Tag Archives: music from London (England)

November 2016 – upcoming London gigs – Future Currents at IKLECTIK (15th), Rothko & Ghost Mind at Servant Jazz Quarters (17th)

14 Nov

A couple of instrumental or near-instrumental shows in London this week – intent and textural, electric and hidden, bubbling underground.

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EFG London Jazz Festival presents:
Future Currents
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Tuesday 15th November 2016, 8.00pm
information

IKLECTIK/band press release below (tweaked and interfered with, as usual):

“Future Currents is the electric guitar ensemble formed by composer/improviser Alex Roth with the aim of exploring the full range of the guitar’s sonic potential and contributing to a redefinition of the instrument’s role in twenty-first century experimental music.

Future Currents: 'Future Currents' EP

Future Currents: ‘Future Currents’ EP

“Bringing together three of the UK's most acclaimed improvising guitarists – Alex himself, Chris Montague ( of
“Motorhead meets Mingus” jazz-rock trio Troyka) and Chris Sharkey (formerly part of both trioVD and Acoustic Ladyland, currently working solo as Survival Skills and as part of the Shiver trio) -the ensemble creates new music of extremes: expansive soundscapes informed as much by composers like Morton Feldman, Frank Zappa, Olivier Messiaen and Richard D. James as by pioneering guitarists such as Fred Frith, Robert Fripp, Ben Monder, Marc Ducret and Bill Frisell.

“As its name suggests, Future Currents’ self-titled debut EP (featuring post-production by fellow guitarist Matt Calvert of Three Trapped Tigers), encapsulates a sense of existing in multiple tenses simultaneously (the “now” and a projected “then”); but ‘Future Currents’ also connotes electricity – one of the defining elements of the ensemble’s sound. Further extending this theme, the track titles reference scientists and mathematicians who have made significant contributions to our understanding in this (or a related) field.”

This concert is a launch gig for the EP, which will also include screenings of short films by Morgan Beringer, including his illuminated sine wave video for the track ‘Fourier’.


 
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On Thursday, there’s a repeat London date for the loomingly beautiful music of Rothko and the spellbindingly expansive improv trio Ghost Mind…

Trace Recordings presents:
Rothko + Ghost Mind
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Thursday 17th November 2016, 7.30pm
information

Rothko + Ghost Mind, 17th November 2016

Though anchored in every sense – musical, textural, timbral, compositional and organisational – by Mark Beazley’s strata-laying post-punk bass guitar tones, the lineup of Rothko has shifted and reshaped over the years; like a restless colony creature (or, indeed, a restless artist’s colony). Sometimes it’s just Mark, painting bleak but beautiful low-frequency soundpaintings in a hundred hues of grey and grit; sometimes it’s Mark and another bassist, or a small wall of bassists; sometimes it’s Mark plus appended art-rock or post-rock band, adding flute, guitar, violin, drumkit, glockenspiel or whatever.

Currently and confusingly, Rothko are managing to be two, but in three senses. There’s the project’s ongoing two-man lineup; then there’s the fact that there are two simultaneous and different versions of the lineup, operating in an amicable parallel. One of these is Mark plus recurring other-bass foil Michael D. Donnelly, instrumental and enmeshed; the other is Mark plus Band Of Holy Joy frontman Johnny Brown, who are releasing the first collection of their work next Monday as the album ‘A Young Fist Curled Around A Cinder For A Wager’.

It’s the Beazley/Brown lineup that’s playing at Servant Jazz Quarters, launching the record. From what I can gather, they’re a performative duo of Mark’s assertive, layered bass-scapes and Johnny’s spoken-word poetry; vivid, brutally honest evocations of childhood in a harsh, post-industrial rural community. Live, they’re augmented by the projected imagery of longtime Band of Holy Joy collaborator Inga Tillere, whose work taps into feelings of loss and dislocation, and whose photos of battered shacks and sheds (like ghosts of habitation) makes up the bones of the new album’s artwork. More is evolving at the current ‘…Young Fist…’ microsite.

(UPDATE – since I originally posted this, the album’s title track has surfaced on both Bandcamp and Soundcloud, so here it is…)


 
As for Ghost Mind, they’re a Cheltenham-based metaphysical quartet, a spin-off from long-running experimental group Cheltenham Improvisers Orchestra. Three playing members – Jon Andriessen on guitar and effects, Pete Robson on assorted trumpets and horns and Stuart Wilding on allsorts percussion – join forces with a fourth, conceptual member collated from found sounds and field recording atmospheres (gathered from around the planet, many of them from centres of human habitation) and characterised, for purposes of both performance and communion, as a kind of world consciousness.

It’s a high-faluting idea, which would drift into worthy pomposity in the wrong hands. When explored by a trio of such particular sensitivity and skill in interacting both with each other and with the tapes, it’s revelatory: simultaneously bringing the world in through the window while summoning up three other ones from within via the gateways of unfettered musical exploration, and somehow managing to blend all four into the same flowing movement.

For a fuller exploration and expansive dip into the soundworld of Ghost Mind (plus sundry bits of Rothko background, music and history), have a read of my preview for their shared gig at IKLECTIK back in June of this year. Alternatively, immerse yourself in the Ghost Mind concert recording below.

 

October 2016 – upcoming gigs – this weekend’s Wakizashi music festival in Bristol – two days of underground allsorts (22nd, 23rd)

19 Oct

Wakizashi Festival, Bristol, 22nd & 23rd October 2016There may still be tickets left for the “glut of experimental and cross-genre artists” descending on Bristol this weekend for the two-day, twenty-band Wakizashi music festival.

The shared brainchild of two Bristolian gig engines – PROBO Titans (who incubate and deliver bi-monthly rock, pop and experimental gigs) and Harry “Iceman” Furniss (restless jazz cornetter and leading fringeman within the Avon jazz underground), Wakizashi offers an exciting, intimate and intelligent spill of psychedelia, noise, post-punk, math rock, jazz strains, electronica and much more.

