Tag Archives: Mary Dullea

March 2017 – upcoming gigs – selections from the Sheffield Classical Weekend (17th-19th)

6 Mar

There’s plenty going on at the three-day mid-March Sheffield Classical Weekend, with the city permeated with music including many old and new favourites. Among what’s on offer are two different performances of Arvo Pärt’s ‘Fratres’ (one by a wind band, one by a host of strings), two Dreams of China concerts covering formal Chinese classical compositions) and a host of choral shows (the classic monk’s-debauchery of Orff’s ‘Carmina Burana’ via Schubert’s ‘Mirjam’s Siegesgesang’ and Brahms’ ‘Ziguenerlieder’, through to a variety of pops choirs.) Though I’d advise checking out the entire, pleasingly diverse programme, here are my own brief and subjective picks from it, if you’re interested.

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Oliver Coates & cellists: ‘Canticles of the Sky’ – Kelham Island Museum, Alma St, Sheffield, S3 8RY, England, Saturday 18th March 2017, 3:30pm & 5.00pminformation

“A UK premiere featuring star cellist Oliver Coates (Radiohead, ‘Under The Skin’ and ‘There Will Be Blood’). Olly and a host of cellists will surround the Kelham Island audience and lift you skyward with this ethereal and dreamy work from Pulitzer and Grammy-winning composer John Luther Adams. Also featuring extracts from J.S Bach’s Cello Suites.”

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Five Choirs: Sounds From Heaven – St Marie’s Cathedral, Norfolk Row, Sheffield S1 2JB, England, Sunday 19th March 2017, 2:30pminformation

“Perched around the sides of the excellent acoustic space within the Cathedral Church of St Marie, five Sheffield chamber choirs – Abbeydale Singers, Sheffield Chamber Choir, Sterndale Singers, Sheffield Chorale and Viva Voce – will “create a swoonsome heart-lifting soundscape of song.” As well as old and new choral standbys by John Tavener, Arvo Pärt, Felix Mendelssohn and others, the concert will include the premiere of ‘Kraal’ a commission for five simultaneous choirs written by Jenny Jackson (a member of Sheffield’s own contemporary composer collective, Platform 4).”

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More music fostered by Platform 4 will be popping up a few times over the weekend. Flautist Rachel Shirley performs “a selection of colourful and inventive works for flute, piano, blown bottles and saxophone“; there’s an evening date at Yellow Arch Studios with players from Sheffield Music Academy, performing the collective’s own “imaginative cutting-edge compositions”. There’s a “mind-bending” collaboration with Opera On Location in which “stories are turned upside down and endings become beginnings in (a) selection of operatic palindromes, where the music is the same both backwards and forwards… featuring Paul Hindemith’s short opera ‘Hin Und Zurück’ (‘There And Back’), plus new bitesize and puzzling pieces…” Platform 4 also contribute the cello-and-electric keyboard piece ‘Upright Stance’ to be performed alongside Shostakovich’s Cello Concerto at Oliver Coates’ concert with Sheffield Music Hub Senior Schools.

  • Opera On Location with Platform 4 – Upper Chapel, Norfolk Street, Sheffield, S1 2JD, England, Friday 17th March 2017, 8:30pminformation (contains strong and sexually explicit language – recommended for 18+)
  • Rachel Shirley: ‘Hooting & Drinking’ – Channing Hall @ Upper Chapel, Norfolk Street, Sheffield, S1 2JD, Saturday 18th March 2017, 3.30pminformation
  • Oliver Coates & Sheffield Music Hub Senior Schools: ‘From The Heart: Shostakovich’ – City Hall Ballroom @ Sheffield City Hall, Barkers Pool, Sheffield, S1 2JA, England, Sunday 19th March, 12:00pminformation
  • Platform 4 with Sheffield Music Academy – Yellow Arch Studios, 30-36 Burton Road, Neepsend, Sheffield, S3 8BX, England, Sunday 19th March 2017, 6:30pminformation

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On the Friday and the Saturday, there are some thoughtfully programmed Sound Laboratory events centring on the music, ideas and influence of Pierre Boulez. Saturday sees a triple-banked set featuring pianists Beate Toyka and Matthew Odell, violinists Darragh Morgan and Lucy Phillips, clarinettist Sarah Watts and the University of Sheffield New Music Ensemble.

Each of these mini-concerts sets one of Boulez’s first three Piano Sonatas against another piece. ‘The Conflict And The Passion’ pitches ‘Piano Sonata No. 1’ against Beethoven’s Kreutzer Sonata in a study of thwarted passions. ‘Deconstruction & Digitalisation’ presents the classical deconstruction of ‘Piano Sonata No. 2’ and the electro-acoustic contrasts of ‘Anthemes II’. ‘Choice And Chance’ (the only one of the concerts to feature two Boulez compositions) offers ‘Piano Sonata No. 3’ and the clarinet-and-orchestra piece ‘Domaines’, contrasting a piece in which major options are available to the performer and one which is considerably more ordered and regimented.

