The Riot Ensemble presents:
The Riot Ensemble: ‘The Viola in my Life’ The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England
Monday 21st November 2016, 7.00pm – information
“Led by a core group of seven musicians, The Riot Ensemble programme a wide array of the new music from across the globe, connecting people to great contemporary music and collaborating with a prestigious roster of guest artists in musician-led and organised performances. One of the few emerging ensembles in the UK to regularly commission and perform music by international emerging composers, they present the young composers they commission alongside exciting and established music from Bach to Birtwistle.
“This performance – The Viola in my Life’ – features Riot’s new Artistic Board Member Stephen Upshaw, who programmed this concert alongside fellow rioters Sarah Mason & Claudia Maria Racovicean.”
“Venezuelan virtuoso pianist Clara Rodríguez joins forces with TangOpera Duo to mark the centenary of her compatriot, composer Antonio Estévez (1916-1988) with a concert showcasing his works for piano and voice as part of a vibrant programme of piano pieces by some of the giants of Latin American classical music, including the seminal Argentine composer Alberto Ginastera (Argentina) (1916-1983), who also celebrates his centenary this year.
“Antonio Estévez is one of the most important Venezuelan composers of the 20th century, known especially for his ‘Cantata criolla’ and ‘Mediodía en el llan’o, recorded by the Simón Bolívar Youth Orchestra in 2008. A leading light of the Parisian-Venezuelan avant garde, Estévez’s music stands out for its rare beauty and profound originality. In Clara Rodríguez, Estévez has a longstanding ambassador for his legacy – her successful campaign to establish his output on the ABRSM 2015-2016 exam syllabus saw his music performed by thousands of pianists in the UK.
Heard here alongside some of Latin America’s most famous composers, such as Villa-Lobos (Brazil) and Cervantes (Cuba), this event places Estévez firmly amongst the panoply of Latin America’s ‘great’ composers. If you are unfamiliar with his music, this programme will be a revelation.”
Antonio Estévez – 17 Piezas infantiles
Antonio Estévez – Songs (Selection)
Heitor Villa-Lobos – Bachianas brasileiras No. 4 (Selection)
Heitor Villa-Lobos – Ciclo brasileiro (Selection)
Alberto Ginastera – Three Argentinean Dances
Alberto Ginastera – Dos canciones Op. 3
Ignacio Cervantes – Three Cuban Dances
Federico Ruiz – Encuentro de Antonio y Florentino
Clara Rodríguez – piano
TangOpera Duo – soprano & piano
William Roberts – actor
Timothy Adès – translator-poet
“FuMar is a saxophone and piano duo based in Paris. Phil Furneaux and Krys Markowski have been friends for over forty years (meeting on their first day at Manchester University) and started playing together in 2010, using Skype and Ohmstudio for remote collaborations. After performing their first concerts in 2012, the duo released their debut album ‘Lanercost Sessions’ in 2015, followed by a tour of France. The FuMar repertoire is rooted in jazz (and, more recently, classical) but stays bluesy, funky and mellow with a constant dialogue between piano and sax. The band has the philosophy that “music is a transmission of emotion” and attempts to develop pieces that journey between melancholic and happy, comforting and unexpected, allowing the audience to experience a range of emotions during their concerts.
“FuMar’s second album, ‘The Lanercost Sessions 2’ (recorded, like its predecessor, in the fourteenth-century Priory at Lanercost in Cumbria) was released a few months ago, back in September. FuMar use this venue due to its acoustic qualities, which make the notes played “hang in the air.” Moving on from the first all-covers set of the first ‘Lanercost Sessions’, this album is a mixture of FuMar’s own compositions and some interpretations of emotive classical tunes – Satie’s ‘Gymnopédie No 1’, Gabriel Fauré’s ‘Après un rêve’ – and a couple of Latin-American Cuban classics (Antonio Jobim’s Bach Meets Bossa and Mongo Santamaría’s Afro Blue). It also features the duo’s own free adaptation of Beethoven’s final string quartet (Op. 131), based on a study and extrapolation of the first eight bars extended into floating chordal improvisations.”
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As I type this up, guitarist Alex Roth’s London gig at IKLECTIK (with his Future Currents avant-guitar trio) is taking place. His bandmate in Blue Eyed Hawk, trumpeter-composer Laura Jurd – herself in the middle of a tour with her electric quartet Dinosaur – plays a date at the end of the week. As with the Future Currents gig, it’s part of the ten-day EFG London Jazz Festival, but this particular gig – at the Royal Festival Hall – is on a much larger scale (certainly ensemble-wise)…
“Formerly known as the Laura Jurd Quartet, a new band awakens from the jaws of extinction. They are Dinosaur and they join the BBC Concert Orchestra tonight to give you an evening of fiery sonic experimentation and abstraction.
