Tag Archives: Finland

September 2018 – more Woodburner world/acoustica/pop sessions at Dalston Eastern Curve Gardens – Rum Buffalo Trio, Joe Corbin and Lorkin O’Reilly (4th September); M w S, Boe Huntress and Equal Echo (11th September); The Age Of Luna, Marine and Desert Rain (18th September); Choro Alvorada, Max Baillie and Li Alba (25th September)

27 Aug

More outdoor summer Woodburner gigs at Dalston Eastern Curve Garden, as the season moves into its final month: holding autumn at bay while it can.

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The 4th September show features festival legends Rum Buffalo, bluesman Joe Corbin, and touring NYC artist Lorkin O’Reilly.

Rum Buffalo fornicate with forgotten songs. They mingle in many genres but feed off the rich antique roots of swing and moody blues infiltrated with hip hop beats and filthy synth lines. It’s a surreal, vaudevillian show with outrageous costumes, twisted vocal harmonies, powerful beats and outrageous horn sounds. On the night expect a stripped-off trio show, revealing the core of their beastly natures.


 
Joe Corbin is a blues and soul musician from South London. An accomplished guitarist, powerful singer, and true performer, watching Joe play is bound to blow you away.


 
“Since arriving in Hudson, NY from his native Scotland, Lorkin O’Reilly has been making a name for himself on the New York folk scene with his delicate guitar technique and deft lyricism. This year has seen him share stages with the likes of Charlie Parr, Nadia Reid, Willy Mason, Mick Flannery and Ciaran Lavery. His debut album ‘Heaven Depends’ was released on 24th August on Team Love Records.”


 

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The 11th September gig features R&B/soul collective M w S, North London songstress Boe Huntress, and new electronic collaboration Equal Echo.

M w S is a London-based duo formed in Italy in 2013. Their musical influences are artists from soul, R&B and nu-soul (such as Erykah Badu and Lauryn Hill) mixed with contemporary neo-jazz artists like Tom Misch and Masego and electro-influenced artists like Vallis Alps and Louis Matters. Their first EP ‘Swim’ is a mix of pop, contemporary R&B and nu-soul with lyrics that sometimes recall their home country; their latest release, Island, produced by Grammy-award winning London producer Aamir Yaqub (Rihanna, Ne-yo) is a soulful chilled track full of tropical and summery vibes. M w S are currently working on their next EP, due out in 2019.


 

Boe Huntress grew up in Kent, playing and writing music from an early age. Her first job was writing songs for an online magazine, reviewing video games in song-form: a crash course in the art of songwriting, recording and producing, as well as in receiving immediate response to her work online. Studying Literature at university, Boe was inspired by both myth and feminism: beginning to play live, she was soon chosen by the IC Music Network as one of twelve up-and-coming artists to tour across Europe.

“Boe’s debut EP, ‘A Female Power’, is an earthy, epic debut reminiscent of both Kate Bush and Bjork. The EP is inspired by four female mythological figures (“we’ve been deprived of certain ways of seeing woman – this EP is an exploration of the darker, more unexplored aspects…”) and Boe’s taken it one step further by creating an immersive audio-visual show alongside the record. The EP is brought to life onstage by Aletta Dina on drums and Melanie Powell on synths and electronics, while Boe fronts the band with her raw, ethereal vocal and electric guitar.


 
Equal Echo is a new collaboration from Londoners Hector Plimmer (DJ and producer/creator of last year’s acclaimed ‘Sunshine’ album of broken beat, trip hop, instrumental soul and field recordings) and Alexa Harley (fellow producer, songwriter and collaborating singer for Hybrid Minds, Tom Misch and Mt. Wolf). The pair initially started working together with a one-off collaboration in mind: however, once they started, it soon became clear this would be more than just a feature project. For the last year-and-a-half Harley and Hector have been meeting two days a week, almost every week, creating music that shares an equal input of musical ideas from one another.

The amalgamation of styles and musical backgrounds blend together to make a sound unlike either Harley or Hector produce alone, whilst still retaining the best attributes from both. Not only are they musical partners, they are also best friends. Over the last two years the dynamic live show has been previewed at Archspace and Ghost Notes, with their premier festival appearances at Brainchild and Glastonbury Festivals.”

 
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The last show, on 18th September, features London-based hip hop/R&B trio The Age Of Luna, sensual pop mythologists Marine and atmospheric Finnish world-folkers Desert Rain.

