British-Bengali daughter of immigrants, adopted by London’s community of alternative queer nightlife, she has lived through a unique cross-section of London’s contemporary urban landscape. ‘The Good Immigrant’ is a call to arms to explore our differences so that we may find more unity and empathy in a divided world. Having been trained in eastern and western classical music, and experienced performing in a Bulgarian choir, Bishi takes her influences from a variety of musical styles. Major musical influences include electronic producers Burial and Arca, and vocalists such as Meredith Monk and Lisa Gerrard.


 
“Also as part of the festival, modern folk initiative The Nest Collective presents a very special St George’s day involving established and merging talent in English folk, again looking at the idea of Englishness. Confirmed artists so far include Ansuman Biswas, Suna Alan and John Spiers.

“Believing that “music spreads throughout the environment like a perfume.. it soaks into the fabric of other things and people”, Ansuman is an Kolkata-born percussionist, interdisciplinary artist and composer who has been commissioned by Tate Modern, National Theatre, English Ballet and has worked with Bjork and the London Philharmonic Orchestra and in world music hybrid quartet Newanderthal (“four humans, three continents”). Suna is a Kurdish/Alevi singer based in London whose family moved to Smyrna (Izmir) in her early childhood (meaning that much of her formative years were spent surrounded by traditional Kurdish dengbêj music and Kurdish-Alevi laments within a rich cosmopolitan cultural environment). Her main focus is Kurdish folk songs from the four regions of Kurdistan, namely Iraq, Iran, Syria and Turkey, but her repertoire also includes Armenian, Greek, Sephardic and Turkish songs. John Spiers, known better in folk circles as Squeezy, has made a name for himself as one of the leading squeezebox players of his generation, playing with Eliza Carthy’s Ratcatchers band, Bellowhead and the duo Spiers and Boden (with Jon Boden).”




 
Rough details on the festival dates and events below: with panel events, DJs and an as-yet-unrevealed event for the Sunday slot, expect things to expand. With ‘The Quietus’ involved, I wouldn’t be surprised if a New Weird Britain strand began to weave its way into proceedings…

  • Friday 20 April, 7.00pm – festival launch: ‘The Good Immigrant’, plus NTS and The Quietus DJs and What Is England? panel eventtickets
  • Saturday 21 April, 10.30am – OPEN: Morning including “make-you-own-flag” event with OPEN:Art/Output Arts tickets
  • Saturday 21 April, 7.00pm – The Good Immigrant, with DJs and ‘The Good Nationalist?’ panel eventtickets
  • Sunday 22 April – details t.b.c.
  • Monday 23 April, 7.00pm – Nest Collective’s St George’s day event featuring Ansuman Biswas, Suna Alan, John Spiers and others t.b.c.tickets

 

February 2018 – upcoming London experimental gigs – Kammer Klang featuring Jennifer Walshe and Distractfold Ensemble (6th February)

30 Jan

February’s Kammer Klang sees the Dalston performance evening marching ever further away from contemporary chamber music and embracing an ethos of outright sonic performance theatre. The works presented by Jennifer Walshe and Distractfold Ensemble next week use musicality as merely one available limb of expression – even if many of the tools used are musical.

Kammer Klang presents:
Kammer Klang: Jennifer Walshe + Distractfold Ensemble (playing Steven Kazuo Takasugi, Hanna Hartman and Barblina Meierhans)
Cafe Oto, 18-22 Ashwin Street, London E8 3DL
Tuesday 6th February 2018, 7.30pm
– information here and here

Kammer Klang, 6th February 2018Witty, shapeshifting Irish composer-performer Jennifer Walshe was once described as “the wild girl of Darmstadt” (by ‘Frankfurter Rundschau’) Often hiding, Residents-like, behind the mask of the fictional ‘Milker Corporation’, she’s delivered nearly two decades worth of intriguing, award-winning work, from near-conventional instrumental composition to way-out self-performed video theatre more reminiscent of a larkier, less traumatic version of Karen Finley.

Examinations and implementations of pop culture have been a persistent creative motif for her. While this can be an embarrassing stumbling block for many a composer hamfistedly trying to ginger up high culture or elevate street culture (most of whom bellyflop soundly into the discomfort zone) Jennifer displays a thorough grounding and innate understanding of how this things can tick. This is clearly displayed in her lightning-switch pop-song collage ‘G.L.O.R.I.’, while her Snapchat-based interactive ‘Thmotes’ project (with its now-you-see-them now-you-don’t exchange of text scores) was but one example of her keen understanding of both how new forms of media operate and how they develop their own operational cultures. Inspired in part by televisual opera experimenter Robert Ashley, she’s also written miniature operas ranging from relatively serious chamber pieces about women in boxing or 2010’s focus-shifting ‘The Geometry’ to trashy X-rated soap scenarios played out by whispering, shrieking, hissing Barbie dolls.

As an intercontinental voice improviser, Jennifer’s co-run witty stunts such as the United Telepathic Improvisation Front; and for the last eleven years she’s exercised and presented a dozen different and distinct alter egos as part of the ongoing Grúpat project (a Dublin art collective of fictional “Guinness Dadaists” in which Jennifer herself creates, becomes and enacts every single artist whether exploring music, films, photography, fashion, sculpture or any overlaps between the forms – personae include grotto-builder Violetta Mahon, filmmaker Freya Birre, sculptor-of-instruments Turf Boon, psychogeographic drag queen multidisciplinarian The Dowager Marchylove and partially-fingerless concert pianist Flor Hartigan). Running through all of this (alongside of the exceptional media savvy) is a riotous stream of Irish absurdism – it’s unsurprising to discover that Jennifer cites Flann O’Brien and the “Irish openness to subterfuge” as spurs to what she does.