PROBO Titans & Harry Iceman Furniss present:
Wakizashi Festival:
– Get The Blessing + Hysterical Injury + Twin + Iyabe + Iceman Furniss Quartet + Human Bones + Charivari + Luui + Saltings (Saturday)
– Knifeworld + Edward Penfold + Evil Usses + Milon + Halftone + Drone Soul + Rafael Dornelles Trio + Uther Modes + Perverts (Sunday)
The Old Malt House, Little Ann Street, Bristol, BS2 9EB, England
Saturday 22nd & Sunday 23rd October 2016 – starts 1.00pm, Saturday
– information here and here

Harry Furniss makes the most of his own involvement by appearing with his Iceman Furniss Quartet. His flowing cornet leads punk-art jazz moves over dogged springy bass rhythms and shuddering No Wave electric-curtain guitar (care of Danny Le Guilcher from Dynamite Pussy Club, whose other career as a printmaker seems to have literally rubbed off on his playing).


 
Further jazz directions are provided by Saturday’s headliners Get The Blessing (founded sixteen years ago over a mutual appreciation of Ornette Coleman,) provide rumbling, doomy trip-hop-tinged jazz-rock. They boast a rhythm section of art-rock/trip-hop/drum & bass go-to-men Clive Deamer and Jim Barr (who between them have kept the pulse going for Portishead, Radiohead, Hawkwind, Peter Gabriel and Roni Size) plus saxophonist Jake McMurchie (of Michelson Morley) and trumpeter Pete Judge (Eyebrow and Three Cane Whale), with another Portisheader, Adrian Utley, sometimes guesting on guitar. Their music brings along some of the flash and flair of jazz pioneers, but also the sense of being trapped in a small room with a lumbering, powerful inscrutable beast – with an equal chance of being either impressed or squashed.


 
Post-punk bass/drums/voice duo Hysterical Injury have a toe in the improv scene and a touch of folk. Their recent press tagging as some kind of “better version of Savages” belies the hovering thoughtfulness and the gentle dignity in their music beyond the softly roiling industrial bass textures. Singing bassist Annie Gardiner has a way with the writing and delivery of a surreal, conceptually suggestive lyric which baffles and entrances.


 
There’s something similarly compelling about the voice of Sophie Dawes, who sings for Iyabe further down the bill. As it was with missing-in-action Delicate AWOL singer Caroline Ross, Annie and Sophie’s voices and words are clear, weightless and elusive – keeping you listening while you try to figure out the messages and hidden narratives floating past in slow streams of isolated moment and fleeting detail.

Regarding Iyabe – considering that they’re a five-piece, they sound remarkably skeletal. Soft pings, drum clicks, bass shadows. At their most expansive, they’re a pencil-sketch ghost of Seefeel’s dub-rock dreaminess: other tracks are a hypnotic rain-drip of slowly growing consciousness. Recent moves towards alliances with remixers, further fleshing out the band’s sound, may point the way forward: but, as with Hysterical Injury, there’s already plenty in place.


 
Two more of Saturday’s bands provide further dispatches from rock’s dissolving, dreamier side. The mystery brainchild of Christelle Atenstaedt, Twin’s drawn-out one-woman Gothpop offers a wealth of detail in its hypnotic overlaid folk drones and its reverberant, tangled-roots guitar chug, which seems to reference both Cranes and Sandy Denny. With electric cello adding occasional extra texture to a droning, crashing armoury of blood-stained guitar fuzz, Bath-based post-rockers Charivari have a sombre lysergic depth; plus a repertoire of zurna-like Mediterranean melodies to add to their gloaming-murmurs, their evenstar twinkles and their post-Mogwai cascades of noise.



 
Begun as a solo project by Andrew Cooke (inspired by ancient ghost stories and the concept of the English eerie), Saltings has evolved into a three-piece drone collective. Andrew (plus string players Liz Muir and Caitlin Callahan) gradually unveil an occult soundtrack full of marine and maritime references, maybe as much inspired by Andrew’s origins in the port of Dublin as by the current trio’s Bristol harbouring. Sampler-moulded sounds (noise-grates, hull-knocks, whistles, water-throbs and motors) are enfolded with double bass and cello parts – whispered, minimal elegies for the undetermined; or baleful shadings; or queasy, discombobulated, John Adams-styled loops both shaken and slurred.



 
The sole hip hop representative on the bill, Luui, rolls out complex, constantly unfolding raps over seductively silky, time-flexed instrumental samples: slurred, narcotic Rhodes piano doodles, bits of glowing solo jazz guitar smeared into something blunted and sinister. Arced out in short, enveloping doses – most of his tracks are over and done in a couple of minutes – it’s both intimate and claustrophobic: a growing autumnal darkness, a slowly moiling confusion.


 
As Luui harmonises with himself (in subtle dischords), his flow folds over and over onto itself like piling lava, journeying from memories of childhood cheeriness into an increasing broody adult disaffection, shot with regrets, spiked with quick vicious jabs of obscenities and flashes of temper. As with the best, most unsettling confessional rap, you get a crooked window onto Luui’s unresolved world, see him wrestle with his conscience and his instincts and, though you see a little too much of him for comfort, for a while you’re matching breath with him too.


 
Initially known for upbeat Lou Reed drawls larded with guitar fuzz, Human Bones now seem to be moving towards a languorous cardboard-box take on Americana. Multi-instrumental looper Steve Strong, meanwhile, has set himself up as a one-man trip hop/math rock band, in which much of the emphasis seeming to be on the drum rhythm. See below for his Godspeedian live take on a grim, violent found story of road anarchy, in which his hopeful, orderly and dreamy guitar introduction gives way (under the growing brutality of the tale on tape) to the controlled heat of a drum beat through which he seems to be trying to slough off the increasing horror.




