Tag Archives: James (band)

June 2015 – upcoming London gigs – prog rock/math rock/post-hardcore @ The Facemelter; electro-pop/drum’n’brass/loops/experimental ambience @ Tuesdays Post; eclectic classical/experimental chamber music/kletzmer & Bulgarian voices @ The Forge

31 May

Some more early June gig previews for London – these would have been in the previous post if I’d picked up on them earlier.

Firstly, a Facemelter promotion (from the experimental rock/post-hardcore wing of the Chaos Theory organisation whose jazz gigs I’ve also enjoyed)…

Facemelter, 5th June 2015

Alright The Captain + Iran Iran + Porshyne @  The Facemelter (The Black Heart, 2-3 Greenland Place, Camden, London, NW1 0AP, Friday 5th June , 7.30pm

Three heroes of math rock, alternative and post-rock travel from different corners of the UK to unite and form this amazing lineup.

Derby-based trio Alright The Captain masterfully combine virtuosic instrumentalism with unabashed musical experimentation and have effortlessly established themselves as a sonic force to be reckoned with, thanks to their increasingly inimitable, uniquely imaginative brand of math-rock. Their sprawling and varied career has seen them sharing stages with post-rock luminaries including Mono, toe, 65daysofstatic, Pelican, Tera Melos, ASIWYFA, Maybeshewill, Adebisi Shank (RIP), This Will Destroy You, ZU and many more. Their new album ‘Contact Fix’ (which ‘Musical Mathematics’ describes as “div(ing)  in and out of math rock, prog and post rock – but, at its heart, it’s different”) has gone down a storm.

Iran Iran are another supremely talented bunch of musicians who stunned and impressed all who saw them at ArcTanGent last year. With insanely complex rhythms and thunderously heavy riffs, the four-piece from Bristol have evolved since their excellent first EP ‘Crystal Math’ and are packing a punch. They’ve played with Future Of The Left, Cleft, Alright The Captain, This Town Needs Guns, You Slut!, Alpha Male Tea Party, Death Pedals and many others. Fans of complex musical wizardry or heavy riffs will love their new EP ‘Milk Time For Spiders’.

Brightoners Porshyne dance between ambient intervals and melodic vocals to intensely intricate, fantastically crunchy  prog rock riffs. With just a few single releases and a session filmed by Small Pond Recordings, they already sold out their first headline show in Brighton. This is your chance to catch the band before their career takes off.

More info here and here, and tickets here (£5.00 advance, £7.00 on the door).

At the end of the same week, Georgina Brett’s Tuesdays Post event returns to Stoke Newington with another evening of ambient/progressive live music, including ‘Misfit City’ favourites Darkroom


Minny Pops/Spaceheads/Darkroom/Georgina Brett & Hems @ Tuesdays Post, (The Others, 6 Manor Rd, London, N16 5SA, Friday 7th June, 7.00pm)

Formed by vocalist/band leader Wally van Middendorp in Amsterdam in 1978, Dutch electro pioneers Minny Pops took their name from a primitive Korg drum machine. The band released several singles and a debut album, Drastic Measures, Drastic Movement, on independent Dutch label Plurex before joining the legendary Manchester label Factory Records in 1980 (which resulted in them being produced by Martin Hannett, touring with both Joy Division and New Order, and becoming the first Dutch group to record a Peel Session). Singles including Dolphin’s Spurt, Secret Story and Time were followed by the acclaimed album ‘Sparks In A Dark Room’ in 1982. The band released two further albums (‘Poste Restante’ and ‘Fourth Floor’) before splitting in 1985. In 2012, the band reunited for a series of gigs in the UK, the Netherlands and Belgium and recorded a 7-inch single for Tim Burgess’ O Genesis label. After a pause to draw breath, 2014 has seen Minny Pops performing live once again.

Spaceheads are a cosmic duo of trumpet electronics and drums. Formed in 1990, they have developed a blend of electronics and sunshine fanfares over the course of ten albums, three EPs and much touring across Europe and the USA. Andy Diagram (also of James) plays trumpet with a mobile phone stuck to the top with a fish slice and Richard Harrison plays drums with big bendy metal sheets stuck to the top. They create live looped layers of brass driven by flurries of free flowing funky drums. Andy and Richard have achieved an intuition of what each is about to do next which makes their semi-improvised gigs a joy to behold. They release their first studio album in ten years – ‘A Short Ride On The Arrow of Time’ – this Autumn.

