Tag Archives: Seth Bennett

June 2017 – upcoming London jazz gigs – Alice Zawadzki & Jamie Safir (24th June); the LUME Festival 2017 (24th & 25th June)

17 Jun

A quick London jazz update, in two contrasting flavours (jazz-pop in a plush Soho brasserie; wild improv and thick sound in a Lambeth art space).

Alice Zawadzki & Jamie Safir, 24th June 2017

Live At Zédel presents:
Alice Zawadzki & Jamie Safir
Brasserie Zédel, 20 Sherwood Street, Soho, London W1F 7ED, England
Saturday 24th December 2016, 7.00pm
information

“Following a sold-out show in January, Alice Zawadzki and Jamie Safir return to their favourite venue for an evening of power-ballads and pop-songs: rearrangements of ’70s, ’80s and ’90s classics stripped bare and drastically re-imagined in this intimate jazz setting. Described by ‘The Guardian’ as “a genuine original” and by ‘MOJO’ magazine as “something of a phenomenon”, Alice truly possesses a unique musical gift on both voice and violin. Tonight she will be ably accompanied by accomplished, young pianist and arranger Jamie Safir, a regular at Zedel, and a creative and virtuosic improviser whose sensitivity and skill when accompanying vocalists has led to him work recently with Will Young, Ian Shaw, Olly Murs and Barb Jungr amongst others.”

I couldn’t find any clips of Alice and Jamie working together (they’ve done this show before at Zédel, but no-one seems to have thought to film it). Still, to give you an idea, here’s Alice’s separate guitar/violin/bass trio cover of Nobody’s Fault But Mine, brought down to a thrumming pitch of apprehension. Not that the original’s a power ballad, but it fits the mould if you stretch the latter beyond belief (and carefully ignore the fact that the original’s actually a Blind Willie Johnson blues moan rather than a crushing Led Zeppelin behemoth), though I’m not sure whether she’ll be applying similar techniques to Hold The Line, Nothing’s Gonna Stop Us Now or other ‘School Disco‘/’Guilty Pleasures’ stalwarts.


 
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LUME Festival, 24th & 25th June 2017

LUME presents
LUME Festival 2017
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 24th June 2017 & Sunday 25th June 2017 (3.00pm to 10.30pm, both days)
– information http://iklectikartlab.com/lume-festival-2017/ here, https://luminouslabel.bandcamp.com/merch here and here https://www.facebook.com/events/539918599729636/

At the same time, London experimental jazz organisation LUME will be throwing a two-day performance party in the shape of their own yearly LUME Festival. Drawing on the success of last year’s event, it brings a selection of old and new faces to town.

Both of the LUME organisers are bringing along their own quintets: Cath Roberts’ growling, exploded free-blues explorers Sloth Racket (with tenorist Sam Andreae, guitarist Anton Hunter, bass player Seth Bennett and drummer Johnny Hunter) and Dee Byrne’s flowing, cosmological, space-jazzing Entropi (with trumpeter Andre Canniere, keyboardist Rebecca Nash, drummer Matt Fisher and bassist Olie Brice). So too is Derby vibraphone theorist Corey Mwamba, playing his extended piece ‘as_the_tex(t): body’ in a band featuring Robert Mitchell, Rachel Musson, Liran Donin, and Richard Olatunde.

Newer to LUME are multi-layered Newcastle trio Archipelago (Christian Alderson, John Pope and Faye MacCalman, who throw piano, tapes, mbiras and handheld Monotron synths into the jazz-meets-garage-rock fusion of their bass/reeds/drums lineup) and the stormy murmuring chants of Laura Cole’s jazz-folk sextet Metamorphic, in which she’s joined by saxophonists John Martin and Chris Williams (the latter also of Led Bib), drummer Tom Greenhalgh, loop vocalist Kerry Andrew (of Juice Vocal Ensemble) and a bass chair that’s filled either by Paul Sandy of The Rude Mechanicals or by Sloth Racket’s Seth Bennett. Also in the mix are solo sets by visually-minded trumpeter and laptop wizard Alex Bonney (of Splice, Loop Collective, Leverton Fox and many others) and by electric trombonist and field recorder Tullis Rennie.

On top of this, there are some new entanglements. There’s the “brutally physical” Manchester/London teamup of David Birchall, Andrew Cheetham, Otto Willberg and Colin Webster; the Ma/ti/om percussion/bass/woodwind teaming of Matilda Rolfsson, Tim Fairhall and Tom Ward; plus whatever the random ensemble shuffle of The Hat Speaks throws up. To round off, there’s the mass blowing of the LUMEkestra as it debuts new work by Sam Andreae, Adam Fairhall, Dee Byrne and others.