The Age of Luna – “average joes with powerful minds” – number Butch Arkas, his schoolmate Kyote Noir and singer/saxophonist Daniella Wizard. Each brings their own influences and sensibilities to the table, and the end results reflect not just the four different musical personalities but the blend of tradition and technology that saw them get together in the first place. Despite their relative youth, the band has played over a hundred shows with festival plays at the likes of Glastonbury, Wireless, Secret Garden party and Live At Leeds. Their debut, self-titled album was released earlier this year to great acclaim and the band are busy working on new music due for release later this year.

 
“London-based Marine – formed in 2014 by Cara Sebastian (vocals and guitar), Beth Dariti (bass) and Kaja Magsam (drums), and described by ‘The Line Of Best Fit’ as “the musical equivalent of a creamy post-coital blush” – have just released their debut album ‘Fable Electric’, via The Vinyl Factory (following the beguiling singles Mount Olympus and Sirens).

“Produced by Rob Ellis (Anna Calvi, PJ Harvey, Cold Specks), ‘Fable Electric’ is an album that brims with exploratory wonder and bridges the gaps between spectral pop, dreamy grunge and ambient folk. Both wild and elegant, it is framed by intuitive beats, bass hypnosis that playfully counters melody, and a deep love of contrast. The vocal lines braid together over hooky guitar lines in a complex plait of old and new, understated and operatic, light and dark. The songs of Marine crystallized from mythology and fables, mingling with personal words and emotions to form tales of the ordinary and extraordinary. Their songs reference the underworld, seal demons, mighty Kraken, werewolves, witches and Gods, and even question the very nature of storytelling itself.


 
“Jyväskylä quintet Desert Rain are songwriter Ville Lähdepolku on guitar and vocals, Alex Lee on drums, Farshad Sanati on santour and vocals, Petri Pentikäinen on tabla and darbouka, and Ville Määttä on bass, keyboards, voice and a cluster of international wind instruments including Armenian duduk. They play hypnotic world-folk music that tends towards the mystic. From Finland to Dalston Eastern Curve Garden, just for you.”

 

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The last show, on 25th September, features choro band Choro Alvorada, international violin virtuoso Max Baillie, and the Latin-inspired songwriter Li Alba.

Choro Alvorada is a London-based group who play Brazilian choro music of all styles, including lesser-known works and original compositions. Choro emerged in Rio de Janeiro in the late nineteenth century as a mixture of European harmony with African rhythm and improvisation, in a similar way to jazz and ragtime. The name comes from the Portuguese verb “chorar”, which means “to cry”, and indeed choro music certainly has its fair share of tear-inducing laments. But choro is mostly known for its lively, playful and syncopated melodies in the traditional setting of a “roda”; that is, with musicians playing informally around the table (drinking plenty of beer – provided by the loving fans, of course!).

“Choro Alvorada have the traditional instrumentation of the ‘regional’ choro ensemble: clarinet (played by Andrew Woolf), flute (played by Rachel Hayter), 7-string guitar (played by Luiz Morais), cavaquinho (played by Jeremy Shaverin) and pandeiro (played by Alua Nascimento). They play a wide variety of styles of choro, exploring influences from all over Brazil (and London). They play with the irresistable swing of samba from the south and baião from the north-east, and even in the style of frevo, a carnival dance from the north-east! Many of the choros they play are their own compositions, so you may find a Cockney twist to them. They famously continued to play through a thunderstorm at the Curve Garden in Summer 2017, bringing a portion of the audience onto the stage with them in the style of the traditional roda.


 
“Maverick violinist and violist Max Baillie is truly one-in-a-million. Born to the sound of his twin sisters practising scales and argeggios, raised by his concert-cellist father and violin-teacher mother, before travelling the world and gaining a first-class degree from Cambridge University in… Politics. Apart from that short sabbatical, Max’s whole life has been music. Yet when you watch and listen, there is a spontaneity in his playing that makes you realise that in spite of all the history, education, and practise, a Max Baillie has to be born rather than made. Max-in-a-million is an international artist, having performed in Switzerland, Italy, South Africa, France, Australia and many other corners in the last twelve months, both as a concert soloist and with other projects including ZRI, who fuse sounds of Brahms with gypsy and Hungarian folk. Witness.


 
“Singer. Linguist. Lover of Latin, jazz and folk traditions. Voice of velvet and force of nature. Li Alba grew up in London, listening to traditional Spanish and Greek music whilst training as a classical singer. Graduating from Guildhall juniors in music and RADA in acting, she fell away from opera and into wild Easter European theatre arts, as a professional member of the Gardzienice Theatre Company. Partaking in independent arts projects around the world she has worked through music and staged mediums with global practitioners including Katie Mitchell, Mark Ravenhill, James Brennan and Julian Maynard Smith.

“Li has contributed to London’s night life scene by supporting in the launches of two venues, Kansas Smitty’s and Juju’s Bar & Stage, and is now embarking on her solo career with a plethora of musicians with global flavours and feels. She is accompanied by guitarist Telmo Souza who has played for Rhythms Of The City and Ines Loubet (amongst many others), and who leads the astonishing Afro-samba ensemble Caravela.”


 
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All events are at Dalston Eastern Curve Garden, 13 Dalston Lane, Dalston, London, E8 3DF, England on Tuesday evenings. Dates below:

  • Rum Buffalo Trio + Joe Corbin + Lorkin O’Reilly – Tuesday 4th September 2018, 7.00pm – information here and here
  • M w S + Boe Huntress + Equal Echo – Tuesday 11th September 2018, 7.00pm – information here and here
  • The Age of Luna + Marine + Desert Rain – Dalston Curve Garden – Tuesday 18th September 2018, 7.00pm – information here and here
  • Choro Alvorada + Max Baillie + Li Alba – Dalston Curve Garden – Tuesday 25th September 2018, 7.00pm – information here and here

 

REVIEW – Komatsu: ‘Komatsu’ album, 2012 (“a cats-cradle of skittering percussion, controlled screech and speeding draglines”)

21 Mar

Komatsu: 'Komatsu'

Komatsu: ‘Komatsu’

This profusion of rock power duos – it must be viral. Surgically-reduced, punked-down, jazzed-up, math-rocking or swampy… they seem to be filling plenty of gaps. Pick one of them out, and it’s usually a drum-and-guitar pairing minus the bass, or otherwise a guitarless bass-and-drum coupling. What’s triggering this? The window-rattling scrunch championed by Death From Above 1979? The teasing-twosome model set up years ago by The White Stripes? Basic economics? The old Robert Fripp idea of smaller, mobile, more intelligent units, which in more austere times may exert more of a pull?

Anyway…

Komatu fit – very loosely and fiercely – the last of these options. A drums-and-guitar duo of Finnish rock improvisers, they’ve set themselves up to be as expansive as possible. They seem to use their lack of a bass guitar as a kind of invisible fulcrum: an absence which they can both pull away from and can curve back to compensate for. Having a bass would just pin them down, render them linear; when what they actually want to do is stretch themselves over every possible angle of orbit. In the absence of those root notes – those stolid map-pins of rhythms and root – both and neither of the two musician strive to offer something else, containing their wildness only by a teasing instinct for where the brinksmanship stops.

Komatsu are also unsentimental about naming their music. Most of the time, number placements will do instead, and you can bring your own interpretations to the party. Neither of the duo themselves are inclined to give away much in the way of meaning. The music itself, however, is anything but dispassionate. Even on those occasions when it turns mathematical, the numbers swarm like killer bees, waiting to plunge into brief resolutions and then dance away again.

Unusually, much of the time the lead instrument is Jussi Miettola’s drumkit. Hinting at and ducking around rhythms more often than simply holding them, his distinctive playing is busy, expansive and never less than exciting. It’s almost – but not quite – free jazz. It’s heavy on the sonic possibilities of the top kit with its dryness and its imperative rattle, sometimes bursting into vigorous splatters of bass drum and cymbal; coursing easily between Art Blakey, thrash metal and points in between.

Guitarist Juha-Pekka Linna plunges his guitar into a mass of loops, mechanisms and pulverizing crystallised distortion. The results run a broad gamut between a taut dry rattle (like spasming rockabilly) and a screeching cyclonic blizzard of rotating noise. In spite of this whipped-to-chaos approach, it’s often him who ends up holding Komatsu’s pieces in shape. His loops become binders – circumscribing the duo’s wilder flights, defining their narrow tones and furiously tight patterns.

On the Intro, fractured jazz chords on guitar wrestle with snare-scrabbling free drumming; an initial spideriness which is gradually bolstered and transformed by smudges of trippy, expectant backwards guitar. This in turn suddenly inflates and hunches up in a blur of warm overwhelming fuzz into jubilant, wing-whirring psychedelic noise. As Komatsu move directly on into First, it’s all swapped for a fold-over of psychedelic guitar echo; chattering in the teeth of an imagined gale, billowing itself out of shape. An expert roaming roll around Jussi’s toms adds another dimension of tension.

