Tag Archives: Chaos Theory Music Promotions (event) – London – England

July 2018 – upcoming rock gigs – A Sudden Burst of Colour, a-tota-so and Theo tear up The Facemelter (6th July); Heldon and Hirvikolari at Café Oto (14th July)

2 Jul

A quick boost for the heavy stuff at the Facemelter this week, and for an avant-rock return at Café Oto mid-month….

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The Facemelter: A Sudden Burst Of Colour + a-tota-so + Theo, 6th July 2018
“Hailing from Motherwell, Scotland, A Sudden Burst Of Colour captures fans of electronic, ambient, dance and rock music with their soundscapes and encapsulating songwriting. Their sound is bright, shimmering and generally uplifting. The instrumental quartet have four globally acclaimed EP releases under their belt, which is evidenced by features from ‘BBC Introducing’, ‘The Scotsman’, ‘Earmilk’ (USA), ‘Arctic Drones’ (Turkey), ‘Stereofox’ (Germany) and many more, so this is a good time to catch them before they break into the wider world. Their recent single ‘I Am The Storm’ was premiered on Daniel P. Carter’s BBC Radio 1 Rock Show and they’re currently in pre-production for their forthcoming album, which is due for release at the end of the year.”


 
Replacing Bristolian mathrockers Hoggs Bison (who, like Barringtone recently, have come down with a bad case of broken wrist) are “noisy math/grunge band a-tota-so (formed by members of Alright the Captain and Cheap Jazz), who we’ve been dying to put on for ages! In their short one-and-a-half-year existence, they’ve already toured the UK and Europe, shared the stage with Tera Melos, Tangled Hair, Alpha Male Tea Party, Chiyoda Ku, Memory of Elephants, VASA and many more, and played at ArcTanGent and StrangeForms Festival. After a successful crowdfunding campaign, the band recently recorded their debut album at Nice Weather For Airstrikes and Snug Recording Co. and are set to release it in September 2018.



 
“To open, there’s a rare appearance from soloist Theo (described as “an extraordinary maelstrom of soundscapes, loops, beats and power” by ‘Louder Than War), who creates layers of tight guitar melodies and riffs by looping them over and over again, before sitting down at his drum kit and smashing out some fantastic rhythms to them. The range of dynamics and changes he achieves, as well as his ability to make the entire piece a coherent tune from start to finish, is astonishing. We’ve seen him perform around the country, including at ArcTanGent and at our late night Facemelter with Poly-Math and EVILLOOKINGBIRD, so we’re glad to see him make a return.”


 
Chaos Theory Music Promotions presents:
The Facemelter: A Sudden Burst of Colour + a-tota-so + Theo
The Black Heart, 2-3 Greenland Place, Camden Town, London, NW1 0AP, England
Friday 6th July 2018, 7.30pm
– information here and here

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Heldon + Hirvikolari, 14th July 2018

The upcoming Heldon and Hirvikolari gig at Café Oto appears to be happily selling itself without my input, partially thanks to Heldon mainstay Richard Pinhas‘ reputation as “the French Robert Fripp”. If that’s a fair comparison (and Richard has readily acknowledged that “Fripp has always been my Hendrix”), he might not have King Crimson’s ability to fill larger theatres but he does seem to have a far less compromised reputation in avant-garde hubs like Oto – for one thing, you wouldn’t generally find Robert Fripp going head-to-head with members of The Boredoms. A former junior philosophy professor, he jumped the academic ship in 1974, inspired by his own comparisons between philosophers and rock stars (and by his own taste for science fiction) to form an electronic rock band with a trans-sonic bent. This was Heldon, one of the very first French bands to use synthesizers, and one which would subsequently fall under the spell of King Crimson, Fripp and Brian Eno and develop their own droning improvisatory rock forms.

While the band originally only lasted for the course of the 1970s, Heldon’s albums are currently being reissued by Bureau B: this year, an archive live album, ‘Live in Metz 77’, was released by Bam Balaam. All of which has prompted a return to live action by Richard under the Heldon name. This is their first London concert for literally decades: expect to see an excited anticipatory audience of prog/avant-rock fans of all ages.



