This month, there are two very different opportunities to immerse yourself in historical music stemming from black resistance and the American civil rights struggle; the conflation of brutual oppression, storms, suffering and self-assertion which inform today’s #BlackLivesMatter movement.
One of these events is an edgy art-scream of vintage fighting classics, happening inside a rough-walled underground music stronghold. The other features music that’s barely seven years old, takes place in a lofty varnished orchestral concert hall at the heart of the British classical music world, comes varnished by a couple of Grammy nominations and represents the other end of the struggle: more well-spoken, staunchly dignified, talking back at the oppressor in something closer to his own language on his own terrain.
Would each of these efforts give the other house room? I’d like to think that they would.
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Tireless vocal/physical-movement improviser and conceptual explorer Elaine Mitchener returns to Café Oto with a revival of her ‘Vocal Classics of the Black Avant Garde’ project (originally compiled and performed for the London Festival of Contemporary Music at the end of 2017). Re-examining 1960s and 1970s works composed by Eric Dolphy, Archie Shepp, Joseph Jarman and Jeanne Lee, it studies and recreates “the overflow of experiment that occurred within improvised music, often springing directly from lived experiences of racial injustice… combin(ing) vocals and text with experimental jazz forms.”
Musical direction for the evening will come from reknowned saxophonist Jason Yarde – an improviser-composer who steps confidently between jazz and conservatoire culture. He’ll be at the head of a band consisting of pianist Dominic Canning, Elaine’s regular bassist Neil Charles, trumpeter and flautist Byron Wallen and the consistently staggering drummer/percussionist Mark Sanders. It’s a little unclear as to whether Elaine’s regular sparring partner Alexander Hawkins will be joining in on keyboards this time, but expat American poet Dante Micheaux is down to join Elaine on spoken/sung word.
Joseph Jarman
It’s safe to say that while this music’s around fifty years old now, the content’s not going to be cosy. Expect some old wounds, some revolutionaries’ pride and some old fire to be raked over and rekindled. As Elaine writes, “these works illuminate an occluded moment in American cultural history, when the avant-garde aesthetics of new jazz doubled as a metaphor for the imminent politics of civil rights.
“Composed in very specific response to the perilous condition of black people in America, the works’ synthesis of experimental sensibilities, radical political sentiment, and gutbucket expression cuts across boundaries of time and space to resonate universally in the here and now. In the era of #BlackLivesMatter, these works speak powerfully of the need for resistance and resilience, sound stark and original, their hypermodernism firmly rooted in vernacular tradition.”
It doesn’t seem that anything of the previous show’s been recorded (or if it has been, it’s not been released), so here’s a little from one of Elaine’s previous projects as an indicator; plus a little Shepp, Lee and Jarman.
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Reminding us that the politics of dignity and survival (and the business of conveying an urgent message) comes in many different forms and tones, African-American double bassist Rufus Reid is reviving his 2012 jazz orchestra suite ‘Quiet Pride’ in London later in January. A limber, elegant musician and composer with profound roots in classical trumpet and bass, Rufus (like Jason Yarde) also straddles the worlds of jazz and music education with equal enthusiasm, grace and fervour. He has been playing in both small and sizeable jazz groups since the late ‘60s and composing for about the same length of time, moving into the world of large-scale compositions in 2011 with his symphonic orchestral work ‘Mass Transit’.
‘Quiet Pride’ was written to honour and illustrate the work of late African–American sculptor and printmaker Elizabeth Catlett, and Rufus has taken it around the universities and culture halls of the USA whenever possible. This particular performance of the suite will be rendered by the Guildhall Jazz Orchestra under the direction of London jazz composer and educator Scott Stroman (with, I think, Rufus as conductor). While Rufus prefers to play alongside or surrounded by actual Catlett prints and sculptures for honour, reflection and continuity, there aren’t any to hand at the Guildhall and so the performance will be accompanied by projected Catlett images.
Set against the Oto show, it could be tempting to decry this as bourgeois slickness, a birch-and-beech art gallery indulgence co-opting jazz into the spaces of white power structures or celebrating some kind of house-Negro ethic. That would be unfair, shallow and revolting. To dispel that kind of wretched political preciousness, consider Elizabeth Catlett’s actual life; the source of her art and the ultimate inspiration for Rufus’ humming, quick-footed, assertive music in which (according to ‘All About Jazz’s Dan Bilawsky) “chamber-esque civility can give way to a feeling of uncertainty which, in turn, can morph into swing. Focus shifts from the textural to the rhythmic, the background to the foreground, and the subtle to the obvious. The music is mutable and multifaceted but that’s not really surprising; sculptures can take on different meaning when viewed from different angles so the music should certainly do the same.”
A pioneering presence as both a black and a female sculptor in America (at a time when few of either were to be found – or, more pertinently, allowed) Elizabeth perpetually fused art and activism, mostly through effort and moral choices. Flat-out rejected as a scholar by the Carnegie Institute of Technology due to her skin colour; struggling against direct, demoralising racist university policies while studying for a Masters in Iowa (and, later on, being stripped of her American citizenship as a result of her Communist associations and her gestures of solidarity with striking Mexican railway workers), hers is a story of personal industry, profound ethical responsibility, and effort against the odds.
Her time in Mexico (where she settled for much of her life, first learning and subsequently teaching) was also the catalyst for the crystallizing of her artistic vision, uniting her early influences of Henry Moore, Diego Rivera and pre-Columbian American sculpture with a commitment to combining aspirational concepts of strength and fierce dignity with representative figure forms. “I learned how you use your art for the service of people, struggling people, to whom only realism is meaningful” she’d assert, later. “I have always wanted my art to service my people — to reflect us, to relate to us, to stimulate us, to make us aware of our potential.”
