Tag Archives: Guapo

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.



 
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).




 
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).




 
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).



 
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.



 

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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

 

March 2016 – upcoming gigs – Charles Hayward at The Harrison with Chadrak Masenga, Will Campos and LawrenceJCP

21 Mar

A quick reminder of a midweek London gig featuring an art-music legend in his mid-sixties (who’s currently in the midst of one of the biggest burst of creativity in his career) and a collection of unknowns nudging at the start of their twenties, if that…

Westking Music present:
Charles Hayward + support
The Harrison, 28 Harrison Street, Kings Cross, London, WC1H 8JF, England
Wednesday 23rd March 2016, 7.30pm
more information

Some background info follows (the usual mash-up of press release bolstered by web dredgings):

Charles Hayward, 2016“Westking Music welcome back the wonderful Charles Hayward to the intimate setting of the Harrison. Ever-evolving and hugely innovative, Charles never fails to delight at his shows. This will be a lovely opportunity to see him perform in the close confines of a little basement in Kings Cross.

Hailed by ‘The Wire’ for his “unwavering belief in the power of the groove and an uncanny facility for generating one riff after another” and by ‘The Sound Projector’ for his “telepathic magic”, Charles has been active since the early 1970s. First coming to notice as a member of Phil Manzanera’s pre-Roxy jazz-prog outfit Quiet Sun, he went on to spend the second half of the ‘70s as the drummer with pioneering experimental rockers This Heat and most of the 1980s in avant-prog quartet Camberwell Now (both of which, in their work with dissonant complicated riffs, tape techniques and deconstructions laid significant groundwork for a host of experimental musicians including Sonic Youth, Swans and Animal Collective. Charles and his onetime This Heat collaborator Charles Bullen finally returned to full collaboration this year via their This Is Not This Heat ensemble, in which they’ve been joined by Thurston Moore, Chris Cutler, Daniel O’Sullivan of Guapo/Ulver/Grumbling Fur etc., James Sedwards of Nøught, Hot Chip’s Alexis Taylor and a shifting cast of plug-in musicians. Having launched with a couple of concerts at Café Oto in February, they’re performing again in June at the Barbican with a ensemble of up to eighteen players.

“Other band work involving Charles (who sings and plays clarinet, keyboards and tapes as well as drums, sometimes in tandem) includes stints with Massacre alongside Bill Laswell and Fred Frith, with Blurt and – very briefly – with Crass, as well as key post-punk recording sessions with Lora Logic, The Raincoats and Everything but the Girl. As a free agent, he has been the progenitor of an ever-growing list of solo albums and concerts CDs plus a multitude of special collaborations. Throughout the ‘90s up until the present day he has initiated a bewildering array of events and performances, including the widely acclaimed series ‘Accidents + Emergencies’ at the Albany Theatre; Out of Body Orchestra; appearances at Yumi Hara’s Bonobo’s Ark evenings; music derived from the sound of the new Laban dance centre under construction which was then choreographed for the building’s official opening; music for a circus (part of the National Theatre’s ‘Art of Regeneration’ initiative); and the full-on installation/performance Anti-Clockwise (conceived with Ashleigh Marsh and David Aylward for multiple strobes, a maze structure of diverse textures, two drummers, synthesizers and the listener’s own nervous system).”

Support will be in the form of three up and coming young musicians: Chadrak Masenga (an accomplished “acrobat drummer”), rapper/songwriter Will Campos, and rapper/singer LawrenceJCP (who specializes in gospel and Afrobeat). All three musicians have church music backgrounds, and all three are finalists on the Westminster Kingsway College music course: their performance slots (in which they’re backed by their own bands) are counting as solo performance assessments towards their course marks.

Looking back at those details again, this does seem like one of the oddest gigs I’ve previewed on this blog. There’s nothing unusual in a concert bill full of complicated art-music upsets, or in graduation shows, and there’s nothing unusual in a bill of smoother music topped by a well-polished guest of honour. Mashing the three situations together, however, is not so predictable. I wonder what they’ll all be learning from each other?

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More gig news to follow as we move towards the end of March…
 

March 2016 – upcoming gigs – a polymusical London Wednesday and weekend – young Royal Academy of Music composers invade the Forge; King Capisce, Jam Tarts Choir and Grace Lightman mellow out at Daylight Music; and Nøught, Golden Oriole and Dead Days Beyond Help (with Alan Wilkinson) tear up Café Oto

9 Mar

Some gig previews for what remains of the week…

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The first of the three gigs I’m posting about here features music that’s mostly new enough not to have any videos or soundclips available… If I’m wrong about this, I’ll post a few up later, but since I’m putting the original post up on the day of the gig, if you’re going you’ll just have to go on faith…

Academy Composers at The Forge: a concert of new works by composers from the Royal Academy of Music
The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England
Wednesday 9th March 2016, 7.30pm
– more information here and here

“Join us for an exciting evening of new music and film! The concert will showcase a selection of new works by young composers, performed by the Royal Academy of Music‘s talented student ensembles and soloists. The evening will also feature a screening of new animation shorts, created during the annual collaborative project between the Royal Academy of Music and the Bristol School of Animation.”