 
Hirvikolari – modular synthesist Mike Bourne and processed-trumpet guy Sam Barton – are more often found being two-fifths of Teeth Of The Sea Last time round, I described them as follows: “while Teeth Of The Sea tend to play great stomping horror-slabs of musical architecture (a flying saucer spitting out rows and rows of heavily-armed tower blocks) Hirvikolari prefer to take the slow path and evolve themselves a great bolus of stewed electronic burble and resonating brass tracks. Ennio Morricone’s been cited as a comparison, as has the long tradition of counter-culture festival techno: both comparisons have some grounding.”

 
There’s about three handfuls-worth of tickets left: if you want to pluck them from the eager grip of Baba Yaga’s Hut, I’m sure they’d be all too willing to let you have your chance.

Baba Yaga’s Hut presents:
Heldon + Hirvikolari
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Saturday 14th July 2018, 8.00pm
– information here, here and here
 

May/June 2018 – upcoming London experimental music gigs – Shatner’s Bassoon and Man From Uranus at Stour Space (26th May), Author & Punisher, Trepaneringsritualen, Vera Bremerton at Electrowerkz (28th May); Stevie Richards’ Buchla workshop (2nd June)

15 May

Shatner's Bassoon + Man From Uranus, 26th May 2018

Shatner’s Bassoon + Man From Uranus
Stour Space, 7 Roach Road, Old Ford, London, E3 2PA, England
Saturday 26th May 2018, 8.00pm
information

Leeds jazz-punk quintet Shatner’s Bassoon are returning to London a couple of weeks later to play a gig at reclaimed Lea-side venue Stour Space.

A band who’ll happily admit to being “steeped in malfunctioning improvisation, passive-aggressive minimalism, surreal avant-punk and free jazz trances”, they’re touting their first new album for three years. ‘Disco Erosion’ features “intricate yet often evasive song structures, angular rhythms and anxiety inducing psychedelia. The distinct featured instrumentation includes circuit bent delay pedals for keyboard, a myriad of off-kilter sax, a slice of Theremin, clarinet, cowbell and a pinch of Transylvanian organ. The result is a glitchy and deranged carnival of paranoia, which blends influences from the likes of Mr. Bungle, Frank Zappa, Cardiacs, Tim Berne, John Zorn, Man From Uranus and Fred Frith.”



 
Speaking of Man From Uranus, he’s playing the support slot. An “experimental library musician” and rogue psychedelic improviser, he’s spent fifteen years on the fringe rampaging on analogue synths, theremin and assorted devices to create music reminiscent of fantastical backroom mind-voyages or antique afternoons of strange kid’s telly.



 

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Author & Punisher + Trepaneringsritualen + Vera Bremerton, 28th May 2018

A couple of days later, there’s “an evening of heavy electronics, innovative drone, ritual ambient doom and industrial music” courtesy of Chaos Theory in one of their more synthetic, swampy and cthonic moods.

Author & Punisher is “the solo project of Tristan Shone (hailed by ‘Noisey/VICE’ as a “staggering genius in (his) ability to transform the auditory pollution of industry into music”. A mechanical engineer who wandered from native Boston to California to pursue his artistic interests, he ended up using his scientific skills to build custom musical instruments, which give added depth to the term “industrial”. The mechanical processes that give life to the music aim to reproduce the rhythms of industrial machinery and its relationship to their human operators; a merging of the flesh and the steel.”


 
In support, growl-and-hiss “solo visionary” Trepaneringsritualen will be delving into “themes of religion, magick and the occult realms of consciousness, taking musical cues from the old school of ritual ambient and death industrial. Rhythmic and seething at times, oozing forward with a creeping sense of desolation, Trepaneringsritualen conjures forth bleak but mesmerising visions of the end-times.”


