Tag Archives: Exchange (venue) – Bristol – England

November/December 2017 – more assorted Smithery – BarmyFiveseveN play Tim Smith at Connector V, Amsterdam (2nd November); Spratleys Japs’ Wonderful Winter Wonderland tour of England (14th-17th December)

15 Oct

Coverage of the complex, perverse and joyful musical work of the sadly incapacitated Tim Smith – whether inside or outside his mothership Cardiacs band – frequently figures in here. It’s good to bring you all more about his continued crossover from cult status to something wider: this time, with news of a conservatory jazz gig in Amsterdam and of the continued afterlife of Spratleys Japs.

Connector V, 2nd November 2017

Broedplaats Lely & Steim present:
Connector V
Steim, Schipluidenlaan 12-3E, 1062HE Amsterdam, Netherlands
Thursday 2nd November 2017, 8.00pm
information

“Composers are not necessarily dead. They also do not necessarily write symphonies in D flat minor in a 4/4 time signature.

“Tim Smith, frontman of the British band called Cardiacs, is a great composer who wrote lots of music permeated with energy, humour, beauty, Britishness. By people who only partly open their ears (or their minds for that matter), his music has been defined as being “chaotic”. The opposite is true, however: it is strongly organised music and all one needs to be able to do is count past four (and not forget about prime numbers). This challenging mix of punk, prog rock, orchestral and live electronic music (also known as “pronk”) will be performed by BarmyFiveseveN, a “small big band” ensemble of around fifteen players from the Conservatorium van Amsterdam, armed with live electronic extensions.”

Connector V is part of a monthly series at Steim: regular readers should recognise this particular one as a follow-up to the Smith-covering set by Alex Brajkovic Ensemble at Amsterdam’s Jazz Ensemble Festival back in April, and it does in fact feature most or all of the same players, put together by rebel prog professor Jos Zwaanenburg. No-one seems to have recorded/posted evidence from the last time, so I can’t show you how it went – but as before, I can give you some very loose indications as to how this concert might might turn out by referring you to English Rose Orchestrations’ string quartet version of one of the featured pieces, The Duck And Roger The Horse.


 

* * * * * * * *

Spratleys Japs, 14th-17th December 2017The following month, Spratleys Japs consolidate the success of their Brighton and London reunion shows over the last couple of years by setting out on a bigger, broader English tour taking in Yorkshire and the West as well as the south east, with a mass of current/former Cardiacs and friends coalescing as support around the tour dates.

Read more about SJ here: in brief, though, they’re a short-lived and swampy alternate-universe pop project (part alien folk maunderings, part glam-punk punch and part spindly antiprog) which Tim put together in the mid-’90s with then-girlfriend/muse Jo Spratley. Now revived by Jo and a collection of Brighton art rockers, they’ve got a second wind and have been rattling through fresh gigs partially in tribute to Tim and partially because the enthralling, infuriating puzzle-box songs have a peculiar life of their own.


As regards the backup, looming raconteur Stephen Evens brings his scowling, sardonic British pop along to the London, Brighton and Bristol shows (possibly with full band in tow for all of them). In a similar vein, Yorkshire dark-melodrama rockers The Scaramanga Six pile in at the Huddersfield date, while the Brighton show also sports vigorous dream poppers Hurtling and noisy art-rock goons Ham Legion (the latter performing their Syd Barrett tribute as “Vegetable Men” (plus another acoustic set from Kavus Torabi, squeezing in time in between fronting Gong, Knifeworld and his radio broadcasts). At Bristol there’s another onetime Cardiacs guitarist, Jon Poole, possibly bringing both solo stuff and one-man versions of his clever-pop work with The Dowling Poole; plus ZOFFF (the reverberant south coast kosmische/deep-psych band featuring Crayola Lectern‘s Chris Anderson and yet another ex-Cardiac six-stringer, Bic Hayes).

As with most Cardiacs-related events, these give you a cross-section of a under-celebrated ongoing British sub-scene; stretching from surprisingly accessible, sharply written latter-day take on Britpop right through to mantric pedal noise and squirts of lysergic space-cadet juice. Here’s a selection of sundries from all concerned:









 
Full dates:

  • The Parish, 28 Kirksgate, Huddersfield, Yorkshire, HD1 1QQ, England, Thursday 14th December 2017, 7.30pm (with The Scaramanga Six) – information here and here
  • Exchange, 72-73 Old Market, Bristol, Avon, BS2 0EJ, England, Friday 15th December 2017, 7.30pm (with Jon Poole + ZOFFF + Stephen Evens) – information here and here
  • The Green Door Store, 2-4 Trafalgar Arches, Lower Goods Yard, Brighton Train Station, Brighton BN1 4FQ, England, Saturday 16th December 2017, 6.00pm (with Kavus Torabi + Stephen Evens (full band) + Hurtling + Ham Legion As Vegetable Men) – information here and here
  • The Windmill, 22 Blenheim Gardens, Brixton, London, SW2 5BZ, England, Sunday 17th December 2017 (with Stephen Evens + others tbc) – information t.b.c.

