Tag Archives: Cath Roberts

June 2016 – upcoming London jazz – Entropi & Mike Chillingworth Trio at the Vortex, The Tommy Remon Quartet at Map (both on the 5th), and nearly ten hours of international LUME festival at the end of the month (26th)

31 May

There’s an imminent weekend of jazz coming up, plus an all-dayer at the end of the month…

* * * * * * * *

LUME presents:
Entropi & Mike Chillingworth Trio
Vortex Jazz Club, 11 Gillett Street, N16 8JH.
Sunday 5th June 2016, 7.30pm
more information

“To round off this season of LUME at The Vortex, we’ve got an exciting double bill of new and improvised music.

Entropi (photo by Carl Hyde)

Entropi (photo by Carl Hyde)

Entropi is a vehicle for Dee Byrne‘s ‘space-jazz’ compositions, exploring a narrative of life-pondering, stargazing and risk-taking. Juggling order and chaos, composition and improvisation, the group takes listeners on a journey with compelling group interplay, strong themes, open-ended improvisation, dark grooves and interweaving melodic textures. The ensemble comprises Dee (on alto saxophone), trumpeter Andre Canniere, keyboardist Rebecca Nash, drummer Matt Fisher and bassist Olie Brice. Having performed live together for some time, the band has achieved a striking empathy and freedom to take risks. Their debut album ‘New Era’ was released on the F-IRE Presents label in June 2015, with their second album to come on Whirlwind Recordings in 2017.

Mike Chillingworth

Mike Chillingworth

“We are really looking forward to welcoming alto saxophonist and composer Mike Chillingworth and his trio. In his own words:

“‘I formed this trio last year as a means to play music with an emphasis on spontaneity and improvisation. I have another project, a septet, which is all about detailed written compositions. This trio is the antidote to that. I will be performing with two fantastic improvisers: US drum legend Jeff Williams (who has played with everybody, including two of my favourite saxophonists Joe Lovano and Stan Getz) and Conor Chaplin on bass (who plays in many of the most exciting new UK bands at of the moment).

“I often deliberately avoid choosing repertoire for a gig until the last moment, often writing new tunes in the days leading up to a performance, or taking ideas from whatever I happen to be listening to at the time. Whatever we choose to play on this occasion the emphasis will be on improvising, communicating, listening and exploring together.'”

* * * * * * * *

On the same night, you’ve also got the chance to check out some new start-of-career talent at one of London’s nicest small venues – the Map Studio Café, tucked away in the Kentish Town side-streets. I’ve wanted to talk about this place since discovering it on a random stroll after a swimming session at the Prince of Wales Baths, when its easygoing atmosphere and hopeful spirit provided an ideal wind-down opportunity: the compact performance space upstairs and the talk of a built-in recording studio piqued my interest, and this week’s gig gives me something solid to plug…

Map Studio Café presents:
The Tommy Remon Quartet
Map Studio Café, 46 Grafton Road, Kentish Town, London, NW5 3DU, England
Sunday 5th June 2016, 8.00pm
more information

Tommy Remon, 2016

Tommy Remon, 2016

Led by up-and-coming guitarist Tommy Remon, this quartet has emerged from the Tomorrow’s Warriors Organisation, which encourages young British jazz talent (focussing on people from the African diaspora, with an additional focus on encouraging girls and women into the form). Currently playing hard bop and modal tunes from the jazz canon, as well as their own original compositions, the band are at a self-confessed early stage despite their collective musical strength, and are hungry to develop further insight and breadth. Now, however, is the ideal time to catch them while they’re young, hungry and open, and about to start on their first significant expansion.

The other members of the band are double bass player Rio Kai (who’s played with Jason Yarde and Alex Garnett), drummer Patrick Boyle (Tomorrow’s Warriors Big Band, Nathaniel Facey) – both of whom previously worked with Tommy in a trio – and trumpeter Dylan Jones, who’s still an undergraduate at Trinity Laban, but is already a member of EZRA Collective. Between them, the band members have also worked with Tomorrow’s Warriors founder Gary Crosby, Nérija, Binker Golding and Kokoroko.

* * * * * * * *

Three weeks later we’ll be back with LUME, who are summarising their current state of play via their first festival, which they successfully crowdfunded following an appeal earlier in the year (with backup from Arts Council England, and the Austrian Cultural Forum). It looks as if it’s going to be both a broad and a familial occasion, with many LUME regulars reappearing in a variety of bands and contexts, with strong playing contributions from the LUME organisers themselves, and with a substantial presence as regards the female jazz musicians which LUME in part encourages (just over a quarter of the twenty-seven players involved are women, most of them also being group leaders, co-leaders and composers). Tickets are limited and are going on sale at the start of June.

