Tag Archives: Gentle Mystics

June 2018 – upcoming London folk, world and storytelling gigs – Nest Collective’s Campfire Club shows – Seckou Keita (1st June); Gwyneth Herbert and Noemie Ducimetiere (15th June); The Embers Collective and Dizraeli/James Riley double event (21st June); London Contemporary Voices (22nd June); Jimmy Aldridge & Sid Goldsmith with Sophie Janna (29th June)

23 May

Last month, I said that June would see “a couple more” of Nest Collective’s unamplified outdoor folk gigs. Instead, there’s going to be a cavalcade – six in the space of four weeks, including one double event on the 21st, itself part of a cluster of three later in the month.

See below for a quick roundup of their early summer recipe – including Senegalese griot, storytelling, chamber jazz (well, presumably not “chamber” anymore), folk-rap, country, Gothic blues and pop chorale in addition to folk flavours from the British Isles, continental Europe and the United States. They’re taking place in London’s children’s playgrounds, open spaces and artist’s studio yards: as with many of the Nest Collective gigs, some of the locations are hidden and secret with the locations only given to ticketholders, so plan ahead.

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Campfire Club: Seckou Keita
(secret location), Bow, London, England
Friday 1st June 2018, 7.00pm
– information here, here and here

“How to describe Seckou Keita? Griot, praise singer, composer, djembe master, virtuoso, Kora player, pioneer? The answer is ‘yes’ to all of those. Seckou Keita is a true master of his instrument, a childhood prodigy, born of a line of griots and kings (Keita is the royal lineage, and not traditionally a griot name). Cissokho, his mother’s family name, gave life to his talent. His family includes Solo Cissokho, Seckou’s uncle, who introduced him to the International stage in 1996.

“The intense rhythm of Seckou’s working life has been driven by the desirability of his musical talents and his ability to get along with all kinds of different people. He toured with the Sierra Leonean musician, Francis Fuster, one time sidekick to Paul Simon, Miriam Makeba and Manu Dibango, and with Baka Beyond, whose founders Martin Cradick and Su Hart had befriended Seckou in Ziguinchor a few years before. The pair helped to produce his first solo kora album, ‘Baiyo’ (Orphan), which was released in 2000 (and subsequently renamed ‘Mali’ by the record label Arc Music).”

https://youtu.be/zVfx_m5–cQ
 
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Campfire Club: Gwyneth Herbert + Noemie Ducimetiere
Spitalfields City Farm, Buxton Street, Shoreditch, London, E1 5AR, England
Friday 15th June 2018, 7.00pm
– information here, here and here

Gwyneth Herbert is a strikingly original performer, award-winning composer and lyricist and versatile musical adventurer who continues to redefine and challenge expectations. Drawing on influences from the worlds of jazz, folk, contemporary classical music and storytelling, she has worked in collaboration with writers, musicians, directors, choreographers, visual artists, academics, clowns and young people to create a huge canon of genre- defying interdisciplinary work, as well as touring nationally and internationally with her band and releasing six critically albums to date on major, independent and self-owned labels.

“2018 sees the launch of Gwyneth’s ambitious and hugely anticipated seventh album and live show, ‘Letters I Haven’t Written’, songs from which she recently previewed in session for BBC Radio 2 and live from the Edinburgh Festival on BBC Radio 3. Gwyneth describes the project as “a musical, narrative and visual journey exploring the lost art of letter writing. Through blots of heartbreak, strokes of curiosity and scribbles of whimsy, ‘Letters…’ unearths the emotional complexities of putting pen to paper, and, in a climate of status updates and limited characters, seeks to find a more meaningful dialogue with the world”.

“A singer, composer and instrumentalist currently based in London UK, Noemie Ducimetiere is best known for her wide range of musical styles and her work with nine-piece band Gentle Mystics. With the Mystics currently on a recording hiatus, she is taking to the stage with her solo explorations of folk, rock and what some have called gothic blues. Noemie is a self-taught musician with an experimental approach, who found her mentors in her diverse influences: mid-century French cabaret, American blues, traditional Eastern folk and desert rock… today her live set-up comprises of an electric guitar and an expanse of blinking effects pedals.”

https://youtu.be/RkBK81Pl-ZQ
https://youtu.be/djZGV8FRlcA
 
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Campfire Club: The Embers Collective
(secret location), Brockley, London, SE4, England
Thursday 21st June 2018, 7:00pm
– information here, here and here