Elizabeth’s figures and prints survive her and bear witness to her particular vision. Emblematic of black dignity, of powerful maternal femininity, of a refusal to be chained down by prejudices and programmes, they cradle their children; staunchly assert their curves; stand straight-backed, defiant and admirable; reveal the hidden or overlooked complexities of the black mind and sense of self; or punch the air as a simple, stark and meaningful mark of resistance. They’re already, in their way, as direct and as intricate as jazz: something which Rufus clearly understood from the start and has strived himself to bring across in music.
Dates:
Elaine Mitchener Projects presents:
Vocal Classics of the Black Avant Garde: Jason Yarde + Elaine Mitchener + Mark Sanders + Neil Charles + Dante Micheaux + Byron Wallen + Alexander Hawkins Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Monday 7th January 2019, 7.30pm – information here and here
Guildhall Jazz Orchestra/Rufus Reid/Scott Stroman: ‘Quiet Pride – The Elizabeth Catlett Project’
Milton Court Concert Hall @ Guildhall School of Music & Drama, Silk Street, Barbican, London, EC2Y 8DT, England
Tuesday 29th January 2019, 7.30pm – information here, here and here
Well, actually this is the next-to-last gigs post of the year (I’ve still got to do the second round of Christmas parties). Apologies for terseness and excessive recycling of press-release blurb, but there’s a lot to pack in both here and elsewhere this month.
About half of these gigs are seriously avant-garde concerts for the London Contemporary Music Festival, with even more of a blizzard of links and odd video clips than usual. This particular flavour is a part of what ‘Misfit City’ does, but it’s not for everybody, so I’ll stash those down at the bottom of the post. That said, I’m starting with a couple of full-on jazz or electronic improvising gigs, so what I’ve ended up with is an unorthodox concert sandwich: the tough stuff at the top and the bottom and the easier, sweeter more tuneful stuff packed into the middle. Hopefully it will be easier to swallow that way. Scroll right down for news of the LCMF gigs at the start of the week, if you’re eager to catch them.
Walthamstow’s newest (and only?) regular night of experimental/noisy/generally interesting music, returns with sets of bracing electronic experimentation from Phantom Chips and MXLX(the amazingly prolific Matt Loveridge, aka Fairhorns, Team Brick, and one third of BEAK>, among others), as well as the MNFN DJs playing ’til late.
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The Hat Speaks (LUME @ Hundred Years Gallery, 13 Pearson Street, Hoxton, London, E2 8JD, England, Thursday 17th December 2015, 7.30pm) – pay-what-you-want (£5.00 minimum) – information – tickets on the door
For our last gig of 2015 we return to Hundred Years Gallery in Hoxton, for the second edition of our dice-and-hat improvised music night. We held the first one in July to celebrate our second birthday, and it was so much fun we decided to do it again. As before, a nebulous ensemble of UK improvisers will gather to make spontaneous music together. This time the list looks like this:
Taking inspiration from long-running Manchester night The Noise Upstairs (founded by Anton Hunter and Tullis Rennie, no less), we will put all the players’ names into a hat, throw the dice to determine how many musicians will play, and then draw out the names. The result is lots of mini- sets from often completely new combinations of people! (Some groups from last time have decided to carry on playing together too: Tom Ward and Adam Fairhall are now collaborating on a new quartet for 2016 after their hat encounter in the summer).
Do join us for this last gig of the year – it’s been a blast, so let’s see it off in style! Entry, as usual, is one Bank of England note of your choice.
Singer-songwriter GRICE is something of a hidden treasure: the owner of a sweet, yearning, swooning voice and the writer of heart-on-sleeve songs of love, faith and regret which he’ll wrap in anything from grand Pink Floyd soundstaging, acoustic intimacy, glitch electronics to buttery prog-soul . Based down in the West Country, he’s bringing the music of his first two albums – ‘Propeller’ and ‘Alexandrine’ to a full-band December gig in Exeter. To give you an idea of the ambition of the records, they’ve featured a studding of art-rock talent – pedal steel master B.J. Cole, touch guitarist Markus Reuter, ‘Baker Street’ saxophonist Raphael Ravenscroft, multi-instrumental producer Lee Fletcher, Egyptian percussionist Hossam Ramsay and restless polymusical talent O5ric – with the more recent ‘Alexandrine’ boasting extensive input from Steve Jansen and Richard Barbieri (both ex-Japan). See below for a taste of the live show.
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The Aristocrats + The Fierce & The Dead (Tidal Concerts @ Heaven, Under The Arches, Villiers Street, London, WC2N 6NG, UK, Friday 18th December 2015, 6.00pm) – £28.25 – information here and here – tickets
It’s clear that the instrumental inquisitiveness of the three players in The Aristocrats can’t be contained or satisfied by their high-profile jobs as virtuoso rock sessioneers. In and out of a career as eclectic all-genre guitar commentator and instructor, Guthrie Govan has played for pomp-prog veterans Asia, for Steven Wilson and (in several genre swerve) for EDM mash-up project The Young Punx and hip hop star Dizzee Rascal. Bass player Bryan Beller has rumbled alongside assorted Frank Zappa alumni, been part of a literal cartoon band (Dethklok) and holds down the low end for instrumental metal guitar virtuoso Joe Satriani. Drummer Marco Minnemann overlaps both of his bandmates via gigs with Wilson and Satriani, has followed both Bill Bruford and Terry Bozzio in UK and has rattled along with Beller in metalcore punk/jazz fusion band Ephel Duath.
