Tag Archives: IKLECTIK Art Lab (venue) – Lambeth – London

April 2018 – upcoming London experimental gigs – Becoming///Animal, The Brain Center At Whipple’s and Mark Dicker (5th April), Stephan Mathieu and Howlround (14th April)

31 Mar

Quick news on a couple of experimental gigs – one featuring Cindytalk vocal/noise icon Gordon Sharp at the head of a surge of electrophonic noise, the other headed up by the computers-versus-early-music-instruments conflations of Stephan Mathieu…

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Becoming///Animal + The Brain Centre At Whipple's + Mark Dicker, 5th April 2018

Chaos Theory Music Promotions presents:
Becoming///Animal + The Brain Center At Whipple’s + Mark Dicker
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Thursday 5th April 2018, 7.30 pm
– information here, here and here

“We proudly present a special event at Servant Jazz Quarters in Dalston, with the latest project by bassist Massimo Pupillo of Zu and vocalist Gordon Sharp of This Mortal Coil and Cindytalk, Becoming///Animal. Their first album ‘A Distant Hand Lifted’, is an intense, filtered orchestra that roars and hisses, becoming one with magnificent haunting vocals. It’s out now on Trost Records.


 
The Brain Center At Whipple’s is an experimental semi-improvisational trio who use noise and electronics shamelessly. Last seen by us when they DJed at mouse on the keys, Mutiny on the Bounty and Strobes at Rich Mix London last year.


 
Mark Dicker of Bruxa Maria and Palehorse will be performing his solo project, rife with heavy electronic sounds and audio experimentation.”


 
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Stephan Mathieu + Howlaround, 14th April 2018

Stephan Mathieu + Howlround
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 14th April 2018, 7.30 pm
– information here and here

Stephan Mathieu is a self taught composer and performer working in the field of electroacoustic music. His sound is largely based on early instruments and obsolete media, which are recorded and transformed by means of experimental microphony, re-editing techniques and dedicated software processes; it has been compared to the landscape paintings of Caspar David Friedrich, the work of Colorfield artists Mark Rothko, Barnett Newman and Ellsworth Kelly.

“Stephan operates Schwebung Mastering, a high end service specialized in preparing audio for analog and digital products and runs the Schwebung label from the Rhine valley near Cologne.



 
“First coming to prominence with hugely-acclaimed 2012 LP ‘The Ghosts Of Bush’, Howlround is a quintet (four slightly battered machines, one operator in the shape of sound artist Robin The Fog) that creates recordings and performances entirely from manipulating natural acoustic sounds on vintage reel-to-reel tape machines, with additional reverb or electronic effects strictly forbidden – a process that has seen their work compared to William Basinski, Philip Jeck, Morton Feldman and even the sculptures of Rachel Whiteread.

“In an age where one can create all manner of electronic music with a simple swipe of a mouse, Howlround prove not only how much fun is to be had in making things complicated again, but conversely just how little effort is sometimes needed to create a genuinely uncanny and beguiling sound-world: the rough underbelly of our pristine, Pro-Tools universe. Their latest release, a split LP with Marta De Pascalis, recorded right here at IKLECTIK will be released shortly, with a 6th official LP following later this year.”

 

March 2018 – upcoming experimental music gigs in London – “dreams and shadows” music and film evening at Corpora Aliena #2 with Liz Helman, Bernhard Living/Marinesca Marinesca, Christine Webster and Olga Federova/Yannick Franck’s Outlaw Compound (24th March)

19 Mar

Corpora Aliena #2, 24th March 2018

Bernhard Living presents:
‘Corpora Aliena 2’: Liz Helman + Bernhard Living + Christine Webster + Olga Fedorova/Outlaw Compound
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 24th March 2018, 7.30pm
– information here and here

The second evening in wind-multi-instrumentalist-turned-digital-composer/curator Bernhard Living’s ‘Corpora Aliena’ evenings at IKLECTIK (I missed the first one) continues to present artists who work across a wide range of creative disciplines (in this case, composers who are also filmmakers) while simultaneously keeping up a fair gender balance. Evening no. 2 is “a concert of analogue and digital experimental music performances based on the theme of dreams and shadows… composers who produce subdued sound textures and thoughtful sonic meditations.”