Her Kammer Klang performance this time involves her 2016 composition ‘There Was A Visitor’ – of which the title may be a nod to Ashley’s ‘She Was A Visitor’, and which is mostly a compression/selection from another ongoing project of spoofing/serious fictionizing, ‘Historical Documents of the Irish Avant-Garde‘. In some ways a more historically-inclined cousin of Grúpat, ‘Historical Documents…’ is a made-up history of the Irish avant-garde, complete with its own foundation and voluminous archive of compositions, documents, academic articles and sundry ephemera. Jennifer apparently performs it within the context of “a Dadaist Halloween séance”, which she also describes as “a sort of mangled faith healer experience with optional audience engagement.”

(UPDATE, 5th February – for some reason, it seems that Jennifer’s now dropped her scheduled performance of ‘There Was A Visitor’ and replaced it with ‘Is It Cool To Try Hard Now?’, a 2016 composition “for voice, video, electronics and Artificial Intelligence”. There’s not much more information available on this one, other than that it was first premiered at the Jamjar Music Weekend in Belfast – it’s not even listed on the Milker site. If you can find out anything more about it, you’re a better, quicker browser than I am… what the hell, go along and be surprised…)

Manchester’s Distractfold Ensemble (curators of their hometown’s Cut & Splice Festival) will be presenting three pieces, including the evening’s Fresh Klang opener – a performance of Barblina Meierhans’ ‘May I Ask You Something?’. The latter is, in effect a semi-dysfunctional conversation for orchestra: an arrangement of inter-band mutters culminating in an eerie array of distracted frictional instrumental squeaks and a number of uncomfortable silences.


 
Of the other two Distractfold presentations, ‘Circling Blue’ is a 2010 tape piece by Swedish sound artist Hanna Hartman (for which Manifold members will be handling the sonic diffusion). Originally commissioned by Swedish radio for a themed programme on Nordic forests, it’s an electroacoustic work for the captured sounds of swirling winds and beating rain plus the recorded and stretched notes of soprano Ida Falk Winland.

The last presentation, ‘The Man Who Couldn’t Stop Laughing’ is a piece of music theatre for amplified quartet and tape playback: a segment of Japanese-American electro-acoustic composer Steven Kazuo Takasugi’s five-movement ‘Sideshow’ sequence. Inspired by the crueller, more exploitative aspects of Coney Island entertainment parks (and drawing its section titles from a set of bleak aphorisms by Karl Kraus, the mordant cultural gadfly and satirist of early 20th century Vienna), the piece is “a meditation on virtuosity, freak shows, entertainment, spectacle, business, and the sacrifices one makes to survive in the world”, in which the instrumentalist perform as if they were “characters in a sideshow. The saxophonist is the Sideshow Giant, having bellow-like lungs. The violist is a sword swallower, expert with a bow sword. The pianist is the Human Spider, having been born with eight hands. The percussionist is the Stuttering Midget and Sideshow Proprietor/Announcer. Each character of this quartet has his or her uncanny double, twin, imposter, accomplice, copycat, deformed clone.”

Strange taped sounds (worked up from Takasugi’s algorithmic processing from his extensive library of recontextualized sonics) plus intense individual performer silences and motions add to the uneasy, surreal and grotesque atmosphere. Reviewing a previous performance in 2017, Stephanie Jones of ‘Sounds Like Now’ observed that it “suggested that the audience (was) masterminding a highly uncomfortable human puppet show… (which) captivated and cradled the audience on thematic pivots such as humour/cruelty and freedom/torturous restraint, while the playback ensured that the performance itself blurred the lines between illusion and fact.”
 

February 2018 – upcoming London gigs – Society Of Imaginary Friends Soiree with Meg Lee Chin, Keiko Kitamura, I Am Her, Kosmic Troubadour, Math Jones (2nd February); Peter Blegvad Trio and Bob Drake (9th February – plus the Club Integral Resonance Benefit Gala on the 8th); Evil Blizzard and Nasty Little Lonely (10th February)

29 Jan

SOIF Soiree, 2nd February 2018

Society of Imaginary Friends presents:
“Into The Forest” Soiree: Meg Lee Chin + Keiko Kitamura + I Am Her + Kosmic Troubadour + Math Jones
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 2nd February 2018, 7.30pm
– free event – information here

After a few events which were perhaps a little more predictable than we’d’ve hoped, this month’s Society Of Imaginary Friends-hosted concert moves up a gear with the involvement of “two goddesses of Earth and Heaven”. Purple twilight time:

“We take the path that leads down from the fell, over the style, over a stream and into the heart of the forest. At first it seems completely lifeless in the wood, all of its creatures hibernating deep in the ground; but as our eyes become adjusted to the dusky dark and senses atuned to its music..the rustle of a robin in the dried leaves, a squirrel’s staccato, a falling pine cone. Suddenly we are in a clearing of softest moss – a place of refuge and rest, where a clear spring rises and sunlight dances. Welcome to our “Into the Forest” Soiree.”