 

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It’s an odd festival indeed in which Knifeworld (Sunday’s headliners) are virtually the straightest act on the bill. That this is the case says plenty about Wakizashi, but it also says something about where Knifeworld are at the moment. Currently cruising on self-created, sunny psychedelic uplands, the London octet are enjoying a period of relative bliss and (for now) a more familial creative approach, as Kavus Torabi starts to share more of the writing with the crew of expert instrumental heads who make up his band. But if Knifeworld are the closest that the festival comes to pop, it’s still a zestfully spiked pop – brazen and crenellated, filled with monkey panache, their tunes still running exuberantly out of the ears with loopy spirals of melody and unexpected double-backs. If Henry Cow had woken up one morning and decided to steal a march on The Flaming Lips, they couldn’t have done much better than this.


 
More lysergic hints string through the day via the sleepy, lo-fi acidic pop of Edward Penfold, whose songs and instrumentals halo the everyday with a softly vibrating warmth. Sometimes they hint at a might-have-been Syd Barrett; one who ducked the madness and fled away to a healing West Coast hideaway, sending missives back to Cambridge in a rested, sprawling hand; faint blue ink on pale blue paper. On the other side of the coin are The Evil Usses – a deconstructive, fiercely humorous No Wave jazz-rock quartet, who share some of Knifeworld’s brassy exuberance but take it over the escarpment and down into a stomping, seven-league-booted Beefheart country.


As with Saturday, two fringe full-jazz groups will be taking the stage. Led by saxophonist Dino Christodoulou, Milon are a mostly acoustic quartet, edging into something more speaker-warping via Neil Smith’s electric guitar and Pasquale Votino’s judiciously over-amplified double bass: Eager Legs sounds like Charles Mingus being pursued down a stuck groove by a bounding ball of Sharrock/McLaughlin electric guitar grit, with Dino keeping one hand on the wheel by some riffling, ruffling Coltrane-ish sax lines. While the Rafael Dornelles Trio might have Brazilian roots, don’t expect samba or even Tropicália: electric guitar, bass and drums are aiming for somewhere far more heatedly lyrical and direct. Tunes like Slave’s Escape and Indigenous Mass grab you straight from the title and power off in muscular, quick-sprung directions, with a fierce and formidable vigour (plus a buccaneering hint of the knife).



 
Saltings’ double bass player Caitlin Callahan returns as one-quarter of part-improvising, part-compositional, female quartet Halftone, alongside two similarly-inclined Bristolians (violinist Yvonna Magda, flautist Tina Hitchens) and a London ally (cellist Hannah Marshall). Formed earlier this year, the foursome play an unsettling, absently beautiful post-classical music evoking wind in the trees, unresolved conversations and difficulties around corners.


 
Drone Soul boast about their “sheer bleak nihilism” and stake a claim to the abrasive post-punk heritage of The Pop Group. At least part of that’s true – the post-punk bit, anyway – but I’d bat away the nihilistic posturings. This music might be on the dark and cavernous side, but it’s illuminated with a vivid energy which belies the band’s collective grizzliness. If they’re bringing you news of falling buildings or collapsing people, they’re doing it with an exuberant dark snarl. Think of Iggy Pop in-yer-face, think Suicide’s assault-by-sine-wave; and also give a little credit to a lost Bristol band, Lupine Howl, whose gonzo millenial motorik finds a fresh echo here.


 
Rhodri Karim – the Welsh-Arabian heart of Uther Modes – used to be a mournful pop scientist, making his name with sepulchural computer-pop songs which bobbed gently at the juncture of philosophy, physics and bedsit soul. More recently he’s swapped this for a new kind of songcraft, strapping up a bass guitar and pulling in other musicians. Now he reels out shifting part-sombre part-jazzy mutters, winding slate-grey but sensual vocals around echoing guitar curlicues; like a fresh breed of post-rock which refuses to stagnate and instead flexes its muscles and goes haring around the park.


 
While he can sometimes be found paddling around in the warm, shallow pools of downtempo electronica, Traces will shake the drips off his feet once he’s warmed up enough. His studio recordings are fine, but it’s his live improvisations that show him at full strength. They’re heart-warmingly intimate and cheery stretches of pick-you-up synthery – like an enthusiastic half-drunken 2am conversation between Max Tundra and Guy Sigsworth, following which they track down Jean-Michel Jarre, drag him away from his pyramids and lasers and force him back into a kitchen full of analogue keyboards. From tabletop synth noodles to Pong blip and cheekily squirting techno, a cunning wonkiness prevails without diminishing the music’s straightforward ambition. Traces sometimes labels it “devotional”, and I’m not entirely sure that he’s joking.


 
Finally, there’s the fall-apart electronic gagpunk of Perverts, with their squalling songs about angry muppets and guilty onanists; their one-finger clickstab of synth drums; their beady-eyed sampler-shreddings of lachrymose film music. I guess that they’re there to remind musicians and punters alike not to take it all too seriously. It’s just that they’re staring me out a little too intently. On record, at least, Perverts deliver their spoofs and squibs with a crazed and chilly eye: a brattier Residents with a crappier laptop; a young digital Punch waiting to knock everything down.


 

August 2016 – upcoming British tours – Kiran Leonard & Secret Admirer (22nd-27th), joined variously by Early Ghost, Sweet Williams, Felka and DUDS.

13 Aug

Wildly experimental Oldham songwriter and multi-instrumental pop wizard Kiran Leonard (who comes across on record as a latterday Todd Rundgren, but who shows more of his affinity with loose-limbed avant-garde noise rock when playing live) is out on another English mini-tour towards the end of the month.