With that kind of collective pedigree you’d expect the kind of extreme burnished technique that’s found at the intersection of metal and prog, and you get it in spades. The Aristocrat’s instrumental rock fusion is packed with the spiralling festoonery, profound harmonic vocabulary and blizzarding speed of Allan Holdsworth; the leathers, hairstyles and bright tonal sheen of shred guitar and hair metal, and (possibly above all else) the polymorphic compositional swagger, virtuoso blurt and dirty-joke song titles of Frank Zappa.
This kind of stuff is Marmite music for sure. For every person bowing or happily moshing at the altar of The Aristocrats’ skills, there’ll be someone else sneering about technique-elitism, lack of soul or the perpetual hairy adolescence of metal (or making mean-spirited jokes about the Guitar Institute of Technology and acronyms). However, it’s a mistake to square off The Aristocrats and stick them into a handy box. After two albums of circus tricks and power-trio rock-outs, the band is stretching out, experimenting with layering, transcending their initial rock-audience pleasing. Most importantly, the improvisation which has always been a part of the band is also expanding, heading out into the realms of conversation and risk. There might still be a wide gap between them and say, the last few Miles Davis bands, but it’s starting to close.
An interesting – and welcome sign – of The Aristocrats’ broadening and development is their choice of support act. The Fierce & The Dead have been making their own waves in the same instrumental prog and metal ponds as the headliners, but although both bands touch in similar territories they’re coming from different places. The Fierce & The Dead are a much rougher-edged proposition than The Aristocrats, and it’s part of their charm: any one of their pieces is likely to sound like a hundred jewelled prog scarabs swarming over a vast chunk of gnarled punk wood, gnashing away. See below for evidence.
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Sara Spade & The Noisy Boys (The Green Note, 106 Parkway, Camden Town, London, NW1 7AN, UK, Saturday 19th December 2015, 8.30pm) – £15.00 – information – tickets
Something happy and breezy now. Sara Spade sings, plays ukelele and (backed by crack acoustic duo The Noisy Boys) charges up and down nearly a century of popular music, cheerfully bending it to her will. Cases in point – “acoustic versions of George Michael’s ‘Faith’ dancing happily beside flapper & prohibition tunes, calypsos like ‘Rum & Coca Cola’ and ballads like ‘Secret Love’ from the 1953 movie ‘Calamity Jane’.” Sara also writes her own bubbly jazz-pop originals, one of which is here (with a video which, on evidence, I suspect was filmed on rooftops only a few streets away from ‘Misfit City’ HQ. It certainly looks the way that the summertime looks around here. If I’d been out and about on the right day, I could have tossed them a rose or something…)
Alt.rock and art rock diehards, please note that that’s Jonny Mattocks on the drums… yes, him who used to be in Spacemen 3, Spiritualized and The Breeders, and who seems to be having a pretty good time here. The other Noisy Boy is do-everything double bass player Jonny Gee. Sometimes ubiquitous British jazz guitar ace Rod Fogg joins in. Everyone sings.
I don’t generally go for cover bands very much; but bands who reinvent their stack of crowd-pleasing repertoire are a different matter, and frequently a guilty pleasure for which you should just drop the guilt. Sara’s wowed Jools Holland, Bestival, the British aristocracy and Hank Marvin, and you may greet this particular news with delight or horror… but either way, why should we let them keep her to themselves? It’s up to you, but an evening in her company seems like a good way to spend the last Saturday before Christmas.
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And to close, here’s that run-down through the remaining London Contemporary Music Festival concerts.
We present the world premiere of a monumental new work by sound artist and recordist Chris Watson. Drawing on extensive underwater recordings gathered by the artist from oceans around the world, ‘Okeanos’ – a multi-channel sound installation that will play in complete darkness – celebrates the songs, rhythms and music of the oceanic depths.
In an attempt to shift our perception of what opera can do and be, we present a second instalment of ‘To A New Definition of Opera’, in which performance, video art and neglected modernist opera rub shoulders. Alongside a new commission from British performance artist Sue Tompkins, the night will include composer Tim Parkinson’s apocalyptic anti-opera ‘Time With People’ (performed by the University of Huddersfield’s edges ensemble) and Los Angeles-based artist Ryan Trecartin‘s dystopian film ‘CENTER JENNY’.
The centrepiece of the evening will be the UK premiere of Karlheinz Stockhausen’s celebrated ‘Pieta’ from ‘Dienstag aus Licht’, with the voice of Lore Lixenberg and flugelhorn of Marco Blaauw. Interlaced throughout the evening will be an extremely rare performance of excerpts from Ezra Pound’s troubadour opera about medieval ne’er-do-wells, ‘Le Testament de Villon‘, which critic Richard Taruskin called “a modernist triumph.”
Programme:
Ezra Pound – excerpts from ‘Le Testament de Villon’ 1926 version (UK premiere) – performed by Lore Lixenberg (voice), Aisha Orazbayeva (violin), Lucy Railton (cello), Ian Sankey (trombone), Serge Vuille (percussion) Christopher Stark (conductor)
Karlheinz Stockhausen – Pieta from ‘Dienstag aus Licht'(UK premiere) – performed by Marco Blaauw (flugelhorn) and Lore Lixenberg (voice)
Ryan Trecartin – CENTER JENNY
Tim Parkinson – Opus 1, 2, 3 and 4 from ‘Time With People’ – performed by edges ensemble: John Aulich, Mira Benjamin, Jorge Boehringer, Eleanor Cully, Beavan Flanagan, Stephen Harvey, Dorothy Lee, Asher Leverton, David Pocknee and James Woods
Sue Tompkins – Like Sake (world premiere, LCMF commission) – performed by Sue Tompkins
‘A Martian Sends A Postcard Home’ takes its name from a poem by Craig Raine that sought to re-see the world through bold acts of defamiliarisation. This night celebrates the Martianist turn in music, with an exploration of composers who have made the familiar fresh.
