Tag Archives: Madrid (Spain)

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.





 
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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.



 
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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
 

March 2018 – Stick Men on tour in Europe (2-31 March – also featuring Emanuele Cirani, The Fierce & The Dead and XaDu)

27 Feb

Throughout March, King Crimson-affiliated experimental rock trio Stick Men wind their bouncing, droning, percussive way around Europe. Fronted by veteran singing Chapman Stick maestro Tony Levin, propelled by drummer Pat Mastelotto (an ever-underrated master of electro-acoustic kit and rhythmic surprise) and completed by polydisciplinary Touch Guitarist Markus Reuter, their journey takes in assorted clubs, small theatres and music eateries in Austria, Italy, Hungary, Czechoslovakia, Slovakia, France, Finland, Spain and England. These venues might be somewhat smaller than the lofty theatres which Pat and Tony have recently been filling as part of the current eight-man Crimson, but this is a positive thing. It’s one of the few chances you’ll get to experience this level of inventive extended rock musicality in this size of venue, and Stick Men (playing to growing, enthusiastic knots of people) deserve far better than their spin-off status, a box they’ve long since wriggled their way out of.


 
Via both instrumentation and the inescapable Crimson connection, the 1980 template set by the latter band’s ‘Discipline’ album casts quite a long shadow over Stick Men – the knotty polyphonic staccato, the metrical puzzles, the whomp’n’chunk of two sets of hands hitting two touchstyle fretboards. But this was always a template partly shaped by Tony; and although the band’s musical direction does draw somewhat on the flinty, monolithic ecstasies of Crimson music (expect a few ‘Larks Tongues in Aspic’ instrumentals to make a bloody-knuckled showing, alongside a voyage through Stravinsky’s ‘Firebird’) and their last album carried the tongue-in-cheek title of ‘Prog Noir’ title, they’re not constrained by style, choosing rather to percolate within it like one of Tony’s beloved espressos before flooding outwards in all directions.

In fact, there’s a surprisingly un-prog breeziness to what they do. Tony might have waited until his autumn years before turning to frontman work, but his warm easygoing nature and gently kidding demeanour proves a fine fit for the role; and it’s his flowing omnivorous musicality (rather than Robert Fripp’s looming shadow) which ultimately sets Stick Men’s tone and releases their flow. Prior to and parallel to Crimson, Tony had five decades of first-call sessionwork: his glomping basslines backed and coloured the songs of Paul Simon, John Lennon, James Taylor, Peter Gabriel et al in a manner closer to conversational doo-wop singing than to simple low-end rooting, and some of that singing quality’s migrated to this project.


 
To an extent, Markus is stuck with a Frippish guitar role (he provides formidable reflections of the latter’s magisterial chops, ambient auroras and swarming killer-bee solo tone) but he also brings a different game to the stage. Outside of Stick Men, his own output has included free-form electric improv, protracted psychedelic drones, tundra-fire accompaniment to Siberian throat-singers, wild higher-mathematical dance frenzies and immense algorithmic orchestral pieces. With Stick Men his sometimes stern, magisterial-seeming stage presence regularly breaks out into unguarded humour and bursts of cerebral romanticism played out through the fretboard. Meanwhile Pat’s bridging, gizmo-assisted drumming can (and does) slip easily and unshowily between tacit Ringo Starr accompaniment, mathematical sledge-blows and intricate polyrhythmic dance-club rushes a la Marque Gilmore.



 
While most dates see the band playing alone, in Italy their Veneto date features support from Italian Chapman Sticker/bass guitarist/singer Emanuele Cirani, who usually trades in haunted, distorted block riffage as Colpo Rosso. In England, their Wolverhampton date is shared with friendly British troupe The Fierce & The Dead, who’ve been rebounding around the gaps between garage rock, prog, highlife and post-hardcore since 2010 and now seem poised on the brink of a substantial breakthrough. In Spain, the opening act in Madrid is XaDu, the hanging, questioning, avant-progressive jazz-rock duo put together by cross-genre Spanish drummer Xavi Reija and Serbian texture-jazz guitarist Dusan Jevcovic, who play up a complex two-man interplay while simultaneously sousing it in a dirty, deconstructive electrical storm.




 

Full dates:

  • Planet Live Club, Via del Commercio 36, 00154 Roma, Italy, Friday 2nd March 2018, 9.00pm – information here and here
  • Viperclub, Via Pistoiese 309/4, Piazza Ilaria Alpi e Miran Hrovatin, 5, 50145 Firenze, Italy, Saturday 3rd March 2018, 9.00pm – information here and here
  • Blue Note, Via Pietro Borsieri 37, 20159 Milano,, Italy, Sunday 4th March 2018, 9.00pminformation
  • Club Il Giardino Lugagnano, Via Ugo Foscolo, 37060 Sona, Veneto, Italy, Monday 5th March 2018, 9.00pm (with Emanuele Cirani) – information here and here
  • Porgy & Bess, Riemergasse 11, 1010 Vienna, Austria, Wednesday 7th March 2018, 9.00pm – information here and here
  • Budapest Jazz Club, Hollán Ernő utca 7. 1136 Budapest, Hungary, Thursday 8th March 2018, 7.00pm – information here and here
  • BlueNote Jazz & Music Restaurant, J.Hašku 18,
    915 01 Nové Mesto nad Váhom, Slovak Republic, Saturday 10th March 2018, 8.00pm
    – information here and here
  • Sono Centrum, Veveří 105, 603 00 Brno, Czech Republic, Sunday 11th March 2018, 8.00pm – information here, here and here
  • Lucerna Bar, Vodičkova 36, 110 00 Praha, Czech Republic, Tuesday 13th March 2018, 7.00pm – information here and here
  • Robin 2, 20-28 Mount Pleasant, Bilston, Wolverhampton, WV14 7LJ, England, Thursday 15th March 2018, 8.00pm (with The Fierce & The Dead) – information here and here
  • Acapela Studios, Capel Horeb, Heol Y Pentre, Pentyrch, Cardiff, CF15 9QD, Wales, Friday 16th March 2018, 9.00pm – information here, here and here
  • Trading Boundaries, Sheffield Green, near Fletching, East Sussex, TN22 3RB, England, Saturday 17th March 2018, 9.00pm – information here and here
  • L’Empreinte, 301 Avenue de l’Europe, Savigny-le-Temple, Paris, France, Sunday 18th March 2018, 6.00pm – information here and here
  • Tavastia, Urho Kekkosen katu 6, Helsinki 00100,Finland, Monday 19th March 2018, 8.00pm – information here and here
  • Validi Karkia Club, Pori, Finland, Tuesday 20th March 2018, 8.30pm – information here
  • Sala Bikini, Av.Diagonal 547, L’Illa Diagonal 08029, Barcelona, Espana, Thursday 29th March 2018 – information t.b.c.
  • Cool Stage, Madrid, Espana, Friday 30th March 2018, 8.00pm (with XaDu) – information here and here
  • La Cochera Cabaret, Avenida de los Guindos 19, 29004 Málaga, Espana, Saturday 31st March 2018, 9.00pm – information here

 

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