Tag Archives: Stockholm (Sweden)

June 2021 – single & track reviews – Gabriella Smith/Gabriel Cabezas’ ‘Lost Coast III’; Hot Mustard’s ‘Jerkwater Strut; Ada Moreau’s ‘My Shadow Halts’

7 Jun

Following up on last month’s twirling ‘Bard of a Wilderness’ single, Gabriella Smith and Gabriel Cabezas continue to bring voice, cello and found percussion items to bear on the theme of human responses to the wild spaces, and to the destruction wrought on Gabriella’s California home by last year’s wildfires. While building on the pattering jazz and classical extended-playing techniques which threaded through ‘Bard…’, ‘Lost Coast III’ also sidesteps the former’s barely-restrained murmur and its mingled mourning/accusatory wordings. Skipping across a triple-beat, it’s more of a fiery Latinized waltz heading out on an angry roadtrip – its rage barely constrained, its grief turned into a wild chattering momentum veering all over the tarmac.

This time, Gabriella ignores texts in favour of dance chanting and thermal-tossed multi-tracked vocalese. She plays against herself in what sounds like a wordless, impressionistic vocal ballet of fire-panicked neighbours chattering and arguing, sharing fears and concerns as they try to save themselves what they can. Mingling with this is a sense of boiling injustice, a fury at the fact that this is actually happening. Hands and bow beat on cello case and cans, while Gabriel’s rapid string melodies squeal, strum and chop against the rhythms (and the viola of Bedroom Community labelmate Nadia Sirota adds more midrange sinew).

Round about the halfway point, the piece erupts into a frantically hummed-and-sung chorale of overdubbed Gabriellas, the cello casting disaster drones across the voices. Towards the end, everything disintegrates into a tangled mass of cello frenzy, alarms and firebell rattles before soaring out into a finale which combines everything that’s gone before into a thrillingly twisted-up whole. The more times that you listen to this, the more it seems to reveal; as if it’s not just dealing with the impact of the 2020 fires but mining deeper into Californian history for a catalogue of misfortunes, oppressions, mismanagements and outright fuck-ups, giving voice to all of the indignations that came with them but which were brushed under the forest floor. Rousing stuff, in every sense.

The remaining two singles (this time around) are much more relaxed.

Mixing rare groove with early hip hop/boom bap, the debut Hot Mustard single ‘Jerkwater Strut’ is a bit of idealised, retro-fitted funky-sidewalk strolling. At the group’s core, Jack Powell and Nick Carusos create a Chic-ish dynamic of guitar and bass co-leadership, although the group’s rural South Carolina location (and Jack’s taste for softly melting wah-wah trickles and behind-the-beat pacing) locate it in a much lazier groove. Brooklyn’s Big Brass Beats horn duo (with their Antibalas and TV on the Radio connections) phatten it out, but with the outcome being more New Orleans and Memphis than it is Big Apple (though they do cite a little bit of Wu-Tang Clan as an addition to the mixture). I guess Charleston (a boat ride and a bump away from Hot Mustard’s Johns Island hangout) also gets a look in.

Wordless, thoughtful and quietly happy, ‘Jerkwater Strut’ is more urban than island. Yet, if so, it’s a window onto a different kind of city life in which the tourists are gone, the guests no longer need to be impressed, and an early evening can be spent on the stoop and the street at your own, relaxed pace.

We might be being softened up here, or we might be being let in on an open secret. I can’t really tell yet. That title (like a bit of ancient jazz-age mockery) and Jack’s Gilliam-esque animated video (full of fish, cryptids and marine mythology) are laden with clues which don’t ultimately lead anywhere. Eventually, it’s just sunshine, personal contentment, and the subliminal beat of the far-off city as a comfort, all subsumed into a relaxed neighbourhood vibe.

The third in a monthly progression of singles by Stockholm-based semi-ambient composer Ada Moreau, ‘My Shadow Halts’ leaves behind the gorgeous European fogginess of its predecessors. With that former chilly brume replaced by a more evanescent sonic misting, its descending temple-bell arpeggios, distant piano and even more distant mother-of-pearl synth-sheening lead it more into Asian temple haunts.