The night will include the European premiere of Norwegian composer Øyvind Torvund‘s lawless chamber work ‘Untitled School/Mud Jam/Campfire Tunes’, performed by the Plus Minus Ensemble, and Andrew Hamilton‘s electrifying ‘music for people who like art’. In ‘Mezcal No. 8’ Swedish composer/performer Hanna Hartman transforms a copse of steel rods and washers into a sounding presence.
We honour two standard bearers of “making strange” in composition: Helmut Lachenmann and Dieter Schnebel. Aisha Orazbayevaperforms Lachenmann’s ‘Toccatina’ alongside a recital of Russian poems by Mayakovsky and Yesenin that live and breathe the idea of estrangement or ostranenie. Meanwhile, composer and musician Christian Kesten presents Schnebel’s celebrated ‘Maulwerke’ where vocal technique is pulled apart into its constituent parts, alongside his own ‘Zunge Lösen’ that seeks to stage the tongues of three performers.
Artist Tino Sehgal takes on the body, intellectual property and materiality itself. ‘Instead of allowing some thing to rise up to your face dancing bruce and dan and other things’ is his earliest “livework”. It sees performer Louise Höjer transformed into, in the words of ‘Frieze Magazine’, a “hydraulic android”.
The night ends with a visit from Cairo’s E.E.K. Under the fingers of Islam Chipsy (accompanied by drummers Khaled Mando and Islam Tata), a digital keyboard is wrenched into explosive new sonic territory, articulating the sound of post-Tahrir electro-chaabi.
Programme:
Tino Sehgal – Instead of allowing some thing to rise up to your face dancing bruce and dan and other things – performed by Louise Höjer
Selected poems by Vladimir Mayakovsky and Sergei Yesenin – performed by Aisha Orazbayeva (voice)
Helmut Lachenmann – Toccatina – performed by Aisha Orazbayeva (violin)
Christian Kesten – Zunge Lösen (Releasing the Tongue) – performed by Christian Kesten (voice)
Andrew Hamilton – music for people who like art – performed by Becca Carson (piccolo), Ausiàs Garrigos Mórant (bass clarinet), Ian Sankey (trombone), Sam Wilson (percussion), Jack Ross (electric guitar), Siwan Rhys (piano), Joanne Evans (voice), Eloisa Fleur-Thom (violin), Valerie Albrecht (viola), Oliver Coates (cello), Martin Ludenbach (bass guitar), James Weeks (conductor)
Dieter Schnebel – Maulwerke (2015 solo version) – performed by Christian Kesten
Hanna Hartman – Mezcal No. 8 (UK premiere) – performed by Hanna Hartman
Øyvind Torvund – Untitled School/Mud Jam/Campfire Tunes (European premiere) – performed by Plus Minus Ensemble: Mark Knoop (piano), Roderick Chadwick (piano), Serge Vuille (percussion), Elsa Bradley (percussion
Islam Chipsy & EEK – live set
Some call it post-internet art: others “the New Aesthetic”. Whatever the name, there’s no doubt that the internet has scrambled the way we think, see and listen. Yet if art has placed this new paradigm at its heart, we are only now beginning to distil what it means for musical composition.
One pioneer of musical attempts to understand how things are changing in the digital shadow is Jennifer Walshe. The final night of LCMF 2015 will see the UK premiere of her latest, major one-woman work ‘Total Mountain’. Two further UK premieres arrive from Germany. Berlin-based Neele Hülcker investigates (as does Claire Tolan) the online phenomenon of autonomous sensory meridian response – or ASMR – in her work ‘Copy!’, while Brigitta Muntendorf explores the YouTubed bedroom in ‘Public Privacy No 2’.
The flight from reality captured by this post-internet music is not new. Serialist trailblazers like Milton Babbitt got there first with works such as ‘Reflections for piano & synthesized tape’. The hyperactive, networked aesthetic of Walshe and others, meanwhile, was foreshadowed by Jacob TV in ‘Grab It! Both are performed tonight.
As an occasional collaborator with London-based collective PC Music, Felicita‘s music is one in which the tropes of pop’s most commercial statements are accelerated, amplified and brought riotously together into a language that, if satirical, is also wildly inventive in its own right.
We conclude and project into the future with the long-awaited UK return of James Ferraro, whose 2011 album ‘Far Side Virtual’ is an essential post-internet text. For his forthcoming release ‘Skid Row’, Ferraro turns his attention to contemporary Los Angeles, a kind of “hyper-America” where violent realities are obsessively mediated and reproduced.
Programme:
Milton Babbitt – Reflections – performed by Mark Knoop (piano) with original tape recording
Jacob TV – Grab It! – performed by Nick Goodwin (electric guitar)
Brigitta Muntendorf – Public Privacy #2 (UK premiere) – performed by Brigitta Muntendorf with Mark Knoop (piano)
Neele Hülcker – Copy! (UK premiere) – performed by Neele Hülcker
Jennifer Walshe – Total Mountain (UK premiere) – performed by Jennifer Walshe
Felicita – live set
James Ferraro – new work
The end of the month, and the year, is nigh – so what are we looking forward to this week?