Bernhard is a onetime contemporary classical flute virtuoso with a foot in the British improv scene: from the ’60s onwards he performed Boulez, Stockhausen, Berio, Cage and Varèse, and worked with Cornelius Cardew, Hugh Davies, Barry Guy, Mike Westbrook and Linder Sterling’s Ludus. His work from the ’90s onwards has been minimal, electronic and concentrates predominantly on sound colour and sonic textures. That said, he claims inspiration from a vast range of American, European and Russian influences (including jazz, Soviet avant-garde visual arts and techno, the last of which he’s attempted to reinvent as an “evolved non-dance form… one that exists within a different cultural context and along a different time continuum.”

The evening features screenings of two works in which Bernhard collaborates with Russian artist and photographer Marinesca Marinesca (who herself cites a different range of inspirations including Hitchcock, Murnau and Tarkovsky plus “the gothic, the works of Dutch masters, the gentle poetry of Goethe and the dark stories of Edgar Allan Poe”, has a mood inclination towards the “classical subtle world” and who appears in her own work as using a “graceful, autistic androgyne” alter ego character. Marinesca also displays a readiness to draw directly from her own dreams, something she appears to share with Bernhard. Their ten-minute ‘Untitled Dream (Homage to Erik Satie)’, with music by Bernhard and images by Marinesca, is based on two separate dreams, each experienced by the two artists separately on the same night. They’ll also be debuting another new 2018 work called ‘The Metaphysics of Colour’. For some pointers towards what to expect, here’s their earlier minimal mood-and-motion piece ‘Dream Door’.


 
Self-taught London composer and video artist Liz Helman will be presenting tracks from her recently released album ‘Daylight Dreaming‘, which continues her place-sensitive delving into music based on field recordings and her aim of “following the thread of the sound to its ultimate destination, which she likes to think of as sonic alchemy.” She’ll also show three of the short experimental films she made in London between 2007 and 2014, visually exploring “notions of dislocation, memory and displacement”: two from 2014 (‘Light [Drone]’, which uses the processed sound of a Seasonal Affective Disorder lamp, and ‘Peripheral’) and 2013’s one-minuter, ‘Imprint’.

 
The methods of the Paris-based ambisonic electro-acoustic composer Christine Webster have been influenced by cinema and literature narratives, by the concert possibilities of multiplayer game and virtual reality networks and most recently by the modular synthesis revival. She’ll be mixing between improvised abstractions as well as create live remixes of some of the sound elements from her recent organic/meditative album ‘Iceberg the Drift‘, released earlier this year on Sublunar Society. Christine will also be showing her twenty-six minute 2012 audio-visual piece ‘Fukushima Days’ – a collaboration with Super 8/Rutt Etra video artist Kantoh featuring manipulated footage from the Japanese nuclear disaster, and aiming for “a dark and oppressive feeling, but not without a sense of tragic beauty… a clear support to Fukushima’s endless victims, a warning about the worldwide permanent nuclear threat we have to cope with.”

 
Bernhard will also be screening new material by Russian digital artist Olga Fedorova, including her ‘Outlaw Compound’ project made in collaboration with multifaceted Belgian vocal/electronic musician Yannick Franck (Raum, Orphan Swords, Idiosyncrasia and Y.E.R.M.O.) and inspired by tiki culture, exotica, magick and other manifestations of modern escapist tendencies… the fascination of the industrialised world for a widely fantasised state of primitive innocence that it perceived as a lost paradise.” The first Outlaw Compound album ‘New Primitive‘ was recently released on ZamZamRec.


