Tag Archives: music from San Francisco (California – USA)

November 2016 – upcoming gigs – electronics and harps and balloons – Morton Subotnick + Kevin Drumm & Jason Lescalleet + Áine O’Dwyer in London (1st); Judy Dunaway’s inflatable European tour (1st to 30th)

28 Oct

Here’s some close-to-the-event news about an imminent avant-garde, fringing-on-noise event in Hackney; plus news on one of the oddest upcoming tours that I’ve ever had the pleasure of previewing in here.

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Morton Subotnick + Kevin Drumm & Jason Lescalleet + Áine O'Dwyer at St Johns Hackney, 1st November 2016

St John Sessions present:
Morton Subotnick + Kevin Drumm & Jason Lescalleet + Áine O’Dwyer
St John at Hackney Church, Lower Clapton Road, Clapton, London, E5 0PD, England
Tuesday 1st November 2016, 7.00pm
– information here and here

Full description scrounged from various press releases:

“Innovators and sonic architects come together for a St John Sessions performance.

Morton Subotnick is a true electronic pioneer who has worked extensively with interactive electronics and multi-media performance (often in collaboration with his wife, vocal virtuoso Joan La Barbara). With Pauline Oliveros and Ramon Sender, Subotnick co-founded the San Francisco Tape Center, an influential cultural organisation and electronic music studio. The Centre was instrumental in the invention and development of the Buchla synthesizer and was, in turn, a fundamental influence on all electronic music that followed.

“Subotnick is an innovator in works involving instruments and other media, including interactive computer music systems. Most of his music calls for a computer part, or live electronic processing; his oeuvre utilizes many of the important technological breakthroughs in the history of the genre. Tonight, Subotnick performs a solo set on the Buchla synthesizer – undulating, moving and almost psychedelic.


 
“Preceding this performance, we are pleased to present the debut UK performance from Kevin Drumm and Jason Lescalleet. Emerging from Chicago’s improvised music scene during the 1990s, Kevin became one of the world’s pre-eminent prepared guitar players, later expanding his work to include electroacoustic compositions and live electronic music made with laptop computers and analog modular synthesizers. His early recordings contain mostly sparse, quiet sounds; recent works have been more loud and dense. For twenty years, Jason has been making electro-acoustic sound work, using all manner of source material to engage listeners in both site and narrative by providing a rich and physical sense of place. Two formidable musicians and performers in their own right, their collaborative releases on Erstwhile Records create a soundworld that is at turns beautiful and terrifying, comprising ambient recordings and brooding drone.


 
“Irish musician Áine O’Dwyer creates chance- and improvisation-based compositions, and has performed widely as a solo artist on harp, organ and various objects, and also regularly performs with United Bible Studies, Charlemagne Palestine and Mark Fry. Her album of improvised church organ music, ‘Music for Church Cleaners’ (released on MIE last year), received critical acclaim. Here, she brings her idiosyncratic approach to composition to sacred space once more.”


 
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You might not have thought that a person could still bring what’s essentially a party trick into culture houses and make a career of it; but if so, Judy Dunaway is proving you wrong…

Judy Dunaway, 2016

“Judy Dunaway performs avant-garde compositions and free improvisations on amplified latex balloons played as musical instruments. She is known internationally as a ‘virtuoso of the balloon.’ She plays a variety of shapes and sizes of balloon instruments, each with its own special qualities, pushing the extremes of both pitch range and artistic limits. Her large rubbed ‘tenor’ balloon gives Jimi Hendrix’s guitar a run for the money and her giant balloon pulsates into the depths of the subaudio. Her abstract music and sounds are difficult to equate with other forms, depending upon the perception of the individual like the images seen in fire or clouds.”

Below are a couple of videos – one of which is an overview of Judy’s techniques and approaches as regards her ballooning skills (including audience interaction), and one in which she performs uninterrupted.



 
I’ll admit that (as with most friction-based instrumentation which leans over the borderline into readymade art) listening to this kind of material can end up as a test of endurance in which your mileage and tolerance, plus the outcome, may vary. As far as I know, no-one’s yet tried to tune and tour a scraped blackboard. Yet ultimately, Judy’s commitment to this kind of music making is fascinating. No one-trick pony, she also worked as a guitar-toting singer-songwriter on other occasions up until 1995; but she’s entirely serious about ballooning – publishing papers on her approach, making points about microtonality, and collaborating with string quartets on serious avant-garde compositions. Having mastered a variety of dextrous noise-making techniques which drive the amplifed latex into flexible, cunningly-controlled roars and squeals, she invites us to reconsider a balloon (quite legitimately) as an “orb-shaped string”.