As before, Kiran’s taking out his freeform power-pop quartet of himself, Dave Rowe, Dan Bridgwood Hill and Andrew Cheetham, but he also seems to be expanding his touring circus of Manchester music, as burbled below…

“Boy am I excited for this… If that wasn’t enough to make me grin like a fool from ear to ear, we’ll be joined by Manchester’s finest Nick Ainsworth, almost known as Secret Admirer! accompanied by some sort of incomprehensible supergroup (“the stunning Cheeseman” logging two sets a night behind the kit, Edwin Stevens aka Irma Vep on bass I think, Aldous RH on keys, the legendary Jon Collin on guitar!? what!?! and that’s not all ! Sweet Williams w/ us in Brighton ! Early Ghost w/ us in LDN! DUDS w/ us in Manchester! Mint jamz wall to wall woooowwwwww. Alright? So come and see!”

Full tour dates:

  • The Louisiana, Wapping Road, Bathurst Terrace, Bristol, BS1 6UA, England, Monday 22nd August 2016, 7.30pm (with Secret Admirer) – information
  • Patterns, 10 Marine Parade, Brighton, BN2 1TL, England, Tuesday 23rd August 2016, 7.30pm (with Secret Admirer + Sweet Williams) – information
  • The 100 Club, 100 Oxford Street, Soho, London, W1D 1LL, England, Wednesday 24th August 2016, 7.30pm (with Secret Admirer + Early Ghost) – information
  • The Deaf Institute, 135 Grosvenor Street, Manchester, M1 7HE, England, Friday 25th August 2016, 7.00pm (with Secret Admirer + DUDS) – information
  • The Trades Club, Holme Street, Hebden Bridge, HX7 8EE, England, Sunday 27th August 2016, 8.00pm (with Secret Admirer + Felka) – information

I’ve dredged up some of the usual support band aural evidence below –
the faux-West-Coast post-punk surfings of DUDS (complete with bobbing reminders of Syd Barrett and Link Wray), a little of Sweet Williams’ deep-blues/dream pop hybrid (from their upcoming new album in September), a delightful twangy chunk of Early Ghost’s grand and well-made pop, and a shot of the bewildered/bewildering world of Secret Admirer.





 

Possibly due to late scheduling, Kiran hasn’t mentioned Felka, the striking young Keighley-based folk duo who are joining in at the Hebden Bridge show. Here are a couple of videos of Felka’s Rose and Tanisha at work, showing off their sharp-witted folk storytelling with its dips into country, blues, and even Elizabethan catches.



 

August 2016 – upcoming gigs – three-date British tour of saz balladry by Aşıq Nargile (plus choral fizz, oddrock and pedal steel strangeness from Tut Vu Vu, Muldoon’s Picnic and Heather Leigh – 2nd-4th); Hackney Colliery Band & Bring Your Own Brass kick off Borderless in London (2nd)

30 Jul

In between appearances at the WOMAD and Supernormal festivals, Georgian saz player and singer Aşıq Nargile is embarking on a three-date British microtour in August, calling in at points in Scotland, Yorkshire and London.

Aşıq Nargile

In case you’re looking at the picture and thinking (lazily) “another girl folk singer”, it’s worth noting that “Aşıq” is an honorific, not a forename. It denotes a particular type of traditional Georgian bard, multilingual and mobile, who travels through the country’s diverse regions as vessels for music, news, concepts and culture both old and new. (A little like a Caucasian version of a West African griot, although perhaps without the satirical upsetter elements).

Originally from the Georgian capital of Tbilisi, Nargile Mehtiyeva has carried the cosmopolitan traditions of her home town with her, but has chosen to base herself in the southern Borcali region. For the moment, she’s the only female aşıq at work there. A trilingual singer and player of the saz lute since her mid-teens, she’s now both a teacher of the traditional forms and (via the Sayat Nova initiative) an ambassador for Georgian culture. Her concerts involve interlocking musicality and literacy – a “vocal recital of epic folk poetry (in) Azerbaijani, Georgian, and Russian… by turns ecstatic and deeply expressive… interspersed with bursts of virtuosic, highly ornamented saz.” in the shape of “moving laments or upbeat folk dances.” For those who don’t speak any of those languages, the shows are still musically sensual experiences – propulsive and silvery cascades of wiry stringwork, accompanied by a vocal like an elastic lassoo and the stately assurance of someone backed up by a couple of thousand years of heritage.


 
Tour dates are as follows:

  • The Old Hairdressers, 23 Renfield Lane, Glasgow G2 6PH, Scotland, Tuesday 2nd August 2016, 7.30pm (supported by Tut Vu Vu + Muldoon’s Picnic) – information
  • Delius Arts & Cultural Centre, 29 Great Horton Road, Bradford, BD7 1AA, England, Wednesday 3rd August 2016…. (+ support act t.b.c.) – information here and here
  • The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England, Thursday 4th August 2016, 7.30pm (with Heather Leigh) – information

While the Bradford gig is solo, the Glasgow show sees Nargile playing as part of a splendidly adventurous and diverse triple bill alongside two very different Glaswegian groups who have next to nothing in common bar their musicality.

Despite their cosy and informal appearance, a name that comes from drunken Irish misadventure, a repertoire reaching from “the sublime to the ridiculous” and their emphasis on fun and friendship in singing, acapella group Muldoon’s Picnic unites a number of very dedicated and talented Glasgow-based singer and scholars. Its six or seven regular members (not least in-house arranger Katy L. Cooper) have already made their mark in a brace of other vocal ensembles – Trembling Bells spin-off Crying Lion, Glasgow Madrigirls, The Four Hoarse Men, Voicebeat, Voicemale, Sang Scule, and “barbershop-prog” group Honey & The Herbs – plus more church, chapel, cathedral, workplace and community choirs than you could shake a stave at. As for that repertoire, it embraces gospel, shanties, Scots ballads, English carols, Afro-American spirituals, sacred harp songs, Victorian parlour music and music hall songs and assorted pieces cast up and circulated by the world music movement. Where other choral groups dabble, this one delves. The songs are sung not just in English but in other tongues of the British Isles (Scots Gaelic, Cornish, Manx and Welsh) and further afield: Breton, southern African Sotho, Ugandan Luganda and eastern European languages (Bulgarian, Croatian and Georgian – in the latter’s polyphonic music, they touch base with Nargile.)


