Tag Archives: music from Norway

March 2016 – upcoming gigs – heavy Norway via London By Norse (with Enslaved, Wardruna, Vulture Industries, Helheim and a special ambient Nordic-folk event at the Forge)

13 Mar

A couple of posts ago, I mentioned that I’d got a couple of upcoming and nationalistically-inclined gigs to consider. The first of these, a Cornish music celebration, was an easygoing patriot’s-cream-tea of an afternoon, opting to put fun ahead of political confrontation. The second of the events – the Norwegian three-day London music festival By Norse – raises tougher questions almost from the start. Buying into the idea of “harder music’s position as Norway`s most important cultural export” isn’t a problem, as long as your idea of culture embraces extreme varieties of heavy metal. (For plenty of us, it does.) Outside of the Scandinavian peninsula, however, it’s a little more challenging to be asked to buy into the concept of old Nordic traditions of pure native paganism, standing firm against the corruption of an imported and state-imposed Christianity.

The two main artists behind By Norse – both of whom do buy into all of the above – are Ivar Bjørnson (of extreme metallers Enslaved) and Einar Selvik (of dark-folk project Wardruna, who blend their post-heavy-metal ethos with the use of ancient Scandinavian historical instruments – including deer-hide frame drums, tail-hair lyres, and goat and lur horns – as well as sourcing sound from trees, rocks, water and pitch torches). Most of Ivar and Einar’s shared beliefs and preoccupations have come together in ‘Skuggsjá’, the conceptual song-suite which they’ve written together and which they’re performing as part of By Norse this week with a united Wardruna/Enslaved ensemble. As they themselves describe it, the work is “commissioned to commemorate – and castigate – the 200th anniversary of Norway’s constitution, which took place last year, the suite is a furious journey into the dark reaches of Norwegian history. A counterweight to the enshrining of Christianity as the national religion and a harsh light on the atrocities committed in its name, its white-knuckle journey through innumerable musical moods is also a reminder of the rich pagan culture that was lost as a result…. ‘Skuggsjá’ translates into ‘mirror’ or ‘reflection’ in the Norse language, and the piece not only contextualizes harder music’s role in Norwegian democracy, but also joins threads from the country’s ancient musical history…”

There’ll be more on ‘Skuggsjá’ a little further down, but the following Einar-and-Ivar event at Camden’s Forge is the By Norse aspect which first drew my own attention and interest (and which, as I post this, is down to the last few tickets):

London By Norse/Metal Hammer present:
Einar Selvik workshop (‘The Thoughts and Tools Behind Wardruna’) + Ivar Bjørnson’s BardSpec
The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England
Friday 18th March 2016, 6.00pm
more information

Einar Selvik/BardSpec Workshop, 18th March 2016“At this Forge event, Einar Selvik will speak about his approach to Norse historical music and the extensive creative concept behind Wardruna’s ongoing ‘Runaljod’ trilogy as well as his approach and study of the runes and other Norse esoteric arts. He will demonstrate a selection of the oldest Nordic instruments, play fully acoustic Warduna music and there will be opportunities for questions from the audience.

“Ivar Bjørnson will also be performing as his immersive electro-ambient project The BardSpec, which features the set-up of Ivar, his computer, a few strings, plus a pedal or two (and sometimes a trapeze artist). The direction is dark, surprisingly rhythmic and hypnotic. Thematically, in both sound and concept, The BardSpec is about minimising – cutting away, subtracting and meditating upon the simplest essence of ‘things’; the single points, bones and salt particles, the basic elements and building blocks that make up the whole.”

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There’s some historical truth – not to mention dignity – in the neo-pagan position and in some of these neo-Viking rumblings. In times when more and more people are querying the long-standing cultural reflexes they live under – and becoming sceptical about the alleged benevolence of world-spanning systems – this is a local, specifically Norwegian example of pursuing a less industrialised identity. In Britain, music followers who’ve kept a long-term faith with the transformative cultural odyssey of Julian Cope (from beat pop to shamanism) are used to him rattling off tracts of anti-Christian Odinist rhetoric, exploring pagan ideas in song, and using them to raise questions about what British culture might be. In Norway, however, these matters are closer to their original home and bite a little deeper.