Mark Mulholland, Craig Ward, Yacouba Sissoko & Hannes D’Hoine (Ford Village Hall, Ford, Argyll, Scotland, Tuesday 8th December 2015, 7.30pm) – £5.00 minimum – information – tickets on the door
Back in 2012, two wandering Scottish singer-songwriter-guitarists – Mark Mulholland (ex-Two Dollar Bash) and onetime dEUS member Craig Ward – quietly released one of the finest records of the year. A compelling murmur of acoustic guitar folk, ‘Waiting For The Storm’ was soaked in the Scottish and British folk-baroque of Davey Graham, Pentangle and John Martyn but, in its settings of moist heat, tin roofs, typhoons and dark forces, it was also informed by the Haitian setting of Port-au-Prince, Mark’s home for the previous two years. Some of you may remember that I liked it.
With Mark now relocated to Mali and Craig settled in the little Argyll village of Ford, the duo are collaborating on a follow-up (provisionally called ‘The Darkness Between The Leaves’) on which they’ll be joined by Flemish double bass player Hannes D’Hoine – who played the Danny Thompson anchor-cable role on ‘Waiting For The Storm’ – and by Mark’s newest collaborator, the Malian djely and multi-instrumentalist Yacouba Sissoko, a master kora and ngoni player. The quartet have been preparing and recording in a number of different countries, and the end of the Scottish sessions will be marked by a Ford performance both taking place in and raising funds for Ford Village Hall, with prices set on a pay-what-you-like basis starting from five pounds.
In its quiet way this should be one of the gigs of the year, so if you’re in western Scotland and have a free Tuesday evening, consider heading over to Ford (at the south-western end of Loch Awe, north-west of Glasgow, with the nearest substantial town being Kilmartin.) If you miss this one, they’re playing again in Glasgow at 7.00pm on Wednesday 9th; a low-key gig at the Hidden Lane Gallery in Finnieston.
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After that – for me – the week doesn’t pick up until a very busy Friday and weekend. Too subjective, probably. Here we go, anyway.
Serafina Steer & Bas Jan (Hall Two @ (Kings Place, 90 York Way, Kings Cross, London, N1 9AG, England, Friday 11th December 2015, 8.00pm) – £9.50-£12.50 – information & tickets
The hitherto independent worlds of contemporary harp music and experimental kraut-pop will collide – or at least bump each other – in this concert of two halves by harpist/songwriter Serafina Steer and her new band Bas Jan.
After a few years of mainly only using the harp for her own writings, Serafina went on a roadtrip around Eastern Europe busking, discovering and rediscovering pieces along the way. The result of this experience will form the first half of the programme, which will feature compositions by Richard Barratt (‘tendril’), Benjamin Britten (‘Suite For Harp’), Stephen Dodgson (‘Fantasy’), Rhodri Davies (‘Aqcua Alta’) and Serafina’s own father Michael Maxwell Steer (‘Grovelly Wood’)
The second half of the show will be a performance by Bas Jan, Serafina’s latest collaborative project in which she plays bass guitar and keyboards and writes minimally arranged songs about the Essex coast, the Anglo-Saxons, sex, part-time work and love; with sound artist Sarah Anderson playing violin and OP1 mini-synthesizer and performance visual artist Jenny Moore playing drums (all three women also sing). Bas Jan’s first gig was to six thousand people at Brixton Academy and since then they have gone on – via support slots for Xylouris White and The Decemberists – to entertain smaller and smaller audiences.
On the same night, one of ‘Misfit City’s favourite classical musicians is spreading her own particular musical gospel up in Staffordshire:
Olga Stezhko (Abbotsholme Arts Society @ Abbotsholme School Chapel, Rocester, Uttoxeter, Staffordshire, ST14 5BS, England, Friday 11th December 2015, 8.00pm) – information – limited number of tickets available, phone 01543 263 304 for details
Following up her recent debut performances at both the Wigmore and Bridgewater Halls (at which she performed full or partial versions of her ‘Lucid Dreams‘ assemblage, a programme of music exploring people’s changing perception of reality from childhood through to adulthood), classical pianist and multi-disciplinary thinker Olga Stezhko is bringing her sophisticated, metaphysical perspective and repertoire to the audience at Abbotsholme.
On this occasion, her choice of music is a little more conventional (leaning on well-established favourites by Mozart, Bach and Prokofiev rather then stretching to the Sophia Gubaidulina pieces she was playing last month). However, there’s still room in the programme for work by one of her compositional touchstones, Alexandr Scriabin; and you can be assured that whichever pieces Olga plays will have been carefully thought out and put into context as part of a programme intended to inspire thought and broader conceptual connections as well as straightforward musical enjoyment.
Programme:
Wolfgang Amadeus Mozart – Sonata in B flat major, K.570
Johannes Brahms – Six Pieces, Op.118
Alexandr Scriabin – Two Dances Op.73; Five Preludes Op.74; Vers la flamme Op.72,
John Adams – China Gates
Sergei Prokofiev – Sonata no.4 in C minor, Op.29
Back in London, meanwhile, there’s cabaret afoot, plus breathless press releases.
The Bohemianauts + Bad Fractals (Bohemiocracy @ The Others, 6-8 Manor Road, Stoke Newington, London, N16 5SA, England, Friday 11th December 2015, 8.00pm) – £8.00-£10.00 – information & tickets here and here
An epic face-off between two amazing, unique and bizarre bands.