 

March 2018 – upcoming experimental music gigs in London – Tehran electronic music showcase with Hadi Bastani and Pouya Ehsaei (14th March)

7 Mar

IKLECTIK and Kate Carr present:
Hadi Bastani + Pouya Ehsaei
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Wednesday 14th March 2017, 7.30pm
– information here and here

Hadi Bastani + Pouya Ehsaei, 14th March 2018For this event, London-based sound artist Kate Carr curates a showcase of Iranian experimental electronic music, centring on artists from Tehran: a scene mapped and logged by by sound artist and anthropologist Hadi Bastani (via the Digital Arts and Experimental Music Scene of Iran Facebook page from his own base in the Sonic Arts Research Centre at Queen’s University, Belfast).

For all of the focus on Tehran, everyone involved in the concert (from Kate on down) seems to be a diasporan: Hadi living and working in Belfast, gigmate Pouya Ehsaei based in London, and even Kate’s an emigre from Australia. As for originally scheduled third act and “chaotic worlds” envisioners 9T Antiope, in spite of their Iranian origins they’re actually based as nearby as France… and can’t make it as planned, since it seems that even pre-Brexit, visas can be as hard to get in Paris as they might be in Tehran. It all adds a slightly mournful sheen to the occasion. Tehran may have been the original testing ground, but it’s not sending any immediate representatives; and leaving it doesn’t always seem to have made things easier.

Maybe I’m splitting hairs too much. The scheduled appearances by Hadi and Pouya are still on track. In addition to his own sonic contributions, Hadi will be providing an introduction to (and discussion of) the Tehran scene; while Pouya (already a veteran collaborator with dancers, performers and filmmakers as well as other experimental musicians) will be displaying his mixture of “found sounds and folkloric music… focusing on their aesthetics and cultural significance and how these can be applied in modern experimental compositions”. Meanwhile, if you’re curious about what you’re missing due to the absence of 9T Antiope, see below:

 

March 2018 – London classical gigs – composers fresh from the Royal Academy of Music (20th); an International Women’s Day event for London Composers Forum (8th March); an evening with the Ligeti Quartet and cyberpianist John Kameel Farah (14th March); ‘Rise Of The Machines’ at the Converge Festival fuses classical music and artificial intelligence (18th March)

21 Feb

London Academy of Music: Composer's Platform, 20th March 2018Late in March, the composition department of the Royal Academy of Music makes its way over to IKLEKTIC for “an evening of cutting edge new music, specially written for academy performers. The concert will showcase a hugely diverse range of musical influences. Come along and hear new music from the next generation of composers.” No names have been announced yet… but then, that’s part of the point. Come and be in at the start of some new careers.

Just under two weeks earlier, the London Composers Forum will be running a Composer’s Voice event for March, coinciding with International Women’s Day, with a concept which speaks for itself:

The Composer's Voice (IWD), 8th March 2018“This concert will feature exclusively new live and recorded music composed by the female members of LCF, performed by women. With a mixture of choral, vocal and instrumental pieces, it is sure to be full of variety and interest.

“There will be a discussion on the theme of “music by women” between the composers and performers that we hope the audience will participate in also; and an opportunity to discuss several hot topics relating to IWD, music by women, parity and what happens next…”

The LCF IWD event is free and open to all. Forum composers involved and represented are Janet Oates (director of and participant in the Philomel soprano sextet), wind multi-instrumentalist Liz Sharma, Miriam Mackie (founder of Illumination Chamber Choir), experimental performer and Bastard Assignments cohort Caitlin Rowley, singer/actor/songwriter Jane de Florez, Zillah Myers (a member of and repertoire contributor to The Addison Singers who’s also composed for Bude Choral Society) and Pamela Slatter (who’s composed for the London Concert Choir and, more recently, has set Edward Lear’s ‘The Pobble Who Has No Toes’).

Royal Academy of Music presents:
Royal Academy of Music: Composer’s Platform
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Tuesday 20th March 2018, 7.00pm
– information here and here

London Composers Forum presents
The Composer’s Voice: Music and Discussion for IWD 2018
Tea House Theatre, 139 Vauxhall Walk, Vauxhall, London, SE11 5HL, England
Thursday 8th March 2018, 7.30pm
– information here and here

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Taking a break from performing on ice sculptures and space shuttles in favour of a pub backroom, the Ligeti Quartet have set up a regular monthly gig with Nonclassical in Dalston, to showcase contemporary exploratory string music.

