Tag Archives: Poulomi Desai

July 2016 – upcoming London gigs – Douglas Dare, Left With Pictures, Stranger Stranger and Joel Clayton at Daylight Music (2nd), Georgina Brett’s ‘Eclipse Collaborations’ (3rd); Yuki Kaneko, Naomi Motomura, Yumi Hara and Poulomi Desai work together at IKLECTIK (6th)

30 Jun

Three more upcoming shows in the Smoke, with various degrees of artiness…

* * * * * * * *
Daylight Music 230
Arctic Circle presents:
Daylight Music 230: Douglas Dare + Left With Pictures + Stranger Stranger + Joel Clayton
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 2nd July 2016, 12.00pm
– free event (suggested donation: £5.00) – information

Erased Tapes piano balladeer Douglas Dare has been labelled as “one to watch” by Mary Anne Hobbs. His Daylight Music debut appearance gives those of us who’ve missed out on his music over the last three years an opportunity to judge for ourselves. See below is a song from his 2013 debut EP ‘Seven Hours’, followed by a sixteen-minute small-room performance from Paris, showcasing a live blend of shimmer-rolling neo-classical keyboard work, jazz-weather cymbals and occasional threads of electronica. His delivery (full of emotional focus and rising intensity) involves heartbreaking folk swoops, edgings of Celtic soul and what at first sounds like a stream of post-Radiohead angst: it ultimately reveals itself as being more akin to a Schubert lieder with a window on both James Blake and ‘Astral Weeks’.



 
A classically-trained trio of Stuart Barter, Rob Wicks and Toby Knowles, London pop ensemble Left With Pictures operate in a similar area, offer a rippling chamber pop with solemn, cavernous grand piano, strands of ecstatic electronic dance and folk instrumentation. Along the way, they manoeuvre along a line which divides the crowd-pleasing piano-pop of Keane, the weightless swoon of a momentary Morrissey and the compelling ancient-futurist folk of Eyeless In Gaza (Stuart’s lovely edge-of-the-ritual vocal often coming across like a gentler, more pop-polished take on of EIG’s Martyn Bates). I’m not absolutely sure what to make of them, and sometimes feel that they’re a little too polite for their own good – but, if so, they also sound like politeness briefly overwhelmed and catching its breath, revelling in the moment of freefall.



 
What’s known (or spun) about Stranger Stranger is that they’re the husband-and-wife duo of Philip Solari and Marinda Lavut, that they’re Canadian, that “they have bossa, they have jazz”, and that they were plucked from a life of pavement busking after being discovered outside the Montreal Jazz Festival by two of its owners. They immediately won a place at the following year’s festival on the strength of their musical skills. It’s like a reality TV rags-to-fame fairytale, done right. This year, they’ve been resident in London while recording their debut album with Laura Mvula’s producer Steve Brown, and it looks as if they’re going to be playing a whirl of low-key-but-hot-ticket gigs around the capital, for which this is an early taste.

Stranger Stranger also seem to be one of those increasingly rare entities – a growing word-of-mouth sensation, eschewing multimedia methods. They seem to have entirely avoided the latterday rash of Youtube cellphone footage; they’ve not engaged in teaser campaigns of embedding tracks in superblogs: they don’t even seem to have any kind of a homepage. I’ve got no clips, I’ve got no video, so I’ve got little choice other than to simply add to the growing wordpile. The buzz around them seems to be entirely made up of speech and text, as if we’d all headed back to the ’60s or the days of print’n’paste fanzines… and it’s strangely refreshing.

As ever, there’s a Daylight interval act as well – this time, it’s the return of Sunday Driver’s Joel Clayton on sitar, providing “Eastern sounds with a grungy twang.”

* * * * * * * *

Georgina Brett etc @ Tuesday's Post, 3rd July 2016

Tuesday’s Post presents:
Georgina Brett:”The Eclipse Collaborations” launch party
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Sunday 3rd July 2016, 6.00pm
information

‘The Eclipse Collaborations’ is a thirty-minute video accompanying voice-looper Georgina Brett‘s new album. Although the video made its formal debut when it was played online and transnationally back in June (as part of the 2016 Solstice event) the formal launch party is taking place at New River Studios (the new home for Georgina’s ambient/progressive Tuesday’s Post night). It includes a full screening of the video, a bar and DJs, interactive visuals provided by Tuesday’s Post regulars Hanzo and Rucksack Cinema, and an appearance by speculative writer Greg Sams (who amongst other things has presented the idea that our sun is a “conscious, providing entity…”).


