Tag Archives: Society Of Imaginary Friends Soiree (event)

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
 

May 2018 – upcoming London gigs – SOIF Soiree in Wood Green including John Moore, Society Of Imaginary Friends, Magdalena Grabher, John Glyn & Richard Bolton, Circulus’ William Summers and assorted poets and spoken-worders (May 4th)

29 Apr

It’s always nice to have free events bob into view, even if it’s at short notice. Into my face blows a excitable new balled-up missive from operatic art-pop auteurs and eclectic monthly salon curators Society of Imaginary Friends. Once I’ve opened it, smoothed it out and vigorously curry-combed it for loose grammar and punctuation, I’m offered a remarkable selection of goodies: a webbing of poetry and musicality which links together Shakespeare, The Jesus & Mary Chain, psychedelic folk troupe Circulus, Black Box Recorder, Rosa Mota, autism, X-Ray Specs and vegan cuisine.

I’ll let him/her/them do the talking:

SOIF Soiree, 4th May 2018

“I was taking the escalator over the hill… hang on… something’s burning… It’s our Beltane Birthday Soiree on the 4th May!!! The extraordinary Alfie Thomas (SOIF has hit a very significant number of earth years… Oh, what a dancing dragon of a party we have in store for YOU… Yee…


 
“Hah!!! Our star-studded night includes the fantastic John Moore (Black Box Recorder, Expressway and Jesus & Mary Chain) performing a couple of his hits from his new album ‘Knickerbocker Glory’ (“couched in shimmering rock, Sixties girl-group pop and even a touch of operatic soprano on Anne of a Thousand Days, this is a literary pop gem” – ‘The Times’) – guess who the operatic soprano is? Punk legend virtuosic saxophonist John Glyn (X-ray Specs and Wreckless Eric) will be astounding us with his magical improvisation, weaving his beautiful tones with the incomparable virtuosic guitarist Richard Bolton. Their inspiration is the vibe of the night: we all have a part to play in creating something totally original.


 
“The beautiful, soulful Magdalena Grabher will be looping her intricate musical motifs to create ethereal soundscapes and gorgeous songs; the wonderful highly acclaimed poetess Lady Amy Neilson Smith and master of woodwind Sir William Summers (Circulus, Princes in the Tower) will be astounding us with their Shakespearian-inspired set.




 
“Award-winning spoken-word performer Cian Binchy will be making us think (catch him before he takes his sell out show ‘MADHOUSE re:exit’ to Manchester for a month), urban punk goddess I Am Her will be performing songs from her brand new album; the superb Math Jones will be sharing his Beltane musings; welcoming to the Soiree mystery new poet Charlie and author Samuel Bates. Special guest DJ t.b.a, and special birthday songs from Society Of Imaginary Friends. Fabulous vegan cuisine by Roger and Kathy – it is also Roger’s birthday!! So much to celebrate. FREE ENTRY: Looking forward to seeing you there… xxx”

Society of Imaginary Friends presents:
Beltane Birthday Soiree: Society Of Imaginary Friends + John Moore + John Glyn & Richard Bolton + Magdalena Grabher + William Summers & Amy Neilson Smith + Cian Binchy + I Am Her + Math Jones + Charlie + Samuel Bates + others t.b.c.
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 4th May 2018, 7.30pm
– information here
 

February 2018 – upcoming London gigs – Society Of Imaginary Friends Soiree with Meg Lee Chin, Keiko Kitamura, I Am Her, Kosmic Troubadour, Math Jones (2nd February); Peter Blegvad Trio and Bob Drake (9th February – plus the Club Integral Resonance Benefit Gala on the 8th); Evil Blizzard and Nasty Little Lonely (10th February)

29 Jan

SOIF Soiree, 2nd February 2018

Society of Imaginary Friends presents:
“Into The Forest” Soiree: Meg Lee Chin + Keiko Kitamura + I Am Her + Kosmic Troubadour + Math Jones
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 2nd February 2018, 7.30pm
– free event – information here