Ligeti Quartet + John Kameel Farah, 14th March 2018

Nonclassical presents:
Ligeti Quartet + John Kameel Farah
The Victoria, 451 Queensbridge Road, Hackney, London, E8 3AS, England
Wednesday 14th March 2018, 8.00pm
– information here and here

This March, they’ll be presenting the European premiere of Anna Meredith’s ‘Tuggemo’), as well as performances of Kate Whitley’s ‘Lines’, Christian Mason‘s ‘Eki Attar’ and Tanya Tagaq‘s ‘Sivunittinni’ (as originally rendered by the Kronos Quartet, with the strings emulating Tagaq’s barrage of Inuit vocal effects via an array of frictional and percussive bow techniques devised by arranger Jacob Garchik).

Here’s a clip of the Ligetis performing an earlier Meredith work, plus the original Kronos performance of ‘Sivunittinni’, an earlier Kate Whitley strings-and-piano piece, and Christian Mason’s ‘Aimless Wonder’.



 
The Ligetis’ guest on this occasion is a pianist – Canadian musician John Kameel Farah, who surrounds and combines his piano playing with an array of synthesizers and processors which filter, warp and orchestrate his performance, which itself allies contemporary classical music with baroque, electronic, Early Music and Middle Eastern elements.

John will be premiering his new composition ‘Spinning Thread’ as well as drawing four more pieces from his back catalogue and from recent album ‘Time Sketches’ (‘Fantasia’, ‘Distances’, ‘Behold’ and ‘Maqam Constellation’) plus a performance of William Byrd’s ‘Hugh Ashton’s Ground’.



 
DJ sets will be provided by Ben Vince (a musician better known for his frenetic sets of improv/loop saxophone playing).

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More Nonclassical DJs (in the shape of Laurence Osborn and others) and more technological approaches and motifs will be showing up for the last of the four events covered in this post. While much of this year’s Convergence festival leans towards avant-garde pop artists with a foot in the contemporary classical world (John Cale, Kamaal Williams, Ben Frost, Simian Mobile Disco and Charlotte Gainsbourg are all appearing over the course of the month), the second in the festivals’s ‘Rise Of The Machines’ concert series takes a witty but serious look at the ongoing crossover between classical music and computer/systems thinking.

Convergence: Rise Of The Machines #2, 18th March 2018

Convergence 2018 presents:
‘Convergence: Rise Of The Machines #2’
Village Underground, 54 Holywell Lane, Shoreditch, London, EC2A 3PQ, England
Sunday 18th March 2018, 8.00pm
– information here, here and here

Conductor Jessica Cottis (who also contributed to the City of London Sinfonia’s ‘Modern Mystics’ series last year) will be leading a thirty-piece orchestra, bolstered by live devices operated by members of Langham Research Centre (who maintain vintage electronic instruments in order both to safeguard the performance of 20th century classic electronic repertoire and to apply “period electronica” to newer compositions). Composers Beni Giles, Laurence Osborn, Josephine Stephenson, Jo Thomas and Max de Wardener have all collaborated on the event’s world premiere centrepiece, ‘Concerto for Drum Machine & Orchestra’, each of them contributing one of five movements to a composition which “places the drum machine centre-stage as solo musical instrument, bringing the sounds of dance music and hip-hop to the classical world.” Plenty of young and youngish contemporary composers have attempted to bring forms inspired by rave, techno, house into New Classical. As far as I know, this is the first such piece to surrender entirely to the primacy of beat and box.