LUME Festival 2016

LUME presents:
LUME Festival: Word Of Moth + Ant Traditions + Hot Beef Three + Little Church + Kjær/Musson/Marshall + Blueblut + Article XI
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Sunday 26th June 2016, 1.00pm-10.30pm
more information

  • The day’s headliners are Word Of Moth, the London-based collaborative quartet which includes the two LUME founders on saxophones (Dee Byrne on alto, Cath Roberts on baritone) alongside Seth Bennett (bass) and Tom Greenhalgh (drums).
  • Article XI is a freewheeling large ensemble led by guitarist Anton Hunter, originally put together for the 2014 Manchester Jazz Festival but deemed too good not to continue with. Mingling free improvisation with tightly-composed contrapuntal writing, it also features Oliver Dover (alto sax, also of Saxoctopus and many others), Tom Ward (tenor sax), Cath Roberts (baritone sax), Johnny Hunter (drums), Seth Bennett (bass), Graham South and Nick Walters (trumpets), and Tullis Rennie and Richard Foote (trombones).
  • Vienna-based Blueblut was founded by three musical powerhouses, famous in their respective spheres of jazz, electronic and avant-rock music. The band have the intensity of rock, the space and openness of electronica and the razor-sharp precision and wild improvisation of jazz. Featuring Led Bib’s Mark Holub on drums, Pamela Stickney on theremin and Chris Janka (flying machine maker, sound engineer, automata creator and Viennese Caractacus Potts figure) on guitar and overall production.
  • Musson/Kjær/Marshall are a fantastic London trio of committed European-scene improvisers and extended-technique instrumentalists, all of whom happen to be female: Rachel Musson (tenor sax), Julie Kjær (alto sax) and Hannah Marshall (cello).
  • Little Church are a Birmingham-based fusion quartet, playing compositions both from and inspired by Miles Davis’ electric period. Led by keyboard player David Austin Grey, the rest of the band is made up from Aaron Diaz (trumpet), Rachael Cohen (alto sax), Chris Mapp (double bass, bass guitar and electronics) and Tymek Joswiak (drums). Little Church fuses live acoustic instruments with synthesizers and electronics to produce a wonderfully ambient soundscape, which moves from meditative and hypnotising through to driving and funky with a seamless fluidity.
  • Hot Beef Three brings some of Leeds’ finest improvisers together: saxophonist Oliver Dover (see above),  guitarist Craig Scott (Ikestra, Craig Scott’s Lobotomy) and drummer Andrew Lisle. (All three already play together as part of Leeds’ notorious eclecti-chaos band Shatner’s Bassoon.)
  • Ant Traditions are a top-notch Manchester improv duo featuring Adam Fairhall (toy pianos) and Dave Birchall (electric guitar).

There’s a sonic buffet provided below to keep you happy until the end of June:








 

April 2016 – upcoming gigs – London jazz (imminent gigs for Bright Moments Trio with Graham Clark and for Madwort Sax Quartet; plus a crowdfunder for a LUME festival in June).

14 Apr

Two imminent London jazz gigs which might be of interest…

* * * * * * * *

Bright Moments Trio with Graham Clark, 15th April 2016

Jazz at The Richmond presents:
Bright Moments Trio with Graham Clark
The Richmond Arms, 1 Orchardson Street, Lisson Grove, London, NW8 8NG, England
Friday 15th April 2016, 8.00pm
more information

A low-key concert of “originals and standards” from the Bright Moments Trio (who are Jonathan Cohen on keyboards and vocals, Dave Fowler on drums and Francois Moreau on double bass. At this gig, they’re augmented by Graham Clark on violin.

All of which sounds bland – just another earnest listing at another jazz pub – unless you’re looking into the pedigree of the people involved. With Dave’s involvement with assorted Flimflam acts (such as free-yak London improv favourites Ya Basta!), a near-thirty-year journey for Francois across the New Wave of British Heavy Metal en route to blues and jazz, and Jonathan’s own tireless and enthrallingly broad body of work across multiple genres and instrumentation, theatre and conceptual songwriting (including, for the jazz purists, work with Alec Dankworth and Christine Tobin.) As for Graham – while he mostly presents as an obliging Buxton-based jazz violinist these days, his history takes in a stint with Gong and a long history of hook-ups with fervid Manchester improvisers and London players. Come along to this one: I think that you’ll be surprised.

* * * * * * * *

Madwort Sax Quartet, 2016

LUME presents:
Madwort Saxophone Quartet
Hundred Years Gallery, 13 Pearson Street, Hoxton, London, E2 8JD, England
Saturday 16th April 2016, 7.30pm
more information

Blurb compiled from various sources:

“We’re very happy to welcome the Madwort Sax Quartet – Tom Ward (alto saxophone/compositions); Chris Williams (alto/soprano saxophone); Andy Woolf (tenor sax); Cath Roberts (baritone saxophone) – to Hundred Years Gallery for an exciting event in the group’s life: the recording of their debut album. Yes indeed, this gig will be expertly captured by the technical wizardry of Alex Bonney for a future release. Having played a sold-out gig at Manchester Jazz Festival in the summer – ably assisted at the last minute by LUME’s own Dee Byrne – the quartet are now back on home turf for this special performance.