After a few events which were perhaps a little more predictable than we’d’ve hoped, this month’s Society Of Imaginary Friends-hosted concert moves up a gear with the involvement of “two goddesses of Earth and Heaven”. Purple twilight time:

“We take the path that leads down from the fell, over the style, over a stream and into the heart of the forest. At first it seems completely lifeless in the wood, all of its creatures hibernating deep in the ground; but as our eyes become adjusted to the dusky dark and senses atuned to its music..the rustle of a robin in the dried leaves, a squirrel’s staccato, a falling pine cone. Suddenly we are in a clearing of softest moss – a place of refuge and rest, where a clear spring rises and sunlight dances. Welcome to our “Into the Forest” Soiree.”

A mid-‘90s Pigface member (and the former frontwoman for female noise band Crunch), industrial pop/darkwave/hip hop songstress and hands-on producer Meg Lee Chin is a prime example of longstanding female creativity and independence. Having rattled cages and excited commentators with her turn on Pigface’s ‘Nutopia’, she then spearheaded contemporary home-studio recording with her 1999 solo album ‘Piece and Love’ and went on to found pro-audio community Gearslutz. Although released music has been sporadic for the last couple of decades, Meg’s kept her reputation as a fascinating, brilliant performer and composer and as an outspoken, sometimes contrary blogger. SOIF, in turn, have a reputation for coaxing people’s slumbering performance talents out of semi-retirement: if Meg’s risen to the occasion in response, this ought to be pretty exciting.

Also on hand – and in delightful contrast – is Keiko Kitamura: known for activities ranging from replaying Japanese court music to Jah Wobble’s Nippon Dub Ensemble, is a leading international koto player (in particular, the 17-string bass version) as well as a singer and shamisen player. Expect a mixture of tradition and originality.




 
The rest of the appropriately quirky SOIF bill is filled out by eccentric rainbow keyboard warrior The Kosmic Troubadour, poet/dramatist Math Jones (with a sheaf of forest poems) and Soiree regular I Am Her, a.k.a. ex-Rosa Mota singer Julie D. Riley (who also, with fellow Rosacian Sacha Galvagna, makes up transatlantic transcontinental electropop minimalists Crown Estate). As ever, the Society themselves are performing, presenting (presumably) art-pop forest ballads to take in with the Karamel vegan feast that’s part and parcel of a SOIF event. This time, you get an appropriately woody wild forest mushroom soup, a mushroom and root vegetable pizza and some Black Forest gateau…


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Here’s news on one of the several fundraisers for London alt.culture radio station Resonance FM, helping it to keep up its mission of broadcasting the wild and wonderful across the Smoke’s airwaves and around the world online. Even setting aside the calibre of the night’s performers, it’s pretty much worth going along for that reason alone.

Peter Blegvad Trio, 9th February 2018

Resonance FM presents:
Peter Blegvad Trio with Bob Drake
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Friday 9th February 2018, 7.30pm
– information here and here

I’ve always had a lot of admiration for Peter Blegvad – not only for the owlish wit of his songs (including his skill as palindromist and wordplayer) and the enviable polymathic breadth of skills which means he’s also a fine experimental cartoonist, audio dramatist and commentator. It’s also because anyone who can get himself sacked from ‘70s avant/oppositional prog gods Henry Cow by outrightly twitting their seriousness at the height of their brow-furrowing Maoist phase (and apparently by writing a lyric about a woman chucking raisins at a skeleton) is a man who knows something about whistling in the face of sternness.

Well, perhaps I shouldn’t make too much of this. For one thing, despite (and because of) Henry Cow’s high-flying, generally admirable idealism, spending time there seems to have been argumentative for everyone (in particular during the period in which almost every potential action appeared to have its cripping counter-bourgeois condemnation, during which a man of Peter’s wayward questioning wit and self-declared flippancy would have stuck out like a slammable thumb in the way of a door). Once out of the mothership, though, it was evidently easier to be familial. Showing up most artistic spats and internal rock band feuds for the pique and piffle that they are, all of the ex-Cow-ers grew up (and grew past their arguments) to become a mutually supportive bunch. Threading in and out of each other’s concerts and solo careers, they rapidly learned to welcome and celebrate the diversity of their collective interests and ideas, and they’ve stayed that way.