In Nick Ryan and John Matthias’ violin-and-string-ensemble piece ‘Cortical Songs’ “the orchestra is partially controlled by the neural patterns of a tiny computer brain. The resultant work takes the orchestra into an ethereal sound world of lush strings juxtaposed with the skittering crackles of neural activity.” Magnus Lindberg ’s ‘Engine’ (which dates back to 1996) “(was) inspired by the computing language associated with using the Patchwork1 programme. ‘Engine’ is a sort of generator of musical material, which operates according to the rules pre-established by the composer. The texture is composed by the machine, on which the composer imposes dozens of constraints.” Finally, Barry Guy’s 2015 piece ‘Mr Babbage is Coming to Dinner!’ “was inspired by Charles Babbage’s Difference Engine No. 2… The graphic score – hand-drawn and partially coloured by Barry Guy – is a work of art in itself (and) calls on spontaneity and improvisation from the orchestra.”

I tracked down a couple of previous performances of ‘Engine’ and ‘Cortical Songs’ for illustration, so here they are:



 

February 2018 – upcoming London experimental gigs – More News From Nowhere presents a hunk of skronk from Colin Webster, ORE, Well Hung Game and Graham Dunning (1st February); Champion Version’s ‘Edition 2’ sound-and-image evening with Adrena Adrena, Thomas Stone and James Alec Hardy (15th February)

16 Jan

A quick pair of experimental sound pointers for the coming month in London…

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More News From Nowhere presents:
MNFN #23: Dunning/Webster/Underwood + Well Hung Game + ORE + Colin Webster Vs. The Tape Loops
New River Studios, Ground Floor Unit E, 199 Eade Road, N4 1DN London, United Kingdom
Thursday 1st February 2017, 8.00pm
– information here and here

More News From Nowhere #23, 1st February 2018

Regular Walthamstow avant-gardeners More News From Nowhere travel a few train stops westwards to New River Studios, in order to present a night of improvised fury with, as they put it “four flavours of brass-heavy skronk.”

Ed Dudley and James Allsopp will provide “absolutely rinsing live electronics and baritone sax” as Well Hung Game, while “drone doom tuba” player Sam Underwood plays a set as ORE. Saxophonist Colin Webster brings along a set – billed more as a kind of sweaty, frantic wrestle – of live improvisations in tandem with pre-recorded tape loops provided through a general callout for contributions (which was answered by friends, colleagues and sympathisers including Ian Stonehouse, Phil Julian, Stephan Barrett and Marcus Hamblett). The apparent idea is to subvert the improvising process by playing against and in concord with music which is “constant, unprocessed, and to some extent predictable… this presents an interesting challenge to develop music through a one-way conversation.”

At the end of the evening, Colin and Sam will team up with decks’n’FX wizard Graham Dunning for a session of “brass and turntable minimalist patience.”

Samples below:





 

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Champion Versions Edition 2, 15th February 2018

Champion Version presents:
Edition 2: Adrena Adrena + Thomas Stone + James Alec Hardy
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 15th February 2018, 7.30pm
– information here, here and here

Champion Version present the second in their new series of triple-bill concerts, with a lineup that spans ritual drumwork, radiophonics and assorted mergings and collisions within the audiovisual sphere.

Adrena Adrena are a collaboration between Boredoms/Seefell drummer E-Da Kazuhisa & visual artist Daisy Dickinson. The duo cut a raw blend of drums, noise and organic visual work, featuring in their performances an eight-foot white sphere that hangs above Kazuhisa’s drum kit and which Dickinson maps videos onto; her work was described by William Barns-Graham of ‘Fluid Radio’ as “cosmological and transcendental, drawing attention to the wonder of the earth and our sensuality on it.” The pair completed a short film in 2016, ‘Man On The Hill’, which features E-da playing drums on fire in the mountains.

 
“The winner of the 2015 NonClassical Records Battle Of The Bands, Thomas Stone creates his immersive music using contrabassoon, samplers, loop pedals and activated percussion. Blurring the boundaries between electronic and acoustic sound production the music explores themes of ritual and presence. An enforced simplicity runs throughout the dreamlike sound world conjured from slowly evolving motifs using the lowest and highest notes possible on the contra’, accompanied by a hiss and murmur from the percussion and pulse-driven samples breaking to moments of fragile beauty.