There will also be a set of improvised music performances making full use of a 7.1 surround sound system. The impressive lineup includes Georgina herself, Martin “Youth” Glover (Killing Joke), guitar/electronics/clarinet cosmaximalists Darkroom, multimedia composer Hems, Steve Finnerty of Alabama 3 and Junk Deluxe, Andy Bole of Bonfire Radicals and Daevid Allen’s Glissando Guitar Orchestra, Jono Podmore of Kumo and “analogue electronic cabal” Metamono, and French experimental/electronic/progressive/jazz looper The Lucid Brain Integrative Project.





 

* * * * * * * *

Yuki Kaneko + Naomi Motomura + Yumi Hara + Poulomi Desai @Club Integral, 6th July 2016

Club Integral presents:
Yuki Kaneko + Naomi Motomura + Yumi Hara + Poulomi Desai
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Wednesday 6th July 2016, 8.00pm
information

Descriptions taken from the Club Integral press release, with additions and augmentations from me…

“A one-off Club Integral event featuring four of the finest women contemporary improvisers working today.

“In the late 1990s, Nagoya musican Yuki Kaneko was a psychedelic rock guitarist working with Acid Mothers Temple associates Floating Flower. A decade-and-a-half ago, she changed tack to retrain as a violinist and now plays both acoustic and electric instruments in a mixture of styles. Initially training and working in Indian Hindustani and Carnatic violin styles, Yuki has since incorporated synthesizer and laptop into her musical resources: she’s also reincorporated her psychedelic roots in order to explore ambient music, electronica and improvisation. Yuki’s recent projects have included a duo with fellow experimental violinist Yuji Katsui and recurring work with an ensemble led by former Taj Mahal Travellers vocalist Tokio Hasegawa.


“At around the same time that Yuki was becoming involved with Floating Flower, Naomi Motomura was playing guitar with the final 1990s lineup of the long-lived Japanese band Zelda, an all-female new wave/multi-genre group which drew on multiple approaches (including punk, funk, reggae, roots and experimentalism) to form their particular brand of pop. During the twenty years since the end of Zelda, Naomi absorbed various other musics. She resurfaced in 2013 with a solo album, ‘Whole’, which displayed her undiminished guitar skills, her mastery of looping pedals and her knack for a melodic and experimental reshaping of her earlier rock ideas.

“Tokyo-born but a longtime London resident, singer and multi-instrumentalist Yumi Hara has been performing improvised jazz based/prog-tinged/eclectic-experimental music for many years, with her work drawing on everything from Terry Riley and Rock In Opposition to funk and Japanese lullabies. Once a member of cult-pop favourites Frank Chickens, she established herself in the mid-’90s as a determined art-music curator by helming the Bonobo’s Ark music evenings (which drew in contributors including Charles Hayward, Roger Cawkwell, Clive Bell, Kazuko Hohki and many others.).

Yumi has since gone on to work in a variety of situations with a variety of musicians. Her collaborators have included Canterbury/Henry Cow/Faust veterans such as Hugh Hopper, Daevid Allen, Jean-Herve Peron, Geoff Leigh, Chris Cutler, John Greaves, Fred Frith and Tim Hodgkinson; bands and projects which have sprung out of these associations have included the trio you me & us, post-Cow quartet The Artaud Beats, Faust/Cow hybrid Jump For Joy! and the Lindsay Cooper repertoire band Half The Sky. Yumi is also active in plenty of other projects – both solo and in collaborative duos and ensembles – and is an established experimental composer in her own right.

“A self-taught outsider/multi-media artist since 1980, Poulomi Desai has spent nearly four decades exploring different kinds of work from her London hometown, Born in Hackney and an early practitioner of street theatre, she’d set up the Hounslow Arts Co-op before she’d turned fifteen and has gone on to divide her time between graphic design, curation (she’s run Usurp Art in Harrow since 2010) and multimedia performance art. The latter incorporates text, photography, live electronics and a sitar played with bows, kitchen knives, axes and massage tools, augmented by distortion pedals, modified cassette decks playing field recordings, circuit bent toys, optikinetic instruments, slide projectors and broken banjos.