The series opens on Friday with a special Boulez-inspired concert in which “the avant-garde becomes child’s play… primary school children from across the city explore the curious frontiers of contemporary electronic music and present the results of their musical experimentation.”

Sound Laboratory:

  • ‘Computer Music’ – Firth Hall @ University of Sheffield, Western Bank, Sheffield, S10 2TN, England, Friday 17th March 2017, 1:30pminformation
  • ‘The Conflict & The Passion’ – Upper Chapel, Norfolk Street, Sheffield, S1 2JD, England, Saturday 18th March 1:30pminformation
  • ‘Deconstruction & Digitalisation’ – Upper Chapel, Norfolk Street, Sheffield, S1 2JD, England, Saturday 18th March 3:30pminformation
  • ‘Choice and Chance’ – Upper Chapel, Norfolk Street, Sheffield, S1 2JD, England, Saturday 18th March 5:00pminformation

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Among the Chinese-inspired events is one in which Chinese and European chamber music merge as celebrated guzheng zither soloist Xia Jing teams up with The Fidelio Trio (Darragh Morgan on violin, Adi Tal on cello and Mary Dullea on piano). They’ll be presenting a concert of brand-new musical premieres – Gao Ping’s ‘Feng Zheng’ (‘Kite’), Jeroen Speak’s ‘Silk Dialogues 7’, Dylan Lardelli‘s ‘Shells’, and ‘Time Bends In The Rock’ by Sheffield-based composer Dorothy Ker.

Fidelio Trio & Xia Jing: ‘Global Soundtracks: Silk Dialogues’ – Upper Chapel, Norfolk Street, Sheffield, S1 2JD, England, Friday 17th March 2017, 9:30pminformation

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In addition, there’s a variety of pop-up performances across the three days, featuring abbreviated sets by event headliners plus showings by small instrumental and vocal groups. It’s an open-minded spill moving out from classical forms to embrace folk, alt.chamber and other kinds of music.

One promising set of contributors are Manchester quintet Kabantu, who’ve thankfully dropped their previous name Project Jam Sandwich and who also “throw away the rulebook to bridge countries and cultures, creating an exuberant and joyful soundworld… vocal harmonies from South Africa coalesce with everything from Celtic reels and Brazilian samba to Balkan folk music and beyond.” Featuring violin, guitar, cello, double bass and percussion in addition to voices, they’re playing a pop-up show but also two separate consecutive-but-entirely-different sets at Yellow Arch Studios.

Classical by Night – Kabantu @ Yellow Arch Studios, 30-36 Burton Road, Neepsend, Sheffield, S3 8BX, England, Sunday 19th March 2017, 6.30pm & 9:30pm – information here and here
 

July 2016 – upcoming London gigs – The Fidelio Trio play Beethoven, Dvořák and Schoenberg and talk to us (19th)

17 Jul

A very quick post regarding an upcoming free London show from the Fidelio Trio – sadly, they’re not playing any of the original repertoire which they’ve commissioned over the years, but if you’re interested in hearing them take on music from the established canon from classical to Romantic through to the brink of chromatic modernism, and if you’re interesting in getting a formal chance to conversing with the kind of small ensemble which does invite commissions, this might suit you.

Rhinegold LIVE presents:
The Fidelio Trio
Conway Hall, 25 Red Lion Square, Bloomsbury, London, WC1R 4RL, London
Tuesday 19th July 2016, 6:15 pm
– free event – information here and here

“The ‘virtuosic Fidelio Trio’ (Sunday Times) are Darragh Morgan, violin, Adi Tal, cello and Mary Dullea, piano. Shortlisted for the 2016 Royal Philharmonic Society Music Awards – one of the highest recognitions for live classical music-making in the UK – they perform diverse repertoire internationally, broadcast regularly on BBC Radio 3, RTÉ Lyric FM, WNYC, NPR and in 2010 were featured in a Sky Arts documentary.

Champions of classical and contemporary alike (and with a string of new commissions to their name), this recital will explore some of the trio’s favourite repertoire. Join us and experience the on-stage chemistry which caught the attention of this year’s RPS Ensemble Award jury.

The evening starts with a drinks reception at 6.15pm, with the concert starting at 7.00pm. The concert is followed by an informal Q&A which will be conducted by Kimon Daltas, editor of Classical Music magazine.”

Programme:

Ludwig van Beethoven: Piano Trio in D major Op. 70 No. 1 ‘Ghost’ – I. Allegro vivace e con brio
Antonín Dvořák: Piano Trio No. 4 in E minor Op. 90 ‘Dumky’ – I. Lento maestoso – Allegro quasi doppio movimento
Arnold Schoenberg (arr. Eduard Steuermann): Verklärte Nacht

If you’re interested in hearing how the trio take on brand new repertoire, here are some clips of them in action, presenting debut live premieres of John Buckley’s 2014 ‘Piano Trio’ (from 2014) and Scott Wilson’s ‘Head Neck Chest Four Five Six Thing’ (from March this year).