If you want to treat these ideas with proper respect, you need to unhook them from some of the more shadowy, ominous attitudes associated with Norwegian black metal during the 1990s, when (in spates of ferocious misanthropy and rejection of contemporary society) some of its adherents travelled from politically-motivated Christian church burnings to anti-outlander racism, death-cult derangements, hate-prejudice and even murders. Under certain conditions, this culture – with its core of masculine romanticism – can succumb to the erosive lapping of a vicious and half-disguised nihilism. This isn’t something unique to Norway or even to black metal culture. It’s something held in common with plenty of dissatisfied movements with cores of action-seeking males who overturn common laws in favour of a different, structured and self-empowering ethos regardless of a negative impact on others. Something which it also holds in common with belligerent nationalism.

As you’ve guessed by now, I’m sceptical… but I’m also inclined to give Einar and Ivar the benefit of the doubt. Despite their suggestions that unfavourable reviews or practical frustrations of their projects are the machinations of “Christian monks” (which might just be deadpan heavy-metal humour), their work seems to be rooted in an earnest, honourable and artistically committed place. Their dedication to their music (and their interest in how it evolves and how it draws on an interesting past, rather than continuously warming over a sterile present) is clear and evident, and they don’t appear to be motivated by smouldering surliness. Certainly there’s warrior rhetoric, and some battle lines declared; but all of it has been subsumed into music, engagement and open debate rather than hooded, ugly social violence. They might be interested in unravelling some aspects of the world as we know it, but constructively: not as a wanton teardown.

You could also, of course, argue that Einar and Ivar’s philosophical stances and their co-opting of history are mostly about building a brand: that the paganism and protest primarily constitute an art project and a commercial push. Approximately two-thirds of the music in the By Norse gigs features Ivar, and most of that is with Enslaved; suggesting in turn that perhaps (fanbase notwithstanding) this scene, its impetus and its artistic adherents are smaller in number than might be desired, especially when presenting a festival. Perhaps that’s true as well: but all art movements start relatively small, at which point enthusiasm and dedication matters, and integrity is measured by the consistency of the work.

With that in mind, I’m going to stop musing and just post details on the other By Norse concert dates – the ‘Skuggsjá’ performance and the three-night celebration of Enslaved’s career, from black metal beginnings to their current psych-eclectic form.

London By Norse/Metal Hammer present:

  • Enslaved 25 Night 1 – ‘…Of Frost And Fire’: Enslaved + Vulture Industries, The Dome, 2A Dartmouth Park Hill, Tufnell Park, London, N19 5QQ, England, Thursday 17th March 2016, 8.30pmmore information
  • Enslaved 25 Night 2 – ‘From The Runic Depths’: Enslaved + Helheim, The Underworld, 174 Camden High Street, Camden Town, London, NW1 0NE, England, Friday 18th March 2016, 8.30pmmore information
  • Enslaved 25 Night 3 – ‘Spinning Wheel Ritual’ show – Skuggsjá + Enslaved + Wardruna + Kristian “Gaahl” Espedal (art exhibition), The Coronet, 28 New Kent Road, Elephant & Castle, London, SE1 6TJ, England, Saturday 19th March 2016, 6.00pmmore information

Enslaved 25, night 1, 17th March 2016Regarding each night of Enslaved music, Ivar Bjørnson says “’…Of Frost And Fire’ represents the quintessence of Enslaved roots. From the legendary ‘Hordanes Land’ with its soundtrack-esque musical long players, via the vast geomythological canvases painted on ‘Vikingligr Veldi’; the revolutionary ‘Frost’ that lifted us out of the strict underground; and finally the odd pair – ‘Eld’, which pointed forward to a progressive future, and ‘Blodhemn’, where we had a last blowout of black metal tempos and inspiration. For anyone curious about where such an eclectic band like Enslaved came from, this will be a first-hand guided tour through the primeval landscapes that shaped us.