“Trumpeter, composer, bandleader and BBC Radio 3 New Generation Artist Laura Jurd has a passion for “making things up” and today’s concert opens with her new “Work for orchestra & Dinosaur”, combining influences from both classical and jazz music.
“We also hear a new work by Norwegian Tuba player Daniel Herskedal who defies the conventions of his instrument. He pushes the boundaries both technically and sonically, creating spellbinding and mesmerising sounds. He’ll be performing with his trio (also featuring pianist Eyolf Dale and percussionist Gard Nilsen)
A couple of London experimental gigs for the coming week, briefly explored:
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The Horse Improvised Music Club presents:
Noel Taylor/Asaf Fleischmann/Ulf Mengersten + Adam Bohman Text Quartet + Antonio Cunzo/Joe Wright/David Stockard/Tony Hardie-Bick IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Tuesday 5th July 2016, 8.00 pm – information
Three small-group performances from the South Bank London improvisers’ hub; following, in part, their tradition of putting well-known improvisers together with lesser-known ones.
The opening act is a scratch quartet of rising Aberdonian jazz saxophonist Joe Wright and Carrickfergus-based percussionist David Stockard with pianist Antonio Cunzo and Chapman Stick player Tony Hardie-Bick. (While it always gives me a lift to see a Stick pop up anywhere in music, since I’ve always loved its clipped-but-singing polyphonic tones, Tony also seems to have the most interesting backstory within the quartet. From being Sham 69’s keyboard player during the late ‘80s, he’s moved from backing up other people’s punk polemics to spending most of his time as a software instrument developer, coaxing new levels of performance interaction out of touchscreens and wearable tech. As a performer, he’s been known to drag his protesting Stick flex-first across gallery floors, an art-punk flourish which I guess is a change from the cloud of warm jazzy reverence which usually surrounds the instrument.)
Veteran London acoustic-noise’n’objects performer Adam Bohman takes the middle slot with his Adam Bohman Text Quartet, completed by Adrian Northover, Sue Lynch and Hutch Demouilpied. While Adrian and Sue are usually saxophonists (working together in David Petts’ Remote Viewers and Hogcallin’) and Hutch is a trumpeter and sound designer, it looks as if everyone’s working with voice this time.
There’s not much information on this other than that it’s a text piece, but some guidelines might come from Adam’s work on “talking tapes” during the late ‘70s and early ‘80s – lo-fi audio collages which ranged from spontaneous dictaphone observations (Adam discovering and illustrating the ordinary and mundane anew, in slurred Dada-esque tones) to ludicrous cartoon vocal pieces. The ‘Music and Words’ collation of these odds-and-sodes was described as “a laugh-out-loud avant garde album” and later releases were even funnier, pushing into prank-and-sketch territories like a splicing of Bob Cobbing with a one-man Pete’n’Dud. Have a listen to When A Man (in which a trio of growling Adams parody both bozo masculinity and thunder-throat action-film trailers, like a squad of querulous Daleks bloated on bright orange corn snacks), or White Sauce Without For Those Who Don’t (Adam’s cutup account of a single Christmas, chopped across with assorted literary, musical and familial distractions).
It is, of course, thirty years on from all of this, so you might get something far more sombre. Since the Quartet are performing something called “the Robin’s Nest Revisited Vocal Quartet”, I wouldn’t bet on it..
Hominid Sounds presents:
Mark Dicker + Guncleaner + Johnny Broke + tbc New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Thursday 7th July 2016, 8:00 pm – information here and here
To celebrate the release of Mark Dicker‘s new tape ‘Frog Eggs’, London experimental label Hominid Sounds are putting on “a night of clangs and bangs.” There’s a gradually expanding bill for this, featuring various electronic noisemakers and beat-glowerers from the more unruly edge of London electronica. Mark himself (the man “responsible for the noise behind (the recently deceased)Palehorse“ is headlining, bringing “supersonic modular-synth slow jams” (for a little more on Mark and how he thinks, there’s a ‘Quietus’ interview here). So far, he’s being supported by “clanging, banging techno noise project”Guncleaner (featuring two members of secretive, elusive London heavy math-rockers Nitkowski) and by “improvised, analogue-synth acid techno” act Johnny Broke (initially a solo project by Shitwife‘s Wayne Adams, which now seems to have expanded and welcomed one half of north London noiseniks Death Pedals). More performers to be confirmed…
I’ve not got much information or workable noises for this concert. For starters, I only bounce around on the outside of this particular musical scene (like a stray static spit in the mix); It also seems clear that it’s a lineup of sound-artists in deliberate flux and change, demonstrating very different faces to their usual output; and even by noise music’s usual enclosed standards, information on this show seems to be insiders-only. So you’ll need to just attend and take a chance on what it might be like.