The band explores irregular grooves and unusual harmonies inspired by mathematics and numerology, framed by the intuitive expressionism of free improvisation. This is a challenging line-up that allows for beautifully blended harmonies, intricate polyrhythms and abrasive dissonances. Inspirations include the movement of the planet earth through space, Steve Coleman, pioneering saxophone quartet Rova, Tim Berne, and transcriptions of bird song. The group also explores contemporary techniques such as complex time signatures and metric modulations without the presence of a dedicated drummer or percussionist, and harmony without a chordal instrument. All of the members bring their own individual, contrasting voices to the saxophone: Andy’s warm-toned, mellifluous tenor; Chris’s assertive, energetic alto (familiar to fans of Led Bib); Tom’s lyrical, passionate but more reserved alto; and Cath’s fluid, assured baritone. When required, though, the ensemble manages to blend beautifully into a homogenous whole that belies these contrasts.”

Here’s a gig recording for you:


 

* * * * * * * *

While on the subject of LUME gigs, they’ve just put out a call for crowdfunding for their planned end-of-June London festival:

LUME Festival, 26th June 2016

“We’re rounding off our 2015/16 season of gigs with the first ever LUME Festival. On Sunday 26th June we’re taking over IKLECTIK Art Lab near Waterloo for a one-day celebration of all things LUME: original and improvised music from the UK and beyond, friendly vibes and good times. To make it happen we’ve launched a Kickstarter campaign – and we need your support.

After three days of intensive listening and discussion, we’ve put together a day of fresh, cutting-edge new music that your ears won’t be able to get enough of. We had a tough time narrowing it down, but the final lineup is as follows:

  • Ant Traditions (Manchester)
  • Musson/Kjær/Marshall (London)
  • Little Church (Birmingham)
  • Hot Beef Three (Leeds)
  • Blueblut (Austria)
  • Anton Hunter‘s Article XI (Manchester)

Our core programme of LUME gigs this year is supported by Arts Council England, and there will be part of this funding left for the festival. There’s enough to put on about three bands and have a nice evening. But after all the amazing music we’ve listened to, that’s not quite enough for us. We want to do more – and this is where you come in. With your help, we can put on everyone in the list above and pack the day full of music. We’ve also invited Gina Southgate to come and capture the day on canvas, and Alex Fiennes to record the performances!

To make this happen we need to hit a Kickstarter target of £3500, all of which will go towards artist fees and travel expenses. Help us get there by treating yourself to a plethora of exciting rewards including early bird festival tickets and exclusive LUME Festival merchandise: posters, stickers and even limited edition LUME Festival t-shirts. Make sure you’ve got your fix of new original/improvised music sorted for the next twelve months by becoming a LUME member for 2016/17. Join LUME founders Cath and Dee on a special trip to the London Aquarium as an homage to our power animal, the anglerfish. Or for those of you who seek a more exclusive, one-off experience: commission leading avant-jazz quartet and LUME house band Word Of Moth to compose a tune in your honour, perform it at the festival and record it for inclusion on their forthcoming debut album. Yes, that’s a thing that could actually happen. Join us. Let’s do this!”

If you’re interested, here’s the link, and I’ve tracked down a couple of soundclips here.



 

April 2016 – upcoming gigs – three for London – expanded hip hop tag with Beardyman’s Dream Team Sessions (with Bellatrix + Disraeli + LeeN + DJ JFB + Rob Lewis + Emre Ramazanoglu + Ben Sarfas); Poly-Math, Theo & evillookingbird play Chaos Theory’s late-night math-rock Facemelter; a LUME jazz evening with the Dave Kane Quartet and a Corey Mwamba/Cath Roberts/Olie Brice trio at the Vortex.

30 Mar

Three more interesting-looking early April London shows for the coming weekend, from improvisatory hip hop to assorted math rock to jazz. There should still be tickets (or, in the case of the Facemelter gig, free spaces) left for all of these. I’m in a hurry again, so the following is all promoter blurb… and if you’re quick on the Saturday, you could even catch most of the first two.

* * * * * * * *

Beardyman Dream Team Sessions, 2nd April 2016

Beardyman & Soundcrash present:
Beardyman: The Dream Team Sessions (featuring Beardyman + Bellatrix + Disraeli + LeeN + DJ JFB + Rob Lewis + Emre Ramazanoglu + Ben Sarfas)
Electric Brixton, Town Hall Parade, SW2 1RJ London, United Kingdom
Saturday 2nd April 2016, 7.00pm
more information

“Improvisation. Telepathy. Imagination. Beatboxing. One album. One hour.

Soundcrash are extremely happy to announce that the prodigiously talented Beardyman will be taking to the stage at Electric Brixton along with a mind-blowing ‘dream team’ consisting of some of the finest freestyle MCs and improvisatory talents the world has to offer. This team of extraordinary individuals will be using a mixture of telepathic communication and improvisatory prowess to create a brand new album right in front of the lucky audiences eyes, inspired by that same audience’s dreamt-up song titles.


 
Beardyman has made a name for himself for being one of the most multi-talented musicians on the face of the planet. One minute he’s winning the UK Beatbox competition, twice, next he’s winning best MC at Breakspoll, and then he’s playing a sold-out run of solo comedy shows at the Edinburgh Fringe. As if he didn’t already have enough strings to his beat bow Beardyman outgrew the restrictions of the human mouth and stepped into the world of live looping using Kaoss pads to take his music into the rapturous world of live production.