On the other hand, she’s also integrated vibrating dildos into her balloonwork (in one case via a piece called Flying Fuck), so there’s clearly a downtown New York sense of humour at work as well.

Full dates for the European Solo Balloons Tour below:

 

Upcoming gigs at the end of July and onwards – Thumpermonkey/The Earls Of Mars/Ham Legion in London; Holly Penfield’s Judy Garland show hits the Hippodrome; The Luck Of Eden Hall tour the UK

25 Jul

Next week sees the first gig (for some time) for one of the most interesting of current British rock bands; some high-gloss cabaret; and the start of a psychedelic pop roadshow travelling around the UK. Read on…

Thumpermonkey @ The Islington, 30th July 2015

Thumpermonkey + The Earls Of Mars + Ham Legion (Guided Missile Special People Club, The Islington, 1 Tolpuddle Street, N1 0XT, London, UK, Thursday 30th July, 8.00pm) – £7.00/£6.00

Thumpermonkey don’t get as much attention as they deserve. It’s possible that this is because they don’t seem to take things seriously, addressing almost everything with a skewed and multi-levelled sense of cryptic grand-baroque geek humour. Just to illustrate this – a current work-in-progress Thumpermonkey song is “something which we’re calling Giraffes, which includes some vague narrative about doing a conga during an asteroid-based extinction-level event.” One of their older albums is called ‘Chap With The Wings, Five Rounds Rapid’ – a wry kill-the-monsters line filched from ‘Doctor Who”s laconic and unflappable Brigadier. In the same spirit as that reference, I’d suggest that while they are serious about what they do, they’re not necessarily serious about the way they do it – like many of my favourite things.

If what I’ve written so far leads you to expect strained, fey, sub-Zappa wackiness, then think again. Both in the flesh and on record, Thumpermonkey are a brooding and atmospheric proposition – seriously musical, travelling from blitzingly heavy quasi-metal riffs to spidery post-rock, from threshing post-hardcore to theatrical mane-tossing prog at a moment’s notice while Michael Woodman’s grand edgy vocals and complex multi-levelled lyrics ride on top like an arcane mahout with an arched eyebrow. They’ve been called “a sustained victory for intuitive cross-pollination” by ‘Prog’ magazine and every gig they play confirms this particular accolade. Here they are playing 419 (a song which at first appears to be one of their more delicate offerings, revealing its intensities later).

The other two bands on the bill are less well known to me, but aren’t short of blurb:

The Earls Of Mars are probably the most original thing you’ll hear all year. At their heart, the band are a ’70s-influenced rock band bringing together jazz, prog, space rock, doom and blues and forming it into a barking mad noise that you’ll either get or you won’t. If you don’t get it then close the door on your way out of the spaceship, as those of us who want to stay are off on a fantastical journey to who-knows-where, with The Earls Of Mars steering the ship. Enjoy the trip, ladies and gentlemen, as it’s going to be a fun ride.

Ham Legion‘s noisy lo-fi pop is punctuated with proggy outbursts, psychedelic breakdowns and passages of cod-metal joy. Tangy and tart guitar, egg noddle bass lines and light crispy drums are smothered in gooey boy/girl harmonies. Eat in or take away. For fans of Cardiacs, Deerhoof, They Might Be Giants, Split Enz, Heavy Vegetable.

Judge for yourselves – here are the videos for the Earls’ ‘Astronomer Pig’ single from last year, followed by some footage of a Ham Legion gig in Brighton a couple of years ago. As for tickets, they’re available here.

 

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The day after the Thumpermonkey gig, Holly Penfield plays one of her biggest gigs of the year…

Holly Penfield as Judy Garland

Holly Penfield sings Judy Garland, The Hippodrome Casino, Cranbourn Street, Leicester Square, London, WC2H 7JH, UK, Friday 31st July 2015, 8.00pm) – £15.00 and upwards

Following a triumphant debut last year, Holly returns to the London Hippodrome, singing the songs of the legendary Judy Garland in her own inimitable style. Holly will be joined by her musical director Sam Watts and his magnificent seven-piece band. An unmissable evening for Holly and Judy fans alike, set in the glorious Matcham Room, located inside the Hippodrome Casino – formerly known as The Talk Of The Town, this is the venue of legends and home to Judy’s final London concerts.