The Embers Collective is a London based storytelling and live music collective formed by three friends; a writer, an actor and a musician who wanted to put on events with a focus on community, and driven by a passion for the art of sharing stories. Their events bring audiences together through the exploration of myths and folklore from all over the world. Each of their stories is accompanied by a live, professional multi-instrumentalist whose soundscapes take listeners on a journey. They welcome you to their warm embrace.”

https://youtu.be/mAWKgWN5hts
https://youtu.be/L0O6j54EYFc
 
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Campfire Club: Dizraeli + James Riley
Kindred Studios, 18 Saltram Crescent, West Kilburn, London, W9 3HW, England
Thursday 21st June 2018, 7:00pm
– information here, here and here

Dizraeli is a rapper, multi-instrumentalist and sometime singer taking hiphop to new terrains. His exploration has taken him to unexpected places: he composed the soundtrack for a new parallel-worlds comedy on E4 (Tripped); he toured France with producer and turntablist DJ DownLow; he spent a week in the refugee camp at Calais, giving workshops and listening to the migrants there. At the start of 2016, he travelled to Senegal to study West African music with an albino master, and in a remote fishing village covered in dust and music, he finished six new songs. Carrying these pieces home to London in his head, he decided to record them in a completely new way. Instead of shutting himself in a vibeless, carpeted studio where the impulse of the songs would be lost, he would invite an audience of close friends to the basement of a cafe, play live for those friends and record what he played – no editing; no studio tricks: in the words of one of the tracks: “Through the lens to the substance”.

“Born of a transatlantic relationship, James Riley grew up in South East London listening to the folk and soul sound of 70s America and wrote his first melody at the age of four. His first guitar, acquired at the age of nine, became the tool for surviving the tumult of a nowhere place, and helped James find somewhere he felt he belonged. In his early twenties, he took off, alone once again, hitchhiking and busking through Europe from Amsterdam to Istanbul, writing songs along the way. Back in the UK, these songs became a band, but eventually James had to shed another skin, and disembarked in Nashville, Tennessee. Here he found his producer and they set about making the album which had travelled with him to his maternal homeland, where it could finally get free.”

https://youtu.be/7b3DtKPqXM8
https://youtu.be/ga55kJ7c8HA
 
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Campfire Club: London Contemporary Voices
Glengall Wharf Garden, 64 Glengall Road, Peckham, London, SE15 6NF, England
Friday 22nd June 2018, 7:00pm
– information here, here and here

London Contemporary Voices specialises in work with established bands, including gigs, recordings and festivals. We also perform at private and corporate events, and host our own largescale concerts. They have worked with over fifty artists, including Sam Smith, James Bay, Marcus Mumford (Mumford & Sons), Joss Stone, Elbow, Alt-J, Basement Jaxx, Imogen Heap, Laura Mvula, Charlotte Church, Kate Nash, Alison Moyet, Kim Wilde, Nitin Sawhney, Ella Eyre, Little Mix, The Vamps, Public Service Broadcasting, Andreya Triana, Nicole Scherzinger, Andy Burrows and many more!”

https://youtu.be/8B8h7c04WuU
 
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Campfire Club: Jimmy Aldridge & Sid Goldsmith + Sophie Janna
Spitalfields City Farm, Buxton Street, Shoreditch, London, E1 5AR, England
Friday 29th June 2018, 7.00pm
– information here, here and here

Jimmy Aldridge & Sid Goldsmith are one of the finest duos to have emerged onto the British folk and acoustic scene in recent years. Their combination of outstanding vocal work, sensitive instrumentation, and a powerful social conscience has brought them widespread critical acclaim. The songs themselves are always given centre stage but they are brought to life with stunning musical arrangements and vocals. There is an integrity that shines through their performances and a common thread of political struggle, resistance, and justice. Their critically acclaimed second album ‘Night Hours’ was released in December 2016 on Fellside Recordings. Described as “exhilaratingly diverse and full of impeccably crafted songs”, it has cemented the duo’s reputation as two of the most exciting musicians and social commentators on the scene.