Beardyman currently performs using the self-designed Beardytron, the world’s most advanced live music production system. This device allows him to improvise studio quality, cutting edge music in realtime. Using the Beardytron has led Beardyman to recently collaborating with Herbie Hancock and led him onto the collaborative path that has ended up with the formation of the ‘Dream Team’.


 
In this brand new show Beardyman will be combining his own improvisatory prowess with some of the leading talents in the UK’s improvisatory scene. Female World Beatbox Championship winner Bellatrix will be bringing her vocal and bass talents to the mix as well as her old band leader Dizraeli on freestyle vocals. Rob Lewis will be providing tantalising string parts on the cello whilst Emre Ramazanoglu shows us how he drummed on the last Michael Jackson record amongst many others.


 
One of the world’s leading freestyle MCs, LeeN, will also be spitting lyrics; whilst 3 times UK DMC champion JFB takes to the decks along with additional strings and saxophone from Ben Sarfas.”


 
(As a further indication of what’s on offer, here’s a previous full-length Dream Team Sessions show, from the Jazz Café…)


 

* * * * * * * *

Poly-Math + Theo + evillookingbird @ The Facemelter, 2nd April 2016

Chaos Theory presents:
The Facemelter: Poly-Math + Theo + evillookingbird
The Old Blue Last, 38 Great Eastern Street, Shoreditch, London, EC2A 3ES, England
Saturday 2 April 2016, 10.30pm
– free event – more information

“It’s a no-brainer really – a late-night, free entry math-rock party.

Brighton band Poly-Math are an absolute belter of a trio, who have mastered walking the line between complex polyrhythmic math rock and head-noddingly bouncy riffs. In only few short years, they’ve independently amassed a huge following across Europe’s prog and math rock scenes with the release of a few blindingly good early singles, hugely anticipated debut EP ‘Reptiles’, and some carefully chosen gigs, including an early slot at the first ever ArcTanGent, where we discovered them by accident. With new mini-album ‘Melencolia‘ coming out soon via Superstar Destroyer Records, we can expect some new sounds from the Brighton trio.


 
Theo is a one-man riff factory, known for setting up in the middle of the audience, laying down incredible math rock guitar riffs and looping them on top of each other, before sitting down at his drum kit and banging out some incredible rhythms. The fact that he manages to do this, create extraordinary dynamic changes, crescendos and down-tempo sections, while never letting the pace slack too much, explains why his name has rippled across the underground math rock scene all over Europe.


 
evillookingbird are an instrumental project from Belgium, who combine classical music, post-rock, noise and psych, to end up sounding a bit like Mogwai, Chopin and Battles are all fighting over the keys. This may be their first trip out of their home country, but evillookingbird are no stranger to familiar names in the European math rock scene, having supported the likes of Alright The Captain, Bear Makes Ninja, Mannheim, Hibagon, Celestial Wolves and more, as well as having been asked to perform at one of Europe’s biggest street festivals Gentse Feesten. They’ll be heading into the studio to record some new material, which we’ll get to hear at the show, but check out their EP ‘Labyrinth’ for now.


 
Afterwards Chaos Theory curator Kunal will DJ post-hardcore and math rock riffs, and Chaos Theory photographer Magda will DJ classic rock, power ballads, and anything you’ll love dancing to after a few beers at 3am.”

* * * * * * * *

LUME presents:
Dave Kane Quartet + Corey Mwamba/Cath Roberts/Olie Brice
The Vortex Jazz Club, 11 Gillett Square, Dalston, London, N16 8AZ, England
Sunday 3rd April 2016, 7.30pm
– more information here and here

Dave Kane, 2016“The Dave Kane Quartet – Dave Kane (double bass), James Allsopp (saxophones and clarinet), Alex Bonney (trumpet) and Joost Hendrickx (drums) – will be playing music from their forthcoming album, to be released on Two Rivers Records later this year.

Dave says ‘This music is my own personal reflection and dedication to the jazz lineage, all of the music that I have listened to and the music that has influenced me the most. Each track on the record is a dedication to a composer/person that has influenced me greatly throughout my career. There are tracks dedicated to the following people: Charles Mingus, John Zorn, Hamid Drake, Eric Dolphy and Henry Threadgill. For me “the jazz lineage” means the records that are in my collection… my own personal lineage to the tradition, and my resulting music as a composer influenced and shaped by the music. Most people think of the jazz tradition as jazz standards, etc. This is not what I do, or what I am interested in. I have always listened to more adventurous composers & musicians who always pushed the music forward. This is what I have achieved with my new record. Although this music is still on the contemporary/avant garde side of jazz… I would say it is some of the most accessible music I have ever written.’


