Tag Archives: Outre Dan Steele

July 2018 – two eclectic London music evenings – SOIF Soiree with Society Of Imaginary Friends, Jennifer Bliss Bennett, Dekay Ex, Stone Deep, Outre Dan Steele and William Summers (6th July); Rude Mechanicals with John Callaghan, Hypnotique and Rotten Bliss (13th July)

3 Jul

SOIF Soiree, 6th July 2018

The last Society Of Imaginary Friends Soiree for the summer is cartwheeling into view. I smashed two or three of their Beat-y burbles together to bring you this:

“Friday 6th July is our 21st Century Avant Garde Soiree at Karamel, N22. We have in store for you a magnificent exploration of 21st Century new and experimental music with incredible performers already lined up. The fabulous, supremely talented Jennifer Bliss Bennett will be performing master composer Martin Gaughan’s pieces for voice and bass viol: a must hear. There’ll be an appearance from the one-and-only Dekay Ex (queen of the underground urban music arena, virtuosic battle rapper superstar) with guest musician Gerard; and brand new dark intriguing soul music from Stone Deep.

“The multi-talented Darren and Isobel Hirst will be performing as the fascinating, spellbinding duo Outre Dan Steele, and the amazing William Summers (Circulus, Princes In The Tower, Mediaeaval Baebes and innumerable period/Baroque ensembles) will be performing 20th century recorder music. Plus us, the Society Of Imaginary Friends, and that’s just for starters. Delicious vegan food and unbelievably free entry.”

Society of Imaginary Friends presents:
21st Century Avant Garde Soiree: Society Of Imaginary Friends + Jennifer Bliss Bennett + Dekay Ex + Stone Deep + Outre Dan Steele + William Summers
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 6th July 2018, 7.30pm
– information here and here

A few examples of the evening’s entertainment:




 
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There’s no August Soiree (since the Society will be either on holiday or concentrating on their appearances at the Green Gathering festival in Chepstow), but there should be more of these evenings in the coming autumn.

However, you can make up for their upcoming London summer absence with an evening of music and video hosted by Cos Chapman’s Rude Mechanicals, and taking place in a onetime Dalston dance school turned into arty pub and hangout space…

Rude Mechanicals + John Callaghan + Hypnotique + Rotten Bliss, 13th july 2018

“The art-rock inspired Rude Mechanicals have been compared to Nick Cave, The Tiger Lillies, early Roxy Music and Can and described as post-punk, swamp blues and dark cabaret – altogether creating a music that was best be described by Tom Robinson (on BBC6) as “wild, wicked weirdness… a little bit Flying Lizards, a little bit Native Hipsters and a great deal like nothing you’ve heard before…” The evening will feature the premiere of MHG Music Videos’s animated video for Rude Mechanical’s ‘Paperwork’.”

Meanwhile, here’s something a little older…


 
“Originally hailing from Birmingham, John Callaghan is an unusual songwriter and performer of thoughtful and spiky electronica. His self-directed video for ‘I’m Not Comfortable Inside My Mind’ aired on MTV. His live performances are energetic and imaginative, and range from one-man auto-karaoke shows to specially-written dancefloor sets. Recent well-received shows have included London’s Spitz, Ginglik and Electrowerks, Cambridge’s Portland Arms, Crystal Palace Bowl and last year’s jaunt around Germany, including Berlin’s Club 103 and Bar 25 and Hamburg’s Golden Pudel. He is 173cm tall, weights 73kg and has a blood pressure of 110/60Hg.”


 
Hypnotique is a thereministe, electronic musician and auteur based in London whose lyrical subjects range from the apocalypse, post-feminism, erotic narrative and allotments. She’s performed solo shows at Edinburgh Fringe, worked with Gong and The Heliocentrics, toured the Amazon and annoyed Simon Cowell. She’ll be performing her live sound design for Georges Méliès 1902 film ‘Voyage de la Luna’ (‘Trip to the Moon’)…”
…which she’s previously and recently also done at a Colliding Lines film evening: find out more about that here.


 
“Described last year as “a thing of disquieting dark beauty rolling in through a ghostly fog on timeless ripples whose ebbing wash peels back the years to reveal a vintage crafted in archaic folk tongues” by Mark Barton of ‘The Sunday Experience‘ (and, by ‘The Wire’ as a writer of “coarse and beautifully heavy songs (betraying) hallmarks of folk, metal and classical without subscribing to any particular tribe”), Rotten Bliss is the violent, warm and weird visions of London based avant-garde electric cellist and vocalist Jasmine Pender. Equally inspired by the wild physicality of Jacqueline du Pre and the shrieking glory of a cello played through FX pedals, Rotten Bliss packs diverse influences into an elemental voyage of outer-limits FX-laden drones, weird folk and sound art, raging from tender a capella lyrical fantasies through to ecstatic nihilism.

