From where I’m standing, it’s looking like a mostly noisy and left-field week. Here’s the first bit of it…
More News From Nowhere presents:
More News from Nowhere #4 – Simon Bookish + Sharon Gal + Deathcount In Silicon Valley
The Victoria, 186 Hoe Street, Walthamstow, London, E17 4QH, England
Wednesday 24th February 2016, 8.00pm – more information
From the organizers:
“More News From Nowhere – Walthamstow’s regular night of new and interesting music – returns with a double headline performance.
Experimental vocalist Sharon Gal is a widely respected figure on London’s improvised and avant-garde music scene – she’s worked with Steve Noble, David Toop. Steve Beresford and Thurston Moore amongst others, and is a founder of Resonance FM.
Simon Bookish, the alter-ego of performer/composer Leo Chadburn, fuses his classical training and experimental leanings with electronic instrumentation and a pronounced pop sensibility. He’ll be performing his latest release – ‘Red And Blue’, released this January (“a collision between digitally-processed brass and distorted synthesizer drones; atonal electronic pop and drifting field recordings; spoken word and unearthly vocalisations” inspired by the ‘special relationship’ between the US and UK governments during the Cold War) as well as a new version of his ‘Trainwreck’ project from 2007.
Support comes from Walthamstow’s own Deathcount In Silicon Valley aka MNFN friend and co-conspirator Andi Nixon, who makes “ominous frazzled sci-fi scores” and will be performing his tribute to the film ‘Scanners’.”
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For the following three nights, there are three Baba Yaga’s Hut events in a row. The first one’s for lovers of scuzzed-up song…
This week sees the return to live action of Joe Gideon, who first came to attention in 2002 as leader of Americana-tinged post-rockers Bikini Atoll (which also featured his sister Viva on keyboards). Joe and Viva went on to form the critically acclaimed brother/sister avant-blues duo Joe Gideon & The Shark, in which Joe clanked trash guitar and drawled absurd, witty tales in Beatnik slang while Viva drummed, mixed in keyboards and beats, and layered a spooky background of looped vocals.
Two acclaimed albums later – 2009’s ‘Harum Scarum’ and 2013’s ‘Freakish’ – Joe and Viva have parted ways. While Viva busies herself with different musical work (including an appearance with Loose Meat for ‘Inside The Sun‘) and acting in video games (having won an award for her work in reconstructive crime tale ‘Her Story‘ last year), Joe’s continued his own work with a solo album – ‘Vice Versa’, recorded and released in 2015 with an all-star squad of Jim Sclavunos (Bad Seeds) on drums, Ed Harcourt on keyboards and Duke Garwood on horns. Jim’s stayed in the live band: following a London debut back in November and a guest spot at a Lee Hazelwood tribute, they’re back for a second full live show at Corsica Studios.
Support comes from John J. Presley, the Walsall-born songwriter and guitar who feeds his own take on freeform storytelling blues through a mess of noisy downtuned guitar, alternate tunings and drones (backed up with drums, Rhodes piano and harmonium.)
The second show features more outright noisiness; it’s a more typically Baba Yaga-esque soup of psychedelic noise, sludge and hints of prog…
Baba Yaga’s Hut presents:
Mugstar + Henge + Cavalier Song
Electrowerkz @ Islington Metal Works, 5 Torrens Street, Islington, London, EC1V 1NQ, England
Friday 26th February 2016, 8.00pm – more information
With a new record poised for launch at the start of March, long-established Liverpudlian psykraut space-rockers Mugstar are headlining the show. Their dour-dark mantra instrumentals wed lugubrious organ drones and Morricone/Labradford-ian guitar parts with guttering smears of noise, while occasional distant snatches of speech or song flicker into hearing like tiny, frayed, long-ago rags impaled on endless wire fences.
Originally, Steve Gullick’s flinty moodists Tenebrous Liar were scheduled as the first support band. Their decision to split up last November has cleared the way for some gig-sullying from Henge. These London psych-sludgers belch out hanging, polluted, noise clouds through which singer Loz Chalk delivers his scratched, timorous, and fearful yells, his ankles enmired in dragging pace and guitar fry.
For my money, the most interesting band of the night is the one that’s opening the show. Elusive Liverpudlians Cavalier Song are Henge friends and tourmates (having played with them in Nottingham and London earlier in this month), have occasionally rolled out tracks on Soundcloud over the past five years, and released their debut album ‘Blezards’ only last month, delivering “soundtracks to earth, man and machine, the outdoors, the indoors and constant shift.” Sitting on a cusp between Swans and King Crimson (both of whom they claim are influences), they sound like a prog band in which the brain hemispheres are falling away from each other. Some pieces clench and raise the tension in their dissonances, their rapid rhythmic and dynamic transformations, while others engage in tearing, shifting Frippish drones. Panic, chaos and a liberated excitement loom as possibilities among the brutal rips of guitar, the resonating overtones and the low-hanging atmospherics; yet the band lean on – and sustain – that moment when form and skills of structure and rapid response still remain. Other noise bands simply plod and accumulate: Cavalier Song sway and shift; light-footed knife-fighters, their eyes and attention flicking this way and that while keeping a deadly focus. Sod it. Make sure you turn up early. This is how it’s meant to be done.