 
The improvising trio of Corey Mwamba (vibraphone), Cath Roberts (baritone saxophone) and Olie Brice (double bass) first played together in 2014, bringing together three musicians active on the UK jazz and improvised music scene. Olie Brice leads his own quartet as well as playing in numerous other collaborations including a trio with Toby Delius and Mark Sanders; BABs with Alex Bonney and James Allsopp; Nick Malcolm Quartet; Loz Speyer’s Inner Space Music; and Alex Ward Quintet/Sextet. Cath Roberts leads two groups playing her compositions, Sloth Racket and Quadraceratops, as well as writing and improvising new music with guitarist Anton Hunter as Ripsaw Catfish. She is a member of the Madwort Sax Quartet, Anton Hunter’s Article XI, the eight-piece improvising saxophone group Saxoctopus and the collaborative quartet Word Of Moth. Corey Mwamba leads his own trio, Yana, and is involved in a variety of other groups including Sonsale; duos with Rachel Musson, Orphy Robinson and Robert Mitchell; Martin Archer’s large ensemble Engine Room Favourites; and Nat Birchall’s quintet. He is recognised as a highly creative improviser and composer working across a wide range of jazz and contemporary music, as well as a programmer of forward-looking music in his home city of Derby.”

* * * * * * * *

More shortly on the upcoming Gnod weekender – or on anything else that flits across my radar.
 

More London gigs, last week of October into November (26th to 1st) – gamelan/dance fusion with My Tricksy Spirit/Wax Wings/Segara Madu; Nordic pop at Ja Ja Ja (Kill J/Loveless/Maasai); anarchistwood’s Samhain/NYE party (with Rude Mechanicals, Jane Ruby and more); intercontinental psych & noise with Baba Yaga (Bitchin’ Bajas/Tomaga/Demian Castellanos, Acid Mothers Temple/Zeni Geva); and more LUME jazz

24 Oct

Pausing only to remind you that the last week of October includes two of the Pierre Bensusan acoustic gigs at the Half Moon in Putney (which I mentioned in the previous post), here are the last of my selected London gigs for the month, plus one for the start of November. As ever, it’s just a small sampling of what’s on in town, but it’s what’s caught my attention.

Bitchin’ Bajas + Tomaga + Demian Castellanos (Baba Yaga’s Hut & Hands In The Dark @ Cafe Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, UK, Monday 26th October 2015, 8.00pm) – £9.00

Baba Yaga's Hut, 26th October 2015I’ve heard Chicago trio Bitchin’ Bajas described as “psychedelic easy listening” – presumably by someone who insists on being shouted at in conversation. Despite that swaggering faux-dumb name (the one that makes them sound as if they play manic Tejano to be drowned out by fist-fighting oil workers) they’re more ‘Bitches Brew’ than cathouse. They spin out protracted rhapsodic instrumentals drawing on a variety of introspective, mindful influences and parallels, looking back to the hallowed bucolic trance of Harmonia and Cluster, the ecstatic modular pulses of Terry Riley, the breezy but depthless Pacific cool of West Coast jazz, and perhaps the dissolving pastoralism of Talk Talk. Though they’re multi-instrumentalists, they wear their skills lightly, working wind instruments and mallet percussion into their mists of keyboard and workhorse organ and their landscape of lively rolling, rilling glissandi and drone chords. Sometimes overlapping into ambient electronica, they’re never quite dilute enough to fit into it: even at their most vaporous and transparent, they’re the smoke that never quite fades, the tang that holds your attention. As the clip below shows, they’re perhaps a little too diffuse to work at an open air festival: embraced by the Oto space, they should do just fine.

Synth/sounds looper Tom Relleen and drummer Valentina Magaletti keep in step – just about – as Tomaga, an impressionistic improvising duo drawing on drone music, free jazz and modular synth work hanging off the edge of rock. Simple oscillating melodies percolate loosely over a syncopated jazz lope with hanging coffee-can taps and rattles and shortwave radio whines; sometimes a synth organ hangs by itself, burbling, while the percussion sways and alarms like an approaching freight train. It’s music of preoccupation, with brief flashes of bright sunlight through the pressing focus.

Best known as the figure behind London psychedelic/kosmische projects The Orichalc Phase and The Oscillation, Cornish-born loop guitarist Demian Castellanos steps out under his own name for his most personal work so far. Like Fred Frith or G.P. Hall, Demian’s had a history of playing guitar with implements – paper, cutlery or whatever else came to hand – and feeding the sounds through volume swells and sundry pedals: like Hall, he’s also possessed of a nature-inspired, painterly view of music. For this current work, he’s going back to his formative years of woodshedding as a cottage-bound teenager at the isolated southernmost tip of the British coast; creating rich, portentous and melodious sound layers drawing on early-‘90s shoegaze, on raga and drone, and on echoing, guttering British, Indian, American and German psychedelic influences.


More gig info is here, and tickets are available here.

* * * * * * * *

As the opening concert of the South East Asian Festival 2015, there’s a performance at the Forge by My Tricksy Spirit, a new musical project which fuses the shimmering sounds of gendér wayang – Balinese gamelan instruments – with dub, electronic, ambient, trip-hop, and psychedelic rock. The Forge’s writeup is below (tweaked a little by me).