A mid-‘90s Pigface member (and the former frontwoman for female noise band Crunch), industrial pop/darkwave/hip hop songstress and hands-on producer Meg Lee Chin is a prime example of longstanding female creativity and independence. Having rattled cages and excited commentators with her turn on Pigface’s ‘Nutopia’, she then spearheaded contemporary home-studio recording with her 1999 solo album ‘Piece and Love’ and went on to found pro-audio community Gearslutz. Although released music has been sporadic for the last couple of decades, Meg’s kept her reputation as a fascinating, brilliant performer and composer and as an outspoken, sometimes contrary blogger. SOIF, in turn, have a reputation for coaxing people’s slumbering performance talents out of semi-retirement: if Meg’s risen to the occasion in response, this ought to be pretty exciting.

Also on hand – and in delightful contrast – is Keiko Kitamura: known for activities ranging from replaying Japanese court music to Jah Wobble’s Nippon Dub Ensemble, is a leading international koto player (in particular, the 17-string bass version) as well as a singer and shamisen player. Expect a mixture of tradition and originality.




 
The rest of the appropriately quirky SOIF bill is filled out by eccentric rainbow keyboard warrior The Kosmic Troubadour, poet/dramatist Math Jones (with a sheaf of forest poems) and Soiree regular I Am Her, a.k.a. ex-Rosa Mota singer Julie D. Riley (who also, with fellow Rosacian Sacha Galvagna, makes up transatlantic transcontinental electropop minimalists Crown Estate). As ever, the Society themselves are performing, presenting (presumably) art-pop forest ballads to take in with the Karamel vegan feast that’s part and parcel of a SOIF event. This time, you get an appropriately woody wild forest mushroom soup, a mushroom and root vegetable pizza and some Black Forest gateau…


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Here’s news on one of the several fundraisers for London alt.culture radio station Resonance FM, helping it to keep up its mission of broadcasting the wild and wonderful across the Smoke’s airwaves and around the world online. Even setting aside the calibre of the night’s performers, it’s pretty much worth going along for that reason alone.

Peter Blegvad Trio, 9th February 2018

Resonance FM presents:
Peter Blegvad Trio with Bob Drake
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Friday 9th February 2018, 7.30pm
– information here and here

I’ve always had a lot of admiration for Peter Blegvad – not only for the owlish wit of his songs (including his skill as palindromist and wordplayer) and the enviable polymathic breadth of skills which means he’s also a fine experimental cartoonist, audio dramatist and commentator. It’s also because anyone who can get himself sacked from ‘70s avant/oppositional prog gods Henry Cow by outrightly twitting their seriousness at the height of their brow-furrowing Maoist phase (and apparently by writing a lyric about a woman chucking raisins at a skeleton) is a man who knows something about whistling in the face of sternness.

Well, perhaps I shouldn’t make too much of this. For one thing, despite (and because of) Henry Cow’s high-flying, generally admirable idealism, spending time there seems to have been argumentative for everyone (in particular during the period in which almost every potential action appeared to have its cripping counter-bourgeois condemnation, during which a man of Peter’s wayward questioning wit and self-declared flippancy would have stuck out like a slammable thumb in the way of a door). Once out of the mothership, though, it was evidently easier to be familial. Showing up most artistic spats and internal rock band feuds for the pique and piffle that they are, all of the ex-Cow-ers grew up (and grew past their arguments) to become a mutually supportive bunch. Threading in and out of each other’s concerts and solo careers, they rapidly learned to welcome and celebrate the diversity of their collective interests and ideas, and they’ve stayed that way.


 
Proving this yet again, whenever the Peter Blegvad Trio comes back together it reunites Peter with two regular Cowfriends: John Greaves (bassist and longtime ally both during and after Cowdays, from the ‘Kew.Rhone.’ project onwards) and Chris Cutler (drummer and owner of the eclectic and honourable post-Cow record label ReR Megacorp which, since 1988, has released four widely-spaced Blegvad albums – ‘Downtime’, ‘Just Woke Up’, ‘Hangman’s Hill’ and last year’s ‘Go Figure’). Thirty-seven years of on/off playing together has resulted in a relaxed, gently telepathic connection: not a mysterious communion, nor an alliance of breakneck musical stuntwork, but an easy, comfortable instinct for what’s required to frame the song and no more. As for Peter himself, if you’re unfamiliar with his work it’s best to think of someone with one foot in the sardonic-wit songworld of Loudon P. Wainwright, Leon Rosselson, Richard Thompson and Kinky Friedman, and the other in the counterflow rock camp which the Cow shared with (among others) Faust and Pere Ubu.


 
And that brings me to the second point – ultimately, it’s really pretty misleading to define Peter by the lineaments of Henry Cow, art-prog or Rock In Opposition. Granted, he’s spent quite a bit of time paddling away in those areas (in addition to ‘Kew.Rhone’ and the Cow work, there’s been Slapp Happy, Faust and The Lodge, as well as swing-by dates with The Golden Palominos and Art Bears). Yet if you put him firmly in the driving seat on his own, what you get isn’t hyperliterate trickery, but intelligent, light-touch, surprisingly roots-rocking songs with a smart economy of tale-telling and reflection.

He’s still got a yen for throwing up a thesis and exploring it (this is, after all, a man who once explored the roots and fears of the European Union via a teasing, erudite and baffling lyrical mirror-maze of classical borrowings), but more often than not he’ll now use a folk or country-folk form to do so, or pick a nuanced idea to polish in a few simple strokes: something a child could pick up on but which an adult might savour. From some angles you could even confuse him (via that nasal, tuneful, breathy bark of a voice) with a more relaxed Mike Scott in acoustic mode, or even with Mark Knopfler in a moment of sardonic humanism. Although neither of them would have written a love ballad as sparse and sorrowful as Shirt And Comb, honed a metaphysical gag like Something Else (Is Working Harder) or tweaked, explored and upended a common cultural assumption the way Peter does on Gold.