 

The third act on the Glasgow bill, Tut Vu Vu, play their dark-browed and looming electrophonic instrumentals in a cloud of disinformation. When someone compares them to Anaïs Nin and David Lynch and they claim that it’s all a misunderstanding; someone else mentions musique concrète and they respond with askance, amused looks. When given the chances to set things straight, they deliver misleading mission statements filled with science fiction technogabble about phased plasma and hydrogen sulphide. What’s demonstrably true is that they’re an alliance of Glasgow art-punks who’ve already been around a decade’s cycle of experimental groups – Iban Perez in The Sparkling Shadazz, Rags & Feathers and A Rhythmtic) Raydale Dower, Matthew Black and Jamie Bolland in rattling theatricalists Uncle John & Whitelock.

Expect something of an oblique and inscrutable wall between the quartet’s current work and their previous brainy trash-lungings. A band apparently in search of a new dialect (while drawing on assorted shredded utterances from Krautrock, Beefheart, ‘90s rave or ‘80s arsequake) a typical TVV track can be a bizarre collage of muffled falsetto wails and feedback drones, of layered tribal toms and analogue-synth bass-farts, of approaching-horns guitar shapes; all of which is cunningly and immediately sculpted for maximum enigmatic impact, rather than being tossed out of the speakers for someone else to sweep up.




 

In London, Nargile is playing a double header gig with Heather Leigh. One of the most unconventional pedal steel guitarists in contemporary music, Heather belies her traditional country music heritage (a West Virginia birth, a descent from coal miners) and instead reinvents both her instrument and her voice as a conduit for strange and ghostly improvisations. Aided by cruel amplifier tones and strange, skittering, instinctive hand techniques, her compositions emerge like spectral possessions of strings, pedals, larynx and language. Often touching on themes of trauma, abuse and hidden, subjective experience, Heather’s eerie and disturbing work has already led her to collaborations with Peter Brötzmann, Jandek, Thurston Moore and plenty of others since her emergence in the 1990s.




 
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August also sees the start of Borderless, a delightfully rambling live music series at Battersea Arts Centre running roughly parallel to the Olympic Games in Rio. Run in collaboration with GOAT Music (set up last year by former Roundhouse music bosses David Gaydon and Lou Birkett) it aim to showcase “the UK’s best homegrown talent and unique artists from around the globe, in the intimate and beautiful setting of the Council Chamber… Borderless will provide an alternative cross-cultural celebration. Samba to tropical beats, dance to Afrobeat legends, skank to reggae and let the new generation of jazz take you to another place. Break down the borders and shuffle your feet to global rhythms to hear the biggest tunes from all over the planet. We’ll also provide a platform for the freshest artists and exciting talent currently taking the UK by storm. Hear the artists sound tracking the underground scene, dominating the airwaves and paving the way for the alternative UK music scene.”

Glad to hear it. Bring it on. What do you have?

GOAT Music and Battersea Arts Centre present:
Borderless: Hackney Colliery Band + Bring Your Own Brass
Battersea Arts Centre, Lavender Hill, Battersea, London, SW11 5TN, England
Tuesday 2nd August 2016, 8.00pm
information

Hearing about Hackney Colliery Band initially caught me between hackles and chuckles. For a moment, I thought it was about taking the piss out of a great and still-living industrial British art form while cynically attempting to replace it. After all, when there are still genuine colliery bands maintaining the tradition across old mining heartlands from Tyneside to Derbyshire, Shropshire to Leicestershire and the Rhondda Valley (and dotted across the Yorkshire pitscape from Grimethorpe to Dinnington, Frickley to Queensbury) why would you want to substitute them with a slick London parody? On the other hand, my sense of the absurd soon kicked in – since Hackney’s been sprouting all kinds of cartoonish artisan features for the past decade (from craft beer to boutique muffins and shoes), why not an ersatz coal mine?

As it happens, HCB have got little to do with any of this. The name’s a little dab of post-modern British showbiz and the band (excellent, by the way) don’t stick to the grand dignity and mournfulness of colliery music, being more of an omnivorous brass beast immersed in and rejigging a variety of horn-party traditions from jazz, r&b, funk and others, including New Orleans tunes from both fun and funerals. Much the same can be said of the support act, Bring Your Own Brass – a band who, as “up-and-coming brass hip-hop ripsnorters”, have been known to parp out a Rakim cover or two. If this makes them sounds like a novelty act, they aren’t. Sound and vision reveal them to be well-scrubbed, well-studied white disciples of a wide span of styles, clambering over Afrobeat, rap, funk and marching-band ideas with head-bopping panache.

Recently, both bands seem to have cornered the market in boutique festivals and showbiz event (between them they’ve got Olympic Games and Brit/Mercury award appearances under their belts, as well as shows at Ally Pally, with slots at Wilderness, Stow and Meatopia to come later in August for BYOB and a hefty European tour for HCB). HCB’s previous set at the MOBO awards suggests that they can impress at a formal roots level as well, unless it was a case of contacts trumping authenticity. Just as long as bands like these aren’t crowding out bands like Kokoroko; although BYOB’s teamup with Bristolian rapper and slam poet Solomon O.B (see below) suggests that, as far as fellow musicians are concerned, there aren’t any practical or philosophical problems.



 

July 2016 – a pair of one-day English festivals on the 16th (EppyFest 5 in Stroud, The Whole World Window in Preston)

13 Jul

This Saturday sees a couple of interesting pocket festivals taking place in the west and north-west of England – there’s still a chance for last-minute tickets or walk-ups for each of them.