UPDATE, 18th October – apparently we can also expect a couple of imminent fundraising Cardiacs cover versions from Spratleys Japs and Stephen Evens (Odd Even and Two Bites of Cherry), plus other surprises they’re keeping a little tightlipped about for the moment.

Meanwhile, Cornish psychedelic folkie Emily Jones (another Spratleys friend from previous gigs) has been added to the Brighton concert, which now also features a Torabi/Steve Davis DJ set. Support for the Brixton Windmill show in London is going to be thrashy prog-pop stuntmeisters The Display Team and rapidly rising Windmill favourites Black Midi. Below are a couple of moments from Emily and the ‘Team. (There’s not much more I can give you about Black MIDI. They’re so new that the paint’s hardly dry on them, and their Soundcloud page is still empty; but I did manage to establish that they’re an experimental/instrumental rock five-piece of teenage Croydonians and that they’re “purveyors of the darkest dreamscapes”…)



 

August 2016 – upcoming British tours – Sax Ruins & Barberos (16th-21st) overlap Massicot (18th-27th); with Housewives, a.P.A.t.t., That Fucking Tank, Big Naturals & Anthroprophh, Guttersnipe, Rattle, Negative Midas Touch, Soft Walls and The Furious Sleep all putting in appearances.

14 Aug

I was only intending this post and the last one to be brief… I was going to quickly cover the upcoming Kiran Leonard tour and a couple of avant-prog dates in Yorkshire and London, but looking deeper into the latter meant that a whole lot of other dates and bands came springing out at me, as if I’d hit a tripwire.

Such are the ways of digging around for live previews for ‘Misfit City’ without a map or all of the details… I often come back with information on artists and venues I’ve never heard of before. (It’s exhilarating, and an education in itself, but it plays hell with my schedule.)

Anyway…

* * * * * * * *


 

Following their last UK visit (in October last year), Sax Ruins return for another go. The most active current version of the Ruins project (an ever-altering minimal-maximal mash-up of jazz, prog and avant-rock ideas centred, for three decades, around Japanese drummer and vocalist Tatsuya Yoshida) Sax Ruins features Tatsuya alongside Ryorchestra saxophone improviser Ryoko Ono in a spilling, furious, brassy power duo augmented by a battery of effects pedals, covering all bases from skronk to Rock In Opposition and big-band jazz across written and improvised material of baffling complexity.

The London show also features a set by what’s billed as “Ruins” – this is most probably a “Ruins-alone” drums-and-tapes set by Tatsuya rather than a spontaneous revival of the band’s original bass-and-drums lineup (unless a secret call’s gone out for ambitious London bass guitarists to step up and cover).
 

 

Tour dates in full:

  • Cafe Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England, Tuesday 16th August 2016, 8.00pm (with Ruins + Barberos) – information
  • Exchange, 72-73 Old Market Street, Bristol, BS2 0EJ, England, Wednesday 17th August 2016, 7.30pm (with Barberos + Big Naturals & Anthroprophh) – information
  • Delius Arts & Cultural Centre, 29 Great Horton Road, Bradford, BD7 1AA, England, Thursday 18th August 2016, 7.00pm (with Barberos + a.P.A.t.T. + That Fucking Tank) – information here and here
  • The Car Park Space, 45-51 Duke Street, Liverpool, L1 5AP, England, Friday 19th August 2016, time t.b.c. (with Barberos) – information
  • Doune The Rabbit Hole Festival, Cardross Estate, Port of Menteith, Doune, FK8 3JY , Scotland, Saturday 20th August 2016 (with Barberos)
  • Islington Mill Arts Centre, James Street, Salford, M3 5HW, England, Sunday 21st August 2016, 5.00pm (with Barberos + a.P.A.t.T. + Massicot) – information

Along the tour, Sax Ruins are embracing and encouraging a set of post-Ruins bands. Support on all dates comes from Barberos – drumtronic electro-noise experimentalists from Liverpool. Live (and they’re very much a live concern), they resemble a trio convocation of nuclear power station workers and fetish gimps. A pair of kit drummers, swathed in or vacformed into latex bodysuits and full-head masks, batter away in parallel like wrestling brain hemispheres. A single begoggled head-nodding keyboard player exploits a baffling range of electronic organ sounds. Any or all of them can suddenly burst into cloth-muffled shouting. The sound varies from full-clog percussive noise-traps (the kind that’ll have you wondering whether the band’s deliberately using the wrong definition of “jam”), through to passing plateaux of psychedelic reflection and still points of droning, delicate hush.
 