Programme:

Short films from the Bristol School of Animation
Thomas Gibbs – Etudes Tableaux
Yuanfan Yang – Silhouettes
Maya Hishida – Three pieces for flute and piano
William ColeHer face was full of woe (for solo harp)
Matthew Olyver – Miranda’s Lesson (for mezzo soprano & accordion)
William Marsey – Three piano pieces about food
Tim Tate – Endless Present

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Daylight Music’s offering for this coming Saturday shows their knack for promoting and harbouring music which walks a line between the intriguingly arty and the lunchtime cosy. This week, they’re putting on a young singer-songwriter who melds the sex-kitten rasp of Eartha Kitt with the sinous, sensuous spiritual dissolve of a latterday Kate Bush piano ballads; plus one of those energetic pop choirs which specializes in indie hits; and finally, a band which merges indie-rock and jazz (falling somewhere between Duke Ellington, South African township jazz, the easygoing Anglo-romanticism of Perfect Houseplants and string-shredding Mogwai-ish post rock).

Daylight Music 219

Daylight Music presents:
Daylight Music 219 – King Capisce + Jam Tarts Choir + Grace Lightman
Union Chapel, Compton Terrace, Islington, London, N1 2UN, England
Saturday 12th March 2016, 12.00pm
– free/pay-what-you-want event (suggested donation: £5.00) – more information

Over to the Daylight word-of-mouth machine…

King Capisce is a five-piece from Sheffield have been moving from strength to strength in recent years, gathering praise from ‘The Guardian’ and ‘Drowned in Sound’. Tom Robinson at BBC 6Music, claims they’re “an exciting cross-genre talent, fusing jazz with other influences to create a sound that is unmistakably their own”.

The current set for 60-piece Brighton indie choir Jam Tarts Choir includes barnstorming interpretations of songs by artists as diverse as The Cure, Goldfrapp, Arcade Fire and Lambchop.

There’s something timeless about Grace Lightman. Maybe it’s that honeyed voice that ever so gently tugs at your heartstrings. Perhaps it’s those careful and considered nods to the iconic moments, faces and places of musical history….”

* * * * * * * *

The third gig rounds up jazz, prog, noise, grandeur and chaos and flings them all at the wall…

Nøught @ Cafe Oto, 13th March 2016

Nøught + Golden Oriole + Dead Days Beyond Help (with Alan Wilkinson)
Cafe Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Sunday 13th March 2016, 7.00pm
more information

“A killer, high-voltage line-up…

Nøught is a synthesis of the experimental, avant-punk, jazz-prog and noise-rock credos, distilled into the paradoxical confines of a musically volatile, instrumental power-quartet. Originally formed in Oxford in the late 90’s by eminent guitarist James Sedwards (also of Thurston Moore Group, Guapo ,The Devil), the current line-up has been based in London since 2002. Their music is profoundly exhilarating when encountered and often provokes an hypnotic sensation from an audience as their incendiary live performances can easily entice and captivate a listener, due to the highly artful, polished and demanding compositions. Pieces span the extremes of short, catchy, three minute eruptions to long, dense and evolving half-hour incantations. Nøught’s music provides an uncommonly refreshing, non-derivative sensibility and approach, and they continually astound as they develop, invoke and deliver their singularly potent blend of sonic diabolism.

“Featuring members of Norwegian noise-rock bands Staer and of Tralten Eller Utpult, skull-twisting face-melters Golden Oriole produce abstract and minimal music – musique pommes frites meets funky concrète.


 

Dead Days Beyond Help (Alex Ward and Jem Doulton) take the physical assault of rock and the free-wheeling exploration of post-idiomatic improvisation to new levels of power and density, while Alan Wilkinson comes blazing out of a saxophone tradition that includes the likes of Albert Ayler, Roscoe Mitchell, Mike Osborne, Evan Parker and Casper Brötzmann with a highly vocalized and personal style. DDBH’s most recent album (2014’s “Severance Pay” on Believers Roast Records), was described by ‘The Wire’ as “a reminder that there are still thrills aplenty to be gained from the pursuit of complexity”; and Stewart Lee has called Alan Wilkinson’s trio with John Edwards and Steve Noble “as powerful as The Stooges and as fluid as John Coltrane”. Given their collective pedigree of collaborations with such luminaries of free music and avant-rock as Derek Bailey, Thurston Moore, Tatsuya Yoshida, Talibam!, Weasel Walter and Chris Corsano, it is no surprise that when the three musicians join forces the results are brutally intense, deliriously virtuosic, and utterly untrammelled by stylistic constraints.”

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More March gigs to follow…
 

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