Bad Fractals are shaman gangsters shooting bullets of love, tearing their way through acid punk, malevolent music hall and trailer-trash blues in a world gone mad. Join us at the crossroads, in a theatre of the absurd: hear story and song shift with the wild wonder of fractals! Watch psychedelic punks get drunk with clown kings! Glare at artificial angels dancing with deadbeat demons! Gasp as astral travellers gather in galactic taverns!
The Bohemianauts are decadent divas of demi-monde carnivalism, playing weird waltzes, pithy polkas and rollicking rhumbas: they will take you on a theatrical musical journey through strange landscapes with absurd humour, exquisite noise and songs of unrequited dread. Tonight they will unleash their female alter-egos, as they parade in their geezer-bird finery, performing for your pleasure as the rarely-seen Bohemianauts – Drag-ed on Stage. (Trigger warning: Bearded Drag.)
PLUS – Visuals and projections from Jaime Rory Lucy‘s Rucksack Cinema and half-time performance interventions from Oleg the Mystic.
Friday also sees the start of the London Contemporary Music Festival, which (as if it were part of a conspiracy theory) is lurking in a giant underground bunker near Baker Street…
London takes centre stage in our opening night, as we celebrate the exploratory fringes of the city’s music scene and the collective imperative that has been a spur to some of the capital’s greatest experiments. The proliferation of collectives among young musician-composers is reflected in new commissions from some of the most adventurous of these musical laboratories. The night will include premieres from Charlie Hope and Jamie Hamilton (a.k.a. Topophobia), Neil Luck (performing with his Squib Box ensemble) and John Wall & Tom Mudd (Utterpsalm and Contingent Events). We hear recent work by composers Edward Henderson (Bastard Assignments), Shelley Parker and the artist duo Claudia Hunte. We welcome an iconic figure and chronicler of London’s musical edgelands, David Toop, and offer a live improvisation from Poulomi Desai (Usurp), who started the Hounslow Arts Co-op at the age of 14.
We also offer a world premiere from artists Richard Wilson and Anne Bean. In the 1980s, Anne, Richard and Paul Burwell formed the legendary Bow Gamelan Ensemble, enthralled by the aural poetry and parallel visions of the Thames. Now, Wilson and Bean enter the territory as W0B. Theirs is a world that cracks and splinters and grinds into being as it races backwards and forwards through friendships of forty years. ‘NALEMAG’ becomes the totemic incarnation of their endless scrabbling around boat-yards, scrap-yards, gas depots, pyrotechnic munitions, voyages on many rivers in countless vessels and a frenzy of carrying, welding, investigating and making across the planet. The trajectory culminates with a landmark new AV performance from south London’s Visionist, whose singular language emerges from the fragmentation of dubstep and grime.
Programme:
David Toop – Many Private Concerts
Anne Bean/Richard Wilson – NALEMAG (world premiere)
Poulomi Desai – Vermillion Sands (world premiere)
Neil Luck – Via Gut (world premiere – LCMF commission)
Jamie Hamilton/Charlie Hope – New work (world premiere)
Edward Henderson – Tape Piece
Claudia Hunte – The Elephant In The Room Is Afraid Of Dying
Shelley Parker – Live set
John Wall – Live set
Tom Mudd – Live set
Visionist – Live set (AV)
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On Saturday, there’s what looks like a particularly engaging Daylight Music afternoon, with the return of a familiar face…
Daylight Music 210 – The Pictish Trail + artists from the Lost Map label: Seamus Fogarty + Tuff Love + Kid Canaveral (Union Chapel, Saturday 12th November 2015, 12.00pm) – free (suggested donation £5.00) – information
Wrapping up this season of Daylight Music are Lost Map; a loose-knit DIY label/collective from the Hebrides founded by alt-folk troubadour, Johnny Lynch, a.k.a. The Pictish Trail. For this special Christmas show, Johnny will be ice-skating back to the mainland, bringing a selection box of pals from his Lost Map roster, for a cosy festive afternoon of stripped back acoustic merriment, frost-bitten Casio hymns, and mulled-tea fuelled carols.
While The Pictish Trail often comes across on record as an eerie digifolk creation (like a Scottish oil-town-and-fishing-port David Lynch, with that surreal supernatural undertow suffused by Gaelic angst rather than Americana), anyone who’s caught one of the live acoustic shows will know that Johnny has an altogether more joyous side as unplugged strummer. Many of his tales may be based on shyness, grief and confusion, but I’ve seen few people who take such unalloyed pleasure in warming up and including an audience the way he does. For a reminder of this, have a read of my review of his last Daylight Music appearance back in January… and see below.
Mayo-born but London-based, Seamus Fogarty plays and sings his own soulful version of contemporary Irish folk, dabbled with electronic found sound. His output’s been described as “songs about mountains that steal T-shirts, women who look like dinosaurs and various other unfortunate incidents” and as “summoning all manner of odd noises and audio ghosts”. Taken from his current album ‘God Damn You Mountain’, here’s Rita Jack’s Lament, which showcases all of his various tendencies to the maximum.