The fifth in the series of EppyFests is happening this Saturday in Stroud, Gloucestershire. As with the previous four, it’s the brainchild of Stroud-based psychologist and music enthusiast Ian Fairholm and is a spinoff of his well-respected Epileptic Gibbon music podcast, whose remit rambles enthusiastically across “prog rock, art rock, post rock, prog metal, jazz rock, folk rock, math rock, downtempo, chill-out, ambient electronica, IDM, chamber pop, folktronica, psychedelia , neo-classical , film and TV soundtracks and experimental/avant garde music”.

EppyFest is an attempt at translating the podcast’s flavour into live music and live socializing. A well-run, self-starting pocket occasion (complete with its own T-shirts and integral dinner options) its previous events have featured ferocious British post-prog (Thumpermonkey, The Fierce & The Dead, Trojan Horse), latter prog/jazz-rock/jam acts (Sanguine Hum, Schnauzer, Henry Fool, Unto Us, Flutatious and Andy Pickford) and (in the case of Stackridge and The Korgis), a 70s prog outfit and a band of Britpop precursors sharing a last hurrah in the same body. Also in the mix has been loop guitar (Matt Stevens), classical/world chamber-fusion (Firefly Burning) and folk performers with extra ingredients stretching from neo-Celticana to chalkhill psychedelia, European electronica or Balkan jazz (Sheelanagig, I Am Your Autopilot, Tinker’s Cuss, Arch Garrison). As you might expect from a thoughtful curator married to an accomplished female musician, Eppyfest has also featured a healthy proportion of women players including bandleaders and solo artists (such as Becky Rose, Candythief and She Makes War).

Assuming that you’re not already committed to attending the Felix M-B gig down the road on the same day, EppyFest 5 looks set to carry on the tradition in fine form. (I’m jealous. I wouldn’t mind running something like that myself. It’s time to start thinking about empire, or benevolent despotry…)

The Epileptic Gibbon Podcast presents:
‘EppyFest 5’: William D. Drake + Judy Dyble & Her Band of Perfect Strangers + Marvyn B. Naylor + Darkroom (with Elif Yalvac) + Tom Slatter + Sirkis/Bialas International Quartet
Lansdown Hall, Lansdown, Stroud, GL5 1BB, England
Saturday 16th July 2016 , 4.00pm to 11.00pm
information & tickets

Eppyfest 5, 2016

Over the years, I’ve said plenty about this year’s EppyFest headliner William D. Drake over the years, and will probably say more. Woody-throated singer and former Cardiac; the organic keyboard wizard who turns television sets into organs; the man you might find if you went looking for the place where baroque pop meets Punch-and-Judy professor. Bill’s songs suggest a parallel English music: one in which antique pop songs on crackling wax cylinders mingle seamless with both Henry Purcell and Frank Zappa.

In his mid-fifties, and with the release of his fifth album ‘Revere Reach’, Bill’s reached a crucial point in his career, in which the jolly avuncular eccentricities of his earlier work have finally given way to the blossoming kernel of beauty within his compositions. He’s probably far too rounded a person and songwriter to entirely give into it, though. Expect the full range of glorious pastoralism and bouncy humour from a full chamber pop band including members of Stars In Battledress and North Sea Radio Orchestra.

 

I’ve also said plenty about Darkroom , the textural electro-morphic partnership of sometime No-Man/Samuel Smiles/Henry Fool guitarist Michael Bearpark and loop/synth/woodwind/patch-man Andrew Ostler. Over two decades Darkroom have delivered a massively underrated body of work straddling gigantic cosmic soundscapes like deliquescing Hubble images, intricate cerebral dance rhythms, broodingly beautiful guitar tones and (recently) cryptic bass clarinet and flute strands, touching upon influences as diverse as OMD, Autechre, Robert Fripp, Neil Young, Delia Derbyshire, Can and Bennie Maupin.

For this concert their polyglot electronica is augmented by a special guest, Turkish electronic guitarist Hazal Elif Yalvaç an Istanbul-based composer, musician and linguist. We’ll have to see whether Elif’s work (much of it glitching, grumbling guitartronic abstractions) brings out Darkroom’s more abstract instincts; or whether Os and Michael’s knack for direct expressiveness brings out that proggier aspect which Elif’s threatening to reveal in her forthcoming Light Curve project.


Show opener Tom Slatter also shows up in ‘Misfit City’ quite often. He’s a Victorian town-crier with a guitar and a slew of fantastical tales about monsters of air, land and sea, strange goings on in laboratories, haunted gentlemen and master criminals loose on the railways. On record he’s a multi-instrumental steampunk proggie, building himself instrumental Rube Goldberg machines (and occasionally collaborating with one). Live, he’s mostly unplugged and solo, letting his charm make up for the shortfall in instrumentation. One day he will build himself a bicycle-powered, bat-winged portable orchestrion out of old tuba piping and traction engine spares, to allow him to merge both situations. It will probably go off course and fly him somewhere horrible.

One of the prime strengths of jazz players is that they can come from anywhere in the world, meet each other for the first time and immediately speak a common improvising language of immediate flexibility. The four musicians who make up the Sirkis/Bialas International QuartetAsaf Sirkis (drums, Israeli, Londoner), Sylwia Bialas (voice, Polish, currently a Londoner but only recently a Würzburg resident), Kevin Glasgow (bass guitar, a Scottish Londoner via Ireland, but Invernessian rather than actual Glaswegian, replacing an Englishman who originally reached the band via Australia, Scotland and the United States) and Frank Harrison (keyboards, English, surprising lack of other complications) – make more of their scattered nature than most.

With all of that in mind, you’d expect a riotous mix of cultures, making hay out of clashes. What you actually get is aquamarine almost-acoustic jazz, cupped and propelled by Asaf’s winds-of-the-forest percussion subtleties, sung in Polish or vocalese, sheathed in softness and in smoothly-flowing instrumental gestures. The lightness of touch and the Northern hemisphere reserve hearken towards both Pacific Northwestern new age and ECM atmospherics; the light-as-a-feather scatting, twirling Rhodes piano and lissom six-string electric bass suggests a hushed Kurpie version of Flora Purim’s time with Return to Forever.