 
In Bristol, both bands are joined by Big Naturals & Anthroprophh – a two-plus-one alliance featuring the noise-rock duo team of bass/electronic warper Gareth Turner and motorik-attack drummer Jesse Webb (Big Naturals) and rogue psychedelic sludge player Paul Allen from longstanding Bristolian psych-stoners The Heads. While it’s ostensibly Paul who travels under the Anthroprophh solo moniker, it’s increasingly unclear where the boundary lies between Anthroprophh and the partner duo, or whether there’s a boundary at all. Best to treat all three as a collective entity delivering a frowning fuzzed wall of experimental psychedelia: a ritual of heavy bricking.
 

 
Chipping in at Bradford and Salford (though, oddly enough, not at the Car Park show) are a.P.A.t.T., the deft and enigmatic gang of Liverpudlians who deliver a rolling multi-media extravaganza best described as “serious pranking”, and who skip around multiple musical styles in a boiling froth of play. Via their loose collective membership, they have family connections with a host of other Liverpool bands (including Barberos) but no-one ever seems to have sat down and laid out who’s who behind the pseudonyms and lab coats, the puffs of suspect facial hair and the occasional maskwork. Perhaps refraining to pin them down and pull them apart counts as a mark of respect.

Similarly, it’s difficult to summarise or bottle a.P.A.t.T. via anything that’s definitely representative, although tagging them as a Scouse spin on the methodology of The Residents is perhaps as good as anything. However, if you take a quick delve into the plinketting synth-pop minimalism and jazz operatics of Give My Regards To Bold St (with its playful am-dram video of everyday banality set against urban terrorism), their atmosphere/installation piece Seachimes or the Devo-esque Yes… That’s Positive (the last of which displays the punchy musicianship behind the art-school stunts) you might get an idea of how they work.
 



 
Also playing at the Bradford show are deafeningly loud drumkit-and-baritone-guitar duo That Fucking Tank, whose abrasive DIY noise rock has quaked venues from Yorkshire to China for nearly a decade and a half now. As with plenty of contemporary bass-end-plus-drums rock twosomes, you can track down a bit of Ruinous DNA in their work (alongside that of Nomeansno and Lightning Bolt), though they seem to be as much inspired by the nodding insouciant momentum of electronic dance as they do by any Rock In Opposition or post-hardcore ideas.
 

 

* * * * * * * *


 
At the Salford show, the Sax Ruins tour collides with (and briefly joins forces with) a different one by Genevan art-punks Massicot. Named after an electric paper cutter, the latter are a loose and twitchy four-woman array of scratch and propulsion. They pump out charming sophisti-primitive rhythmic instrumentals in which slice-happy guitar and lunging sproings of toy bass are decorated by squeaky violin and barky vocals, all of it bouncing atop a mattress of intricate drumming which apparently prides itself on a blend of “Krautrock and tropicalia”. All of the members draw on shared backgrounds of fine-art schooling and years of instinctive, untutored pre-Massicot bandwork (which, in drummer Colline Grosjean, has resulted in the creation of at least one accidental virtuoso).

Massicot’s music relies on maintaining and capturing the open-minded approach of the original improvisations which generate it, avoiding polish or emblandening; as a result, it keeps its instinctive, childlike sense of motion and immediacy. This kind of restless work – fizzing in a fug of assertive, iconoclastic female spontaneity – always gets the Slits and Raincoats names chucked at it, as well as that of No Wave: Massicot, however, pull off the trick or the triumph of making it sound like a fresh oblique discovery. For the curious, their first two albums – plus a demo – are available for free/pay-what-you-like at their Bandcamp site.
 

 

Here are the Massicot dates:

 

 
As with Sax Ruins, Massicot will be trailed and complemented by fellow travellers of one kind or another up and down the land. At London, Brighton, Exeter and Cambridge, the support comes from powerful, broody London four-piece Housewives. Noise-rock favourites since their formation in 2013, playing dissonant tectonic music with a future-chaos tinge on home-made guitars, the band mingle their rumbling No-Wave/no certainties approach and surging, forbidding dynamics with an adaptive and pragmatic artistic practicality, making drawbacks and serendipity a strong part of the process.

For instance, when their 2015 recording sessions at a remote country farm in France ran into trouble, Housewives salvaged them with a site-specific ingenuity entirely in tune with their musical ethos. With interference from the farm’s electric fence preventing proper recording of electric guitars and basses, the band postponed those particular tasks for another time and place and switched instead to working with the farm’s fabric rather than against it – making spontaneous field recordings; generating feedback models of the farm architecture by looping its ambient sounds; interacting with agricultural machinery by layering found items for percussion or playing reverberant drumkit parts from inside silage tanks. (The end results, with the guitars added from later and elsewhere, can be heard on their 2015 album ‘Work’. All this and a hint of Samuel Beckett, too.)
 


 
 
At Cambridge, there’ll be extra support from windstripped local post-punk ranters The Furious Sleep and at Brighton from Soft Walls, the psychedelic echo-pop/“Krauty bedroom noise” solo project by Cold Pumas/Faux Discx man Dan Reeves (which played at this year’s Lewes Psychedelic Festival).
 


 
In Leeds, Massicot will be joined by two bands. The only one that’s actually confirmed right now are mysterious local noiseniks Guttersnipe, who seem to have blown up (in all senses) this year. Consisting of cuddly, pseudonymously-frenzied couple Xyloxopa Violaxia and Bdallophytum Oxylepis, they’re a desperate lash-together of fragmenting volcanic drums, edge-of-unbearable guitar, flaying-knife electronics and blind, screeching, ranting vocals. In interviews, they talk up a cheery storm about black-metal fandom and deconstructive anti-technique. In action, they sound like a violent and querulous nervous breakdown, being bounced to pieces down an endless set of spiral staircases.
 

 
At Nottingham, two gigmates have been confirmed. Rattle are a warm, post-punkified union of double drum-set and conversational, exploring anti-pop vocal from Kogumaza‘s Katharine Eira Brown and Fists‘ Theresa Wrigley, whose air of distracted discovery belies their strategic percussive planning. (Read more details on both that and the Rattle mindset here.) Also on board is the writhing, sibilant, whispering one-woman power-electronics concern Negative Midas Touch, completing a lineup which renders the Notts gig an all-female experimentation zone.
 


 

April 2016 – upcoming gigs – two types of British folk tour: Michael Chapman and Moulettes, plus a menagerie of support acts (United Sound of Joy, Richard Moss, Marcus Bonfanti, The Brackish, The Horse Loom, Dirty Old Folkers, Colour Trap)

19 Apr

Two British tours start this week, reflecting – in their way – very different aspects of British folk music.

Recently celebrated by ‘Mojo’, Michael Chapman isn’t just one of the sturdiest and most independent of the singer-songwriters coming out of the homegrown British folk revival of the 1960s: he’s also one of the last acoustic guitar masters standing from the generation which included Bert Jansch, Davy Graham and John Renbourne (all of whom are now gone). His playing reveals a fascination with Southern blues, folk, slide and ragtime jazz styles (all of which he’s mastered), while his pursuit of sound and setting has drawn him towards drones, delay, and loop effects (all of which he’s used as an adjunct to his unadorned playing, rather than as a replacement or distraction). As a singer and songwriter, there are parallels with J.J. Cale; and, rightly or wrongly, I can also hear echoes or anticipations of fellow Cale devotee Mark Knopfler in there, in terms of the husk, the fingerpicking clarity and the unprecious observational skills. (For what it’s worth, the two are connected by time in Leeds and both shared, however fleetingly, original Dire Straits drummer Pick Withers, whose jazz-influenced drummer kept the band both grounded and textured in the days before stadiums and weariness).

Here’s the press release for the upcoming tour:

“2016 marks noted guitarist & songwriter Michael Chapman’s 75th birthday and fifty years since he went on the road professionally in 1966. To coincide with the celebrations, Michael’s new instrumental album, ‘Fish’ has just been released on US imprint Tompkins Square & is already gathering much praise. To mark this important milestone in his life and career Michael Chapman tours in the UK as part of a stripped-back trio also featuring two longstanding allies – pedal steel guitarist BJ Cole (whose association with Chapman goes back a long, long way to the early 1970s) and Sarah Smout on cello (Chapman’s favourite musical instrument, which many fans will recall featured strongly on his classic 1970 album ‘Fully Qualified Survivor’.). The trio will be playing material from Michael’s incredible five-decade performing history as well as some new and experimental music.”




 

Dates are as follows:

A diverse set of interesting support acts are showing up at points during the tour, reflecting both the breadth of Michael’s musical references and the way in which venue promoters feel that they can successfully fit others around him on a bill. At Blackburn, the evening will be opened by Richard Moss: Lancashire singer-songwriter, fingerstyle guitarist, mandolin player and member of Anglo-Malaysian guitar duo Squirrels In Space, Irish music band Drop The Floor and the Union Street Country Dance & Ceilidh Band. At the Sinderhope show, support comes from hardcore punk escapee turned folk-baroque guitarist Steve Malley, otherwise known as The Horse Loom.



 

At the first gig of the tour (up in Hull), it’s Bristolian post-punk/psych/jazz band The Brackish who sound like an artfully spilled bookshelf of three decades worth of vinyl. Their muscly, slightly boggled tone mixes in urban blues, Ventures-tinged surf tunes, Frank Zappa air-sculptures and a few of Captain Beefheart’s broader brushstrokes (plus a tooth-in-the wind guitar edge which recalls the rawest work of Adrian Belew, at his analogue-screaming decennial point midway between Zappa and King Crimson).


 

* * * * * * * *

Although they’re also a product of the British folk tradition, Moulettes come from a different angle – one which is more fanciful and playful, in which authenticity is less the Holy Grail and more of a switchable ingredient. Like Rose Kemp, their take on folk draws on heavier sounds and on nearly fifty years of extraordinary, fanciful rock music. A Moulettes song comes at you like a dose of multi-instrumental chamber prog, adding cello, bassoon and autoharp to the guitars, bass and drums and the triple-decker lead vocals. Their storytelling itch, sense of mischief and enjoyment of each other’s company just glows out of both of these video clips below:



 

Dates are as follows:

  • The Brook, 466 Portswood Rd, Southampton, SO17 3SD, England, Thursday 21st April 2016
  • The Cellar, Frewin Court, Oxford, OX1 3HZ, England, Friday 22nd April 2016
  • Islington Assembly Hall, Upper Street, London, N1 2UD, England, Saturday 23rd April 2016, 7.00pm (with United Sounds Of Joy)
  • Exchange, 72-73 Old Market Street, Bristol, BS2 0EJ, England, Sunday 24th April 2016
  • The Apex, 1 Charter Square, Bury Saint Edmunds, IP33 3FD, England, Tuesday 26th April 2016
  • The Dark Horse, Alcester Road, Moseley, Birmingham, B13 8JP, England, Wednesday 27th April 2016, 7.00pm (with Marcus Bonfanti + The Dirty Old Folkers)more information
  • The Musician, 42 Crafton St West, Leicester, LE1 2DE, England, Thursday 28th April 2016
  • The Mash House, Hastie’s Close, 37 Guthrie Street, Edinburgh, EH1 1JQ, Scotland, Friday 29th April 2016 (with Colour Trap)more information
  • The Duchess, Stonebow House, The Stonebow, York, YO1 7NP, England, Tuesday 3rd May 2016 (support tbc) – more information
  • The Greystones, Greystones Road, Sheffield, S11 7BS, England, Wednesday 4th May 2016
  • Band On The Wall, 25 Swan Street, The Northern Quarter, Manchester, M4 5JZ, England, Thursday 5th May 2016 (support t.b.c.) – more information
  • The Convent, Convent Lane, Stroud, GL5 5HS, England, Friday 6th May 2016more information
  • The Tolmen Centre, Fore Street, Constantine, near Falmouth, TR11 5AA, England, Saturday 7th May 2016, 7.30pmmore information

As with Michael Chapman, the support slot arrangements fan out over a diverse range of styles: in fact, even more diverse than the Chapman tour. The London gig features United Sounds Of Joy, the slow-burn sensual pop-noir duo reuniting Michael J. Sheehy and Alex Vald (who, during the 1990s, alternately spat savage vindictive rock filth or crooned a creased and seedy London romanticism with Dream City Film Club).



 

At Birmingham, support comes from straightahead London blues guitarist Marcus Bonfanti and from wisecracking locals The Dirty Old Folkers (who describe themselves as “a Viz comic, being narrated by the Pogues” and deliver a raucous, sometimes smutty set which might be good-time but which still draws heavily on bad times and working-class resilience).



 

In Edinburgh, Moulettes are joined by local trad-indie rockers Colour Trap, who look back to golden-age British rock and Britpop scenes of the ‘60s and ‘90s.

 

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