Enslaved 25, night 2, 18th March 2016“‘From The Runic Depths’ will explain the unlikely yet logical transition from then until now. From the nightmarish flirt with death and black on ‘Mardraum – Beyond The Within’; the spaced-out balancing act that is ‘Monumension’; the milestone and futuristic beacon ‘Below The Lights’; ‘Isa’, the second break for the band; and finally the refined prog-vs-extreme monument ‘Ruun’.

“‘Spinning Wheel Ritual’ is where the band wields together the dark roots with the psychedelic fabrics of the newer days – bringing to the surface the true potential of our songwriting and musical abilities. The focus is the same as it has always been – to bring to life our personal vision of whatever ‘good and meaningful music’ means to us, to create a vessel for atmosphere, deep association and simple enjoyment of music.”

Support on Night 1 comes from introspective Bergen progressive black metal band Vulture Industries, who describe their work as “dark, heavy rock vistas bent and twisted into living entities embodying the width and breadth of human emotion.” Support on the second date is by Helheim whose Viking black metal draws heavily on Norse mythology. On the third night, Wardruna will be performing a set of their own, making their second-ever appearance in the UK following an acclaimed Southbank Centre gig back in autumn 2013.

Enslaved 25, night 3, 19th March 2016The last part of the third-night show will be a performance of ‘Skuggsjá’ featuring all members of both Enslaved and Wardruna, plus visuals by reknowned extreme metal artist Costin Chioreanu (who’s previously collaborated with At The Gates, Mayhem, Darkthrone, Arcturus among others). This will be only the third performance of the piece to date, following its September 2014 premiere at the Eidsivablot festival at Eidsvoll (where the constitution was originally written) and its subsequent performance at the Roadburn Festival earlier this year.

It will also be a release celebration for the release of the ‘Skuggsjá’ album on Season Of Mist Records, which came out the previous week (on 11th March).

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One more thing. As you’ve read, another aspect of that final show will be an exhibition of artwork by Kristian “Gaahl” Espedal, the former Gorgoroth/current God Seed frontman who’s also a Wardruna studio member. Historically, Gaahl has been one of the more controversial figures in Scandinavian extreme metal: when at home, he’s even transcended the public anonymity of the metal scene to become an occasional tabloid bogeyman. It’s certainly true that he’s come on an interesting, turbulent and confrontational journey.

For part of the picture, you’re advised to check out some of his more unpleasant mid-‘90s pronouncements on race (here and here) – you don’t have to be a Christian, or even particularly staid and self-righteous, to find this stuff alarming. Set against this is the much more easygoing way in which Gaahl revealed his own homosexuality a decade later. While it would be a little crass to suggest that Gaahl was Scandi-metal’s Malcolm X, there’s certainly a suggestion that, like Malcolm, he’s learning as he goes: making a journey from rage into something more sophisticated: staying true to his history and mistakes while not letting them constrict him, or peg him to blunt anger and inhumanity.

It seems to be that the truth of all of this – the conflux of paganism and nationalism, the engagement of anger and art – is likely to be a tricky knot to unwind, and one which I’ll leave there for now. Perhaps these gigs are worth attending for the thrilling roar alone, with the complexities to be worked out later, Go and discover, if you’re interested, but I’m sure that Einar and Ivar – and Gaahl too – would want you to go in with your eyes and ears fully open.