 
One of the contributors to ‘Go Figure’ (along with Karen Mantler) was the delightful Bob Drake – the erstwhile Thinking Plague and 5uu’s mainstay turned offbeat producer and solo artist. For more of my rambles on him, take a look over here. The long and the short about him, though, is that he’s a multi-instrumentalist and hedge-bard with broad and rambling ideas about just how far you can stretch and mutate an open-ended thought or song, who now regularly heads out for solo voice-and-guitar gigs (often performing, for reasons both flippant and serious, in a lovely white bear-dog suit). Like Peter Blegvad, Bob’s got a liking for complexity and warm perverse wit; but what you take away from his shows is literal shaggy-doggery: peculiar sung tales both finished and unfinished about strange mammals, haunted houses, odd habits, monster-movie scenarios and twisted eldritch dimensions.

When I originally posted this, I was under the impression that Bob was playing a solo Oto support slot, but it now appears that he’s actually beefing up the Trio to a quartet, with or without the animal suit. If you still want to see Bob in solo mode, however, you could set aside some time the previous evening for another Resonance FM fundraiser: Club Integral‘s annual Resonance tin-shaker, being held south of the river at IKLEKTIK on Thursday 8th.

Offering “thirteen minute sets from thirteen acts”, this features a wealth of music-and/or-noise-makers from the Integral playlists: improv pranksters Glowering Figs, audiovisual sculptress Franziska Lantz, ARCO composer Neil Luck, mixed-ability folk internationalists the No Frills Band, Found Drowned/Four Seasons Television guitar manipulator James O’Sullivan, sound designer/Howlround member Robin The Fog, Bob and Roberta Smith (a.ka. artist/advocate/utopian Patrick Brill) playing with his own “musical intervention” project The Apathy Band, restlessly morphing New Wave survivors Spizz, and whoever St Moritz, Two Horns, Robert Storey, Strayaway Child, Swordfish and King/Cornetto happen to be. Plus Bob – who was hoping to balance his thirteen-minute time limit with the playing of thirteen one-minute songs, but has apparently opted to settle for eleven.


 
(If Bob’s wily, he’ll also strap a few tentacles onto that fur-suit and go up and do a bit of busking by Camden Lock, staking out the London Lovecraft Festival that’s also taking place that week…)

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Evil Blizzard, 10th February 2018

Baba Yaga’s Hut presents:
Evil Blizzard + Nasty Little Lonely
The Underworld, 174 Camden High Street, Camden Town, London, NW1 0NE, England
Wednesday 10th February 2018, 6.00pm
– information here and here

Filling in a three-cornered gap between Public Image Ltd, Poisoned Electrick Head and The Residents, hilariously distressing Preston lords of misrule Evil Blizzard are bringing their act south in order to launch their ‘Fast Forward Rewind’ single (from upcoming third album ‘The Worst Show On Earth’). Their gigs are part banging art-punk party and part horror-comedy masked ball, featuring four cranky and disparate bass guitarists; a singing, chanting drummer; and a pair of in-house stage invaders in the shape of a dancing money-chucking pig and a man running wild with a mop.

The assorted masks (hilarious and creepy) and the threatening mannequin/orc lunges may make it all look like an Auton’s cheese-dream or a riot in a Black Lodge dollhouse, but underneath the screaming horse-laughs are a rattling good party band. Over the years, they’ve won over many a psychedelic or underground festival audience and even their own musical heroes (with Killing Joke, Hawkwind and PiL having invited them on for support slots).



 
Also playing are stomping industrial post-punk duo Nasty Little Lonely, who provide a bandsaw-guitar set of “post apocalyptic decadence, discarded trappings of consumerism gone awry, alienation and small furry creatures with very sharp teeth.” They might possibly be tempted to dance afterwards if you encourage them enough.


 

January 2018 – upcoming London experimental rock gigs – Nøught & Dead Days Beyond Hope (17th January), Data Quack + Alex Ward (31st January)

10 Jan

Another quickie – Oxford-rooted avant-rock guitarists James Sedwards and Alex Ward (who’ve been in cahoots for at least twenty years) take their respective bands to the stage at Café Oto this month.

Nøught + Dead Days Beyond Help
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Wednesday 17th January 2018, 7.30pm
– information here and here

Nøught + Dead Days Beyond Help, 17th January 2018

“All-out, high-voltage line-up with James Sedwards’ avant-punk/jazz-prog/noise-rock group Nøught, and Alex Ward and Jem Doulton’s Dead Days Beyond Help project.

“Nøught is a synthesis of the experimental, avant-punk, jazz-prog and noise-rock credos, distilled into the paradoxical confines of a musically volatile, instrumental power-quartet. Originally formed in Oxford in the late ’90s by eminent guitarist James Sedwards (Thurston Moore Group/Guapo/The Devil), the current line-up has been based in London since 2002.

“Their music is profoundly exhilarating when encountered and often provokes an hypnotic sensation from an audience, as their incendiary live performances can easily entice and captivate a listener due to the highly artful, polished and demanding compositions. Pieces span the extremes of short, catchy, three minute eruptions to long, dense and evolving half-hour incantations. Nøught’s music provides an uncommonly refreshing, non-derivative sensibility and approach, and they continually astound as they develop, invoke and deliver their singularly potent blend of sonic diabolism.