“Jasmine performs regularly around London, also playing in 11th Hour Adventists (with Jowe Head, ex-Swell Maps) and False Echo (with Tim Bowen, ex-Chrome Hoof) and has toured England, France, Germany, Austria and the Czech Republic. Her debut album, ‘The Nightwatchman Sings’, was released in October 2017 on the Reverb Worship label.”

 
Also on hand for the inbetween bits are DJs Enri, Blue and MJ Ultra, and Rude Mechanicals are bribing any advance tickets buyers with the promise of a “free unique, special edition CD and badge”.

Rude Mechanicals present:
‘Paperwork!’ – featuring Rude Mechanicals + John Callaghan + Hypnotique + Rotten Bliss + DJ Enri + DJs Blue & MJ Ultra
Farr’s School Of Dancing, 17-19 Dalston Lane, Dalston, London, E8 3DF, England
Friday 13th July 2018, 7.30pm
– information here and here
 

March 2018 – pop/folk/etc gigs in London – Roshi Featuring Pars Radio (plus KES, Ivan Bushbye and Euan Sutherland – 6th March); Bella Spinks, Laura Frances and Gillie Ione (1st March); SOIF Soiree including Society Of Imaginary Friends, Hungry Dog Brand, Gisela Meyer, Tamara Canada, Blert Ademi, Global Warming Records and others (2nd March)

23 Feb

Roshi Featuring Pars Radio + Kes + Euan Sutherland + Ivan Bushbye, 6th March 2018Westking Music presents:
Roshi Featuring Pars Radio + KES + Ivan Bushbye + Euan Sutherland
The Harrison, 28 Harrison Street, Kings Cross, London, WC1H 8JF, England
Tuesday 6th March 2018, 7.00pm
– information here and here

Multiple influences come into play in the music of Roshi Nasehi – her Iranian heritage (embodied in her parents, their memories and their old cassettes), the folk songs and choirs in the Welsh milieu of her upbringing, the bleeding-in of tunes from 1980s British pop radio; piano and violin lessons and the jazz she studied at college in Cardiff; her early stint singing with Keith Tippett. All of these have settled somewhere in her current work, but none of them in a fixed and permanent location: they’re loose factors, like an office full of papers which can be picked up and whirled about by a fresh gust of wind from an open window.

Roshi Featuring Pars RadioDuring eighteen years in London Roshi has made a name for herself as performer, collaborator, workshopper, academic, installationeer and recorder of musical events. Her main song outlet is Roshi Featuring Pars Radio, a collaboration with Graham “Gagarin” Dowdall (prolific percussionist, producer, Pere Ubu-ist and John Cale/Nico collaborator). They describe it as “Welsh-Iranian folk pop”, with an electronic, experimentalist edge to it; a shuffleable span of folktronica strata which somehow captures the thinning links, the stubborn clingings and the disjunctive adaptations of the immigrant experience (whether circumstances have blown you into town from Alavicheh or from Gorseinon).

Some of Roshi’s ‘80s pop heritage manifests in its echos of Kate Bush – I don’t mean in Bronte-pop twirls or vocal lushnesses, but in beautiful cramped murmurs which recall the subvocal/sublingual keenings and chamberings of ‘The Dreaming’. The soundworld is deliberately intimate but obscure; Gagarin’s signature “sound-leakage” palette of finely-milled noises interpenetrating field recordings, Roshi’s keyboard parts questioning and unanchored; her language shifting between English and Pharsi, with versions of Iranian songs cut and rising up through the deck.

 
Also playing are the usual Westking gig-gaggle of emerging students, undergoing their solo live performance assessment by being hurled into support slots. This time round it’s lo-fi electronic pop/soul musician KES, “understated folk” performer Euan Sutherland and contemporary pianist Ivan Bushbye. All of them are too fresh on the scene to have much online to follow up on (Euan also shares his name with a Scottish clothing magnate who got tangled up with the Co-op a few years ago, and this doesn’t help either). However, I did find this video of Ivan playing Ryiuchi Sakamoto’s ‘Forbidden Colours’, so that will have to do for now.


 
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Back at the very start of May, there’s a summit of young female songwriters tucked away into the basement of Servant Jazz Quarters.

Sublime Music presents:
Bella Spinks + Laura Frances + Gillie Ione
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Thursday 1st March 2018, 7.30pm
– information here and here

Bella Spinks + Laura Frances + Gillie Ione, 1st March 2018Brightonian Bella Spinks has been performing in public since she was twelve: not annoying R&B impressions on the top deck of the bus to Worthing, but a full-blown debut at the Concorde 2 round about 2006. Since then, she’s had plenty of time to broaden and hone her ideas, and has filled the interim years well, preparing her developing work and playing teenaged support slots to a range of performers from Martha Wainwright to Sea of Bees, Ellie Goulding to Ron Sexsmith, The Staves to Viv Albertine. As for herself, she’s already a mistress of the verbally and musically articulate solo piano ballad, a songwriter who can build a hooky and accessible pop single around Platonic philosophy, and a woman with a knack for sonorities (be it undulating basslines, hot-space gaps in the vocal lines or the woody rhythms of a struck’n’knocked piano frame).