 

More London gigs, third week of October (12th to 18th) – an art rock blitz with Sax Ruins/Richard Pinhas; new classical music with Darragh Morgan & Mary Dullea; William D. Drake/Bill Pritchard/Bill Botting make a trio of songwriting Bills for Daylight Music; Sex Swing/Early Mammal/Casual Sect make a racket; Laura Moody and a host of others play at Match&Fuse

7 Oct

And October rushes on…

Sax Ruins + Richard Pinhas @ Baba Yaga's Hut, 12th October 2015Sax Ruins + Richard Pinhas (Baba Yaga’s Hut @ Corsica Studios, 4-5 Elephant Road, London, SE17 1LB, UK, Monday 12th October 2015, 7.30pm) – £11.00

Ruins (in both their original configuration and their various spinoffs) are among the best-known and most influential of Japanese experimental rock bands, with their complex rhythmic ideas and expression stretching across progressive rock, Rock in Opposition, jazz and punk. Founded in 1985, their stretchy, power-flurried drums-and-voice/bass guitar/nothing else approach has been described as “a palace revolt against the established role of the rhythm section” and set the initial format for any number of loud-bastard bass-and-drums duos. Since 1994 they’ve also run assorted noise-rock and improv collaborations including Ronruins (a romping trio alliance with multi-instrumentalist Ron Anderson) and longstanding hook-ups with Derek Bailey, Kazuhisa Uchihashi and Keiji Haino. Post-2004, Ruins has given way to Ruins-alone: a solo project in both practical and actual terms, with Tatsuya Yoshida (Ruins’ drummer, jabberer, main composer and only consistent member) opting to tour and record solo as a drums-and-tapes act.

Active since 2006, Sax Ruins is yet another iteration of the Ruins concept – a musical tag team in which Yoshida spars happily with Nagoya-based saxophonist Ryoko Ono of Ryorchestra (an all-round improviser steeped in jazz, rock, funk, rhythm & blues classical and hip hop. Their recordings are “extremely complex with irregular beats, frequent excessive overdubbing, and restructured orchestration. The result sounds like a big band playing progressive jazz hardcore. For live performance of Sax Ruins they make hardcore sound like a huge band by full use of effects, also incorporating improvisation. Their shows unfold as a vehement drama.” For further evidence, see below.

Composer, guitarist and synthesizer player Richard Pinhas has often laboured under the reductive tag of “the French Robert Fripp”. This is unfair to him; he may have begun as an admirer of both Fripp and Brian Eno, but whatever he’s learned from them he took in his own direction. Starting out in the early ‘70s with a Sorbonne philosophy doctorate, a keen interest in speculative science fiction and a brief stint heading the post-Hawkwind psych outfit Schizo, Pinhas went on to lead the second-generation progressive rock band Heldon for four years between 1974 and 1978. Geographically and conceptually, Heldon sat bang in the ‘70s midpoint between the artier end of British prog, the proggier end of British art-pop and the chilly sequenced robo-mantras of German electronics. Initially inspired by King Crimson, Eno and Tangerine Dream, they also shared both musicians and ideas with Magma, and at times squinted over the Atlantic towards Zappa and Utopia: no passive followers, they always brought their own assertive, inquiring spin to the party. (A late ‘90s revival version of the band brought in the psychedelic punk and techno imperatives of the dance movement).

Since Heldon, Pinhas has pursued an ongoing and diverse solo career. It’s taken in collaborations with Scanner, Peter Frohmader, Merzbow, Råd Kjetil Senza Testa, Wolf Eyes and Pascal Fromade, plus assorted words-and music projects involving speculative writers and philosophers such as Maurice Dantec, Philip K. Dick, Gilles Deleuze, Norman Spinrad and Chloe Delaume (these include the cyberpunk-inspired Schizotrope). When performing solo, Pinhas uses a loops-layers-and-textures guitar approach which parallels (and to some ears, surpasses) the densely processed and layered Soundscapes work of his original inspiration Fripp. I guess it’s most likely that he’ll employ this at Corsica Studios on the 12th (although as Tatsuya Yoshida has been another of Pinhas’ collaborators over the years, perhaps you might expect another spontaneous team-up…)

Up-to-date info on the concert is here, with tickets available here.

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During the midweek, there’s a set of new or rare contemporary classical pieces being performed in Camden Town.