Darkroom – the UK-based duo of Michael Bearpark (guitars) and Andrew Ostler (synths)- expertly ride the line between luscious, old-school progressive rock and modern ambient electronics. At times reminiscent of early Tangerine Dream with hints of Fripp and Eno, they create clouds of sequenced synths, chewy grooves, and looped phrases to support a variety of acoustic and electric guitar melodies that twist and turn in surprising, occasionally aggressive, ways.

Hems Aka Henrique Matias will be playing live with Georgina Brett. Henrique is a multi-talented composer, programmer and DJ. He specialises in Multimedia programming (from internet things to Max/MSP and similars), although not all his live music and performances sounds like computer music (sometimes he takes his drum machines and crazy things out of the house). Georgina Brett’s music is created using her voice and effects pedals, creating instant choirs of sound, often in an hypnotic style. The point of this music is not only to captivate with extraordinary timing and melodic style but also to help the listener to relax in our ever-increasingly fast world.

Interactive visuals and multimedia projections are by Hanzo and Rucksack Cinema.

More information here – tickets £7.00 on the door.

By all accounts The Forge (in Camden Town) has spent the last few years becoming one of north London’s most interesting small venues for mixed music. I’ve yet to go there and see for myself: but in its full June calendar (also featuring funk, jazz, classical and Cuban music as well as assorted poetry) the following four concerts caught my interest:

Notus Winds & Eliza McCarthy (Wednesday 3nd June, 7.30pm)

Part of the classical monthly series Wednesdays at The Forge, this time featuring award-winning chamber ensemble Notus Winds and solo pianist Eliza McCarthy with a program of contemporary compositions (more information here). Tickets £10.00 to £12.00.


Harrison Birtwistle – 5 Distances
György Ligeti – Ten Pieces
Arvo Pärt – Quintettino
Anders Hillborg – Six Pieces for Wind Quintet

Fenella Humphreys: Bach to the Future Part 1 (Tuesday 9th June, 7.30pm)

The first of three concerts presented by violinist Fenella Humphreys, featuring commissions of six new works by six of Britain’s leading composers to accompany Bach’s glorious 6 Sonatas and Partitas for unaccompanied violin. This first concert includes new works by Cheryl Frances-Hoad and Gordon Crosse alongside extraordinary music by Bach, Scott, Westhoff, Hindemith. Tickets £10.00 to £12.00.


Cyril Scott – Bumble-Bees (1928)
Johann Paul von Westhoff – Suite no. 5 in D minor (1682)
Gordon Crosse – Orkney Dreaming (2014)
Fritz Kreisler – Recitativo and Scherzo-Caprice op. 6 (1911)
Paul Hindemith – Sonata op. 31 no. 2 ‘Es ist so schönes Wetter draussen’ (1924)
Johann Sebastian Bach – Partita no. 3 in E major BWV 1006 (c. 1720)
Cheryl Frances-Hoad – Suite no. 1 (2014)
Eugene Ysaye – 2nd Sonata op. 27 (1923)

Reciprocity: a new work by Daniel Patrick Cohen (Wednesday 10th June, 7.00pm)

Reciprocity is a 28 minute work for voice, taped narration, eight celli, piano, and percussion. The piece was composed by Daniel Patrick Cohen from six poems by the late Darya Farha, a Canadian poet, therapist, filmmaker and clothing designer. Darya was an extraordinary woman whose sharp intelligence, dry wit, distaste for orthodoxies and boundless empathy fuelled restless journey through her unfinished life. Darya died of breast cancer in 2011 when she was 46, and Reciprocity was commissioned by her sister Juliana Farha, who lives in London. Reciprocity is not about cancer, however. Instead, its human and universal themes of joy, pleasure, fear and anger, along with its intriguing instrumentation are sure to engage a broad audience. You can read more on the project here, and here. Tickets £6.00.

She’Koyokh & Veda Slovena Bulgarian Choir (Thursday 11th June, 8.00pm)

In a unique collaboration, She’Koyokh & Veda Slovena Bulgarian Choir combine the fiery panache of klezmer and Balkan music with the timeless beauty of Bulgarian voices, weaving Jewish, Turkish and Balkan music into the rich tapestry of the Bulgarian choral tradition. Read She’Koyokh’s piece on their Veda Slovena collaboration here. Tickets £10.00 to £12.00.

(All events taking place at The Forge, 3-7 Delancey Street, London, NW1 7NL)

June 1998 – single & track reviews – James’ ‘Runaground’; The Monsoon Bassoon’s ‘Wise Guy/28 Days in Rocket Ship’; Sleepy People’s ‘All Systems Fail/Every Wave is Higher on the Beach’

28 Jun

James: 'Runaground'

James: ‘Runaground’

OK, it’s a marketing trick, alright? James have a Greatest Hits album out and apparently need filler. So this is one of those irritatingly “exclusive” singles which bands now record especially to give obsessives a reason for buying their compilation albums. But, despite all the incentive to hate it for that reason, this is one of the few times when the phrase “bonus track” actually makes sense.

Runaground is more than satisfying in its own right. Here’s one of James’ occasional warmly blue-tinted songs, coming from one of the reflective lulls between their big anthems (Laid, Sit Down, She’s a Star)and their bursts of dervish doolally (Avalanche, Bring a Gun, Sometimes): with a soft bush of guitars rather than a wall of them, a lilting breathy melody, and Saul Davies’ thin sweet glow of violin coming through like light under a mother’s door. “For every woman you will leave an open door / You find yourself thinking “why can’t I have more?” “.

There’s a directness to Tim Booth at such moments, an unguarded wistful sadness to his herald’s voice as he ditches the metaphysics and the egghead bluster. Runaground’s one for the frightened fool, grasping for every tiny illusory chance in order not to get stuck, only to find they’ve dropped everything that’s worthwhile anyway just to grasp at shadows, and that they’ve gotten stuck anyway. “Oh no, she’s gone, back wherever she came from. / You watch her go, your reactions much too slow. / Let her go. / Runaground.”

Is it one of Booth’s flagellating stabs at his own unreliability, as with Come Home and Don’t Wait That Long? Maybe. One thing’s for sure as the waves of another great James chorale surge up: with this, the Manchester stadium-pop weirdos have touched down gently on the human feelings they neglected too much on the patchy techno moves of the ‘Whiplash‘ album. Experimentation’s nothing without soul and empathy. “You take for granted all the riches of the world / You may have oysters, but you’ll never find your pearls…” Almost a desert island disc.

The Monsoon Bassoon: 'Wise Guy/28 Days in Rocket Ship'

The Monsoon Bassoon: ‘Wise Guy/28 Days in Rocket Ship’

For some, it’s best to kick off with a statement rather than an insinuation. Especially when it’s one which no-one can argue with. This debut single’s a double-barrelled shotgun blast of twisted intent. The Monsoon Bassoon (who’ve been regularly carving up Camden indie-pubs for several years now) are allegedly “psychedelic pop”. But if that automatically makes you pull out a checklist and start ticking off (a) druggy sonic syrup, (b) honeybee harmonies, (c) kiddie songs and (d) wobbly blues guitar ad infinitum, forget it. If they’re anything to do with current psych-pop, the Bassoon are Gorky’s Zygotic Mynci shorn of their Brian Wilson fixation, off their heads on chaos theory and frantically shagging a stapling machine. If you could fix it so that a tropical rainstorm could blast through a double reed, you probably would end up with this sort of shrapnel.

Both tracks on this double A-side start out as songs. With the emphasis on “start”: two duelling, slashing guitars and three voices quickly fractalise the songs into manic battling melodies. You get plenty of pop hooks, but before too long they’ve turned into egg-whisks and grappling irons mounting a major assault on pop strongholds. The Monsoon Bassoon can take a song and turn it into a sort of Philip Glass No-Wave party during which The Pixies, Henry Cow, and Television all get smashed and then get caught up in an argument which they enjoy so much that it takes the police to get them out of the building.

The prog word rears its head too, but with any hint of cosiness snipped off by Tim “Cardiacs” Smith’s rough’n’ready garage-y production. If the Bassoon sometimes resemble a younger, more hyperactive King Crimson – those revolving guitars, Sarah Measures’ daredevil flutes and reeds, the way the music booms back and forth between celestial minimalism and bellowing, screaming blasts of red-hot air – they’ve also got a good deal more of a sense of sheer fun and dynamism than Crimson themselves are exhibiting these days.

You might not remember the tunes, but you’ll certainly remember the commotion en route. The choppy pop of Wise Guy explodes like axe-heads coming through hotel-room doors, twirls the odd piroutte as it does so, and leaps up to a trumpeting, triumphant, speaker-melting fanfare. 28 Days in Rocket Ship is superficially calmer until the monster bass riffs and bells rock the belfry to bits. This is hardcore pronk to the max, with a eerie sideswiping charm to compound its relentless ecstatic ferocity. This music yells “fuck you, get out of my way,” and in the same breath, flashing a brilliant grin, adds “but you can come too.” Dancing on giddy splinters.

Sleepy People: 'All Systems Fail/Every Wave is Higher on the Beach'

Sleepy People: ‘All Systems Fail/Every Wave is Higher on the Beach’

With the effusive Phil Sears – a.k.a “Earl Slick” – waltzing out of the band shortly after the release of their second album, Sleepy People have spent some time singerless. Not a band to take things lying down, they’ve recruited new teenaged singer Lee Haley, messed around in the engine room a bit, and got these two songs down on tape, battling on to maintain momentum and taking another look at the songwriting business while they’re at it.

Sleepy leader Paul Hope has never been one to back off from a challenge; and writing for Haley’s lighter, more fragrant tones (a clarinet compared to Sears’ brazen and operatic trumpet) has certainly brought out the best in his glowing psychedelic pop. All Systems Fail compresses and channels the Sleepies’ usual sprawling, ornamental music while losing none of its jack-in-the-box explosiveness. Moogs burble and fizz, Paul’s guitars snarl and swipe like fuzzed-up little kittens, the rhythms are as jumpy and cheekily punka as ska on itching powder, and I wouldn’t be surprised if they were juggling the odd plate as they recorded (“What goes round / Must come down”).

Lee skates through the whole thing with a suspicious schoolboy insouciance. Angel-faced or not, this is a guy who managed to shoot himself through the liver while messing about with a pistol between rehearsals: and he warbles like a naughty chorister alongside Rachel’s moonbeam harmonies, while everyone else yelps like dogs on the chorus: “steaming creatures with violent features… wind them up and run!” It could almost be a proggy Bis: glittery hairslides, sherbet flying saucers’n’all.

Every Wave is Higher On the Beach is more familiar Sleepyfare. Epic, complicated, Gongpop stuff, as moonstruck as ever: Rachel sending her flute in rolling smoketrails through Anna’s spooky streaks of keyboard as the band drive through the night. But this time their eccentricity has a much more haunting edge to it. At his best, Paul Hope’s one of the few pop people who can capture the eerie wonder of someone’s more mystical, Fortean Times-y experiences. And this is him at his best – urging a langorous, hypnotised performance out of Lee as a man in the grip of an atavistic compulsion, pulling out and away from the world. “Although I’ve never been, / I know the sea’s not far away from here. / Rumours carried on the waves / will help me find the way that I should go… / Although I’ve never seen, / I know there’s something really big out there. / Is that the moon I see, / or harbour lights leading me astray?”

As the bass throbs and the guitar mounts in a spiral of pulsating alarm, Sleepy People seem to be taking a great leap in the dark, “across the never-ending sand” out upwards from their frequent foolery and into somewhere far more soul-stroking, more threatening. The madness behind the face-paint isn’t so theatrical this time, but is far more effective. Sleepy People have proved they can take another body-blow and come back grinning.

James: ‘Runaground’
Mercury Records, JIMCD 20 / 568 853-2
CD/cassette single
23rd June 1998
Get it from: (2020 update) original single best obtained second-hand; song appears on several James compilations – ‘The Best of’ and ‘Fresh As a Daisy – The Singles’.
James online:
Homepage Facebook Twitter Soundcloud Last FM Apple Music YouTube Deezer Google Play Spotify Tidal Instagram Amazon Music

The Monsoon Bassoon: ‘Wise Guy/28 Days In Rocket Ship’
Weird Neighbourhood Recordings, WNRS 1 (no barcode)
7-inch vinyl-only double A-side single
June 1998
Get it from: (2020 update) original single best obtained second-hand; ‘Wise Guy’ appears on The Monsoon Bassoon’s ‘I Dig Your Voodoo‘ album.
The Monsoon Bassoon online:
MySpace Soundcloud Last FM YouTube Spotify Amazon Music

Sleepy People: ‘All Systems Fail/Every Wave is Higher on the Beach’
The Soporific Foundation (no catalogue number or barcode)
Cassette-only double-A-side single

Released: June 1998
Get it from: (2020 update) original single best obtained second-hand; original song versions currently unavailable, but different versions sung by Tiny Wood appear on the Blue Apple Boy album ‘Salient‘.
Sleepy People online:
Facebook Bandcamp Last FM YouTube Amazon Music


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