Longer-term readers will know that I got to know Holly years ago via her own original ‘Fragile Human Monster Show‘ and the ‘Parts Of My Privacy’ album (which I wrote about ages ago – that review’s due a revamp and remount, I think). Both of those, though original songwriter pop, had their own theatrical and psychodynamic aspects which pointed towards Holly’s current work in vivid cabaret (and, latterly, as half of swing revivalists The Cricklewood Cats). As for Holly’s interpretations, she can and does cover cute showbiz camp and heart-tugging pathos within the same performance – you can see a couple of examples below.

Up-to-date information on the Judy concert is here and here, while tickets are available here. A mischievous part of me fancies swapping the audience from Holly’s show with the one from the Thumpermonkey/Earls/Ham Legion gig, and vice versa. I suspect that they all might enjoy it more than they’d expect to…

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The Luck Of Eden Hall, 2015

On the same night that Thumpermonkey and co. play, The Luck Of Eden Hall are over from Chicago to play the first of two London gigs, launching a Kickstarter-funded UK tour which will take them to a wide array of venues and mini-festivals around England, Scotland and Wales, accompanied by a shifting cast of local psych heroes, left-field blues artists and quirky alt.pop shoegazers.

As for the headliners, you can expect clear-voiced, well-made classic pop beset by sudden gusts of psychedelic blizzarding. The Luck Of Eden Hall remind me of the drawn-out trucker-and-motorist tussle in ‘Duel’ – they come across like a more sombre Neil Finn or Andy Sturmer being stalked, dogged and sideswiped by Hawkwind, Ride or ‘Saucerful’-era Pink Floyd. Here’s a little evidence:


 

Full tour dates below:

The Luck Of Eden Hall UK tour

 

REVIEW – Elinor Armer & Ursula LeGuin: ‘Lockerbones/Airbones’ song-suite 1985/1988, released 2010 (“as hardened and hollowed-out as driftwood sculpture”)

14 Jun

While some of her work has been set to music, Ursula LeGuin is best known for her reconfigurations of science fiction, fantasy and myth. The narratives of her stories sheathe cunning, detailed challenges to race, to gender and to the ways in which one can tell a story. More recently her tales have shaded into a kind of conceptual ethnography in order to build stories almost entirely out of explorations of culture.

Less well known, LeGuin’s poetry initially seems like a different beast. Close examination sees the same preoccupations written in microcosm. Sparse and spare, the words in her poems are the tips of long quills of implied experience; to be drawn out and savoured. In these mid-’80s recordings, Californian composer Elinor Armer has taken five disparate Ursula LeGuin poems and (working in a stark, economical style as hardened and hollowed-out as driftwood sculpture) whittled a musical housing for them.

Assuming that it’s a song-cycle at all, ‘Lockerbones/Airbones’ is a loose one. The poems are taken from three separate volumes spanning thirteen years, and the interconnections in LeGuin’s text are tenuous. There are fleeting references to bodies of water. A falcon links two songs; extending this, references to birds link a full three. Unspecified protagonists (all of them apparently female) are observed via brief passing notes and at various ages, generally in relation to a loaded past or a fervently desired future. The obscure bones of the title transform and recur in the shape of crustacean shells or as feathers or teeth; possibly even in the irreducible state of the lean phrases making up the poems.

Armer, in turn, faithfully honours LeGuin’s verbal economy. Her music stops, starts and leaves prolonged expectant spaces as she delicately feathers the text. For ‘Lockerbones/Airbones’ she uses a quintet: flute, violin, piano and percussion set plus Wendy Hillhouse’s stooping mezzo-soprano. Armer keeps her own compositional liveliness on a tight leash. Nonetheless, she brings her particular yen for musical illustration to the table (as well as leavening touches of humour and compassion). Initially building up from a reserved, near-atonal sketchpad, Armer still works in tinges of modern America, ancient Greece and traditional Japan. Direct musical themes are hidden in favour of attentive, close-bound responses to the emotional charges of the poems. Ultimately, it’s this that provides the cycle’s unifying factor.