The debut album isn’t due for another few months, but come along to celebrate the recent, aforementioned Platonic single ‘Noble Lie’, in which Bella muses and storytells across various forms of implied alchemy. Right now, she’s on a cusp – some idiot could talk her into smoothing everything down into mainstream kitchen-radio ballads, or she could hang onto her inquisitive nature and keep driving down the path of her subtle, slightly bookish originality. I really hope that she sticks with the latter.



 
She’s tagged as “a dark, baritone Joni Mitchell baring herself in her songs with a refreshing depth and brevity”, but rather than carrying out yet another sub-Joni confessional shtick Laura Frances wraps herself in the robes of yearning, classic dark-folk: the kind which I first heard on my mother’s Cynthia Gooding records from the 1950s folk revival – rich-voiced, majestic and ancient. It’s unsurprising to hear that her songwriting springs first and foremost from poetry, her stark modernity constantly slipping back towards mediaeval mystique. It’s also unsurprising to hear Mazzy Star and Leonard Cohen also mentioned in her train of influences. There’s a touch (just a touch, mind) of the urban-playing/rural-dreaming Gothic to her tunes: solemnly waltzing guitar, lonesome woodsaw string parts, and the abiding melancholy in her tone.

 
With a mini-album (2016’s ‘Misapprehension’) and a couple of standalone download singles behind her, Welshwoman-turned-Londoner Gillie Ione makes quick darts through self-produced restless talky songs, like well-made Tracy Chapman /Melissa Etheridge pieces with an experimental pop bent and bonus scurries of motormouthing. On record, she floats about between introspective guitar lines, spacious drum patter and strange ambients knocks and wanders; the scenery shifting behind her fluttery chatting, her glinting disparate observations being molded into a larger, broader picture of meaning.



 
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Society of Imaginary Friends presents:
SOIF Soiree: HARE !!! (the Musical) – Society Of Imaginary Friends + Hungry Dog Brand + Gisela Meyer & John Human + Outre Dan Steele (Darren & Isobel Hirst) + Tamara Canada + Blert Ademi + Global Warming Records + Cian Binchy
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 2nd March 2018, 7.30pm
– free event – information here

SOIF Soiree, 2nd March 2018Greeting the alleged arrival of the English spring (I’ll believe it when I see it), Society Of Imaginary Friends are bringing another of their art-pop mini-musicals to the March event in their monthly Wood Green soirees. This time, it’s ‘HARE!’ about which they’re saying nothing yet, though you can pick up a few clues from the evening’s lead-in text – (“…we climb out of our warm dark burrows into the golden slanting sunlight, our hearts swell with joy, and we dance a manic tarantella – chase each other in crazy circles, play-box under the serene blue sky and, as the moon rises, the static electrical frenzy of fizzical freedom – it’s mating time!”)

All right – stand by for sex, violence and gratuitous crocuses. Meanwhile, here’s something they did earlier…


 
Making Soiree returns are pianist/composer Blert Ademi and regular-of-regulars Cian Binchy (actor, standup, spoken-worder and autism activist, just back from his Mexican tour). Fresh to the Soiree stage are emerging R&B singer Tamara Canada, post-apocalyptic ecologically-obsessed techno burster Global Warming Records (a.k.a. ‘Driftshift’ presenter Franziska Lantz from Resonance FM) and author/reviewer/punk-poet Martin Dowsing’s Hungry Dog Brand (providing “very English sounding fictional narrative-based songs in a new wave / garage rock style with a touch of seaside gothic” plus a touch of the abrasive wit of their “No Wankers Aloud” club nights from the much-missed original 12 Bar Club).

In typically diverse Soiree fashion, the evening’s rounded off (or thrown engagingly off course) by a turn from internationally acclaimed cellist and concert pianist Gisela Meyer (who, surprisingly, is dropping bow and abandoning keyboard in order to sing three Debussy love songs accompanied by Anglo-Indian classical/improv pianist John Human) and by what looks like a partially-exploded performance by the Outre Dan Steele duo, a.k.a. Darren and Isobel Hirst. Darren (who’s squeezed writing for the NME, working as a vicar, reviewing theatre and being a “professor of baseball” into his life so far), will be interrupting, or moonlighting from, the duo in order to deliver Shakespearean soliloquys. I’m presuming he means actual Shakespeare rather than anguished cod-Tudor monologues about the pains of being a twenty-first century Renaissance man…

The usual Soiree terms and conditions apply – free entry, but you pay for the fine vegan grub. As regards some advance listening, with music and sound for several of the acts wilfully obscure, stuck in the MySpace graveyard or mysteriously pulled from circulation, here’s what I could throw together. Apologies for the occasional bedroom/phone footage look…




 

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