My Tricksy Spirit @ The Forge, 28th October 2015

My Tricksy Spirit (The Forge , 3-7 Delancey Street, Camden Town, London, NW1 7NL, UK, Monday 26th October 2015, ) – £10.00 

Performed on the bronze-and-bamboo “gendér” metallophones which gives the music its name – and featuring intricate, interlocking melodies played with mallets and damped with the wrists – gendér wayang is a subset of Balinese gamelan music. Involving between two and four players (a small number for a gamelan ensemble) it is used in the island’s Hindu rituals including life-cycle ceremonies, temple festivals, purification rituals and cremations (as well as in the sacred wayang kulit shadow-puppet dramas, based on ancient Indian epics).

The My Tricksy Spirit project was started by Nick Gray, who teaches south-east Asian music at the School of Oriental and African Studies at University of London, and who runs the gendér group that forms the basis of the band. Using Ableton Live, several synths and effects, guitar, bass and drums, the music is played through a mixing desk – much like dub – to create an intense psychedelic journey through sound.

Tonight’s band features Nick Gray (violin and vocal), Paula Friar and Rachel Wilcox (gendérs) and four other musicians: Tomoya Forster of Pumarosa (bass guitar, effects, mixing desk), Julian Vickary of General Skank (synthesizer and effects), Charlie Cawood of Knifeworld (bass guitar, sitar, guitar) and Rob Shipster of Buttress Root Drumming (electronics, drums), who also produced My Tricksy Spirit’s upcoming album.

Support comes from electronica/world-house act Wax Wings and from another of Nick Gray’s SOAS gendér wayang ensembles, Segara Madu (who mostly play repertoire pieces from the Balinese village of Sukawati, as taught by the late I Wayan Loceng). More information and gig tickets are here, with the Facebook event page here.

* * * * * * * *

Arguably, there’s not been enough pop or R&B in here recently. Let’s set that straight.

Ja Ja Ja, 29th October 2015

Kill J + Loveless + Maasai (Ja Ja Ja @ The Lexington, 96-98 Pentonville Road, Islington, London, N1 9JB, UK, Thursday 29th October 2015,) – £5.00/£7.00

Straight from the publicity:

Founded in 2009, Ja Ja Ja is the definitive Nordic website and club night celebrating the very best new music emerging from Sweden, Finland, Iceland, Norway and Denmark. Each month at London’s The Lexington, Ja Ja Ja hand-picks the finest emerging talent from the Nordic countries, making sure that only the best music is filtered through to your ears.

KIll J (a.k.a. Julie Aagaard) has been turning heads the past two years with her signature blend of dark experimental pop. A devastating one-two-punch with debut singles Phoenix and Bullet set the blogosphere buzzing, also catching the keen eye of ‘The Guardian’, ‘Indie ‘, ‘Stereogum’, ‘Pigeons and Planes’ and landing airplay on BBC Radio 1 and BBC Radio 6music. Deliciously diverse, the sugary sweet Cold Stone revealed a more innocent and naive side of KIll J, whilst Propaganda burst forth as “a bombastic, fangs-bared snarl at sexism” (‘Stereogum’). There’s more to come too, with an EP promised this fall.

Prominent identities in their own right, Eirik Tillerli and Filip Kollsete teamed up late 2013 to form Norwegian beat crooners Loveless. Following back-to-back remixes, debut single How To Love You was instantly added to national radio. Clocking in excess of 500K streams last year, their music has picked up attention from blogs, magazines and DJs all over the world; also landing them on some of the biggest festivals in Norway, not to mention their own club night in Oslo, Klubb Loveless (where guests include Artful/Artful Dodger and NVOY). New single They Don’t Know was recently hailed Record of the Week on BBC Radio 1xtra, serving the first taste of upcoming project ‘Relationships’.

Maasai is a Stockholm-based duo consisting of Dominique Teymouri and Zackarias Ekelund. Together they create soulful sound landscapes with a cinematic touch and lyrical depths. The pair broke on to the scene with debut single Memories, pulling inspiration from varied and abstract constructs – places, people, surroundings and everywhere in between. Follow-up tracks The Healer and Forgive Me have since held a captive audience; also hinting to the fearless, fragile and all-the-while dreamy atmosphere inhabited by MAASAI’s upcoming debut album – set for release later this year.

Resident DJs Project Fresh Socks are along for the ride in October; having also spun up a storm at Ja Ja Ja’s first club night of the season last week at The Lexington with CHINAH (Denmark), The Fjords (Norway) and Axel Flovent (Iceland).

Up to date information for this particular Ja Ja Ja night is here and tickets are here.

* * * * * * * *
Flapping-in-the-wind time… here’s what looks like a very interesting gig, but the colourful cloud of information around it keeps changing shape. Here we go..

