Tag Archives: listening to women

May 2020 – EP reviews – Mikrokosmos/Babyskullz/Cola Ray vs. MUMMY’s ‘CONFINEMENT-release3’ (“mysteries which slip into shadowed corners”)

7 May

Mikrokosmos/Babyskullz/Cola Ray vs. MUMMY: 'CONFINEMENT-release3' EP

Mikrokosmos/Babyskullz/Cola Ray vs. MUMMY: ‘CONFINEMENT-release3’ EP

Following their pair of releases last month, Brighton’s Confinement Tapes project is back for a second round – this time with Confinementeers Jo Spratley and Bic Hayes joined by honorary family member Chris Anderson (of Worthing’s Crayola Lectern), who’s also worked with Bic in Brighton kosmische juggernaut ZOFFF alongside what seems like a good half of Brighton’s psychedelic contingent (and, occasionally, The House of Love’s Terry Bickers).

(The third original Confinementeer, Jesse Cutts, has his own follow-up single too, but more on that later…)

Unlike the archived cover versions refurbished for the previous EP, ‘Bright Fivers’ is an all-new, all-original April recording in which Chris contributes as the anagrammatic Cola Ray, collaborating with Bic and Jo’s MUMMY. Initially, it’s his arpeggiating pianos (distanced and tinny, as if pulled from a dusty old 78) which dominates ‘Bright Fivers’; a solemn setting for Jo’s singing, which is loaded with both trepidity and authority. That’s only the prelude, though, and it’s severed from the rest of the piece by a jump-cut edit as loud and merciless as a sucker punch or an axe blow. You even hear the clunk as the mood shifts; Jo switching abruptly into deadpan recitation against a Bic backdrop of guitar static and wind texture, as impassive as the prophetess taken over by the voice of the prophecy.

Whether sung or spoken, the sentences are broken off; dark, punching surrealist gobbets of foreseeing and ruin. “Silence in the air. / Things endure, things evolve. / Between the slopes fivers fly up onto the dream floor. / Fire spreads her text of flame as serious as food / Our towers of graph paper fold up into the silence, / delicate as the girl who leaves the stone and the water – / and the bright moan of the green, / the collapse of a black age. / In the end we never know what we know.” It sounds like something buried deep in peat in order to time-travel; transmitting a warning, or possibly a testament.


 
‘The United Kingdom’ is (mostly) another eleven-year-old recovering from Jo Spratley’s Babyskullz solo project: one which just happens to fit in with ‘Bright Fivers’. It’s another recitation, delivered by Jo to pattering drumbox and orchestrated in minimal, thrifty make-do fashion. Two-finger melodica. Guttural just-picked-it up guitar lines and milk-bottle vibraphone. Cobwebby analogue synth gurgles, dub distancings and dirty blats of fireworks.

Something about the rhythm and chant suggests the cheesy old white-rap anti-classic ‘Ice Ice Baby’. Everything about the words doesn’t, as Jo narrates (in newsprint monotone) a set of disappearances. “A man who hears bells who loves cars” misses his train only to drop out of routine and out of existence; a corporate lawyer vanishes during her solo boat trip; fifty years ago, a cancer specialist who “wraps her dolls in graph-paper by the light of the moon” is last seen in car headlights by the edge of a cliff. All three are obliquely connected by hearts: their rhythms or their interruption, their presence as eviscerated occult trophies or as enigmatic markers; presumably also by the locked-up desires, secrets and clues they contain. All cases are left open; mysteries which slip into shadowed corners of modern folklore or Lynchian dreams. There’s a stress on the regular and on the irregular, but no conclusion on either.


 
As haunting as this can be (and it does build on regular repetition, an inconclusion which nags to be solved), it’s still Bic’s dark-psychedelia project Mikrokosmos which dominates this particular set, providing three tracks out of the five. Two are brief snapshot instrumentals, deliberately left incomplete or brought to dismissive halts. Recorded in 1993 during Mikrokosmos’ cramped early sessions in west London, ‘In the Machine Room’ is an jarring but strangely satisfying hybrid of claustrophobic paranoia and sweet naivety. An uncomfortable electronic hum and weirdly organic rattling (like mice beginning to panic inside a generator housing) passes into a bright nursery march played on assorted guitars, drums and bombastic little synths. For forty-eight seconds, post-industrial grot tussles with twinkly daydream.


 
I assume that Bic escaped from whatever it was that was polluting him: ‘Frag. Familiar’, from 2014, was completed nearly two decades later (long after Bic had quit London), but it missed the boat for Mikrocosmos’ ‘Terra Familiar’ abum. It’s as confusing as its predecessor. A sustained cosmic slam: a huge guitar downchord which is allowed to trail away, while delicate waltzing keyboards come forward to shine over the top. They dance with another brutally distorted guitar line – butterflies courting Bigfoot – before everything hits the wall, topples over and cuts off. There’s a farcical humour to this music. It shows you the stars but then suddenly pulls away the rug, or drops the time-clock on the telescope viewing: almost deliberately crass in the way it brings you back down to earth with a bump. I suspect that there’s a touch of reverse psychology here. To move forward properly, you have to overcome the bumps, denials and trip-ups.


 
Another ‘Terra Familiar’ outtake, ‘Cell by Cell’, is more substantial and developed: a six-and-a-half minute song rather than a peculiar fragment. It’s also a dubbier return to Bic’s Dark Star days: almost a Massive Attack take on that band’s life-scarred fin-de-siècle urban psychedelia, taking in similar elements of Hawkwind space rock and Killing Joke post-punk grimness to offset Bic’s sighing, waify sweetness. There’s a Dark Star-ish sense of resignation too, a voice-of-the-casualty effect as Bic reflects on exhaustion and disassociation, on being swallowed by routine and self-absorption. ‘Just swim, / float to the surface – / as if it’s so easy, you show me again. / But time weighs me down so gently / and all our ideas just drift away, / sinking, / lost in the moment. / Ennui is so easy / and to the end we divide. / Cell by cell to solitary worlds – / undesigned, undesired. / Islands in an ocean of thought / turning inwards defied / to meet with the gaze of impermanence eyes…’


 
The formal Confinement message for this EP is one of “a constellation of songs brought together by this rarefied time. Pulled through the thickness of life and her knowing machine. Mixed and mastered in April 2020 and flung into the dark of these ends of days. Here we are. All alone, together, as one.” As a message of solidarity, it’s an ambiguous comfort: but, as they say, here we are. Questions unanswered. Brutal breaks in expectations. People disappearing, grips gradually lost. Name it, share the names, and perhaps fight it.

Mikrokosmos/Babyskullz/Cola Ray vs. MUMMY: ‘CONFINEMENT-release3’
The Confinement Tapes, CONFINEMENT-release3
Download/streaming EP
Released: 7th May 2020
Get it from:
free or pay-what-you-like download from Bandcamp (As with all Confinement Tapes releases, any money earned goes support care funds for Tim Smith, Tim Quy or Jon Poole of Cardiacs – see previous posts.)

Mikrokosmos online:
Bandcamp Last FM

Babyskullz (Jo Spratley) online:
Facebook Twitter

Crayola Lectern (Cola Ray) online:
Homepage Facebook Twitter MySpace Soundcloud Bandcamp Last FM YouTube Vimeo Spotify Amazon Music

MUMMY online:
Facebook Bandcamp
 

April 2020 – EP reviews – MUMMY/Babyskullz/Mikrokosmos – ‘CONFINEMENT/release1’ (“the triumph of love over fear and torpor”)

10 Apr

Family. Extended. Play. For life partners Jo Spratley (she of Spratleys Japs) and the elusive/ubiquitous Christian Hayes, a.k.a. Bic (who’s played howling, whirling, stuttering textural/post-punk/psych guitars for Dark Star, Cardiacs and Levitation, as well as adding extra noisy or unearthly touchs to projects by Julianne Regan, Heidi Berry and Pet Shop Boys) – plus Jo’s son Jesse Cutts (Spratleys Japs bass player and Heavy Lamb mainstay) – coronavirus lockdown is providing an opportunity to get their musical lives in better order.

M U M M Y/Babyskullz/Mikrokosmos: 'CONFINEMENT​/_release1'

M U M M Y/Babyskullz/Mikrokosmos: ‘CONFINEMENT​/_release1’

Being stuck at home on the Sussex coast means the initiation of the Confinement Tapes. They’re unearthing sundry old recordings from hard drives, biscuit tins, gutted harmoniums or wherever else they may have stashed or forgotten them. They’re polishing them up, and getting them out into the world, while simultaneously raising a bit of money for the ongoing care of various ailing Cardiacs members. (All cash raised from this is going into the support funds for Tims Smith and Quy, as well as the recently beset Jon Poole – if you want to save the Confinementeers a bit of trouble, you can always donate directly via the latter links and just download this lot for free afterwards).

Clearly the Confinementeers see this as something of a resurrection – Jo, in particular, has kept a very low profile for the past year (despite the Spratleys’ triumphant return to action in 2016) and for the past decade or so Bic has been more noted for low-key backups within (or behind) other people’s projects, rather than his own. In their Bandcamp text, they make metaphorical allusions to pregnancy and labour, to inward journeys, the delivery – in all senses – of a new world, and the renewal of loving connections. In many respects, what they actually seem to be talking about is the triumph of love over fear and torpor, and the way in which music embraces and enables this. What you get as this process begins is a window onto the particular, vivid field of English psychedelia which the Confinementeers belong to, both separately and together, and the sense of rootedness and inspiration which offsets emotional paralysis and impels action. I guess that that’s one of the reasons why the first Confinement release is a trio of cover versions – drawing on inspirations and altered perspectives both English and American, and on the soothings, sympathy and compassion behind apparent nonsense and weirdness; and then providing their own synthesis.

Microkosmos is Bic on his own. I could argue that Bic’s work reached a luminous plateau during the short brooding mid-‘90s life of Dark Star (with their atmospheric tales of vision casualties and burnout cases) but he’d be entitled to argue back. Since then, he’s put out three Mikrocosmos albums – scattered meditative space-dust to Dark Star’s supernova, they shucked off the full-band musculature and had Bic revelling in wan-boy spindliness and a ghostly tenderness. In fact, Mikrokosmos both post- and pre-dates Dark Star. This EP’s echoey cover of Pink Floyd’s Matilda Mother dates back to half-forgotten tapes from 1993, when Bic lived and recorded in London’s skinniest house. It’s pretty much a note-for-note cover: while the fey precision of Syd Barrett’s tones have been replaced by Bic’s drowsy starveling keen (and the Floyd’s pattering remnants of beat-band rhythms have been replaced by drumless harmonium roll and wasp-buzzing noise effects), the melting sleepiness and neediness of the original are absolutely recaptured, from the dusky organ washes to the glissando acid harmony vocals. It’s still centred on childlike wonder, and the pang of interrupted sensation; a door-opener.


 
MUMMY is Bic with Jo. They brought out a couple of EPs three or four years ago; strange, slowed-down skeletal garage-goth songs, like the workings of a pair of fasting spiderborgs, or like a distracted feminised/de-brutalised Swans. In this 2015 outtake, they’re reworking an early Breeders song, Oh! (which also happens to share a title with a Spratleys song). The strumming spass-country feel of the original (melancholy fiddle, close-ups, and of-the-moment neophytery) is replaced by MUMMY’s use of drum machine, Gothic reverb and distant angle-grinder guitar sheeting. Jo’s abstracted alley-queen vocal, emotional but enigmatic, is also very different from Kim Deal’s just-rolled-out-of-bed slur. What can one do with the peculiar original lyric, apparently the words of an insect urging others to run and live despite overwhelming and incomprehensible perils? Relate it back to plague fears and to resilience, I reckon.


 
Babyskullz is Jo on her own: and although this is the first we’ve heard of this particular project, Abade is an eleven-year old track, so Jo’s been incubating her skulliness for a long time now. A 2009 take on a song by the Cardiacs psych-folk spinoff (and Spratleys Japs precursors) Sea Nymphs, this is the most directly familial cover on here. While the Breeders and Floyd covers may be the more familiar songs – and carry more of the psychedelic/indie kudos – this one is the most directly satisfying. Reinvented here as a trio of electronic harmonium, bossa-flavoured drum machine and throaty-to-celestial Jo chorale (punctuated by the surge of waves on Brighton beaches, and with a flurry of suspiciously Bic-ish feedback at the end), it keeps faith with the gentle walking pace and sympathy of the Sea Nymphs original. Its fractured lyric keeping step with the wounded, offering solidarity and – like Oh! – an offbeat encouragement. “And though he walks the mid-day sun / he carries his own vile dungeon around / with him and he’s of / all the more reason to be full of life, full of sound and fury. / Don’t be long, / where were we? / Where we belong.”


 

MUMMY/Babyskullz/Mikrokosmos: ‘CONFINEMENT/release1’
The Confinement Tapes, CONFINEMENT/release1
Download/streaming EP
Released: 8th April 2020
Get it from:
free or pay-what-you-like fundraising downloads from Bandcamp. (Update, 9th May 2020 – these tracks were made available in the short term and are currently unavailable – if and when they’re restored, I’ll also restore the soundclips. Other Confinement Tapes items are available in the meantime.)

MUMMY online:
Facebook Bandcamp

Babyskullz (Jo Spratley) online:
Facebook Twitter

Mikrokosmos online:
Bandcamp Last FM
 

January 2020 – single & track reviews – The Powdered Earth’s ‘Hold Your Breath’, Broads & Milly Hurst’s ‘Happisburgh’, Lifeboats’ ‘Hurt’

31 Jan

The Powdered Earth: 'Hold Your Breath'

The Powdered Earth: ‘Hold Your Breath’

After their gently atmospheric piano overture earlier in the month, it’s proper debut-single time for Gloucester’s The Powdered Earth: time to find out what they’re actually about. Their ethos is apparently one of writing “little fictions… bringing storytelling to the fore” with a backdrop of “minimalist, melodic melancholia”. With a spec like that, and the previous evidence, you’d expect something like a more genteel piano-based Arab Strap.

Well, not quite… or not yet. Initially, ‘Hold Your Breath’ goes for what seems to be a much bigger and non-fictional story – that of the struggle against deforestation in Brazil – but they tell it in an understated way. In Brazil itself, this tale would probably have come through first-hand, via rap consciência or funk carioca, or possibly as some kind of mournful retro-fado. In the United States, it would probably been plunked or punked out over a banjo as a raucous post-Seeger tale of injustice visited on the working man. From their quiet corner of England, The Powdered Earth tell it in their own soft and sober way, trying to stay true to their instinctive sound while letting the story tell itself.

It sounds like a minimalist piano lieder, sung by Shane Young in a small, precise, discreet voice. George Moorey’s bolstering of synths (squashed brass, mechanical choirs) is similarly small and discreet. The lyrics, too, have the simplicity and directness of a pared-down folk song: “there were many of them. / They were gathered near the wood. / We had only handmade tools / and the clothes in which we stood… The ruling party wielded / the means to terrify, / but evil only triumphs / when we good men stand by.”

Listening to this is an odd experience, since it’s both detached and authoritative. You’re pulled into the gaps in the arrangement, into the void where the anger should be raging, as The Powdered Earth clarify that this is an outrage that occurs over and over again. “Miners brought the mercury / that made the river bend,” Shane pronounces. “Bolsonaro’s loggers / will leave nothing to defend.” The title itself is never mentioned; an unspoken warning to be decoded once you move out from the local outrage and start considering it as a small sign of a bigger problem.


 

Broads & Milly Hurst: 'Happinsburgh'

Broads & Milly Hurst: ‘Happinsburgh’

Over on the other side of England, Norwich ambient ramblers Broads have teamed with kindred spirit Milly Hurst for an album of music inspired and partially built from field recordings made throughout the county of Norfolk. Named after a coastal village, ‘Happisburgh’ is a preview of that work; in itself, with its emphasis on widely-spaced reverberant piano, not too different from what The Powdered Earth are doing.

It’s wordless, though – their own sparse Debussian piano part backed up with a little glitch-static and a growing sweet, subliminal agreement of harmonium. The video is a sequence of slow pans across, and sustained shots of Happisburghian scenes: tumbled groyne stones on the sand, the red-banded lighthouse, blue-brown breakers under the wide Norfolk sky; a solitary cliff bench. The second part picks up speed with a rolling piano arpeggio, the sound of feet running through sand and gravel picked up, glitchified and looped. Towards the end, the footstep loop corrupts and stutters, becomes intermittent, vanishes.


 
Probing gently into location and inspiration, like an archaeologist with a fine brush, unlocks some of the messages. Like much of the Norfolk coast, Happisburgh is eroding, dropping fragment by fragment into the sea. It’s shored up by groynes and by its inhabitants’ reluctance to let it go; but has now been abandoned by government, its support withdrawn. It’s a vanishing village which also happens to be the oldest human settlement in Britain, with ancient flint tools in its earth strata, and with the earth’s oldest human footprints outside of Africa once discovered on its beach. Knowing this, the meanings of the sounds come into sombre and beautiful focus – the currents and tides in the shifting piano; the recorded footsteps, once clear as a bell, becoming obscured by time and processing, ultimately disintegrating out of the picture. Our history, even our deep history, vanishes in front of us.

Lifeboats: 'Hurt' (featuring Rena)

Lifeboats: ‘Hurt’ (featuring Rena)

While Lifeboats‘s ‘Hurt’ doesn’t share much musically with either ‘Happisburgh’ or ‘Hold Your Breath’ (being a piece of noisy post-shoegaze guitar pop) it does sort of fit in here by dint of a shared initial and a shared theme of loss, relinquishment and resistance. Lifeboats are a new teaming of Prod Pritchard (main songwriter for Oxfordshire bands Flow and Airstar, as well as being a right-hand man for Owen Paul) and Austrian singer-songwriter Rena (the latter listed as a guest on this single but, so far, very much part of the sound and craft).

‘Hurt’ bustles along on ahead-of-the-beat guitar thrums, not a million miles away from Ride, the Velvets or from Bowie’s “Heroes”. The last, in particular, serves as inspiration, since Rena’s vocal sings out a weathered but hopeful anthem of taking the blows but remaining resilient – “hurt is just a part of living / just like breathing. / We ache before we are – / and fate is beyond all reason; / and then, every season, / above what we control… / This life / we are born to live in, / and the darkness hiding / but the morning’s coming.” She imagines herself propelled, strengthened, along the airwaves, singing “though I’m cracked and shaking, / I will not be broken. / When life is taking its best shot, / say “is that really all you’ve got?” It’s a simple, solipsistic resistance compared to those implied or required in ‘Hold Your Breath’ and ‘Happisburgh’, but it’s there.

 
The Powdered Earth: ‘Hold Your Breath’
The Powdered Earth (no catalogue number or barcode)
Download/streaming single
Released: 31st January 2020

Get it from: now part of the ‘Singles’ EP on Bandcamp
The Powdered Earth online:
Homepage Facebook Twitter Bandcamp YouTube Deezer Spotify Instagram Amazon Music

Broads & Milly Hurst: ‘Happisburgh’
Humm Recordings, HUMM08 (no barcode)
Download/streaming single
Released: 31st January 2020

Get it from: download from Bandcamp or Amazon; stream from Deezer or Spotify
Broads online:
Facebook Twitter Soundcloud Tumblr Bandcamp Last FM Deezer Instagram Spotify
Milly Hurst online:
Homepage Facebook Twitter Soundcloud Bandcamp Last FM YouTube Vimeo Spotify Instagram

Lifeboats: ‘Hurt (featuring Rena)’
Nub Music (no catalogue number or barcode)
Download/streaming single
Released: 31st January 2020

Get it from: download from Qobuz or Amazon Music; stream via Soundcloud or Spotify
Lifeboats online:
Soundcloud Spotify

 

November 2019 – three Tuesdays of (mostly) femmetronica in London – Alice Hubble, Blick Trio and Merlin Nova (5th November), Carla dal Forno and Cucina Povera (12th November), Rachel K. Collier (19th November)

2 Nov

Following (and overlapping) the recent/current set of female poptronic gigs in London (with Caroline Polachek, Imogen Heap, Yeule and others), here are some more.

* * * * * * * *

Alice Hubble + Blick Trio + Merlin Nova, 5th November 2019

Alice Hubble (best known as half of tweetronic duo Arthur & Martha) has been striking out on her own this year and is playing at Servant Jazz Quarters on the 5th. Her debut album ‘Polarlichter’, driven by iPad workings on long journeys and transformed at home via Mellotrons and analogue synths, apparently stems from wistful envisionings of faraway places (including Ruby Falls in Chatanooga, USA, Lake Louise in the Canadian Rockies and Dubai’s Atlantis Palm hotel) plus “a desire to work on a project without constraints, to move away from the traditional song writing process and to experiment with the form. Inspired by the ’70s recordings by Tangerine Dream, Ashra and even Mike Oldfield, Alice wanted to take a more delicate approach; a distinctly feminine take on (an) often pompous ’70s progressive synth sound. Other inspirations include Delia Derbyshire, Daphne Oram, Lee Hazlewood’s Swedish recordings and 80’s American synth pop band The Book of Love.”

A good set of reference points, although if you are going to snark about the pomposity of your male predecessors it’s best if you’ve built something startlingly different. Much of Alice’s work still cleaves rather closely to those familiar silvery Germanic/kosmische synth tropes, the cautiousness of several generations of post-Tangerine Dream acolytes, albeit with twists of post-punk melancholy and Stereolab-ilk avant-pop.

As for the femininity, it’s present mostly in the preoccupations of Alice’s lyrics, such as the stern reflections on male gaze and pedestal-placing on ‘Goddess’ (“a man idolising a woman to the point that he doesn’t see her as a person. His ‘love’ is all consuming and the focus of his affection is seen merely as an object. As a result he consumes her and takes from her until she has little left, but thankfully she finds the inner strength to walk away.”). All well and good to state; but, given that the song’s mostly concerned with climbing inside its misguided protagonist in order to critique him from within, leaving the woman in question almost as enigmatic, idealised and unexamined as he did, I’m not altogether convinced. But perhaps I’m snarking now – either way, I can’t help but feel that there’s better to come. Alice has a quiet, determined voice: maybe, at the gig, we’ll find out what else it has to say.


 
Support comes in two parts, one being from jazztronic array Blick Trio, made up of veteran polymathic brass-and-wind-player Robin Blick (from the sprawling Blick/Blake musical dynasty that also includes Mediaeval Baebes’ Katherine Blake), drummer Andrew Moran (who’s put in time in groups including The Violets and Not Cool) and bass player/synth programmer James Weaver (who already plays with Robin in Gyratory System). Prior to Gyratory System, Robin was also in Blowpipe; with both these and the Trio, he’s been building jazz/clubtronic/kosmiche meldings for a good couple of decades. The Trio, however, lean more towards “post-punk rhythms and straight jazz melodies” than the club beats and electrofuzz racket of the previous acts; with Robin’s musicality and wide genre-savviness in particular calling up aural and harmonic/melodic imagery from riffling snake-charmer music to pithead brass band melancholia.


 
The other support act is Merlin Nova, who vigorously straddles the space between musician and sound artist. Too tuneful to work consistently in the latter mode, and too flat-out sonically ambitious and diverse to be restrained by the former, she instead works both of them to the bone. She creates, records and broadcasts whatever comes to her mind, whether it’s surreal foley-bolstered persona narratives, soundscaped poetry or unorthodox fragmented songs across a vocal range from femme-baritone to skyscraping whistle register.

Merlin’s most recent pair of Soundcloud offerings illustrate her restlessness. Just Calling is one of her most straightforward works (a vocal and reverbscape’d love-song of faith, degrees of separation, faith and independence), while To The Sun is a drone-strings-and-vocalise solar prayer half an hour long, equal parts Alquimia and Sofia Gubaidulina. There’s plenty more to find there, evidence of an ambitious sound creator who’s tapping at the heels of multiple precursors… Ursula Dudziak, Cathy Berberian, outer-limits Björk, Maja Ratkje…

 
* * * * * * * *

Carla Dal Forno + Cucina Povera, 12th November 2019On the 12th, left-field synthpop writer Carla Dal Forno comes to Electrowerks trailing her newest album ‘Look Sharp’, in which “the small-town dreams and inertia that preoccupied (her) first album have dissolved into the chaotic city, its shifting identities, far-flung surroundings and blank faces”, thanks to her wanderings from her Melbourne origins to London via Berlin, telling “the story of this life in flux, longing for intimacy, falling short and embracing the unfamiliar.”

Sonically it’s frowning post-punk basslines and pearly sheens around subtle hollows; occasional touches of plainsong; arrangements stroked into shape by psychedelic-via-radiophonic synthesizer bends, swoops and flutters – a big step up from the queasy lo-fi wobble of her debut. As with Alice Hubble, Carla rarely changes tone vocally, etching momentary stories of subtle revenges, covert assignations and bleak reflectiveness with the same abbreviated unruffled whispercroon; delivering songs with the crisp, faux-reticent undertones and hardnosed observation of a finishing-school ace who’s opted to spend the rest of her life speaking softly but carrying a sharp hatpin. Simultaneously minimalist and expansive, sensual and austere, revealing and forbidding, the songs of ‘Look Sharp’ are measured diary entries enclosed in dove-grey leather, giving away little but hinting at much more. It’s as if one of the early versions of the Cure had agreed to back Jean Rhys during a venture into confessional songcraft, with Delia Derbyshire adding sonic filigrees.


 
The whole record sounds attractively antiquated. Not in terms of its harking back to early ‘80s proto-Goth, but in the way it feels as if it’s been written for (and in) a monochrome London of the 1930s: sparser crowds, the hiss of steam trains and the rattle of heels in empty housing courts. In fact, ‘Look Sharp’ functions best when Carla relinquishes the more obvious darkwave thrumbles, loses the bass and trusts to her electrophonic textures and spaces. This lends the instrumentals a touch of 5am light, an air of sneaking out into an unfamiliar town while it’s still slumbering unguarded, with a dream-frown shadowing its features. For songs such as Don’t Follow Me (with its deepening undertone of sexual threat), it allows a more sophisticated atmosphere to build, sound becoming character in the way that scenery and lighting do in film.


 
In support, there’s electronicist, live-looper and spatial explorer Maria Rossi – a.k.a Cucina Povera. As anyone who’s covered Maria before will tell you, “cucina povera” translates as “poor kitchen” – like “poor theatre”, a way of making the most of minimal ingredients and lean times: indeed, of making a virtue of the enforced simplicity, to the point of deliberately choosing it. Maria’s most recent project – ‘Zoom’, released back in January – had her strip back her already-minimal gear choices to just voice and loop pedal plus the digital recorder which gave the record its name: bar the very occasional bit of huffed or clinked bottlework, or synth bloop, that was it.

Last year’s ‘Hilja’ album applied the Cucina Povera methodology to a gaseous, beatless, haunting form of ambient art pop. It was full of folk-ghosts in the machine, bringing along hints of the ecclesiastic, of children’s songs and of traditional song fragments, much of it pillowed on vaporous keyboard textures and meticulous arrangements. In contrast, the Zoom pieces were recorded in “intimate spaces full of acoustic or ideological intrigue” and were a set of impromptu, improvised rituals-for-their-own-sake. Sometimes gabbled, frequently hymnal and monastic, blurring between established language and glossolalia, they build on the mysteriousness of ‘Hilja’ while venturing into more musically naked areas, taking from the previous album’s most cut-down moments without falling back on its cloudy synth-padded comforts or its pleasing banks of harmony.

Whether these pieces can be transported, translated and performed afresh in other locations is not so clear. Perhaps, for Electrowerks, Maria will improvise a new set in honour of the Slimelight’s fallen ghosts.



 
Also stirred into the evening’s menu will be a DJ set from darker techno/DIY/industrial specialist Kenny White of the Low Company record store.

 
* * * * * * * *

At the other end of the spectrum, there’s a splash of raucous female colour. Riding the momentum from the release of her debut album last month (if you’re a budding remixer or mash-upper, Bandcamp has it complete with sample and stem packs), Rachel K. Collier plays the Grand in Highbury in mid-November, with live percussion and interactive visuals augmenting her storm of sequencers, keyboards and Abletoning. Her house-inspired, undulating electronic club pop has been evolving over six years or so now, including bold intrusions into the world of adverts, collaborations with garage/house stars Wookie, Mat Zo and Ray Foxx, and more recently her current fearless-sounding solo work.

Rachel K. Collier - 19th November 2019

It’s a powerfully assured and complete pop sound, fusing full dancefloor momentum with righteous girl-power; although one that’s been achieved in the face of considerable bullying, scorn and condescension along the way from male musicians. (If the fuck-you beat and withering dismissal in her Dinosaur single is anything to go by. You can’t say that she didn’t get her own back. Success is the best revenge.)




 
* * * * * * * *

Dates:

Parallel Lines presents:
Alice Hubble + Blick Trio & Merlin Nova
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Tuesday 5th November 2019, 7.30pm
– information here, here and here

Upset The Rhythm presents:
Carla dal Forno + Cucina Povera
Electrowerkz @ The Islington Metal Works, 1st Floor, 7 Torrens Street, Islington, London, EC1V 1NQ, England
Tuesday 12th November 2019, 7.30pm
– information here and here

Rachel K Collier
The Grace, 20-22 Highbury Corner, Highbury, London, N5 1RD, England
Tuesday 19th November 2019, 7.00pm
– information here, here and here
 

November 2019 – Daylight Music 2019 autumn season continues – Bex Burch with Beanie Bhebhe and Tom Herbert, Çiğdem Aslan & Tahir Palalı, Maria Chiara Argirò & Jamie Leeming (2nd); New Music from Wales with Gareth Bonello, Toby Hay, Georgia Ruth, Accü and Richard James (9th); jazz strands with Nils Økland, Kaidi Akinnibi & Lorenz Okello-Osengor, Helena Kay & Sam Watts (16th) and with Jherek Bischoff, Robert Stillman & Anders Holst and Rosie Frater-Taylor (23rd); Matthew Bourne’s vocal showcase with Seaming To, Keeley Forsyth,Polly Gone Wrong, Andrew Plummer and Dorothy Lehane (30th)

27 Oct

Daylight Music 10, 2019

Moving into its final half, the Daylight Music autumn 2019 season reaches November with a selection of duo/trio encounters (both longstanding and spontaneous), October Daylight’s piano star Matthew Bourne returning to curate and direct his own positional/vocal-orientated event, and an afternoon of current Welsh music.

* * * * * * * *

Daylight Music 320, 2nd November 2019The first of the gigs, on 2nd November, involves a number of collaborations. The headlining ensemble is a trio put together by percussionist Bex Burch, a specialist in the gyil (or Ghanaian/Dagaare xylophone) and the bandleader for the Ghanaian minimalist/jazz/post-punk group Vula Viel. She’s picked “soulgaze” drummer Beanie Bhebhe (whose roster of colleagues and employers across dance, funk, indie and dream pop includes Rudimental, Bastille, Paloma Faith and Action Beat) and former Polar Bear bassist Tom Herbert.

Bex says “I wanted to curate a band to play together for the first time. Tom is a bassist I’ve known since watching Polar Bear as a teenager, and we will both be meeting Beanie for the first time on stage. I’m excited to play with two incredible voices in the U.K. scene. This will be a one-time performance: the music that comes through never to be heard again.”



 
Three Strings & Two Breaths is the duo of Çiğdem Aslan (voice and frame drums) and Tahir Palalı (Turkish kopuz and bağlama lutes). They focus on Alevi songs from Anatolia – mostly songs of love and mysticism from the fourteenth to the twentieth century.

“As a belief system, the Alevi path is based on love and respect for all people, attitudes, knowledge, sharing and science. Oral tradition is directly relevant… an important source of Alevi beliefs and thoughts are the mystical poems and musical ballads (deyisler, nefesler) that have been passed down from generation to generation, many of which have not been recorded in writing. Alevis believe that one must respect and have knowledge of nature, and the principles of love, tolerance and humanism are significant to Alevi philosophy.


 
“A meeting of kindred spirits, the music of pianist Maria Chiara Argirò and guitarist Jamie Leeming is a dialogue between two unique artists inspired by jazz, Latin, classical and folk music. At the heart of the duo is a vibrant sense of spontaneity, which embraces the myriad of colours, textures and sounds they create between them. Combined with free improvisation and an intuitive level of interplay, each performance is a one-off experience. They will be presenting music from the upcoming duo album entitled ‘Flow,’ which will be out in 2020.”


 
* * * * * * * *

The 9th November concert provides “a rare opportunity to hear new music inspired by the landscape and culture of Wales. Expect an afternoon of carefully crafted pieces that blur the boundaries between contemporary Wales and the otherworldly delights of Annwn.

“Based in Cardiff, Gareth Bonello is and has performed for over a decade under the stage name The Gentle Good. Known for his intricate guitar playing and captivating acoustic arrangements, Gareth was awarded the Welsh Music Prize in 2017 for his fourth album ‘Ruins/Adfeilion’. This concert sees him working in a new trio project with fingerstyle guitarist Toby Hay and singer/harpist Georgia Ruth.



 
“Toby writes beautifully evocative instrumentals that instantly transport the listener to the mountains and rivers of mid Wales. Twice nominated for the Welsh Music Prize, Toby has toured the UK and Ireland extensively over the last few years and has built a reputation as a captivating live performer. Georgia is a songwriter and musician from Aberystwyth in West Wales. A skilful harpist with a voice of silver, Georgia collaborated with the Manic Street Preachers on their ‘Futurology’ album and was awarded the Welsh Music Prize for her debut album ‘Week Of Pines’ in 2013.”



 

Also performing is “half-Dutch, half-Welsh singer-songwriter Angharad Van Rijswijk, a.k.a. Accü (who) has been involved in production since her teens and collaborated with writer and comedian Stewart Lee, Cornershop, and Richard James, as well as producing a collage radio series for the BBC. In her music, she brings together a love of production and a turbulent approach to song-writing – which earned her debut album ‘Echo The Red’ the title of ‘Welsh Album of The Year’ by Wales Arts Review. She will be joined at Union Chapel by long-time collaborator and exceptional Welsh songwriter Richard James (formerly of Gorky’s Zygotic Mynci).”


 
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The next two Daylights are being done in collaboration with the EFG London Jazz Festival and present various Daylight-friendly spins on jazz and improvisation.

Daylight Music 322, 16th November 2019On the first of these two shows, Norwegian Hardanger fiddle player Nils Økland will be playing “instrumental melodies (which) will react and resonate with the chapel’s nineteenth-century space, taking us on a hushed, deep journey far beyond our resting place in the pews.” From Tomorrow’s Warriors, improvisers Kaidi Akinnibi (saxophone) and Lorenz Okello-Osengor (piano, keyboards) “constantly search for new inspiration, as can be seen in their recent collaboration with the Urdang dance company. They will for the first time incorporate the chapel’s Henry Willis Organ.”




 
Opening the show, saxophonist Helena Kay and pianist Sam Watts “marry their wildly eclectic backgrounds and influences and give us an opportunity to eavesdrop on a conversation between their two instruments.”



 
On the second show, Jherek Bischoff will be headlining: “a Los Angeles-based composer, arranger, producer, and multi-instrumental performer whose numerous collaborators include the likes of Kronos Quartet, David Byrne, Neil Gaiman, and Robert Wilson. Bischoff is currently composing music for two new theatre productions and scoring for film and television. His most recent album Cistern, released on the Leaf Label, contains a suite of string-drenched instrumentals.”

Daylight Music 323, 23rd November 2019

One of the latter, from a previous Daylight Music visit, is showcased below.


 
Also on the bill, the performance of saxophonist Robert Stillman and 12-string guitarist Anders Holst “will draw upon the chapel’s resonant acoustics as a platform for their own works alongside those of Ornette Coleman, John Fahey, and Moondog”. Rosie Frater-Taylor (singer-songwiter, jazz guitarist and ukuleleist) will provide lapping, warm, skilful songcraft to warm everyone up.




 
* * * * * * * *

Daylight Music 324, 30th November 2019Much is made of the Union Chapel’s terrific acoustics: pianist and improviser Matthew Bourne (relatively fresh from his recent Daylight collaboration with Keith Tippett) is intending to make full use of them on the 30th November when he presents his “voix outré” project of handpicked collaborators, stationing them at different points throughout the building (to present a concert that’s as much about sound spacing as the notes produced) while acting as both audience guide and artist accompanist.


 
Seaming To is a composer, vocalist and multi-instrumentalist who has performed and recorded with Robert Wyatt, Jean Claude Vannier, Punchdrunk, Leila, Leon Michener, Larry Goves, Snack Family and Matthew Bourne. She has studied opera at the Royal Northern College of Music and began her career as part of Manchester supergroup Homelife and Graham Massey’s Toolshed.


 
Keeley Forsyth is a composer, singer and actor from Oldham. Built upon sparse arrangements, her music is centred around a singular, emotionally raw and magnetic vocal delivery, by turns devastating and uplifting. The characters who populate her songs tell stories of the high and low tides; of freedom and entrapment, of hard won triumphs and the darker corners of domestic life.

 
Polly Gone Wrong is an all-female vocal trio singing original songs baked with folk, blues, elements of playful obscurity, and close harmonies. Sometimes they are accompanied by a saw, a bass, a drum, or even beatboxing; sometimes they’re just three female voices in harmony and unison.


 
Andrew Plummer is a vocalist, guitarist and composer-producer from Exeter, Devon. Plummer has been the creative force – composing, performing and touring nationally, producing nine albums under his own name, with his musical leviathan World Sanguine Report and with Snack Family (the avant-rock trio co-founded in 2011). He draws on a wealth of influences and pens music that reinterprets musical genre, loaded with visceral tales from the dark side of life, love and death.



 
“Poet Dorothy Lehane (the author of three poetry publications and a Lecturer in Creative Writing at the University of Kent) will read selected sonnets from her latest publication, ‘Bettbehandlung’.”

 
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All gigs are at Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England, with a suggested donation of five pounds. Dates below:

  • Daylight Music 320: Bex Burch/Beanie Bhebhe/Tom Herbert Trio + Three Strings & Two Breaths + Jamie Leeming & Maria Chiara Argirò – Saturday 2nd November 2019, 12.00pm – information here and here
  • Daylight Music 321: Atsain Priddin: New Music from Wales (featuring Toby Hay + Georgia Ruth + Gareth Bonello + Accü) – Saturday 9th November 2019, 12.00pm – information here and here
  • Daylight Music 322: EFG London Jazz Festival (featuring Nils Økland + Kaidi Akinnibi & Lorenz Okello-Osengor + Helena Kay & Sam Watts) – Saturday 16th November 2019, 12.00pm – information here and here
  • Daylight Music 323: EFG London Jazz Festival (featuring Jherek Bischoff + Robert Stillman & Anders Holst + Rosie Frater-Taylor) – Saturday 23rd November 2019, 12.00pm – information here and here
  • Daylight Music 324: Matthew Bourne presents ‘voix outré’ (featuring Dorothy Lehane + Seaming To + Keeley Forsyth + Polly Gone Wrong + Andrew Plummer) – Saturday 30th November 2019, 12.00pm – information here and here

More on the last two DM gigs of the year will be posted up closer to December…
 

October/November 2019 – upcoming London gigs – (mostly) female pop and poptronica and dance – Caroline Polachek (30th November); Kin Leonn and Geiste (1st November); Imogen Heap and Frou Frou (15th November); Kedr Livanskiy and Detalji (21st November), and Yeule at nearly all of these…

23 Oct

Some interesting technological pop shows (at various scales and predominantly female-driven) are arriving in London shortly.

First of all, Caroline Polachek is playing a small show at Hoxton Hall on 30th October. Though she spent her first musical decade as the leader of clever, multi-media-aware New York pop band Chairlift (best known for their Bruises single) she’s overlapped this with forays into ad hoc/lo-fi/female-fun supergrouping (the Girl Crisis cover band) and pastoral/theatrical electronica (from 2013 to 2015, as Ramona Lisa) as well as being the prime writer and arranger for (if we’re being honest, being the creator of) Beyoncé’s ‘No Angel’. Along the way, she’s established herself as a signally complete and disciplined performer, profoundly hands-on-involved with her own image and how it relates to her music, from designing her own choreography and makeup through to choosing all aspects of wardrobe and video presence.

It seems that in her mid-thirties – and after six years of releasing music on her own in various shapes and forms – Caroline’s starting to settle into the idea of a solo career. Her latest album – this year’s ‘Pang’ – is the first to emerge under her own name: a well-packed set of contemporary R&B/alt.pop with the same kind of expansive ear and mind for exploratory forms as peak works by Kate Bush, Jane Siberry or Björk (or, more recently, f.k.a. Twigs and Jenny Hval). Calling it some kind of solo revelation is over-simplifying; Caroline’s use of various pseudonyms for her one-woman projects always seems to have had more to do with creating useful self-eliding masks in which she can unselfconsciously explore different musical ideas. Like Björk, she’s also a frequent, restless and productive collaborator with others (most recently, with PC Music’s Danny Harle), and like Bjork similarly firm in that she’s ultimately the person in control and making the choices.

The ‘Pang’ singles so far, both musically and visually, show a talent and imagination at a comfortably full (and wide-ranging) stretch. Here are three of them in video form, showing off Caroline’s particular vision.




 
Playing support at Hoxton is Yeule – a persona project by visual artist and sometime synth builder Nat Ćmiel. A Singaporean-born nomad “obsessed with tinkering and discovery” and currently settled in London, she’s taken her talents for construction, reconstruction and textural explorations of the subconscious deep into her own music. The latter, merging a kind of transplanted Chinese pop with a slippery international EDM lucid drowse and sugary whispery vocals, sometimes makes her resemble an East Asian Julee Cruise settling, like a dreaming moth, into clubland’s sensuality and wilfully fluctuating identity space.

Certainly there’s plenty of surreal Lynchian lushness and reverie to her sound, complementing the smoke-and-mirror verbiage which she generates and which one has to stumble through while trying to get to the bottom of what makes her tick and flutter. Yuele characterises the main component of her work in terms both sensual and psychological (“(a) stifling psychological haze turned into perfume”) and adds, Sybilline, that “it’s difficult for my mind to stay in one place. I can go back to revisit the person I was in my dreams. I see them as multiple people. Sometimes they talk to me, but I’ve cut most of them off because they start screaming in my ear.” All of this inspires her ongoing fluid and successional approach to performance personae, which she continually tries to break down and move through in a series of metaphorical deaths and album tracks exploring the hinterland between death and rebirth, awareness and oblivion. The aforementioned Twigs might be a closer comparison than Cruise: there are similarities in the wispy softness of tone, the lightly assured stepping between different art forms, the moving body as creator’s canvas, the simultaneous exposure and walling off; the final definitions which slip through the fingers of any external searcher.



 
* * * * * * * *

Yeule is also playing two further London shows in November. The first is her own – a headliner down in the basement at Servant Jazz Quarters in Dalston on 1st November, at which she’ll have a full chance to stretch out and take control of proceedings.

Ijn support is French-born Geiste, who creates her own dramatic, multi-instrumental pop: compelling undulator songs containing slow-burner stories. Also around is Yeule’s fellow Singaporean Kin Leonn, extending the warm, blipping, ambient/electronic instrumental side of the pillowy dream-pop he’s known for back home as a third of Midst. His debut solo album, ‘Commune’, deals with “longing, nostalgia, revelation, and other curious introspections… a dive into the subconscious and a documentation of the sensibilities encountered along the way.”



 
The second Yuele appearance during November is another support slot nearly three weeks later, over in Hackney Wick, supporting Moscow EDM-er Kedr Livanskiy at a Bloc night. A onetime Russian punk turned electronica explorer (and a member of Moscow’s Johns’ Kingdom collective), Kedr embodies a particular Russian spirit at the moment: the outward reach in collision or contradiction with its own bullish sense of identity. Her wavering vocals are distracted white dance-diva slipping into semi-operatic chant phrases: since it’s all sung in Russian, it all sounds strangely ritualistic and ancient to the ignorant or linguistically challenged (so that’ll be me and most of the rest of us, then). The music itself sometimes summons up some classic old London dance tropes of jungle and drum’n’bass; sometimes lonely analogue darkwave contortions and streetlight synth pads; sometimes international techno blurb and dubby keyboard clanks rebounding off blippy little traffic bleeps and horns.




 
Also supporting Kedr is Finnish techno diva Detalji (a.k.a. Krista Myllyviita), the night’s smoothest and most direct proposition. Making her UK live debut, she creates a mixture of cellar throb and of clear and arresting pop songs around a sleek IDM chassis, preoccupied with intimacy and detachment, with their overlap with sexuality, with the ups-and-downs of clublife friendships and power games and with the struggling state between urges and self-awareness. You can get suckered in by the cruising beats and the urgent electronic slither: afterwards, you may be nagged and haunted by the words that have slid across your eardrums, carried by the pulse and the needing.

 
* * * * * * * *

While looking into the Caroline Polachek date, I couldn’t help but notice how her recent single So Hot You’re Hurting My Feelings has certain similarities with Imogen Heap’s similarly sweet’n’horny Goodbye and Go, from fifteen years ago. Most people probably know – and knew – the latter from last year’s slice’n’dice acquisition and remodelling by Ariana Grande. It’s all amicable, all supportive, all respectful – Immi and Ariana are mutual fans, share assorted tips and in all respects are the model of a supportive cross-generational female friendship. On top of that there’s still plenty of Heap sales, shows and activity (more of which in a moment).


 
Yet it still sometimes feels as if Immi herself has slipped through a crack of public awareness. A fully self-contained female writer, singer, producer and instrumentalist almost a generation before it became commonplace. Known, loved and worked with by other musicians from Ariana to Joshua Radin to Jeff Beck. A polymathic grafter with plenty of industry success over two decades plus a field of work covering theatre, film and classical concert hall as well as pop songs (that’s her score you’ll have heard in the Harry Potter play)… For all that, still in too many respects a cult artist, at least in her home country. I was trying to work out why this was, and whether it was in part the twists of image. While Immi was being overshadowed by fellow BRIT School graduates like Amy Winehouse, it can’t have been because her own songs lacked spirit or immediacy: anyone who thought that couldn’t have heard the suspended tech-apella heartache of her other best-known song, Hide And Seek (or can’t have caught up, later, with the deceptively dense lines of her mother’s-lullaby Tiny Human).



 
It’s probably more that, in a country that likes its imported and its homegrown pop divas to fit specific strands of celebrity (the light entertainment celeb sprung from national reality TV, the party provider, the own-brand corporation juggernaut selling scent and other beauty-myth trapping, the icon playing out huge-scale soapy stories in public, or a combination of all four), Immi has never really fitted the measures. There’s that lack of mystique, for which she’s happily substituted an affable beanpole strut combined with a chatty, cheery, Essex duchess-next-door poise. There’s that wild sense of dress-up that’s ultimately more about the laugh and the moment than it is about eight hours in wardrobe.

Then there’s the way in which, rather than stamping her name on perfumes and couture, she’s enthusiastically and publicly involved herself in ambitious, constructive and practical tech geekery which is all about shifting control into the hands of artists: investigating blockchain, developing and marketing ungimmicky wearable MIDI instruments and, more recently, putting together the cloud-based Mycelia Creative Passport (which streamlines a user’s digital credentials and payment channels, bringing the workings and remunerations of their career directly into their own hands). Finally, there’s the fully-integrated talent: as well as the dancing and fronting, the skills which guarantee that (Prince-like) she’s responsible for every single note, noise and shaping on her own records – and that its happening at a level which could challenge any other pop producer or instrumentalist, rather than simply being a make-do necessity.

In some respects, then, Imogen Heap symbolises a kind of drive, inquisitiveness and achievement which we don’t associate with (or encourage in) women enough – in or out of pop. A bright, squirrelling intelligence. I’ll admit that such things won’t necessarily smear much righteous mascara; it’s unlikely to fuel and enable some cathartic life-changing bawl’n’bitch right at the moment when you really need one. On the other hand, she won’t sell you crap and you don’t have to trail in her glory: you never have to be the friend who’s ultimately just another fucking minor courtier.

In short, beyond the songs and sounds there’s something about Imogen Heap that makes her seem more like an inclusive brilliant friend than an out-and-out pop goddess. Perhaps in some respects, that’s all for the better. I don’t know whether her model of self-sufficiency and practical enquiry has influenced the other, younger women mentioned here. I’d like to think that in some ways it has.


 
At any rate – Immi’s ongoing year-long Mycelia world tour touches down at the Roundhouse in London for one of its three British dates during November (the others are in Gateshead and Manchester). Thematically and practically, it links in with the ongoing Creative Passport project, using workshops and talks alongside the concerts to build a canny community of new tech-savvy users.

In addition, this particular tour sees Immi re-united with her old friend and fellow instrumental/production boffin Guy Sigworth, for the first time since their short-lived/one-off album and tour in the early 2000s as Frou Frou (in the meantime, Guy’s busied himself working with a bevy of other singers including Alanis Morrisette, Bebel Gilberto, assorted Sugababes and Chinese electropop chanteuse SingerSen). A new version of Frou Frou takes over part of each of Immi’s shows to resurrect old Guy-and-Immi collaborations. Here’s a live rendition of their old album-launcher Let Go from earlier in the tour, plus a rare of-its-time Frou Frou video from the old days.



 
* * * * * * * *

More on other upcoming November femmetronica soon…

Meanwhile, dates for now:

Parallel Lines presents:
Caroline Polachek + Yeule
Hoxton Hall, 130 Hoxton Street, Hoxton, London, N1 6SH, England
Wednesday 30th October 2019, …pm
– information here, here and here

Parallel Lines presents:
Yeule + Kin Leonn + Geiste
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Friday 1st November 2019, 7.30pm
– information here, here and here

DHP Family presents:
Imogen Heap & Frou Frou
The Roundhouse, Chalk Farm Road, Camden Town, London, NW1 8EH, England
Friday, 15th November 2019, 7.00pm

information here, here and here

Bloc presents:
Kedr Livanskiy + Detalji + Yeule
Bloc @ Autumn Street Studios, Unit 3, 39 Autumn Street, Hackney Wick, London, E3 2TT, England
Thursday 21st November 2019, 7.30pm
– information here and here
 

October 2019 – upcoming London rock, pop, noise, dancetronic gigs – Hurtling, Stephen Evens and Junodef (17th October); Gum Takes Tooth and Hyperstition Duo (18th October); Bunny Hoova, Gribs, J.B. Glaser and Halfs (18th October)

8 Oct

Hurtling + Stephen Evens + Junodef, 17th October 2019

Alt-rock trio Hurtling (fronted by My Bloody Valentine tour noisemaker Jen Macro) have a debut record to offer you – ‘Future From Here’, on Onomatopeia Records – and are launching it at north London’s The Islington in the middle of October. Their sound’s relatively easy to peg – post-Pixies, post-grunge, post-dreampop – but difficult to dismiss. There’s a full cupboardful of familiar indie rock ingredients to hand, but all reshuffled and re-examined via Jen’s particular perspective and inspired by the disorientations of touring, the displacement of emotions, the waywardness of health: the bumps and setbacks of a bright, questioning human organism pushed into too much motion. Sometimes, despite the noisy ethic, it’s surprisingly gentle; sometimes sludgy guitar parts pile up like rainbow cement ooze; sometimes it’s all about the vocal harmonies.



 
Once upon a time, most of Hurtling were part of cunningly witty indie/artpop sloggers stuffy/the fuses, and their glowering former employer (and current Onomatopeia labelmate) Stephen Evens is also on hand for the evening: ostensibly in a support slot, but probably to keep a dyspeptic jaded eye on them and to crush their remaining youthful dreams beneath his tapping boot. He’s playing solo – probably with guitar, microsynth and anything else portable which he fancies and which comes to hand – and is still working his own 2017 debut album, ‘Bonjour Poulet’. Which is fine, since it was excellent: a mordant larderful of creaky treats which revealed themselves to be gappy armour-plate wrapped around a surprisingly tender heart. He’ll probably give you all that sardonic, seen-it-all expression: actually, he’ll be pleased to see you.



 
London-based Swedish “post-death music” quartet Junodef fill the other support slot. Their debut single, a soft-strummed slice of spectral folk with additional Gothic guitar boom and the bleakness of a death metal song, was called Make You Die. Subsequent work hasn’t travelled too far from those initial emotional roots, although they’ve toyed with spooky progressive rock keyboards, acid rock shadings and lingering dark-country embellishments (the latter suiting both the paired vocals of Tyra Örnberg and Karin Grönkvist and their admiration for Emma Ruth Rundle and Chelsea Wolfe).

More recently Junodef have been feeding in noirish elements from trip-hop and droning electronica, citing inspiration by Portishead and Young Fathers. At the same time, they’ve upped their Bad Seeds clang and their clarity and put greater emphasis on their visual work, resulting in their most vividly fleshed-out songs and atmospheres yet. Don’t expect floppy Goth ragdolls: this band has a tough core, and a storytelling streak that’s just beginning to come into its own.



 

* * * * * * * *

Gum Takes Tooth + Hyperstition Duo, 18th October 2019In the same week, on the following day, relentless psychedelic noise-fosterers Baba Yaga’s Hut are putting on a Bethnal Green gig for block-party-inspired thunder-twosome Gum Takes Tooth. Singer/electronic bombardier Jussi Brightmore and wired-up drummer Thomas Fuglesang have been at this for a decade now, producing a music that’s
grinding and urgent, slow yet filled with unnerving impetus.

As with plenty of British acts on the weird/occult cusp, Gum Takes Tooth are fascinated by ritual (attempting to initiate it in both their recorded output and, more significantly, in their live performances) and with the jarring subconscious impact on the human animal from the mechanisms of technology, hierarchy and blunt cultural forces which surround us. Their last record, ‘Arrow‘, focussed on London gentrification from the perspective of those squashed under or flicked aside by its well-heeled, well-polished bespoke shoes; and on the savage simultaneous pressures from above to indulge the inner beast in competition, in nationalism, in a fracturing of common responsibility and empathy. While writing ‘Arrow’, Jussi saw all of this as a kind of cultural intoxication with the emphasis on toxic: it gave the duo a musical and moral focus which they’ve pursued ever since.



 
A couple of years ago, open-minded Sheffield Afrobeat/noise/dance-pop combiners Blood Sport called it a day. Two-thirds of them – drummer Sam Parkin and guitarist/Octatracker Alex Keegan – have since resurfaced as Hyperstition Duo, a blistering stew of kit-rattles and synth noise smudging and battering the line between live gig and avant-garde DJ electronica. They’ll be supporting Gum Takes Tooth on this occasion: but where the headliners favour slower pace and a ritual weight, the Hyperstitioneers prefer a break-neck-speed informational barrage.

At the end of this past summer, Hyperstition Duo released their debut EP ‘Virotechnics‘. There’s the usual jargonated hype to go with it – “summoning egregors of the Anthropocene, (they) plunge deep to deliver a maximalist collective immersion into their own lysergic phonosphere. Lurching, polyrhythmic pathways crumble and re-assemble; elastic dynamics snap; propulsion sparks from the nerve-centre of machine and corporeal entanglement… templexing, möbius loops and cybernetic subjectivities abound in an attempt to conjure escape vectors in a world of ubiquitous sound.” For once, the texture of the press release – a plunge into lathering, urgent verbalisation – actually fits the texture of the music.



 
* * * * * * * *

Overlapping the Gum Takes Tooth/Hyperstition Duo concert, Ben Vince’s south-east London clubnight Ellipsis (blending strands and clumps of experimental dance and experimental pop) ventures up north to Dalston on the same night for an evening of seamless switching between stage and DJ deck. I’ve not encountered Ellipsis before, but I’m impressed with what I’m finding out now.

Bunny Hoova + Gribs + J.B. Glaser + Halfs, 18th October 2019

To headline this time, Ben’s enticed the perplexing Dutch-born Mancunian Bunny Hoova down for her full-band London debut. Her work is simultaneously delightful and frustrating. At its simplest, it’s a kind of fall-apart dream pop – intermittent rhythms, addled guitar chording and bass thumbing, a cloudwork of woven-in samples, and a constant tripping over unvoiced questions, obscured conclusions and the track-loops of the thought-train. But while most dream-pop sinks into a narcotized structural conservatism (strumming away in the same key while admiring the whorls of sound coming through the pedalboard), Bunny’s material seems constantly uncomfortable, actively intelligent, and hovering at the midpoint between insight and misdirection. She’s been yoked in with experimental pop deconstructors/faux-idiot savants like Tirzah and Micachu, and I can see why. There’s that classical conservatoire training: coyly hinted at in the PR, for extra credit, but in practise forced off into the distance like a spurned aunt (even as it’s being used as the counterweight to punkish anti-technique). There’s the idea that the usual rules of pop song and riff culture are being scorned in a meticulous matter-of-fact way via an admixture of free play and cerebral manifesto.

Plenty of the songs on Bunny’s debut album, ‘Longing’, have the sensual drag-and-tug rhythm of slow jams; but rather than focussing a mood or a regular pace, they wander off at instinctive mental tangents or hiccup into a different arrangement; the instruments and samples entwining in a scratchy, bewildered, irregular intimacy. At times she seems to be taking up an erratic desert map scrawled by Captain Beefheart and attempting to apply it to close urban living. At other times, she seems to be spontaneously transposing into song experimental short stories about offbeat relationships, jolting encounters or small moments which change the course of a life; rich in detail and significance, short on conclusion. Plot and flavour are stretched out and split into gobbets, like odd-shaped beads necklaced on a guitar string. Her most-talked-about song, Lazy_Easy, is a scrubbing, slurred, pointed dissection-tract covering both the implicit and explicit links between consumerist culture and animal cruelty: more of a wall-collage with blended-in musical notes than an actual song. The world she flits through feels as rickety as a condemned flat; one that she’s too good for and shouldn’t have to live with, but which she has to accommodate and fit her voice to.




 
Also playing are a mixed bag of London and Manchester electronic experimentalists with bedroom studios. Gribs is a creative DJ and electronic musician, a label co-boss (Tobago Tracks) who in her own music weaving connections between straight-up dance music (trap, jungle, bass culture) and lo-fi DIY sound-and-voice experiments. There’s a distinct edge of discomfort to her work: not so much or so often that it repels, but her found vocals and implied song characters seem uneasy, morbidly eccentric or disassociated from the music’s rhythmic propulsion or sensual salve.

More DJ-ing and deckmixing comes from J.B. Glazer, another London-based creator of peculiar counter-intuitive dance music: for him, a kind of relentlessly alienated mirror-image R&B, all of its comfort and slickness rusted away into disassociative ennui. In the work of both Glazer and Gribs, there’s an echo of chopped-and-screwed culture: the slowing, the altered-state disconnections and new connections, the sense that they’re using alienation as a kind of gatekeeper (if you like dance but are prepared to discard much of its qualities of release or of socializing, then perhaps you can squeeze through this door).

Rounding things out (or upsetting any remaining unspilled applecarts) there’s the mysterious and performative Halfs – from what I can work out, a try-anything beat-making romper on Manchester’s queer arts scene. I’ve found a very fruity synthdance EP of his/theirs from 2017, so there are a few slurps of its whooping dayglo industrial tones below. There have also been percussion-favouring mixtapes and albums which have been whipped capriciously on and off Soundcloud, but are gone now: other than that, there seems to be involvement with scratch theatre, video and so on. In order to properly keep up with Halfs, you need to subscribe (both literally, and in terms of consistent loyalty) so just consider this vague, semi-accurate plug of mine to be a jumping-on point and take it from there.


 
* * * * * * * *

Dates:

Onomatopoeia Records presents:
Hurtling + Stephen Evens + Junodef
The Islington, 1 Tolpuddle Street, Islington, London, N1 0XT, England
Thursday 17th October 2019, 7.30pm
– information here, here and here

Baba Yaga’s Hut presents:
Gum Takes Tooth + Hyperstition Duo
The Sebright Arms, 33-35 Coate Street, Bethnal Green, London, E2 9AG, England
Friday 18th October 2019, 8.00pm
– information here, here and here

Ellipsis presents:
Bunny Hoova + Gribs + J.B. Glaser + Halfs
SET (Dalston Lane), 27a Dalston Lane, Dalston, London, E8 3DF, England
Friday 18th October 2019, 9.00pm
– information here and here
 

October 2019 – upcoming London experimental gigs – Retrophonica at the Brunel Museum (13th); Charles Hayward presents Sly & The Family Drone, V Ä L V Ē, Timestretch Alarmsong and Atatat (19th)

5 Oct

Retrophonica, 13th October 2019

Retrophonica is a new, very accessible multi-media performance project; currently focussed on the branching aerials, primal wooo and touch-me-not anticipations of theremin playing. It’s launching itself with an evening of two (identical) concerts in the yawning brick gullet of the Brunel Museum’s Grand Entrance Chamber (also known as the top of the southern Thames Tunnel shaft).

Celebrating the instrument’s centenary, these will be an “immersive evening of music for theremin and full orchestra”, while delving into the story of the instrument’s creator, Léon Theremin. From here, it sounds as if the concerts will be a cross between a pops-orchestra occasion, a slide-show history lesson writ large and a session of nostalgic avant-garde tinkering; all of it enclosed in that bleak, beautiful and magnificently functional Victorian civil-engineering maw.

As they say themselves,“prepare for an immersive audio-visual experience, complemented by cocktails, lightshow, and narration, featuring original and adapted music for theremin by Dmitri Shostakovich, Bohuslav Martinů, Miklós Rózsa, Les Baxter, Claude Debussy and John Williams, performed by Retrophonica with thereminist Charlie Draper, new arrangements and works by Alex Palmer, and bespoke narration from author Ken Hollings.”



 
You might already know Charlie from all manner of bookings, everywhere, for both theremin and ondes martenot: here’s an earlier mention. Alex has written and arranged extensively for theatre, film and concert hall, and looks as if he’ll be adding the sweeter edge to the evening. As for Ken, although I suspect that he’ll be operating on calmer terms tonight, he’s most likely to be the one to toss in a wild card or two. Having started work in the 1970s as a literary factual editor (how ominous such a description sounds now) he went on to an early-’80s spell as vocalist and cut-up’er in Manchester post-punk band Biting Tongues, followed by an expansion into essays, libretti and experimental fiction (all of which have dipped into and across other disciplines from Japanese films to twentieth-and-twenty-first century politics to data structures).

I’ve no idea who’s contributed the orchestra. As for the cocktails, there’s no further word on them; nor on how you might mix one called a Thames Tunnel.

* * * * * * * *

Just under a week later, downriver at Deptford, London art-rock/post-punk/improvisation godfather Charles Hayward will be putting together the second of this year’s “genre-fluid” Charles Hayward Presents concerts at the Albany, unfurling “new sounds from the underground and outsider scenes of London and beyond” and massing together elements of jazz/improv, art punk, noise, contemporary classical and electronic music.

Charles Hayward Presents..., 19th October 2019According to Charles himself, his own performance centrepiece will be the project-cum-band Timestretch Alarmsong… a sequence of tunes and sound snakes that I’ve put together with Tom Challenger (Dice Factory/Ma saxophonist), Yoni Silver (multi-instrumentalist with Hyperion Ensemble and many others), Roberto Sassi (Cardosanto/Anatrofobia/Snorkel guitarist), Nick Doyne-Ditmas (double bassist and Hayward collaborator in Monkey Puzzle Trio).

“It’s tightly rehearsed and goes through a wide range of attitudes and (more importantly) emotional energies. To my ears it’s super exciting and I feel like we’ve pushed at a few barriers and come up with something new that has melody, shape and grooves from light to super heavy/dark. There’s no clips available but we will be recording the project for future release. All the players are fantastic musicians and working on the project has been a study in joyful cooperation.”

In the absence of a collective clip, here’s a scatter of solo ones and examples of related projects:





 
Three other acts join in for the night. ‘Gentle Persuaders’, the latest album from contemporary drum/noise/saxophone ritualists Sly & The Family Drone – is intended as “the politest of bludgeonings”; its creators still merge Ayler-esque free jazz, industrial rock pummel, celebratory machine hiss and the loose-hanging exploratory feel of a bass-less duo. They also still give out drums at their concerts, inviting a congregation of noise.



 
Also back in the fray is V Ä L V Ē, with music that’s less workshop than workshed. Strongly DIY (featuring reed instruments, electronics, invented gizmos, bass guitar, concert harp and singing women), it’s the sound of a trio of highly trained musical minds phasing back into spontaneity and play. A sort of three-way attempt to become idiot savants via assorted glitchery and boink, semi-spontaneous nursery rhymes and tunelets and musical devices (built out of shelves, tobacco tins, old house bells and similar Branestawmery), but via a female pattern.


 
Finally, there’s Atatat – a solo project from Liverpool art-freak music mainstay J.C. Barbara (best known as drummer/ranter for aPAtT and Barberos, and here using a very Haywardian array of drums, contact mics, loops and vocals).


 
Designer Raimund Wong (whose work has adorned posters and releases by Total Refreshment Centre, Church Of Sound and Baba Yaga’s Hut, and who shares Charles’ interest in chance theory and the ingenuity forced on artists via DIY minimalism) will be DJ-ing.

* * * * * * * *

Dates:

Retrophonica
Brunel Museum, Railway Avenue, Rotherhithe, London, SE16 4LF, England
Sunday 13th October 2019, 6.00pm & 8:30pm
– information here, here and here

Charles Hayward Presents… (featuring Sly & The Family Drone + VÄLVĒ + Timestretch Alarmsong + Atatat + DJ Raimund Wong)
The Albany, Douglas Way, Deptford, SE8 4AG London, United Kingdom
Saturday, 19 October 2019, 7.30pm
– information here and here
 

October/November 2019 – Moor Mother’s ‘The Great Bailout’ with the London Contemporary Orchestra in Kraków, Gateshead, Ghent and London (6th, 12th, 16th, 23rd October), with Galya Bisengalieva and Klein joining in London. Plus further Moor Mother dates in Utrecht, Helsinki and Madrid with Zonal, Eartheater and Cruhda (7th, 11th, 15th November)

1 Oct

The unnerving, brilliant Afrofuturist beat-poet and sonic manipulator Camae Ayewa – a.k.a. Moor Mother – swings back to Europe for a brace of concerts during October and November, during which she’ll showcase her latest project, ‘The Great Bailout’. This is a collaboration with the London Contemporary Orchestra (arguably the capital’s most committed ensemble to both new classical concert music and its intersection with other musical forms and disciplines). It follows Moor Mother’s earlier work this year as part of liberation-jazz group Irreversible Entanglements and her recent contributions to the Art Ensemble of Chicago’s fiftieth anniversary album ‘We Are All On The Edge’ (in which she layered her poetry over the exuberant live improvisations of the surviving members of the original resistance jazz band.) For a more in-depth summary of her explosive protest-griot work, click here.

Moor Mother v London Contemporary Orchestra: 'The Great Bailout' tour, October 2019

There’s not much advance publicity regarding ‘The Great Bailout’. What there is lays the ground for performances of “a free-verse poem that acts as a non-linear word map about colonialism, slavery and commerce in Great Britain and the Commonwealth.” Given that Moor Mother’s previous work has consistently exploded conceptual/emotional bombs underneath the economic, social and psychic legacy of slavery and racism in America, you can expect her to have come up with something ferociously critical of the cherished white-British myths and veilings around the history and repercussions of Empire. As the organisers put it, “we can’t help but expect the first few rows… to leave this performance with singed eyebrows and melted glasses at the very least.”

I’m guessing that the project title refers to one of the most miserable semi-secrets of the eventual abolition of British slavery – this being the handsome payoffs eventually delivered (post-emancipation) not to the freed slaves themselves as backpay, apology or recompense, but to their indignant and haughtily entitled British former owners as property compensation. This kind of withering, righteous black interrogation invading white concert halls (in fact, being invited in) is in keeping with the necessary re-examinations of the roots of modern Western culture. I’m reminded of Doris Salcedo’s colossal ‘Shibboleth’ installation at the Tate Modern, in which she slashed the gallery floor with an ever-widening crack standing for the original Tate sugar money, its dirty roots in plantation slavery, and the consequent ethical undermining of the gallery and its history – a microcosm of white Western culture and wealth and the exploitation underneath.

It’s also in keeping with the ongoing rumblings and debate regarding the slave-trading roots of Bristol, the strategic heartland of the Middle Passage’s triangular trade – with the slave trader imprints on the names of its great buildings and statuary (some of which were recently and pointedly encircled with diagrammatics of slave ships and their suffering human cargo). You can’t help thinking that the organisers of ‘The Great Bailout’ really missed a trick by not scheduling a Bristol date, and perhaps a Liverpool one, alongside the London one. Gateshead – which does get a ‘Bailout’ date – has less of a stained history in this matter, along with its sister city Newcastle: distanced from the heart of the trade, and with the Tyneside anti-slavery movement being an early starter. London, though, grew fat on the profits, with its own triangular trade bigger than anywhere else in Britain.

There may be different resonances associated with the two continental European venues on the tour. Kraków is a little detached from diasporan agony, its own kind of historic slavery having been in the form of homegrown serfdom (Poland’s class savagery was traditionally applied to its own peasants, and its colonialist oppressions visited on the nearby Ukraine rather than on Africa). Ghent, on the other hand, hosted and shaped the 1814 treaty in which, in part, Britain and Belgium applied themselves to ending African slavery and the Middle Passage trade (albeit on their own terms, part of the strategic power-plays of the age as much as it was through any humane impulses).

It’ll be interesting to see if Moor Mother will have taken note of these things, dredged up these uncomfortable stains and compromised atonements and woven them in too. Whether each city on the tour route is given its own case to answer – hidden bones coming to light after two-and-a-half centuries of obscuring and snowjobbing.


 
There will be extras at the London show. Experimental violinist and London Contemporary Orchestra member Galya Bisengalieva will be performing an opening set of her own electroacoustic chamber music, duetting live violin with cunningly sculpted electronic sound-shaping. What I’ve heard so far is elegant and highly dramatic: sonic booms, string drones, eerie hard-eyed processional melodies against harshly majestic electronic architecture and steppe-scapes reflecting Galya’s own Kazakh background.

 
A second opening set is being provided by British-Nigerian south London glitch artiste Klein. An abstractioneer for three years, she started out being hailed as a kind of reinventor of gospel. Certainly her early recordings dipped into the form and she’s admitted that for many years it was her only reference point. It didn’t take her long, however, to move far beyond it. Other early tracks came across as a collagist log of the sounds of her community: not straightforward field recordings, but crafted patchworks of impressions and implicit meaning, finding vocal and musical fragments as important, in themselves, as actual complete sentences and phrases. Her ‘Tommy’ album, in 2017, was a kind of vaporously dissolved Afro-London laptop opera.

These days, memories of black church music continue to drift and prowl through Klein’s increasingly adventurous recordings, but they’re only part of her palette. While she keeps a toehold on more mainstream black musical ideas (a track like Changes sidles up to drill music, a shuffling slide of plate over plate, of violent masculine monologue recounted), most latterday Kleinwork is miasmic re-sortings of black vocal fragments over dark ambient dreamquakes and feathertwig beats: sometimes sobs or dramatic breaths, or slivers of story (somehow bigger than they appear, the way that individual black stories so often seem to trail implication entire cultural histories). Either that or they’re ribbons of dirty noise, swirls of demonstration with strange vocal glitches playing across them – gasps, lip noises, inchoate expressiveness.





 
* * * * * * * *

Moor Mother’s own roots are in gospel too, although she’s previously qualified that “my family used to listen to scary gospel—Mahalia Jackson, people who were not just waiting for Jesus to come, but being like, “This is what we’re living with, we’re going to push through. I’m climbing up the rough side of the mountain, and we’re going to get into this chariot and go to a better place”…” There’ll be more evidence of “negro spirituals flipped, remixed, and recaptured” on the second full Moor Mother album, ‘Analog Fluids Of Sonic Black Holes’, which is emerging on 8th November. In keeping with her work so far, the record will cover the themes of “myth, black mothers, vodun, quantum futurism and post-colonial street narratives.”


 
I’m guessing that this material, or spins on it, will be in strong evidence in the three further European dates Moor Mother will be playing in November following the ‘Great Bailout’ events. The first of these will be in Utrecht, as part of the Le Guess Who? Festival. Here, she’ll be rejoining Kevin Martin and Justin Broadrick‘s “smacked-out hip hop” project Zonal (as one of two featured vocalists, alongside “fire-and-brimstone dub poet” Nazamba).



 
The second event is her headlining show in Helsinki. There, she’ll be supported by Alex Drewchin – a.k.a. non-binary multi-media art’n’music hopper Eartheater: who, over a five-year span in New York, has graduated from straightforward, deliquescing dreampop covers of Kate Bush songs to flittering unorthodox trance pop and sprawling, deconstructed anti-manifestos of collaged noise and brain-jumps. Beyond the electronics, current Eartheater work reflects the idea of body as instrument, psyche as testbed, ears and memory as record-and-playback devices.

The most recent Eartheater album, ‘IRISIRI‘, is a simultaneous explosion and dismantling of sonic and conceptual ideas across the spectrum. Plunderphonic chamber music samples, scraping noise effects, dance beats and thoroughly masticated chunks of ruined pop spat out and left on New York lamp posts, in apartment stairwells and practise spaces, leaving a scattering of recombinable fragments for other people to get stuck on and to mull over; flitting word associations and deconstructions of gender, of memories, of momentary definitions. There’s even the occasional joke (“I have no metaphor for you today – I’m off work…”). It’s both impersonal and entirely personal in its blink-and-you’ll-miss-‘em running of personal insights and questions through a mill of big city information overload. Yes, it raises more questions than it provides coherent answers, but at least it’s intent on chopping out a space of possibilities in the first place.




 
Moor Mother’s other headliner is in Madrid, where she’ll be supported by emerging Spanish eclectician Cruhda. The latter’s work is softer and in some ways more accessible than that of most of the other people covered in this post, but that’s selling it short. It’s disruptive, just in a subtler way.

Crudha’s debut EP ‘Íbera Morte‘ is founded on selections and deliberate echoes of Spanish folk music, refracted through any number of home-studio cut-up-and-stick-in methods and stylings – musical box clinkings, Dead Can Dance Gothicity; Autotune and didgeridoo buzzes; structural interruptions and glitchtronics. Sylvan organ-drone folk gets carved into by straying intrusive beats like a prowling beast on a campside sortie; by warping bass synth growls; and by vocal cut-ups and lead lines from raw railing roars to dovelike sighs and monastic harmonies. It’d be crass simply to call Crudha a Spanish Björk, but there’s a similar breadth of imagination and reconstructive willpower here, as well as a similar reluctance to abandon melody.



 
* * * * * * * *

Dates:

Moor Mother v London Contemporary Orchestra: ‘The Great Bailout’

Zonal feat. Moor Mother & Nazamba;
Le Guess Who? 2019 @ TivoliVredenburg, Vredenburgkade 11, 3511 WC, Utrecht, Netherlands – Thursday 7th November 2019, time t.b.c.
– information here, here and here

Moor Mother + Eartheater
Tavastia Klubi, Urho Kekkosen katu, 6 Helsinki, Finland – Monday 11th November 2019, 7.00pm
– information here, here and here

Moor Mother + Cruhda
Siroco, Calle de San Dimas 3, 28015 Madrid, Spain – Friday 15th November 2019, 9.30pm
– information here and here
 

October 2019 (and onwards) – various upcoming jazz gigs – Yazz Ahmed’s Electric Dreams, Rosie Turton Quintet, Alina Bzhezhinska in London (3rd October); Electric Dreams in Newcastle (4th October); Forq and SEN3 in London (30th October); SEN3 in London and Brighton (1st & 8th October); Jim Rattigan’s October-to-January Pavillon tour of England (6th October onwards)

29 Sep

At the start of the month, a Women In Jazz summit in London brings Yazz Ahmed’s Electric Dreams, the Rosie Turton Quintet and Alina Bzhezhinska to the Jazz Café.

Trumpeter/flugelhorn player Yazz Ahmed has been covered in here before (thanks to Polar Union’s Jazz Herstory series) – a young British-Bahraini already being dubbed “the high priestess of psychedelic Arabic jazz” thanks to her exploration (across two previous albums) of her mixed cultural heritage, and via the use of a custom quarter-tone flugelhorn which enables her to explore the microtonal pitching within Arabic music. Electric Dreams is her electrophonic/acoustic multi-textural tie-up with drummer Rod Youngs, guitarist Samuel Hällkvist and “vocal sculptor” Jason Singh. Emerging from Yazz’ interest in spontaneous composition, “these free-flowing and conversational improvisations make use of electronic effects, sound design, live looping and sampling, in an exploration of contemporary jazz from a different angle.”

Trombonist Rosie Turton is usually to be found as part of all-female Tomorrow’s Warriors-linked octet Nérija alongside other expanding-profile bandmates including Nubya Garcia, Cassie Kinoshi, Zoe Rahman and Shirley Tetteh (the latter of whom, not content with being a jazz guitar name to watch, also operates as one-woman pop project Nardeydey). As I’ve noted before, Rosie’s own leanings are towards Alice Coltrane and Pharoah Sanders, with digressions via hip hop and Himalayan ragas; and her quintet (sometimes known as 5ive) “works around a sensually airy intertwining of Indian violin (played by Johanna Burnheart), trombone and electric piano (from Maria Chiara Argirò), in which adventurous tunes effloresce and sway around light-on-their-feet rhythm grooves: a clever, flowing, flowery architecture.” The quintet’s completed by drummer Jake Long and bassist Twm Dylan.