 
“Audio-visual artist James Alec Hardy creates feedback systems as a means for negotiating ideas and simplifying complexity, which are manifested by using obsolete analogue video and audio. Sceptical of the ways in which new technology lends itself to the entrapment of minds using specialised propaganda and manipulated suggestion, Hardy creates work that subverts and repurposes old technology.

“Using obsolete analogue equipment, arrays of monitors become symbolic motifs, simple tribal shapes are interrupted and reconstructed, and video sequences are performative, produced by the physical manipulation of machines. Video acts as a physical and sculptural object rather than a virtual electronic portrayal of image and sound. Immediate and sensitive, it conveys his ideas directly in our age of high video literacy, functioning as the meditative stage for the mind and unravelling its own truth by suggesting that truth and narrative are, ultimately, subjective.”


 
As with the preceding Edition concert, there will be a limited edition five-copies-only 7″ vinyl single featuring music by the artists performing. Assigned by random draw, these will only be available at this event.
 

December 2017 – upcoming London jazz and improvisation gigs – London New Wind Festival’s improv evening at IKLECTIK (5th); Vlad Miller’s Notes From Underground back in Kentish Town (16th)

1 Dec

As a follow-up to mid-November’s Regent Hall performance of classical works, the London New Wind Festival are putting on this more aleatory occasion, teaming several of the musicians who played last time with some of the improvisatory talent which coalesces around IKLECTIK in groups such as The Horse

London Wind Festival, 5th December 2017

London New Wind Festival presents
London New Wind Festival: An Evening of Art, Film & Improvised Music
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Tuesday 5th December 2017, 7.30pm
information

“The London New Wind Festival presents a varied programme of new music with focus on wind symphony orchestras, brass ensembles, new music by women composers and improvisation. Musicians: Catherine Pluygers (oboe), Neil Metcalf (flute), Adrian Northover (soprano and alto saxophones), Sue Lynch (tenor saxophone), Sylvia Hallett (violin), Pier Paulo Martino (double bass), Adam Bohman (found objects). Film-makers: Paula Garcia Stone and Adrian Northover. Artists: Martin Harrison and Livia Garcia.”

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No content with pulling double duty at the LNWF, Adrian Northover’s also part of this returning gig from Notes From Underground up at MAP…

Vlad Miller & Notes From Underground, 16th December 2017

Vlad Miller – Notes From Underground
MAP Studio Café, 46 Grafton Road, Kentish Town, London, NW5 3DU, England
Saturday 16th December 2017, 8.00pm – information here
and here

“The effect that Notes From Underground want to have on their listeners is immediate, direct, and accessible in the best sense. They want their music to grab your ears and your body and not let go until you’ve been variously pulverised, pummelled, or pleasured into submission.

“Notes From Underground are Vlad Miller (piano), Adrian Northover (alto and soprano saxophone), Les Booth (six-string electric bass) and Dave Rohoman (drums, vocals). They are a band that has lasted the course of time, using Vlad’s compositions as a starting point for a collaborative repertoire. Largely stimulated by jazz and Russian music traditions, strong melodies weave into colourful improvisation. They wish to present their pieces on the London jazz stage to challenge listeners to enjoy new compositions within the general framework of their set. All the pieces tell a story, for example ‘Between Two Storms’, a real life event on a cruise ship entering dangerous waters in the Russian White Sea.

“Their first album ‘Diaghilev’s Dance’ was inspired by the life of the famous Russian impresario Diaghelev, and his dance troupe ‘The Ballet Russes’. The Vortex magazine wrote: “With the odd ballad providing balance, this is an intelligently programmed, consistently absorbing set from a versatile and subtly interactive band”…”




 

November 2017 – upcoming London jazz/experimental gigs – Jazz in the Round with Arun Ghosh and Eddie Parker (27th); noise and costume chaos in ‘Beyond the Mask’ with Flange Zoo, Isn’tses, Pranic Attack and Madonna Vagina (25th)

20 Nov

As if Monday 27th wasn’t crowded enough already, up pops an interesting jazz gig…

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Jazz in the Round, 27th November 2017