Sophie Janna sings dark songs from eras past as if they were written yesterday. The person who guesses the correct number of deaths and broken hearts at the end of a gig will get a reward. Sophie accompanies herself on guitar, thumb piano, bodhrán or on nothing at all.”

https://youtu.be/_QCz5abN8z0
https://youtu.be/AuYNw4nl3FE
 

April/May 2018 – solo tours in Britain/Europe for Kavus Torabi and Cosmo Sheldrake (4th April to 24th May various, with guest appearances from I See Rivers, Paul Morricone, Bunty, V Ä L V E, Peaks, Arch Garrison, Madilan, Stephen Evens, Bovril, Redbus Noface and May The Night Bless You With Heavenly Dreams)

25 Mar

It’s not exactly surprising that Kavus Torabi has finally gone solo. There’s too much hopeful, demanding inventiveness in him ever to submit entirely to the dynamics of a group, despite the fact that he’s currently got at least three on the go, most of them with him at the helm – the brassy lysergically-illuminated avant-pop of Knifeworld; the ritual instrumentalism of Guapo, and the cantering countercultural circus of Gong (transferred onto his lanky shoulders, history and all, following the 2015 death of Daevid Allen).

What’s more surprising is the direction he’s chosen for the first records under his own name (the new ‘Solar Divination’ EP and a full upcoming album for later in the year). A darker, more agrarian take on his psychedelic homeground, this time it’s drumless, bassless, hornless – rinsed clear of the capering squirrel energy he’s shown for twenty-odd years, in order to reveal muted, angsty bones. Mostly based around slow, smoky-lunged harmonium stretches and sparse flotsam drags of guitar chording, this is a more foreboding turn of song, haunted by deaths, loss and disintegrations. It’s never mopey or lachrymose, thank goodness (even in Knifeworld or The Monsoon Bassoon, Kavus knew how to undercut joyous tootling with passing shadows without souring the milk) but these new songs are overcast with sombre vulnerability: the gravel-grain in Kavus’ voice welling up from deeper, ghostlier territories than before.



 
Despite being a couple of decades younger than Kavus, Cosmo Sheldrake has been out on his own for a bit longer. It’s been four-and-a-half years since Cosmo put out anything as part of super-eclectic mongrel troupe Gentle Mystics, but during that time he’s been gently dabbing the release schedules with occasional singles, videos and EPs of his own. Earlier work brought some of the Mystics weird and charming vibe along with it: a homemade-toy, party-in-the-fairy-forest feeling, Cosmo lilting skewed nursery-rhyme verses over softly bouncing weaves of melody. In the videos, he came across as a generous digital troubadour on a set of meandering visitations, playing his lashed-up keyboards-and-tech assemblages for performances in model villages, truck beds, pigsties and fishing boats.

Byronic-looking but Branestawm-minded, Cosmo’s a shed-pop tinkerer and a baffling multi-instrumentalist with a mixed mystical/academic background. Part kid’s entertainer and part hippy-boffin, he has a shamanical nose for the margin between nonsense and connection. More recent efforts (trailing the imminent release of his debut album ‘The Much Much How How and I’) have seen chewier, pacier and poppier songs. The videos, meanwhile, have become an ingenious riot of increasingly theatrical, fantastical and sometimes macabre fabling in which foil monsters swim in canvas seas and giant fluffy headlice run amok. There’s a communal, childlike warmth to what he does: not perhaps a guileless wonder, but a sense of celebration, where fables and singalongs and misadventures become part of the accepted, useful junk with which we build our nests.

https://youtu.be/S8a35QScYaQ
https://youtu.be/qe79wTFoDGU
 
Kavus’ upcoming tour is a brief series of simmering April dots around England and Wales; Cosmo’s is a more leisurely, lengthy two-month loop, garlanding the British Isles and western Europe. They’re not sharing any shows, or even any venues. The only time they overlap in any respect is on the 25th of April, when they’re playing different but simultaneous one-man shows a stone’s throw apart in Bristol. It would be nice to think of them looking up midset on that one evening, peering across that city-central loop of the Avon, and nodding to each other. Not necessarily natural comrades but, in their way, parallel leywalkers. Each with a bit of Barrett in the back pocket, each with a peculiar charm of innocence, each with fingertips in the otherworldly and the mythic. The uncontainables…

Kavus’ tour also happens to be a chance to catch an intriguing spread of fellow musicians, reflecting the wide body of musical ideas and affinities he touches upon. While in Margate (squeezed into a former Victorian coach house transformed into the Japanese/Alpine cheese dream of a minature theatre), he lines up with two left-field folk acts: the organ-draped, ridge-walking green-chapel psychedelia of Arch Garrison and the mysterious brand-new “wonk-folk” of Bovril (featuring Tuung’s Mike Lindsay). In Birmingham, the bill sharer is Scaramanga Six songwriter Paul Morricone, providing gutsy acoustic songs of fear and brutality with lashing of dark Yorkshire humour. Paul and Kavus also reunite in York for the Tim Smith fundraiser Evening of Fadeless Splendour, alongside the off-kilter art rock of Redbus Noface and the sarcastic-bastard English songcraft of Stephen Gilchrist (a.k.a. Stephen Evens).