Poulomi’s live work embraces elements of noise and industrial sounds as well as complex explorations of chance, challenge and subversion; with the sitar playing in particular being a conscious response and reaction to the idea of ‘authenticity’ (seeking to break the rules and expectations of how a ‘sacred’ instrument should be played, including the strictures and assumptions put upon the player and her identity).

“The evening will feature performances by two duos (a violin-and-electric guitar performance by Yuki and Naomi; a set combining Yumi on piano/harp/vocals and Poulomi on sitar and electronics) followed by a quartet performance of all four musicians together.”

December 2015 – upcoming gigs, London & elsewhere – Serafina Steer & Bas Jan at Kings Place; assorted Others cabaret from punk to accordiana with The Bohemianauts and Bad Fractals; a Lost Map afternoon with The Pictish Trail/Seamus Fogarty/Tuff Love/Kid Canaveral at Daylight Music; Thumpermonkey, The Mayors Of Miyazaki and Lolita Laytex hit The Albany in Deptford; and the 2015 London Contemporary Music Festival part 1 (sounds for and from London, West Coast America and the time continuum). Plus the return of Mark Mulholland and Craig Ward in a Scottish village hall; Olga Stezhko in a Staffordshire chapel; and Rocket From The Tombs in London and Leeds.

6 Dec

The end of the month, and the year, is nigh – so what are we looking forward to this week?

Mulholland, Ward, Sissoko & D'Hoine @ Ford Village Hall, 8th December 2015

Mark Mulholland, Craig Ward, Yacouba Sissoko & Hannes D’Hoine (Ford Village Hall, Ford, Argyll, Scotland, Tuesday 8th December 2015, 7.30pm) – £5.00 minimum – information – tickets on the door

Back in 2012, two wandering Scottish singer-songwriter-guitarists – Mark Mulholland (ex-Two Dollar Bash) and onetime dEUS member Craig Ward – quietly released one of the finest records of the year. A compelling murmur of acoustic guitar folk, ‘Waiting For The Storm’ was soaked in the Scottish and British folk-baroque of Davey Graham, Pentangle and John Martyn but, in its settings of moist heat, tin roofs, typhoons and dark forces, it was also informed by the Haitian setting of Port-au-Prince, Mark’s home for the previous two years. Some of you may remember that I liked it.

With Mark now relocated to Mali and Craig settled in the little Argyll village of Ford, the duo are collaborating on a follow-up (provisionally called ‘The Darkness Between The Leaves’) on which they’ll be joined by Flemish double bass player Hannes D’Hoine – who played the Danny Thompson anchor-cable role on ‘Waiting For The Storm’ – and by Mark’s newest collaborator, the Malian djely and multi-instrumentalist Yacouba Sissoko, a master kora and ngoni player. The quartet have been preparing and recording in a number of different countries, and the end of the Scottish sessions will be marked by a Ford performance both taking place in and raising funds for Ford Village Hall, with prices set on a pay-what-you-like basis starting from five pounds.

In its quiet way this should be one of the gigs of the year, so if you’re in western Scotland and have a free Tuesday evening, consider heading over to Ford (at the south-western end of Loch Awe, north-west of Glasgow, with the nearest substantial town being Kilmartin.) If you miss this one, they’re playing again in Glasgow at 7.00pm on Wednesday 9th; a low-key gig at the Hidden Lane Gallery in Finnieston.

* * * * * * * *

After that – for me – the week doesn’t pick up until a very busy Friday and weekend. Too subjective, probably. Here we go, anyway.

Serafina Steer & Bas Jan (Hall Two @ (Kings Place, 90 York Way, Kings Cross, London, N1 9AG, England, Friday 11th December 2015, 8.00pm) – £9.50-£12.50 – information & tickets

The hitherto independent worlds of contemporary harp music and experimental kraut-pop will collide – or at least bump each other – in this concert of two halves by harpist/songwriter Serafina Steer and her new band Bas Jan.