Jazz In The Round presents:
Jazz In The Round: Arun Ghosh + Eddie Parker (solo) + tbc
The Cockpit Theatre, Gateforth Street, Lisson Grove, London, NW8 8EH, England
Monday 27th November 2017, 7.00pm
– information here and here

British-Asian jazz clarinettist, keyboard player and composer Arun Ghosh (perhaps best known for Arkestra Makara, the pan-Asian chamber-jazz orchestra which made a colourful cross-continental splash at the London Olympics five years ago) is making his Jazz In The Round debut. He’ll be leading a new band featuring saxophonists Idris Rahman and Chris Williams, guitarist Shirley Tetteh, bass player Liran Donin and drummer Dave Walsh.

The concert showcases his newest release, ‘But Where Are You Really From?’ – a keyboard-heavy album of rolling multi-cultural twenty-first century jazz-rock which not only touches lightly on the likes of Yusef Lateef, early ‘70s Miles Davis grooves and Punjabi music but also on A.R. Rahman, David Axelrod, Soft Machine and Egg as well as pulling in touches of kletzmer, hip hop and northern English brass bands (Arun was raised in Manchester). Part-pastoral and part-stirring, it’s a slow-cooking hot-pot of a record.


In the middle of the bill there’s a rare solo spot from Eddie Parker. Perhaps best known as the brilliant flautist for Loose Tubes, he’s also got years of group-leading work under his belt as well as a history of large-scale compositions, community music and dazzling guest spots. For more on what I’ve said about Eddie in the past, click here: but on this occasion, it’s just him and his flutes: no group work, no cunning arrangement, just the chance to see an undersung instrumental master bouncing on his heels, throughly self-reliant. Should be exceptional.

There’s another act yet to be confirmed (in what Jazz In The Round call “jazz lucky dip”), but it’s worth going along for these two alone. From the 7pm doors time, rooting us to past and present, there’ll be the usual Jazz FM DJ sets from event presenter Jez Nelson and his decks colleague Chris Phillips.

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'Beyond the Mask', 25th November 2017
IKLECTIK presents:
‘Beyond the Mask’: Flange Zoo + Isn’tses + Pranic Attack + Madonna Vagina
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 25th November 2017, 6.30pm
– information here and here

If you’re in the mood for a more unruly kind of improvisation, something odder and wilder is stirring in Waterloo a few days earlier and providing “a night of otherworldly misrule, noise and musicality by artists with specially-made masks and costumes, bringing live art, animation, installation and lighting to your senses.”

Ready to romp are human-insectoid modular-electronic/vocal duo Pranic Attack (with their “giant life force swarm of sonic, non-Newtonian synthesis” and “cacophonous cocoon of stroboscopic ear worm sequences”); Isn’tses (who mythscape “paganism, political anger, intergalactic heroism and pop-culture parodies” via self-built synths, noise boxes, circuit-bent toys and mangled vocals amidst luminous props and costumes) and “mythical musical animal” troop Flange Zoo (playing dub-echo psych-political rants and noise-stews on theremin, recorder, free drumkit, custom didgeridoo and stylophone; plus anything else which they can ram through their bevy of effects pedals).

Lurking variously behind these masks and personae and the sonic messy-play are rainbow-rap electronicist Janine A’Bear, dark-drone crooner Listen Lisse, Merkaba Macabre’s Steven McInerney, Tim Drage of Cementimental and multimedia artists Miyuki Kasahara and Calum F. Kerr (plus at least one member of The International Wind Up Toy Orchestra). The evening’s completed by a colourful, textural live-art performance from yet another mask-and-costumerie enthusiast, Paola de Ramos (under her own “Madonna Vagina” persona, which might be referencing the blessed Christian virgin-mother-goddess or La Ciccone: she’s cheeky enough be referencing both).

FLANGE ZOO

All of this is happening at 7.30pm, with a ‘Behind the Mask/ Recreate your Face’ workshop and a display of original masks from the artists, drawings, interactive installations starting an hour earlier. Bring your own alter-egos in for fine-tuning.
 

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