 

“Dead Days Beyond Help have honed a compositional approach heard to its fullest extent on their 2014 Believers Roast release ‘Severance Pay’ described by ‘The Wire’ as “a reminder that there are still thrills aplenty to be gained from the pursuit of complexity… as playful as it is heavy, as atmospheric as it is cerebral”.

“In their live performances, these variously intricate, sweeping and violent compositions sit side by side with free-wheeling improvisational excursions (reflecting the members’ work with the likes of Steve Noble, Alan Wilkinson and Thurston Moore) and the whims of the moment, which could involve a leap into either a wall of flattening noise or the most emotionally direct country song. In negotiating this dizzying range of materials, DDBH bypass the pitfalls of irony and the obstacle course of genre by the simple guiding principle: intensity-at-all-costs.”



 
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And Alex is back again at the end of the month, supporting bubbling-under experimental group Data Quack in one of the increasingly interesting gigs being put on at Westminster Kingsway.

Data Quack + Alex Ward, 31st January 2018

Westking Music and Performing Arts presents:
Data Quack + Alex Ward
WKC Theatre @ Westminster Kingsway College, 211 Gray’s Inn Road, Kings Cross, London, WC1X 8RA, England
31st January 2018, 6.30pm
– information here and here

Data Quack is a relatively new group: hanging in the air like a sunny cloud, a silver nitrate window of manly oomph, pronoun prim, joey pouch casually askew. They are likely to blow your mind. Data Quack’s music moves through an array of abstract textures, car chase sequences and violent grooves. Trigger warning: you will be triggered, that’s what music does.

“They are saxophonist and electronics player Ben Vince (who’s been making waves with a series of solo releases and collaborations with Housewives and Mica Levi, threading his way through the London underground like a goods train); drummer Charles Hayward (follower of a 45 year music journey from This Heat to This Is Not This Heat and beyond); keyboard player Merlin Nova (who works in a variety of media, everything changes everything else, no borders, radio, film, song, movement, spoken word, and drawing, and works solo as well as currently gigging with This Is Not This Heat); and guitar/radio/cassette-tape operater Pascal Colman (lifts heavy objects, installations, minimalist funk agogo; a witty, charming, illegible bachelor).


 
Alex Ward will be supporting in his solo guise, blowing your mind with guitar, clarinet and voice sonic magic.”


 

January 2018 – upcoming London classical/experimental gigs – Scenatet Ensemble, David Helbich and Joseph Houston at Kammer Klang (13th January, including performances of Matt Rogers and Antonia Barnett-McIntosh); Nonclassical throws it all open (17th January); Candlelight Quartet plays work by assorted new composers at London Composers Platform (14th January)

4 Jan

Kammer Klang presents:
Kammer Klang: Scenatet Ensemble (performing Matt Rogers) + David Helbich + Joseph Houston (performing Antonia Barnett-McIntosh)
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Saturday 13th January 2018, 7.30pm
– information here, here and here

Kammer Klang, 13th January 2018
The year’s first Kammer Klang continues the concert series’ journey away from the more predictable rigours of contemporary classical tradition, and into areas of conceptual gesture and experiment, welcoming composers and musical enablers drawing from chance and the theatre and from the sometimes chaotic, sometimes magical diversity of human interpretation.

Pianist Joseph Houston (whose tally of experimental music collaborations and interpretations includes work with and by Christian Wolff, Simon Holt, Brian Ferneyhough, Colin Matthews, Rebecca Saunders, Christian Mason, and Klaus Lang) will be opening the show for the usual Fresh Klang sequence. He’ll be performing work by transdisciplinary composer, sound artist, performer and sometime curator Antonia Barnett-McIntosh who describes her compositional concerns and approaches as “the specificity of sound gestures and their variation, translation and adaptation, often employing chance-based and procedural operations.” Here’s a video of Joseph playing Luigi Nono, followed by one of Antonia’s pieces.

 
Brussels-based David Helbich is not so much a composer as a philosophical conceptualist interested in performance. In his travels, he “creates various experimental works on stage, on page, online and in public space… (moving) between representative and interactive works, pieces and interventions, between conceptual work and actions. A recurring interest is in the understanding of an audience as active individuals and the search for an opening-up of experiences in an artistically restricted space.”

In keeping with this, he’ll be engaging the venue audience in a “performative rehearsal” of his ‘No Music’ piece, guiding and suggesting their own collaborative potential soundmaking abilities into a spontaneous, instrumentless timbral noisework never to be exactly repeated. As he says, “No Music is no music, but still a musical experience. No music, still for your ears. Since 2010 I have worked on scores for pieces that could be performed right at the spot, in whatever context, as long as one could freely use both hands and had two functioning ears. The pieces offer notated situations of organised listening and simple ear manipulations. I understand this material more as a practice than as a series of composition, even though they can appear as such. Pieces appear in printed form as well as in spontaneous performances or entirely set theatrical or concert performances. These interventions are entirely personal and therefore not so much interactive as ‘inner-active’, self-performative. The reader as the performer as the listener.”


 
Founded in 2008, the Scenatet ensemble have enjoyed nearly a decade working in the overlapping area of live music, film, art spaces and conceptual staging, choosing to move “in a cross-genre field of music, drama and happenings towards areas with yet undefined genre… aiming to create conceptual art works where music is part of a larger whole.” Three Scenatet musicians (clarinettist Vicky Wright, viola player Gijs Kramers and cellist My Hellgren) will be premiering a new piece by British composer Matt Rogers (who, among other career triumphs, was the first composer to be commissioned by Transport for London’s Art on the Underground programme). His new piece, ‘Weep At The Elastic As It Stretches’, is a musical adaptation of ‘Prayer’, itself an excerpt of N.F. Simpson’s classic 1958 absurdist play ‘A Resounding Tinkle’.