 
Proving this yet again, whenever the Peter Blegvad Trio comes back together it reunites Peter with two regular Cowfriends: John Greaves (bassist and longtime ally both during and after Cowdays, from the ‘Kew.Rhone.’ project onwards) and Chris Cutler (drummer and owner of the eclectic and honourable post-Cow record label ReR Megacorp which, since 1988, has released four widely-spaced Blegvad albums – ‘Downtime’, ‘Just Woke Up’, ‘Hangman’s Hill’ and last year’s ‘Go Figure’). Thirty-seven years of on/off playing together has resulted in a relaxed, gently telepathic connection: not a mysterious communion, nor an alliance of breakneck musical stuntwork, but an easy, comfortable instinct for what’s required to frame the song and no more. As for Peter himself, if you’re unfamiliar with his work it’s best to think of someone with one foot in the sardonic-wit songworld of Loudon P. Wainwright, Leon Rosselson, Richard Thompson and Kinky Friedman, and the other in the counterflow rock camp which the Cow shared with (among others) Faust and Pere Ubu.


 
And that brings me to the second point – ultimately, it’s really pretty misleading to define Peter by the lineaments of Henry Cow, art-prog or Rock In Opposition. Granted, he’s spent quite a bit of time paddling away in those areas (in addition to ‘Kew.Rhone’ and the Cow work, there’s been Slapp Happy, Faust and The Lodge, as well as swing-by dates with The Golden Palominos and Art Bears). Yet if you put him firmly in the driving seat on his own, what you get isn’t hyperliterate trickery, but intelligent, light-touch, surprisingly roots-rocking songs with a smart economy of tale-telling and reflection.

He’s still got a yen for throwing up a thesis and exploring it (this is, after all, a man who once explored the roots and fears of the European Union via a teasing, erudite and baffling lyrical mirror-maze of classical borrowings), but more often than not he’ll now use a folk or country-folk form to do so, or pick a nuanced idea to polish in a few simple strokes: something a child could pick up on but which an adult might savour. From some angles you could even confuse him (via that nasal, tuneful, breathy bark of a voice) with a more relaxed Mike Scott in acoustic mode, or even with Mark Knopfler in a moment of sardonic humanism. Although neither of them would have written a love ballad as sparse and sorrowful as Shirt And Comb, honed a metaphysical gag like Something Else (Is Working Harder) or tweaked, explored and upended a common cultural assumption the way Peter does on Gold.


 
One of the contributors to ‘Go Figure’ (along with Karen Mantler) was the delightful Bob Drake – the erstwhile Thinking Plague and 5uu’s mainstay turned offbeat producer and solo artist. For more of my rambles on him, take a look over here. The long and the short about him, though, is that he’s a multi-instrumentalist and hedge-bard with broad and rambling ideas about just how far you can stretch and mutate an open-ended thought or song, who now regularly heads out for solo voice-and-guitar gigs (often performing, for reasons both flippant and serious, in a lovely white bear-dog suit). Like Peter Blegvad, Bob’s got a liking for complexity and warm perverse wit; but what you take away from his shows is literal shaggy-doggery: peculiar sung tales both finished and unfinished about strange mammals, haunted houses, odd habits, monster-movie scenarios and twisted eldritch dimensions.

When I originally posted this, I was under the impression that Bob was playing a solo Oto support slot, but it now appears that he’s actually beefing up the Trio to a quartet, with or without the animal suit. If you still want to see Bob in solo mode, however, you could set aside some time the previous evening for another Resonance FM fundraiser: Club Integral‘s annual Resonance tin-shaker, being held south of the river at IKLEKTIK on Thursday 8th.

