Tag Archives: Margate (England)

May/June 2019 – wayward experimental rock wunderkind Kiran Leonard on tour in England, bumping into Du Blonde, Kermes, Caroline, Humint, Mora Telsnake, Peacetime Romances, Squid, Ichabod Wolf, Don Du Sang and Margate Social Singing Choir en route (5th-10th May); plus a support slot with Soccer Mommy in Berlin (23rd May)

3 May


 
When he first emerged, as a dazzling teenager, out of a Saddlesworth bedroom (singing, drawing on an entire library of exploratory pop and playing every instrument he could get his hands on, as well as drafting in any object that made a useable noise), Kiran Leonard looked set to turn into a latterday Todd Rundgren, or a man hot on the eclectic heels of Fyfe Dangerfield… or, given his self-releasing teething period within homemade experimental electronica, perhaps a second-generation Steven Wilson. His formal debut release, ‘Bowler Hat Soup’ confirmed this: a bursting jumble-sale of home-orchestrated pop treasures, it framed a talent ready for anything from sweaty pub gigs to festival mainstages, and a singer, songwriter, bandleader capable of thrilling anyone from a freshly-hatched indie enthusiast to a committed psychedelic tripper to a long-in-the-tooth Van Morrison fan. It’s not often that someone so universal emerges, still less from such homely beginnings.

As it turned out, Kiran’s instinct for steering means that he’s no less active, no weaker in potential, but less likely to climb the straightforward rungs. Now based in the revived creative ferment of south London (after a spell in Portugal), in many respects, he’s become like the present-day Thurston Moore or the ever-shifting Mike Scott, with his career path now resembling a looping spirograph pattern as he spins from inspiration to inspiration and format to format and back again – ever refreshed, never burned. That melodiousness is still there, but it’s subordinate to (and subverted by) an ecstatically heterogenous enthusiasm for digging into whatever musical shape or form takes his fancy. On record, he’ll turn out simultaneously tight-and-sprawling rock songs packed with loose-limbed cultural critique; looping lo-fi Buckley-esque folk carolling recorded on the hoof between Manchester, Oxford and Portugal; assorted experimental voicings as Advol, Pend Oreille or Akrotiri Poacher; solo acoustic guitar improvisations; themed literary adventures for voice, piano and string trio.

Live, he tends to work as part of a rough-edged four-piece waltzing on the lip of art-rock but playing within the moment, with slick precision utterly sidelined in favour of immediate inspiration or a fringe of incantatory noisepop. Tricky to pigeonhole, at the still-tender age of twenty-three Kiran remains one of our most promising talents while continuing to embrace his own cottage industry rather than sit in the lap of big labels. He’s still working his way around small venues (as he is this month) on a circuit which you’d think was too little to hold him; but which, in many ways, is an ideal continuous crucible for his art, bringing him up close to an audience which fires him up and catches his thrown sparks.



 
In Margate, Kiran and band are part of the third day entertainments of the Caring Is Creepy festival, a new venture between two Margate musical fixtures (promoters Art’s Cool and erstwhile hip London label Moshi Moshi Records, who’ve had an outpost in the town for a while). They’re playing in a bill topped by Beth Jeans Houghton’s Du Blonde, in all of its scuzzy bedsit-punk-blues reflectiveness and its shades of self-aware dysfunction. Also featured are Margate Vocal Studio’s Social Singing Choir, and Brighton/London “underwater boy band” Squid (who add synths, cornet and cello to the usual indie art-rock guitars, drums, bass and sighmurmur vocals to create something stretched-out and oceanic for Margate sunsets); it’s all topped off with DJ work from Rock Solid (Laura Barton and Teri Olins)




 
In Sheffield, they’re on a bill with Midlands singer-songwriter Kieran Smith – a.k.a. Ichabod Wolf – who sings displaced, deracinated Americoustica like Leon Redbone oscillating on the end of an elastic rope. Also on hand are Humint; a brand-new offshoot from jazzy Manchester art-punkers DUDS playing “post-post-robowave” (which translates as choppy noisepop sounding like the young Sonic Youth and the young Devo pecking each other around during an argument over flatpack furniture).



 
In Bristol, they’ll be playing alongside the gently simmering, downbeat-minimal, violin-and-guitar humstrums of London post-rock septet Caroline (through which ghostly inconclusive threads of pemmican-country balladry seep, like a distant campfire duet heard down a winding canyon). There’ll also be dobro-folk from transplanted Frenchwoman Mora Telsnake, who (drawing on ‘60s-to-‘70s solo folk and “80s cheese” and singing in both French and English) delivers an alternating melange of Gallic-accented American Plains music and spindly, blues-infused chansonnerie.

 
In a Berlin date later in the month, the band will be supporting American singer-songwriter Sophie Allison, better known as Soccer Mommy and for the string of Bandcamp releases which eventually led to last year’s full-blown debut album ‘Clean’ with its tales of assorted yearnings and emotional jumbles amongst the young and stoned. Her work’s a peculiar but affecting mixture of detached musicality with feelings spiralling and jagging inside it; thoughts too active and too pointed – too much in need of saying out loud – to submit to the dull rumble of low expectations.


 
The London and Manchester shows are Kieran-and-band only; and the Nottingham one’s a lone Kieran solo appearance, sans band. I’m not sure whether this is due to logistics or to personal choice: I rather hope that it’s the latter, the fervour of the other bands on the bill inspiring him to a more naked and liberated statement than he might have otherwise delivered. Local wonk-poppers Don Du Sang provide murmuring cut-up dance songs with a pleasing wobble, part-sourced from stolen snatches of vinyl, but are rather overshadowed by the political and personal fervour of the two bands providing the rest of the evening’s music.

Outright queerpunk man/woman duo Peacetime Romances actually offer up a kind of broiling, rediscovered underground folk music; toasted with drum clatter and electric guitar wire-rattle, and drawing on twenty years of “every kind of close”, their relationship and perspective has resulted in a batch of songs about “bad men” of all kinds, emotional threshings tinged with nightmare and redolent of resistance. Leicester power/punk-poppers Kermes are even more ferocious, a muscular roil of a band broadcasting a storm of noisy, melodious flechettes showcasing the belligerent, angry stubbornness of trans singer Emily Rose Teece as she wrestles with the weight of heteronormativity, of other people’s boorishness, of struggling to establish her own space while being crushed and bumped by the crude blocks of expectation and restriction.

With Sleater-Kinney and Spook School already floating in the pool of musical comparisons, Kermes’ debut album ‘We Choose Pretty Names’ is also striking in its literary articulacy (inspired by immersion in writers such as Maggie Nelson and Imogen Binnie). In a recent interview with ‘The Four-Oh-Five’, Emily’s described the prime drivers of the album’s songs as “feeling ugly, feeling like a freak, and peacefully existing in a way that make people viscerally hate you.” That’s as may be, but the music Kermes creates is far from lachrymose, whiny or martyrish. It’s constantly buzzing and blurring between dysfunction and self-assurance, with Emily increasingly emerging as someone to follow rather than pity; a tough, tattered-banner leader with dried tear-tracks and a set jaw.




 
* * * * * * * *

Dates:

  • Caring is Creepy Festival 2019 @ Elsewhere, 21-22 The Centre, Margate, Kent, CT9 1JG, England – Sunday 5th May 2019, 6.30pm (with Du Blonde + Squid + Margate Social Singing Choir + Rock Solid DJs) – information here and here
  • Paper Dress Vintage Bar & Boutique,, 352a Mare Street, Hackney, London, E8 1HR, England – Monday 6th May 2019, 7.30pm – information here, here and here
  • The Old England, 43 Bath Buildings, Bristol, BS6 5PT, England – Tuesday 7th May 2019, 8.30pm (with Caroline + Mora Telsnake) – information here and here
  • Gullivers NQ, 109 Oldham Street, Northern Quarter, Manchester, M4 1LW, England – Wednesday 8th May 2019, 7.30pm – information here, here and here
  • Delicious Clam Records, 12 Exchange Street, Sheffield, S2 5TS, England – Thursday 9th May 2019, 7.00pm (with Humint + Ichabod Wolf) – information here and here
  • JT Soar, 2 Aberdeen Street, Nottingham, NG3 1JB, England – Friday 10th May 2019, 8.00pm (solo, with Kermes + Peacetime Romances + Don Du Sang) – information here and here
  • Musick & Freiden, Falkensteinstrasse 48, 10997 Berlin, Germany – Thursday 23rd May 2019 2019, 7.30pm (supporting Soccer Mommy) – information here, here and here

 

May 2016 – upcoming gigs – The Burning Hell spend May in Britain and Ireland; a short English tour for Knifeworld and The Cesarians; V A L V E soundtrack London’s Mysterical Day.

6 May

Smart, talkative Canadian pop band The Burning Hell are playing a UK tour for most of the month, in support of their new album ‘Public Library’. The vehicle for songwriter Mathias Kom, they deliver engaging and melodious indie/folk/pop tunes about building enthusiasms, about making connections and conversations, and about the small absurdities of serious life, all with a delightful rapid-patter lyrical delivery. Recent examples are below, as are the tour dates:


  • Magic Lantern Cinema, Penbryn Corbett Avenue, Tywyn, LL36 0AH, Wales, Sunday 8th May 2016
  • The Roisin Dubh, Dominic Street, Galway, Ireland, Monday 9th May 2016
  • Whelan’s, 25 Wexford Street, Dublin 2, Ireland, Tuesday 10th May 2016
  • DeBarra’s Folk Club, 55 Pearse Street, Clonakilty, West Cork, Ireland Wednesday 11th May 2016
  • Start The Bus, 7-9 Baldwin Street, Bristol, BS1 1RU, England, Thursday 12th May 2016
  • Clwb Ifor Bach, 11 Womanby Street, Cardiff, CF10 1BR, Wales, Friday 13th May 2016
  • The Eagle Inn, 18-19 Collier Street, Salford, M3 7DW, England, Saturday 14th May 2016 (both matinee and evening performances)
  • Arden Road Social Club, Arden Road, Halifax, HX1 3AG, England, Monday 16th May 2016
  • The Crescent Working Men’s Club, 8 The Crescent, York,YO24 1AW, England, Tuesday 17th May 2016
  • The Lemon Tree, 5 West North Street, Aberdeen, AB24 5AT, Scotland, Wednesday 18th May 2016
  • The Drouthy Cobbler, 48A High Street, Elgin IV30 1BU, Scotland, Thursday 19th May 2016
  • The Hug & Pint, 171 Great Western Road, Glasgow, G4 9AW, Scotland, Friday 20th May 2016
  • Mickleton Village Hall, Market Place, Mickleton-in-Teesdale, Durham, DL12 0JY England, Saturday 21st May 2016
  • Spanky van Dykes, 17 Goldsmith Street, Nottingham NG1 5JT, England, Sunday 22nd May 2016
  • Middlesborough Institute of Modern Art, Centre Square, Middlesbrough, TS1 2AZ, England, Monday 23rd May 2016 (free show)
  • Oslo, 1a Amhurst Road, Hackney, London, E8 1LL, England, Tuesday 24th May 2016
  • The Hope & Ruin, 11-12 Queens Road, Brighton, BN1 3WA, England, Wednesday 25th May 2016
  • Moshi Moshi @ Tom Thumb Theatre, 2a Eastern Esplanade, Cliftonville, Margate, CT9 2LB, England, Thursday 26th May 2016

* * * * * * * *

Starting at around the same time, Knifeworld English tour, May 2016Knifeworld will be performing a quick four-date English tour, promoting their new album ‘Bottled Out Of Eden’. Regular readers will need little introduction to the band, whose ornate and crenellated puzzle-box psychedelia has been featuring in here for years; newcomers should definitely check out their wanton, decorative, brass-rich tunes which span a web of influences and comparisons from Syd Barrett, Mercury Rev, Steve Reich, Cardiacs and XTC while maintaining the distinctive and complex songwriting vision of leader Kavus Torabi. Support on all dates will be from string-and-horn-drenched art-rockers The Cesarians, whose tunes run the gamut from lush pop to flea-itching rap scrapes.

  • The Musician, 42 Crafton Street West, Leicester, LE1 2DE, England, Monday 9th May 2016
  • Brudenell Social Club, 17 Brudenell Road, Leeds, LS6 1HA, England, Tuesday 10th May 2016
  • The Green Door Store, Lower Goods Yard, Brighton Train Station, Brighton BN1 4FQ, England, Wednesday 11th May 2016
  • Bush Hall, 310 Uxbridge Road, Shepherds Bush, London, W12 7LJ, England, Thursday 12th May 2016

* * * * * * * *
It’s also worth mentioning that Knifeworld bassoonist/saxophonist/occasional singer Chlöe Herington (also known for her work as part of Chrome Hoof) will be taking her experimental project V A L V E out again later in the month. The project – which has been known to make music from diagrammatic sources including transposed ECG readings and fragmentary notation found in skips, as well as Chloe’s own instrumentation (which extends beyond reeds to guitar and sampler) – makes an live soundtrack contribution to feminist-slanted arts-meet A Mysterical Day.

A Mysterical Day, 14th May 2016

Serpentine Galleries present:
A Mysterical Day
The Cockpit Theatre, Gateforth Street, Lisson Grove, London, NW8 8EH, England
Saturday 14th May 2016, 1.00pm
– more information here and here

“Inspired by the life and work of Hilma af Klint, as well as the exhibition of DAS INSTITUT, this session brings together artists, writers and historians to explore mysticism, feminism and performance. Participants include Saelia Aparicio, Clodagh Emoe, Florence Peake, Zina Saro-Wiwa, Tai Shani, V A L V E (Chlöe Herington/Elen Evans) and more. Programmed in collaboration with artist Tai Shani.”

All I know re the V A L V E contribution is that Chlöe is being joined by harpist Elen Evans for the performance, that she’ll be working with various invented instruments of her own devising, and that pieces will include “FEM – a five-note ‘automated’ cycle – and Futures, in which the melodic structure is determined by a tarot card score.” Meanwhile, here are a couple of V A L V E soundclips, plus one of a tinkling, echoing new instrument which Chlöe built recently out of contact microphones and sundry rubble.




 

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