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More March gig news is on the way…
 

More London gigs, last week of October into November (26th to 1st) – gamelan/dance fusion with My Tricksy Spirit/Wax Wings/Segara Madu; Nordic pop at Ja Ja Ja (Kill J/Loveless/Maasai); anarchistwood’s Samhain/NYE party (with Rude Mechanicals, Jane Ruby and more); intercontinental psych & noise with Baba Yaga (Bitchin’ Bajas/Tomaga/Demian Castellanos, Acid Mothers Temple/Zeni Geva); and more LUME jazz

24 Oct

Pausing only to remind you that the last week of October includes two of the Pierre Bensusan acoustic gigs at the Half Moon in Putney (which I mentioned in the previous post), here are the last of my selected London gigs for the month, plus one for the start of November. As ever, it’s just a small sampling of what’s on in town, but it’s what’s caught my attention.

Bitchin’ Bajas + Tomaga + Demian Castellanos (Baba Yaga’s Hut & Hands In The Dark @ Cafe Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, UK, Monday 26th October 2015, 8.00pm) – £9.00

Baba Yaga's Hut, 26th October 2015I’ve heard Chicago trio Bitchin’ Bajas described as “psychedelic easy listening” – presumably by someone who insists on being shouted at in conversation. Despite that swaggering faux-dumb name (the one that makes them sound as if they play manic Tejano to be drowned out by fist-fighting oil workers) they’re more ‘Bitches Brew’ than cathouse. They spin out protracted rhapsodic instrumentals drawing on a variety of introspective, mindful influences and parallels, looking back to the hallowed bucolic trance of Harmonia and Cluster, the ecstatic modular pulses of Terry Riley, the breezy but depthless Pacific cool of West Coast jazz, and perhaps the dissolving pastoralism of Talk Talk. Though they’re multi-instrumentalists, they wear their skills lightly, working wind instruments and mallet percussion into their mists of keyboard and workhorse organ and their landscape of lively rolling, rilling glissandi and drone chords. Sometimes overlapping into ambient electronica, they’re never quite dilute enough to fit into it: even at their most vaporous and transparent, they’re the smoke that never quite fades, the tang that holds your attention. As the clip below shows, they’re perhaps a little too diffuse to work at an open air festival: embraced by the Oto space, they should do just fine.

Synth/sounds looper Tom Relleen and drummer Valentina Magaletti keep in step – just about – as Tomaga, an impressionistic improvising duo drawing on drone music, free jazz and modular synth work hanging off the edge of rock. Simple oscillating melodies percolate loosely over a syncopated jazz lope with hanging coffee-can taps and rattles and shortwave radio whines; sometimes a synth organ hangs by itself, burbling, while the percussion sways and alarms like an approaching freight train. It’s music of preoccupation, with brief flashes of bright sunlight through the pressing focus.

Best known as the figure behind London psychedelic/kosmische projects The Orichalc Phase and The Oscillation, Cornish-born loop guitarist Demian Castellanos steps out under his own name for his most personal work so far. Like Fred Frith or G.P. Hall, Demian’s had a history of playing guitar with implements – paper, cutlery or whatever else came to hand – and feeding the sounds through volume swells and sundry pedals: like Hall, he’s also possessed of a nature-inspired, painterly view of music. For this current work, he’s going back to his formative years of woodshedding as a cottage-bound teenager at the isolated southernmost tip of the British coast; creating rich, portentous and melodious sound layers drawing on early-‘90s shoegaze, on raga and drone, and on echoing, guttering British, Indian, American and German psychedelic influences.


More gig info is here, and tickets are available here.

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As the opening concert of the South East Asian Festival 2015, there’s a performance at the Forge by My Tricksy Spirit, a new musical project which fuses the shimmering sounds of gendér wayang – Balinese gamelan instruments – with dub, electronic, ambient, trip-hop, and psychedelic rock. The Forge’s writeup is below (tweaked a little by me).