Darragh Morgan and Mary Dullea, 2015

Picking Up The Pieces: Darragh Morgan & Mary Dullea (The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, UK, Wednesday 14th October 2015, 7.30pm) – £10.00/£12.00

Here’s what the Forge has to say about it:

Described by BBC Music Magazine as ‘agile, incisive and impassioned’ violinist Darragh Morgan and pianist Mary Dullea are renowned soloists of new music as well as members of The Fidelio Trio, one of the UK’s leading chamber ensembles. ‘Picking up the Pieces’ explores new and recent repertoire, much of it written for this duo, by a diverse selection of composers. Among the program items, Richard Causton’s ‘Seven States of Rain’ (dedicated to Mary and Darragh) won the first ever British Composers’ Award; while Gerald Barry’s ‘Midday’ receives its world premiere alongside other London premieres from Camden Reeves and Benedict Schlepper-Connolly.

Programme:

Richard Causton – Seven States of Rain
Gerald Barry – Midday (world premiere)
Benedict Schlepper-Connolly – Ekstase I (UK premiere)
Dobrinka Tabakova – Through the Cold Smoke
Kate Whitley – Three Pieces for violin and piano
Sam Hayden – Picking up the Pieces
Camden Reeves – Gorgon’s Head (London premiere)

Here’s the original premiere recording of Darragh and Mary playing ‘Seven States of Rain’.

Tickets and up-to-date information are here. This concert is being recorded by BBC Radio for future transmission on Hear & Now.

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On the Saturday, it’s a triple bill of Bills at Daylight Music. Now that’s cute, even for them. Here are the words direct from the top…

Daylight Music 203, 17th October 2015

Daylight Music 203: William D. Drake + Bill Pritchard + Bill Botting (Union Chapel, Compton Terrace, Islington, London, N1 2UN, UK – Saturday 17th October 2015, 12.00pm-2.00pm) – free entry, suggested donation £5.00

For his fifth solo excursion, former Cardiacs keysmith William D Drake takes us on a serpentine path through the inner regions of ‘Revere Reach’, a part-imagined landscape composed of memory and fantasy. At once heart-felt, hearty and absurd, its heady reveries blend ancient-seeming modal folk melody with an obliquely-slanted rock thrust.

Bill Pritchard is a beloved cult British-born singer/songwriter. You may remember. You may not. He started writing songs for various bands at school but it wasn’t until he spent time in Bordeaux as part of a college degree that his style flourished. He did a weekly show with two friends on the radio station La Vie au Grand Hertz (part of the burgeoning ‘radio libre’ movement) and was introduced to a lot of French artists from Antoine to Taxi Girl. In 2014 Bill released – Trip to the Coast (Tapeste Records). He’s recently resurfaced with a cracking new album, the songs of which are classic Bill Pritchard. Guitar pop, hooky chorus’, melodic ballads and personal everyday lyrics about love, loss, and Stoke-On-Trent.

Our final Bill is Bill Botting – best known as the bass player from Allo Darlin with the encouraging face, or as one half of indie electro wierdos Moustache of Insanity. Bill returned to playing his own music sometime in 2014. What started as a solo act has now grown into a complete band featuring members of Owl and Mouse, Allo Darlin and The Wave Pictures. A 7-inch single out later in the year on the wiaiwya label has a country slant but an indie heart.

Up-to-date info on this particular Daylight Music afternoon is here.

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On the Saturday evening, Baba Yaga’s Hut is running another gig, much of it apparently based around the noise-and-sludge projects which record at south London’s Dropout Studio in Camberwell. I’ve got to admit that I’m quite ambivalent about the hit-and-miss nature of noise-rock – I suspect that it’s too much of a haven for charlatans, and if I can’t drag out anything interesting to say about the noise they produce bar a slew of reference points, then what am I doing if not reviewing my own boredom? – but I like BYH’s omnivorous, ambitious and sharing attitude as promoters, so I’m happy to boost the signal on this one.

Sex Swing + Early Mammal + Casual Sect (Baba Yaga’s HutThe Lexington, 96-98 Pentonville Road, Islington, London, N1 9JB, UK, Saturday 17th October 2015, 8.00pm) – £7.00

Sex Swing + Early Mammal + Casual Sect @ Baba Yaga's Hut, 17th October 2015
Sex Swing are “a drone supergroup” featuring South London noisenik Tim Cedar (one of Dropout Studio’s owner/producers, previously a member of both Ligament and Part Chimp), Dethscalator’s Dan Chandler and Stuart Bell, Jason Stoll (bass player with Liverpool kraut-psych band Mugstar) and skronkophonist Colin Webster. On aural evidence, they inhabit a post-Can, post-Suicide hinterland of hell, spring-echoed and tannoy-vocaled – a sinister quotidian landscape of blank anomie and oppression; a Los Alamos penal colony haunted by uranium ghosts, ancient Morse telegraphs, metal fatigue and the zombie husks of Albert Ayler and Ian Curtis. (Well, that’s certainly someone’s perfect birthday present.)