https://youtu.be/i3Q2d-Z6gZk
 
On his Manchester date, Kavus will be supported by Peaks (Ben Forrester, formerly of shouty slacker-punk duo Bad Grammar and Manc math-rock supertrio Gug, now performing “loop-driven emo pop”). In London, it’ll be V Ä L V E – once an avant-garde solo project (full of belches and found sounds, situational scoring and sound-art jokes) for Kavus’ Knifeworld bandmate Chloe Herington, now an increasingly ubiquitous three-woman live trio (evolved and evolving into a warm-hearted feminist/Fluxus/Rock In Opposition massing of harps, bassoon, punk bass and singalong bunker-folk). In Leeds, Kavus plays the quiet support act in a free gig for tintinnabulating Sheffield post-metallers May The Night Bless You With Heavenly Dreams (whose echoing tremstrumental pinings add a little magical shimmy to the usual doleful post-rock astronomy) and Bristolian experimental rockers Madilan (whose songs recall both the angst-shredded psychedelic night-journeys of Oceansize and also, in their spindly electronics and Autotuned vocal musing, post-Oceansize rocktronicists British Theatre).



https://soundcloud.com/madilan-2/your-scentwav-1


 
In contrast, most of Cosmo’s dates are solo – possibly because once he’s unshipped his assorted instruments and gizmos (from euphoniums and banjos to loop pedals and pennywhistles), there’s not much room for anyone else in the dressing room. Nonetheless, support for eight of the European April dates comes from Liverpool-based Norwegian girl trio I See Rivers, who wed their outstanding and eerily resonant Scandinavian vocal harmonies, sunny dispositions and scanty guitar to their own balloon-light, touching folk-pop songs and to heart-thawing covers of Daughter (Medicine), George Ezra (Budapest), and Whitney Houston (‘80s wedding fave I Wanna Dance With Somebody).

https://youtu.be/36WTprbQIJs
https://youtu.be/3o_v3-uu4UE
 
For the London album launch for ‘The Much Much How How and I’, Cosmo and I See Rivers are joined by Bunty“multi-dimensional beat merchant and vocal juggler” Kassia Zermon. Also to be found fronting jazz/junk/folk trio Le Juki, co-fronting dub act Resonators, and co-running Brightonian experimental label Beatabet, Kassia’s run Bunty for years as a loopstation-based “one woman electro-orchestra” bolstered by her multi-instrumentalism and vivid imagination. Parallels with Cosmo are clear (the looping and beatboxing, a life blossoming with social art initiatives and therapeutic work beyond the entertainments) and she guests on one of the ‘Much Much’ tracks (very much an equal passing through, with a cheeky hug and a bit of upstaging), but her own vision is distinct. Giddier, jazzier, less directly English in its whimsy, with input from her Moroccan heritage and from her taste for Andy Kaufman; a slightly more cosmic playbox; imaginary languages; an undiluted Brightonian fabulosity.

Kassia’s last Bunty album, ‘Multimos’, was a pocket-sized multimedia event spanning apps, interactive AV, dream machines, audience choirs and gaming cues. Time and occasion will probably only allow a smidgin of that, this time around, but it’ll be a window onto her explosively colourful world.


https://youtu.be/zWu1XwnQFx4
 

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Kavus’ full tour dates:

 

Cosmo’s full tour dates:

  • More Human Than Human @ The Haunt, 10 Pool Valley, Brighton, BN1 1NJ, England, 4th April 2018, 7.00pm (+ I See Rivers) – information here and here
  • Village Underground, 54 Holywell Lane, Shoreditch, London, EC2A 3PQ, England, Thursday 5th April 2018, 7.30pm (album launch, with Bunty + I See Rivers) – information here and here
  • Soup Kitchen, 31-33 Spear Street, Northern Quarter, Manchester, M1 1DF, England, Friday 6th April 2018, 7.00pm (+ tbc) – information here and here
  • Headrow House, 19 The Headrow, LS1 6PU Leeds, Saturday 7th April 2018, 8.00pm – information here, here and here
  • Fluc + Fluc Wanne, Praterstern 5, 1020 Vienna, Austria, Austria, Monday 9th April 2018, 8.00pm (with I See Rivers) – information here and here
  • Feierwerk, Hansastr. 39-41, 81373 Munich, Germany, Tuesday 10th April 2018, 7.30pm (with I See Rivers) – information here and here
  • Artheater, Ehrenfeldgürtel 127, 50823 Cologne, Germany, Wednesday 11th April 2018, 8.00pm (with I See Rivers) – information
  • Molotow, Nobistor 14, 22767 Hamburg, Germany, Thursday 12th April 2018, 7.00pm (with I See Rivers) – information here and here
  • Lido, Cuvrystrasse 7, 10997 Berlin, Germany, Friday 13th April 2018, 8.00pm (with I See Rivers) – information here and here
  • Paradiso, Weteringschans 6-8, 1017SG Amsterdam, Netherlands, Tuesday 17th April 2018, 7.30pm – information here and here
  • Exchange, 72-73 Old Market Street, Bristol, BS2 0EJ, England, Wednesday 25th April 2018, 7.30pm (+ tbc) – information here and here
  • Ancienne Belgique, Anspachlaan 110, 1000 Brussels, Belgium, Friday 27th April 2018, 8.00pm – information here and here
  • Ninkasi Gerland Kafé, 267 Rue Marcel Mérieux, 69007 Lyon, France, Wednesday 2nd May 2018, 8.30pm – information here
  • Point Éphémère, 200 Quai de Valmy, 75010 Paris, France, Thursday 3rd May 2018, 8.00pm – information here and here
  • Unplugged in Monti @ Black Market Art Gallery, Via Panisperna 101, Rione Monti, 00184 Rome, Italy, Wednesday 9th May 2018, 7.00pm – information here
  • Serraglio, Via Gualdo Priorato 5, 20134 Milan, Italy, Thursday 10th May 2018, 9.00pm – information here and here
  • Freakout Club, Via Emilio Zago, 7c, 40128 Bologna, Italy, Friday 11th May 2018, 9.00pm – information here
  • The Hug and Pint, 171 Great Western Road, Glasgow, G4 9AW, Scotland, Tuesday 22nd May 2018, 7.30pm – information here and here
  • The Globe, 125 Albany Road, Cardiff, CF24 3PE, Wales, Wednesday 23rd May 2018, 7.30pm – information here and here
  • Plug, Sheffield, Thursday 24th May 2018, 7.30pm – information here, here and here

 

December 2015 – upcoming gigs, London and elsewhere – another Forge flurry (Boccherini and Schubert quintets with Arensky Chamber Orchestra, sample pop from Cosmo Sheldrake, tango nuevo from The Deco Ensemble); the Ghosts At Our Shoulders folk meet (with Martin Carthy, Alasdair Roberts, Chris Wood, Kirsty Potts, The Devil’s Interval and Stick In The Wheel); and Project Instrumental’s Pärt/Fokkens post-classical passacaglia at Hackney Attic. Plus Anawan’s Brooklyn chamber pop double-night and New York farewell.

28 Nov

Straight into December, then (I’m ignoring the last day of November – it’s done me no favours this year) and before the splurge of upcoming musical Christmas parties, here are some assorted one-off gigs. Classical, post-classical and tango nuevo chamber concerts; Brooklyn art-pop; a small but significant folk festival; and a man battering experimental songs out of a piece of beef. That’ll do. As ever, these are mostly London shows, although as mentioned New York does get a look in at the end. Over the coming weekend – a man in a top hat sings songs of Victorian-Edwardian never-weres, wild noise in Hackney and Yorkshire, and a couple of spells of jazz… but more on that later.

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The Arensky Chamber Orchestra presents ‘Surround Sound II’ (The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, UK, Tuesday 1st December 2015, 8.00pm) – £12.00 – information & tickets

Since its debut in 2009, The Arensky Chamber Orchestra has established itself as one of London’s most exciting young ensembles, dedicated to revitalising the concert experience with theatrical and brilliant productions of classical music. Led by international prize-winning conductor William Kunhardt, the orchestra’s performances fuse electric performance with lighting design, ‘live’ programme notes delivered from the stage and unusual venue use. The ACO also regularly combine their performances with specially created food and drink menus and commissioned work from other artists, including video DJs, artists, actors and dancers. This will be the Forge’s second immersive ‘in the round’ performance from the Arensky Chamber Orchestra’s brilliant principal players; and on the menu are performances of two of the great string quintets.