My Tricksy Spirit @ The Forge, 28th October 2015

My Tricksy Spirit (The Forge , 3-7 Delancey Street, Camden Town, London, NW1 7NL, UK, Monday 26th October 2015, ) – £10.00 

Performed on the bronze-and-bamboo “gendér” metallophones which gives the music its name – and featuring intricate, interlocking melodies played with mallets and damped with the wrists – gendér wayang is a subset of Balinese gamelan music. Involving between two and four players (a small number for a gamelan ensemble) it is used in the island’s Hindu rituals including life-cycle ceremonies, temple festivals, purification rituals and cremations (as well as in the sacred wayang kulit shadow-puppet dramas, based on ancient Indian epics).

The My Tricksy Spirit project was started by Nick Gray, who teaches south-east Asian music at the School of Oriental and African Studies at University of London, and who runs the gendér group that forms the basis of the band. Using Ableton Live, several synths and effects, guitar, bass and drums, the music is played through a mixing desk – much like dub – to create an intense psychedelic journey through sound.

Tonight’s band features Nick Gray (violin and vocal), Paula Friar and Rachel Wilcox (gendérs) and four other musicians: Tomoya Forster of Pumarosa (bass guitar, effects, mixing desk), Julian Vickary of General Skank (synthesizer and effects), Charlie Cawood of Knifeworld (bass guitar, sitar, guitar) and Rob Shipster of Buttress Root Drumming (electronics, drums), who also produced My Tricksy Spirit’s upcoming album.

Support comes from electronica/world-house act Wax Wings and from another of Nick Gray’s SOAS gendér wayang ensembles, Segara Madu (who mostly play repertoire pieces from the Balinese village of Sukawati, as taught by the late I Wayan Loceng). More information and gig tickets are here, with the Facebook event page here.

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Arguably, there’s not been enough pop or R&B in here recently. Let’s set that straight.

Ja Ja Ja, 29th October 2015

Kill J + Loveless + Maasai (Ja Ja Ja @ The Lexington, 96-98 Pentonville Road, Islington, London, N1 9JB, UK, Thursday 29th October 2015,) – £5.00/£7.00

Straight from the publicity:

Founded in 2009, Ja Ja Ja is the definitive Nordic website and club night celebrating the very best new music emerging from Sweden, Finland, Iceland, Norway and Denmark. Each month at London’s The Lexington, Ja Ja Ja hand-picks the finest emerging talent from the Nordic countries, making sure that only the best music is filtered through to your ears.

KIll J (a.k.a. Julie Aagaard) has been turning heads the past two years with her signature blend of dark experimental pop. A devastating one-two-punch with debut singles Phoenix and Bullet set the blogosphere buzzing, also catching the keen eye of ‘The Guardian’, ‘Indie ‘, ‘Stereogum’, ‘Pigeons and Planes’ and landing airplay on BBC Radio 1 and BBC Radio 6music. Deliciously diverse, the sugary sweet Cold Stone revealed a more innocent and naive side of KIll J, whilst Propaganda burst forth as “a bombastic, fangs-bared snarl at sexism” (‘Stereogum’). There’s more to come too, with an EP promised this fall.

Prominent identities in their own right, Eirik Tillerli and Filip Kollsete teamed up late 2013 to form Norwegian beat crooners Loveless. Following back-to-back remixes, debut single How To Love You was instantly added to national radio. Clocking in excess of 500K streams last year, their music has picked up attention from blogs, magazines and DJs all over the world; also landing them on some of the biggest festivals in Norway, not to mention their own club night in Oslo, Klubb Loveless (where guests include Artful/Artful Dodger and NVOY). New single They Don’t Know was recently hailed Record of the Week on BBC Radio 1xtra, serving the first taste of upcoming project ‘Relationships’.

Maasai is a Stockholm-based duo consisting of Dominique Teymouri and Zackarias Ekelund. Together they create soulful sound landscapes with a cinematic touch and lyrical depths. The pair broke on to the scene with debut single Memories, pulling inspiration from varied and abstract constructs – places, people, surroundings and everywhere in between. Follow-up tracks The Healer and Forgive Me have since held a captive audience; also hinting to the fearless, fragile and all-the-while dreamy atmosphere inhabited by MAASAI’s upcoming debut album – set for release later this year.

Resident DJs Project Fresh Socks are along for the ride in October; having also spun up a storm at Ja Ja Ja’s first club night of the season last week at The Lexington with CHINAH (Denmark), The Fjords (Norway) and Axel Flovent (Iceland).

Up to date information for this particular Ja Ja Ja night is here and tickets are here.

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Flapping-in-the-wind time… here’s what looks like a very interesting gig, but the colourful cloud of information around it keeps changing shape. Here we go..

Subterfuge presents Samhain Special/Labiatory New Year’s Eve Party with Rude Mechanicals + NiMBUL + Bad Suburban Nightmare + We Are A Communist + Jane Ruby + Milky Sugar (Subterfuge @ The Others, 6-8 Manor Road, Stoke Newington, London, N16 5SA, UK, Friday 30th October 2015, 7.00pm) – £3.00 to £6.00 and upwards

Samhain Subterfuge, 30th October 2015

Run by arch, arty but heartful prank-rockers anarchistwood (whose own ingredients span post-punk cantatas, skeletal lo-fi garage pop, silly voices and quickfire sampler collages), this is the last Subterfuge club night of the year (hence the split between a Halloween/Samhain night and a New Year’s Eve shindig) and promises a fabulous musical sprawl – a right old grab-bag of this and that, in the best way. anarchistwood themselves are playing, though at the moment it’s unclear whether or not they’re teaming up with dysfunctional Chatham polymath and Stuckist art brute Sexton Ming (as the anti-supergroup called Nimbul), or playing as themselves. I guess that whichever way it goes you could expect a roughly equal mix of distracted behaviour, political protest, self-absorbed memory jigsaws and détournements with echoes of Beefheart, Crass, The Raincoats and the high point of a Pride parade. But that’s all it is – a guess.

Compared to Earth and Neil Young at their most dogged and noisy, Dan Hrekow – a.k.a Bad Suburban Nightmare – plays “impossibly slow and melancholic” grunge-drone instrumentals on a minimal setup of distorted guitar and pedals. In violent contrast, Rude Mechanicals play party music for paranoid schizophrenics, fronted by the peroxide-beehive rantings of Miss Roberts (who looks like a doubled-back-drag-queen version of Patsy Stone, and speak-sings like a collision between Dagmar Krause and Holly Penfield), Their songs are rattling hallucinatory-jam sandwiches about sinister neighbours, stand-up arguments and alien mice on the Tube, mixing jazz, punk and cabaret together in equal measures and played with both needle-sharp precision and full glamour oomph.

Of the rest, We Are A Communist provide “trashy guitar-laden sci-fi surf music, with stylophones to boot – a must for Man or Astroman? fans”; onetime Naked Ruby frontwoman (and current Deptford Beach Babes member) Jane Ruby turns up to sing her solo mixture of torch, garage rock’n’roll, flamenco and blues songs with twists of Spanish & Arabic flavours; and Milky Sugar performs “punk go go”… but that’s where I run out of information.

I’ve no actual idea about the order in which everyone’s going on, as the various info and flyers seem to contradict each other: either that or the whole event is morphing too fast for me to keep up with it. Presumably they’re working to some functional anarchist or I Ching method to establish it, or you just turn up and see what happens. Perhaps that’s what they’re doing. Either/and/or DJ Sugarlump SS, DJ KG Lumphead and MC Sadogasm provide some extra noises, punkvertery & Kodek provide visuals, and they’ve got a proactive but generous door price policy – three quid if you’re unwaged, four quid if you’re a student with an NUS card, and six quid if you’re neither but have shown enough commitment to arrive before 9pm. After that, they charge more. More information is here; keep track of developments as best you can on Facebook here; and there’s the usual array of tasters below.