I did succeed, however, in pulling up a little recent Johnny Broke-ism and a Dicker track from early last year, so here they are:
Three more engaging shows around the London fringes. Two have press releases which speak for themselves, while I wrote some babble for the other one (since it’s the first time I’ve covered one of the bands in a long time, while the other band turns out to be a trio who could use some more words spent on them)…
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Crick Crack Club Presents
Fairytales for Grown-ups – The Devil’s Purse The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England
Wednesday 22nd June 2016, 7:30 pm – information
“Beguiling, tricksy, highly-strung, and suspiciously helpful – the Little People are waiting in the shadows, beneath your feet, under the tables, and even in the cracks in the walls. They’re waiting to prove just how hard it is to tell that they are there… On hot summer nights their world is a breath away and on long winter evenings they have far too much time on their hands.
“Dominic Kelly, Bridget Marsden and Leif Ottosson fuse storytelling performance and Nordic music in a wild journey into the cinema of the imagination. A lost traveller finds himself guided through the mountain mists; a farmer marries an apparently perfect wife; a drunk gambles with a purse that is forever full, and an anxious mother watches her child turn to skin and bone… Come spend some time in the company of Themselves, the Gentry Below, the Good Folk, the sylphs, the sprites, the fairies, and a labyrinth of stories.
“Dominic is a performance storyteller whose dynamic style has captivated audiences across the UK, Sweden, and around the world. He has performed in many prominent venues and festivals including The Barbican and the National Theatre in London, The Times Literature Festival, and on tour internationally from India to the Arctic Circle. Bridget and Leif form a duo whose interpretations of Nordic folk music take place in a filmic borderland of tunes and soundscapes. Leif challenges conventional ways of using the accordion and has distinguished himself on the Swedish folk scene as an instrumentalist, composer and arranger. Bridget studied folk music at Stockholm’s Kungliga Musikhögskolan: her band Stormsteg won Best Newcomer at the Swedish Folk & World Music Awards 2012.”
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Rothko + Ghost Mind IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 23rd June 2016, 8.00pm – information
At IKLECTIK, a concert of two fascinating experimental acts creating powerfully visual and immersive music.
Aiming to explore the full sonic possibilities of his instrument (and inspired by the towering ‘Seagram Murals’ in the Tate Gallery), bass guitarist Mark Beazley founded Rothko in London during 1997. The initial lineup was a triple-bass trio with Crawford Blair and Jon Meade (of on-off London math-rockers Geiger Counter), which for three years clanged, droned, whirred and rumbled around its own constantly expanding iron-grey niche.
Creating great frowning arches of dark notes, torrential thrums of noise or transcendent etched outlines in the lower ranges, Rothko insisted on being judged as pure music, batting away any enclosing accusations of being post-punk, post-Gothic, post-rock, or anything similar. Somehow they managed to achieve this aim, defying all expectations by becoming universal and making inroads into the awareness, the perception and the affections of a wide and diverse audience. They found favour amongst the kind of sternly political art-music devotees who’d immerse themselves in ‘The Wire’, amongst the brain-knitting psychedelic leanings of London math-rock enthusiasts, and amongst the surprised followers of various indie bands who’d taken a shine to them and taken the opportunity to stick them onto a live bill. After three albums (and various EPs and collaborations) they bowed out in 2001 after a successful support slot with Porcupine Tree, playing to an audience of progressive rock fans.
While the original Rothko is arguably the best-known version, Mark maintained the Rothko name and core concept for another nine years across a solo presentation, a bass duo, an wide-screen ambient septet (which swallowed up consenting fellow travellers Delicate AWOL) and a more rhythmic quartet. While the various versions of the band were always underpinned by Mark’s resonant four-string underlay – a slatey burr or baritonic voice speaking out of the deep – the bass-guitar-only rule was relaxed to allow other instruments into the space such as flute, voice, electric guitar, piano and viola (while the synths and drums of the last and longest-lived lineup even occasionally hinted at a post-Can rumble). After Rothko, Mark took his skills and explorations solo, and formed new bass-friendly projects: Low Bias (with Pere Ubu’s syntheur Gagarin), Signals (with Phil Julian and textural guitarist Chris Gowers), Tetherdown (with Anne Garner and James Murray), and Rome Pays Off (in which he reunited with Crawford Blair)
Reactivated in 2015, a revived Rothko saw Mark re-teamed with ex-Delicate AWOL bassist and later solo recordist Michael D. Donnelly (his main partner in the post-2000 lineups). Together, they revisited their previous duo work while expanding it with additional lessons learned (in technique, in sonic attitude, in being an interpreter of feeling) during the five year break. A new EP, ‘Severed Tense’ arrived in September last year; a new album ‘Discover The Lost’ is now available on pre-order.