Offering “thirteen minute sets from thirteen acts”, this features a wealth of music-and/or-noise-makers from the Integral playlists: improv pranksters Glowering Figs, audiovisual sculptress Franziska Lantz, ARCO composer Neil Luck, mixed-ability folk internationalists the No Frills Band, Found Drowned/Four Seasons Television guitar manipulator James O’Sullivan, sound designer/Howlround member Robin The Fog, Bob and Roberta Smith (a.ka. artist/advocate/utopian Patrick Brill) playing with his own “musical intervention” project The Apathy Band, restlessly morphing New Wave survivors Spizz, and whoever St Moritz, Two Horns, Robert Storey, Strayaway Child, Swordfish and King/Cornetto happen to be. Plus Bob – who was hoping to balance his thirteen-minute time limit with the playing of thirteen one-minute songs, but has apparently opted to settle for eleven.


 
(If Bob’s wily, he’ll also strap a few tentacles onto that fur-suit and go up and do a bit of busking by Camden Lock, staking out the London Lovecraft Festival that’s also taking place that week…)

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Evil Blizzard, 10th February 2018

Baba Yaga’s Hut presents:
Evil Blizzard + Nasty Little Lonely
The Underworld, 174 Camden High Street, Camden Town, London, NW1 0NE, England
Wednesday 10th February 2018, 6.00pm
– information here and here

Filling in a three-cornered gap between Public Image Ltd, Poisoned Electrick Head and The Residents, hilariously distressing Preston lords of misrule Evil Blizzard are bringing their act south in order to launch their ‘Fast Forward Rewind’ single (from upcoming third album ‘The Worst Show On Earth’). Their gigs are part banging art-punk party and part horror-comedy masked ball, featuring four cranky and disparate bass guitarists; a singing, chanting drummer; and a pair of in-house stage invaders in the shape of a dancing money-chucking pig and a man running wild with a mop.

The assorted masks (hilarious and creepy) and the threatening mannequin/orc lunges may make it all look like an Auton’s cheese-dream or a riot in a Black Lodge dollhouse, but underneath the screaming horse-laughs are a rattling good party band. Over the years, they’ve won over many a psychedelic or underground festival audience and even their own musical heroes (with Killing Joke, Hawkwind and PiL having invited them on for support slots).



 
Also playing are stomping industrial post-punk duo Nasty Little Lonely, who provide a bandsaw-guitar set of “post apocalyptic decadence, discarded trappings of consumerism gone awry, alienation and small furry creatures with very sharp teeth.” They might possibly be tempted to dance afterwards if you encourage them enough.


 

January 2018 – assorted English and Scottish gigs – piano, soul, art pop and verbiage with Society of Friends, Blert Ademi, Stone Deep and a host of poets at the SOIF Soiree (London, 5th); cutting an altfolkrock swathe with a Trembling-Bells-flavoured show by Orion’s Belt, Tom Slatter and Marcus Doo (Glasgow, 6th); experimental pop with Snails, Edward Penfold and Eugene Capper/Rhodri Brooks (Bristol, 13th)

1 Jan

Starting off the New Year, there’s a diverse brace of upcoming shows dotted around the country… In London, there’s the Society Of Imaginary Friends’ monthly musicians’n’poets soiree (this month, one that’s particularly heavy on the poets). In Glasgow, there’s a “feast of psych and folk wonderment” linking the folkworlds around Trembling Bells and Alasdair Robert with arch proggy steampunk songwriting. Down in Bristol, there’s “an evening of pop pleasures and wonky wonders.” Read on…

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Society of Imaginary Friends Soiree, 5th January 2018

Society of Imaginary Friends presents:
“For Those in Peril on the Sea” Soiree: Society of Imaginary Friends + Blert Ademi + Debra Watson + Stone Deep + Amy Neilson Smith + Ernie Burns + DJ Miracle Rhythm
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 5th January 2018, 7.30pm
– free event – information here and here

From the Society:

“A still boat in a raging storm, our January Soiree – the month of cataclysmic cyclones battering our little island, foam fills the air, cool seagulls ride the tempest and the Society Of Imaginary Friends gather in their cabin around a crackling fire and tell stories of things past and things to come.