After a few years of mainly only using the harp for her own writings, Serafina went on a roadtrip around Eastern Europe busking, discovering and rediscovering pieces along the way. The result of this experience will form the first half of the programme, which will feature compositions by Richard Barratt (‘tendril’), Benjamin Britten (‘Suite For Harp’), Stephen Dodgson (‘Fantasy’), Rhodri Davies (‘Aqcua Alta’) and Serafina’s own father Michael Maxwell Steer (‘Grovelly Wood’)

The second half of the show will be a performance by Bas Jan, Serafina’s latest collaborative project in which she plays bass guitar and keyboards and writes minimally arranged songs about the Essex coast, the Anglo-Saxons, sex, part-time work and love; with sound artist Sarah Anderson playing violin and OP1 mini-synthesizer and performance visual artist Jenny Moore playing drums (all three women also sing). Bas Jan’s first gig was to six thousand people at Brixton Academy and since then they have gone on – via support slots for Xylouris White and The Decemberists – to entertain smaller and smaller audiences.


 

On the same night, one of ‘Misfit City’s favourite classical musicians is spreading her own particular musical gospel up in Staffordshire:

Olga Stezhko (Abbotsholme Arts Society @ Abbotsholme School Chapel, Rocester, Uttoxeter, Staffordshire, ST14 5BS, England, Friday 11th December 2015, 8.00pm)information – limited number of tickets available, phone 01543 263 304 for details

Olga Stezhko, 2015Following up her recent debut performances at both the Wigmore and Bridgewater Halls (at which she performed full or partial versions of her ‘Lucid Dreams‘ assemblage, a programme of music exploring people’s changing perception of reality from childhood through to adulthood), classical pianist and multi-disciplinary thinker Olga Stezhko is bringing her sophisticated, metaphysical perspective and repertoire to the audience at Abbotsholme.

On this occasion, her choice of music is a little more conventional (leaning on well-established favourites by Mozart, Bach and Prokofiev rather then stretching to the Sophia Gubaidulina pieces she was playing last month). However, there’s still room in the programme for work by one of her compositional touchstones, Alexandr Scriabin; and you can be assured that whichever pieces Olga plays will have been carefully thought out and put into context as part of a programme intended to inspire thought and broader conceptual connections as well as straightforward musical enjoyment.

Programme:

Wolfgang Amadeus Mozart – Sonata in B flat major, K.570
Johannes Brahms – Six Pieces, Op.118
Alexandr Scriabin – Two Dances Op.73; Five Preludes Op.74; Vers la flamme Op.72,
John Adams – China Gates
Sergei Prokofiev – Sonata no.4 in C minor, Op.29

Back in London, meanwhile, there’s cabaret afoot, plus breathless press releases.

Bad Fractals vs Bohemianauts @ The Others, 11th December 2015

The Bohemianauts + Bad Fractals (Bohemiocracy @ The Others, 6-8 Manor Road, Stoke Newington, London, N16 5SA, England, Friday 11th December 2015, 8.00pm) – £8.00-£10.00 –  information & tickets here and here

An epic face-off between two amazing, unique and bizarre bands.

Bad Fractals are shaman gangsters shooting bullets of love, tearing their way through acid punk, malevolent music hall and trailer-trash blues in a world gone mad. Join us at the crossroads, in a theatre of the absurd: hear story and song shift with the wild wonder of fractals! Watch psychedelic punks get drunk with clown kings! Glare at artificial angels dancing with deadbeat demons! Gasp as astral travellers gather in galactic taverns!

The Bohemianauts are decadent divas of demi-monde carnivalism, playing weird waltzes, pithy polkas and rollicking rhumbas: they will take you on a theatrical musical journey through strange landscapes with absurd humour, exquisite noise and songs of unrequited dread. Tonight they will unleash their female alter-egos, as they parade in their geezer-bird finery, performing for your pleasure as the rarely-seen Bohemianauts – Drag-ed on Stage. (Trigger warning: Bearded Drag.)

PLUS – Visuals and projections from Jaime Rory Lucy‘s Rucksack Cinema and half-time performance interventions from Oleg the Mystic.