 
The orchestral harp is always a potentially explosive instrument. Particularly so when it’s under the fingers of Alina Bzhezhinska – a soulful beast of a player who steps easily between classical demands and jazz immediacy. She’ll be playing a solo jazz set to open the evening.

 
Yazz and Electric Dreams will also be playing – on their own, this time – up in Newcastle the day after the London gig.

* * * * * * * *

At the end of the month, New York new-school jazz rock quartet Forq also play the Jazz Café. Fluid, grooving and highly accessible improvisers, they’re strongly Snarky Puppy-affiliated. Two of the current Forq-ers, plus the band’s departed co-leader Michael League, also play in the celebrated Brooklyn jam family, while keyboard-playing Forq leader Henry Hey is even something of a Big Apple mentor to League, having first convinced the Snarky Puppy leader to move and set up shop there.

As originally conceived by Hey and League, Forq’s music doesn’t stray too far from the Snarky blueprint (dextrous young super-sidemen put together a fizzy stew of everything they’ve learned from playing jazz, blues, rock, funk, etc), but according to League “we had the idea to start a band that was bi-i-i-i-i-ig on groove and sonic exploration, without getting caught in the snags of the modern jazz world. We want to play shit with personality, character, and not nerdy, brainy stuff. Also, we want people to shake their asses. I think the band has a very hard, NYC-style sound that is industrial but also innovative, but also has some serious Texas flavour…” League moved on a couple of years ago, replaced on bass by Kevin Scott, but the band, currently completed by Snarky guitarist Chris McQueen and drummer JT Thomas, continue the initial work.


 
In support is London trio SEN3: in some respects, a transatlantic Forq mirror image. They’re another grouping of top-notch overtrained pop and rock sidemen who fancied doing something fun, immersive and different. Citing “Pink Floyd’s ethereal epic-ness, Thundercat’s psychedelic soul-funk, a touch of J-Dilla/Madlib beat conducting with a twist of Led Zeppelin riffs” as inspiration and aims. Max O’Donnell (on guitars, synths and assorted tuned percussives), Dan Gulino (on bass guitar and synths) and Saleem Raman (on drums) put together something jazzy, dubby, reverb-y and floaty: very much a product of the London melting pot they’re proud of.


 
SEN3 are also playing two dates of their own earlier in the month – at Kansas Smitty’s in London on 1st October, and at The Mesmerist in Brighton on 8th October.

* * * * * * * *

French horn virtuoso and bandleader Jim Rattigan continues to step up activity with his Pavillon twelvetet, currently featuring Martin Speake, Andy Panayi and Mick Foster on saxophones, Percy Pursglove, Steve Fishwick and Robbie Robson on trumpets, Mark Nightingale and Sarah Williams on trombones, and a rhythm section of Hans Koller (piano), Dave Whitford (double bass) and Martin France (drums).

Pavillon’s new album ‘The Freedom Of Movement’ comes out in mid-October, featuring more of Jim’s original tunes (which have been compared to Charles Mingus, Gil Evans and Duke Ellington). To help it on its way, he’s taking Pavillon out extensively (around southern England and the Midlands) on assorted dates over the next four months, between early October and mid-January.

Previous Pavillon commentary from me – “confident, breezy, swing-happy music seamlessly blending inspirations from different times and places; beery, wise and cosmopolitan but also very English. It’s the sort of sound you’d expect to hear currently curving its way around London’s seawall, if such a thing existed.”



 
* * * * * * * *
Dates:

Women In Jazz presents:
Yazz Ahmed’s Electric Dream + Rosie Turton Quintet + Alina Bzhezhinska
The Jazz Café, 5 Parkway, Camden Town, London, NW1 7PG, England
Thursday 3rd October 2019, 7.00pm
– information here, here and here

Jazz North East presents:
Yazz Ahmed’s Electric Dreams
Gosforth Civic Theatre, 125 Regent Farm Road, Newcastle-upon-Tyne, NE3 3HD, England
Friday 4th October 2019, 7.30pm
– information here, here and here

SEN3:

  • Kansas Smitty’s, 63-65 Broadway Market, Dalston, London, E8 4PH, England – Monday 1st October 2019, 7.00pm – information here
  • The Mesmerist, 1-3 Prince Albert Street, Brighton, West Sussex, BN1 1HE, England – Monday 8th October 2019, 8.00pm – information here and here

Forq + SEN3
The Jazz Café, 5 Parkway, Camden Town, London, NW1 7PG, England
Wednesday 30th October 2019, 7.00pm
– information here, here and here

Jim Rattigan’s Pavillon:

 

October 2019 – Daylight Music’s 2019 autumn season continues – Janek Schaefer, Joby Burgess and AVA (5th October); Keith Tippett & Matthew Bourne with Tania Chen & Steve Beresford (12th October); We Like We, Otto A Totland, Rauelsson and F.S.Blumm (19th October); Susumu Yokota remembered and reinvented by Isan, Seaming To and The Imperfect Orchestra (26th October)

25 Sep

Daylight Music 10, 2019

Following its folk-tinged September concerts, Daylight Music’s autumn 2019 season continues with four October concerts including a piano event, a reinvention of the music of Japanese ambient composer Susumu Yokota and a couple of sustained, themed but accessible dips into post-classical sound art.

* * * * * * * *

Daylight Music 316: Janek Schaefer + Joby Burgess + AVA – 5th October 2019“For ‘Space In This Place’ (on 5th October), get ready to really experience the chapel and engage with the space in new ways as it resonates and reverberates through the transmission of radios, the pounding of bass drums or the rumble in your belly of the chapel own in-built synthesizer – the Henry Willis organ.

“Sound artist, entertainer, and professor Janek Schaefer trained as an architect at the Royal College of Art, where he fell in love with exploring the relationship between sound, space and place. He has exhibited and performed in over thirty countries worldwide, from The Tate Modern to The Sydney Opera House, and has released thirty-four albums, including collaborations with Charlemagne Palestine, Philip Jeck, Robert Hampson, and Stephan Mathieu.

 
“Watching violinist Anna Phoebe and pianist Aisling Brouwer of AVA interact on stage is always a mesmerising experience – and it will be enhanced by the Chapel’s acoustics. Rooted in cinematic narratives, AVA’s music unfolds around the relationship between violin and piano, evoking emotional journeys that never conform to expectations and yet are instantly accessible. The duo has recently released their debut album, ‘Waves’, on One Little Indian Records.


 
“One of Britain’s most diverse percussionists, Joby Burgess can often be heard on major film and TV scores, notably leading the percussion on ‘Black Panther’, ‘The Darkest Hour’, ‘Paddington 2’, ‘Trolls’, ‘The Last Kingdom’ and ‘Taboo’. He was featured on the score to Alex Garland’s ‘Ex Machina’. His recent highlights include extensive tours with Peter Gabriel’s New Blood Orchestra, PUNKIT (an adventurous participatory project for massed percussion ensemble by Stephen Deazley), and ‘Pioneers of Percussion’, a solo recital programme featuring new work by Nicol Lizée, Linda Buckley and Rebecca Dale.

Joby will perform ‘Qilyaun’ (for solo bass drum & electronics) by John Luther Adams and ‘Can’t Sleep’ (for vibraphone & electronics) by Rebecca Dale.



 
“Joining the dots this week will be computer musician, digital choir boy, and algorithmic composer, Daniel James Ross (a PhD student and associate lecturer at Goldsmiths). Dan will be live-sampling the main performers and running the recordings through his brand new, custom-made, algorithmic composition machine, playing back whatever weirdness it produces whilst you eat your quiche.”

 
* * * * * * * *

The 12th October Daylight is a piano event presented in association with Sound UK and the Unpredictable Series concert series, criss-crossing British jazz, contemporary classical and spontaneous music:

 
“Witness two of Britain’s most adventurous jazz pianists join forces this October. A seminal figure in the evolution of UK jazz since the 1960s, Keith Tippett has forged his own ever-evolving sound as both composer and improviser. Thirty years his junior, Matthew Bourne has similarly explored the horizons of jazz and contemporary music, on both analogue synths and the acoustic piano. Inspired by Tippett’s suggestion to ‘do some playing together,’ in late 2016 this new and exciting musical partnership between two maverick pianists, a generation apart, is a meeting of like-minded but distinct individuals. Both are mesmerising live performers, famous for their idiosyncrasy, virtuosity, and non-conformity. Marking a key point in Tippett and Bourne’s simpatico relationship, which has spanned some twenty years already, they are finally joining forces to make new music together.



 
“Special guests this afternoon will be Steve Beresford and Tania Caroline Chen. Beresford has been a central figure in the British and international spontaneous music scenes for over forty years, freely improvising on the piano, electronics and other things with people like Derek Bailey, Evan Parker, Han Bennink and John Zorn: he has an extensive discography as performer, arranger, free-improviser, composer and producer, and was awarded a Paul Hamlyn award for composers in 2012. Tania Caroline Chen is a pianist, sound artist and free improviser, who draws her inspiration from the New York, British and European schools of 20th century experimental composition: she has performed and recorded the works of John Cage, Morton Feldman, Earle Brown and Cornelius Cardew as well as compositions by Andrew Poppy, Michael Parsons, Luc Ferrari, Arnold Schoenberg, Anton Webern, Eric Satie and Alexander Scriabin.”

 
This event will also feature a duet performance from pianists Cameron Ward (a mainstay of north English jazz bands such as Racoon Dog Soup) and Glen Leach (an improviser who also plays hip hop with NixNorthWest and adds a jazz-fusion aspect to grime act Project Hilts).

 
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The Daylight on the 19th is “dedicated to sonic landscapes and instrumental explorations through electronic and piano music with Berlin based label Sonic Pieces, who also mark ten years since their first release.

 
We Like We – the duo of Katrine Grarup Elbo (violin) and Katinka Fogh Vindelev (voice) – perform a version of ‘Time is Local’, a work co-created by the ensemble and sound artist Jacob Kirkegaard. Originally this was a twelve-hour multichannel performance, based on a live installation in twelve different chambers of a museum. This afternoon’s performance will bring a version of this new project to the chapel, continuing their mission to express sound beyond the grid of genres.


 
“Minimalistic, melodic, visual, and calming, Otto A. Totland‘s music reflects both his early interest in computers, sequencers and synths and his subsequent departure from them to focus on piano composition. He has released two solo piano albums, ‘Pinô’ and ‘the Lost’, on Sonic Pieces. Otto is also a member of the duo Deaf Center with Erik K Skodvin.

 
“Known for his constant musical evolution, Rauelsson’s musical journey has transitioned from lo-fi, intimate compositions of delicate folk to a more contemplative, experimental, and dense sound. His latest release, ‘Mirall’, is an eclectic collection of compositions that celebrate electronic exploration while maintaining a focus on classical instrumentation. In addition to his main discography, Rauelsson has also released music for film, documentary and photographic projects.

 
“Frank Schültge is a German author, musician, and producer, working under the pseudonym F.S. Blumm. He has recorded many collaborations but is perhaps best known on Sonic Pieces for the album of unconditional spontaneity with Nils Frahm. Based in Berlin, Frank absorbs everything and takes it with him, weaving it into his instrumental portraits. “The man makes some damn charming music.” (‘Pitchfork’).”


 
This is another extended Daylight event, running on until 2.15pm.

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Daylight Music 319: Interpretations: The music of Susumu Yokota (featuring Isan + Seaming To + The Imperfect Orchestra) – 26th October 2019

The last of the October Daylights is a tribute to the late Susumu Yokota, curated by Lo Recordings“a suitably diverse and esoteric collection of musicians to perform compositions from his catalogue. This event also marks the release of ‘Cloud Hidden,’ an album of previously unreleased music by the producer.

“Antony Ryan and Robin Saville have been making music as Isan for over twenty years. Their music takes threads from early electronic experimentalism, blurry dream-pop, motorik rhythms and diverse modern modular sounds, weaving them into a confection which is entirely their own. Sweet but rarely without a melancholy edge, they have been described as making “difficult music easy to listen to”. Onstage, Isan fill the space with beautiful washes of noise and rhythm. They will be taking Yokota’s compositions as starting points and augmenting them with improvised beats, pulsing melodies and rippling loveliness.


 
Seaming To has been described as “the voice of the twenty-first century” (‘BBC Radio 1’), and an artist that is truly “avant-garde” (Robert Wyatt). Her experimental ethos and mastery across a variety of instruments has enabled her to collaborate with some of the most respected and radical artists of this decade, particularly in electronic, classical and experimental genres. Expect a uniquely engaging take on Yokota’s work.


 
The Imperfect Orchestra have been writing and performing since 2013. They specialise in working with amateur and non-musicians to produce live performance soundtracks for moving image and contemporary art events. For this commission, Imperfect Orchestra will be taking specific elements from the work of Susumu Yokota and developing it into an eclectic live performance that creates a narrative exploring some of the themes that were important to his life and his work, including sampling and resampling audio, found sounds and field recordings, and spirituality and electronica.


 
George Crowley is a saxophonist, clarinettist, composer and promoter based in London. As a performer he is active across a range of styles; whether infusing melodic through-composed writing with open, searching improv in his own Can Of Worms, channelling fiery avant-parade ghosts in Brass Mask, weaving through the polyrhythmic Ghanaian trance of Vula Viel or exploring more traditional repertoire, He can also be found playing with bands and musicians such as Melt Yourself Down, Yazz Ahmed, Red Snapper, the Olie Brice Quartet featuring Jeff Williams.”


 
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All gigs are at Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England, with a suggested donation of five pounds. Dates below:

  • Daylight Music 316: ‘Space In This Place’ (featuring Janek Schaefer + Joby Burgess + AVA) – Saturday 5th October 2019, 12.00pm – information here and here
  • Daylight Music 317: Keith Tippett & Matthew Bourne with Tania Chen & Steve Beresford – Saturday 12th October 2019, 12.00pm – information here and here
  • Daylight Music 318: ‘Time Is Local’ (featuring We Like We + Otto A Totland + Rauelsson + F.S. Blumm) – Saturday 19th October 2019, 12.00pm – information here and here
  • Daylight Music 319: ‘Interpretations: The Music Of Susumu Yokota’ (featuring Isan + Seaming To + The Imperfect Orchestra) – Saturday 26th October 2019, 12.00pm – information here and here

Details on November’s Daylight concerts to follow in due course…
 

September/October 2019 – upcoming singer-songwriter gigs – Holly Penfield unleashes ‘Tree Woman’ in California and London (22nd September, 31st October)

15 Sep

Visibly enjoying her second wind as a singer-songwriter (and still wielding the exuberance that she brought both to her initial shot as such and to her subsequent role as cabaret supernova), Holly Penfield is finally launching ‘Tree Woman’, her long-delayed fourth album of original songs. There are a couple of launch date shows – one in her birthplace of Berkeley, California and the other in her longstanding hometown, London. On both dates she’s backed by a full band.

Holly Penfield - 22nd September & 31st October 2019

What I wrote about her return to full singer-songwriter action last year still holds true, so here it is (and you can read all about about her over the years by clicking here)…

“From where she’s standing in her life right now, Holly Penfield can reach out in both directions to touch the passionate, large-lunged ingenue singer of her youth and the salty life-loving veteran she’s transforming into. Of course, she’s got a longer, bolder reach than most. Once tagged as “David Bowie meets Liza Minelli” by a surprised and wrongfooted Simon Cowell, she’s a classic torch-pop singer with a stunning voice who’s also both blessed and cursed with an upsetter’s drive. These days, as she rebounds from twenty years as a leading international cabarettier in order to return to her own songs, it’s more of a blessing.

 
“Raised in San Francisco (and a veteran of the 1980s LA pop scene with the scars to prove it) Holly spent much of the ‘90s writing and performing the psychodramatic one-woman pop show ‘Fragile Human Monster’ in London and elsewhere. A show with such troubled and intense undercurrents that it eventually blew itself apart, it’s now spawned a return… but under very different circumstances. The whirling mirror-glass synths and saxophones of the old days have been replaced by a gritty post-Americana rock band (which growls, gnaws and struts through her songs like a Cash or Waits ensemble) while Holly herself has mostly forsaken standing behind a keyboard (except for when a grand piano ballad calls for that set of skills).


 
“It’s funny, sad, uplifting and stirring all at once. Once the very embodiment of storm-tossed waif and precarious survivor, Holly’s now a wiser and much happier woman. She still absolutely owns the stage, though, helping herself to a big dollop of the jazz and blues flavourings which shaped her initial development, playing a dash of ukulele and engaging in some zestful shimmying (and some delightfully ludicrous party outfits, worn with wit and flair – it seems as if her recent steps away from cabaret involved at least one sly step back).


 
“What hasn’t changed is the quality of her singing, and of her songs. While old FHM standards like Misfit, The Last Enemy, puddle-of-grief ballad Stay With Me, and slinking fingersnapper You Can’t Have The Beauty Without The Beast have shed skins and made the transition to the new show, Holly’s also been dipping into a trunk of neglected and mostly previously unheard work, including the tremendous state-of-the-world song Confessions (based around a lyrical hook she once dangled in front of an intrigued Joni Mitchell) and the vivacious Tree Woman (a more recent effort in which she vigorously embraces both her own ageing and the resilience that comes with it).”


 

Dates:

September 2019 – upcoming opera – Alex Mills’ ‘Dear Marie Stopes’ in London (21st September); Keith Burstein’s ‘The Prometheus Revolution’ on film in Brighton (24th September)

14 Sep

Alex Mills‘s forty-five minute chamber opera ‘Dear Marie Stopes’, originally performed last year as part of the Wellcome Collection’s Tête à Tête opera festival, gets another pair of performances this month at Kings Place. The original performance team (singers Alexa Mason, Jess Dandy and Feargal Mostyn-Williams, cellist Lucy Railton, viola da gamba player Liam Byrne) reunite with director Nina Brazier for a special new staging to suit the new venue.
Alex Mills' 'Dear Marie Stopes', 21st September 2019

Performed by soprano, alto and countertenor in “a mixture of solemn plainchant-style singing and delicate melismatic lines above a soundworld of drones and shifting harmonies on strings and electronics”, the opera is epistolary, built up by from thousands of open and emotional contemporary letters written to Marie Stopes following the 1918 publication of her book ‘Married Love’. The latter was one of the modern world’s first frank sex manuals and the forerunner of much of today’s open sexual culture (as well as a cornerstone of first-wave feminism with its insistence on sexual equality, the appropriate use of contraception and the understanding of female desire), and its impact was both profound and global.

 
There’s a ‘Planet Hugill’ feature on the opera here, written by Alex himself, in which he explores the context and method of the work:

“Each letter is a vivid snapshot into sex lives a century ago, full of unfiltered, raw emotion and moving personal stories, many of which resonate powerfully with life and society today. I felt that an operatic context would provide the perfect platform to explore and unpack the inherent drama and high emotion in the letters, and bring their fascinating content to a wider audience. There is no conventional, linear narrative. Instead, the libretto, by Jennifer Thorp, pieces together vignettes and extracts to form a tight dramatic structure, held together by the central figure of Marie Stopes herself.

“The three singers have their work cut out for them – taking on multiple roles and characters, sometimes within the same section, to show the very wide spectrum of opinions and attitudes to sex and birth control in 1918. The intention was to draw out the emotional content of the letters while being sensitive to the original context in which they were written – very private missives in a time of need.”

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For those who missed seeing Keith Burstein’s opera ‘The Prometheus Revolution’ while it was being performed at last year’s Grimeborn, there’s an opportunity to catch it again. Admittedly this will be on film – one particular evening of the run was recorded by Jason Harris of Piñata Studios, the footage has now been edited and subtitled, and the results are premiering at Brighton’s Verdict Jazz Club later this month, preceded by a short introductory talk by Keith himself.

Here’s what I wrote about ‘The Prometheus Revolution’ when previewing it last summer:

Fulham Opera's 'The Prometheus Revolution' - 7th/8th/10th August 2018Fulham Opera are premiering ‘The Prometheus Revolution’, the first new opera by composer/librettist Keith Burstein since his anti-War On Terror work ‘Manifest Destiny’. The latter blew up a pile of controversy at the 2005 Edinburgh Fringe with its suicide bomb-vest scenes, its agit-prop metaphysics and its pungent criticism of Western motives, and eventually led to a wrangle over free speech and alleged promotion of terrorism at the Royal Courts of Justice.

‘…Prometheus…’ looks set to extend at least some of the ideas behind ‘Manifest Destiny’. Like the earlier piece, it’s a politically-heated metaphysical examination of where we are as a society, and what we might do about it, It’s set in an alternative present which closely mirrors our own, with democracy decaying into corrupt war-mongering authoritarianism and economic meltdown, with a peace movement “standing between tyranny and chaos, (although) they too are cleft by internal struggles.” Inspired by the 2012 Occupy Movement’s “99% versus the 1%” ideology, it’s billed as a “dark parable” of “star-crossed lovers, rebellion and revolution against the backdrop of a corrupt political class… shot through with pathos and ironic humour.” As with ‘Manifest Destiny’, you can also expect more of the vigorously tonal Burstein approach to music and tunes, with a post-Britten-and-Berg score additionally laced with the sounds of vaudeville, Broadway musicals and pop ballads.”

Arranged for solo piano (played by Ben Woodward) and presented in a minimal-stage manner by director Sophie Gilpin in one of the Arcola Theatre’s stripped-brick-box performance rooms, ‘The Prometheus Revolution’ was sung by Alex Haigh, Caroline Carragher, Robert Garland, Olivia Barry, Gerard Delrez,James Schouten, Christie Cook, Lucie Louvrier, Nick Dwyer, Luci Briginshaw, Ian Wilson-Pope, and James Bowers. At the time, the reception and reviews were mixed: Burstein’s always been a polarising artist, and you either buy into his passion for vividly revived tonalism, torrents of romantic futurist melody and illuminated left-wing metaphysics, or you don’t. Personally, I remember it as being an interesting fable: a contemporary political fantasy with a dash of both verismo and Verdi domestic drama crossing through.

Here’s the promotional video for the original production.


 
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Dates:

Alex Mills: ‘Dear Marie Stopes’
Hall Two @ Kings Place, 90 York Way, Kings Cross, London, N1 9AG, England
Saturday 21st September 2019, 4.00pm & 7.30pm
– information here and here

Keith Burstein: ‘The Prometheus Revolution’ (film premiere)
The Verdict Jazz Club, 159 Edward Street, Brighton, East Sussex, BN2 0JB, England
Tuesday 24th September 2019, 7.00pm
– information via email request to Anna Beketov @ Damson PR
 

September 2019 – the start of Daylight Music’s autumn season in London – The Memory Band, Far Rainbow and Ingrid Plum (21st September); Kathryn Williams’ Anthology extravaganza (28th September)

12 Sep

Daylight Music 10, 2019

My favourite London free-music event resumes shortly, following its summer holiday break – although simply calling Daylight Music “a free event” rather undersells it. Let’s call it an exercise in grace. Two hours of pay-what-you-like, mixed-genre music in a cavernous and spectacular London chapel, set up along the inclusive idea that listening and responding to music is a familial activity and that any gathering of people of any age is potentially familial… and a Bakeoffian idea that everything goes better with tea and cake. (That’s ‘Bake Off’ as in the British TV institution, by the way – not as in Bakeoff the unfairly-neglected radical-conservative Bulgarian philosopher…)

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Daylight Music 314: The Memory Band + Far Rainbow + Ingrid Plum – 21st September 2019

The first show of the autumn season is on 21st September and bridges traditional and contemporary folk with playful avant-garde soundmaking and folktronica:

“After an extended break from performing, acoustic folk band The Memory Band returns to Daylight Music in great style in time for our 10th Birthday year, with a vocal set featuring bandleader Stephen Cracknell along with the voices of Hannah Caughlin and Helene Bradley. Influenced by a wide variety of contemporary and traditional styles, they have produced five studio albums and numerous 7″ singles. This afternoon they will be performing a selection of songs old and new – this will not be a set of instrumental landscape music.


 
Far Rainbow is a London-based improvising duo comprised of sound artist Bobby Barry and drummer Emily Barnett. They create vast neo-psychedelic slabs of gradually developing sound and delight in using everyday household objects as part of their stage gear. You’ll never know what will appear on stage: bubble wrap, plastic bags, cellotape, hairbrush, shaver, electric toothbrush, various small motors, taped field recordings, pencil sharpener, egg slicer, or even a small portable vacuum cleaner.


 
Ingrid Plum is a Brighton-based vocalist combining folk music, contemporary classical music and sound art. Her work has been described by ‘The Guardian’ as being characterised by “gorgeously atmospheric vocal techniques woven around field recordings and electronics”, while ‘The Wire’ described her live shows as “succinct and nourishing… a luxuriant space between almost excessive precision and looser improvisation”. She has performed internationally, as well as having worked with Late Junction and BBC Radio 3.”


 
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Daylight Music 315: Kathryn Williams Anthology with super special guests – 28th September 2019In the last week of September, Kathryn Williams comes to Daylight Music with an anniversary Anthology show. Due to the extra volume of music involved, this particular Daylight will be running for an extra quarter of an hour.

“It’s a delight to once again see Mercury Prize-nominated singer-songwriter Kathryn Williams, as she celebrates her twentieth anniversary with her fiery spirit and keen sense of adventure. To date, Williams has released fourteen studio albums and she has also written and arranged for a multitude of artists. Her latest release, a gorgeous twenty-CD boxset of her most loved songs, is painstakingly curated by Williams herself, and includes paintings by the artist, lyrics, stories and unheard demos.

On this special afternoon she will fill the chapel stage with likeminded souls; songwriters, singers, multi-instrumentalists, collaborators and friends from across her career. She will also welcome those she has more recently tutored and helped inspire at the Arvon creative writing retreat. As always with Daylight, this will be a curation like no other, a celebration in song through the heart and voice of Kathryn Williams.”

