Tag Archives: Friends Serene (promoters)

June 2018 – upcoming London rock gigs – H0nkies, TomZack, Aeddan and Stal Kingsley (14th June)

11 Jun

H0nkies + Tomzack + Aeddan + Stal Kingsley, 14th June 2018
If you’re in London on 14th June (and not already heading for the Lost Crowns show in Dalston), you might consider this free event.

Friends Serene presents:
H0nkies + TomZack + Aeddan + Stal Kingsley
The Lock Tavern, 35 Chalk Farm Road, Camden Town, London, NW1 8AJ, England
Thursday 14th June 2018, 7.30pm
– free entry – information here and here

As you might have noticed in previous posts, I’ve got an ambivalent relationship with Americana: but while H0nkies dabble in it (the official line is that their work is “Americana, bluesy, post-punk country cuts”) they don’t pay it much undue respect. They pick it up, drop it on the floor, and then drunkenly gum it back together with added noise and clatter and hooty keyboards.

Here’s ‘Pagans’, their half of a recent split single. It’s a punky-tonk, a little as if The Libertines, Tom Waits, Jim White and Madness had collaborated in a round of happy mutual arse-kicking. Their singer keeps peering out of the racket (and out from beneath his own looning bawl) as if to wink at us, as if we were in on the gag. I think I like him.

 
In the space of a year, Tottenham art-rock/post-punk quintet TomZack have travelled from the industrial dance feelers of their debut single Too Much To Love to the theatrical flair of their current incarnation, delivering peculiar badlands singalongs and rumblesongs on record. A band with at least one parallel life, they’re also working on a live soundtrack to the upcoming theatre version of ‘The Forbidden Zone’ (Oingo Boingo’s cult 1980 film showcasing the early work of Danny Elfman amid a riot of transgressive cartoonish imagery, as if John Waters had transformed ‘Alice In Wonderland’ into American burlesque). Expect the latter, plus the debut TomZack album, in the autumn.

Meanwhile, here’s current single Caroline (Still In Love With You): a mordantly downbeat piece of grinding melancholy (again with that Waitsian tone) unmoored to fly on a strange junk/space-opera background narrative of starship troopers, gender wars and time-travelling bereavements. Either they’re writing their own bit of long-form twisted steampunk, or they just like bamboozling people with their press releases.


 

Wrapping up the bill are a couple of solo songwriters. Aeddan Williams (or just “Aeddan”) fits firmly into that line of singing multi-instrumental play-and-record-everything craftsmen: the one which includes Roy Wood, Karl Wallinger and other blokes who’ve either shaped, or paid glorious expansive tribute to, British pop. His debut album has shades of The Move, World Party, Kinks, Small Faces and the usual jaunty suspects. The album and EP he’s popped out so far have been filled with songs of kooky chicks and small adventures, indie protest songs about racists, and (just under the bonnet) subtle little twists which reveal that craft doesn’t blind him to ironies and changes in perspective.


 
Stal Kingsley, on the other hand, is already well embedded into that skewed-perspective zone. A lo-fi pop aficionado with an ear for the grand gesture, he enjoys but can’t quite stay slouched in his tape rumble; and chooses instead to bring his eccentricities out into the light of the mainstream. Comparisons to Ariel Pink and Cleaners From Venus abound; his live gigs apparently stretch out into performance art (with “live drawing countdowns”, filmed ad breaks and the backing band on an old tape cassette); but I think that what he really wants is to bring his music into your sitting room, even if it’s not quite the right size to fit through the door, or keeps sliding off your sofa.


 

June 2018 – upcoming London rock gigs – gloriously complex experimental rock evenings – The Mantis Opera, Barringtone and New Born Animal (8th June); Lost Crowns with Sharron Fortnam and Kavus Torabi (June 14th)

27 May

Several of London’s more convoluted art-rock genii are emerging from the woodwork to play live in the early part of June, accompanied by assorted fellow travellers and burlesque pop sympathisers. Read on…

* * * * * * * *

The Mantis Opera + Barringtone + New Born Animal, 8th June 2018

If you’ve wondering what a band might sound like if it fused Henry Cow, Battles and early Scritti Politti, you’re in luck… and, to be honest, probably pretty marginal. Come over here and sit next to me.

Stemming from solo work by guitarist, singer and electronics meddler Allister Kellaway, The Mantis Opera now delivers his stirring, challenging constructions via a full electro-experimental synth-rock band, voicing a collection of “avant-garde grumbles” via a multiplicity of synth sounds and colliding pop tones. If this sounds inaccessible and snooty, it isn’t. It’s just that the tunes arrive in complicated cascading splinters, many parts urging in parallel towards an out-of-sight coda, while a dreamily precise atmosphere prevails: avant-prog keeping watch from under a dream-pop veil.

The pieces themselves display an ambitious, orchestral thinking – Reykjavik, for example, is less a guitar clang with lofty ambitions and more of a cerebral/visceral string quartet piece transposed for rock band. Allister’s winding, philosophical lyrics, meanwhile, are very reminiscent of Henry Cow and of Rock in Opposition preoccupations, dissecting as they do themes of resistance, logic, language and compliance with the air of a man trying to bring intellectual rigour to the pub, grabbing at the misty answers before the closing bell rings.