The third and last of the Baba Yaga gigs dips us into dub, dub poetry and eerie electronica stews…
In recent years, Hackney-born/Trinidad-raised poet and vocalist Roger Robinson has probably been best known for his work as one-third of King Midas Sound (in which he works with eclectic dub/jazzcore/dancehall/grime producer Kevin Martin and Japanese artist/singer Kiki Hitomi). However, he’s led a peripatetic solo career since the early ‘90s: starting out as a spoken-word performer, he’s written and performed a number of acclaimed one-man shows, toured the world on behalf of the British Council and released books of poetry. Since 2004 there have been solo musical releases and mixtapes including the spoken-folk album ‘Illclectica’ and collaborations with or reworkings of music by Oneohtrix Point Never, Ryuichi Sakamoto, William Basinski and Alva Noto.
Roger’s most recent work (set in 2011 at the time of the London riots, and partially achieved by lone walks around his sometime base of Brixton, improvising dub poetry into a dictaphone) is last year’s ‘Dis Side Ah Town’ album – a detailed work of study and reportage on the impact, distortions and erasures of change and gentrification, with Brixton observed both in its own right and as a signifier for similar distortions in London and the rest of the world (read Neil Kulkarni’s recent ‘Quietus’ interview with Roger for more background on this). Production work on the album was handled by disrupt – a.k.a. Jan Gleichmar, an East German computer-music whizz who grew up on the Soviet side of the Berlin Wall and progressed through assorted home-made dance stylings (variously Detroit techno, digital hardcore, gabba and electronica) before settling on digital dub as his expression of choice. Co-boss of the Leipzig-based dub/reggae netlabel Jahtari for over a decade, Jan started off on a cheap laptop but currently achieves his sound with homemade electronic gear, being interested in the textural and process effects of antique microchips and manual voltage control. Tonight, he and Roger will be performing together in London for the first time, delivering live material from or informed by ‘Dis Side Ah Town’ and bringing Roger’s observations and warnings back home.
The support act is School House, a solo project by Manchester composer Peter James Taylor (once the baritone guitar player for Bletchley noise-rock…Action Beat, now known for his distortion-rich, Branca-esque massed-guitar works exploring custom tunings, extended techniques and graphic notation). School House provides Peter with opportunities to explore other areas. Although the project’s first release, ‘Soft Focus’, explored a spooky, textured minimalism using customised Yuri Landman guitars, last year’s ‘Herd’ album moved into electronic instrumentation, concentrating on glitch-rhythms and software drones while keeping some of the layers of guitar texture for what Peter describes as “roiling, gaseous and slow-moving nocturnal dread.” It’s this latter side of School House which will be on display tonight, accompanied by suitable visuals.
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To wind up this post, here’s news from east London on “an eclectic night of math rock, experimental rock and progressive rock”…
Most of the text below is by the promoter or other people, so links are provided where they’re due:
Theo is Sam Knight, a one-man-band from London who puts on an astonishing performance. His Soundcloud bio says “taut, chugging guitar loops layer up with frenetic tapping patterns that interweave in spiralling complexity before near sub-atomically precise, powerhouse drumming clatters and builds each song into juggernaut of riffs and rhythms. To achieve something like this recorded is one thing, but to see Theo perform live is quite another as each song blurs into the next and the dazzling guitar and drum acrobatics leave jaws sagging on the faces of all who bear witness to the talent on offer.”
Battleship Grey are an experimental rock four-piece from London who combine highly melodic, powerful vocal melodies with innovative, forward-thinking rhythms and sounds. Drama-rock threesome Ex Libras(who’ve shared a bill with them) have commented “they toy with experimental ideas in a way that is the opposite of pretentious because they always seem to be about the groove or the way the music pulsates. It is music after all right? It isn’t an equation, it isn’t a painting, yet they are math and art-rock and dance-y all at the same time. Head. Explode.”
Olympians describe themselves as “a band that lives half in Norwich and half in London. We have two guitars, a bass, some drums, a glockenspiel, two keyboards and a trumpet. The next instrument we plan to buy is a vibraphone. We hope you like our songs.” A few years ago, multimedia obscure-music platform ‘Rightchordmusic‘ said “their sound is hard to pin down, with math rock roots, fused with barber-shop ‘Spring Offensive’ esque harmonies and plenty of instrumentation and experimentation. It’s a soaring piece of harmonious yet downbeat melancholic pop that gets better with ever listen. We’re smitten.”
Sounds and visions provided above. Draw your own conclusions.
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More shortly – Eddie Parker, Project Instrumental and an even more typically loose than usual Daylight Music show…