Kathryn’s guest performers will be Michele and Romeo Stodart (of The Magic Numbers), Chris Difford (of Squeeze), Neill MacColl (of The Bible, Liberty Horses, King L and stints in Eddi Reader’s band), Colin MacIntyre (better known as Mull Historical Society), David Ford and Polly Paulusma; with additional contributions from Lucy Duncans, Euan Allison, Stewart Robbie, Lindsey Strachan, Emma Carr Martin, Jess Tuthill, Emily Barden, Phil Langran, Andy Pearce and Anna Skelton.






 
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All gigs are at the usual place – Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England – with a suggested donation of five pounds. Dates below:

  • Daylight Music 314: The Memory Band + Far Rainbow + Ingrid Plum – Saturday 21st September 2019, 12.00pm – information here and here
  • Daylight Music 315: Kathryn Williams Anthology with super special guests – Saturday 28th September 2019, 12.00pm – information here and here

Details on October’s Daylight concerts to follow in due course…
 

September-November 2019 – upcoming post-folk, electrop, electronica gigs – tAngerinecAt on tour across Britain (5th/7th/14th/20th September, 17th/18th/26th October, 16th November) with Flange Zoo, DIANE, Experimental Sonic Machines, Ed Dowie, La Rissa, Yorkshire vs. Essex, Factory Acts, Slow Knife, Harbingers Drum Crew, Tin Mole, Clusterfuck, Hallulugenia, SIN/RED, Hypnotique, Otis Jordan, Saint Bernadette and She Robot

2 Sep

“At three I learned what sex was; /at five – death; / at seven – fascism and violence; /at ten – poverty, labour and hunger…” – tAngerinecAt, I Don’t Want To Be A White Master

Despite best intentions, a lot of folktronica can come across as… well, a bit polite and prissy; as something made by a particular breed of tech-headed enthusiasts, scholars and longtime culture-vultures who wear their tidiness and their geekiness openly. Crinkling synths, and flowery linen, kitchen musings and country walks; deep culture filtered through a tiny screen. It’s not that this invalidates it, as such. Folk culture has been, and remains, a broad cauldronful, as fit for constant renewing as it is for drawing from – and upfront electronics have been part of the tools of the trade for three decades now. It’s just that, as subgenres, folktronica and electrofolk seem particularly prone to diluting message with medium, sacrificing bite for texture; in essence, getting so involved with clubfloor, chillout or culture lab that they lose touch with bones, bothy or battlefield.


 
Fortunately, none of this applies to Anglo-Ukrainian duo tAngerinecAt, who sweep through England, Scotland and Wales for assorted dates across the stretch of autumn this year. After ten years cruising through the underground (five of them under the name of Dark Patrick), androgynous singer/hurdy-gurdy player Eugene Purpurovsky and tin whistle/bagpipe-toting electronicist Paul Chilton are still a constantly creative, intelligent and contrary force. Calling them folktronic, or electrofolk, involves upending the term… or stripping it back to the starting point.

Not that tAngerinecAt wear the label with much comfort themselves. They buck at the “folktronica” tag and, as Paul asserts “we don’t associate ourselves as folk, ever, and there is a good reason for that. We don’t play folk music, we compose our own music – not always based on Western scales but that doesn’t make it folk and neither does our choice of instruments. We often get labelled as this, but it’s a stereotype we are trying to get away from. We are only folk in the broader sense that all music is folk. Also, there isn’t one folk festival that would put us on their lineup…”

Certainly compared to most acts under the name, they’re on another level of impact altogether. An embrace of industrial sound (small keyboards and boxes which shout like giants, plus the rippling scathe of take-no-prisoners effects pedals which they add to their armoury and feed their acoustic instrumentation through) gives them the sonic presence of a no-wave or heavy metal act. They dip into frowning Carpathian mountain culture and various wiry varieties of British heath music, but stir in doses of anarchism, industrial sound and swipes at patriarchal violence. At any given time, in addition to the swirling bare-bones rootsiness you can hear echoes of sounds as diverse as Edith Piaf; the electrogoth stadium boom of Depeche Mode or the targeted upsetter-rants of Crass; the skycracking maximalism of The Young Gods and the angry historical weight of Towering Inferno’s ‘Kaddish’. Bizarrely enough, they also manage to capture elements of both ends of Swans – the booming pallet-drag of the early industrial years, the droning neo-folk of the contemporary band.


 
Then there’s the queer aspect. It’s not brought to the forefront of the band’s publicity, but it ripples through the grain of what they do. Eugene was born Eva, and identified as such in the band’s earlier years; the current tAngerinecAt has a genderfluid air in terms of clothing, movement and expression; and between them Paul and (particularly) Eugene summon up a variety of unexpected vocal characterisations which jolt and yell through the songs, upsetting standard ideas about power structures, protest, sources of ideas and about who might actually be singing. That name, too, queerifys and neonises the concept of a wandering animal spirit as band mascot, inspiration and reflection. tAngerinecAt have already won over gender-studies conferences, folk audiences, experimental-loft huddlers and, strangely enough, prog audiences (who might have a reputation for stolidity, but know and appreciate a good use of musical colouring and form-busting when they encounter it).

Despite the uncompromising drama and starkness inherent in their music, tAngerinecAt exhibit a different aspect when they’re acting as promoters, having run their own Cute Owl evenings and tours for several years now. Maybe it comes from the flexibility of vision and the teamwork ethos which Eugene built up from years of theatre work, but Cute Owl is extraordinarily welcoming to a variety of different acts, approaches and mannerisms when it comes to bringing in gigmates and support acts. It seems that as long as you have a yen for electronics and are sincere in what you do, that you’re part of the family. Hence, a Cute Owl event can encompass calls for revolution, playtime events, glamour stances, inclusive-spirited DIY tinkering and frosted electropop introspection; and hence the pleasing, unexpected diversity of the upcoming tour.

The first of the two London dates, on 14th September, is a relatively straightforward headliner but with a performance art buildup. One of the two supports is a previous Cute Owl gig act called Diane (A Walk Through Twin Peaks), in which two musically omnivorous DJs (NikTheDeks from electrobeat punks LOFE, and Andy “Dumb Blonde” McKinna) put down their record crates in order to team up on electronics, devices and effects-laden double bass for a dream-jazz/cryptronic David Lynch tribute (the solo Nik track below might provide a clue or two). The other is “crypto-zoological” animal-masked performance troupe Flange Zoo. Persistently theatrical creators of dank, humming, psychedelic-radiophonic draggings (within which synths rub up against finger bells, zithers, stylophones, turntable tricks and portentous narratives), at the moment they’re concentrating on their Edgar Allen Poe project: a séance-cum-tribute twisted in on itself. Sonorous readings of Poe short stories swim in ponds of improvised electronic twitchings and meditational pings; ritual resurrections turn into mutual back-slapping sessions.

 
The second London date, on 26th October, is a five-act Cute Owl Festival night. Here, tAngerinecAt are joined by flexible and beloved indie/experimental-pop balladeer Ed Dowie (whose 2017 debut album, ‘The Uncle Sold’ involves “a continually evolving, dream-like journey around a non-specified city (and) paints a picture of a range of characters struggling for certainty in a metropolis beset by continually changing forces, be they political, personal or financial”); by Nottingham “eccentronica chansonneuse” Hypnotique (theremins, clarinet and songs about “the apocalypse, post-feminism, erotic narrative and the banality of everyday life”). Also playing is Peter Rollings’ none-more-DIY project in which he ringmasters a clunking song-riot via his own makeshift/make-do invented instruments, robots and other musical machines while dressed in striking homemade ceremonial horned helms, robes and halberds (as if Moondog had been dressed by Mr Maker).

In addition to Peter’s own ESM set, he’ll be sponsoring and guiding another set by ESM’s robot drummer Ernie, a spindly foil-wrapped automaton who plays like a nervous fork-lift truck attempting a Mexican wave and looks like a 1970s primary school project about Martians.

 
The tour’s opening date, in Leeds, features the ominous ’80s synthpop/post-punk revivalist chimes and buzzes of La Rissa, made by “two misfits… in a dim little attic in Leeds” (originator/singing half Larissa Drozd sounding like a Stevie Nicks avatar entirely blanked out by black lipstick) who surface to carry out “dark, spooky” shows wrapped in crepuscular video art.

Also on board, Yorkshire vs. Essex (named not after a north/south feud, but from the founders’ surnames) offer chugging guitars, bass and white-noise synth garlands interrupted by trombones and flutes, all providing rumpled bedding for Simon Yorkshire’s eccentric songspiels on subjects ranging from “fictional toymakers to Sheffield murderers”, as captured on the recent ‘Dismembered Tales’ album. Shades of Peter Blegvad or Tom Slatter as well as YvE’s cited inspiration list of “Robert Wyatt, Current 93, Scott Walker, Miles Davis, Nick Cave, The Residents, Bjork, Death Grips and Iannis Xenakis.”




 
In Manchester, more dark-toned synthpop nostalgia comes from Factory Acts (who sound like Nico fronting a late ‘80s electro-dance outfit). There’s also a prime example of erudite Manc gobbiness on show via Slow Knife’s spoken-word-over-jazzpop- indie scuffle. Initially sounding like The Fall stranded in New Orleans and trying to get in step with the local pimp walk, they finally come across like a sleeker take on short-lived ‘90s beat-dadaists Campag Velocet: Daniel Tasker’s beat-poet outpourings have a similar (though more focussed) effect as he enounces over a cavalcade of horns, double bass, and slack-skinned drums/slide guitar which call up echoes of Can, The The and Dr John while lapsing occasionally into shrieking interludes of tonal and textural anarchy.



 
In Bristol, live-looper Suzy Condrad – under her She Robot alias – pulls together glockenspiel tinkles, mbira, bottle clinks, live beatboxing, passing sounds and layered banks of girlpop doo-wop and then weaves them into the bones of pre-written fully-formed guitar songs. Consequently, the looping comes across as more of a kind of graduated scratch arrangement, honed to a high level. A lot of loop songs can sound wispy, or hung up on their own polyphony: but with Suzy’s work, the song is paramount without the embellishments feeling forced. She’s managed to hold onto that spun-spontaneously-out-of-the-air feeling of loopsong while allying it to a penetrating, literate lyrical sense which challenges with questions and sharp observations rather than getting lost in the atmospherics.

Also at Bristol is ruminative electro-balladeer Luca Macchi, a.k.a Hallelugenia, whose material seems to stem from late-night chillout tunes which take a firm left turn, eschewing delta-wave blandouts in favour of expanding, talkative thought-paths sung in chamois-soft tones across shifting, subtly disruptive harmonic changes.



 
Another two acts are lined up for the Cardiff show, the first being agit-minded techno-pop quintet Clusterfuck who (despite the uncompromising hardcore name) spin out a tuneful, smoothly quaking ravepop sound inspired by and birthed within the current free-festival scene, laced with raps and DJ moves, and frequently graced by guest contributors. The second is Saint Bernadette, the latest in a string of projects from cross-genre voyager Francesca Murphy, a mainstay of ebullient Cardiff female music collective Ladies Of Rage and a singer who’s taken in punk, prog, country, jazz-pop, blues, spoken word and hip hop along her way. There are no clues yet as to what form Saint Bernadette will be taking, but Francesca’s Soundcloud page provides mostly-acoustic singer-songwriter-y examples from her recent past as well as a chance to hear her rich, welcoming voice.


 

The final show, at Edinburgh, features celebratory drumcore industrialists Harbingers Drum Crew – an aggregation of twenty or more assorted drummers inspired by “dance music, drum ‘n’ bass, dubstep and industrial metal” and emerging as being somewhere between a taiko squad, a British marching band, a samba party and a crew of No-Wave warehouse threateners. Meanwhile, Jo Hill’s SIN/RED, brings the electronica-spectrum cycle of support acts back to something resembling tAngerinecAt themselves: it’s not a precise comparison, but Jo’s foreboding mixture of noir-ballad pop, synth drone and cloister-echo raises similar anticipatory hackles and hints at skin-terror, raw feeling and ancient stirrings.

 
* * * * * * * *

Full tour dates:

  • Lending Room @ The Library, 229 Woodhouse Lane, Leeds, West Yorkshire, LS2 3AP, England – Thursday 5th September 2019, 7.00pm (with La Rissa + Yorkshire vs Essex) – information here and here
  • Gullivers NQ, 109 Oldham Street, Northern Quarter, Manchester, M4 1LW, England – Saturday 7th September 2019, 7.30pm (w/ Slow Knife + Tin Mole + Factory Acts + Otis Jordan) – information here, here and here
  • The Raven, 218 Tower Bridge Road, Bermondsey, London, SE1 2UP, England – Saturday 14th September 2019, 7.30pm (with DIANE + Flange Zoo) – information here and here
  • Equinox Festival 2019, Chalk Farm, Salters Lane, Wyham, Lincolnshire, DN36 5RS, England – Friday 20th September 2019, 12.00am – information here, here and here
  • The Thunderbolt, 124 Bath Road, Arnos Vale, Bristol, BS4 3ED, England – Thursday 17th October 2019, 7.30pm (with She, Robot + Hallulugenia) – information here and here
  • The Big Top, 11 Church Street, Cardiff, CF10 1BG, Wales – Friday 18th October 2019, 7.00pm (with Clusterfuck + Saint Bernadette) – information here and here
  • Cute Owl Festival @ The Courtyard Theatre, Bowling Green Walk, 40 Pitfield Street, Hoxton, London, N1 6EU, England – Saturday 26th October 2019, 6.00pm (with Ed Dowie + Hypnotique + Experimental Sonic Machines + Ernie) – information here and here
  • Cabaret Voltaire, 36 Blair Street, Old Town, Edinburgh, EH1 1QR, Scotland (with Harbingers Drum Crew + SIN/RED) – Saturday 16th November 2019, 7.00pm – information here and here

June 2019 – upcoming experimental/eclectic gigs – post-classical noise/audio-visualists Ariadne play New York and tour Europe (7th, 12th-28th various) with all manner of contributions from Carl Stone, Dasychira, Salaċ, Lazy Bones, Wolf Scarers, Julia Dyck, Anna Peaker, Ideal, Java Java Wetware, Sound Situation and Ariel Kalma

3 Jun

Long past the point when its cultural context receded into antiquity, mediaeval plainsong remains a ready grab for musicians seeking to bridge classical ideas with (in the broadest sense) pop ones. It’s easy to recall the Gregorian chants stapled to dance loops and succubus exotica pioneered by Enigma at the start of the ‘90s, in the wake of which waddled a million chillout chant albums: though to pick some more inspiring examples from past ‘Misfit City’ coverage, there’s also the post-plague requiem of Jocelyn Pook’s ‘Deluge’ and the acapella-versus-disintegrating-granular-noise of Soaring On Their Pinions.

Perhaps plainsong’s draw is in its sparseness, its directness – the way in which its emphasis on a soloist (or at least a monophonic group line) initially seems like a direct personal meditation or plea, a kind of ecclesiastic monastic blues. It could also be the way in which that sense of vulnerability mixes with a sense of ancient history (the early steps of Christianity, with the classical Hebrew and Greek temple music sources still evident, unobscured by the later agglutinating harmonies of the Renaissance). Or, to be a little more cynical, maybe it’s just that that same sparseness and built-in antique provenance has made it an easier cold sell to an audience in the age of recordings.


 
Ariadne could probably provide a better and more interesting explanation than I can. They’ve certainly got the background to enable them to understand it – electronicist/visual specialist Benjamin Forest and fellow electronicist and mezzo-soprano Christine Papania first formed an allegiance at the music school of the University of Indiana: and Christine also explores various strands of classical in her solo voiceloop project Lanx as well as singing for the Manhattan Chorale. Since around 2015, Ariadne have been investigating and altering plainsong and its relations in a succession of albums, EPs, concerts and installations.

Their 2015 album ‘Tsalal’ was based around Hebrew texts and was about plummeting into darkness, physical and psychological; the same year’s ‘Ex Tempore’ was a psalmic “dialogue between the physical and the ethereal in a languished and dense atmosphere.” Their newest work, ‘Stabat Mater’ is a “twenty-movement cycle of audio/visual ecstatic visions, heavily inspired by the visions of female Christian mystics Hildegard von Bingen and Teresa of Ávila.” The latters’ writings are rearranged and transmuted for the sung texts, with a third source coming via text from the surrealist poet Aase Berg.

Hildegard’s work, of course, has regularly blended in nicely with contemporary concerns of spirituality, pain and the female perspective: only last year her work was programmed in underground New York/London arthouse concerts by Daisy Press and Filthy Lucre, juxtaposed against Bowie, Byrne, Charlie Looker’s anguished hard-rock analyses of toxic masculinity and fascism, and the morbid queer romanticism of Claude Vivier… all of which I’m sure is just the tip of an associative iceberg. Hildegard’s ecstasies were paralleled by the rather more masochistic ones of Teresa (who also suffered a particularly grotesque fate-of-a-saint post-death postscript as her corpse was gradually disassembled and traded about by quarrelling groups of nuns, dukes, Popes and priests for open mercantile advantage).

As for Aase, still very much alive, she’s an often-bewildering overturner of expectations with a marked disdain for the “patriarchal… male sexuality” restrictions which she sees applying to standard chronology (“time passes and things have to happen and there has to be a narrative”). Her own work upends this in favour of polymathic siftings of “science, math, probability, string theory, etc.” in weird-fiction settings of post-environmental catastrophes and reconstructed worlds in which standard human perspectives are slipping away, being superseded or disintegrated by impassive, inevitable processes of change. Notably, Aase has also worked as a translator for the horror-struck, pessimistic fantasy texts of H.P. Lovecraft which, though they have an empurpled baroque verbosity which her texts avoid, often operate in similarly blasted philosophical territories.

 
While I’m sure that Ariadne too are paying plenty of attention to all of this, text is secondary to what they’re putting it through sonically. While experimenting with eerie pitchshifting, reverberation and sound chopping, their earlier work backgrounded it in favour of the traditional purity of Christine’s voice. Now they’re bolder, more assured and disruptive: while delivering perverse auto-destructive lyrics like “put my fist through my mouth and pull the roots out of the ground”, Christine’s voice retains its classical beauty but also negotiates its way through a far more confrontational path of distortions, subversions, doppelganger mockings and simple sequences of compline giving ways to gorgeous vomitations like a hopelessly poisoned Kate Bush. The electronically-generated sound, too, keeps its previous haunted/spinning chapterhouse atmosphere while rearing up like a briar thicket destroying a pathway, with distressing organic splatters, acidic treble rills, liquid-sword shatterwhooshes and nightmare distortion-belfry sounds breaking things up; plus vocal capture/turns like the obscene Pachucho squelch that chokes through Burning Sphere.

Like the last-act works of Scott Walker, though, ‘Stabat Mater’ manages to be disturbing and ear-opening without relying on shock-schlock. It hints at and flickeringly reveals dysfunction, confusion and horror without quashing or sneering at the beauty, structure or aspiration of the source materials. Benjamin’s video work, too, makes mesmerically beautiful optical scapes out of disruption, data corruption, trippy fetish hints and perspective explosions.

 
An upcoming Ariadne tour takes ‘Staber Mater’ around selected spots in America and Europe – as well as assorted arts centres, venues include an avant-garde-sympathetic bar at home in New York; an accommodating church crypt in Bristol with a patience for the heretical; a preserved grand Tudor chamber in London; and the marine guts of a permanently harbour-bound Hamburg merchant ship.

That New York hometown concert is taking place at metal/experimental hangout bar Saint Vitus, accompanied by Ideal and Dasychira (with records spun by DJ Clone). Dasychira is a platform for some brilliantly inventive experimental dance music from transplanted, intriguingly alienated South African sound artist Adrian Martens. Adrian explores and celebrates his own psychological vulnerability and resilience via industrial detonations and scatters of mbira chops, alarming darkwave pop interjections and bursts of monastic chorale. Scurrying underneath are thematic undertows of insect regeneration, building new lives from nothing. He debuted with 2017’s ‘Immolated’ EP, while last year saw the ‘Razor Leaf’ single and the ‘Haptics’ EP consolidate his work. The gig’s worth attending for his sake alone. As to whom Ideal are, I’m less sure. I’m assuming that they’re not these German New Wavers from 1982, but within the ever-refreshing and surprising Brooklyn ferment, I probably shouldn’t assume anything.



 
In Bristol, there’ll be slots featuring a pair of duos from the town’s Avon Terror Corps underground label, whose artists draw their loose inspirations and guidelines from“”medieval visions of the future, breakcore, ‘Westworld’ (the original film), industrial, the psychogeography of Castlemead, the legacy of shoegaze, the legend of Goram and Vincent, the total destruction of “deconstructed club”…” Both are best judged by their contributions to the ‘Avon Is Dead’ compilation, which amasses sundry ATC cloud uploads from 2018.

Salaċ – bewildering, serious-playful aural occultists – create long-spooling jump-cut soundscape ceremonials, the outcome of their “sculpting séances of sound with tape machines.” These are aggressive dirtbass rumbles, spasms of object-rolling across metal sheets, complaining recitations of disassociation, punctuated by watertank booms, data-screech waterfalls and a certain amount of dry psycho-geographist’s humour (as in fucked-up cheesy drum machine beats they occasionally summon up and put through the soiling chamber). So far, it’s best to judge Bokeh Edwards and Jade Hybou, a.k.a. “esoterrorists” Java Java Wetware by their track Even Cowgirls Get The Blues – a fragmentary aural story via a dreamy harmonica-assisted trudge through ruined domes and shattered glass, set further off-kilter by lapping folk soprano vocals and ending with secretive whispers and a handful of reverb-muffled gunshots.



 
In Manchester, support acts include obscure local psych/alt.folker and “veteran astral wanderer” Lazy Bones. Whether solo meanderer or journeying band, he/they have been at it for at least a decade and a half, coming up with “gentle melodies hid(ing) strange shadows, hidden yearnings and the promise of the transcendental” with a “whimsical ’70s edge” following the lysergic thicketry of Cope, Barrett and Jansch: some of it may be found on this cobwebbed MySpace site, if you can find your way in. Working in a similar vein (but easier to track down) is the bouzouki-driven power pop and stoner beat of The Peace Pipers, enthusiastic ’60s hippy-punk throwbacks with a taste for dressing up and dancing down the garden paths of The Move, early Pink Floyd and Dave Mason. The evening’s real wildcard is sometime ILL member Sadie Noble, a.k.a. Nummo Twin: generator of woody, baffling dream pop and abstracted yet covertly clever chucking-mud-at-the-wall collages of glitchy electronics, woodworking noises, and half-heard vocal mumbles.





 
The Todmorden show features raffishly arty tenor sax duo Wolf Scarers (Simon Prince and Keith Jafrate) and thrumming audio-visualizer Anna Peaker. With printmaking, DJing and gig promotion as part of her activity alongside the sound and graphics designer (and with an eye on branching out into dressmaking and ceramics.) Anna is an impressive DIY/do-anything character. Across her artwork she takes inspiration from Yorkshire weaving mills, witchcraft, old record sleeves and film posters; from ancient pathways and the millennia-spanning architectural layers of her base in Leeds. By itself, her music is skirling Yorkshire-Germanic variations on assorted psychedelic-chapel organ drones, billowing in and out of focus and sometimes including autoharp and field recordings – for the full effect, though, it’s tied into the cascade of her live visuals.

With Wolf Scarers, Simon and Keith blow a free-brewed stewing of various ingredients and inspirations from the multiple genres each has played individually (and sidestepping the temptations to baffle the acoustic tones any further with computer processing). The results range from “gentle meditations that almost become chamber music across to full-blown shout-ups in the true tenor sax tradition, via, possibly, messed-up marching band funk and deconstructed jazz strut.” Larger Wolfscaring lineups are rolled out when the music necessitates, but on this occasion it’ll be the core duo at work.


 
In Berlin, Ariadne are slotting in at the bottom of a mixed bill in the Kiezsalon series run by Michael Rosen. At the top is American sampling-and-computer-music pioneer Carl Stone, whose 1970s loops and repurposing of library records drew a kind of academic-based parallel to hip hop’s turntablism, and who’s subsequently kept pace with technological collaging possibilities while maintaining an accessible sense of found/captured/manipulated melody, plus a continually expanding taste for incorporating suggestions and content from other cultures’ music (in particular Asian cultures) and a disarmingly bonkers vocal quality. In the middle is French wind instrumentalist/synthesist Ariel Kalma, who’s been dwelling on the borderlines of process music, Paris experimentalism, New Age and electrophonic minimalism since the mid-‘70s.



 
Over at Prague’s Punctum venue, the first of two listed support acts is the acousmatic Sound Situation trio: domestic New Music exponents with electronicist Michal Rataj (electronics), Jan Trojan (more electronics, plate-bashing) and Ivan Boreš (prepared guitar) Veterans of academic music and live improv, as definition they spit out a host of word associations as definition: “sound design, freshly baked bottle in the fridge, movie soundtracks, radio art, pieces of sheet metal, flamenco, sirens, spectral transformations, Kvok!, teaching at the university… Ostrava new music days, abandoned sea beach, Contempuls, Noise Assault Agency Budweiss, BERG Orchestra, Gride”.

 
Unpick and reassemble that little lot if you wish; but note that Punctum have spent far less time expounding on who second Prague support Julia Dyck might be. To be frank, they’ve spent no time at all on it so far… but evidence points towards it being this woman. If so, you can expect to see or hear anything pulled from a bewildering, inspiring rack of potential directions and from a mind seething with forma drawn from feminist/queer/gender theory, from technological awareness and from Julia’s formidable polymathic curiosity about the world. It might be radiophonics, or synth minimalism, or voice-and-fx constructions, or ambient noise; it might be ideas drawing from her time as radio producer, writer and broadcast media artiste; or general conceptual experiments like the miked-up fruit-and-body performance she recorded for a batch of film festivals earlier in the year.