“We are joined by the fabulous young pianist Blert Ademi; brilliant, hard hitting poetess Debra Watson; new intriguing soul music from Stone Deep; charismatic performer, Shakespearian beauty and wonderful poetess Amy Neilson Smith; lusty, revealing super-wordsmith Ernie Burns; on the wheels of steel, the vinyl singles DJ extraordinaire DJ Miracle Rhythm; and the Society Of Imaginary Friends taking you back to a beautiful solstice evening in the Glastonbury Green Field. (More amazing performers to be announced – watch this space!) Cordon bleu vegan delights available to purchase from top chefs Kathy and Roger. Free entry. Dinner from 6pm, live performances start at 8pm.”

I couldn’t find anything on – or by – Stone Deep; but here’s a look at the rest of the lineup so far, beginning with an old SOIF track…






 
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A day later, there’s the Scottish event: a delightful, consensus-bucking meld of the credible, the incredible and the extramural.

Orions Belt + Tom Slatter + Marcus Doo, 6th January 2018

Orion’s Belt + Tom Slatter + Marcus Doo
Nice’n’Sleazy, 421 Sauchiehall Street, Glasgow, G2 3LG, Scotland
Saturday 6th January 2018, 7.30pm
– information here and here

Headliners Orion’s Belt are a “seven-piece behemoth” of latterday Glasgow-via-Canterbury psychedelic folk, sometimes compared to “Kevin Ayers & The Whole World with Judy Collins handling the vocals”. They’re led by singer Lavinia Blackwall, best known as the voice of Trembling Bells but a longstanding mainstay of Glaswegian early music and avant-folk. Prior to their work as Trembling Bells, she and Alex Neilson collaborated as free-improv folkers Directing Hand: outside of the Bells they still sing together (alongside Harry Campbell and Katy Cooper of Muldoon’s Picnic) as four-part a capella voice quartet Crying Lion, who blend madrigal, folk, Gregorian and Sacred Harp elements into original songs.

In comparison, Orion’s Belt sounds like one of Lavinia’s more easy-going projects but ought to be magical nonetheless. Also on board in the band, picked from Glasgow’s gutsier psych, prog and folk underground, are members of “ongoing sloth-themed rock opera” collective Sloth Metropolis, prog-folkers Big Hogg, and “neo-psychedelic ninjas” Helicon (plus perhaps a few more people from Trembling Bells). Sorry – it still seems to be too new to have generated any recordings or Youtubings yet, but as a compensation here’s Lavinia’s five-year-old version of Richard Farina’s ‘The Quiet Joys of Brotherhood’ performed with Maddy Prior, Thea Gilmore and the late Dave Swarbrick.


 
Originally with mid-noughties post-rockers Ancient Monsters, Highland-born singer-songwriter Marcus Doo has since made the transition to modern-day folk; initially with his own Spanish-based Secret Family, who explored the genre via their “Magpie Returned the Ring” album and scores for a Spanish Royal Theatre version of Ted Hughes’ ‘Gaudete’ and for Chema Rodríguez’s ‘Anochece en la India’. He’s been described by author Graeme Macrae Burnet as “a songwriter with a rare mastery of both melody and lyrics… his songs are satisfying as a rounded pebble in your hand, and he performs them with such passion and intensity that I would defy anyone not to be moved.” Since his 2015 return to Glasgow, Marcus has been working with sympathetic figures including Alasdair Roberts (with whom he’s recently toured), Alex Neilson and Mike Hastings of Trembling Bells, and Tom Davis of Big Hogg.

All of the latter appear on Marcus’ debut solo effort ‘Kid Wonder’, a loosely conceptual folk album about “an older man looking back at his life, towards death and in search of any Golden Apple (an old Norse emblem of eternal youth) of memory that may help him accept what has gone and what is about to come. Through various adventures to an ever-clearer destination he is emboldened by memories of places and people past, and gives thanks to them.” Other contributors to the record include Trembling Bells’ Valinia Black, various other members of the Doo family (including Marcus’ recently deceased grandfather), France-based flamenco-ist Genaro Alonso and Clova fiddler Aoife McGarrigle.

To have a listen to ‘Kid Wonder’ you’ll need to visit Marcus’ own music page, but here’s another substitute in the shape of an old Secret Family track.


 
In the middle of the bill is sardonic London bard-of-the-fantastical Tom Slatter, whose reliably arch and intricate songbook of weird-fiction songstories (steampunk murders, tentacled monstrosities running amok) has built up across a string of theatrical albums and EPs since the early noughties. Hailed for “epic tales of darkness and light (which) fuse the bile of Roy Harper with humour and a sharp musical mind”, he’s previously delivered them live via a single strummed acoustic guitar, but is now generally accompanied by electric guitarist Gareth Cole. Here’s the video for a particular bit of 2015 Slatter tentaculation:


 
In case you think that Tom sounds like an odd, forced fit in the midst of this sincere Scottish folk stew – and it’s fair to admit that a man who calls his own concert album ‘Live, Discomfiting and Overly Whimsical’ might be bringing the hurt down on himself – it’s worth remembering that (in between the Lovecraft/Sterling/GameCon rampages) his catalogue features scattered, glowing moments of unguarded psychedelic beauty such as the ‘Earthbound’ single. On top of that, Tom’s most recent solo album – last year’s ‘Happy People‘ – took an unexpected sideswerve away from the monster galleries, the top hats and the cog-driven toy theatres into a much more nuanced consideration of the human condition. Tom probably wouldn’t thank me for pointing this out, mind; and if you’re solidly unconvinced, come along and heckle him anyway. By many accounts, he loves a good heckle, especially if topped off by a dose of cunning wordplay.

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Snails + Edward Penfold + Eugene Capper & Rhodri Brooks, 13th January 2018

Pop Or Not Promotions and Undergrowth present:
Pop/Not: Snails, Edward Penfold, Eugene Capper & Rhodri Brooks
Cube Microplex, Dove Street South (off top-left of King Square), Kingsdown, Bristol, BS2 8JD, England
Saturday 13th January 2018, 7.30pm
– information here, here and here

In the Cube Microplex (the squirreled-away Bristol theatre-turned-cinema/venue which recently hosted a rollicking showing of Cardiacs’ ‘Mare’s Nest’ concert film plus The Scaramanga Six), there are some more workings along the pop fringe. Over to the promoters…

“Led by songwriter Dan Weltman and described as “eerie, beautiful, modestly majestic” by Stephen McRobbie of The Pastels, five-piece experimental pop band Snails generate moments of suburban guitar pop reverie for lonely people walking to the shops. Their sound bears the influence of ’60s folk and psychedelia with a peppering of ’90s pop. Mavericks such as Syd Barrett and Nico mingle with the likes of the Gorky’s or even Belle and Sebastian; though, having no desire to recreate the past, Snails sensitively combine a passion for classic sounds with inventive songwritting to create their own heartfelt pop music. For this unique Bristol show they will be playing brand new material from their upcoming second LP.


 
Edward Penfold’s music is a blend of the old and the new, nostalgic but not dated. More than anything it sounds like now. It’s music from the heart – a hazy collection of sounds and moods, sometimes upbeat, sometimes down, but always genuine and always captivating. His lyricism reflects the eloquence and observation of a very English sort of poetry, seeing the depth in the shallows of life, the profundity in the mundane; all accepted with a matter-of-factness that is reflected in the driving impetus in every song, whether slow or fast or groovy. His new album ‘Denny Island Drive’ came out in late November 2017.