These days, there’s more of a risk involved in attempting this kind of thing. Even as ‘My Shadow Halts’ nods to the 1980s traveller’s-ambience of Harold Budd or Roedelius, it also risks summoning up the same kind of atmosphere as many a touristy New Age salute to Bhutan or Kyoto (narrowly skirting Chinoiserie and faux-Gamelan as it does so). Fortunately, despite sounds and intimations, Ada’s actual intentions are less to do with evoking place than in fixing a position of grace.

According to her, ‘My Shadow Halts’ is about “the subjective experience of time. When the light is just right, and everything seems to slow down to that moment, frozen in time. A sudden sense of a more elevated and peaceful reality. Your stress and aggression momentarily forgotten and left behind.”

With that in mind, listening reveals something better. By avoiding direct geographical or cultural tags, Ada allows the crass, picture-postcard aspects which can taint this kind of project – that collecting, spiritually acquisitive side of things – to gently drop away from the music. While still a little second-hand, the Asiatic touches become more like a thoughtful, mood-evoking temple print hung on the opposite wall, rather than a wholesale theft of scenery. As with Hot Mustard, I think Ada’s successfully blended her inspirations into something fresh enough to work. I’m also feeling that she’s narrowly dodged a genre bullet.

Gabriella Smith/Gabriel Cabezas: ‘Lost Coast III
Bedroom Community Records (no catalogue number or barcode)
Download/streaming single
Released: 7th June 2021

Get/stream it from:
Bandcamp, Apple Music, Deezer, Spotify, Amazon Music

Gabriella Smith online:
Homepage, Soundcloud, Bandcamp, Last.fm, Apple Music, YouTube, Deezer, Spotify, Amazon Music

Gabriel Cabezas online:
Homepage, Facebook, Twitter, Soundcloud, Bandcamp, Last.fm, Apple Music, YouTube, Deezer, Spotify, Instagram, Amazon Music

   

Hot Mustard: ‘Jerkwater Strut’
Color Red (no catalogue number or barcode)
Download/streaming single
Released: 4th June 2021

Get/stream it from:
Color Red store, Bandcamp, Apple Music, Youtube, Spotify, Amazon Music

Hot Mustard online:
Homepage, Facebook, Bandcamp, Apple Music, YouTube, Spotify, Instagram, Amazon Music

 

Ada Moreau: ‘My Shadow Halts’
ART:ERY Music Group, ART:ERY20210307
Download/streaming single
Released: 4th June 2021

Get/stream it from:
Soundcloud, Apple Music, Youtube, Spotify, Tidal , Amazon Music, Qobuz

Ada Moreau online:
Homepage, Soundcloud, YouTube, Spotify, Tidal, Instagram, Amazon Music, Qobuz

June 2016 – upcoming London gigs – Nordic musical stories, bass guitar filigrees, brass-laced soundscapes and howling animal men – ‘The Devil’s Purse’ stories at the Forge (22nd); Rothko and Ghost Mind at IKLECTIK (23rd); Ánde Somby at Café Oto (24th)

19 Jun

Three more engaging shows around the London fringes. Two have press releases which speak for themselves, while I wrote some babble for the other one (since it’s the first time I’ve covered one of the bands in a long time, while the other band turns out to be a trio who could use some more words spent on them)…

* * * * * * * *

Crick Crack Club Presents
Fairytales for Grown-ups – The Devil’s Purse
The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England
Wednesday 22nd June 2016, 7:30 pm
information

“Beguiling, tricksy, highly-strung, and suspiciously helpful – the Little People are waiting in the shadows, beneath your feet, under the tables, and even in the cracks in the walls. They’re waiting to prove just how hard it is to tell that they are there… On hot summer nights their world is a breath away and on long winter evenings they have far too much time on their hands.

Dominic Kelly, Bridget Marsden and Leif Ottosson fuse storytelling performance and Nordic music in a wild journey into the cinema of the imagination. A lost traveller finds himself guided through the mountain mists; a farmer marries an apparently perfect wife; a drunk gambles with a purse that is forever full, and an anxious mother watches her child turn to skin and bone… Come spend some time in the company of Themselves, the Gentry Below, the Good Folk, the sylphs, the sprites, the fairies, and a labyrinth of stories.


 
“Dominic is a performance storyteller whose dynamic style has captivated audiences across the UK, Sweden, and around the world. He has performed in many prominent venues and festivals including The Barbican and the National Theatre in London, The Times Literature Festival, and on tour internationally from India to the Arctic Circle. Bridget and Leif form a duo whose interpretations of Nordic folk music take place in a filmic borderland of tunes and soundscapes. Leif challenges conventional ways of using the accordion and has distinguished himself on the Swedish folk scene as an instrumentalist, composer and arranger. Bridget studied folk music at Stockholm’s Kungliga Musikhögskolan: her band Stormsteg won Best Newcomer at the Swedish Folk & World Music Awards 2012.”


 

* * * * * * * *

IKLECTIK presents:
Rothko + Ghost Mind
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 23rd June 2016, 8.00pm
information

At IKLECTIK, a concert of two fascinating experimental acts creating powerfully visual and immersive music.


 
Aiming to explore the full sonic possibilities of his instrument (and inspired by the towering ‘Seagram Murals’ in the Tate Gallery), bass guitarist Mark Beazley founded Rothko in London during 1997. The initial lineup was a triple-bass trio with Crawford Blair and Jon Meade (of on-off London math-rockers Geiger Counter), which for three years clanged, droned, whirred and rumbled around its own constantly expanding iron-grey niche.


 
Creating great frowning arches of dark notes, torrential thrums of noise or transcendent etched outlines in the lower ranges, Rothko insisted on being judged as pure music, batting away any enclosing accusations of being post-punk, post-Gothic, post-rock, or anything similar. Somehow they managed to achieve this aim, defying all expectations by becoming universal and making inroads into the awareness, the perception and the affections of a wide and diverse audience. They found favour amongst the kind of sternly political art-music devotees who’d immerse themselves in ‘The Wire’, amongst the brain-knitting psychedelic leanings of London math-rock enthusiasts, and amongst the surprised followers of various indie bands who’d taken a shine to them and taken the opportunity to stick them onto a live bill. After three albums (and various EPs and collaborations) they bowed out in 2001 after a successful support slot with Porcupine Tree, playing to an audience of progressive rock fans.

 
While the original Rothko is arguably the best-known version, Mark maintained the Rothko name and core concept for another nine years across a solo presentation, a bass duo, an wide-screen ambient septet (which swallowed up consenting fellow travellers Delicate AWOL) and a more rhythmic quartet. While the various versions of the band were always underpinned by Mark’s resonant four-string underlay – a slatey burr or baritonic voice speaking out of the deep – the bass-guitar-only rule was relaxed to allow other instruments into the space such as flute, voice, electric guitar, piano and viola (while the synths and drums of the last and longest-lived lineup even occasionally hinted at a post-Can rumble). After Rothko, Mark took his skills and explorations solo, and formed new bass-friendly projects: Low Bias (with Pere Ubu’s syntheur Gagarin), Signals (with Phil Julian and textural guitarist Chris Gowers), Tetherdown (with Anne Garner and James Murray), and Rome Pays Off (in which he reunited with Crawford Blair)


 
Reactivated in 2015, a revived Rothko saw Mark re-teamed with ex-Delicate AWOL bassist and later solo recordist Michael D. Donnelly (his main partner in the post-2000 lineups). Together, they revisited their previous duo work while expanding it with additional lessons learned (in technique, in sonic attitude, in being an interpreter of feeling) during the five year break. A new EP, ‘Severed Tense’ arrived in September last year; a new album ‘Discover The Lost’ is now available on pre-order.


(recent Rothko track Truths And Signs)
 
This particular gig at IKLECTIK, however, showcases a newer Rothko lineup of Mark plus Johny Brown (the latter better known as the frontman of long-running post-punk poetry rockers Band Of Holy Joy, with whom Mark played during the Rothko layoff). Eschewing both past and recent work, they’ll be performing a set of all-new material from a work in progress – a new album called ‘A Young Fist Wrapped Around A Cinder For A Wager’, which they’re planning to record shortly.

While I might be behind the most recent developments, listening to the recent Beazley/Donnelly material has reminded me about what drew me to Rothko in the first place – their ability to grab such fascinating visual evocations out of the kind of low frequencies which you’d think would restrict them. From dirty crumbling bass notes they sketch a grumbling, majestic London ambience of half-forgotten post-industrial structure: the kind you find while turning down sidestreets running under grimy, half-forgotten Victorian railway viaducts or hosting the grand shells of factories. At least, that’s what they seem to do from where I’m listening. Mark apparently draws significant inspiration from sojourns in quiet rural locations far from the pressure and grime of great cities. It’s generally true that what any one listener draws out of Rothko tends to be only a few facets of the band’s mysterious kaleidoscope.

With roots in the Cheltenham Improvisers Orchestra, Ghost Mind is an experimental soundscape collaboration currently consisting of trumpet player Pete Robson, percussionist Stuart Wilding, and Jon Andriessen on heavily-treated guitar, combined with a background of found sounds gathered from around the planet. They present themselves as “a four-person trio” (the fourth member being the titular ghost). Live, they’re a magical concoction, with Stuart’s percussion exploits recalling the startling, fleeting and unforgettable work that Jamie Muir brought to various Derek Bailey bands and King Crimson in the 1970s, Pete’s trumpet journeying from jazz-mute musings and trombone impressions to free-improv mouthpiece splutters, and Jon’s heavily-processed guitar creating dense architectural fabrics and noise blocks but sometimes rising up with plangent, momentary clean licks.

Working together, Ghost Mind create aural experiences which suggest both the world traveller and the documentary edit suite. Their instrumental illustrations and interspersed field recordings link temples to shopping precincts or treetops hung with birdsong, or link toyshops to ping-pong matches; while further human-driven sounds flicker briefly through the mileu via interjections of harmonica and glockenspiel, water-warbling bird whistles, drum notes to shoe-scrapes and miscellaneous tickings. The fact that it all sounds musical throughout – as compelling to children and casual attendees as to dedicated deep listeners – is another of their creative triumphs.


 
* * * * * * * *

Tigmus presents:
Ánde Somby: The Animals Inside The Man And The Man Outside The Animals
Cafe Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Friday 24th June 2016, 7.00pm
information

“The Sámi people are a transnational minority living in Sápmi, an area of land stretching across the borders of northern Scandinavia, Finland, and throughout the Kola Peninsula of north-western Russia. Yoik (also spelt joik or jojk) is the Sámi’s ancient and characteristic vocal art, with yoiks traditionally used to invoke a person, animal, place, or experience. You don’t yoik about something, you just ‘yoik it’.

Ánde Somby yoiks animals including salmon, grouse, bear, crow and mosquito, but his signature yoik is that of the wolf. The wolf yoik is a traditional yoik that Somby has developed with dramatic elements in an expressive performance. Somby has been an active musician since 1976 and has performed for royalty, heads of state and even at the funeral of Sex Pistols manager Malcolm McLaren! His many animal yoiks are inspired by the idea of transformation in the pre-Christian Sámi religion, when the noaidi (shaman) used yoiks to transform into an animal and back into a human. Somby is also a professor of law at the University of Tromsø and is engaged in Sámi social and political issues.

“In January 2016 Somby released the album “Yoiking With The Winged Ones”, recorded outdoors in Lofoten by the renowned British sound artist artist and field recorder, Chris Watson. The recordings took place in Kvalnes, mid June 2014, in a moment while the Arctic winds were having a little rest.”
 

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