As Matt recounts, the original text piece “takes place as a radio broadcast within a scene which is both domestic and ludicrous.It takes the form of a prayer of thanks, but the content is entirely atypical, asking that we rejoice in all manner of unexpected objects, situations and concepts, taking great delight in the most categorical of descriptions and in a complete lack of distinction between the mundane and the exotic. As is typical of Simpson’s work the effect is both ridiculous and sublime, encapsulating the ineffability of an existence somehow both arbitrary and profound. ‘Weep at the Elastic’ as it Stretches wishes to embody the attitudes and spirit of Simpson’s prayer, the final stage direction of which reads “The introductory bars of ‘Sweet Polly Oliver’ in an orchestrated version are heard from the wireless.”…”

A couple of related videos…

 

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After that, 2018’s first Nonclassical concert might feel like a comparative retreat to the familiar. A “Battle of the Bands” event transposed to the contemporary classical world, it’ll be judged by Nonclassical’s own Gabriel Prokofiev and Eleanor Ward (plus Dominic Murcott of Trinity Label and BBC Radio 3 controller Alan Davey), and aims to throw open some doors of opportunity for unheard or underheard contemporary composers, musicians and ensembles at the start of what might be an interesting career.

Nonclassical Battle of the Bands, 17th January 2018

Nonclassical presents:
Battle of the Bands (performers t.b.c.)
The Victoria, 451 Queensbridge Road, Hackney, London, E8 3AS, England
Wednesday 17th January 2018, 8.00pm
– information here and here

“Battle of the Bands is back! Join us at The Victoria, Dalston on 17 January 2018 as we try and find the next big artists who want to showcase new and experimental classical music. From avant-garde classics to works with electronics, spoken words or improvisation, the night will showcase some of the best up and coming talent in the alt-classical scene.

“Battle of the Bands is an open contest for soloists and groups of any size. Instrumentation is limited only by your imagination! Any combination of acoustic and electronic instruments will be considered. Playing time is from five to fifteen minutes.”

I stress that it might seem like a retreat to the familiar. In fact, they’re encouraging contributions “from avant-garde classics to works with electronics, spoken words or improvisation” in order to “showcase some of the best up and coming talent in the alt-classical scene.” If all contestants really choose to stretch the envelope, we could end up with something as left-field as the Kammer Klang event above.

In a feat of considerable brinksmanship, Nonclassical are closing the competition a slender eight days before the concert. If you’re interested in entering, you have until Wednesday 10th January to fill in the application form and link to a demo track on SoundCloud, YouTube or Vimeo.

* * * * * * * *

London Composers Platform presents:
London Composers Platform: The Candlelight Quartet performs Miguel Alonso, Stirling Copland, Bertie Douglas, Allister Kellaway, Tom Mudie, Grady Steele and others
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Sunday 14th January 2018, 7.00pm
information

In between the two gigs above (both in terms of dates and the various Hackney locations), Servant Jazz Quarters is putting on an evening of “new works for piano and string trio composed by musicians from popular and classical music backgrounds.” The Candlelight Quartet will premiere a string of new contemporary classical works by an assortment of young composers: most of them at the start of their careers, and many of them currently known for work in other musical fields, including Allister Kellaway, who leads avant-rockers The Mantis Opera), dance pop experimentalist Tom Mudie (a.k.a. Mom Tudie) and Grady Steele (who spends much of his time as singer/guitarist for young indie/art-rockers Shark Dentist, who have a couple of singles out on Ra-Ra Rok Records). Other composers with works in the mix include Miguel Alonso, Bertie Douglas and Stirling Copland (the last of whom has had at least one string quartet performed at an LCP event before). It all has a welcome air of self-starter to it.


 

December 2017 – experimental gigs up and down Britain – Kammer Klang plays Mary Jane Leach in London (5th December) plus Mette Rasmussen, Sofia Jernberg and Dawn Scarfe; Gnod R&D on tour with URUK and pals (7th, 8th, 10th); Xposed Club at Cheltenham with Alexander Hawkins, Raymond MacDonald, Sharon Gal, Stuart Wilding, Chris Cundy (8th)

30 Nov

Kammer Klang presents:
Kammer Klang: Ashley Paul & Ensemble (performing Mary Jane Leach) + Mette Rasmussen & Sofia Jernberg + Dawn Scarfe
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 5th December 2017, 7.30pm
– information here and here

Kammer Klang, 5th December 2017 The coming month’s Kammer Klang has only a tenuous relationship with contemporary classical, concentrating as it does on musicians who espouse either free improvisation or natural resonance.

The evening centres on an ensemble led by clattering, free-form multi-instrumentalist and composer Ashley Paul (who recently supported Powerdove further north at the Old Dentist) and featuring Hyperion Ensemble bass clarinettist/utility person Yoni Silver, cellist/Kammer Klang organiser Lucy Railton, onetime Sonic Youth guitarist-turned-ubiquitous London art musician Thurston Moore and Charcoal Owls’ multi-instrumentalist Tom James Scott on piano (a man who generally brings a specifically Cumbrian twist to his playing, gizmo fiddling and use of field recordings). They’ll be playing ‘Wolff Tones E-Tude’, a cellular Christian-Wolff-inspired piece by American composer Mary Jane Leach (example performance below).


 
Much of Mary Jane’s work focusses on acoustic properties and how sound environments form in specific spaces with particular resonances and opportunities for difference, combination, and interference tones; in addition, how these may be manipulated by a performer, composer or editor (or by someone who’s a combination of all or some of those things). She herself will be present for the performance, which also includes a stereo-diffused playback of her 1992 radio sound piece/hörspiel ‘Kirchtraum’ (about which she says “Have you ever walked into a church, and it seems as if there is sound rolling around the space that’s been there for a long time? I created ‘Kirchtraum’ to create a sound dreamscape to create that kind of feeling. It uses the phases of a dream, going progressively further back into the past and becoming more chaotic with each phase. I used nightingales to punctuate the different phases of the dream, to differentiate between the dream and the environment…”). In addition, she’ll be present for a pre-concert workshop on Sunday 3rd December from noon until 5.00pm (giving a lecture and offering feedback on pieces any composers care to bring in) and, prior to the concert on the Tuesday, participating in a public talk with Frances Morgan at 7.00pm.

 

Opening in the Fresh Klang slot is Dawn Scarfe, a sound artist preoccupied with “things that seem to sound themselves, such as resonating glasses, Aeolian wires and self-opening swell boxes”, and who’s brought this preoccupation to sound installations between Cumbria and London, Exeter and Estonia, Brussels and Seoul. Her projects include the livestreamed ‘Reveil‘ “an annual crowdsourced live broadcast which “tracks the sound of the sunrise around the world for twenty-four hours” using open microphones provided by streamers around the world: she’s described it as intending “to open a space for listening to something else – especially from places where humans and not humans meet – and in the course of one earth day to provide a sketch of this emerging field.” 2017’s edition included contributions from Maputo, Tehran, New York, Kolkata, Santiago de Cali, nature reserves in Cumbria’s Walney Island and Australia’s Noosa Biosphere Reserve, and even the Fukushima Exclusion Zone. On this occasion, Dawn will be performing ‘Tuning to Spheres’, written for wine glasses, sine tone generators and turntables.

 

Closing the evening out will be a free experimental duet between raw Danish Trio Riot saxophonist Mette Rasmussen (who works with both plain and prepared instruments) and Swedish/Norwegian singer/composer Sofia Jernberg (who works with a twisting barrage of vocal techniques including split tone singing, pitchless singing and distorted singing)



 

* * * * * * * *

Fresh from some well-publicised collaborations with avant-rock godfathers Faust, countercultural Salford sound wizards Gnod are returning to their ongoing “R&D” tour. For more on their London weekender from last year, click here; at the moment, they’re stripped back down to their core duo of Chris Haslam and Paddy Shine in order to explore the next, as-yet-undecided developments from last year’s seethe of slow, dirty riffage on their bed of dub, urban discontent, psychic reportage and ritual. As part of that development, they’re throwing the stage open to volunteer collaborators on the night, “be it singing , shouting, dancing, bringing an instrument/device to the table or just simply tuning in and coming along for the ride.” Dust off your home-made Azimuth Co-ordinator or pocket Tettix Wave Accumulator; grab that Aztec death whistle from the back of the kitchen drawer; head down and dive in.



 
Gnod + Uruk, 7th December 2017

Following the Italian/Slovenian leg in November (in which they toured with Italian noise-rock guitar/voice/drums duo OvO and Godspeed-associated Montreal wallcrashers Big ‡ Brave), the British tour will see a blurring of support slot and Gnod expansion. The band’s ranks will be pre-swollen in Glasgow by drummer and oscillator king Julian Dicken (from Glaswegian psych-rockers The Cosmic Dead) and in Bristol by murky industral-technoist Tony Child (a.k.a. Surgeon) and drummer Dan Johnson (from jazz-punkers Run Logan Run). In London, they’ll be augmented by a five-strong gang of John Doran (head ‘Quietus‘ ranter), heavy electronicist Mark Dicker (ex-Trencher, Palehorse, Bruxa Maria), Mark O. Pilkington and Michael J. York of synth-and-bagpipe psychonauts Teleplasmiste and Teeth Of The Sea trumpeter Sam Barton. In addition, the London gig has a clearly defined support act in the shape of URUK, a teamup of bass player Massimo Pupillo (of expansive no-wave trio Zu) and synthesist/multi-instrumentalist Thighpaulsandra (Coil, Spiritualized, various Julian Cope bands). URUK originates from 2016 when mutual fans Massimo and Thipe finally got together; the resulting music, debuted on this year’s ‘I Leave A Silver Trail Through Blackness’ album, references both Coil and Zu but sinks deeper into the world of highly textured dark-ambient drones.

Dates:

  • Corsica Studios, 4-5 Elephant Road, Elephant & Castle, London, SE17 1LB, England, Thursday 7th December 2017, 8.00pminformation
  • Broadcast, 427 Sauchiehall Street, Glasgow, G2 3LG, Scotland, Friday 8th December 2017, 7.00pminformation
  • Exchange, 72-73 Old Market Street, Bristol, BS2 0EJ, England, Sunday 10 December 2017, 7.30pminformation

* * * * * * * *
Xposed Club, 8th December 2017
Just time, too, to mention another Xposed Club incident over in Cheltenham, in which there’ll be a meet-up duo of pianist Alexander Hawkins and saxophonist Raymond MacDonald (who between them have notched up work and/or leadership duties with Convergence Quartet, Glasgow Improvisers Orchestra, Decoy and more – we also recently saw Raymond exploring the art of the graphic score in London). Also on the bill is well-respected London experimental vocalist/Resonance FM founder Sharon Gal, engaging in duo work with Ghost Mind percussionist (and Xposed host) Stuart Wilding; and a solo set from avant-garde bass clarinet virtuoso Chris Cundy who, as mentioned here some time back, “dips into everything from the philosophical experiments of Cornelius Cardew and John Cage to out-and-out improv to theatre work.”