(recent Rothko track Truths And Signs)
This particular gig at IKLECTIK, however, showcases a newer Rothko lineup of Mark plus Johny Brown (the latter better known as the frontman of long-running post-punk poetry rockers Band Of Holy Joy, with whom Mark played during the Rothko layoff). Eschewing both past and recent work, they’ll be performing a set of all-new material from a work in progress – a new album called ‘A Young Fist Wrapped Around A Cinder For A Wager’, which they’re planning to record shortly.
While I might be behind the most recent developments, listening to the recent Beazley/Donnelly material has reminded me about what drew me to Rothko in the first place – their ability to grab such fascinating visual evocations out of the kind of low frequencies which you’d think would restrict them. From dirty crumbling bass notes they sketch a grumbling, majestic London ambience of half-forgotten post-industrial structure: the kind you find while turning down sidestreets running under grimy, half-forgotten Victorian railway viaducts or hosting the grand shells of factories. At least, that’s what they seem to do from where I’m listening. Mark apparently draws significant inspiration from sojourns in quiet rural locations far from the pressure and grime of great cities. It’s generally true that what any one listener draws out of Rothko tends to be only a few facets of the band’s mysterious kaleidoscope.
With roots in the Cheltenham Improvisers Orchestra, Ghost Mind is an experimental soundscape collaboration currently consisting of trumpet player Pete Robson, percussionist Stuart Wilding, and Jon Andriessen on heavily-treated guitar, combined with a background of found sounds gathered from around the planet. They present themselves as “a four-person trio” (the fourth member being the titular ghost). Live, they’re a magical concoction, with Stuart’s percussion exploits recalling the startling, fleeting and unforgettable work that Jamie Muir brought to various Derek Bailey bands and King Crimson in the 1970s, Pete’s trumpet journeying from jazz-mute musings and trombone impressions to free-improv mouthpiece splutters, and Jon’s heavily-processed guitar creating dense architectural fabrics and noise blocks but sometimes rising up with plangent, momentary clean licks.
Working together, Ghost Mind create aural experiences which suggest both the world traveller and the documentary edit suite. Their instrumental illustrations and interspersed field recordings link temples to shopping precincts or treetops hung with birdsong, or link toyshops to ping-pong matches; while further human-driven sounds flicker briefly through the mileu via interjections of harmonica and glockenspiel, water-warbling bird whistles, drum notes to shoe-scrapes and miscellaneous tickings. The fact that it all sounds musical throughout – as compelling to children and casual attendees as to dedicated deep listeners – is another of their creative triumphs.
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Ánde Somby: The Animals Inside The Man And The Man Outside The Animals Cafe Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Friday 24th June 2016, 7.00pm – information
“The Sámi people are a transnational minority living in Sápmi, an area of land stretching across the borders of northern Scandinavia, Finland, and throughout the Kola Peninsula of north-western Russia. Yoik (also spelt joik or jojk) is the Sámi’s ancient and characteristic vocal art, with yoiks traditionally used to invoke a person, animal, place, or experience. You don’t yoik about something, you just ‘yoik it’.
“Ánde Somby yoiks animals including salmon, grouse, bear, crow and mosquito, but his signature yoik is that of the wolf. The wolf yoik is a traditional yoik that Somby has developed with dramatic elements in an expressive performance. Somby has been an active musician since 1976 and has performed for royalty, heads of state and even at the funeral of Sex Pistols manager Malcolm McLaren! His many animal yoiks are inspired by the idea of transformation in the pre-Christian Sámi religion, when the noaidi (shaman) used yoiks to transform into an animal and back into a human. Somby is also a professor of law at the University of Tromsø and is engaged in Sámi social and political issues.
“In January 2016 Somby released the album “Yoiking With The Winged Ones”, recorded outdoors in Lofoten by the renowned British sound artist artist and field recorder, Chris Watson. The recordings took place in Kvalnes, mid June 2014, in a moment while the Arctic winds were having a little rest.”