While the pure, piping soprano tones of co-headliner Judy Dyble might distract you from her full story, they do tie her firmly to the 1960s folk revival. It’s a true tie, as well – teenage friendships with Ashley Hutchings and Richard Thompson led her to spend a year as the singer for the original lineup of Fairport Convention. This auspicious start was followed by a brief, obscure stint in King Crimson prelude band Giles, Giles & Fripp, a more celebrated year as half of much-touted psychedelic folk duo Trader Horne; and finally a handful of gigs in the company of Canterbury characters Lol Coxhill, Steve Miller and Phil Miller.

A gentle, often reticent character, Judy’s musicality wasn’t enough to keep her comfortably engaged with the bruising demands of the music business; and in 1973, after six years of flitting nervously in and out of the spotlight, she retired from music into a quiet life of family and library work while still barely into her twenties. Perhaps it wasn’t as mysterious or dramatic a withdrawal as that of peers such as Anne Briggs or Vashti Bunyan, but it was enough to reduce her reputation to a shadow for all except those who dug up her handful of recordings in search of half-forgotten treasure and found something that didn’t deserve to be overshadowed.

Bar a couple of flitting, fitful Fairport reengagements at Cropredy in the early ‘80s, little was heard from Judy for three decades until – widowed and empty-nested – she was inveigled back into recording by Astralasia’s Mike Swordfish in 2002. Since then she’s pursued a quiet but exploratory revival of her musicality, working in fields fromfolk-rock to trancetronica and experimental art pop, and with collaborators including Dodson & Fogg, Tim Bowness, Sand Snowman, Joxfield Projex, Fuxa and Thee Faction. Her regular home, however, is with her Perfect Strangers ensemble (mostly drawn from co-writer Alistair Murphy’s Cromerzone project) with whom she’ll be performing at EppyFest. Throughout all of this, Judy’s signature tone has remained intact – the folk sweetness, the subliminal hint at hesitancy and tremble which betrays the nerviness and unsurety which has both interrupted her career and given her work its humanity and honesty. As she heads towards her seventies, both tone and temperament have become allied to a longer perspective of value, loss and change – something which, strengthened and deepened by time, she’s grown into and fleshed out with natural experience.

Completing the bill is another, even less well-known hidden treasure. Winchester singer-songwriter Marvyn B. Naylor has been delivering music for twelve underappreciated years now. His mixture of intricate, allusive psychedelic pop songs and pulsating 12-string guitar folk instrumentals tip nods to and shake hands with inspirations including the early David Bowie, Edward Elgar, the Beatles, Joyce Kilmer, Frank Sinatra, Francisco Tarrega and Guy de Maupassant: but he’s a whole meal in himself.


 

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There’s just one former Cardiac on the bill at EppyFest. Technically speaking – unless it’s true that Kavus Torabi is DJ-ing – there are no former Cardiacs at The Whole World Window, which takes place on the same day as EppyFest but five counties up (in Lancashire). In spite of this the bill, spread across two stages, is suffused with Cardiacs enthusiasm. Unsurprising, since it’s the latest in a series of benefits for the band’s stroke-felled leader Tim Smith.

Greg Braysford presents:
‘The Whole World Window – A Benefit for Tim Smith’: Britney + All Hail Hyena + 7Shades + The Scaramanga Six + Sweet Deals On Surgery + Sterbus + Trojan Horse + Adam Shaw + The Jackpot Golden Boys + Sean Keefe + Ahsa + others tbc (or fibbed about)
The New Continental, South Meadow Lane, Preston PR1 8JP, England
Saturday 16th July 2016, 2.00pm
– information here – tickets here and here

The Whole World Window, 2016Bellowing Scots Britney are as garish and hardcore as a fairground teddy-grabber covered in backstreet tattoos. They’re given to one-and-a-half-minute bursts of earsplitting rock numbers plastered with crumpled ice-cream-van melodies. The latter trait, something of a Cardiacs stock-in-trade, tinkles through several of the other bands on the bill – be they outright disciples 7Shades (who lovingly pillage the ornate Cardiacs style wholesale) or pyjama-clad Burley power-pop trio All Hail Hyena (who sound like Bo Diddley rocking an birthday-cake castle).


Something more grandiose is offered by Huddersfield rock bullies The Scaramanga Six. They’ve devoted twenty-one years and enormous musical flair to hammering out poperatic tunes and bursts of garage gonzo, providing tragicomic insight into the flawed and unsettled ethics of everyday men (all carried out with assured baroque brutality and gallows humour). Self-styled “noisy prog rock bastards” Trojan Horse might not be returning to EppyFest this year, but they are bringing their omnivorous Salfordian rock cocktail to Preston: a catalogue of work which plunges into swaggering ‘70’s funk, belting avant-garage moments, broad-spectrum Beatles-pop and audacious psychogeographic experiments. Power-poppers Sweet Deals On Surgery lean towards the punkier side, bucketing towards the end of a song as if it were a race, but distractedly bursting into different versions halfway. For God’s sake, keep them off the Haribos…



All the way from Italy, Sterbus (Smith/Fripp/Zappa obsessive and noblest-Roman-of-them-all) will be coming to either yomp through some of his triple-jointed proggy power pop or to play leafy psychedelic summer-lounge acoustica (which may or may not include some of his takes on Cardiacs, Spratleys Japs and other limbs of Smithiana). If he doesn’t hold up the acoustic end, rest assured that Ivan Campo frontman Adam Shaw will, as he brings along his light-touch, thoughtful folk pop for us to unravel.