Luigi Boccherini’s String Quintet in E major is one of the most famous quintets in the classical repertoire. The timeless melody of its third movement, ‘The Celebrated Minuet’, is woven into popular culture (appearing in ‘The Blues Brothers’ and ‘This is Spinal Tap’ as well as many other contexts). Tonight’s performance is in the original configuration (a conventional string quartet of two violins, viola and cello, plus a second cello as the fifth instrument) but over the years the piece has been rescored for a startling breadth of instruments including organ, mandolin duo, accordion and saxophone.

Franz Schubert’s String Quintet in C was the composer’s last instrumental work (composed during the final weeks of his life) and possibly his greatest accomplishment. It’s most iconic movement is the Adagio – a piece of such sublime tranquility that time seems to stand still throughout. Yet every other movement lives up to this extraordinary standard as well – from the expanse of the opening Allegro to the dazzling scherzo, it is a work of endless invention, radiant and rich sound-worlds and infinite varieties of texture and colour.

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The Deco Ensemble (The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, UK, Wednesday 2nd December 2015, 7.30pm) – £10.00 – information & tickets here and here

Established in 2013, The Deco Ensemble performs an eclectic and colourful combination of classical masterpieces, little-known gems and new avant-garde works. Rich in poignant harmonies, bold rhythms and elaborate ornamentations, their exuberant and glamorous repertoire includes works by Gustavo Beytelmann, Yannis Constantinidis, Frédéric Devreese, Ramiro Gallo, Graham Lynch, Astor Piazzolla, Sergei Prokofiev, Maurice Ravel and Anibal Troilo. A quintet of Sabina Rakcheyeva (violin), Bartosz Glowacki (accordion), Ricardo Gosalbo (piano), Rob Luft (electric guitar) and Elena Marigómez (double bass), they also collaborate with many of the world’s most promising and intriguing composers and performers, and write their own arrangements.

The ensemble’s adventurous approach and spirit of fearless exploration has its origins in the music of Piazzolla, re-imagining the Tango Nuevo Quintet which the composer formed during the 1960s in order to lay down the foundations of modern tango writing and to combine classical, jazz and traditional influences. Already the veterans of extensive European touring, Deco Ensemble have performed sellout concerts across Britain and across the breadth of Europe from west to east. Their critically-acclaimed debut album ‘Encuentro’ was released in July 2015.

Programme:

Ramiro Gallo – El último kurdo
Gustavo Beytelmann – Travesía
Astor Piazzolla – Muerte del ángel
Astor Piazzolla – Milonga del ángel
Astor Piazzolla – Tango del diablo
Frédéric Devreese – Passage à 5
Frédéric Devreese – Dream & Tango
Gustavo Beytelmann – Encuentro
Astor Piazzolla – Triunfal
Astor Piazzolla – Oblivion
Ramiro Gallo – Las malenas

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Now here’s something interesting…

Cosmo Sheldrake (Rockfeedback Concerts @ The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, UK, Thursday 3rd December 2015, 7.30pm) – £11.00 – information & tickets

A multi-instrumentalist, an improvising sampler/looper and the crafter of sweet unorthodox earworms, Cosmo Sheldrake has been described as “a relentlessly experimental artist taking organic samples from the world and turning them into dreamy songs.” Certainly his best-known single, ‘Rich’, is a case in point. Its tripping, sunny melodies – apparently moulded from stray chunks of both English folk and contemporary R&B – bob over a rhythm made by tearing meat from a cow carcass.

This kind of experimentation and juxtaposition (the cute tunes and the occasionally slightly-sinister underpinning; the initiation of whimsical but multi-layered musical questions; the rough-and-ready play across a huge musical vocabulary) seems to lie at the heart of what Cosmo does. He’s certainly steeped in music – aside from the wide-spanning instrumentalism (beginning with early days on piano at age four, building upwards and outwards and somehow never stopping), he’s been a founder member of nine-piece polygenre band Gentle Mystics since 2007, and also runs assorted instrumental and beatboxing workshops, plus a choir, in his Brighton hometown. He’s also known for performances in unusual locations including boats, farmyards, laundrettes and public swimming pools; and takes inspiration from the world around him with unfiltered, undifferentiated spontaneity; being as likely to turn out a song about pelicans as he is one about humans.