There are a few tasters below – the krautrock-in-the-frying-pan of Passenger, the ambient goo of Changes Made – but there’s too much to Julia to summarise in a paragraph or two or a handful of audio clips. Even briefly looking into what she does is like cracking an eggshell and finding an expansive, challenging pocket universe within, which then maps inexorably back onto your own and changes it behind your back.

 
* * * * * * * *

Full tour dates and details are still being assembled, but here are the ones I know about so far:

 

  • Saint Vitus Bar, 1120 Manhattan Avenue, Greenpoint, Brooklyn, New York City, NY 11222, USA – Friday 7th June 2019 (with Ideal and Dasychira) – information here, here, here and here
  • Blah Blah, via Po 21, 10124 Torino, Italy – Wednesday 12th June 2019, 8.00pm – information here
  • Le Brin de Zinc, 3 ZA Route de la Peysse, Chambery, 73000 Barberaz, France – Thursday 13th June 2019, 8.30pm – information here
  • St Paul’s Church Southville, 2 Southville Road (junction with Coronation Road), Bristol, BS3 1DG, England – Saturday 15th June 2019, 7.00pm (with Salaċ + Java Java Wetware) – information here and here
  • The Golden Lion, Fielden Square, Todmorden, OL14 6LZ, England – Sunday 16th June 2019, 7.30pm (with Wolf Scarers + Anna Peaker) – information here
  • The Peer Hat, 14-16 Faraday Street, Manchester, M1 1BE, England – 17th June 2019, 7.30pm (with Lazy Bones + The Peace Pipers + Nummo Twin) – information here
  • Sutton House, 2-4 Homerton High Street, Homerton, London, E9 6JQ, England – Tuesday 18th June 2019, 7.00pm – information here and here
  • Muziekcentrum Kinky Star, Vlasmarkt 9, 9000 Ghent, Belgium – Wednesday 19th June 2019, 8.00pm – information here
  • MS Stubnitz, HafenCity, Kirchenpauerkai 26, Umfahrung Versmannstraße, Baakenhafen/Baakenhöft, 20457 Hamburg, Germany – Friday 21st June 2019, 8.00pm – information here, here and here
  • Komplex, Zietenstr. 32, 09130 Chemnitz, Germany – 22nd June 2019, 8.00pm – information here
  • Punctum, Krásova 27, Žižkov, 13000 Prague, Czech Republic – Sunday 23rd June 2019, 7.00pm (with Michal Rataj/Ivan Boreš/Jan Trojan + Julia Dyck) – information here and here
  • Wolskie Centrum Cultury, Wolskie Centrum Kultury, ul. Obozowa 85, 01-425 Warszawa, Poland – Monday 24th June 2019, 8.00pm – information here
  • Kiezsalon, Greifswalder Strasse 23a, 10407 Berlin, Germany – Wednesday 26th June 2019, 8.00pm (with Carl Stone + Ariel Kalma) – information here and here
  • Macao, Viale Molise 68, 20137 Milan, Italy – 28th June 2019, time t.b.c.

 

June 2019 – upcoming London opera – National Opera Studio’s ‘Voices Of Now’ (7th, 8th) and the premiere of Robert Hugill’s ‘The Gardeners’ at Conway Hall (18th)

31 May

Passing on some opera news…

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This coming Friday, National Opera Studio brings their ‘Voices Of Now’ to London for a couple of days (playing the old gay Bloomsbury theatre haunt The Drill Hall – now RADA Studios – which certainly saw plenty of operatics of one kind or another during its previous life).

'Voices of Now: Scenes From Contemporary Operas' - 7th & 8th June 2019

“Directed by award-winning director Michael McCarthy (Artistic Director, Music Theatre Wales), ‘Voices Of Now’ celebrates scenes from contemporary opera written in English. This programme will showcase 21st century operas, with scenes from works by John Adams, Judith Weir, George Benjamin, Philip Glass, Emma Ruth-Richards, Mark-Anthony Turnage, Stuart MacRae and Unsuk Chin, and hark back to one of contemporary opera’s pioneers with an extract from Michael Tippett’s King Priam. Featuring our four talented Young Artist répétiteurs at the piano, the scenes will be conducted by NOS Head of Music, Mark Shanahan.

The opera excerpts are from:

“On Friday 7th June at 6.15pm there will be a pre-performance talk with Michael McCarthy as well as some of the composers and publishers behind the contemporary opera scenes. Discussing both the creative process behind the works and how this is translated onto the stage, this exclusive talk will be hosted by NOS Director of Artist Development, David Sulkin. Tickets for the talk cost £5.00; however they are free to members of the Friends of the National Opera Studio.”

* * * * * * * *

On 18th June, composer Robert Hugill presents the world premiere of his new opera ‘The Gardeners’ at London’s humanist/ethical fortress Conway Hall.

Robert Hugill: 'The Gardeners' - 18th June 2019

“Following the stunning productions of ‘The Genesis Of Frankenstein’, ‘When A Man Knows’ and ‘Garrett’, one of the UK’s most distinguished composers, Robert Hugill, presents the world premiere of his latest chamber opera ‘The Gardeners’. With a libretto by Otradek Records and ‘Notes Upon Notes‘ editor Joanna Wyld, this enduring modern opera sees tensions rise between three generations of the same family who look after war graves in a politically divided region.

“Inspired by a newspaper article about a family of gardeners tending war graves in the Middle East, the opera is set within a Commonwealth War Graves Commission cemetery, amongst the family which maintains the gardens in the cemetery, and it deals with issues of remembrance, tolerance, and brotherhood. The graves belong to the Dead, who once invaded the land in which they lie. Tensions rise between three generations of the same family who look after war graves in a politically divided region. The Dead communicate with the Old Gardener, to the bewilderment of his family, who cannot hear them. The Gardener works with his father, trying to keep the peace, whereas his son, the Angry Young Man, resents the Dead and is on the cusp of being radicalised. His Mother and Grandmother try to resolve the divisions within their family.

“After the Gardener discovers that the graves have been vandalised, and suspects his son may be the culprit, the conflict between the Angry Young Man and his family escalates, culminating in the Old Gardener collapsing and dying. Filled with remorse, the Angry Young Man reflects on his actions. As he does so, he starts to hear the voices which had spoken to his grandfather: the voices of the Dead.”

“The way the family maintain the gardens in the cemetery against difficult odds, and with graves of a variety of different religions, provides a metaphor for the current tensions in the Middle East; and in Joanna’s libretto the garden provides a further metaphor for the easing of tension and the creation of harmony and brotherhood.”

“This concert performance features Julian Debreuil (Wingate Foundation Award winner), Peter Brathwaite (English National Opera 2017 / 2018), Magid El-Bushra (Orchestre de Radio France), Flora Mcintosh (Anne Zeigler Award winner) and Georgia Mae Bishop (Opera Holland Park young artist 2019); with an instrumental quintet ensemble (harpist Oliver Wass, violinist Charlotte Amherst, viola player May Dolan, cellist Sophie Haynes and clarinettist Anthony Friend) conducted by the Artistic Director of the London English Song Festival William Vann.”

‘The Gardeners’ has a dedicated website and a Facebook page with further background and developing news. Joanna Wyld has also written in ‘The Cross-Eyed Pianist‘ about the construction of the libretto. Here’s a clip from Robert’s previous opera ‘When A Man Knows’.

 
* * * * * * * *

Dates:

National Opera Studio presents:
‘Voices of Now: Scenes From Contemporary Operas’
RADA Studios, 16 Chenies Street, Bloomsbury, London, WC1E 7EX, England
Friday 7th June 2019, 7.30pm / Saturday 8th June 2019, 3.00pm & 7.30pm
Pre-concert talk: Friday 7th June 2019, 6.15pm

– information here and here

Conway Hall Sunday Concerts presents:
‘The Gardeners’
Conway Hall, 25 Red Lion Square, Bloomsbury, London, WC1R 4RL, England
Tuesday 18th June 2019, 7.30pm
– information here, here and here
 

June 2019 – the start of Daylight Music’s summer season in London – The Slowest Lift, Laura Jurd & Chris Batchelor, ORE and Jim Bishop (1st June); Jam Tarts Choir, Independent Country and Sarah Gonputh (8th June); ‘From Call To Choir’ with Dominic Stichbury, Ben See, Esmeralda Conde Ruiz, Archie and a clutch of chorals (15th June), Piney Gir, She Choir and Oly Ralfe (22nd June); Xenia Pestova Bennett, Ligeti Quartet, Snowpoet, Muted Summer Landscape and the magnetic resonator piano (29th June)

28 May

Daylight Music 10, 2019

Currently in the process of celebrating a remarkable ten years of bringing cuddly/eclectic pay-what-you-can family music events to London (or, more accurately, of encouraging inspiring music to happen with the minimum of cynical compromises while ensuring that there’s a family-friendly space for it to happen in), Daylight Music is back for another season of Saturday lunchtime gigs with all manner of different people playing.

* * * * * * * *

The summer season launch gig, on 1st June, focusses on experimental brass-themed acts:

Daylight Music 307: The Slowest Lift + Laura Jurd & Chris Batchelor + ORE - 1st June 2019

“West Yorkshire’s The Slowest Lift (Sophie Cooper and Julian Bradley), present a new chapter in the long-running tradition of radical English music duos. Cooper (an accomplished solo performer and collaborator) and Bradley (from frequent VHF delinquents Vibracathedral Orchestra) play a kind of gentle post-industrial psychedelia, a ghostly tapestry of earthen whirring, phantasmal resonances, sheets of textured skree and touching, hazy vocals. The songs are a blend of straightforward performance and eccentric bricolage, with rude electronic interjections sitting comfortably alongside delicate guitar and keyboard melodies.



 
Laura Jurd and Chris Batchelor will perform as a duo. Laura is a London-based, award-winning trumpet player and composer, currently a BBC New Generation Artist for 2015-2017: an active improviser playing regularly in the UK and more recently in Europe, she specialises in writing for hand-picked musicians in her own projects and ensembles. Her band Dinosaur has performed throughout the UK and Europe. Chris is an innovative and creative trumpet player and composer based in London: as well as leading several projects, including the avant-trad band Pigfoot, he is also featured as a sensitive and versatile soloist in many highly regarded groups on the European jazz scene, and is a prominent soloist and composer in the re-formed Loose Tubes.



 
ORE is the drone/doom brass sound of tuba player Sam Underwood and baritone horn/trombone player Beck Baker. The pair create weighty dronescapes that evolve at a glacial pace. ORE’s sound rewards the patient listener as their dissonant tones rub together; enhanced by the use of two custom-built resonant gong speakers. The audience slowly becomes awash with the sound of ORE.


 
“We’re happy to announce that Jim Bishop will return to play the chapel’s own Gothic synth – the Henry Willis organ, joining the dots between the other main performers. Jim came to Daylight as part of all-male 60’s dance troupe The Action Men, who have returned a couple of times since. He plays in Ancient Egyptian instrumental group The Mirage Men, The Band Who Fell To Earth (who play Bowie in the style of Booker T. and The MGs) and The Fay Hallam Group, alongside another Daylight performer, Andy Lewis.”

* * * * * * * *

The ‘Come As You Are’ concert on 8th June sees the series dive into comfy covers again…

 
“Daylight Music goes to the indie disco in its own inimitable fashion with the Jam Tarts Choir and Independent Country, who will be teaming up for an unforgettable rendition of the Nirvana song of the event title, and expect a surprise or two on the Chapel’s organ…

“Independent Country, a six-piece band from Birmingham, play your favourite indie hits in a country music style. Here are songs originally by the Happy Mondays, the Smiths, Blur, Jesus and Mary Chain, Pulp and Oasis as you’ve never heard them before.


 
“Now into their fifteenth barnstorming year, Brighton’s Jam Tarts are an indie choral collective who perform unique and shimmering arrangements of post-punk, electro, Britpop and artrock classics. Four (or five or even eight) part harmonies, sixty pairs of mighty lungs and six degrees of celebration. Think choirs aren’t your cup of tea? You’ve never heard your favourite songs quite like this before…Their set is likely to include big choral versions of songs by Ezra Furman, The Stone Roses, Tom Waits, Jesus and Mary Chain and Arcade Fire. Hungover commuters on the 8.18 from Brighton can expect the train to be packed with singing Tarts, complete with trumpeters and cellist!


 
“Indie and alternative music was the natural choice for the choir after director and musical arranger Li Mills bribed John Peel with chocolate to help write her music degree finals thesis on punk, obliterating her early teenage record collection of Dire Straits and Phil Collins albums. Praise be to the late Mr Peel, or Jam Tarts might be singing Another Day in Paradise arranged for sixty voices…

Sarah Gonputh is a London-based keyboard player for Green Seagull, Manuela, Twink and The Lysergics. She has a special love for vintage organs such as the Vox Jaguar, Vox Continental, Farfisa Compact, The Philacorda and the Hammond Organ. Her keyboard-playing heroes include: Ray Mazareck of The Doors, Steve Winwood and Garth Hudson of The Band. Having performed several times at past Daylight Music events with Green Seagull, Manuela and playing piano for the “in-between” bits last year for The Left Outsiders, this will be Sarah’s Union Chapel Organ playing debut, pumping out some indie hits.”

* * * * * * * *

Choral ideas are developed further the following week with the ‘Call To Choir’ event, including a chance for you to join in…

Daylight Music 309: 'From Call To Choir' with Dominic Stichbury & Ben See with Esmeralda Conde Ruiz + Archie (plus members of Chaps Choir, Bellow Fellows, Electric Belles and the Grandmother project) - 15th June 2019

“What happens when the call of one voice captures the imagination of others? Starting with one singer and finishing with hundreds, this edition of Daylight Music will see numbers of voices grow to fill every corner of the Union Chapel.

Dominic Stichbury (Chaps Choir, Bellow Fellows) and Ben See (La La La Records) are exploring the themes of expansion, commonalty and togetherness through the human voice; and are gathering singers together to celebrate its infectious power. The performance will include an eclectic mix of singers and songs, including new material written especially for the event, featuring female folk/jazz vocal quartet Archie, Ben See, Esmeralda Conde Ruiz and the GrandMother project, Chaps Choir, Bellow Fellows and Brixton-based “all girl, all awesome” close-harmony choir Electric Belles.

“Would you like to join the biggest ever choir to sing at Daylight Music? All welcome. No choir/performing experience is required, just fill in the online form, turn up for the preparation sessions (on Friday 14th) and take part in the final event. You will learn some short songs in harmony by ear and prepare to sing them with hundreds of other voices in the wonderful acoustics of the chapel.”



 
* * * * * * * *

More choral covers blend with pianos, pop and psychedelia on the 22nd when Piney Gir gets her hands on the reins…

Daylight Music 310: Piney Gir's 'Midsummer Madness' with She Choir + Oly Ralfe - 22nd June 2019

“Piney Gir’s perfect pop music is dipped in sunshine, so she was an obvious choice to curate a special event inspired by the Summer Solstice as part of our 10th Year celebration. She wants you to get playful, be creative, and come along for summertime inspiration and maybe even do a little white witchy spell with her in honour of The Longest Day.

“Originally hailing from Kansas, but having lived in London for many years, Piney is a prolific and prodigious musician. She has been touring with Gaz Coombes around the UK, Europe and America and is also one of Gaz’s backing singers. She has recently been singing with Noel Gallagher and Danny Goffey, and supported Ride on tour around the UK just before Christmas. She’s gearing up to release her seventh album, ‘You Are Here’, which is a celebration of analogue gear with a sound that nods back to when music was on the cusp of change, just before synth pop and just after punk rock.


 
“Her allies on this afternoon will be London women’s SHE Choir who sing their technicolour version of songs from Destiny’s Child to Fleetwood Mac.

Oly Ralfe (Ralfe Band) will present music from his debut solo instrumental piano album. Sitting somewhere between the oscillating patterns of Philip Glass and the reflectiveness of Gavin Bryars, the album ‘Notes From Another Sea’ sounds like music for a film that has yet to be made.


 
“Finally, Piney presents a special acoustic set from Premium Leisure (a.k.a. Chris Barker) who has honed his own sound: a mix of experimental guitars and undulating rhythms reminiscent of late ’60s English psychedelic rock with a bit of early Tame Impala or White Denim thrown in.”


 
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The last of June’s gigs is a typically Daylight fusion of accessible classical and experimental ideas…

Daylight Music 311: 'Magnetic String Resonance' with Xenia Pestova Bennett + Ligeti Quartet + Snowpoet + Muted Summer Landscape - 29th June 2019

“What if you could play a note on the piano and have it last forever? Pianist, composer and improviser Xenia Pestova Bennett will curate a special afternoon featuring the Magnetic Resonator Piano, an exciting new instrument designed by the radical inventor Andrew McPherson. A grand piano will be completely transformed into a stunning acoustic cyborg with electromagnets suspended above the strings, allowing for control of minute details of shimmering resonance and gorgeous sustained tones. (Click here for an article on the instrument, from ‘Keyboard Perspectives’, and here for a ‘World Piano News’ article on its use in the soundtrack for last year’s film ‘Christopher Robin’…)


 
“Also performing will be string ensemble Ligeti Quartet who, since their formation in 2010, have established a reputation for breaking new ground through innovative programming and championing of today’s most exciting composers and artists.


 
“Completing this afternoon line-up, Xenia presents Snowpoet‘s debut at Daylight. The London-based band, led by “mesmerising” vocalist Lauren Kinsella and bassist Chris Hyson, have released two critically acclaimed albums to date, with the most recent being ‘Thought You Knew’ on Edition Records. Blending sweet hook-laden vocal lines with warm and lush arrangements, the music is infectious, delicate and tasteful.


 
“Joining the dots this week between the other artists is something a little bit special. We’re pleased to welcome Muted Summer Landscape, an audio/visual collaboration between electronic music composer Brian Robinson and visual artist Steve Lee who transform and shape their audio/visual field recordings, melodies and rhythms into delicate electronic portraits that often reflect the natural environments that surround them. Inspired by the simple and complex patterns that present themselves when manipulating source material, msl create immersive narratives that evoke emotions, stimulate imagination and provoke thought. Taking into account the architectural surroundings and the nature of this event, Brian will deliver a solo performance of live ambient/spectral transformations based on material taken from MSL’s forthcoming audio/visual release, expected later this summer.”


 
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All gigs are at the usual place – Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England – with a suggested donation of five pounds (as ever, an absolute bargain). Dates below:

  • Daylight Music 307: The Slowest Lift + Laura Jurd & Chris Batchelor + ORE – Saturday 1st June 2019, 12:00pm – information here and here
  • Daylight Music 308: ‘Come As You Are’ with Jam Tarts Choir + Independent Country – Saturday 8th June 2019, 12:00pm – information here and here
  • Daylight Music 309: ‘From Call To Choir’ with Dominic Stichbury & Ben See with Esmeralda Conde Ruiz + Archie (plus members of Chaps Choir, Bellow Fellows, Electric Belles and the Grandmother project) – Saturday 15th June 2019, 12:00pm – information here and here
  • Daylight Music 310: Piney Gir’s ‘Midsummer Madness’ with She Choir + Oly Ralfe – Saturday 22nd June 2019, 12:00pm – information here and here
  • Daylight Music 311: ‘Magnetic String Resonance’ with Xenia Pestova Bennett + Ligeti Quartet + Snowpoet + Muted Summer Landscape – Saturday 29th June 2019, 12:00pm – information here and here

Details on July’s Daylight concerts to follow in due course…
 

May 2019 – upcoming gigs – theatrical rock and weirdtronica from Major Parkinson, Alwanzatar and Army Of Moths in London (2nd, 3rd); simmering avant-rock angles from Thumpermonkey and A Formal Horse in Southampton (2nd); eclectic music From My Octopus Mind and Daniel Inzani in Bristol plus a dance video premiere by Bethany Stenning (2nd)

23 Apr

Major Parkinson + Alwantazar + Army Of Moths, 2nd & 3rd May 2019The last time that Bergen rock dramatists Major Parkinson came to England, they amazed and were amazed – bringing an evening of dark-tinged theatrical music, and leaving grateful and a little thunderstruck at the attention they’d received and the energy and loyalty they’d stirred up. It had something to do with the fact that they’d unexpectedly tapped into the interests of Cardiacs fans, known for their family loyalty and their generally un-English zest for manic expressiveness and musical complexity. A perfect match, really. Fronted by Jon Ivar Kollbotn and massing up an armoury of violins, guitars and keyboards, Major Parkinson are a Jägerbomb of a band. Rich, heady, a little reminiscent of Cardiacs’ turbulent complexity, but with plenty of other things in the brew – a dash of Nick Cave’s Gothic cabaret, the huge dark orchestral-pop airs of Cousteau, the shipwreck timbers of black metal, the ambitions that come from staring at a shelfload of out-there music while still pawing over your childhood copy of ‘Sgt. Pepper’.

They’re back in England at the beginning of next month to play a London double – an official show at Tufnell Park’s Dome, plus (for Dome ticket holders) a pre-Dome warm-up at a secret location. No idea where the latter is. They’re selling it as some kind of thieves’ kitchen or secret cupboard, in which you’ll come as an audience member but helplessly spill onto the stage, presumably becoming one of the characters in a Parkinson tale. It’s all a mystery. Pick up a Dome ticket and be prepared to make an early weekend of it.



 
At the Dome show, there’s support from Alwanzatar, a solo “extraterrestrial world music” project from Krizla (who plays with Norwegian prog-psych-folkers Tusmørke). Founded around electronics, flute, synth gloop and incantations, it sounds a little like a reanimated Popul Vuh, raised up by dark rites and dragged into the world of bedroom electronica. Also on hand are Army Of Moths: usually a similarly theatre’lectrical racket to Major Parkinson themselves, playing an unhinged kind of power pop (great brick arches of song with a definite Cardiacs-y clamberosity involved, plus vocals scurrying around them like woozy wayward ivy or clamouring like a young Bowie). This time they’re playing in acoustic format.




 
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It’s going to be a busy Thursday for this kind of tuneful, extravagant fringe rock. Also on the 2nd – balefully powerful London avant-prog band Thumpermonkey up sticks for an evening and roll their dark laughter, their constantly shapeshifting compositions and their baffling, brainiac-surreal perspective out of London, taking the road down to Southampton to play for the determined diehards at Solent Area Prog.

Thumpermonkey + A Formal Horse, 2nd May 2019Like Major Parkinson, Thumpermonkey are a heady brew of ideas and drama. In their way, they’re one of Britain’s most ambitious rock bands, deftly striding and shifting between different musical kernels from prog, dark pop or experimental metal to a kind of science-fiction cabaret, languidly licking up and stirring in any intriguing nugget or story fragment they birth or encounter. Unpacking their decade-plus back catalogue of recordings is like getting trapped in one of those clever-dick contemporary polymath novels written about everything and anything, stitched together with a little magic and mystique – they’ve sung about computer games, Nigerian fraudsters, Mexican acid westerns and strange diseases and made it sound as if it were all part of the same complex semi-submerged story. Their most recent album, ‘Make Me Young, etc.’ is a surprisingly sober banking-down of the usual playful creative fires: a crepuscular meditation on the end of the world as observed through dreams, portents, reality and intimations.



 
Once a concoction of pointy elbows and sudden shifts, Southampton avant-rockers A Formal Horse (playing in support) are growing up, out and a little away from their post-prog beginnings, powered by Hayley McDonnell’s strong carolling tones. More recent songs (like 2018’s Bird) yearn toward a kind of florid dream-folk, even as the drumming nails mozaics into the floor and the guitar describes steely math-rock machinery forms. A couple of years ago, I described them as “a bounding conceptual glitterball”. In some respects, they’ve calmed down a little since then, but only in order to apply more considered forms of straining at their genre. At the moment, they’re like a muscle developing – over-straining, gently tearing, but with the intention and ability to rebuild and go further.



 
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In contrast to the journeys being carried out by Major Parkinson and Thumpermonkey next week, My Octopus Mind are staying happily at home in Bristol for their own 2nd May gig. Following their jaunt around the country back in February (and a brief vigorous five-date sizzle through France and Belgium earlier this month) this time they’re choosing to draw the wider world over to themselves.

Here’s what I wrote about them last time, which they’ve liked enough to quote themselves, and which I might as well requote myself – “My Octopus Mind occupy a pleasing position, settled in their own web of connections between a number of different influences but reliant upon none of them. There’s a jazzy rattle, predominantly via the gloriously noisy effected double bass of Izy Ellis (a growling, punchy, conversational art-box; upfront timber and raw electronic treatments). The whole band’s informed by post-Radiohead/Mars Volta art rock and by the mating of contrasts implicit in assorted culture collisions (such the Hindustani-classical meets New-York-loft-music teaming achieved in one particular favourite, Philip Glass and Ravi Shankar’s ‘Passages’). Frontman singer and guitarist Liam O’Connell cites the sonic and psychological crescendos of Jeff Buckley and Josh Homme’s mix of heaviness and irony, but also the restraint of Jose Gonzales. Ex-Lambhorneer Oliver Cocup adds refreshed drum bounce, and racing through the whole thing is a rivulet – or, more accurately, an unstoppable jet of skittish Balkan folk.”

While going out on tour, My Octopus Mind are a trio. On home turf, they’re a sextet. They’ve had an extra pair of plug-in string players for a while, but the sixth member remains a mystery for the moment. The other thing they’ll be unveiling at this gig is their second video release: a “magical” piece of stop-motion animation by Roos Mattaar, part of Bristol’s crop of world-class animators, and the woman previously responsible for most of the video for Father John Misty’s Things It Would Have Been Helpful To Know Before The Revolution.


 
More music visuals come from Bethany Stenning, whose “tender genderless, measureless, dimensionless” Stanlæy project has migrated between Paris, Ireland and Bristol in various shapes and forms since 2016 (with Bethany constantly at the core of the catherine wheel, throwing off strands of violin, piano, guitar, voice, synth and found sound). As musician and multi-instrumentalist, Bethany starts from a perspective of “ethereal gypsy punk-pop” and moves outwards from there into the kind of neverland/neverwas experimental folk music that we used to hear from Joanna Newsom; with her fey, unusual, offbeat-beautiful voice and lyrics exploring “human life in the modern world…our ancient relationships to nature… contemplations about consciousness and free will” while nestling in sparse yet evocative post-classical, free-sounding arrangements.