Subterfuge presents Samhain Special/Labiatory New Year’s Eve Party with Rude Mechanicals + NiMBUL + Bad Suburban Nightmare + We Are A Communist + Jane Ruby + Milky Sugar (Subterfuge @ The Others, 6-8 Manor Road, Stoke Newington, London, N16 5SA, UK, Friday 30th October 2015, 7.00pm) – £3.00 to £6.00 and upwards

Samhain Subterfuge, 30th October 2015

Run by arch, arty but heartful prank-rockers anarchistwood (whose own ingredients span post-punk cantatas, skeletal lo-fi garage pop, silly voices and quickfire sampler collages), this is the last Subterfuge club night of the year (hence the split between a Halloween/Samhain night and a New Year’s Eve shindig) and promises a fabulous musical sprawl – a right old grab-bag of this and that, in the best way. anarchistwood themselves are playing, though at the moment it’s unclear whether or not they’re teaming up with dysfunctional Chatham polymath and Stuckist art brute Sexton Ming (as the anti-supergroup called Nimbul), or playing as themselves. I guess that whichever way it goes you could expect a roughly equal mix of distracted behaviour, political protest, self-absorbed memory jigsaws and détournements with echoes of Beefheart, Crass, The Raincoats and the high point of a Pride parade. But that’s all it is – a guess.

Compared to Earth and Neil Young at their most dogged and noisy, Dan Hrekow – a.k.a Bad Suburban Nightmare – plays “impossibly slow and melancholic” grunge-drone instrumentals on a minimal setup of distorted guitar and pedals. In violent contrast, Rude Mechanicals play party music for paranoid schizophrenics, fronted by the peroxide-beehive rantings of Miss Roberts (who looks like a doubled-back-drag-queen version of Patsy Stone, and speak-sings like a collision between Dagmar Krause and Holly Penfield), Their songs are rattling hallucinatory-jam sandwiches about sinister neighbours, stand-up arguments and alien mice on the Tube, mixing jazz, punk and cabaret together in equal measures and played with both needle-sharp precision and full glamour oomph.

Of the rest, We Are A Communist provide “trashy guitar-laden sci-fi surf music, with stylophones to boot – a must for Man or Astroman? fans”; onetime Naked Ruby frontwoman (and current Deptford Beach Babes member) Jane Ruby turns up to sing her solo mixture of torch, garage rock’n’roll, flamenco and blues songs with twists of Spanish & Arabic flavours; and Milky Sugar performs “punk go go”… but that’s where I run out of information.

I’ve no actual idea about the order in which everyone’s going on, as the various info and flyers seem to contradict each other: either that or the whole event is morphing too fast for me to keep up with it. Presumably they’re working to some functional anarchist or I Ching method to establish it, or you just turn up and see what happens. Perhaps that’s what they’re doing. Either/and/or DJ Sugarlump SS, DJ KG Lumphead and MC Sadogasm provide some extra noises, punkvertery & Kodek provide visuals, and they’ve got a proactive but generous door price policy – three quid if you’re unwaged, four quid if you’re a student with an NUS card, and six quid if you’re neither but have shown enough commitment to arrive before 9pm. After that, they charge more. More information is here; keep track of developments as best you can on Facebook here; and there’s the usual array of tasters below.

* * * * * * * *

On the Sunday, it’s time for the monthly LUME gig: more jazz in Dalston…

LUME logo

Tom Taylor/Rob Luft and Cath Roberts/Seth Bennett/Andrew Lisle (LUME @ The Vortex Jazz Club, 11 Gillett Square, Dalston, London, N16 8JH, UK, Sunday 1st November 2015, 7.30pm) – £10.00

For our November Vortex gig, we welcome a duo and a trio to the stage, for a night of improvised music.

Tonight sees the first meeting of a new improvising trio featuring LUME’s co-director Cath Roberts (baritone saxophone), Seth Bennett (double bass) and Andrew Lisle (drums). Andrew is known for being one of the drummers in heavyweight Leeds anarcho-sextet Shatner’s Bassoon, and as a prolific improviser working with a multitude of musicians on the free scene (Colin Webster, Alex Ward, Daniel Thompson, Tom Wheatley and more). Seth leads his own ensembles Nut Club and En Bas Quartet, as well as being involved in many other projects across musical styles including Fragments Trio, Metamorphic and The Horse Loom. He and Cath play together as a duo, as well as in Word of Moth and Cath’s quintet Sloth Racket. In addition to this and her LUME work, Cath also leads Quadraceratops (a septet) and has a duo with guitarist Anton Hunter, Ripsaw Catfish.

Seth Bennett, Cath Roberts, Andrew Lisle

The new duo featuring Tom Taylor and Rob Luft is a recent collaboration borne out of a mutual love of improvised music. The music draws attention to the many common features of the two instruments, and mixes high-intensity improvisation with more tender and reflective textures.

A former award-winning classical piano graduate at the Royal Northern College of Music in Manchester, Tom is now a rising British jazz star, having transferred to London in 2009 to pursue a Masters in jazz piano at Trinity College of Music (studying with Simon Purcell, Liam Noble and Nick Weldon). Since then he’s played the main jazz festivals in Manchester and London and Kongsberg Jazz Festival in Norway. He’s a member of the Jack Davies Big Band and of Southbound (both of whom have recorded for V&V Records) and also plays in the collaborative electro-acoustic trio duck-rabbit with saxophonist Joe Wright and double bass player James Opstad. Rob began his career as a jazz guitarist in Sevenoaks, where he took lessons from Mike Outram and turned professional at 15. He has been a mainstay of the National Youth Jazz Orchestra for many years, having been its guitarist since 2010 and having played in the associated NYJO Nonet. He currently co-leads the band Organism and plays with various groups on the London jazz circuit; including positions with Nigel Hitchcock, Gareth Lockrane and the Callum Au Big Band.