This week’s show promises to be mostly improvised, intimate and has a pretty small number of tickets, so move fast if you’re interested.

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Moving on to some purer folk…

Martin Carthy @ Ghosts At Our Shoulders, December 2015

‘Ghosts At Our Shoulders – The Tradition Unfolds’ featuring Chris Wood + Alasdair Roberts + Kirsty Potts + Stick In The Wheel + Martin Carthy + The Devil’s Interval (Kings Place, 90 York Way, Kings Cross, London, N1 9AG, UK, Thursday 3rd to Saturday 5th December 2015, various times) – various prices (£9.50-£22.50) – information & tickets

“The men have withdrawn and left me alone in a roomful of relics / But they gave me the song, so I carry the song that all men inherit.” – Alasdair Roberts

A series of songwriters and song interpreters inspired by tradition. The rich folk song tradition in these isles is a never-ending well of ideas and sensibilities as well as source material. The traditional canon is often attributed to ‘Anon.’ – a ghost perched on the shoulders of contemporary performers, who carry tradition forward and forge their own paths inspired by that legacy. This series of concerts features some of the most thoughtful and creative interpreters of song, whose unifying focus is the telling of the song. Voices close to the source, acting as a link from the then to the now.

With his work sometimes compared to that of Richard Thompson (though he cites his major influence as ‘Anon.’), Chris Wood is an uncompromising singer, multi-instrumentalist and songwriter whose music reveals his love for the un-official history of the English-speaking peoples, weaving his own contemporary parables into the tradition. His lateral take on the modern world follows an ideological thread from the likes of John Clare and William Blake, and as well as humble hymns and wry observations of the small things in life, his songs have included Hollow Point (a chilling ballad of the shooting of Jean Charles Menezez).

The twenty-year, eleven-album career of Scottish singer-songwriter and guitarist Alasdair Roberts has taken him from the early alt.folk of his Appendix Out project via mingled traditional and self-penned work to his latest, self-titled solo recording, featuring a span of Glaswegian folk talent. He performs songs which are “elliptical and gnomic, direct and personal, romantic and tender” and which have moved from an early economical style (partially inspired by the sparse aesthetic of indie rock) to the complex, esoteric and spiritual work of more recent albums. An enthusiastic and generous collaborator, he’ll be sharing the stage with Kirsty Potts, a singer of traditional Scottish folk for thirty years. Having recorded six albums with the famous folk duo of Alison McMorland (Kirsty’s mother) and Geordie McIntrye, she’s recently released her own long-delayed debut solo album ‘The Seeds of Life’.

Raw and uncompromising London folk quintet Stick In The Wheel record to the sound of sirens and birdsong in their long-rented East End front rooms. Brought up in the thriving culture of working class London and cutting their teeth in its diverse musical landscape, they now bring those influences and attitudes to their traditional music. Across three EPs, multiple festivals and award nominations and the release of their debut album in September this year, their music is as authentic as it comes, capturing a culture that is rapidly disappearing, and is at times brutally honest and grabbing.

Over five decades of a varied career (with Waterson Carthy, Steeleye Span, solo and beyond), Martin Carthy has been one of folk music’s greatest innovators, one of its best loved, most enthusiastic and, at times, most quietly controversial of figures. He’s a ballad singer, a ground-breaking acoustic and electric-guitarist and an authoritative interpreter of newly composed material; always preferring to follow an insatiable musical curiosity rather than cash in on his unrivalled position.

Playing in support of Martin are some of his regular tourmates: recently-reunited vocal group The Devil’s Interval (the teaming of singers Jim Causley, Emily Portman and Lauren McCormick, each of them solo artists in their own right). The group are well-loved for their spell-binding harmonies and passion for captivating story-telling through the medium of traditional song: their three distinctive voices blend beautifully, bringing new life to some of the old jewels of the folk-song canon.

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Project Instrumental's Built on Bass, 4th December 2015

Project Instrumental + Tpongle + Zach Walker + DJ Jesse Bescoby present ‘Built On Bass’ (Hackney Attic 2170 Mare Street, Hackney, London, E8 1HE, UK, Friday 4th December 2015, 7:30pm) – £6.00 – information here and heretickets

Project Instrumental bring thrilling performances to unbounded audiences. Bold, imaginative and boundary defying, this virtuosic ensemble strips back the peripherals with their straightforward contemporary approach to create not just concerts, but experiences. For ‘Built On Bass’, they bring together a composer, a sound artist and a visual artist to create a multi-sensory musical environment using sound, electronics and cymatics. Taking a four-hundred year-old form defined by variations against a bass motif, they connect a passacaglia-inspired programme of music written within the last fifty years and create a twenty-first century experience, responding to the written repertoire through live collaborations that explore the physical sensation of sound and auditory-visual interactions.

The world premiere of a commission from composer Robert Fokkens features in an irresistible confluence of timelessness, change, cycles and variance alongside Arvo Pärt’s mesmeric Passacaglia in its version for 2 violins and Dmitri Shostakovich’s powerful Chamber Symphony op.118a. Inspired by and sampling the programmed repertoire, sound artist, producer and DJ Tpongle creates a ‘passacaglia for the present’, weaving a bass thread through the night, culminating in a live electronic set. Zack Walker‘s striking projections will extend the sound experience in space using his live liquid cymatics sculpture, original film content and analog feedback projections to respond to the live musical performance. Ace Hotel Guest DJ Jesse Bescoby rounds the night off with a set exploring the gap between contemporary classical and experimental, independent music. All can be taken with locally produced craft beers and food available to order throughout the evening.

Programme:

Arvo Pärt – Passacaglia
Robert Fokkens – New Commission World Premiere
Dmitri Shostakovich – Chamber Symphony op.118a
Tpongle – Live electronic set
Zach Walker – Live cymatics sculpture

For a glimpse of Zach’s cymatic sculpture work, see below.

 

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Finally, something for readers in New York who like their art pop. Trevor Wilson of Anawan has been in touch with a welcoming Christmas message as cute, rambling, perky and openhearted as his band is. See below.

Anawan – ‘Having Fun’ show (Briscoe Music Space, 3 Sackett Street, Red Hook, Brooklyn, New York, New York State, USA, Friday 4th and Saturday 5th December 2015, 8.00pm) – $5.00-$15.00 (pay-what-you-want) – information and tickets

We are doing a huge show on two nights, December 4th and 5th, at our music space in Red Hook, Brooklyn! At the intersection of danger and confidence comes, perhaps, one of the most important reasons for being alive. Sometimes ‘having fun’ is outwardly bold and courageous- motosports – skydiving. Sometimes just going out on a limb and making a joke is the boldest thing you can do in a day- just cracking a smile can take years for some! Love is more bold than any physical challenge- hearts are huge, sometimes mountains, with hiking trails to be lost in, make plans, need more, need less- as my friend Ethan Woods says, “love takes time”. But also, man, love is the funnest thing of all… what’s around the corner? You don’t know!

The “sound” of fun is loose and electric, sometimes passionate, sometimes flippant. The songs for this very special show include new songs inspired by fun – but don’t expect them to all sound like it… that would be too easy, and what’s the fun in that? In addition to working with my dear historical Anawan members, we’re working with some new folks and doing things in a new way, and that in and of itself is the most palpably fun element of this whole production. It’s going to be a huge ten-piece ensemble playing songs old and new; a rhythm section, string trio, electronics, and the usual Anawan gang. We’ll round the show off with some Anawan standbys as well as a supremely fun song from wa-a-ay back when. I really hope to see you there! I leave NYC at the end of the year to live elsewhere! This is it, guys! Let’s do it! I’m not gonna say it again!

Jesse Rifkin (a.ka. Jesse R. Berlin) will play electric guitar (one of my oldest and bestest musical pals – we met each other on Myspace in 2005 – such a beautiful guitar player). Tom Montagliano (of Maudlin Maladies) will provide the soundtrack to an experimental universe that will begin the night! Also involved – singing and more by Maia Friedman (Uni Ika Ai, Toebow), Alice Tolan-Mee (True Lucy) and Ethan Woods (Rokenri), percussion by Sandy Gordon (Silent Isle, Causings), violin by Elori Kramer (Alpenglow), keyboard and more by Judith Shimer (The Sneaky Mister), violin by Sarah Tolan-Mee (who is awesome) and elemental forces by Andrew Wells Ryder (True Lucy).

Tickets are donation based- we won’t turn anyone away- but this will go towards paying the performers and keeping the space warm. Make sure to come by 8.00pm so you do not miss anything. This could make a huge difference in your life! Or it may go on the same as always! See you there!

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More shortly, as we take on the weekend…

 

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