Stanlæy’s current incarnation (a spacious acoustic quartet) would fit right into the night’s gig lineup; but instead we’re getting a look at Bethany’s broader artistic concerns and abilities. Her involvement tonight has more to do with her visual art side and her passion for painting, illustrating, observing and questioning the human body via story and dance. In collaboration with cinematographer Rob Ellis, she scripts and directs video art, something which first came substantially together in 2017’s ‘The Human Project’ (“seven elements embodied within seven sonic visuals… seven hues, revealing the body as a canvas to represent natural elements as a metaphor for cognitive states of mind, and the evolution of the body. The human body transforms itself into a real life canvas.”) On this occasion, she’s presenting ‘Wear The Line’, a twenty -minute short film that’s “a thought-provoking and uncannily realised representation of the current climate of gender roles and their ambiguity. Set in a universe much like our own where one word or concept can have as many meanings as there are people, the film explores the formula of femininity. It features lead performances by Flora Whitmarsh, Taylor Young and Phoebe Hopwood.” Bethany also provided the music for the film – from what I’ve heard, a hypnotic and open-ended chamber-classical ambience.



 
Also on board for the evening is Daniel Inzani, playing a mid-bill set of piano pieces. Though he’s perhaps best known at the moment for the classical/jazz/folk chamber fusion music (simultaneously luxuriant, ghostly and sprightly) which he composes for his Spindle Ensemble quartet, Daniel’s work has also embraced vigorously visual Ethopian jazz fusion with his Tezeta octet; the performance of ska, rocksteady and Mahavishnu Orchestra music; and support work in a pair of Bristolian psychedelic assemblages (Graeme Smith’s blues-reggae-meets-lounge project Dubi Dolczek and Conrad Singh’s buzz/drone Americana folk-pop array Cloudshoes). His piano solos catch up and rework bits of his own compositions, rearrangements for different spaces.


 
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Dates:

Major Parkinson:

  • (secret location, London) – Thursday 2nd May 2019, time t.b.c. – special warm-up gig available to ticketholders for the Dome show
  • The Dome, 2a Dartmouth Park Hill, Tufnell Park, London, NW5 1HL, England – Friday 3rd May 2019, 7.00pm – information here, here and here

Solent Area Prog presents:
Thumpermonkey + A Formal Horse
The Joiners, 141 St Mary Street, Southampton, SO14 1NS, England
Thursday 2nd May 2019, 8.00pm
– information here, here and here

My Octopus Mind + Daniel Inzani + Bethany Stenning’s ‘Wear The Line’ (video premiere)
Cube Microplex, 4 Princess Row, Bristol, BS2 8NQ, England
Thursday 2nd May 2019, 7.30pm
– information here, here and here
 

April 2019 – upcoming experimental/jazz gigs in London and Cambridge – Rotten Bliss, Seven-Headed Raven, Alex McKenzie and Nnja Riot in ‘Classical Enemy in Noise Waters’ (26th); Ensemble Entropy with Loré Lixenberg (26th, 28th); and Rotten Bliss back for the Laura Cannell album launch (30th)

15 Apr


 
Baeutifully abrasive experimental noise cellist Jasmine Pender – better known as Rotten Bliss – is the linking factor between two London gigs towards the end of the month.

'Classical Enemy In Noise Waters', 26th April 2019For the first one, she joins a crew of classically-slanted avant-gardistes ensconced for an evening on board The Golden Hinde, the London-docked reconstruction of Francis Drake’s sixteenth-century global circumnavigating galleon. Also below decks for the occasion are experimental flautist Alex McKenzie, experimental violinist Nnja Riot and sacred-pagan-minded, multi-national experimental folk ensemble Seven-Headed Raven (led by Chrome Hoof-er Tim Bowen on cello and vocals and singing multi-instrumentalist Catherine Gerbrands of Valerie & Her Week of Wonders/An Infernal Contraption, incorporating bowed saw, Latvian dulcimer, choral vocals and whatever else performers have to hand).

“While on board The Golden Hinde, artists will collectively interbreed two species: noise music and classical music. How can a classical instrument be noise? Find out by watching three different noise classical crossover projects within the heart of a ship drenched in history and mystery. For those of you already familiar with noise we will add to your already well developed misconceptions, and for those of you who are less familiar with noise we may surprise you with where the music travels.

“With experimentation at the heart of the music, the artists performs music as a gesture, the essence of live performance. The ship itself is seeping with memory, making it the noise-perfect host for this cross over to take place. Artists will bring together the cello, violin, flute and a choir in one evening. We will welcome sound waves resonating creatures of the sea, wood spirits and nautical murder ballads on this very special evening on board The Golden Hinde.

“’Fair Isle’ is a special collaboration between noise cellist Rotten Bliss and international folk choir Seven-Headed Raven. Created especially to haunt The Golden Hinde, ‘Fair Isle’ is inspired by our enduring fascination with the sea in art and folklore and draws from 16th century poetry, nautical murder ballads, and ship diaries, told through fragile and beautiful vocal harmonies, panoramic cello drones, and electronics.


 
“Alex McKenzie’s work evokes a landscape of sound using the flute and electronics. The flute will echo the wooden quality of the ship in a concoction of resonating wood spirits and electronic sound waves. Alex’s performances are semi-improvised using a mix of analog and digital electronics alongside the flute.”


 
“Event curator Lisa McKendrick (a.k.a. Nnja Riot) will deliver a violin noise piece which is improvised using the violin and a series of effects, loops and vocals. The performance evokes an interaction between noise elements in the live electronic set up, vocals and violin sounds. By listening to the sounds of the instrument interacting with live effects this noise becomes the second instrument. Utilising this interaction she will build textured layers of sound and deep echoing violin; conjuring mythical creatures of the sea. Expect elements of a witch-craftian and song-craftian nature.”



 
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Laura Cannell + Rotten Bliss, 30th April 2019Four days later, Jasmine returns as Rotten Bliss to join the bill at IKLECTIK which launches ‘The Sky Untuned‘, the new album by Laura Cannell.

“‘The Sky Untuned’ takes as its starting point the theory of ‘the music of the spheres’, in which the universe is constantly making sound that humans cannot hear. The music is teased out of the land and sky and performed using Cannell’s signature minimalist chamber sounds, utilising extended instrumental techniques of overbowed violin (with deconstructed bass viol bow wrapped around the violin to produce drone and melody), scordatura violin tunings and double recorders (inspired by medieval stone carvings).

“She comments “it is not the result of one commission but a performance drawn from the ideas that have travelled in my thoughts wherever I’ve been over the past 18 months. The ones which wouldn’t leave my… heart and head, the ones which demanded to be played over and over through internal speakers, the ones which need to be explored and performed as if it’s the first time every time.”

“The album was recorded in one take at St Andrew’s Church, Raveningham, Norfolk, UK on 10th December 2018; while the seven tracks were composed and developed during a hectic period of commissions, tours and musical adventures including: York Mediale Festival & The National Centre for Early Music, Laura Cannell’s ‘Modern Ritual’ UK tour, Huddersfield Contemporary Music Festival, Bergen Kunsthall in Norway and The Cut Arts Centre in Suffolk.”




 
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For a couple of dates in Cambridge and London, adventurous mezzo-soprano Loré Lixenberg collaborates with Ensemble Entropy, presenting “imaginative music by established and emerging living composers, exploring the space between contemporary composed music and free mprovisation.”

Ensemble Entropy with Loré Lixenberg, 26th & 28th April 2019

Led by composer saxophonist Matt London (a 2018 British Composers’ Award nominee), Ensemble Entropy blends music from composed contemporary music and free improvisation. With the core lineup completed by Georgia Cooke (flute), Rebecca Raimondi (violin), Seth Bennett (double bass) and Mark Sanders (drums), they are accustomed to working with prominent, showcased guests (previous examples have included assertive polygenre pianist Matthew Bourne and electrophonic inventor/composer Jenn Kirby). In February 2018 an expanded ten-piece Orchestra Entropy playing at IKLECTIK incorporated improvisers Sarah Gail Brand, Seb Silas, Benedict Taylor, Tom Ward and Joel Bell.


 
A former Theatre de Complicite performer (and a voice student to many vocal stars including Galina Vishnevskaya) with a startling presence, Loré Lixenberg made her mark as the obscenity-spewing heckler-killing act ‘Tourettes Soprano’ (in association with Richard Thomas, for whom she also performed in ‘Jerry Springer: The Opera’). In formal opera circles she’s sung work by a host of contemporary composers (Georges Aperghis, Bent Sørensen, Helmut Oehring, Mark-Anthony Turnage, György Ligeti, Karlheinz Stockhausen, Beat Furrer, Harrison Birtwistle, Peter Maxwell Davies, Earle Brown, Luc Ferrari, Frederic Acquaviva and Gerald Barry), often working closely with the composers themselves. She has also performed audio-visual and installation work with Stelarc, Bruce Mclean and David Toop.

An accomplished composer in her own right, Loré makes her long-term base in Berlin in order to pursue more of her own projects, including her album ‘The Afternoon Of A Phone’, her +raum projects series with Frederic Acquaviva and her artist book ‘Memory Maps’. Since the start of 2018, she’s declared her body of work to be “an extension of her voice and singing practice… therefore to be considered an extended vocal.”


 
In addition to original music by Matt, Loré and Seth, the ensemble will be playing material by Barry Guy, Lola de la Mata, Joanna Ward and sometime Entropy trumpeter James B. Wilson.

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Dates:

Classical Enemy in Noise Waters: Rotten Bliss with 7 Headed Raven + Alex McKenzie + Nnja Riot
The Golden Hinde, St Mary Overie Dock, Bankside, London, SE1 9DE, England
Friday 26th April 2019, 7.00pm
– information here and here

Ensemble Entropy featuring Loré Lixenberg:

  • Memorial Unitarian Church, 5 Emmanuel Road, Cambridge, CB1 1JW, England – Friday 26th April 2019, 7.30pm – information here, here and here
  • Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England – Sunday 28th April 2019, 7.30pm – information here and here

Baba Yaga’s Hut presents:
Laura Cannell + Rotten Bliss
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Tuesday 30th April 2019, 8.00pm
– information here, here and here
 

April 2019 – upcoming London experimental gigs – Kammer Klang celebrates Annea Lockwood with Xenia Pestova Bennett, Nate Wooley, Jennifer Lucy Allan, Diffusions and the Cafe Oto Experimental Choir, plus Evie Hilyer and Amalia Young performing Chiyoko Szlavnics, Laura Cannell performing Peter Hannan and CRiSAP students performing EVOL and Yoshi Wada (6th & 7th)

2 Apr

Kammer Klang, 6th & 7th April 2019

Another Kammer Klang in Dalston provides a two-day weekend residency for Annea Lockwood; the New Zealand-born composer who started her career in the ferment of 1960s summer-schools at Darmstadt (with their focus on organised electronic composition) but who rapidly went far beyond that. Curated by former ‘Wire’ online editor Jennifer Lucy Allan, the weekend features various Lockwood European premieres alongside work by Chiyoko Szlavnics, EVOL, Yoshi Wada and Peter Hannan.

* * * * * * * *

For the Saturday event, Jennifer will be reading from ‘Annea Lockwood – Sound Streams’, an essay written by The Wire’s Louise Gray (for the Edition Festival for Other Music) which explores Annea’s ethos through from her early Darmstadt days to the present. En route, it touches on her playful Fluxus-influenced piano stunts, such as floating a tiny, tinkling musical box, attached to a bright childlike bunching of helium balloons, out of the body of a grand and into a the space of formal concert hall; or kitting out an old upright with integrated, foregrounded toys which not only made avant-garde noises but also visibly kept their toy nature.

The essay also delves into Annea’s later approach of mapping sound and space as a listener, mapper and translator – having ditched electronic sound-sources as master tone generators (while retaining electronics for processing), she moved to reconfiguring and (crucially) interacting sympathetically with natural environmental sounds. Even while imposing her own will on those sounds as recordings and as material, she’s consistently respected and illuminated their original sources and context, including the functions which they represent and the continuance which they embody.

There will be audio playbacks of two entirely electroacoustic Lockwood pieces. 2012’s ‘Dusk’ presents a mixture of “low frequency sounds generated by seafloor black smoker hydrothermal vents, transposed bat calls, and percussionist William Winant playing a tamtam”. Initially, 2013’s ‘Bouyant’ seems to travel from the pastoral to the sinister to comfortingly aural wit, as dipping, paddling water noises alternate with sinister low-frequency drones, haunting frictional creaks and indistinct faraway howls, which in turn give way to cheerful, pastoral farmyard animals bleating and babbling in the middle distance. It’s as if a canoeing trip (filmed in rapid disassociated jumps between panoramic scene shots and extreme close-ups, and between air and underwater) had started out being stalked by eldritch forest monsters and emerged in the millflow beside Old McDonald’s farm.

 
I’ve just read that last bit back and am laughing at myself again for the splats of fancy that I came up with. Maybe I’m just too trapped in a habit of floridly verbalising what I hear, as I try to shift my impressions from incoming sound to outflowing text. I suspect that in doing so I’m missing the point of what Annea does with her compositional process and what her intentions are when she brings it out of the sound lab and to the listener. Jamming a corny, boyish narrative of external horror-movie threat and cartoon silliness onto what I’m hearing isn’t the right approach. What I should be doing is dropping the whimsy and listening to the sounds as they were made and processed, without my input. It’s probably more accurate to interpret ‘Buoyant’ as a full-range representation of a segmented river journey passing through inscrutable wildernesses and the managed densities of rural agriculture (each of them with their differing environments and functionality) while realising that my listening human ears impose subjective meaning and story onto what they hear; as those of any listener might.

If you’re interested in the purest end of Annea’s interpretations of field-recordings, her four-channel sound installation, ‘A Sound Map of the Housatonic River’ will be open to the public at Cafe Oto Project Space throughout the weekend. It’s another water piece – extracted from a hundred-and-fifty-mile stretch of New England waterway via recordings made at points from river source to river mouth, both underwater and on the surface. Subsequently, it’s been formed into a polyphonic tricklerushflow of noises, crafted to capture the character of a river made up from the sum of its users, denizens, dynamics and fluid functions: a character which available to the ears if you know how to sit back and absorb it. You can listen to a downloadable excerpt here.

Saturday also provides the opportunity to listen to another strand of Annea’s music: two piano pieces performed by Xenia Pestova Bennett which are closer to the concert hall, building on bedrock conceptual carvings more akin the deconstructions of John Cage and the rumbles of James Tenney. In 1993’s ‘Red Mesa’ clustered drips of piano notes, gently sophisticated chordings and zither-strums inside the case result in something (to these misleadable ears, at least) strangely close to a Bill Evans jazz romance. 2001’s ‘RCSC’ takes the same principles and techniques but pursues them somewhere much darker and more reverberant, where the piano body becomes a roiling haunted canyon of clangs, stutters and trapped lashing stiflings, or perhaps just an objective map of unforgiving terrain. There’s an earlier interpretation of ‘RCSC’ below:


 
Supporting the Lockwood work will be a pair of duets played by emerging violinists Evie Hilyer and Amalia Young. ‘This Is Only Here’ and ‘HC91’ are both composed by electroacoustic specialist Chiyoko Szlavnics, who devises her pieces (in part) through drawings, and whose work has a focus on the “beating” phenomenon which occurs when two imperfectly tuned pitches interact with each other in an oscillating throb.

The Fresh Klang contribution for Saturday will be ‘Three hundred grams of latex and steel in one day‘: a 2011 spatial performance piece being restaged by students from the CRiSAP program (Creative Research into Sound Arts Practice, at the University of the Arts London). Using groupings of balloons and hex nuts at varied distances from the observer, it was originally composed/conceived by EVOL (the dual-composing, music-squashing, party-hooligan-cum-research-science team of Roc Jiménez de Cisneros and Stephen Sharp) as a way of exploring a modelled algorithmic process in perverse, potentially frustrating real-world terms. In practise, it’s mostly about EVOL’s fondness for deformatory music, and about the inspiring, embraceable awkwardness and randomness of trying to get an avant-garde composition off the ground by molesting blown-up latex. Squu-u-u-u-u-arr-r-r-r-r-kk-k-k….

* * * * * * * *

The Sunday event starts with a free afternoon Q&A session with both Annea Lockwood and composer/improviser Nate Wooley. During the evening concert, Nate will be performing the European premiere of his 2018 co-composition with Annea, ‘Becoming Air’, on trumpet and tamtam. It made its debut at Nate’s own FOR/WITH festival, and uses circular breathing, an effects pedal and a constantly-fiddled-with miked-up trumpet to capture overtones: it’s been noted for “using much of his improvising electro-acoustic vocabulary (while being) absolutely an Annea Lockwood composition: performative, shamanic, and with an attention to the naturalness of sound that makes the audience rethink their aural surroundings.” as well as containing sounds which (as ‘The Information Superhighway‘ put it) are “suggestive of a sprinkler system that’s gained consciousness.”

The other Lockwood composition for the evening will be the vocal piece ‘Water & Memory’, again receiving a European premiere. Based around hums and reiteration of water-words in Hindi, Thai and Hebrew and spacing a group of voice performers all around the venue, it’s conceived for amateur musicians and requires audience participation. This is billed as being performed by the “Cafe Oto Experimental Choir”. In practise – and on the night – I guess that that means you as well.

In addition to the evening’s Lockwoodia, there’ll be a visit from iterant Early/avant-music specialist Laura Cannell (see passim), interpreting ‘Rsrch 4/83’ by electro-acoustic orientated composer Peter Hannan; himself a former recorder player who wrote the ‘Rsrch’ series to explore, express and comment on musical and technical problems with the instrument. For this one, the recorder and the performer’s voice go through electronic delay system to pursue and realise “a rich texture of overtones” resulting in an incantatory buzzing reminiscent of throat singing.

More overtone work is provided by the CRiSAP students, returning for another Fresh Klang piece. This time they’re reviving ‘Lament for the Rise and Fall of Handy-Horn’, a (probably) deafening 1990s composition by Japanese Fluxus/drone composer Yoshi Wada. For this one, a set of nautical air horns are triggered and left to blare until all the compressed air has blown out of their tanks.

The impact of ‘Lament’ has relatively little to do with planned pitches, and everything to do with other factors such as the oppressive volume (which helps with the overtones), the sense of situational alarm (springing up even in a prepared audience), and the increased air pressure in the room (which comes with the discharging of the horns). I just hope that the performance of ‘Little Miss Sunshine’ next door at the Arcola Theatre will already be particularly noisy, rowdy and oblivious…

* * * * * * * *

Dates:

Kammer Klang presents:
Jennifer Lucy Allan/Diffusions/Xenia Pestova Bennett perform Annea Lockwood / Evie Hilyer and Amalia Young perform Chiyoko Szlavnics / CRiSAP students perform EVOL
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Saturday 6th April, 7.30pm
– information here, here and here

Kammer Klang presents:
Annea Lockwood/Nate Wooley/Cafe Oto Experimental Choir perform Annea Lockwood / Laura Cannell performs Peter Hannan / CRiSAP students perform Yoshi Wada
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Sunday 7th April 2019, 7.30pm
– information here, here and here
 

March/April 2019 – upcoming British experimental gigs – Sarah Angliss’ eerie Air Loom on tour in Britain (26th March to 8th April, various) – also featuring Noize Choir, Kate Arnold, Thomas Stone, Embla Quickbeam, Good News From The Future, Ben Gwilliam and Cath & Phil Tyler

23 Mar

The Air Loom project is on tour across England (with appearances in Scotland and Wales) during the end of March and early April.

Headed up by electro-acoustic composer and inventor Sarah Angliss, the project also features soprano vocalist Sarah Gabriel and Ensemble Bash percussionist Stephen Hiscock; but the vision is entirely an Angliss one: one of “phantasmagoria” and “electrical mysticism” which can incorporate“robotic carillons, telephonic counterpoint and a new instrument made from the salvaged parts of a Welsh chapel organ.” A former folk-club performer, Sarah is steeped and classically trained in the music of the baroque and Renaissance eras, and spends much of her time constructing and delivering music for theatre and for live film soundtracks. She’s also part of a generation of composer-performers who re-examine the archaic and antique from both a present-day perspective and a feeling of questing connection.


 
This kind of thing doesn’t always work out (folktronica’s a fine idea but often gets reduced to the cliché of just playing folk music on synths), but Sarah’s approach is a fresh one – folding the process over with technological visions which themselves are deliberately selected for their own innate antiquity in order to explore “resonances between English folklore and early notions of sound and machines.” Possessing traditional Early Music instrumental skills (on recorder and ancestral keyboards), she mates them with contemporary jiggery-pokery: the latter covering the kind of twentieth-century technology now acquiring a museum patina (theremins, analogue telephones, radiophonic devices) and more virtual twenty-first century tech such as current custom MAX patches and apps.


 
Backed up by Stephen and by Sarah G, the Air Loom tour and album features Sarah performing on a mixture of recorders, electronics, theremin and the clavisimbalum (a “sonorous, fourteenth-century Latvian cousin of the harpsichord” – in this case one that’s been connected to custom synth processing). The other things to mention are the eerie, enchanting robotic instruments which she conceives, designs and then brings on tour to operate, building them out of bits of abandoned acoustic instruments and sundry homely/associative objects. Some are more anthropomorphic and animatronic – a drum-playing 1960s shop mannequin; a handbag playing triple duty as a heart and a drumbox; a theremin-playing doll called Clara; a disembodied ventriloquist’s-dummy head operating as a spycam; a robot crow. Others present more clearly as machines, such as the automated, radiation-sensitive, hyperspeed bell carillion built with technologist Dan Stowell which was the centrepiece of her previous ‘Ealing Feeder’ album and the “wheezing, robotic Shruti box” that’s the centrepiece of ‘Air Loom’.



 
The resulting music is enthralling and a little displaced. Rumbles, chimes and airs adding up to hauntology-in-the-machine stuff; all of it in line with Sarah’s desire to create work which captures the “disquieting and uncanny” and “the crackle of the galvanic on the telephone wire.” While there isn’t currently any grabbable Air Loom work online for me to show you, here’s something a little similar – Sarah in the grand baroque Hawksmoor space of St Anne’s Limehouse two years ago, performing her ‘Ealing Feeder’ piece A Wren In The Cathedral along with Stephen Hiscock, Colin Utley and her animatronics. Echoes of the unearthly, the mundane and the dignified run through the performance: summonings, weaving, the patience of listening, the trances of spaces.


 
As you’d expect, a tour like this draws in interesting supports.

In Brighton and in London, Kate Arnold from Fear Of The Forest will open the Air Loom shows with a solo hammer-dulcimer-and-voice set of the kind with which she’s been tremendously busy over the past year (see passim). Looping full-range contrabassoonist and sound-triggerer Thomas Stone supports at Bristol, providing his usual slow-evolve sonic immersion from reed tones, beat and hiss.



 
At the Yorkshire art-nexus of Todmorden, Air Loom are joined by a couple of field-recording and sound collage artists – Embla Quickbeam (who opts for a naturalistic approach, overlaying and engraining recordings of places with homemade sonics) and Ben Gwilliam, who prefers to affect and manipulate similar recordings via open tape reels, magnets and a mingling of technical performance art with a kind of deconstructive electrophonic storytelling which can vary from absolute obliqueness to narrative snagging. This time he’s working with “super 8 projectors, ice and homemade electronics in an attempt to amplify the space between microphone and medium.”

 
At Newcastle, support comes from local avant-garde vocal performance collective Noize Choir, who wield an extended human-voice approach “free of the traditional restraints of typical choral settings, language or musical notation” in which singing, breathing, coughing, wailing, humming or any other vocal excursion has equal merit. They also investigate and reflect on the venues which they perform at via “phenomenological explorations (or) imaginings of our geological past” while pegging themselves firmly to a very North-East England post-industrial perspective in which science, landscape and culture merge. On this particular evening everyone’s performing in an award-winning conversion of a former carpet warehouse, now housing an independent cinema company first based on the quayside and then in a squatted abandoned prop store, and with an eye on delivering a future community spirit in ominous times…. so they’ll have all that to unpack with a click and a whoop. Anyhow, here’s them vocalising Lindisfarne (the holy island and bird sanctuary, not the folk rockers).

 
At the Swansea date (for Welsh art-music initiative NAWR) there’s another double support. The first is Newcastle folk duo Cath & Phil Tyler, latter-day exponents of traditional folk narratives, American mountain banjo and full-voiced Sacred Harp singing, which they strip down to its most minimal and concentrated folk, able to bewitch anything from the most cramped little folk club to the vast arena of the Albert Hall. The second is Welsh music-and-movement project Good News From The Future, a collective of mature performers (in their fifties or older) co-ordinated by Mike Pearson (once of 1980s Cardiff avant-garde site-specific theatre company Brith Gof, now emeritus professor of performance studies at the University of Aberystywth). It’s unclear about exactly what they’re doing this time around: some sources say a spoken-word piece, others a movement piece. By all accounts they’re equally skilled at telling a story either way. Here’s something of what – and how – they performed a few years ago at Cardiff’s Chapter venue.