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On the Sunday, it’s time for the monthly LUME gig: more jazz in Dalston…

LUME logo

Tom Taylor/Rob Luft and Cath Roberts/Seth Bennett/Andrew Lisle (LUME @ The Vortex Jazz Club, 11 Gillett Square, Dalston, London, N16 8JH, UK, Sunday 1st November 2015, 7.30pm) – £10.00

For our November Vortex gig, we welcome a duo and a trio to the stage, for a night of improvised music.

Tonight sees the first meeting of a new improvising trio featuring LUME’s co-director Cath Roberts (baritone saxophone), Seth Bennett (double bass) and Andrew Lisle (drums). Andrew is known for being one of the drummers in heavyweight Leeds anarcho-sextet Shatner’s Bassoon, and as a prolific improviser working with a multitude of musicians on the free scene (Colin Webster, Alex Ward, Daniel Thompson, Tom Wheatley and more). Seth leads his own ensembles Nut Club and En Bas Quartet, as well as being involved in many other projects across musical styles including Fragments Trio, Metamorphic and The Horse Loom. He and Cath play together as a duo, as well as in Word of Moth and Cath’s quintet Sloth Racket. In addition to this and her LUME work, Cath also leads Quadraceratops (a septet) and has a duo with guitarist Anton Hunter, Ripsaw Catfish.

Seth Bennett, Cath Roberts, Andrew Lisle

The new duo featuring Tom Taylor and Rob Luft is a recent collaboration borne out of a mutual love of improvised music. The music draws attention to the many common features of the two instruments, and mixes high-intensity improvisation with more tender and reflective textures.

A former award-winning classical piano graduate at the Royal Northern College of Music in Manchester, Tom is now a rising British jazz star, having transferred to London in 2009 to pursue a Masters in jazz piano at Trinity College of Music (studying with Simon Purcell, Liam Noble and Nick Weldon). Since then he’s played the main jazz festivals in Manchester and London and Kongsberg Jazz Festival in Norway. He’s a member of the Jack Davies Big Band and of Southbound (both of whom have recorded for V&V Records) and also plays in the collaborative electro-acoustic trio duck-rabbit with saxophonist Joe Wright and double bass player James Opstad. Rob began his career as a jazz guitarist in Sevenoaks, where he took lessons from Mike Outram and turned professional at 15. He has been a mainstay of the National Youth Jazz Orchestra for many years, having been its guitarist since 2010 and having played in the associated NYJO Nonet. He currently co-leads the band Organism and plays with various groups on the London jazz circuit; including positions with Nigel Hitchcock, Gareth Lockrane and the Callum Au Big Band.

Rob Luft, Tom Taylor

More information here, and tickets here.

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Finally (and also on the Sunday) there’s a double bill of Japanese heaviness at Corsica Studios.

Acid Mothers Temple & The Melting Paraiso UFO + Zeni Geva (Baba Yaga’s Hut @ Corsica Studios, 4-5 Elephant Road, London, SE17 1LB, UK, Sunday 1st November 2015, 7.30pm) – £14.00

Zeni Geva (or Zeni Gaiva, depending on how you translate the phonetics – conceptually, it translates as “money violence”) have been around since 1987. Led by guitarist/singer/noise-chopper KK Null, and currently backed up solely by drummer Tatsuya Yoshida to make a quake-strength power duo, they have initial links to legendary noise-Dadaists The Boredoms (and even the venue-destroying pre-Boredoms chaos act Hanatarash, which featured Mitsuru Tabata, until relatively recently Zeni Geva’s second guitarist). You’d expect them to have an abrasive side, and you’d be right. Their default musical setting is one of boiling, barking aggression, with tight and furious knots of threshing machine guitar; their records have savage, sadistic titles like ‘Total Castration’ and ‘Desire For Agony’; their progressive hardcore approach takes assorted forms hostage (aside from the obvious, there’s math and noise rock, psychedelia and death metal in the tangle) and makes them jump like puppets.

And yet, in spite of this, there’s a world of difference between Zeni Geva and your average long-lived heavy-thunderfuck band. It’s mostly in the way they use calm – little, perfectly-formed lacunae of space in between the blurs and blows, bringing their bursts of frenzy into focus (Steve Albini is both fan and sometime collaborator, and you can see why). It’s a terrible cliché to compare Japanese musicians to martial artists, but in this case there’s some substance to it. The brutality is sheer craft rather than an end in itself, every movement seems considered and purely executed; and live, in between each flurry of songblows and each ugly song name, they seem enormously humble, friendly and pleased to be there.

Acid Mothers Temple have taken twenty years to set themselves up as a revered psychedelic institution, but it seems as if they’ve been doing it for much longer, such is leader Makoto Kawabata’s talent for back-engineering himself into the culture. Part of this is down to the way he and his cohorts have mastered the ingredients, including the tearing metallic squalls, mellow blues tracery and starry smears of Hendrixian guitar, the whispering lapping Gong synths, the Pink Floyd mantra riffs and Zappa-esque air sculpture solos, and the zoned-out post-James Brown grooves (with the addition of Japanese chanting and noise-squalls). Much of the rest of it is to do with AMT’s open, overlapping community approach. Their musical impetus has utilised multiple faces and names, from their own simpler reconfigurations (the heavier trippier playing of Acid Mothers Temple & the Cosmic Inferno, the Sabbath-y sludge of Acid Mothers Temple & Space Paranoid) to the friendly absorption or co-opting of contemporaries (Acid Mothers Temple SWR, with Ruins, and Acid Mothers Afrirampo) and of heroes from the original psychedelic generation (the team-up with Daevid Allen and Gilli Smyth as Acid Mothers Gong, and with Mani Neumeier as Acid Mothers Guru Guru). If old heroes are unavailable or disinclined to pool resources, AMT have simply shrugged and continued anyway (such as when they took up hurdy-gurdys and acid folk and briefly became Acid Mothers Temple & the Incredible Strange Band).

If this makes Kawabata and co sound like slick chancers (and even if AMT album titles like ‘Starless and Bible Black Sabbath’ do suggest both avid, nerdy fandom and piss-taking on a Julian Cope level), I’m selling them short. Acid Mothers Temple might be a brand as much as an ethos, but that hasn‘t stopped their project and record-releasing ethics being continually dedicated to possibilities and continuance,rather than simply banking a following (or colonizing someone else’s). Their communal origins may have been two decades behind those of their inspiration but were hardly any less sincere; and their exploration of less obvious musical areas en route (including opera, Terry Riley minimalism, Nepalese folk and southern European Occitan culture) have led them into interesting places and opened further doors to anyone following them.

First and foremost, anyone who’s seen AMT play will vouch to their talent of both mastering their sources and creating music which lives, thrills and involves in the moment. This week’s London concert features the more space-rock inclined Acid Mothers Temple & the Melting Paraiso U.F.O. lineup – probably the easiest entry point to an increasingly rewarding musical world. See below for a full-length concert clip of the band in action.

More gig info is here, and tickets are available here.

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More November gig previews shortly…

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Not from concentrate.

Xposed Club

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Same as it ever was

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A new semi-regular gig in London

We need no swords

Static and debris. Skronk and wail. This is music?

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Celebrating the Work of Women within Sonic Art: an expanding archive promoting equality in the sonic field

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honest words on honest music

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an absurdist review blog

Pop Lifer

Waiting for the gift of sound and vision

Good Music Speaks

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Archived Music Press

Scans from the Melody Maker and N.M.E. circa 1987-1996

The Weirdest Band in the World

A lovingly curated compendium of the world's weirdest music

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Where You Are Always Wrong

a closer listen

A home for instrumental and experimental music.

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FormerConformer

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musicmusingsandsuch

The title says it all, I guess!

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