 
Assuming that recent reports of a broken-wristed drummer haven’t entirely torpedoed their availability, Barringtone should be in support, continuing their live drive towards the release of their debut album on Onamatopoeia this summer. Released songs have been sparse over the past few years; but enjoy this new-ish brainy little post-power-pop conundrum, exhibiting Barry Dobbins’ own ambitions as he moves up from the band’s previous wry, ornamented motorik drive into much more castellated, conversational proggy territories while keeping their knuckly XTC-inspired edge intact.


 
Seven-piece big-pop band New Born Animal complete the lineup at this Friends Serene gig. Headed by singer/songwriter/arranger Thomas Armstrong, they’re a sonorous wall-of-drunken-sound effort who sound like Blur (during their music-hall period) dragging the Walker Brothers into a dressing-room tipple too far. If so, they also sound like the stage before it all turns nasty: slightly discombobulated singalongs where self-consciousness is just rags in the breeze, the emotional valves have been opened up and everyone in the room is temporarily your lifelong friend. If this in turn sounds sloppy, then I’d suggest that there’s a lot of craft going into something which sags and collapses so gloriously and visibly, but which never disintegrates. There’s longing, wonder and helpless laughter all brimming at the back of this.


 

On top of this, the whole evening’s free if you turn up soon enough…

Friends Serene presents:
The Mantis Opera + Barringtone + New Born Animal
The Shacklewell Arms, 71 Shacklewell Lane, Shacklewell, London, E8 2EB, England
Friday 8th June 2018, 7.30pm
– free entry – information here and here

* * * * * * * *

Lost Crowns + Kavus Torabi, 14th June 2018

The following week, Richard Larcombe’s Lost Crowns spearhead “an evening of songs with a lot going on in them”. In many respects, it’s a re-run of their triumphant London debut at the same venue back in January. No Prescott this time, sadly (though their instrumental ping-pong twitch would have been welcome), but Kavus Torabi is back with a guitar, a hand-pumped harmonium and more songs from his ongoing solo project. Launched the other month with the ‘Solar Divination’ EP, this might be a holiday from the jewelled and roaring intricacies of his main gig with Knifeworld, but it’s certainly not an escape from the psychedelic shadows which nightwing their way through the band’s apparently celebratory rainbow arcs. For this isolated, darker, more grinding work, Kavus strips the flash-bangs away and leaves us with the droning echoes: the meditative bruises, fears and queries, many of which nonetheless contain their own seeds of determination and a kind of celebratory acceptance.


 
As for the headliners, last time I anticipated Lost Crowns as likely to be (deep breath) “a rich, unfolding master-craftsman’s confection… complex, artfully-meandering songs built from delightfully byzantine chords and arpeggios that cycle through ever-evolving patterns like palace clockwork; accompanied by rich, lazy clouds of hilarious, hyper-literate, wonderfully arcane lyrics; all sealed by an arch, out-of-time English manner which (in tone and timbre) falls into a never-was neverworld between Richard Sinclair, Stephen Fry, Noel Coward and a posh, Devonian Frank Zappa.”

A tall order (even it was based on what Richard’s delivered in previous projects), but I wasn’t disappointed. With Lost Crowns, Richard’s created the most dynamic and surprising music of his career.

As before, the rest of the band’s lineup is a cross-section of London art-rock luminaries: Charlie Cawood, Nicola Baigent, Rhodri Marsden, Josh Perl, drummer “Keepsie”. Certainly the influence of Richard’s brother and usual collaborator James is missed (his genial, warm, embroidering effect on Richard’s work is underrated) but his absence allows both Richard and the band to stretch out in different directions – fiercer, more crammed, sometimes brutal in their complication.

A vortex of influences funnel around Richard, including Chicago math, witty Daevid Allen psych rampage, contemporary classical music and skipping, tuneful folk singalongs. Shaped by his particular persona and thought processes – as well as his innate Englishness – it all emerges as a kind of prog, but one in which the fat and the posturing has all been burned off by the nerves and the detail, and in which his dry, melodious wit winds around the work playing mirror-tricks, theatrical feints, and the conspiratorial winks of a master boulevardier. As much at home playfully slagging off the precious venerations of synaesthesia as they are with nine-minute epics with titles like Housemaid’s Knee, Lost Crowns are a delightful self-assembling puzzle.

Frustratingly, with Richard still keeping everything close to his chest (outside of Lost Crowns’ welcoming gig environment), I’ve got nothing to show you. No embedded songs, no videos, nothing but those words and these words. Richard’s likely to keep everything culty, so the best way that you can find out whether I’m just lying through garlands here is to go to the gig yourself.

Originally this was to be a double-header with Lost Crowns’ other friends and allies, the revived psychedelic-acoustic band Lake Of Puppies (re-teaming North Sea Radio Orchestra’s Craig and Sharron Fortnam with William D. Drake, in order to build on the bouncing life-pop they cheerfully hawked around London together in the late ‘90s). Sadly, the Puppies have had to pull out of the show following Bill’s collision with pianist’s RSI in early May. Instead, Lost Crowns will play an extended set with Sharron woven into it as a special guest; while Kavus will be stretching out his own set, covering the remaining time that’s not taken up with snooker-ace-turned-avant-rock-uncle Steve Davis on DJ duty.

Lost Crowns (with special guest Sharron Fortnam) + Kavus Torabi + DJ Steve Davis
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Thursday 14th June 2018, 7.00pm
– information here, here and
here
 

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