 
“After two years of ongoing collaboration and development, Cardiff twosome Eugene Capper and Rhodri Brooks have just released their beautiful debut LP ‘Pontvane’. Individually, both Capper and Brooks have developed back catalogues of diverse musicality and influence, incorporating elements of surf, lo-fi, Americana and psych. Their first release as a duo further emphasises this eclecticism, effortlessly stitching together disparate sonic fragments into a cohesive, compelling whole. Take a listen…”

 

December 2017 – upcoming London gigs – SOIF Soiree with Kirsten Morrison, Beth Jones and others (1st December), Trapdoor in Soho (2nd December)

23 Nov

Society of Imaginary Friends presents:
Yuletide Soiree: Society of Imaginary Friends + Kirsten Morrison + John Glyn + Cian Binchey + Mathew Waterfall Mansford + Beth Jones + Martin Wakefield + Lord Buckley of Hackney + Miracle Rhythm DJ set
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 1st December 2017, 8.00pm
information

Society of Imaginary Friends Soiree, 1st December 2017There’s another Wood Green cornucopia of fringe musicians, cabaret, vegan food and spoken-word left-fieldery from the Society Of Imaginary Friends, and friends; helping to open up December.

It seems to be illegal for the Society to hold one of their Soirees without talky/theatrical/poetic geezers Cian Binchy and Martin Wakefield, so they’re both at this one. Accomplished multi-genre singer and Lene Lovich sidekick Kirsten Morrison (who graced the Soiree last December) returns for another go, backed by classical guitarist John Black and counter-tenor Peter Shipman; as does rootsy singer-songwriter Beth Jones. DJ DJ Miracle Rhythm is also back for the interims and playouts.

 
Saxophonist John Glyn of Republic and X-Ray Spex/Wreckless Eric/PragVEC fame (who performed at the previous Soiree) is back too, with more hornwork and “airing excerpts from his new show that will be toured in Mexico in the new year”; while regular event soundman Matthew Waterfall Mansford is stepping out from behind the board with songs of his own. Yet another returnee is Lord Buckley of Hackney. I’m still trying to work out who’s doing the resurrection of this particular bit of classic beat comedy – it might be a Hackney band called Pted and the Praerie Dogs, who like so many Soiree-ists are hiding somewhere under the internet and laughing at me…

Society of Imaginary Friends are playing too, though if so they don’t appear to be presenting a theme or miniature pop opera on this occasion (previous efforts have included eco-blues sets and song-cycle on the Home Counties or the life of the first voice of the Speaking Clock – this time all they’re saying is “Singing Ringing Pear Tree”…)


As ever, look back over past posts for more impressions of previous SOIF Salons…

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Trapdoor
St Moritz Club, 159 Wardour Street, Soho, London, W1F 8WJ, England
Saturday 2nd December 2017, 7.00pm
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Trapdoor, 2nd December 2017Sweet-natured Ian Evans has ambled around the fringes of London math-rock, twee-pop and outsider music for a couple of decades now with projects such as chamber/cabaret pop duo Elevenses or his own deeply involved solo releases. He’s an acquired taste for sure – an earnest, gentle man-boy and obsessively sharing polygeek, whose records often sound like erudite tour-guide pilgrimages sweeping around London on foot and by bus: peering about and ticking off the signifiers of secret or obscured history. When he’s not doing this he’s celebrating real ale, the looming culture-jumble of the V&A’s cast courts or cult TV (he’s a particular ‘Doctor Who’ fan), threaded with tales of his own friendships and heartbreaks.

At times, it’s a kind of CBeebies-friendly take on psychogeography, confessional and Zappa-esque conceptual continuity. The music, too, is odd – lo-fi outsider indie with twists of math, prog and folk-rock plus spots of Britpop; the words swarming en masse onto each song like ants storming a bookshelf.

Ian’s latest endeavour, Trapdoor, sees him beefing up his sound a bit while teaming up with bass player Sabrina Amade and drummer Dan Persad. I’m not sure whether he’s named the band after that cheerily gruesome mid’80s monsters-in-a-castle animation, but it wouldn’t surprise me. In recent months, Trapdoor have played a couple of smart community events reflecting Ian’s interests and convictions – the Smart Musicians Mix salon at north London’s Tigersonic Studios, and the Ladies Set event for Girls Rock London, encouraging gender equality in the music business. Now they’re undertaking something a little more mainstream – “a Christmas cheery gig” at the St Moritz Club, “the original ’60s Soho sleaze joint!”. Expect new stuff plus refurbished songs from Ian’s sheaf of solo work. Statues, smashed romance, the Sydney Street siege (and probably Silurians) ahoy…


 

November 2017 – a couple of London get-togethers – another Society of Imaginary Friends Soiree (3rd November) and the return of Staggerlee Wonders to IKLECTIK (17th November)

26 Oct

Society of Imaginary Friends Soiree, 3rd November 2017

Society Of Imaginary Friends present:
“Day After the Day of the Dead”: I Am Her + Magdalena Grabher + John Glyn + Richard Bolton + Martin Wakefield + Lord Buckley Of Hackney + Cian Binchy + DJ Miracle Rhythm
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Friday 3rd November 2017, 7.00pm
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Celebrating both the success of their latest music video Beautiful Boy (down as a potential winner at the Birmingham International Film Festival) and the life and times of recently departed cohort Sheila (“a lovely, lively woman”), art-pop band-cum-eclectic curators Society Of Imaginary Friends are throwing another soiree party in Wood Green.

Alongside the regulars – the Society themselves, poet-raconteurs Cian Binchy and Martin Wakefield, plus singer/songwriter/“punk goddess” I Am Her – this one sports Austrian “electronically enhanced genius of chanteuse” Magdalena Grabher. There’s also what’s described as “improvised mayhem from two smoking barrels” courtesy of a pair of current music healers with delightfully chequered pasts (saxophonist John Glyn of Republic and the ’80s socialist big band The Happy End; guitarist Richard Bolton from all manner of London jazzings up to and including fencing with spass-guitar berserker Billy Jenkins, now mostly fixing auras with therapeutic fusion band Symbiosis). The DJ set will be provided by DJ Miracle Rhythm (via a “left-field life enhancing corduroy collection of surreal sounds from the undergrowth” and as ever there’ll be vegan food a go-go.

For more on the Society (and I Am Her) have a look back at previous soiree postings; for the Glyn/Bolton improvs you’ll just have to show up and wonder; but meanwhile, here’s Magdalena…


 

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Mid-month, IKLECTIK sees another visit from the Staggerlee Wonders project, who swung by last last December (and have made it to Cafe Oto at least once in the interim)…

Staggerlee Wonders, 17th November 2017

I K L E C T I K presents
Staggerlee Wonders
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Friday 17th November 2017, 8.00pm
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As I mentioned last time, the project’s title is taken “from James Baldwin’s blazingly scornful, almost conversational poem – itself named for the black outlaw/hoodlum who flits and thunders through a set of conflicting American tales and songs, taking on the roles of murderer, proud badass, pimp and more.” Staggerlee Wonders itself is a freewheeling band with a changing cast, mingling free jazz with black radical words from the jazz renaissance (not just by Baldwin, but by the likes of Langston Hughes and Amiri Baraka)

Last year’s concert featured contributions from various remarkable polygenre musicians (including vibraphonist Corey Mwamba, dazzling bass player John Edwards and singer/movement performer Elaine Michener). This year there are three returnees – geologically slowhanded pianist Robert Mitchell (Epiphany3, Panacea), singer and storyteller Debbie Sanders and drummer extraordinaire Mark Sanders. John Edwards’ place on bass is taken by the similarly cosmopolitan Neil Charles (of BlackTop, Zed-U and Tomorrow’s Warriors, among others), Cleveland Watkiss adds his outstanding repertoire of vocalisations and loopings, and the latest Staggerlee wildcarding is provided by Emi Watanabe on a variety of Japanese traditional flutes.
 
 

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