As Jussi and Juha-Pekka work away at the piece, it escalates into a panning tornado-swirl of layered guitars and rattling drums, brittle and yet overwhelming in its pent-up force. You imagine a man swinging rocks round and round in a bucket, waiting for that instinctive moment when he can open his grip and let everything fly. This never quite arrives, but Komatsu’s cats-cradle of skittering percussion, controlled screech and speeding draglines keeps you hanging in anticipation until that imaginary gale finally, rapidly, falters and dies.

For Second, Komatsu tone down the surge. A West African-inspired walking rhythm, played out on guttural post-punk guitar, tramps on against increasingly furious stick-and-tom rattles burst from the drums: Jussi’s decisive and pointed breaks make a one-sided musical conversation. There’s nearly two-and-a-half minutes of this dynamic sparseness, and then the faintest whisper of sound creeps in and gradually rears up in a veil-sweep of celestial noise guitar. As this grows and billows to hang above the tune, like a grand valance or a deathly Mellotron chord, the mood grows grimmer. Inexorably, the African stroll is overwhelmed by ever-increasing bass smudges. That Mellotronic chord eventually drives the music towards a waiting cliff. They have a certain taste for threat, then.

While much of hard improvisation sounds like a wrestling match (with cascades and grapples of angry notes) Komatsu’s version is more like a stalking, or an illustration of danger. Places once safe begin to flood. Confusing shadows blight the landscape. Situations turn uncomfortable.

Nothing For Money (the only Komatsu song with a name) broods like a dark Western, Juha-Pekka initially restricting himself to giant Morricone-esque guitar pluckings over Jussi’s uncharacteristically miserly, mathematical pick-out of drum parts. A second Jussi, jazzier and looser, plays against himself in the background, filtering dustily through a radio speaker like a memory of easier times. This, too, is gradually overwhelmed. The guitar begins to shucks out backward swells again. The drumming becomes more counterpointed, more belligerent.

With its uncomfortable, weirdly perpendicular funk-clank full of disassociated fragments (drum points, spacebar chinks), Third sounds like hip-hop might have sounded had it been invented and played by Can. It has an alienating quality: a kind of stern party music, pushing you into painful shapes. Juha-Pekka’s main guitar part is squashed flatter than wallpaper. Another of his lines drags a jangling siren motif up and down. With this spiraling in the foreground, a distant heavy-metal grind (colossal, but given quietness by distance) moves into place, by which time the drum parts have turned metallic too. The finale is an unexpected drop-away into fifteen gurgling seconds of distress call.

Fourth is split into two different and distinct parts. The first part draws on avant-garde ideas from contemporary classical ideas – vicious thunks of the lowest possible piano notes; groans and distracted orchestral growls from the guitar processes. These in turn are bled into chance noises: an airy temple-bell dings and chimes, and there’s the clear close-up sound of someone rolling coins or ball bearings around the studio. Some reflective menace is added by baleful post-rock guitar tinges and ear-filling fog-banks of sub-bass.

Suddenly, Jussi explodes into the second part with a tight lash of cymbals and a stream of West Coast power-punk drumming. There’s a scourge of rapid-strum guitar, at thrash-metal intensity, but without the rhythmic restlessness. Bar by bar, it rises up the chromatic scale while subliminal keyboard figures sketch moving arpeggios behind it, before the whole thing finally hits a crash-barrier of static.

On the final track (which, with typical Komatsu insouciance, is just called Last) the boys let their hair down. A skating buzz of static synthesizer serves as a continuo; Juha-Pekka’s wet and warbling science-guitar figures provide something like a melody. Halfway through, the emphasis shifts and the music morphs woozily elsewhere. The synth buzz become a deep bass drone; the guitar patterns become drips in the background, while the melodic role is taken by whooping varispeed notes.

From brood to fun-ride, sometimes two is all you need. There’s certainly not much missing from this fierce bout of inventiveness.

Komatsu: ‘Komatsu’
Komatsu (self released, no catalogue number or barcode)
CD/download album
Released: 24th April 2012

Get it from:
CD available directly from Komatsu; download available from iTunes.

Komatsu online:
Homepage Facebook SoundCloud

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