Glaswegian fuzzy-pop duoTuff Love represent Lost Map’s more-out-and-out indie rock side, although their cottage-industry approach (recording and producing everything at home themselves rather than chasing studios and jaded professional engineers) reflects the label’s d-i-y philosophy. Julie Eisenstein and Suse Bear (augmented for concerts by Phantom Band drummer Iain Stewart deliver “dazzling, sun-streaked guitar pop songs with mesmerising lyrics, heart-wrenching vocals and dreamy melodies like the sound of pure summer.” Over a scant few years of existence, they’ve already supported Paulo Nutini and Ride and played several overflowing handfuls of rock festivals. ‘Resort’ – a not-quite-debut album pulling together the three EPs that Tuff Love have put out so far – is out in January, but meanwhile here’s what will either be a reminder of their existing delights or an introduction to their world: somewhat shoegaze-y but with mischievous glimpses up through the eyelashes.
Edinburgh four-piece Kid Canaveral (whom Lost Map described as “ADHD pop splendour”) met at university in St Andrews and have been playing together ever since. Imaginative alternative pop, they manage to recall the early-‘80s cleverness of Postcard Records pop or the ramshackle poignancy of Belle & Sebastian without actually sounding much like either. It’s more a matter of spirit, a discreet but inclusive sophistication which reaches out, brushes your arm and invites you along. Two albums in, with a third in preparation, they’re a delightful discovery whenever you happen to encounter them. Their clever videos are a treat, too – here are a couple of tastes below, the first of which had my four-year-old son continually tapping the replay button.
(For anyone who wants a more substantial dose of Kid Canaveral, note that they’re playing a full set at the Shacklewell Arms on the evening of the same day.)
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On the Saturday evening, you’ve got your pick of twisty London rock and West Coast American art music (plus Rocket From The Tombs, but I’ll come to them shortly…)
Thumpermonkey + Mayors Of Miyazaki + Lolita Laytex (Something’s Gonna Happen @ The Albany, Douglas Way, Deptford, London, SE8 4AG, England, Saturday 12th December 2015, 7.30pm) – £3.00-£5.00 – information – tickets on the door
Welcome back everybody: and once again we have two superb outfits centre stage, Thumpermonkey (heavy progressive music) and Mayors Of Miyazaki (DIY 3-piece based in south London, guaranteed to spit and sweat on us at close quarters). The lovely Lolita Laytex will be joining us to add the flavour of burlesque. Yes, people of the universe, with all those ingredients in store, you know the score: £3.00 concessions and a fiver on the door. Bring ya skin!
I’ve said quite a bit about Thumpermonkey over the course of the year. Grand, clever and atmospheric, they also have enough sly, self-aware wit and humour to undercut all of the previous. They’re also tricky to pigeonhole – a band who create intricate catastrophe epics (part Radiohead, part Van der Graff Generator) but also trill the occasional Mastodon cover in the style of early Kate Bush; a prog band with a singer who sounds like an old-time theatrical knight, but also a noise band who happen to wrap their wildness into tightly-composed structures; geeky popcorn information omnivores drawing from Jodorowsky to Lovecraft to William Gibson, but salting it with Chomsky and science magazines before whipping it up into artful tornados of song. This little sample here is both characteristic and unique within what Thumpermonkey do, which in itself probably tells you all you need to know.
I don’t think Mayors Of Miyazaki have been in here before, but they should have been. In their way, their music’s as grand and complex as that of Thumpermonkey and even more enthused by its options. It’s punk with all the chains blown off, joyriding math-rock, de-Ritalined bratprog. A typical song sounds like both chase sequence and protracted explosion: spiky, switch-and-swap assemblages of guitar parts doubling back through alleys and charging halfway up walls, over which sibling team Gareth and Claire Thomas declaim a punky boy-girl barkathon, a speaky-drawl of sparking thoughts. Fugazi and The Fall both might be in there, though you could also pull Bis and long-lost ‘90s psych tanglers The Monsoon Bassoon out of the root cluster.
I don’t know much about Lolita Laytex except that she’s a fetish model as well as an alternative burlesque performer and fetish model. Not much information about a third-stream digression into music: so perhaps you should expect something sensual and mobile, which squeaks a little when it flexes. (UPDATE, 10th December – Well, that’s that laboured gag wasted. Lolita’s off the bill, replaced by Deptford punk-poppers The Kill Raimi’s. Some video evidence below…
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The second London Contemporary Music Festival night sees the series take a broad stylistic and historical sweep across twentieth and twenty-first century California (with one digression to Alaska, so it’s not all sun.)
The second night of LCMF 2015 is dedicated to the music of the American West Coast, an exploration of 100 years of musical non-conformism, from the piano insurrections of Henry Cowell to the deep listening of Pauline Oliveros (performing her own music on v-accordion). Oliveros is joined by another founding legend of the pioneering San Francisco Tape Music Center, Morton Subotnick, who presents a solo Buchla set and the UK premiere of a 1960s Tape Center composition with a film by Tony Martin. Another composer associated with the Tape Center was Terry Riley, whose ‘Keyboard Study No. 2’ gets a rare outing.
Alongside this we zig-zag through the experimental landscape, calling on John Cage‘s concussive ‘First Construction (In Metal)’, which premiered in Seattle in 1939, John Luther Adams‘s monumental ‘Among Red Mountains’ and Catherine Lamb‘s subterranean ‘Frames’. We excavate two gems from California’s 1980s computer music scene, Maggi Payne‘s ‘Flights Of Fancy’ and Carl Stone‘s ‘Wall Me Do’. On the fiftieth anniversary of the Watts Uprising we present an extremely rare performance from Otis O’Solomon, whose collective The Watts Prophets emerged from the rubble of that uprising and helped lay the foundations for hip-hop.