Described variously as raw power, psych-blues, primitive lysergia and threatening backwoods jams, Early Mammal are another Dropout-affiliated Camberwell band. They’re a stoner rock three-piece who’ve drawn further comparisons not just to latterday stoner crews like White Hills or Uncle Acid & The Deadbeats, or to predictable perennial touchstones like Captain Beefheart and Hawkwind parallels; but also to broody Harvest Records psych (Edgar Broughton and the ‘Obscured by Clouds’ Pink Floyd), Irmin Schmidt and (a rare and welcome cite, this) the grand dramatics of Aphrodite’s Child (the late-‘60s Greek prog band which skirted the 1966 Paris riots and served as an unlikely launch pad for both Vangelis and Demis Roussos).

Past incarnations have seen Early Mammal stir in some “Turkish-flavoured synth”, but the current lineup is a power trio of ex-Elks guitarist Rob Herian and 85bear’s Ben Tat and Ben Davis, adding baritone guitar and drone box to the usual guitar/bass/drums array.

I’m less sure about the south London/Dropout associations as regards Casual Sect, who seem to be north-of-the-river people; but, armed with their own hardcore noise-punk, they’ll either clatter away like wind-up toys or belly-sprawl on great bluffs of surly noise. They seem to love both citing and mocking conspiracy theory, so I’ll let them yell away on their own behalf – see below…


 
Up-to-date info on this gig is here, and tickets are available from here.

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Laura Moody’s captivating cello-and-voice songcraft (which edges along the boundary lines of avant-garde classical, art pop and heart-on-sleeve folk music, while demonstrating a daunting mastery of both vocal and instrument) has been a favourite of mine for a while. On this particular week, she’s performing as part of the Match&Fuse Festival in London on 17th October, which I’d have made more of a noise about had I cottoned on to it earlier. She’ll be following up her London show with a date on 20th October at Leeds College of Music: unfortunately, this concert (which also features a talk) is only for LCM students/staff, but if you happen to be attending the college, grab the chance to go along.

There’ll be more on Laura shortly, as she’s embarking on a brief British tour next month which dovetails quite neatly with some other brief tours I’d like to tie together in a post. Watch this space.

Meanwhile, I might as well provide a quick rundown of the Match&Fuse events. This will be a short and scrappy cut’n’paste’n’link, since I’m honouring my own last-minute pickup (and, to be honest, because I exhausted myself listing out all the details of the Manchester Jazz Festival events earlier in the year).

By the sound of it, though, the festival deserves more attention than I’m providing. Even just on spec, it’s a delightful bursting suitcase of British and European music; much of which consists of various forms of jazz and improvisation, but which also takes in electronica, math rock, accordion-driven Tyrolean folk-rap, vocalese, glam punk, the aforementioned Ms. Moody and what appears to be a huge scratch ensemble closing the events each night. It’s spread over three days including a wild triple event on the Saturday. Tickets are starting to sell out; so if you want to attend, be quick.

Match&Fuse Festival, London, 2015

Committed to the composers and bands who propel, compel and challenge, Match&Fuse turns it on and ignites the 4th London festival in October. Dissolving barriers between genres and countries, it’s a rare chance to hear a spectrum of sounds from underground European and UK artists. On Saturday 17th October our popular wristband event will give you access to three Dalston venues and about thirteen artists and bands. Strike a match…

The Vortex Jazz Club, 11 Gillett Square, London, N16 8AZ, UK, Thursday 15th October 2015, 7.30pm – £9.90

Rich Mix, 35-47 Bethnal Green Road, Shoreditch, London E1 6LA, UK, Friday 16th October 2015, 7.30pm – £13.20

The Vortex/Café Oto/Oto Project Space/ Servant Jazz Quarters simultaneous event, Saturday 17th October 2015, 8.00pm – £11.00/£16.50

Café Oto/Oto Project Space, 18-22 Ashwin Street, Dalston, London, E8 3DL, UK

Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, UK

The Vortex Jazz Club/Vortex Downstairs, 11 Gillett Square, London, N16 8AZ, UK

Full details of Match&Fuse London 2015 are here and here, with tickets (including wristbands) available here. There’s also a playlist available – see below.

 
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More October gig previews coming up shortly, plus some more for November…
 

More London gigs, second week of October – electro-industrial (Necro Deathmort/DeadFader/Cementimental), intercontinental at Café Oto (Maurice Louca/John Bence/Sam Shalabi), fringe jazz (The Geordie Approach/A Sweet Niche), noise-rock (Hey Colossus/Lower Slaughter/Kogumaza), acoustic/alt.country at Daylight Music (Applewood Road/Holly Macve/Arborist) and the Fidelio Trio with Beethoven, Ravel and a Benjamin Dwyer premiere

4 Oct

More gigs for the coming week…

Firstly, Baba Yaga’s Hut are running an evening at Corsica Studios, which takes in the London date of an electro-industrial tour.