 
Opening the show is Berlin-and-London resistance siren Vera Bremerton, “a visionary vocalist, producer and composer, who weaves dark tales of the female experience under religion, the patriarchy and general cultural hatred, using superhuman screams, industrial beats and gritty lyrics… A harrowing, enlightening and extreme experience.” Her work crosses a gamut between dark, driving, angry protest-pop nuggets and extended swathe-y textural clouds of hanging noise and vocal lacerations – see below.

 
Broken beats/London bass act With Towards Collapse add to the overall stew with DJ sets throughout the evening.

Chaos Theory Music Promotions presents:
Author & Punisher + Trepaneringsritualen + Vera Bremerton + Towards Collapse DJs
Electrowerkz @ Islington Metal Works, 7 Torrens Street, Islington, London, EC1V 1NQ, England
Monday 28th May 2018, 7.30pm
– information here, here and here

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Stevie Richards' Modular Synthesis Workshop using Buchla Music Easel, 2nd June 2018

Meanwhile, if you’d like to dive deeper into electronic technology – or just hone or diversify the skills you already have, Stevie Richards (a.k.a Cleaninglady is hosting a noontime open workshop at IKLECTIK in early June, based around a legendary West Coast “suitcase synth” – the Buchla Music Easel. Dating back to 1973 (and, in recent years, reincarnated as software emulations by Arturia) the Easel is part of a family of electronic instruments created by Don Buchla, who avoided the word “synthesizer” since he believed that it implied a cloning of existing instrumental sounds. Instead (in parallel with the more conventional creations of Moog, Korg and others) he evolved a line of devices dedicated to creating new sounds; sometimes – but not always – avoiding the use of a standard tempered-scale keyboard, and incorporating a much more complex method of tone generation than those of his rivals. This has led to his creations being the instrument of choice for certain electronic musicians who demand a deeper, more detailed control of tone and timbre as well as the different thinking patterns which the instruments encourage.

While the workshop will be performed on, and led from, the Buchla Music Easel, apparently everything being taught and communicated is “applicable to all hardware in the modular synthesis world, and will hopefully help give you confidence and a deeper understanding of your instrument and it’s application in recording and live performance contexts.” Here’s a Loopop guide to the Easel, plus a video of Kaitlyn Aurelia Smith working her own Easel. I’ve also added a recording of Stevie running a modular synth set in New York four years ago.



Modular Synthesis Workshop using Buchla Music Easel
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 2nd June 2018, 11.00am
– information here, here and here
 

May 2018 – upcoming London and Brighton esoteric heavy rock gigs – Memory Of Elephants, Codices, Rad Pitt at Facemelter (4th May); The Display Team, Magnus Loom, Ms Mercy (11th May); Poly-Math, InTechnicolour, Thumpermonkey (12th May)

27 Apr

Making a temporary shift from their usual Camden base at the Black Heart, the upcoming month’s Chaos Theory gigs continue to showcase colourfully noisy guitar rock of the post-, math-y and metallic kind (at the Facemelter nights) and mushroom outwards into avant-rock territories elsewhere.

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Memory Of Elephants + Codices + Rad Pitt, 4th May 2018

Chaos Theory Music Promotions presents:
The Facemelter: Memory Of Elephants + Codices + Rad Pitt
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Friday 4th May 2018, 7.30pm
– information here, here and here

Bristol trio Memory Of Elephants are “insanely brilliant at making technically perfect math-rock sound like noise and making noise-rock sound like progressive perfection”. Already an established Facemelter act, their music’s a welter of restless multipolar mood changes and psych-cyclones with a bewildering delightful stockpile of guitar tones; from mechanistic hissing growls, fire-ribbon swishes and sudden injections of Detroit proto-punk to great woozy carousing fuzzwalls of MBV dreampop, Chinese orchestras and – at one point – what sounds like a gnarly old organ playing itself.


 
Codices (spotted by CT last year playing with Lost In The Riots) offer more pared-down, quick-on-its-feet, jump-and-feint riffage. Studded with bursts of spoken-word metaphysics, they’ve got an appealing heavy/light touch; changing between tearing distortion and sighing post-rock chimes like a rapier fighter who suddenly brings out gobbets of flamethrower blast.


 
Opening (and replacing Midlands slamcore duo A Werewolf!) are the gnarly pop-culture bawls and in-jokes of Colchester post-hardcore rabble Rad Pitt. Showcasing the Facemelter’s more mischievous side, they’re described by ‘Louder Than War’ as “like Enter Shikari without the disco beats and Extreme Noise Terror with some catchy verses attached to the mayhem” and by Chaos Theory’s Kunal as “plenty of screams and big riffs. Ridiculous fun, awesome lyrics, and a band we’ve been dying to work with for ages.”


 
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The Display Team + Magnus Loom + Ms Mercy, 11th May 2018

Match ‘n’ Fuse & Chaos Theory Music Promotions present:
The Display Team + Magnus Loom + Ms Mercy
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Friday 11th May 2018, 7.30pm
– information here, here and here

A week later, Chaos Theory team up with Match’n’Fuse Festival (long-standing promoters of avant-garde jazz, prog and all manner of genre-colliding music) to bring you “a one-off event, a lineup of audio oddities filled with weird and lively sorts. Just because.”

Chaos Theory call London trick-rock squad The Display Team a “prog-punk orchestra creat(ing) a heavy assault of surprisingly upbeat, melodic nonsense, resulting in something like a cross between The Specials and Mr Bungle”. Certainly, as they tumble through their brass-plastered tunes (like a Blackpool drunk being cannon-fired, with suspicious accuracy, through a line of deckchairs), they initially seem like another entry in the long roll of prodigious Zappa-esque loon bands, employing powerful and assertive technique in a circus-act of absurd flamboyance.

Beyond the parping and razzing, though (and beyond the slightly unhinged yell-singing of drummer-leader Chuckles), there’s a steely assurance to them; a determination to navigate to the end of the tangled charts and wrangled music, and to triumph. Ironically, this makes them more Zappa-esque than they’d be if they just larked around. Despite the ska breaks and the post-prog riff blitzing, the looning is secondary – to the point of almost being invisible – and what you’re left with is the vigour of the loops, feints and dives. Regular readers may be surprised to hear that I’m actually quite skeptical about these kind of bands. Not this one. Eyes on the prize.



 
In the middle there’s something similarly diverse but riddled with deliberate cracks, as sometime Echo Pressure saxophonist Joe Murgatroyd provides “avant-glam-punk cabaret” in his solo guise as Magnus Loom. His songs are a tossed salad of art-rock, post-punk, bizarre ’60s pop and Moonshake-style post-rock: some of them blurting skeletons of manically yawing subbass, oil-tub drum rattle and glockenspiels that sound like eighteenth-century jailers’ keys); others acidic sheets of synth buzz and guitar snag, generally carrying a topping of samples like a small tsunami that’s swept though a warehouse for unwanted toys.

Joe’s voice and songwriting match the vim and brittle wit of his instrumentation. Defiant, slightly lost and only slightly tongue-in-cheek, all of it filters honest angst through defensive satire; capturing the mixture of listlessness and energetic restlessness that gets us through the day while our consumer anxiety, our boredom, our mortality, our unsureties and our appetites keep bouncing off our own noggins.



 
Launching at this particular gig, show openers Ms Mercy are “a new noise project of total chaos, rock, metal, noise, prog, punk and more…. a brilliant Faith No More/System Of A Down/Bungle-esque experience.” It’s hard to disagree with that as you hear them hurtling through their cut-and-shunt of hard-edged musical fragments; their vocals a pugnacious, hard-eyed, Patton-ish pummel of semi-operatic theatrics through to rap. They sound like a snarling, barking pack of rabid wolves, but one that’s rather enjoying its own crazed death spiral.


 
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While Chaos Theory aren’t organising the third gig in the post (that’s down to the folk at the Brighton Electric studios) their cheery collective thumbprint’s certain on it – all of the bands taking part either fit the Facemelter template or will do, and Kunal is heading down to run the DJ sets…

Polymath, 2018

Brighton Electric and Chaos Theory Music Promotions present:
‘Help Dan Beesley Beat Cancer’: Poly-Math + InTechnicolour + Thumpermonkey
Brighton Electric, 43-45 Coombe Terrace, Brighton, West Sussex, BN2 4AD, England
Saturday 12th May 2018, 7.00pm
– information here

Well-loved guitar-messer Dan Wild-Beesley (from Cleft and GUG) has recently conquered the mountain by apparently winning his battle with stage four brain cancer, but he’s still got the journey back down to contend with. There’s ten grand’s worth of medical bills, for which he’s only got about eighty per cent of the costs covered. With a JustGiving campaign in full swing (more on all of that here), quite a bit of what Dan’s needed has been raised by his friends in the math-rock and post-progressive rock community, and the efforts continue with this Brighton show.

Homeboys Poly-Math headline with their cosmic post-prog instrumental landscapes. While it’s tempting to tag them as something like “colourful, heroic NASA-metal”, I should be more careful before flinging the space-rock adjectives around. 2015’s mini-album ‘Reptiles’ implied themes of evolution and metamorphosis and more recently Poly-Math have been turning their impressionistic attention toward the hard knuckles of history. As of the end of last week, they’ve got a new double album out – ‘House Of Wisdom | We Are The Devil’, for which this show is the formal launch.

Hailed by West Midlands zine and promoters ‘Circuit Sweet’ as “thought provoking, intelligent and supremely executed music”, the album’s inspired by the 1258 Mongol siege and overrunning of Baghdad and its caliphate, and the consequential dooming of the enlightened university which lay within the city walls; from which so many pillaged books were cast aside into the River Tigris that the waters turned black with ruined and dissolving ink. Aesthetically speaking, there’s a terrific dark-fairytale ring to that story; but in terms of genuine history it marked the end of the Golden Age of Islam (with its giant forward strides in philosophy, science and cooperation) and the treading under, by brute force and proto-fascism, of its culture of curiosity and education. Bring your own present-day analogy: you’ll have to, since whatever meaning Poly-Math themselves intend is encoded between the notes and sonic surges of their burgeoning instrumentals.



 
Mid-bill comes the grand, quaveringly hallucinatory post-grunge stoner rock of InTechnicolour. Formed by assorted members of math-rockers Delta Sleep, experimental rockers Physics House Band and the live array for guitar-droners LUO, they regularly assemble to play a speaks-for-itself mass of heavy riffs and doodles through a pink haze.


  
I’ve said plenty about concert openers Thumpermonkey over the last few years, but thanks to their unceasing wit and creativity there’ll always be more to roll out. The missing link between Mastodon and China Miéville (or perhaps between Peter Hammill and Neal Stephenson), they play plenty of heavy rock gigs rubbing shoulders with the psych-y, the math-ridden and the screamy, and always fit in well; while simultaneously seeming to float above the fray, looking down with affable amusement at both themselves and their billmates. Partially it’s Michael Woodman’s voice – pure theatrical cordon bleu hambone, from the bottom of its ominous deep-tenor declamations to the top of its horror-struck falsetto. Partially it’s the baffling range of esoteric topics which slow-cook throughout the lyrics: a baroque, tongue-in-cheek, post-imperial melange of eldritch secrets, trans-dimensional catastrophes and strange surreal ennuis being visited on hapless pith-helmeted explorers and unwary academics, seasoned with nightmare flashes into surreal Jodorowskian dreamscapes, angsty post-grunge horror or delicately unfolding post-rock gags about Nigerian scam emails.


 
The music, meanwhile, is an ever-flexing full-spectrum crunch and hush, full of stalking shapes and hovering convoluted melodies. Game-playing geeks for sure, and clearly ones who are proud of their astonishingly broad armoury of sly references, veiled jokes and fantastical imagery; but also geeks who revel in their absolute mastery of those most un-geeky of rock qualities – muscle and poise. 
 

 

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