Time details and daily lineups below, plus the usual wobbly stack of tunes, snippets and aural collisions to warm you up for the event.

LUME Festival, 24th & 25th June 2017


 

June 2016 – upcoming London jazz – Entropi & Mike Chillingworth Trio at the Vortex, The Tommy Remon Quartet at Map (both on the 5th), and nearly ten hours of international LUME festival at the end of the month (26th)

31 May

There’s an imminent weekend of jazz coming up, plus an all-dayer at the end of the month…

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LUME presents:
Entropi & Mike Chillingworth Trio
Vortex Jazz Club, 11 Gillett Street, N16 8JH.
Sunday 5th June 2016, 7.30pm
more information

“To round off this season of LUME at The Vortex, we’ve got an exciting double bill of new and improvised music.

Entropi (photo by Carl Hyde)

Entropi (photo by Carl Hyde)

Entropi is a vehicle for Dee Byrne‘s ‘space-jazz’ compositions, exploring a narrative of life-pondering, stargazing and risk-taking. Juggling order and chaos, composition and improvisation, the group takes listeners on a journey with compelling group interplay, strong themes, open-ended improvisation, dark grooves and interweaving melodic textures. The ensemble comprises Dee (on alto saxophone), trumpeter Andre Canniere, keyboardist Rebecca Nash, drummer Matt Fisher and bassist Olie Brice. Having performed live together for some time, the band has achieved a striking empathy and freedom to take risks. Their debut album ‘New Era’ was released on the F-IRE Presents label in June 2015, with their second album to come on Whirlwind Recordings in 2017.

Mike Chillingworth

Mike Chillingworth

“We are really looking forward to welcoming alto saxophonist and composer Mike Chillingworth and his trio. In his own words:

“‘I formed this trio last year as a means to play music with an emphasis on spontaneity and improvisation. I have another project, a septet, which is all about detailed written compositions. This trio is the antidote to that. I will be performing with two fantastic improvisers: US drum legend Jeff Williams (who has played with everybody, including two of my favourite saxophonists Joe Lovano and Stan Getz) and Conor Chaplin on bass (who plays in many of the most exciting new UK bands at of the moment).

“I often deliberately avoid choosing repertoire for a gig until the last moment, often writing new tunes in the days leading up to a performance, or taking ideas from whatever I happen to be listening to at the time. Whatever we choose to play on this occasion the emphasis will be on improvising, communicating, listening and exploring together.'”

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On the same night, you’ve also got the chance to check out some new start-of-career talent at one of London’s nicest small venues – the Map Studio Café, tucked away in the Kentish Town side-streets. I’ve wanted to talk about this place since discovering it on a random stroll after a swimming session at the Prince of Wales Baths, when its easygoing atmosphere and hopeful spirit provided an ideal wind-down opportunity: the compact performance space upstairs and the talk of a built-in recording studio piqued my interest, and this week’s gig gives me something solid to plug…

Map Studio Café presents:
The Tommy Remon Quartet
Map Studio Café, 46 Grafton Road, Kentish Town, London, NW5 3DU, England
Sunday 5th June 2016, 8.00pm
more information

Tommy Remon, 2016

Tommy Remon, 2016

Led by up-and-coming guitarist Tommy Remon, this quartet has emerged from the Tomorrow’s Warriors Organisation, which encourages young British jazz talent (focussing on people from the African diaspora, with an additional focus on encouraging girls and women into the form). Currently playing hard bop and modal tunes from the jazz canon, as well as their own original compositions, the band are at a self-confessed early stage despite their collective musical strength, and are hungry to develop further insight and breadth. Now, however, is the ideal time to catch them while they’re young, hungry and open, and about to start on their first significant expansion.

The other members of the band are double bass player Rio Kai (who’s played with Jason Yarde and Alex Garnett), drummer Patrick Boyle (Tomorrow’s Warriors Big Band, Nathaniel Facey) – both of whom previously worked with Tommy in a trio – and trumpeter Dylan Jones, who’s still an undergraduate at Trinity Laban, but is already a member of EZRA Collective. Between them, the band members have also worked with Tomorrow’s Warriors founder Gary Crosby, Nérija, Binker Golding and Kokoroko.

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Three weeks later we’ll be back with LUME, who are summarising their current state of play via their first festival, which they successfully crowdfunded following an appeal earlier in the year (with backup from Arts Council England, and the Austrian Cultural Forum). It looks as if it’s going to be both a broad and a familial occasion, with many LUME regulars reappearing in a variety of bands and contexts, with strong playing contributions from the LUME organisers themselves, and with a substantial presence as regards the female jazz musicians which LUME in part encourages (just over a quarter of the twenty-seven players involved are women, most of them also being group leaders, co-leaders and composers). Tickets are limited and are going on sale at the start of June.

LUME Festival 2016

LUME presents:
LUME Festival: Word Of Moth + Ant Traditions + Hot Beef Three + Little Church + Kjær/Musson/Marshall + Blueblut + Article XI
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Sunday 26th June 2016, 1.00pm-10.30pm
more information

  • The day’s headliners are Word Of Moth, the London-based collaborative quartet which includes the two LUME founders on saxophones (Dee Byrne on alto, Cath Roberts on baritone) alongside Seth Bennett (bass) and Tom Greenhalgh (drums).
  • Article XI is a freewheeling large ensemble led by guitarist Anton Hunter, originally put together for the 2014 Manchester Jazz Festival but deemed too good not to continue with. Mingling free improvisation with tightly-composed contrapuntal writing, it also features Oliver Dover (alto sax, also of Saxoctopus and many others), Tom Ward (tenor sax), Cath Roberts (baritone sax), Johnny Hunter (drums), Seth Bennett (bass), Graham South and Nick Walters (trumpets), and Tullis Rennie and Richard Foote (trombones).
  • Vienna-based Blueblut was founded by three musical powerhouses, famous in their respective spheres of jazz, electronic and avant-rock music. The band have the intensity of rock, the space and openness of electronica and the razor-sharp precision and wild improvisation of jazz. Featuring Led Bib’s Mark Holub on drums, Pamela Stickney on theremin and Chris Janka (flying machine maker, sound engineer, automata creator and Viennese Caractacus Potts figure) on guitar and overall production.
  • Musson/Kjær/Marshall are a fantastic London trio of committed European-scene improvisers and extended-technique instrumentalists, all of whom happen to be female: Rachel Musson (tenor sax), Julie Kjær (alto sax) and Hannah Marshall (cello).
  • Little Church are a Birmingham-based fusion quartet, playing compositions both from and inspired by Miles Davis’ electric period. Led by keyboard player David Austin Grey, the rest of the band is made up from Aaron Diaz (trumpet), Rachael Cohen (alto sax), Chris Mapp (double bass, bass guitar and electronics) and Tymek Joswiak (drums). Little Church fuses live acoustic instruments with synthesizers and electronics to produce a wonderfully ambient soundscape, which moves from meditative and hypnotising through to driving and funky with a seamless fluidity.
  • Hot Beef Three brings some of Leeds’ finest improvisers together: saxophonist Oliver Dover (see above),  guitarist Craig Scott (Ikestra, Craig Scott’s Lobotomy) and drummer Andrew Lisle. (All three already play together as part of Leeds’ notorious eclecti-chaos band Shatner’s Bassoon.)
  • Ant Traditions are a top-notch Manchester improv duo featuring Adam Fairhall (toy pianos) and Dave Birchall (electric guitar).

There’s a sonic buffet provided below to keep you happy until the end of June:








 

February 2016 – upcoming gigs – from electro-salsa sizzle to cinema cello to sorry sighs with Daylight Music (Arcadio, Michael Price & Peter Gregson, Dakota Suite & Quentin Sirjacq); Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Luminous Bodies, Casual Sect and Girl Sweat glisten in Hackney; LUME give us improvising strings, Fauré jazz and a female bandleader summit (Njanas, Percy Pursglove’s Far Reaching Dreams Trio, En Bas Quartet)

4 Feb

More assorted crossovers and team-ups via Daylight Music…

Daylight Music 214

Daylight Music 214: Arcadio + Michael Price & Peter Gregson + Dakota Suite & Quentin Sirjacq
Union Chapel, Compton Terrace, Islington, London, N1 2UN, England
Saturday 6th February 2016, 12.00pm
– free/pay-what-you-like event – more information

Arcadio brings together London’s finest improvisers and percussionists to create a nomadic exploration of rhythm and movement. Led by composer Andrew Hall (also known as trumpeter for the vLookup Trio and Mak Murtic’s Balkan folk-futurist ensemble Mimika), Arcadio also features double bass player J.J. Stillwell, soundmangler Phil Maguire, woodwinder Rob Milne, multi-instrumentalist Ben Zucker, vLookup drummer Tom Atherton and several Mimika members (saxophonists Mak Murtic, Seb Silas and John Macnaughton; percussionist Paul Love). The band defines itself as the point where “electro-salsa meets free improvisation.” This will be their debut gig.

Michael Price is one of the UK’s most sought after composers and arrangers. His work for film and television includes ‘Sherlock’ and ‘Jekyll & Hyde’ (both of which he co-scores with David Arnold), ‘Unforgotten’, ‘Hot Fuzz’, ‘Tinker, Tailor, Soldier, Spy’, ‘Casino Royale’ and ‘Quantum of Solace’. Michael’s first film experience was as musical assistant, co-producer and arranger to the late Michael Kamen, with whom he collaborated for five years, working on a number of exciting projects including ‘X-Men’, ‘Band of Brothers’, ”The Iron Giant’, and ‘Metallica – S&M’. Having begun his career as a pianist and composer for contemporary dance, he has now established the Michael Price Trio and Ensemble to perform his own work in diverse venues across the world. His critically acclaimed debut album ‘Entanglement’ (on Erased Tapes Records, released in April 2015) was described as “gorgeous” by Rolling Stone.

On this occasion, Michael will be performing with New Music cellist and composer Peter Gregson, who has recently premiered works by composers including Daníel Bjarnason, Max Richter, Jóhann Jóhannsson and Steve Reich.

 

Now approaching its twentieth anniversary, Dakota Suite is not so much a band, more the brainchild of Chris Hooson. While holding down a full-time job as a social worker in Leeds, Chris produces affecting sadcore music under the Dakota Suite monicker, usually working in collaboration with multi-instrumentalist David Buxton, but sometimes with Italian ambient composer Emanuele Errante and American composer-cellist David Darling.

Since 2009, another regular Dakota Suite collaborator has been Parisian composer and pianist Quentin Sirjacq – improviser, New Music performer and composer of music for film, theater and radio. A musician who has performed as part of rock groups, big bands, symphony orchestras and avant-garde ensembles, Quentin has also worked Fred Frith, whose music he has performed (alongside that of James Tenney and Frederic Rzewski and José Maceda) as part of his continuing explorations of the avant-garde and its relationship with older traditions. Quentin’s other recent collaborations have included work with Akira Kosemura and Shin Kikuchi, leading to releases on the Japanese label Schole Records.

Current collective Dakota Suite/Sirjacq plans include an upcoming studio record featuring the Hooson/Buxton/Sirjacq trio and the release of a live album featuring the Hooson/Sirjacq duo, some of which may be touched on at this gig.”

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I’m not sure whether I’ll be covering as much garage rock this year as I did last year. I find that a little of it goes a long way without generating much to write about, unless you start reviewing the audience or pulling in some other contextual hobby-horses. That said, I do like what Baba Yaga’s Hut do, and part of what they do includes this noisy sweatbox of a show coming up at the weekend:

Pigs Pigs Pigs Pigs Pigs Pigs Pigs + Luminous Bodies + Casual Sect + Girl Sweat @ The Victoria, 6th February 2016

Baba Yaga’s Hut presents:
Pigs Pigs Pigs Pigs Pigs Pigs Pigs + Luminous Bodies + Casual Sect + Girl Sweat
The Victoria, 451 Queensbridge Road, Hackney, London, E8 3AS, England
Saturday February 6th 2016, 8.00pm
more information

Heavy-motorik Tynesiders Pigs Pigs Pigs Pigs Pigs Pigs Pigs are pretty brutal. That psychotic iteration-stutter of a name gives it all away before you even get to the music. I dropped a few chromosomes just by listening to them. Imagine the tangled ball-web of a lurking cellar spider: imagine Hawkwind being carjacked halfway down Ladbroke Grove, the steering wheel dragged out of Dave Brock’s hands. Expect a dystopian thrum of attenuated gutter grooves, early Ubu synth sousings and righteously pissed-off howls from singer Matt Baty, plus tossing, turning rhythm and cymbal work from the band’s drummer Ewan MacKenzie, who adds a powerful synaptic crackle to the whole business. Here’s twelve-and-a-half minutes of them…

 

Regarding the support bands… Luminous Bodies lurched up from the underground back in December, when they were seen supporting Rocket From The Tombs in London. For those of you who don’t remember that particular occasion, they’re a noise-rock supergroup, a gang of self-proclaimed knuckle-draggers pounded together like clumps of dirty wet clay, sharing players with bands including Ikara Colt, Part Chimp and Terminal Cheesecake. Casual Sect began knocking out their ratchety noisepunk (part conspiracy paranoia, part wink-to-camera) across a set of demos and gigs last year. Girl Sweat is less familiar to me: a one-man show of soiled electro-pop exotica and psychedelic fringe from Stockton-on-Tees, where the smog chews at the fake leather in the pub furnishings.



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There are two more upcoming jazz’n’improv gigs from the LUME organisation:

Njanas + Far Reaching Dreams Trio @ LUME, Vortex Jazz Bar, 8th February 2016

LUME presents:
Njanas + Far Reaching Dreams Trio
The Vortex Jazz Club, 11 Gillett Square, Dalston, London, N16 8AZ, England
Sunday 7th February 2016, 7.30pm
< – more information here and here

Njanas is a brand new project consisting of four female musician/composers – Laura Cole (piano), Filomena Campus (vocals), Tori Handsley (harp) and Ruth Goller (bass) – who are all band leaders in their own right. The ensemble, which celebrates women’s art and music, started more than a year ago.

Njanas state “we often feel under-represented as women in the worlds of jazz and art, and in this project all compositions are inspired by a female artist (such as Frida Kahlo, Niki de Saint Phalle, Gertrude Stein, Franca Rame and many more) or written by a female composer. The name Njanas is an encounter between the gigantic sculptures called ‘Nanas’, created by painter and sculptor Niki de Saint Phalle, and ‘Janas’, ancient legendary female figures and fairies/witches that relate to the myth of the Sardinian Goddess-Mother.”

Following the critically-acclaimed success of his ambitious nine-part jazz suite ‘Far Reaching Dreams Of Mortal Souls’, multi-instrumentalist and composer Percy Pursglove now debuts the music as re-interpreted by his fascinating new Far Reaching Dreams Trio, featuring himself on trumpet, Paul Clarvis on drums and Ivo Neame on piano and accordion.

Percy composed the original suite during 2013 and 2014, working with the support of a Jazzlines Fellowship. The multi-lingual piece (including sung texts referring to Anne Frank, Nelson Mandela, Aung San Suu Kyi, Malala Yousafzai, Charles Darwin, Leonardo da Vinci, Galileo Galilei, Benjamin Franklin and Joan of Arc) was originally arranged for a nine-piece ensemble, conductor and eight-piece choir for its October 2014 premiere. Percy describes ‘Far Reaching Dreams Of Mortal Souls’ as “a project that has been in the back of my mind for a few years now. I had some wonderful experiences singing in choirs at an early age and the sound of and purity of massed voices has always drawn my ear. I wanted to find a way to access that broad spectrum of possible textures that Gabriel Faure had introduced me to all those years ago, but within a chamber ensemble setting that has the scope to offer another layer of unforeseen spontaneity.”

En Bas Quartet @ LUME, London Review Bookshop, 18th February 2016

LUME presents:
En Bas Quartet
London Review Bookshop, 14 Bury Place, Bloomsbury, London, WC1A 2JL, England
Thursday 18th February 2016, 7.00pm
more information

En Bas Quartet are string-section improvisers. In order of rising pitch, they are Seth Bennett (double bass and group leader), Alice Eldridge (cello), Benedict Taylor (viola) and Aby Vulliamy (viola).

Seth comments “I’d long been interested in contemporary chamber music, and wanted to investigate that aesthetic in an improvised context. A ‘low’ quartet also allows me to join in – the bass part in a quartet is usually taken by the cello – and write music for a chamber ensemble, with all the interaction and rhythmic subtlety they use. I find the parallel between a small jazz ensemble and a string quartet very interesting; both groups will stretch time, allow the music to breathe and pause, and find a way to play as a single unit. I chose three of the best string improvisers in the country to form the rest of the ensemble, and was lucky enough that they all agreed to take part in the project.”

Here’s what they do:

According to LUME, at this gig the Quartet “will be playing Seth’s quartet for improvising low strings, based on the Northumberland folk song tune Sair Fyeld Hinny, and exploring various settings and provocations for group and solo improvisation. Inspired by the quartets of Shostakovich, Beethoven and Bartok, as well as more contemporary jazz ensembles like Arcado String Trio, the Masada string trio and contemporary British free improvisation, En Bas Quartet weave their disparate influences into a compelling whole.”

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More gig news shortly – Teeth Of The Sea, an evening of Bad Elephant Music, and much more (including plenty of folk-baroque guitar).

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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