 

Friday also sees the start of the London Contemporary Music Festival, which (as if it were part of a conspiracy theory) is lurking in a giant underground bunker near Baker Street…

LCMF 2015: ‘Collective Capital’

LCMF 2015: ‘Collective Capital’ (London Contemporary Music Festival 2015 @ Ambika P3, University of Westminster, 35 Marylebone Road, London, NW1 5LS, England, Friday 11th December 2015, 6.30pm) – £11.25 – information – tickets

London takes centre stage in our opening night, as we celebrate the exploratory fringes of the city’s music scene and the collective imperative that has been a spur to some of the capital’s greatest experiments. The proliferation of collectives among young musician-composers is reflected in new commissions from some of the most adventurous of these musical laboratories. The night will include premieres from Charlie Hope and Jamie Hamilton   (a.k.a. Topophobia), Neil Luck (performing with his Squib Box ensemble) and John Wall & Tom Mudd (Utterpsalm and Contingent Events). We hear recent work by composers Edward Henderson (Bastard Assignments), Shelley Parker and the artist duo Claudia Hunte. We welcome an iconic figure and chronicler of London’s musical edgelands, David Toop, and offer a live improvisation from Poulomi Desai (Usurp), who started the Hounslow Arts Co-op at the age of 14.

We also offer a world premiere from artists Richard Wilson and Anne Bean. In the 1980s, Anne, Richard and Paul Burwell formed the legendary Bow Gamelan Ensemble, enthralled by the aural poetry and parallel visions of the Thames. Now, Wilson and Bean enter the territory as W0B. Theirs is a world that cracks and splinters and grinds into being as it races backwards and forwards through friendships of forty years. ‘NALEMAG’ becomes the totemic incarnation of their endless scrabbling around boat-yards, scrap-yards, gas depots, pyrotechnic munitions, voyages on many rivers in countless vessels and a frenzy of carrying, welding, investigating and making across the planet. The trajectory culminates with a landmark new AV performance from south London’s Visionist, whose singular language emerges from the fragmentation of dubstep and grime.

Programme:

David Toop – Many Private Concerts
Anne Bean/Richard Wilson – NALEMAG (world premiere)
Poulomi Desai – Vermillion Sands (world premiere)
Neil Luck – Via Gut (world premiere – LCMF commission)
Jamie Hamilton/Charlie Hope – New work (world premiere)
Edward Henderson – Tape Piece
Claudia Hunte – The Elephant In The Room Is Afraid Of Dying
Shelley Parker – Live set
John Wall – Live set
Tom Mudd – Live set
Visionist – Live set (AV)

* * * * * * * *

On Saturday, there’s what looks like a particularly engaging Daylight Music afternoon, with the return of a familiar face…

The Pictish Trail & other Lost Map artists at Daylight Music, 12th December 2015

Daylight Music 210 – The Pictish Trail + artists from the Lost Map label: Seamus Fogarty + Tuff Love + Kid Canaveral (Union Chapel, Saturday 12th November 2015, 12.00pm) – free (suggested donation £5.00) – information

Wrapping up this season of Daylight Music are Lost Map; a loose-knit DIY label/collective from the Hebrides founded by alt-folk troubadour, Johnny Lynch, a.k.a. The Pictish Trail. For this special Christmas show, Johnny will be ice-skating back to the mainland, bringing a selection box of pals from his Lost Map roster, for a cosy festive afternoon of stripped back acoustic merriment, frost-bitten Casio hymns, and mulled-tea fuelled carols.

While The Pictish Trail often comes across on record as an eerie digifolk creation (like a Scottish oil-town-and-fishing-port David Lynch, with that surreal supernatural undertow suffused by Gaelic angst rather than Americana), anyone who’s caught one of the live acoustic shows will know that Johnny has an altogether more joyous side as unplugged strummer. Many of his tales may be based on shyness, grief and confusion, but I’ve seen few people who take such unalloyed pleasure in warming up and including an audience the way he does. For a reminder of this, have a read of my review of his last Daylight Music appearance back in January… and see below.

Mayo-born but London-based, Seamus Fogarty plays and sings his own soulful version of contemporary Irish folk, dabbled with electronic found sound. His output’s been described as “songs about mountains that steal T-shirts, women who look like dinosaurs and various other unfortunate incidents” and as “summoning all manner of odd noises and audio ghosts”. Taken from his current album ‘God Damn You Mountain’, here’s Rita Jack’s Lament, which showcases all of his various tendencies to the maximum.