Programme:
Henry Cowell – The Banshee (for piano) – performed by Gwenaëlle Rouger
John Cage – First Construction (in Metal) (for percussion ensemble) – performed by PERC’M and Serge Vuille
Morton Subotnick/Tony Martin – PLAY! No. 3 (1965) (UK premiere)
Terry Riley – Keyboard Study No. 2
Maggi Payne – Flights of Fancy
Carl Stone – Wall Me Do
John Luther Adams – Among Red Mountains (for piano) – performed by Gwenaëlle Rouger
Catherine Lamb – Frames for cello & bass recorder (UK premiere) – performed by Anton Lukoszevieze/Lucia Mense
Otis O’Solomon – Selected poems
Pauline Oliveros – Pauline’s Solo (1992)
Morton Subotnick – solo Buchla set
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On Sunday, the third LCMF event has a polycultured and temporal feel:
LCMF 2015: ‘Five Ways To Kill Time’(London Contemporary Music Festival 2015 @ Ambika P3, University of Westminster, 35 Marylebone Road, London, NW1 5LS, England,Sunday 13th December 2015, 6.30pm) – £11.75 – information – tickets
Time is stretched, bent and finally dissolved in ‘Five Ways To Kill Time’. Sound artist Ellen Fullman opens the night with a UK premiere of The Watch Reprise, which will be performed on her 50-foot Long String instrument that one writer compared to “standing inside a giant grand piano.” Ethiopian composer, pianist and nun Emahoy Tsegué-Maryam Guèbrou makes her first visit to the UK to perform a selection of her intimate piano miniatures that seem to drift through space. Plus Minus Ensemble, meanwhile, offers up the intricate and disorientating world of Bryn Harrison‘s ‘Repetitions In Extended Time’ (conducted by Mark Knoop and featuring strings, organs, piano, guitar and clarinet). Mixing spoken text and music, theatre maker Tim Etchells (Forced Entertainment) and violinist Aisha Orazbayeva offer a set of fragmentary improvisations in ‘Seeping Through’, a work fresh from a critically acclaimed run at the Edinburgh Fringe. We end with a time-obliterating live set from doom pioneer Stephen O’Malley, whose work within and beyond his seminal group Sunn O))) exists in a kind of transcendent stasis.
Programme:
Emahoy Tsegué-Maryam Guèbrou – selected piano works
Bryn Harrison – Repetitions in Extended Time
Tim Etchells/Aisha Orazbayeva – Seeping Through
Ellen Fullman – The Watch Reprise (world premiere)
Stephen O’Malley – live set
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And finally…
Rocket From The Tombs + Luminous Bodies (Baba Yaga’s Hut @ The Brewhouse, @ London Fields Brewery, 369-370 Helmsley Place, South Hackney, London, E8 3SB, England, Saturday 12th December 2015, 8.00pm) – £19.25 – information – tickets
Rocket From The Tombs (Brudenell Social Club, 17 Brudenell Road, Leeds, LS6 1HA, England, Sunday 13th December 2015, 8.00pm) – £17.60 – information – tickets
In their initial lifetime they never got past a series of scorching mid-‘70s gigs in their Cleveland hometown (plus a handful of demos and radio sessions). Yet Rocket From The Tombs have long been counted as proto-punk ancestors, kicking up a frumious Velvets-and-Stooges racket long before every other garage band was doing it. These days, onstage rock rage is quotidian; when Rocket From The Tombs brought it to the gig, it was a revelation. Following a headstrong and punchy split, they even spawned several other key bands. Main ranter David Thomas, doomed-and-driven guitarist Peter Laughner and soundman-turned-bass-player Tim Wright would create the first lineup of Pere Ubu. Second guitarist Cheetah Chrome and drummer Johnny Blitz hooked up with Stiv Bators and others to form hardcore punk pioneers Dead Boys. The rest was bootlegs and rumbling mythology. Rocket From The Tombs became one of the ur-bands, a surviving impression holding its ghostly mark but pushing onwards, providing inspiration above and beyond its initial ideals.
By the ex-members’ accounts, being in the band had been a short, brutal and vivid experience; but it seems that there may also have been an unspoken, slow-burning sense of unfinished business. Twenty-eight years later, in their grizzled early fifties, and with plenty of other experience clocked up, most of the surviving band members (minus the retired Blitz and the long-dead Laughner) reunited for piss-and-vinegar-fuelled gigs, a long-delayed debut album and an actual afterlife. Although Laughner’s initial replacement (ex-Television guitar star Richard Lloyd), left in 2011 and a tour-burned Cheetah Chrome is now opting to sit out the live gigs, Rocket From The Tombs are still going – very much the garage end of Cleveland’s infamous avant-garage, making the most of this ornery self-driven second shot while bleeding in lessons learned from Pere Ubu and elsewhere.
The band have never played in Britain before, something which is being remedied with these two gigs in Leeds and London. In an interview with ‘The Guardian’ earlier this year, a currently chair-bound David Thomas growled “I’m approaching the end of my life, I’ve got my foot to the floor and I’m going to be going full speed ahead when I hit the wall.” It’s probably worth your while coming to one of these shows to check out his main accelerant.
There’ll be no support band at the Leeds gig, but in London things will be warmed up by Luminous Bodies, a “knuckle-dragging rock & roll” supergroup stealing members from Part Chimp, Terminal Cheesecake, Ikara Colt and others. See below.
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And that’s that. More coming shortly with the remaining December gigs and the seasonal parties… keep warm…
Swoon. /swo͞on/ A verb. To be emotionally affected by someone or something that one admires; become ecstatic. Here are some people and things that make me swoon. #swoon #swoonage