Elinor Armer & Ursula LeGuin: ‘The Anger’

In the first piece, The Anger, a young woman’s frustrations burst out. She’s trapped between worlds of experience – one outgrown and chafing, the other filled with promise but sealed away). Rira Watanabe’s chivvying violin and Keisuke Nakagoshi’s piano accents usher in a flare of rage, with the first line sung against tolling, breaking percussion: “Unlock, unlock! / So long a silence / needs shouting / and latches smashed / and the damned hinges broken…” In airier drifts, the middle section dreams welcome and ceremony – “open air, the wine / poured out, the hands / empty: and slowly, / grave, straight, smiling, / to step across the threshold.” It feeds the eventual conclusion, in which that earlier impotent frustration becomes a clear, confident command.

Elinor Armer & Ursula LeGuin: ‘The Child on the Shore’

The Child on the Shore is made up of a split dialogue between a daughter and her dead mother. Neither address each other directly: in the poem, their communications are carried by intermediaries of the natural world, by song, by death itself. The entire piece is a bleached landscape of bereavement rituals. Esther Landau’s lyrical flute-playing embodies the elements into which propitiatory gifts are flung – a ring into the sea, a feather into the wind.

In turn, Hillhouse gives voice to two exhausted threnodies, one for each woman. The child’s voice is angry with grief, demanding return of both tokens and parent. The mother’s is windblown and accepting; a thank-you for the gifts, a desire to soothe. Yet there is no confirmation that this message of comfort has been heard. The intermediaries themselves remain silent throughout. Armer divides the two voices with a bleak, unyielding curve of violin melody. Behind them, abrupt traces of marimba and piano stray and hit like bruising raindrops.

Elinor Armer & Ursula LeGuin: ‘Footnote’

Footnote briefly enters the thoughts of a solitary woman. It’s unclear whether she’s an exile or a recluse, whether she’s young or old. Her hints at an aristocratic background could be no more than whim, or the last vestige of hauteur. Regardless of this, she finds kinship with nature in all of its wrack, decay and continuance – not just through the heraldic glamour of the falcons, but via the cast-up seaweed, the scavengers, the passing insects and the weather.

Armer treats this cultivated loneliness (and acceptance of the world) in kind. Still, slow and minimal in nature, the music is pierced and enlivened by visitants. After a drifting reflective start, a shift to a dissonant emphasis and Erica Johnson’s rattling wood percussion greets the naming of “crabs / prancing in the shadow / of fierce, stranded seaweed” while the appearance of bats is accompanied by violin and flute.

Elinor Armer & Ursula LeGuin: ‘Hard Words’

In Hard Words, Armer abandons melody altogether and goes for a plosive, theatrical hayashi approach. Hillhouse speaks and swoops LeGuin’s words like a Noh theatre chanter, springing the rhythms in the poetry, which itself abandons all but the most essential nuggets of phrase in an oblique look at the failings of human language. “Hard words / lockerbones / this is sour ground / dust to ashes / sounds soft / hard in the mouth / as stones / as teeth / Earth speaks birds / airbones / diphthongs.” The instrumentalists respond with zings of percussion; with tongued flutes, piano fragments and instrumental noises (including a short resigned squall of violin like the last gasp of a fax machine). On the final word, a lacuna of mingled flute and gong ends in a sub-audible skirl of breath. Relief and release.

Elinor Armer & Ursula LeGuin: ‘For Katya’

The songs conclude with the wounded, optimistic For Katya. A muted and slender melody – seasoned by anger – fleshes out LeGuin’s words, which reinterprets the struggles for control between men and women in the form of a stark fairytale built from halting, frustrated syntax. “They always shut us up in towers / ever since once upon a…” Comfort arrives in the same mythic form, as a transformation of both sentence and outlook: “So we learn alone there / arts of unlocking / Till the old terrors / shed wolfskin and stand brothers…”

It’s an exhausted comfort: yet it’s indomitable, a long parched resistance holding out for a sane outcome. As Hillhouse sounds out the last word, a capella, its pitch hangs unresolved; waiting for the future to catch up with the hope.

Elinor Armer & Ursula LeGuin: ‘Lockerbones/Airbones’
Private release
Download tracks
Released: 2010 (recorded 1985/1988)

Buy it from:
Free download from Ursula LeGuin’s homepage.

Elinor Armer online:
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Ursula LeGuin online:
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