 

Glaswegian fuzzy-pop duo Tuff Love represent Lost Map’s more-out-and-out indie rock side, although their cottage-industry approach (recording and producing everything at home themselves rather than chasing studios and jaded professional engineers) reflects the label’s d-i-y philosophy. Julie Eisenstein and Suse Bear (augmented for concerts by Phantom Band drummer Iain Stewart deliver “dazzling, sun-streaked guitar pop songs with mesmerising lyrics, heart-wrenching vocals and dreamy melodies like the sound of pure summer.” Over a scant few years of existence, they’ve already supported Paulo Nutini and Ride and played several overflowing handfuls of rock festivals. ‘Resort’ – a not-quite-debut album pulling together the three EPs that Tuff Love have put out so far – is out in January, but meanwhile here’s what will either be a reminder of their existing delights or an introduction to their world: somewhat shoegaze-y but with mischievous glimpses up through the eyelashes.

Edinburgh four-piece Kid Canaveral (whom Lost Map described as “ADHD pop splendour”) met at university in St Andrews and have been playing together ever since. Imaginative alternative pop, they manage to recall the early-‘80s cleverness of Postcard Records pop or the ramshackle poignancy of Belle & Sebastian without actually sounding much like either. It’s more a matter of spirit, a discreet but inclusive sophistication which reaches out, brushes your arm and invites you along. Two albums in, with a third in preparation, they’re a delightful discovery whenever you happen to encounter them. Their clever videos are a treat, too – here are a couple of tastes below, the first of which had my four-year-old son continually tapping the replay button.


(For anyone who wants a more substantial dose of Kid Canaveral, note that they’re playing a full set at the Shacklewell Arms on the evening of the same day.)

* * * * * * * *

On the Saturday evening, you’ve got your pick of twisty London rock and West Coast American art music (plus Rocket From The Tombs, but I’ll come to them shortly…)

Thumpermonkey @ The Islington, 30th July 2015

Thumpermonkey + Mayors Of Miyazaki + Lolita Laytex (Something’s Gonna Happen @ The AlbanyDouglas Way, Deptford, London, SE8 4AG, England, Saturday 12th December 2015, 7.30pm) – £3.00-£5.00 – information – tickets on the door

Welcome back everybody: and once again we have two superb outfits centre stage, Thumpermonkey (heavy progressive music) and Mayors Of Miyazaki (DIY 3-piece based in south London, guaranteed to spit and sweat on us at close quarters). The lovely Lolita Laytex will be joining us to add the flavour of burlesque. Yes, people of the universe, with all those ingredients in store, you know the score: £3.00 concessions and a fiver on the door. Bring ya skin!

I’ve said quite a bit about Thumpermonkey over the course of the year. Grand, clever and atmospheric, they also have enough sly, self-aware wit and humour to undercut all of the previous. They’re also tricky to pigeonhole – a band who create intricate catastrophe epics (part Radiohead, part Van der Graff Generator) but also trill the occasional Mastodon cover in the style of early Kate Bush; a prog band with a singer who sounds like an old-time theatrical knight, but also a noise band who happen to wrap their wildness into tightly-composed structures; geeky popcorn information omnivores drawing from Jodorowsky to Lovecraft to William Gibson, but salting it with Chomsky and science magazines before whipping it up into artful tornados of song. This little sample here is both characteristic and unique within what Thumpermonkey do, which in itself probably tells you all you need to know.


 

I don’t think Mayors Of Miyazaki have been in here before, but they should have been. In their way, their music’s as grand and complex as that of Thumpermonkey and even more enthused by its options. It’s punk with all the chains blown off, joyriding math-rock, de-Ritalined bratprog. A typical song sounds like both chase sequence and protracted explosion: spiky, switch-and-swap assemblages of guitar parts doubling back through alleys and charging halfway up walls, over which sibling team Gareth and Claire Thomas declaim a punky boy-girl barkathon, a speaky-drawl of sparking thoughts. Fugazi and The Fall both might be in there, though you could also pull Bis and long-lost ‘90s psych tanglers The Monsoon Bassoon out of the root cluster.


 

I don’t know much about Lolita Laytex except that she’s a fetish model as well as an alternative burlesque performer and fetish model. Not much information about a third-stream digression into music: so perhaps you should expect something sensual and mobile, which squeaks a little when it flexes. (UPDATE, 10th December – Well, that’s that laboured gag wasted. Lolita’s off the bill, replaced by Deptford punk-poppers The Kill Raimi’s. Some video evidence below…

* * * * * * * *

The second London Contemporary Music Festival night sees the series take a broad stylistic and historical sweep across twentieth and twenty-first century California (with one digression to Alaska, so it’s not all sun.)