 
* * * * * * * *

Air Loom dates:

  • The Marlborough Pub & Theatre, 4 Princes Street, Brighton, BN2 1RD, England – Tuesday 26th March 2019, 8.00pm (with Kate Arnold) – information here, here and here
  • Kings Place, 90 York Way, Kings Cross, London, N1 9AG, England – Saturday 30th March 2019, 8.00pm (with Kate Arnold) – information here and here
  • The Glad Café C.I.C, 1006A Pollokshaws Road, Glasgow, G41 2HG, Scotland – Wednesday 3rd April 2019, 7.30pm – information here and here
  • Star & Shadow Cinema, Warwick Street, Newcastle Upon Tyne, NE2 1BB, England – Thursday 4th April 2019, 7.30pm (with Noize Choir) – information here and here
  • The International Anthony Burgess Foundation, Engine House, Chorlton Mill, 3 Cambridge Street, Manchester, M1 5BY, England – Friday 5th April 2019, 7.30pm – information here and here
  • The Golden Lion, Fielden Square, Todmorden, OL14 6LZ, England – Saturday 6th April 2019, 8.00pm (with Embla Quickbeam and Ben Gwilliam) – information here
  • The Cube, Dove Street South (off top-left of King Square), Kingsdown, Bristol, BS2 8JD, England – Sunday 7th April 2019, 7.30pm (with Thomas Stone) – information here and here
  • NAWR#35 @ BBC Hall at Swansea Studios, 32 Alexandra Road, Swansea, SA1 5DT, Wales – Monday 8th April 2019, 7.00pm (with Good News from The Future and Cath & Phil Tyler) – information here, here, here and here

…and here’s Sarah’s robot carillon again, this time transmitting bird song (to the audible delight of a baby)…

 

March 2019 – music and theatre as ‘The Marchlands Arms’ takes over London’s transmigrational pub Ye Olde Mitre for a couple of evenings of border culture (23rd & 24th March)

19 Mar

A little way into the western edge of the City of London, between the jewellers’ quarter of Hatton Gardens and the gated enclave of Ely Place, there’s an inviting little alleyway – a tuckaway court still marked by Victorian streetlights, a little like an urban Narnia portal. As you wend your way up it, negotiating the gentle kink in the middle, a pub appears – a pub which gives the damnedest impression of having materialised from elsewhere and wedged itself into the cut-through.

Ye Olde Mitre (photographer unknown)

Ye Olde Mitre (photographer unknown)

This pub, Ye Olde Mitre, has actually been around in some shape or form since the middle of the sixteenth century – and for a long time it was perhaps London’s only example of a place which was in another place. Specifically, it was legally a part of Cambridgeshire. The beneficiary of a legal agreement regarding land jurisdiction set up around the London estate of the Bishop of Ely, it was the drinking establishment for his London servants. There are tall tales about people on the run from the City of London coppers claiming sanctuary in there, and arguing that the City police had no jurisdiction within the pub walls; no more than the Met did either.

Obviously this is a quirk of law, power and accommodation – mostly a long-standing in-joke for pint-supping conveyancers dropping in from the Inns of Court. Nonetheless, visiting Ye Olde Mitre always feels like taking a step into another kingdom, one which disregards standard unities of time and place in favour of fashioning its own. There’s the mythic touch added by the resident cherry tree, of course (which dates back to Elizabethan times and comes complete with its own Queen Elizabeth legend); but even when you’re not looking for magical signifiers – and long before you’ve become swimmy-headed on beer – the pub has the relaxed, self-contained air of somewhere entirely separate from the London bustle. Many pubs strive to become places in their own right; friendly drop-in nations. Content as its own little capsule of peace, Ye Olde Mitre manages it much better than almost anywhere else I know.

The Marchland Arms, 23rd & 24th March 2019

It’s unsurprisingly that such a place – one that flaunts and celebrates its quirky liminality – has drawn the attention of Marchland, the music-and-theatre production alliance which fixes and thrives on ideas of history and borderlines (as evidenced in their previous festival at the Bridewell a year ago.). This coming weekend, they’ll be taking over the pub, recasting it as “The Marchland Arms” and filling it with nine performances in three separate sections, turning the different spaces within the pub into murmuring, discursive rooms within which performance, music and song will gently ricochet.

* * * * * * * *

Marchland Arms - 'Once & Future Europe'

Marchland Arms – ‘Once & Future Europe’

Three pieces make up the ‘Once And Future Europe’ section, triggered by Marchland’s “fascinat(ion with) the cultural history of the legendary states that once straddled Europe’s borders. For the three shows that make up this session we asked the artists involved to, in the words of Rimbaud, remember Europe and her ancient ramparts. This is work that explores the influence of those half-imaginary places on the European psyche, and how their legacy continues to influence our notions of identity and belonging.”

The first of these pieces, ‘Lyonesse’, appears to be (at root) a conceptual celebration and exploration of the mythical drowned kingdom between Cornwall and Brittany – in other words, the sunken link in the geographical continuity of the broader Celtic nation. On spec, that sounds like a dusty old disinterral of Edwardian romanticism; but judging by the participants and their preoccupations, it won’t be. Poet-ecologist Dom Bury will, I guess, be mingling Lyonessean legend from his own West Country roots with contemporary concerns about flooding and dissolution, bolstered interjections and engagements from Katharina Engel, a German academic and theatre director whose preoccupation with hills and climbing may also feed into the work. The two will be accompanied by music from singer Sophia Brumfitt and veteran percussionist/hammer dulcimer player Dhevdhas Nair in a rich blend of European Early Music, Indian subcontinental music, jazz and African elements: Euromyth interfolding with full-world diaspora.

 
The pub snug will house ‘The Capital of Europe’ in which Charles Webber – whose two-decade-plus career as a sound artist has seen him write multimedia sound/light-and-music operas (he’s the artistic director of operaNCV), plus work with Crass’ Eve Libertine and innumerable experimental musicians and theatre companies – and Strasbourgian poet/Théâtre Volière co-director Mick Wood collaborate on “an installation of treated sound, found objects, and cut up poetry”, providing “an unguided tour through the abandoned corners, quiet squares and restless banlieues of an ideal, unreal city on the Rhine.” Sounds delightfully like an old pub story, but one which unfolds into multiple additional dimensions and textures; like that European flaneur’s collaboration between Johnny Morris and China Miéville which never actually happened.

Transforming the lounge, the last of the three ‘Once And Future Europe’ pieces – ‘Ionic’ – asks us to reimagine the space as“a café in fin de siècle Alexandria” in which a new dance theatre piece will play out. Rambert School graduate Janacek Wood choreographs an episode of interweaving texts and movements based around the work of Cairo-based, Alexandria-born Egyptian-Greek poet Constantin Cavafy, whose early life saw his family relocate between France, England and Constantinople in their own mournful, economically-driven private diaspora.

Cavafy himself ended up writing a body of work that’s a Hellenistic re-examination of what Wiki summarises as “uncertainty about the future, sensual pleasures, the moral character and psychology of individuals, homosexuality, and a fatalistic existential nostalgia.” The best-known of these poems is the sardonic Waiting For The Barbarians, in which an external exotic threat serves as both spice and hollowing-out of a moribund politics: I can’t think what that reminds me of now. Music comes from two Greek musicians – singer Savina Yannatou and classical guitarist Nikos Baroutsakis – and from electric guitarist/composer/personal ethnologist Alex Roth, who’s recently been pursuing his own Jewish diasporan heritage on a three-cornered journey that’s taken in Manchester, London and his current dwelling place of Warsaw.

* * * * * * * *

Marchland Arms - 'Customs & Duty'

Marchland Arms – ‘Customs & Duty’

Three more pieces make up ‘Customs & Duty’, “a session of shows exploring the interaction between folk culture and high art, and how identities shift when the lines between arbitrarily imagined communities are blurred… Must we declare our customs at the customs post? Is it our duty to pay duty on them? To whom do they belong? Who decides what they’re worth? What will they cost us when they’re taken away, dissected, repackaged, and sold back to us?”

For this, there’ll be a variation on the ‘Before and After Schengen’ piece which was one of last year’s Marchland centrepieces: Hungarian-born poet George Szirtes responses to Spanish photographer Ignacio Evangelista’s photos of border facilities, with guests and actors from the Marchland Arms Company contributing to a staging of the outcome, making the room “the Kafka-esque border post of a once or future East-European regime.”

Last time around at Marchland, Carneval String Trio’s viola player Shiry Rashkovsky contributed the ‘Shengen’ music. This year, she’s reviving a nineteenth-century middle-European tale with storyteller James Peacock in the shape of ‘Fritz and the Bohemian’ a tale of kindness, cyclic events and wanderings (“each year, on the first day of Spring, an itinerant musician comes to play beneath Fritz Kobus’ window…”).

Rounding off this section is a new Théâtre Volière play, ‘Goethe in Alsace’ – a one-act historical tale of cultural enrichment, “careless play-acting (and) casual cruelty” set around the border region of France and Germany, and questioning the assumptions and entitlements surrounding nascent male artists and the women whom they select as muses.

* * * * * * * *

Marchland Arms - 'The Northern Marches'

Marchland Arms – ‘The Northern Marches’

The three final Marchland Arms pieces comprise ‘The Northern Marches’ and focus specifically on the Scottish and English border country “(a) region, rich with the history of the Border Reivers of the debatable lands, the Roman garrisons of Hadrian’s Wall, and dramatic elopements to Gretna Green, has other, fresher stories to tell. How does its often romanticised past inform the Scottish borders’ present, and to whom do its stories old and new actually belong?” For this section, there’s a play (of sorts), a talk and a musical session.

Théâtre Volière return – teamed with poet Katie Hale and singing, fiddle-playing Scottish music specialist Lori Watson – to deliver a preview of ‘Gretna’: an actors/reciter/musician performance and ongoing project “exploring the culture of the region from the perspective of the women so often written out of its history.”

On the trail of linguistics and naming, University of Glasgow professor Eila Williamson provides ‘The Meaningful Merse’; throwing a little light on her REELS project work (Recovering the Earliest English Language in Scotland) in “a fascinating look at how history’s great, long term shifts in ethnic and cultural identity are often written in to the localised place-names, folk memory and dialects of Europe’s border regions.”

Finally, Lori Watson returns with her own set, performing in duo and bringing Scottish coastal and border folk music to close out the section in “a haunting collision between traditional music and found, ambient sound, in a performance ranging from the intimate to the epic.”

* * * * * * * *

There’s a general preview here:

 
Dates and times:

Marchland presents:
‘The Marchland Arms’
Ye Olde Mitre, Ely Court, off Ely Place/Hatton Garden, Holborn, London, EC1N 6SJ, England

February/March 2019 – upcoming British folk/experimental gigs – Bell Lungs on tour with Raiments (20th February to 2nd March, various) with appearances by Despicable Zee, Michael Clark, The Nature Centre, Halcyon Jane, Tara Clerkin Trio and various DJs. Plus sundry other Bell Lungs shows in March including a København evening with Hugh Tweedie and Tanja Vesterbye Jessen, a show with David Toop and Rashad Becker, a date with Gaze Is Ghost.

16 Feb

Working with a multi-instrumental, device-heavy palette which includes guitar, harmonium, Omnichord, electric violin, lyre, bouzouki, saz, voice and a host of effects pedals, avant-folk singer/writer/sometime promoter Ceylan Hay (a.k.a. Bell Lungs) sits at the middle of a host of possible routes. Her sound incorporates post-folk and drone, dream pop, noise and free improv, psychedelia and site-specific realisations, while her psychohistorian subject matter takes in the ancient, the near-ancient and the presently numinous: probing prehistoric spaces, the ghosts of the industrial age, day-to-day feelings and the slide into a new virtual existence space via online culture.

Reflecting these overlaid levels (and what might be, at different perspective points, either shockingly near or completely occluded), her vocal delivery steps between ornamental trad-folk crenellations, feathery ambient warbles and horrific screams. You can never quite tell whether she’s going to lull you or scare you, but you know she cares about what she’s ferrying across to you.

With a new EP, the wintry ‘Wolves Behind Us‘, to promote (apparently it’s a return to folk and landscapes after recent science fiction/site-specific digressions, and is “Joan Aiken’s ‘Wolves of Willoughby Chase’, Olaf Stapledon’s ‘Last and First Men’, caravan living in the Highlands and the ancient cosmology idea of dividing the year into two halves; the opening and closing of the wolf’s mouth”), Bell’s embarking on five weeks of touring (primarily alongside Raiments) through Scotland, England, Wales, followed up by other Raiments-less shows in Scotland, England and Denmark. (She’ll also be playing in Wales next month, but more on that later…)




 
Before taking a look at the tour, let’s take a look at her tourmates. Formed on the Berlin avant-garde scene, Raiments are fronted by sing-murmurer/left-field guitarist Mano Camatsos, and they sound like a soft-stepping muttering blend of Lou Reed and Momus fronting a band that mixes lurking dark-jazz styling (hardwood clarinet burr and groove-pattering trashdrums) with the DIY rattle of Pram and the dark throb of Morphine. Mano’s wildcard guitar is a clinking noisemaker and pulse generator taking note of hip hop, of avant-garde classical extended techniques and of mysterious instruments and methods gleaned from ethnological recordings. His songwriting voice is a oddball surreal instinct leading inexorably towards songs about ants or baffling seductions.



 
Tracing their upcoming footsteps on the tour is a joy, like following a plough which turns up small treasures as it reveals what’s in the earth. It’s partly the succession of intriguing off-the-beaten-path venues – squatty art-pubs, recovered eighteenth-century coal basins, pocket cinemas and art centres, diehard folk rooms and out-of-the-way sipperys – but also the revealing of similarly off-the-wall musical talents and enthusiasts they join up with en route.

In Edinburgh, Bell and Raiments are playing with Claquer – previously three-piece improvisers Claque until they spun off their American drummer an unspecified time ago. Now it’s just the Edinburgh contingent: free/experimental guitarist Jer Reid and viola player/speaker Lisa Fannen. They deal in lo-fi clangs, loopings and scrapes and spoken word: momentary moment-music.


 
In Newcastle, the main support comes from the soft melody murmurs and drowsy, cushioned keens of ambient/improv folk duo Halcyon Jane, a Tyneside/Humberside teamup. Upfront with the voice, guitar and devices is Newcastle performance art polymath Jayne Dent, better known via her own electronic/noisy folk project Me Lost Me, in which she buffers and buffets her singing with concertinas and samplers: when she played Hull back in December, support came from local ambient electronic beatsman Halcyon Neumann, who’s worked with The Body Farmers and with Sarah Shiels and who carries out sonic explorations of “the technological vs. the archaic/the spiritual vs. the scientific/the supernatural vs. the psychological.” Together they tease out a semi-improvised border music, part weird electro-folk and part post-shoegaze wisp.

Also playing is Michael Clark, providing slurred, wise, trepidatious and crepuscular folk music with fogrolls of noise behind an acoustic guitar. Despite being a Londoner, he sounds more like a moor-dweller; or like someone who lives in the kind of port city London used to be, one in which strange tales and intimation billow up the streets with the dock mist: this time out, his strange tales are backed up by a full band.

 
I’ve encountered The Nature Centre before. Headlining the Club Integral-hosted Birmingham show above Bell Lung and Raiments, they’re an affable rural/suburban pop quartet like a four-person one-man band, sprouting banjos and clarinets and found percussion alongside their drum kit and guitars. Drawn to playing at weirder gigs, they’ve shared bills with people like Bob Drake and have their own batchful of three-minute pop songs avidly reflecting the off-kilter visions of previous English songwriter eccentrics (the Syd Barretts, Robyn Hitchcocks and Tim Smiths). Handling the in-between-bands slot is someone new to me but not new to Brum’s vinyl-istas: Moseley Folk Festival’s house DJ and Moseley Record Fair co-organiser DJ Rome, promising his own selection of crate-dug oddities and inspirations.


 
In Bristol, the DJ backup comes from “bleary-eyed staggerer” Siegfried Translator of the Grey Area radio show (another haven for intriguingly weird music from all over the globe), but the gig predominantly features the Tara Clerkin Trio: the DIY musical brainchild of a ceramicist who also seems to have a yen for gamelan/minimalist-sounding pattern tinkling sprinkled with voiceloops, friendly saxophonic intrusions and other pitch-ins from whichever musical friends she can rope in for the occasion. (At other times, she creates her own slumberous take on experimental countrified pop.)

 
The Oxford show (promoted by Divine Schism) is primarily a launch event for the second EP by Zahra Haji Fath Ali Tehrani, a.k.a. Despicable Zee – a live-looper, improviser and conscious patterner of fifteen years standing, mixed Anglo/Irish/Iranian heritage, and a history of drumming in Oxford bands since her teens. Now the drums (plus loopstations and recordings) are used to create live solo tracks in which Zee employs a lo-fi, lo-technique approach to overlapping rhythm garlands and triggered conversations. As an artist (as well as an educator and mother), Zee’s increasingly conscious of the female lines she carries within her: the patched-in samples which wobble her current project along feature the voices of her mother and grandmother, mingling with Zee’s own sing-speak-raps as if they’ve dropped by for some kind of experimental music cross-cultural kaffee klatsch.


 
The London show (at Paper Dress Vintage) is an evening of music and spoken word put together by promoters Spilt Milk in order to raise money and awareness for North London Action for the Homeless. Shapeshifter experimental pop poet Alabaster dePlume comperes: also in the corner is Jenny Moore’s Mystic Business, who showed up in ‘Misfit City’ a little over a year ago.

Jenny’s another artist whose field extends from the visual and situational into action and music: the Mystic Business involves pulling together friends and strangers into a collective performance event that’s part communal clapalong choir, part percussion workshop and good-natured culture-jamming protest (with food). Guileless and charming, but nonetheless political and détournementational, it’s an attempt to get collective conscience back into the body, containing and encouraging a cheerful but insistent protest.



 
The Conventry and Brighton gigs appear to feature just Bell Lungs and Raiments on their own, but news just coming in re. the Liverpool date (at dockside art-pub Drop the Dumbulls) says that support there comes from Merseyside “synthwhisperer” and outsider synthpopper Claire Welles. She’s been rolling out her contrary songs for over a decade now, singing increasingly unsettling lyrics in a deep deadpan tone with a sarcastic medicated edge, while the backings deliquesce from elegant ageless Europop into something a little misshapen. It all becomes something like those conversations during which you wake up a third of the way in, not quite sure how you got into them, not quite believing that you’re stuck in there and will just have to ride it out.



 
* * * * * * * *

Following the Raiments tour, Bell heads off separately for other shows. A mid-March showing at Manchester’s Peer Hat is a solo gig, but there’s also an Argyll event (in the enchanting recording-studio-as-art-nook surroundings of St Marys Space) at which she’s supporting baroque poptronic project Gaze Is Ghost: itinerant Northern Irish singer/songwriter/post-classical composer Laura McGarrigle, noted for “spectral vocals and impressionist piano playing” as well as drifts into harmonium and ambient atmospherics. In recent years Laura’s let Zed Penguin drummer/artist Casey Miller into the project and (following a number of pre-Casey singles), Gaze Is Ghost are finally readying a debut album as a duo.

 
A return to Glasgow on 28th March sees Bell performing on a talk’n’play bill with musicologist and audio culturer David Toop and Berlin sonicist Rashad Becker (who, having polished over a thousand records by other people spanning noise to techno, has begun stepping out into music creation of his own with the resonant faux-ethnological synthwork of ‘Traditional Music of Notional Species, Vol. I’).

On the 30th she’s back in Edinburgh to support another experimental folker, looper and performance artist: David Thomas Broughton, whose brilliantly wayward path has included looping his own heckles, blurring the line between song performance and experimental theatre. Along the way he’s released eight albums of accessible, tremulous, oddly haunting alt.folk delivered in an arresting genderless vocal tone a little reminiscent of Anthony/Anohni, and won the respect and collaborative contributions of (among others) Beth Orton, Sam Amidon, and Aidan Moffat. David will be in the early stages of his own tour, which I really should cover on its own.





 
Before any of these, though, she’s crossing the North Sea to perform at an experimental folk event in København. Part of the city’s Fanø Free Folk Festival, it’s hosted by local label Dendron Records, specializers in “small runs of abstract electronics, ghostly folk songs and surprisingly hummable tunes.” The concert will also feature two København-based British emigres Hugh Tweedie and Tanja Vesterbye Jessen. Hugh’s been operating for years under various names including The Weave And The Weft and Taiga Taiga, creating shadowy understated mostly-acoustic songs with a literary bent, and he regularly helps out with David Folkmann Drost’s homemade folk project Moongazing Hare. Previously known as a radical electric guitarist in Vinyl Dog Joy, Amstrong and Distortion Girls, Tanja recently struck out on her own with a solo debut, ‘Feeling Love’ in which she embraces and deconstructs pop songs, writing them acoustically before bringing assorted damaged amplification and effects-pedal interference to bear on them, resulting in songscapes covering a field from heavy-lidded noise-folk to cataclysmic “drone-metal disco”.




 
* * * * * * * *
Dates:

Bell Lungs & Raiments tour:

  • Henry’s Cellar Bar, 16A Morrison Street, Edinburgh EH3 8BJ – Wednesday 20th February 2019, 7.00pm (with Claquer) – information here
  • Cobalt Studios, 10-16 Boyd Street, Newcastle-upon-Tyne, NE2 1AP, England – Thursday 21st February 2019, 7.00pm(with Michael Clark + Halcyon Jane) – information here
  • The Edge, 79-81 Cheapside, Digbeth, Birmingham, B12 0QH, England – Friday 22nd February 2019, 8.00pm (with The Nature Centre + DJ Rome) – information here and here
  • Cube Cinema, Dove Street South (off top-left of King Square), Kingsdown, Bristol, BS2 8JD, England – Sunday 24th February 2019, 8.00pm(with Tara Clerkin Trio + The Grey Area DJs) – information here and here
  • Fusion Arts, 44b Princes Street, Cowley Road, Oxford, OX4 1DD, England – Monday 25th February 2019, 7.30pm(with Despicable Zee) – information here
  • Paper Dress Vintage Bar & Boutique, 352a Mare Street, Hackney, London, E8 1HR, England – Tuesday 26th February 2019. 7.30pm (with Jenny Moore’s Mystic Business + Alabaster dePlume) – information here and here
  • The Rose Hill Tavern, 70-71 Rose Hill Terrace, Brighton, West Sussex, BN1 4JL, England – Thursday 28th February 2019, 7.00pm – information here
  • The Tin @ The Coal Vaults, Unit 1-4 Coventry Canal Basin, St. Nicholas Street, Coventry, CV1 4LY, England – Friday 1st March 2019, 8.00pm – information here and here
  • Drop the Dumbulls @ The Bull, 2 Dublin Street, Liverpool, L3 7DT, England – Saturday 2nd March 2019, 7.00pm (with Claire Welles) – information here

Bell Lungs standalone dates with various others (tbc):

  • Fanø Free Folk Festival @ Alice, Norre Alle 7, DK-2200 København N, Norway – Monday 4th March 2019, 7.00pm(with Hugh Tweedie + Tanja Vesterbye Jessen) – information here
  • St Marys Space, Fasnacloich, Argyll, Scotland, PA38 4BJ – Saturday 9th March 2019, 7.00pm(supporting Gaze Is Ghost) – information here
  • The Peer Hat, 14-16 Faraday Street, Manchester M1 1BE – Thursday 14th March 2019, 7.00pm – information here and here
  • Stereo/The Old Hairdressers, 20-28 Renfield Lane, Glasgow, G2 5AR, Scotland – Thursday 28th March 2019, 7.00pm (with David Toop + Rashad Becker) – information here and here
  • The Waverley, 3-5 St. Mary’s Street, Edinburgh, EH1 1TA, Scotland – Saturday 30th March 2019, 9.00pm (supporting David Thomas Broughton) – information here

February 2019 – upcoming London jazz gigs – LUME return for a Sloth Racket/Entropi double header (13th February); Jazz HerStory with Rosie Turton (21st February)

11 Feb

After a year away working on other things, the jazzwomen behind LUME are bringing it back to life. Hopping on board the fast-moving train of Kings Place’s ‘Venus Unwrapped‘ series (which I’ve really got to take a closer look at shortly), they’re presenting a double bill of two LUME spearhead acts: each led by one of the two LUME directors.

Baritone saxophonist Cath Roberts heads up and composes for Sloth Racket a scorching, heavy London-and-Manchester free jazz quintet in which she jousts and converses with Sam Andreae’s alto over a rhythm section of guitarist Anton Hunter, drummer Johnny Hunter and double bassist Seth Bennett (who aren’t actually that much bound by straight rhythm). Incorporating cells of conventionally-written material as well as graphic notation, Sloth Racket music is an aggregation of explosive rips, broken-up hums, forcefully lyrical micro-interjections and tense silences. They’re up to their third self-released album, ‘A Glorious Monster’.

 
Alto saxophonist Dee Byrne runs Entropi, in which she’s joined by trumpeter Andre Canniere, keyboardist Rebecca Nash, drummer Matt Fisher and bassist Olie Brice. Their music is built on discombobulated, mutually superimposed grooves and deconstructive/reconstructive melodic parts and harmonies, continually walking a wiggly line between falling apart and dancing together. Dee keeps everyone involved on supple, elastic musical leashes, letting them roam to the limits before gently reeling them back in.


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In a couple of weeks, the Jazz HerStory season out east at Poplar Union continues with a gig from Nerija trombonist Rosie Turton, now bandleading in her own right and with an EP, ‘Rosie’s 5ive’ out this year on Jazz Re:freshed Records. Following in the footsteps of two of Rosie’s biggest inspirations, Alice Coltrane and Pharoah Sanders, her 5ive band (in which she’s joined by Johanna Burnheart on violin, Maria Chiara Argirò on piano, Twm Dylan on bass and Jake Long on drums) works around a sensually airy intertwining of Indian violin, trombone and electric piano, in which adventurous tunes effloresce and sway around light-on-their-feet rhythm grooves: a clever, flowing, flowery architecture.
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Dates:

Venus Unwrapped: Entropi + Sloth Racket
Hall Two @ Kings Place, 90 York Way, Kings Cross, London, N1 9AG, England
Wednesday 13th March 2019, 8.00pm
– information here and here

Jazz HerStory presents:
Rosie Turton
Poplar Union, 2 Cotall Street, Poplar, London, E14 6TL, England
Thursday 21st February 2019, 7.30pm
– information here and here