Various tasters below:





 
Xposed Club presents:
Alexander Hawkins & Raymond MacDonald + Sharon Gal & Stuart Wilding + Chris Cundy
The Xposed Club @ Francis Close Hall, University of Gloucestershire, Swindon Road, Cheltenham, GL50 4AZ, England
Friday 8th December 2017, 8.00pm
information
 

November 2017 – upcoming London classical/experimental gigs – pieces by Javier Álvarez, Jonathan Harvey, Trevor Wishart and Lauren Marshall at Kammer Klang (8th November); Kim Macari, Raymond McDonald and Club Inegales look into the art of the graphic score (10th November)

28 Oct

For the launch of their new season, Kammer Klang team up with the London Sinfonietta for a set of chamber pieces performed by Sinfonietta solo instrumentalists or as playback items, all of which dovetail into the Sinfonietta’s 50th anniversary celebrations.

Kammer Klang, 8th November 2017

Kammer Klang & London Sinfonietta present:
Kammer Klang: Tim Gill + Alistair Mackie (playing Javier Álvarez/Jonathan Harvey/Lauren Marshall) + Trevor Wishart
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Wednesday 8th November 2017, 7.30pm
– information here, here and here

Cellist Tim Gill and trumpeter Alistair Mackie (assisted by sound design setups from Sound Intermedia) will be applying their talents to electro-acoustic pieces. One, by the late Jonathan Harvey, sees a solo trumpet transformed into a garrulous ensemble. Another, by the Mexican-Korean-influenced Javier Álvarez is a fabulously dramatic ritual, teeming and menacing, for string sounds and and-bowed-gong ritual inspired by a pairing of two short silent films from the 1920s (a Man Ray image sequence, preceded by horribly compelling footage of a feeding snake). There’ll also be a stereo diffusion playback of Trevor Wishart’s software-driven studio piece ‘Globalalia’, a rapid-fire collage of vocal samples which he describes as “a universal dance of human speech as revealed in twenty tales from everywhere, spoken in tongues”.




 
In addition, Tim will be performing the evening’s usual ‘Fresh Klang’ item – in this case, a cello-and-electronics piece by Lauren Marshall, principal composer with the National Youth Orchestra of Great Britain. Online examples of Lauren’s work are still quite rare, but I’ve included a couple of her Soundcloud clips in the roundup below: ‘Hi-Seas’, her violin/string ensemble/electronics mediation on disassociative loneliness, and her luxuriant expanded-orchestra fantasia ‘Suspended Between Earth And Air’ (hailed in ‘Seen And Heard‘, after its premiere back in January, as “a miracle of inspiration (with) stupendous impact”). Both display the work of a young composer with a remarkable flair for slow reveal and the implementation of artful drones with a dreamy Romantic melodicism. Her assured talents translate down well from full Wagnerian orchestras to smaller ensembles, so the same should hold true of this new duet between cellist and software.

 

Programme:

Fresh Klang: Lauren Marshall – Chang’e flies to the moon (for cello and electronics) – performed by Tim Gill
Jonathan Harvey – Other Presences (for trumpet & electronics) – performed by Alistair Mackie with Sound Intermedia electronics
Jonathan Harvey – Ricercare una Melodia (for trumpet & electronics) – performed by Alistair Mackie with Sound Intermedia electronics
Javier Álvarez – Le repas du serpent & Retour à la raison (for cello & electronics) – performed by Tim Gill with Sound Intermedia electronics)
Trevor Wishart – Globalalia (stereo diffusion)

* * * * * * * *

For those of you interested in the workings and applications of the graphic score, there’s an event a couple of days after Kammer Klang which delves into the world of this intriguing avant-garde tool, as part of the Royal Academy’s Jasper Johns exhibition

‘Visualising Music: The Art of the Graphic Score’ - 10th November 2017

Club Inégales & EFG London Jazz Festival presents:
‘Visualising Music: The Art of the Graphic Score’
The Reynolds Room @ Burlington House, Royal Academy of Arts, Piccadilly, Mayfair, London, W1J 0BD, England
Friday 10th November 2017, 6.30pm
– information here and here

“In response to the dynamic that brought Jasper Johns and John Cage together in the 60s, musicians from Club Inégales combine with trumpeter/composer Kim Macari (leader of Family Band, founder of the Apollo Jazz Network and the Orpheus Project) and saxophonist/composer Raymond MacDonald (Professor of Music Psychology and Improvisation at Edinburgh University, co-founder of the Glasgow Improvisers Orchestra, and veteran of over sixty album releases), for a performance and discussion exploring the world of graphic scores, improvisation and structure.

“A ground-breaking composer and associate of Jasper Johns, John Cage was a keen graphic score composer, using visual symbols beyond traditional music notation to guide musicians in the performance of his work. Since then, composers and artists have played with pictures to create extraordinary visual scores to redefine the possibilities within composition, merging art and sound.

“In this exclusive event, Kim Macari will then be joined by founder of Club Inégales Peter Wiegold and Professor Raymond MacDonald, chair of Music Psychology and Improvisation at The University of Edinburgh, to explore the art of the graphic score.”
 

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