LCMF 2015: ‘West Coast Night’

LCMF 2015: ‘West Coast Night’ (London Contemporary Music Festival 2015 @ Ambika P3, University of Westminster, 35 Marylebone Road, London, NW1 5LS, England, Saturday 12th December 2015, 6.30pm) – £11.75 – information – tickets 

The second night of LCMF 2015 is dedicated to the music of the American West Coast, an exploration of 100 years of musical non-conformism, from the piano insurrections of Henry Cowell to the deep listening of Pauline Oliveros (performing her own music on v-accordion). Oliveros is joined by another founding legend of the pioneering San Francisco Tape Music Center, Morton Subotnick, who presents a solo Buchla set and the UK premiere of a 1960s Tape Center composition with a film by Tony Martin. Another composer associated with the Tape Center was Terry Riley, whose ‘Keyboard Study No. 2’ gets a rare outing.

Alongside this we zig-zag through the experimental landscape, calling on John Cage‘s concussive ‘First Construction (In Metal)’, which premiered in Seattle in 1939, John Luther Adams‘s monumental ‘Among Red Mountains’ and Catherine Lamb‘s subterranean ‘Frames’. We excavate two gems from California’s 1980s computer music scene, Maggi Payne‘s ‘Flights Of Fancy’ and Carl Stone‘s ‘Wall Me Do’. On the fiftieth anniversary of the Watts Uprising we present an extremely rare performance from Otis O’Solomon, whose collective The Watts Prophets emerged from the rubble of that uprising and helped lay the foundations for hip-hop.

Programme:

Henry Cowell – The Banshee (for piano) – performed by Gwenaëlle Rouger
John Cage – First Construction (in Metal) (for percussion ensemble) – performed by PERC’M and Serge Vuille
Morton Subotnick/Tony Martin – PLAY! No. 3 (1965) (UK premiere)
Terry Riley – Keyboard Study No. 2
Maggi Payne – Flights of Fancy
Carl Stone – Wall Me Do
John Luther Adams – Among Red Mountains (for piano) – performed by Gwenaëlle Rouger
Catherine Lamb – Frames for cello & bass recorder (UK premiere) – performed by Anton Lukoszevieze/Lucia Mense
Otis O’Solomon – Selected poems
Pauline Oliveros – Pauline’s Solo (1992)
Morton Subotnick – solo Buchla set

 

 

* * * * * * * *

On Sunday, the third LCMF event has a polycultured and temporal feel:

LCMF 2015: ‘Five Ways to Kill Time’

LCMF 2015: ‘Five Ways To Kill Time’ (London Contemporary Music Festival 2015 @ Ambika P3, University of Westminster, 35 Marylebone Road, London, NW1 5LS, England, Sunday 13th December 2015, 6.30pm) – £11.75 – information – tickets 

Time is stretched, bent and finally dissolved in ‘Five Ways To Kill Time’. Sound artist Ellen Fullman opens the night with a UK premiere of The Watch Reprise, which will be performed on her 50-foot Long String instrument that one writer compared to “standing inside a giant grand piano.” Ethiopian composer, pianist and nun Emahoy Tsegué-Maryam Guèbrou makes her first visit to the UK to perform a selection of her intimate piano miniatures that seem to drift through space. Plus Minus Ensemble, meanwhile, offers up the intricate and disorientating world of Bryn Harrison‘s ‘Repetitions In Extended Time’ (conducted by Mark Knoop and featuring strings, organs, piano, guitar and clarinet). Mixing spoken text and music, theatre maker Tim Etchells (Forced Entertainment) and violinist Aisha Orazbayeva offer a set of fragmentary improvisations in ‘Seeping Through’, a work fresh from a critically acclaimed run at the Edinburgh Fringe. We end with a time-obliterating live set from doom pioneer Stephen O’Malley, whose work within and beyond his seminal group Sunn O))) exists in a kind of transcendent stasis.