Necro Deathmort/DeadFader/Cementimental @ Baba Yaga's Hut, 5th October 2015Necro Deathmort + Deadfader + Cementimental (Baba Yaga’s Hut @ Corsica Studios, 4-5 Elephant Road, London, SE17 1LB, UK, Monday 5th October 2015, 8.00pm) – £6.00

As if Necro Deathmort‘s name didn’t tell you enough about them, over an eight year career they’ve released albums called ‘This Beat Is Necrotronic’ and ‘Music Of Bleak Origin’ (although more recent albums have seen a shift towards a less morbid and more science-fictional outlook. Dark electronica festival veterans with a drone, doom and noise approach, the project entangles electronic instrumentalist AJ Cookson (The Montauk Project, Medes, Sol Invicto) with Matthew Rozeik (guitarist from post-metal/post-prog band Astrohenge). Their music rises from gurgling boneyard beats, medical-equipment breakdowns, squishy miasmas and faux-sax drones towards something ruined and regal – a grand deathbed vision.

Sharing Necro Deathmort’s current tour is Berlin-based dubstep/noise/electro fusilladeer DeadFader – memorably described as “chainsaw-step” by Baked Goods Distribution (who went on to rave about how the project coughs up “the most seismic grooves imaginable” and that the music “sinks its teeth into your arm and refuses to let go”). I can’t top that as a description right now – have a listen below and see if you agree with it.

Joining Necro Deathmort and DeadFader for the London date are CementimentalEverything I can dig up about these guys is a barking blur of ludicrous disinformation: almost the only lucid facts coughed up from their promotional flotsam is that they’re led by a “noisician” called Dr. Age (or Tim Drage, who may or may not have a daytime/surface job in cute Lego animations) and have been doing “harsh noise, circuit-bending, rough music since 2000AD”. The Dr. is supported by a cast of obscure and possibly imaginary characters – a guitarist called Toru, a part-time turntablist, a man called Mrs Columbo (who handles the incoherent screaming), and “additionalists” called Murray the Eel and Sir Concord Discount (the latter’s a “rock goblin”). Maybe this makes Centimental sound like the joke band on the bill, and there’s plenty of humour in what they do (a couple of early tracks were called Too Long and Merzbow It Ain’t, while a more recent one’s called Commendable Amputation Of An Excessive Gargoyle), but the fact remains that they’ve been going for nearly half again as long as their gigmates. Draw your own conclusions.


 

Up-to-date info here, tickets here.

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On the Thursday, there’s a Cafe Oto convening of music from Cairo, Bristol and Montreal, running in parallel to events in Egypt and Lebanon and covering a broad variety of influences and outcomes.

Maurice Louca + John Bence + Sam Shalabi, October 8th 2015

Maurice Louca + John Bence + Sam Shalabi (Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, UK, October 8th 2015, 8.00pm) – £12.00/£14.00

Cafe Oto, in collaboration with Thirtythree Thirtythree   and Nawa Recordings, bring you the second edition of the five-part event series entitled ‘Labyrinths’ (or ‘Mātāhāt’ in Arabic) and based in London, Cairo and Beirut over October and November.

Maurice Louca is an Egyptian musician and composer born in Cairo where he lives and works. As well as being the co-founder of the bands Bikya, Alif and Dwarves Of East Agouza, he lends his sound to numerous projects, composing for theatre, film and contemporary art. Inspired by many influences, from psychedelic to Egyptian shaabi, his second album ‘Benhayyi Al-Baghbaghan (Salute the Parrot)’, released on Nawa Recordings in November 2014, shattered the confines of musical and cultural labelling and was dubbed by many as a game-changer for the region’s bustling independent music scene. Amidst his collaborations and inconspicuous touring across Europe and the Arab world in the last few years, Louca has sought a richer and much more complex sound. ‘Benhayyi Al-Baghbaghan’, the fruit of such intense reinvention and a departure from his first solo album ‘Garraya’, is a work that leaves ample space for fluidity and improvisation, paving the way for unique live renderings.

From a family background rich in classical pedigree and firmly embedded in Bristol’s forward-facing electronic music culture, John Bence has pooled a breadth of influence scarcely credible for a composer only entering his second decade, and now he is starting to put his inspiration into live and recorded motion. As a producer he is already thinking ten steps ahead, often incorporating voice or home recorded percussion into his cyclical technique of scoring, recording, manipulating, re-scoring and re-recording in waves, creating heady, intoxicating ripples of harmony and noise. An obscure snippet of dub-plate drone under a previous moniker was enough for Nicolas Jaar, who instantly approached him about a release on his Other People label. Six months on, ‘Disquiet’ was released – a masterful hybrid of classical and electronic clocking in at a tantalising ten minutes. More, much more, is coming. Mercurial, elusive and of seemingly limitless imagination, John Bence is rising to the surface.

Sam Shalabi is an Egyptian-Canadian composer and improviser living between Montreal, Quebec and Cairo, Egypt. Beginning in punk rock in the late 70s, his work has evolved into a fusion of experimental, modern Arabic music that incorporates traditional Arabic, shaabi, noise, classical, text, free improvisation and jazz. He has released five solo albums (including ‘On Hashish’- a musical mediation on German writer Walter Benjamin; ‘Osama’, an audio collage on Arabophobia in the wake of 9/11; and his most recent ‘Music for Arabs’), five albums with Shalabi Effect (a free improvisation quartet that bridges western psychedelic music and Arabic Maqam scales) and three albums with Land Of Kush (an experimental 30-member orchestra for which he composes). He has appeared on over sixty albums and toured Europe, North America and North Africa. Recent projects include the release of the sixth Shalabi Effect album, a duo album with Stefan Christoff, two albums on the Italian label Sagittarius with Beirut, Turkish and Egyptian musicians and a tour in the eastern U.S with Alvarius B (playing solo oud). He is also releasing ‘Isis and Osiris’ (a new composition for oud and electronics) on Nashazphone as well as releasing an album with The Dwarves Of East Agouza (a Cairo based trio with Maurice Louca and Alan Bishop) while currently working on his sixth solo album.

Tickets and up-to-date information are here and here.

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“More accomplished musicians have a loud argument about what ‘jazz’ even is these days,” say Chaos Theory Promotions. Their Jazz Market evenings continue to provide space for such arguments, and here’s another one…

Jazz Market - The Geordie Approach + A Sweet Niche, 9th October 2015

The Geordie Approach + A Sweet Niche (Chaos Theory Promotions present The Jazz Market @ The Sebright Arms, 33-35 Coate Street, London, E2 9AG, UK, Friday 9th October 2015, 8.00pm) – £5.00/£7.00

The Geordie Approach is possibly the oldest secret from three internationally renowned musicians who’ve been working together for over ten years. It features acclaimed Leeds guitarist and producer Chris Sharkey (Acoustic Ladyland/Shiver/TrioVD), and Norwegian musicians Petter Frost Fadnes and Ståle Birkeland, best known for playing sax and bass respectively in Stavanger Kitchen Orchestra. This uncompromising and experimental trio pursues music within loose improvisational structures, adding a surprisingly broad range of flavours to their overall sound world. The trio has a reputation for adapting and utilizing their performance space in an extremely effective and engaging manner. Birkeland, Frost Fadnes and Sharkey produce musical elements that often are contradictory in shape, moving between melody and noise, ambient grooves and abstract textures. They have performed across Europe, Japan and the UK in churches, art galleries, improvisation clubs, squats, abandoned tobacco houses, jazz festivals, concert halls and flamenco clubs. Each performance is a unique experience.

We hail the return of jazz punk trio A Sweet Niche to The Jazz Market after a seriously impressive performance in 2013. Band composers Keir Cooper and Oliver Sellwood (on guitar and saxophone respectively) explore an aesthetic of intricate rhythms & song-structures within a punchy energetic rock band format. The nature of their collaboration is unique; Keir is an award-winning non-academy artist and Oliver is an award-winning PhD composer and academic. Despite their two tangential angles of experience, they have a shared musical vocabulary honed over nearly two decades. With new album ‘EJECT’ on the way in 2016 (and the recent addition of Big Beat Manifesto drummer Tim Doyle to the band), it’s high time we pulled these performers out of the murky underworld they reside in.

Tickets are available from here, and up-to-date information is here.

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There’s another Baba Yaga’s Hut evening on the same night as the Oto gig, this time concentrating on various noise-rock angles (from the reformatting of classic rock to the restructuring of sound to the straightforward joy of a gibbering hardcore racket.) See below.

Hey Colossus/Lower Slaughter/Kogumaza @ Baba Yaga's Hut, 9th October 2015Hey Colossus + Lower Slaughter + Kogumaza (Baba Yaga’s Hut @ Electrowerkz, The Islington Metal Works, 7 Torrens Street, Angel, Islington, London, EC1V 1NQ, UK, 9th October 2015, 8.00pm) – £9.00

Variously from Somerset, Watford and London, six-piece Hey Colossus https://www.facebook.com/heycolossus have spent a decade gradually becoming alt.rock darlings thanks to their   journey through assorted doomy noise rock avenues. Their current recipe involves slowing down and narcotising their alleged classic rock influences (Fleetwood Mac is one of those cited) via psychedelic echo and a certain post-rock dourness. It works well too – much of the time they sound like a guttering Led Zeppelin on strong cough mixture, or feed crunching brass-riff processionals and Stoogesque whomps through an amber-toned ‘Piper At The Gates Of Dawn’ filter.

I suspect that the concept of supergroups doesn’t fit into noiserock and post-hardcore. Nonetheless, Brighton’s Lower Slaughter  does sort of fit into that category, uniting people better known for other bands (bass player Barney Wakefield for Shudder Pulps, guitarist Jon Wood for “harsh party music” outfit Fat Bicth, Max Levy for vertiginously nervy singing in King Of Cats) and welding them together into a noisy, queasy-confident, raw-scream whole.

Creating hypnotic drones and grooves via two guitars and tom-centric drumming, Nottingham quartet Kogumaza have their feet in sludge metal and in post-rock; but while the latter’s become an increasing predictable and conservative genre Kogumaza have set out to reclaim some of its earlier, more inventive ideas (such as the lapping sonics of Seefeel) via their fourth member, live sound mixer Mark Spivey, who brings in dub-inspired approaches and old tape-looping techology to further manipulate and displace the band’s sound both live and on record. Fond of collaborations and split releases, they’ve also been known to bring in an unexpected banjo (although they probably won’t tonight).


 
Up-to-date info here, tickets here.

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And finally, from all of this noise to something acoustic for a Saturday noontime…

Daylight Music 202

Daylight Music 202: Applewood Road, Holly Macve + Arborist (Union Chapel, Compton Terrace, Islington, London, N1 2UN, UK – Saturday 10th October 2015, 12.00pm-2.00pm) – free entry, suggested donation £5.00

An early afternoon of songwriter-folk, America and alternative country from one of ‘Misfit City’s favourite free/pay-what-you-like events:

Applewood Road is an Australian/American alliance of three solo songwriters – Amy Speace, Amber Rubarth  (also known as one half of The Paper Raincoat) and Emily Barker (also known for her work with the-low-country and The Red Clay Halo). In September 2014, they all met for the first time in a cafe in East Nashville. Two hours later they had written the song they called Applewood Road. They booked studio time at Nashville’s super-cool analogue studio Welcome To 1979, and the following week recorded the song live to tape, with just double bass as accompaniment. So excited were they by the song, they decided to expand the idea in to a whole album. Six months later they reconvened in Nashville to write, rehearse and record songs to make up a full album, with the project and album all called ‘Applewood Road’. This is their first show in the UK, with the debut Applewood Road album due for an early 2016 release on Gearbox Records.

Bella Union label boss Simon Raymonde says, of Holly Macve“little is known of Holly other than she is a 20 year old from Yorkshire who appeared out of nowhere in Brighton late last year. I had a tip-off to go to a basement bar where she was playing. In a room full of beery boys chatting across all the music beforehand, the minute Holly opened her mouth the room fell silent. Hers is a rare gift.” Simon signed her shortly afterwards. The label has yet to release anything formally, but Holly herself has posted a demo track onto Soundcloud (see below), and she’s already won support slots with Ben Howard and Mercury Rev on the strength of what she’s offering.

Having previously worked as a songwriter around France, London and Dublin, Mark McCambridge played his first show as Arborist in February 2013, opening for James Yorkston in Belfast. A solo tour of Ireland followed before impressive performances led to notable support slots alongside Low, Cat Power, Echo & The Bunnymen and Alasdair Roberts. In May 2015 Arborist released the country-tinged ‘Twisted Arrow’. Recorded during dark winter nights in Belfast and in Dayton, Ohio (and featuring vocal harmonies by Kim Deal). A debut album is due this coming winter.

 

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Not finally, in fact – there’s a chance to squeeze in a last-minute classical addition, since it’s always a shame to miss a premiere.

The Fidelio Trio, 2015

The Fidelio Trio @ The London Chamber Music Series (Hall One, Kings Place, 90 York Way, Kings Cross, London, N1 9AG, UK, Sunday 11th October 2015, 6.30pm) – £9.50 to £29.50

The celebrated Fidelio Trio – Mary Dullea (piano), Adi Tal (cello), Darragh Morgan (violin) – perform Beethoven’s hugely popular ‘Ghost Trio’, with its iconic eerie slow movement, and also Ravel’s remarkably imaginative and colourful ‘Piano Trio’, premiered 100 years ago this year in Paris in 1915.

In between comes the premiere of Irish composer Benjamin Dwyer‘s ‘Nocturnal’, inspired by Benjamin Britten’s famous own ‘Nocturnal after John Dowland (for solo guitar)’, and drawing upon a theme from Britten’s opera ‘Gloriana’, as well as a madrigal by English early seventeenth-century composer Thomas Wilbye. There will be a free pre-concert talk at 5.15pm in the St Pancras Room at Kings Place, in which composer and LCM Series director Peter Fribbins interviews Benjamin Dwyer about his new work and his interest in the music of Benjamin Britten.

More information here and tickets here.

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More October gig previews coming up shortly…

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