The rest of the bill’s made up of bands which predominantly reflect the humour (if not necessarily the horse-laughs and art-punk prankery) of the Cardiacs world. Silly-goodtime pop culture obsessives The Jackpot Golden Boys throw assorted metal, pop and funk chops at things from TV theme tunes to geek topics and hope that a few of them stay embedded. Militant hat wearer, slide guitarist, Strumstick player, comedy yarner and genre-mash novelist Sean Keefe – brings along his own version of honky-tonk Americana.



 
The (known) lineup is completed by acapella singer Asha Hewitt (seen below performing with Gummo Cleyre and Alex Dickinson as Yorkshire Latin pop band Solana). Asha might be the last kind of musician you’d expect to see getting up at a Smith benefit gig; but her presence is proof positive that the happy skewed tastes of the Cardiacs audience let in all kinds of light. Once they’ve stopped cheerfully bawling for their mashed-up chord sequences, that is…


 

June 2016 – upcoming gigs – jazz and jazzlike –Jungle By Night at Pan Piper and the Forge (Paris/London, 24th/25th); Arcadio’s electro-salsa (London, 29th) and Barry Green Sextet and OTree Trio (London, 30th); and The Spitz returns – just the once – to Spitalfields (London, 24th)

21 Jun

Longer-term readers might remember that I’ve got a soft spot for the old Spitz jazz events near Liverpool Street, so it was particularly nice to hear about the first of these five shows below.

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'Return to Spitalfields' - photo by Gideon Mendel

‘Return to Spitalfields’ – photo by Gideon Mendel

The Spitz presents:
Return to Spitalfields (all-dayer)
Bishops Square, Spitalfields, London, E1 6EG, England
Friday 24th June 2016, 10.00am
information

“We voyage to our roots in Spitalfields Market for a day of music and wellbeing in the heart of East London. You will find us under the canopy in Bishops Square, with a rough schedule as follows:

Our stalls will stock unique clothing and books, featuring items from various independent designers including Marvin Browne. Quite aptly, BBC Radio 3 broadcaster Kevin Le Gendre, who wrote the article on the last night of the Spitz, will be compering the event.

We still require volunteers to help us during this event – if you are interested, please get in touch!”

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Jungle By Night
Pan Piper, 2-4 impasse Lamier, Paris 75011, France
24 June 2016, 7.30pm
information
The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England
Saturday 25th June 2016, 8.00pm
information

From the press release for the London show:

Afro-Palace Live Sessions is proud to present the official UK album release party of Jungle By Night‘s fourth album. ‘The Traveller’. Jungle By Night consists of nine young swinging musicians from Amsterdam with an eclectic musical upbringing, taste, backgrounds and unstoppable eagerness to produce a unique blend of musical styles. Jungle by Night has turned many dance floors into boiler rooms: from Istanbul to Tokyo and from Paris to the North Sea Jazz Festival via Shambala and Glastonbury. No one can withstand their Ethiobreaks, Middle Eastern psych and syncopated Afro-funk.

“Jungle By Night does not set any musical boundaries: the possibilities are infinite. All influences come down to the musical palette of each individual member. They shine a radiating light that can be felt when the band is on stage, and this glow finds its way from their record into your heart like a source of energy that never seems to end. They have been support act for their musical heroes such as Mulatu Astatke, John Legend & the Roots, Ebo Taylor, Fools Gold and Orchestre Poly Rhytmo.”



 
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Arcadio, 29th June 2016

Arcadio
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Wednesday 29th June 2016, 8.00pm
– information here (and here, for concession tickets)

“Electro-salsa meets free improvisation: led by composer-improviser Andrew Hall, Arcadio have been performing since February and bring together London’s finest improvisers and percussionists to create a nomadic exploration of rhythm and movement. The result is a hypnotic music which blends the fierce energy of salsa and cumbia, the delicate unpredictability of improvisation and the cut of modern synths.

“The members of Arcadio are frequent collaborators and performers across the many music scenes of London. They have performed together with the Balkan/funk big band Mimika, and individual members play in bands of free improvisation (White Flower), pop (Charlie Puth), and even Iranian metal (Ali Azimi). Together, inspired by bandleader Andy Hall’s trips to South America, they perform free-wheeling sets of Latin-influenced groove, building spontaneous layers of acoustic and electronic sound. They get deep into the rhythms, and emerge somewhere on the other side of an hour.

“With Andy leading from the keyboard, Arcadio regulars include JJ Stillwell (bass), John Macnaughton (alto saxophone), Rob Milne (tenor saxophone), Seb Silas (baritone saxophone), Tom Atherton (percussion), Paul Love (percussion), Ben Zucker (percussion) and Phil Maguire (electronics).”


 
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Jazz Nursery, 30th June 2016

Jazz Nursery presents:
Barry Green Sextet + OTree Trio
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 30th June 2016, 7.30pm
information

Jazz Nursery present another double bill at their recent new home at IKLECTIK.

Flexible post-bop pianist Barry Green leads a sextet featuring Miguel Gorodi (trumpet), Sam Braysher (alto saxophone), Tom Barford (tenor saxophone), Flo Moore (bass) and Will Glaser (drums). They specialize in “spontaneous, melodic” jazz.

Recording for a possible live album this evening, tenor saxophonist Josephine Davies leads OTree, “a brand new trio featuring the remarkable talents of drummer and percussionist Paul Clarvis (frequently heard with Stan Sulzman, Orquestra Mahatma) and bassist Dave Whitford (regular side-man for Christine Tobin and Bobby Wellins). The chord-less line-up features open and playful compositions with plenty of space for improvisation, as well as some choice classics by the tenor greats John Coltrane and Joe Henderson.”
 

June 2016 – upcoming London gigs – Nordic musical stories, bass guitar filigrees, brass-laced soundscapes and howling animal men – ‘The Devil’s Purse’ stories at the Forge (22nd); Rothko and Ghost Mind at IKLECTIK (23rd); Ánde Somby at Café Oto (24th)

19 Jun

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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IKLECTIK presents:
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.


 
* * * * * * * *

Tigmus presents:
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.”
 

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