Programme:

Emahoy Tsegué-Maryam Guèbrou – selected piano works
Bryn Harrison – Repetitions in Extended Time
Tim Etchells/Aisha Orazbayeva – Seeping Through
Ellen Fullman – The Watch Reprise (world premiere)
Stephen O’Malley – live set


 
* * * * * * * *

And finally…

Rocket From The Tombs, 2015

Rocket From The Tombs + Luminous Bodies (Baba Yaga’s Hut @ The Brewhouse, @ London Fields Brewery, 369-370 Helmsley Place, South Hackney, London, E8 3SB, England, Saturday 12th December 2015, 8.00pm) – £19.25 – informationtickets

Rocket From The Tombs (Brudenell Social Club, 17 Brudenell Road, Leeds, LS6 1HA, England, Sunday 13th December 2015, 8.00pm) – £17.60 – informationtickets

In their initial lifetime they never got past a series of scorching mid-‘70s gigs in their Cleveland hometown (plus a handful of demos and radio sessions). Yet Rocket From The Tombs have long been counted as proto-punk ancestors, kicking up a frumious Velvets-and-Stooges racket long before every other garage band was doing it. These days, onstage rock rage is quotidian; when Rocket From The Tombs brought it to the gig, it was a revelation. Following a headstrong and punchy split, they even spawned several other key bands. Main ranter David Thomas, doomed-and-driven guitarist Peter Laughner and soundman-turned-bass-player Tim Wright would create the first lineup of Pere Ubu. Second guitarist Cheetah Chrome and drummer Johnny Blitz hooked up with Stiv Bators and others to form hardcore punk pioneers Dead Boys. The rest was bootlegs and rumbling mythology. Rocket From The Tombs became one of the ur-bands, a surviving impression holding its ghostly mark but pushing onwards, providing inspiration above and beyond its initial ideals.

Rocket From The Tombs/Luminous Bodies @ Baba Yaga's Hut, December 2015By the ex-members’ accounts, being in the band had been a short, brutal and vivid experience; but it seems that there may also have been an unspoken, slow-burning sense of unfinished business. Twenty-eight years later, in their grizzled early fifties, and with plenty of other experience clocked up, most of the surviving band members (minus the retired Blitz and the long-dead Laughner) reunited for piss-and-vinegar-fuelled gigs, a long-delayed debut album and an actual afterlife. Although Laughner’s initial replacement (ex-Television guitar star Richard Lloyd), left in 2011 and a tour-burned Cheetah Chrome is now opting to sit out the live gigs, Rocket From The Tombs are still going – very much the garage end of Cleveland’s infamous avant-garage, making the most of this ornery self-driven second shot while bleeding in lessons learned from Pere Ubu and elsewhere.

The band have never played in Britain before, something which is being remedied with these two gigs in Leeds and London. In an interview with ‘The Guardian’ earlier this year, a currently chair-bound David Thomas growled “I’m approaching the end of my life, I’ve got my foot to the floor and I’m going to be going full speed ahead when I hit the wall.” It’s probably worth your while coming to one of these shows to check out his main accelerant.

There’ll be no support band at the Leeds gig, but in London things will be warmed up by Luminous Bodies, a “knuckle-dragging rock & roll” supergroup stealing members from Part Chimp, Terminal Cheesecake, Ikara Colt and others. See below.

* * * * * * * *

And that’s that. More coming shortly with the remaining December gigs and the seasonal parties… keep warm…

 

ATTN:Magazine

Not from concentrate.

Xposed Club

improvised/experimental/music

I Quite Like Gigs

Music Reviews, music thoughts and musical wonderings

A jumped-up pantry boy

Same as it ever was

PROOF POSITIVE

A new semi-regular gig in London

We need no swords

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

:::::::::::: Ekho :::::::::::: Women in Sonic Art

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

Ned Raggett Ponders It All

Just another WordPress.com weblog

Headphone Commute

honest words on honest music

Yeah I Know It Sucks

an absurdist review blog

Pop Lifer

Waiting for the gift of sound and vision

Archived Music Press

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

The Weirdest Band in the World

A search for the world's weirdest music, in handy blog form

OLD SCHOOL RECORD REVIEW

Where You Are Always Wrong

Fragile or Possibly Extinct

Life Outside the Womb

a closer listen

a home for instrumental and experimental music

Bird is the Worm

New Jazz: We Search. We Recommend. You Listen.

Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

eyesplinters

Just another WordPress.com site

FormerConformer

Striving for Difference

musicmusingsandsuch

The title says it all, I guess!

songs from so deep

Songs and sound. Guitars and stuff.

%d bloggers like this: