An interesting London Saturday is coming up, with music ranging from shattering electronic jazz to faintly worrying lounge music and psychedelic pop; pipe organ explorations to Inuit vocalese; transfigured electropop to sing-alongs and drone-strumentals… with the odd dancing gorilla and shocking pink hairpiece showing up too.
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Arctic Circle presents:
Daylight Music 228 (‘Electric Dreams’): Glass + Matthew Bourne + Darren Morris + The Leaf Library
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 18th June 2016, 12.00pm – free event (suggested donation – £5.00) – information
“Daylight Music goes electronic this week with three superb acts.
“Rising pop duo Glass are set for big things in 2016. Their spectacularly roaring body of work and captivating live shows have seen them hotly tipped as ‘ones to watch’ by The Maccabees, Huw Stephens and Tom Robinson. Jessica Winter’s haunting, enunciated vocals and Scott Rimington’s other-worldly guitar break-outs meet to create a language all of its own, underpinned with pummeling grooves, meticulous synth lines and addictive ear-worm hooks. Today they’ll be playing an acoustic set.
“With a reputation as a fearlessly unpredictable pianist and composer, multi-award-winning musician Matthew Bourne is a passionate explorer of sound, possessed of a burning desire to make music on anything old, broken or infirm. Renowned for his intensely personal and sometimes confrontational solo work, his uncanny ability to balance delicacy and virtuosity – while establishing a close affinity with his audience – have become hallmarks of his concert performances. He has his fingerprints on a huge number of projects, having worked with artists as diverse as John Zorn, Annette Peacock, Nils Frahm, Nostalgia 77, Broadway Project, and Amon Tobin.
In the last year, Matthew set up a studio in his rural West Yorkshire home in order to capture the spontaneous moments of inspiration his concerts have become famed for. With a nod to the pioneering work of Annette Peacock and Paul Bley, he has turned his considerable talents to the world of analogue synthesisers; arming himself with an arsenal of vintage electronics, tape delays and a creaky harmonium alongside his trusty piano and cello, and preparing for a period of intense and varied activity in his own name after many years of collaboration. Growing from improvised live performances, new compositions have taken shape in the studio as Bourne explored and moulded the vast sonic possibilities of voltage-controlled oscillators.
“The seed for this project was planted when Matthew acquired an uncooperative 1982 Memorymoog, having it painstakingly modified and upgraded by Rudi Linhard in Germany. Created without the use of computers or sequencers, ‘moogmemory’ is the first album to be recorded using only the Lintronics Advanced Memorymoog. This process also served as a pathway to another of his current projects, ‘Radioland: Radio-Activity Revisited’, a visceral live audio/visual experience created to mark the 40th anniversary of Kraftwerk’s seminal Radio-Activity album. In collaboration with electronic composer Franck Vigroux and installation artist Antoine Schmitt, ‘Radioland…’ sees him pushing his work with synthesisers into uncompromising new territory, as earth-shattering bass frequencies are contrasted with moments of eerie near-silence.
“The intriguing Darren Morris worked as a producer and musician for twenty years (with the likes of David Holmes, Tim Goldsworthy, Ashley Beedle) and he’s currently touring with former Beta Band-er Steve Mason. He’s been performing live as a professional musician for over fifteen years, playing keyboards, synths, and bass with a variety of artists including Gabrielle, Sugardaddy (side project of Groove Armada’s Tom Findlay), and Robin Hitchcock. He has a background in improvisation, working alongside many well-respected and influential players on the London improv scene such as Veryan Weston, Hugh Metcalfe, Sibyl Madrigal, Lol Coxhill, Gail Brand, Jon Edwards and Mark Sanders. Today, Darren will be playing the Chapel’s glorious 125-year old Henry Willis organ.”
Just noting that Darren isn’t a stranger to this particular instrument… Here’s the outcome of one of his previous encounters, plus an explanation:
“(This) started out as a ninety-minute improvisation, performed on the amazing organ that lives in the Union Chapel Islington. I was just zoning into the instrument and the building it breathes in, traveling through various pockets of 20th century western concert music, modal ’50s jazz, glimpses of Sun Ra, Terry Riley, daydreaming of space and psychedelic films here and there. The recording wasn’t anything special but it was easy to get sucked back in on listening back. I haven’t been able to leave it alone. For a few weeks I’ve been chipping away at it, adding a sort of electronic orchestra of synthesizers and string machines. I hope this album can make you believe it was all there at that moment, being recorded and witnessed. Maybe I’ll get this space orchestra together one day and return to the Union Chapel for a rather extraordinary gig. Hope you can be there!”
Back to the press release:
“There’ll also be improvised electronics from The Leaf Library, whose drone-pop love songs are particular Daylight favourites. If that wasn’t enough watch out for a special appearance by The Action Men who will bring their EU-topian roboto dance vision to our stage.”
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Tigmus and The Nest Collective present:
Tanya Tagaq in concert with ‘Nanook of the North’
The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England
Saturday 18th June 2016, 7.30pm – information here and here
“Award-winning Inuit vocalist Tanya Tagaq, known for her intense, evocative style based on traditional throat singing, performs a live accompaniment to Robert Flaherty’s controversial 1922 silent film Nanook of the North. Joined by percussionist Jean Martin and violinist Jesse Zubot, Tagaq reclaims the film’s images of life in an early twentieth-century Inuit community in Northern Quebec. This is not an experimental performance to be missed.
“Commissioned by the Toronto Film Festival, Tagaq’s work with Nanook began with a sonic exploration of the film’s imagery. With her own sense of the sounds of places shown in the film, she transforms its images, adding feeling and depth to what is a complex mix of poignant representations and racially charged clichés. The film, one of the world’s first major works of non-fiction filmmaking, is rife with contradictions. Flaherty lived and worked with Inuit communities for many years, and yet he included staged scenes of buffoonery and feigned Inuit ignorance of modern technology and accoutrements.”
Tanya’s own comments on the project:
“Everyone will take what they want from it. I have no intention of spoon feeding people what they need to know. Yet, hopefully, via coaxing and innuendo and emotion, I can elevate people’s consciousness of Inuit culture, and of culture in general. I can take a small bite out of the underground racism against Inuit and Aboriginal people. I have faith that if people are educated about what’s actually happening, and if people believe, it can be fixed. But you have to acknowledge the bad to sprout the good.”
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Rock Candy Management present:
MAP Live Lounge: Rock Candy Girlz + Malcolm Bruce
MAP Studio Café, 46 Grafton Road, Kentish Town, London, NW5 3DU, England
Saturday 18th June 2016, 7.30pm
Saturday Live Lounge at MAP Café is a regular night of eclectic live music. It’s hosted by Rock Candy Girlz, a three-piece West London band featuring members of ‘90s charting band Amazulu who do “quirky interpretations of classic songs” in a lively glammed-up fashion. I’m usually left cold by this kind of Scissor Sisters thing – the crowd-pleasing cover versions, the high-camp glow, the pink wigs etc (although I’m a secret slut for dressing up) – but the Girlz’ wit and roguery win me over. Here they are doing a Kylie Minogue cover. Underneath that is a trailer for the first Live Lounge, sans glad rags, which shows that some people aren’t remotely slowed, subdued or suppressed by middle age. Good on them. If I could muster half of this kind of charisma, people would be falling over themselves to read the blog.
Their special guest this week is multi-instrumentalist and classic rock scion Malcolm Bruce, son of Cream’s Jack Bruce and grafter in a number of different musical zones (rock, jazz-rock, folk) since his mid-teens. It’s hard not to talk about Malcolm without reference to his dad, since Malcolm’s musicality reveals some of the genetic and cultural debt he owes to Jack. They share a similar singing voice (a forceful high-rise tenor which ranges from pugnacious to yearning), and Malcolm paid some of his dues as the guitarist in Jack’s band. Also, he can – and sometimes does – work some of the same musical seams that his father did.
However, Malcolm’s Soundcloud page reveals him as a softer, more intimate songwriter and interpreter than Jack was – touched by a more lucent strand of Celtic romanticism (as with Brian Kennedy, Van Morrison, Paul Buchanan), annealed by a touch of the sensibilities of another great ’60s white rhythm-and-blues star (Steve Winwood) and counterbalanced with judicious dashes of technical smarts and abilities (an accomplished acoustic folk guitarist, he’s also a lyrical, Satriani-esque electric hard rock player with arena sensibilities). Here are a couple of tracks from an EP he’s putting together for a Pledge Music crowdfunder goodie, as an enticement to help record his forthcoming album. One’s a straight folk lovesong, another’s a version of Purcell’s ‘Dido’s Lament’.
Regarding the latter, it’s tough to go up against some of the existing pop versions which this beautiful tune has spawned over the years (including grand, soaring counter-tenor renditions from Klaus Nomi and Jeff Buckley, and the heart-melting voice-and-piano folk version Barbara Dickson and Troy Donockley performed on ‘Full Circle’) but Malcolm approaches his own arrangement with pluck and honesty. It’s also a tricky task to switch between baroque lute elegance and full-blooded pomp rock – let alone fold a brand new anti-war song into the second half – without resulting in a hamfisted mess. Yet somehow Malcolm manages to pull it off and cover all of the necessary bases.
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Babel Festival of Literature & Translation presents:
Wilton’s Music Hall, 1 Graces Alley, Whitechapel, London, E1 8JB, England
Saturday 18th June 2016, 9.00pm – information
This in from Wilton’s:
“The Pussywarmers bring you a lively mixture of music from the dope’n’glory jazz era of the mid-1920s. With horns, upright bass banjo and many more acoustic instruments, they have a wild and dusty character… plus trumpets. Cosmically bound to their Hungarian ladyfriend Réka, spasmodically accompanied on their travels by unpredictable trumpeters, The Pussywarmers – originally from the Mediterranean district of Switzerland – have spread their credo all over the continent. Indeed, audiences of all ages have fallen under their spell – a charming and obscure concoction of melodies that stubbornly eludes all attempts at a definition but which is leaving ever more gig-goers indefinably warmhearted.”
This doesn’t actually cover the half of it. What it doesn’t mention is this band’s teasing, wayward unknowability; their honey-sliding psychedelic atmospheres (like a half-cut Mamas & The Papas if they’d been woozily rebounding from the Haight); their playful lack of embarrassment and their apparent attachment to the Dada of their hometown. All of this can be seen in the video for their song ‘Young Men Living’, which blends Freud, Godard and Melanie Klein into three minutes and forty-three second of messy-play picnic.
If you’d prefer something less psychosexual, the video for Sunrise sees the band dancing blankly across Swiss hilltops in colour-bleached film stock; which, to a Brit, is going to look like a teasing ’70s memory from childhood forays onto BBC2. (Then again, if you’re not wanting something psychosexual, perhaps you shouldn’t be checking out a group called The Pussywarmers…)
The band is appearing as part of the tenth Babel Festival of Literature & Translation, described as “(a) unique border-crossing event (with) its own special brand of linguistic hospitality… a celebration of voices, rhythms, linguistic diversity, creolisation and hybridisation.” Usually based in Switzerland, it’s celebrating its decennial in London and at Wilton’s instead, bringing a day of “readings from writers and translators spanning China, Mexico, Poland, Bosnia, Switzerland and the USA.” . Full info on the whole event is here if you fancy making a fuller day of it.