Rob Luft, Tom Taylor

More information here, and tickets here.

* * * * * * * *

Finally (and also on the Sunday) there’s a double bill of Japanese heaviness at Corsica Studios.

Acid Mothers Temple & The Melting Paraiso UFO + Zeni Geva (Baba Yaga’s Hut @ Corsica Studios, 4-5 Elephant Road, London, SE17 1LB, UK, Sunday 1st November 2015, 7.30pm) – £14.00

Zeni Geva (or Zeni Gaiva, depending on how you translate the phonetics – conceptually, it translates as “money violence”) have been around since 1987. Led by guitarist/singer/noise-chopper KK Null, and currently backed up solely by drummer Tatsuya Yoshida to make a quake-strength power duo, they have initial links to legendary noise-Dadaists The Boredoms (and even the venue-destroying pre-Boredoms chaos act Hanatarash, which featured Mitsuru Tabata, until relatively recently Zeni Geva’s second guitarist). You’d expect them to have an abrasive side, and you’d be right. Their default musical setting is one of boiling, barking aggression, with tight and furious knots of threshing machine guitar; their records have savage, sadistic titles like ‘Total Castration’ and ‘Desire For Agony’; their progressive hardcore approach takes assorted forms hostage (aside from the obvious, there’s math and noise rock, psychedelia and death metal in the tangle) and makes them jump like puppets.

And yet, in spite of this, there’s a world of difference between Zeni Geva and your average long-lived heavy-thunderfuck band. It’s mostly in the way they use calm – little, perfectly-formed lacunae of space in between the blurs and blows, bringing their bursts of frenzy into focus (Steve Albini is both fan and sometime collaborator, and you can see why). It’s a terrible cliché to compare Japanese musicians to martial artists, but in this case there’s some substance to it. The brutality is sheer craft rather than an end in itself, every movement seems considered and purely executed; and live, in between each flurry of songblows and each ugly song name, they seem enormously humble, friendly and pleased to be there.

Acid Mothers Temple have taken twenty years to set themselves up as a revered psychedelic institution, but it seems as if they’ve been doing it for much longer, such is leader Makoto Kawabata’s talent for back-engineering himself into the culture. Part of this is down to the way he and his cohorts have mastered the ingredients, including the tearing metallic squalls, mellow blues tracery and starry smears of Hendrixian guitar, the whispering lapping Gong synths, the Pink Floyd mantra riffs and Zappa-esque air sculpture solos, and the zoned-out post-James Brown grooves (with the addition of Japanese chanting and noise-squalls). Much of the rest of it is to do with AMT’s open, overlapping community approach. Their musical impetus has utilised multiple faces and names, from their own simpler reconfigurations (the heavier trippier playing of Acid Mothers Temple & the Cosmic Inferno, the Sabbath-y sludge of Acid Mothers Temple & Space Paranoid) to the friendly absorption or co-opting of contemporaries (Acid Mothers Temple SWR, with Ruins, and Acid Mothers Afrirampo) and of heroes from the original psychedelic generation (the team-up with Daevid Allen and Gilli Smyth as Acid Mothers Gong, and with Mani Neumeier as Acid Mothers Guru Guru). If old heroes are unavailable or disinclined to pool resources, AMT have simply shrugged and continued anyway (such as when they took up hurdy-gurdys and acid folk and briefly became Acid Mothers Temple & the Incredible Strange Band).

If this makes Kawabata and co sound like slick chancers (and even if AMT album titles like ‘Starless and Bible Black Sabbath’ do suggest both avid, nerdy fandom and piss-taking on a Julian Cope level), I’m selling them short. Acid Mothers Temple might be a brand as much as an ethos, but that hasn‘t stopped their project and record-releasing ethics being continually dedicated to possibilities and continuance,rather than simply banking a following (or colonizing someone else’s). Their communal origins may have been two decades behind those of their inspiration but were hardly any less sincere; and their exploration of less obvious musical areas en route (including opera, Terry Riley minimalism, Nepalese folk and southern European Occitan culture) have led them into interesting places and opened further doors to anyone following them.

First and foremost, anyone who’s seen AMT play will vouch to their talent of both mastering their sources and creating music which lives, thrills and involves in the moment. This week’s London concert features the more space-rock inclined Acid Mothers Temple & the Melting Paraiso U.F.O. lineup – probably the easiest entry point to an increasingly rewarding musical world. See below for a full-length concert clip of the band in action.

More gig info is here, and tickets are available here.

* * * * * * * *

More November gig previews shortly…

ATTN:Magazine

Not from concentrate.

Xposed Club

improvised/experimental/music

I Quite Like Gigs

Music Reviews, music thoughts and musical wonderings

Make Weird Music

Because 4 chords aren't enough

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 lovingly curated compendium of the world's weirdest music

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!

%d bloggers like this: