Tag Archives: Stump

May 2016 – upcoming London and Brighton gigs – Roar, Steve Strong and Tony協Yap get noisy (May 21st); Prescott and The Evil Usses spiralize our ears (May 24th); M U M M Y curate a free cavalcade of psychedelia/folk/oddpop on the side of the Alternative Escape festival (May 19th)

16 May

Roar + Steve Strong + Tony協Yap, 21st May 2017

Best of Bandcamp, SPREAD and New River Studios present:
Roar + Steve Strong + Tony協Yap
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Sunday 21st May 2017, 6.00pm
information

Yokohama band Roar (dipping into London as part of a British and American tour) are a two-piece of Shusei on guitar and Taketo on drums. Noisy and immediate, their sound’s an immediately accessible, unconstrained rock sound churning together aspects of surf music, Hendrix, Nirvana, Foetus and The Melvins.

Two support acts add to the fray. Steve Strong provides his usual one-man-band post-rock loop act, layering assertive, precise live drumkit work with rattling spidery guitar riffs and surging wads of noise texture. Keyboard player Gman Leong & drummer Alessandro Salzano make up London experimental noise/beat duo Tony協Yap: more live drumkit, this time paired with abrasive synth jabs and snarls. Taunting us with the possibility of dynamics, they usually come at us full-tilt – a jammed rave cannonade with occasional vivid lacunae of downtime and ebbed space, stripped and shaped by small sounds (such as the ring of Alessandro’s singing-bowl).





 

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Prescott + The Evil Usses, 24th May 2017

Prescott presents:
Prescott + The Evil Usses
Paper Dress Vintage Bar & Boutique,, 352a Mare Street, Hackney, London, E8 1HR, England
Wednesday 24th May 2017, 8.00pm
– information here and here

Like Tony協Yap, the dogged, quirky Prescott are a band who know a thing or two about teasing. A vehicle for the cellular, bafflingly elasticated compositions of onetime Stump bassist Kev Hopper, they’re also an excuse for underground art-rock drummer Frank Byng, out-there guitarist Keith Moliné and improbable synth player Rhodri Marsden to unpredictably shunt each other around pitch and beat.

With the various members drawing on stints with projects as diverse/perverse as Pere Ubu, Snorkel, The Keatons, Scritti Politti, The Free French, Ticklish and This Is Not This Heat, there’s plenty of scope and impetus for lateral thinking, coupled with a poker-faced goofy accessibility. Their second album, ‘Thing Or Two’, is another stylish raspberry in the face of sensibility and torpor. Imagine the swoop and ping of Brand X rendered in far too many inappropriate Lego bricks; imagine Weather Report fed on a diet of Dada and No Wave; imagine a fusillade of perky post-punk blips like XTC spending a stint as a Koji Kondo covers band.

In support, there’s Bristol’s The Evil Usses, whom I last encountered in the runup to Bristol’s Wakizashi festival last October, and whom I described back then as “a deconstructive, fiercely humorous No Wave jazz-rock quartet, who share some of Knifeworld’s brassy exuberance but take it over the escarpment and down into a stomping, seven-league-booted Beefheart country.” Come along and have your cortex ruffled.



 
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Two of the Alternative Escape gigs in Brighton, 18-19 May 2017

Before either of these, though, there’s a particular free all-dayer at The Black Dove in Brighton on 19th May – part of the extensive Alternative Escape fringe event that’s coiled around the city’s huge Great Escape festival. Certain bands and projects affiliated to the great swarming ferment of the Cardiacs tradition tend to repeatedly pepper ‘Misfit City’ coverage. This particular gig packs a bunch of these together like a explosion of overnight mushrooms (appropriately, since the tang of a particular kind of psychedelia hangs over it).

Up in the curator role are M U M M Y, the psychogothadelic thrumming of Jo Spratley and ex-Cardiac/Dark Star/Levitation-eer Bic Hayes. Bic’s also part of the motorik lysergic driving-machine ZOFFF (who’ll be playing their own set towards the end of the night, fresh from their recent show backing Damo Suzuki). ZOFFF pull together plenty of people from the Brightonian psychedelic axis – including Chris Anderson, who’s bringing along both his shipwreck-and-dreams songwriter project Crayola Lectern and his spacegazing pop band La Momo.

Friendly one-man personality cult Kavus Torabi will take another bare-bones acoustic tilt at the ornate songs he’s written for Knifeworld and the Monsoon Bassoon, while touching on the inspirations he’s shared in his work with Cardiacs and Gong. Psych-tinged folk baroque is provided by Emily Jones and Arch Garrison (bringing liberal dashes of Cornwall and Wiltshire psychogeography with them) and there’s frowning, shadowy, mordantly hilarious Kinks-Gothic popcraft from Stephen Evens. Also on board are noisy punk-prog/alt.pop trio Ham Legion, and Chloe Herington’s experimental music project V A L V E (who make obliquely thoughtful, oddly accessible music from bassoons, melodicas, tape-loops, concert harps, electronics, doorbells and things found on walks and in skips).

Just about the only band here that’s not a ‘Misfit City’ regular is Hurtling, the alt./dream-rock trio featuring Jen Macro and Jon Clayton (formerly of stuffy/thefuses and Something Beginning With L) with Smallgang/Splintered Man bassist Simon Kobayashi. Boasting sturdy support musician links to My Bloody Valentine, Shonen Knife Graham Coxon, Robyn Hitchcock and Bitch Magnet (and taking inspiration from alt.rock heroes such as The Breeders, Sebadoh and Warpaint), they’re possibly the best connected band on the bill: also one of the most straightforward, and a link to the Great Escape outside.


 
Throughout, you’ve got illuminations from south coast psych-lighters of choice Innerstrings. See below for performance schedule and time; see above for links to the wealth of things I’ve previously written about most of these people; go here for the Facebook event page…

Programme:

2.00pm – doors
3.00pm – Ham Legion
3.40pm – Emily Jones
4.20pm – Crayola Lectern
5.00pm – Hurtling
6.00pm – La Momo
6.40pm – Stephen Evens
7.20pm – M U M M Y
8.00pm – V A L V E
8.40pm – Arch Garrison
9.20pm – Kavus Torabi
10.00pm – ZOFFF
afterwards, until 3.00am – DJ Moke
 

September 2016 – upcoming gigs, Aldershot and London – Knifeworld’s “prog all-dayer” with William D. Drake, Prescott, Eschar, Barringtone and others; Laura J. Martin, Oly Ralfe and Duotone at Daylight Music; Muscle and Marrow, Father Murphy and Tolerance Manoeuvre at New River Studios (all 24th)

20 Sep

A nicely-filled Saturday coming up…

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Knifeworld all-dayer, Aldershot, 24th September 2016
Knifeworld + William D. Drake + Prescott + Eschar + Barringtone + others tbc
West End Centre, Queens Road, Aldershot, GU11 3JD, England
Saturday 24th September 2016, 2.00pm
information

Fresh off his solo show in Glasgow on Thursday (and the band’s appearance at ArcTangent in August), Kavus Torabi leads his Knifeworld octet over to Aldershot, curating and headlining what the venue’s calling a “prog all-dayer”. In a pleasing echo of Kavus’ Roastfest mini-festival from a few years ago (with which this particular show shares a few acts and sensibilities), the remit actually stretches out a good deal further than that. I’m not sure whether this is slightly sloppy marketing on the part of the West End Centre, or whether it’s a further sign that prog’s finally slipped out of its straitjacketing… at any rate, the day also features revitalized elements of latterday psychedelic rock, motorik pop, alt.jazz fusion and art punk cheek and coffee house tunes (old Regency coffee houses from a couple of centuries ago, that is; not latterday beard-and-espresso joints) as well as record stalls and “questionable company.”


 
It seems almost redundant summing Knifeworld up here, since I’ve covered them so often in previous posts; and more so in that their dazzling, goofy-but-serious voyages of complex guitar, voice and brass interplay are making increasing inroads into a bigger potential audience. The same goes for the second act on the bill, William D. Drake, who continues to carve out a subgenre of his own. There’s not yet a word for music which combines acoustic psychedelia and friendly, frowsty pop with echoes of Georgian parlours, sixteenth-century catches and never-were folk tunes. I keep trying to think of one that doesn’t sound twee, rather than encompassing the beaming English warmth which Bill’s music embodies. While I continue to fail to do that, here are a couple more of his tunes from recent live shows – one jaunty bounce, one unrolling magic-carpet reverie.



 
Prescott aren’t strangers to this blog either – a hiccuping, percolating instrumental team of four smart, oblique talents who’ve all been round the block more than a few times (lending their individual skills to a bagful of other artists and bands including Pere Ubu, Stump, Snorkel, Scritti Politti, The Keatons and Frank Sidebottom). Kev Hopper, Rhodri Marsden, Frank Byng and Keith Moliné are all far too grounded to do anything other than laugh off the idea of being a supergroup, yet they do form something considerably more powerful when they come together: rubbery, convoluted groove-rock improvisations which come across as part particle accelerator, part mutant squash court, and part horse-laugh. From another angle, they’re a post-punk upending of 1980s jazz-fusion powered by a wry/awry sensibility, creating something pretty serious out of a very English irreverence and inquisitiveness. They’re what you’d expect to get if those smart skeptical bastards raising eyebrows at the backs of every other arty gig were challenged to get together and do better, and actually did.



 
New to both ‘Misfit City’ and to general Knifeworld entanglements are Woking instrumental rockers Eschar, who play an exuberantly tuneful and metallic take on psychedelic post-rock. Filtering sunny melodies and joyous little tempo curlicues through a jackhammering heavy attack, they sound like a grinning, breakdancing road-mender. A little more familiar is Barringtone, sequel to briefly-glowing mid-Noughties electro/oddpop stars Clor. Pumping out a motoric yet shapeshifting art-pop somewhere between Neu! and XTC (and compared, in their peripatetic shifting of tone, structure and subject matter to Todd Rundgren’s Utopia), they’ve been at it for eight years now but are yet to drop a full album. Instead they’ve fired off an intermittent series of quick releases on a succession of labels, popping briefly in and out of view like a stealth submarine to flash a bit of technique and invention before slipping under again.



 

More bands are being added to this bill in a last-week squeak of hope and enthusiasm. I’ve no idea of who these are likely to be (keep checking on the Facebook event page for periodic news shouts) but it’s reasonable to expect that a complicated ArcTangent ethos/Torabi-esque “funny music” atmosphere is going to prevail.

If the above doesn’t do it for you, you could stay in London for another free/donation-only folk-and-songwriter-filled noontime gig by Daylight Music, plus an evening gig from Chaos Theory which addresses the more expansive and heterogenous side of post-rock. As usual, both have provided their own press releases, so I’ll use those (only working in extra information where it might be necessary…)

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Daylight Music 233

Arctic Circle presents:
Daylight Music 233: Laura J Martin + Oly Ralfe + Duotone
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 24th September 2016, 12.00pm
– free event (suggested donation: £5.00) – information

“Liverpudlian singer-songwriter Laura J. Martin is a “musician of startling originality”, according to The Sunday Times. Her extraordinary, eclectic music speaks of disconnection and England’s blandification: some of the tracks on her third studio album, ‘On The Never Never’, tell of her feelings when returning home to Liverpool to find that all of the town’s individuality seemed to have been erased and replaced by gleaming empty flats.

“Shot through with wit and humour alongside the sociopolitical themes (one of the characters talks of bleaching toilets and taking trips to Lanzarote) ‘On The Never Never’ skips through waltz timings, bears influences from Scott Walker to the Compass Point Allstars and picks up a guest vocal from Benjamin Zephaniah along the way. The album itself was recorded in Nashville with renowned Lambchop/Bonnie Prince Billy producer Mark Nevers and features members of Lambchop, Silver Jews and The Jesus Lizard. Laura has produced a hopeful record, full of joy, beauty and tongue-in-cheek looks at those in charge.


 
Duotone is the alias of songwriter Barney Morse-Brown, cellist with multi-platinum artist Birdy, Chris Wood, Eliza Carthy, Jackie Oates and BBC Folk Award winners the Imagined Village, His mesmerising solo performances move seamlessly between riotous energy and heartfelt intimacy: his debut album ‘Work Harder & One Day You’ll Find Her’ and the critically acclaimed second LP ‘Ropes’ saw him navigating his way through a personal loss.

“Barney’s new album ‘Let’s Get Low’, is an intelligent and thoroughly modern record, infused with the melodic structures of ’80s pop and the emotional honesty of the best of the classic singer-songwriter era; a remarkably optimistic collection of songs, it presents a new perspective on his experiences and explores the meaning of home and his sense of place. Written at home on his narrowboat over a period of two years, it further reveals a songwriter who is unafraid to explore real-life experiences that are often hidden from view.


 
“This is a particularly special Daylight Music as it features the London premiere of Oly Ralfe’s new instrumental piano project, accompanied by Barney on cello. A musician, artists and filmmaker, Oly made significant contributions to the work of The Mighty Boosh both onscreen and in print (including songs, poem cameos and direction) as well as creating the Dylanologist documentary ‘The Ballad Of AJ Weberman’.

“For a decade or so, he’s led his own pop-folk ensemble The Ralfe Band, whose three albums and soundtrack for the film ‘Bunny & The Bull’ have been variously described as “moon-eyed beauty”, “regally drunk” and “alternately sweetly hushed, spooky and sad.” Mark Radcliffe of BBC 6 Music has been a long-time champion of Oly’s music, saying “there is something of the strange and beautiful in everything he does, like the mood created by the darkest of fairy tales. I’m a big fan…””.


 
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Father Murphy, 24th September 2016

Chaos Theory Promotions presents:
Father Murphy + Muscle And Marrow + Tolerance Manoeuvre
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Saturday 24th September 2016, 7.30pm
– information here and here

“A special event at the amazing artist community venue that is New River Studios in north London, in which two wildly exciting duos from dark experimental label The Flenser will join us from the USA and Italy to present us with their latest terrifying works. This will be a stimulating experience.

“After Father Murphy captivated us with their EP ‘Pain Is On Our Side Now’ (and terrified us all at the launch of their phenomenal and stimulating album ‘Croce’ last year), the hairs are already standing up on the backs of our necks in anticipation of working with the Stephen O’Malley, Jarboe and Michael Gira-endorsed visionaries once more.

One of the most mysterious and enigmatic musical entities to come out of Italy in recent years, Father Murphy are known for their collection of dark psychedelic/industrial cabaret, written as a response to living in a deeply Catholic environment. Merging shadowy, muddy and murky atmospheres with unexpected blurts of impossibly catchy noise pop, their sound is both textural and nuanced but also noisy and chaotic. Identified by Simon Reynolds and Julian Cope as part of the “new Italian Occult psychedelia”, Father Murphy are the sound of the Catholic sense of guilt – a downward spiral aiming at the bottom of the hollow, and then digging even deeper.


 
Muscle And Marrow – a duo from Portland, Oregon – write music that is intense and vaporous. Formed in 2013 by Kira Clark (voice, guitar) and Keith McGraw (drums, sounds), Muscle And Marrow quickly discovered their distinctive sound. Taking inspiration from visual and feminist art, as well as contemporary poetry and literature, they are an entity that is as thoughtful as it is fervent and as experimental as it is immediate.

“In April 2016 the band released their new album ‘Love’: a more powerful record than their previous release, with elements of joy, strength and anger present. During the album’s writing process Kira lost a family member, and much of the lyrical content focuses on loss, but also on love in general: how to love better, more and at all, and what happens when someone else loves you — the trap of that love but also the freedom it affords. Additionally, ‘Love’ touches on feminism and female archetypes, a topic that Kira is very interested in. These new songs are just as beautiful and complex as those on the band’s debut, but on ‘Love’, Muscle And Marrow push their craft further, bringing them to the frontier of avant-garde dark music.


 
“Having heard murmurings about Tolerance Manoeuvre for some time, we stood up and paid attention when they performed a brilliant live set on deXter Bentley’s Hello Goodbye Show on Resonance 104.4fm. With a unique combination of guitar, cello, trumpet and vocals, Tolerance Manoeuvre furrow a particularly British seam of post-rock previously mapped by the likes of Talk Talk and Bark Psychosis, but with their own, highly-personalised take. Managing to fuse stark yet luscious melody with ornate orchestration, the trio meticulously unfold and reconfigure space and structure to create a beguiling tapestry that is simultaneously dense and delicate.

“A mainstay on the London underground music scene since 2011, Tolerance Manoeuvre have played at venues as diverse as The Hundred Years Gallery, the Servant Jazz Quarters and the Macbeth, have appeared on MTV Greece, have shared the stage with acts such as The Wytches, Seward, Cara Sebastian, O-Arc and Fear Of The Forest, and have a vinyl LP available at all good record shops courtesy of Flashback Records.”


 

March 2016 – upcoming gigs – Laura Cannell & Phil Mill in Colchester; in London, Prescott, Charles Hayward and Kavus Torabi at Servant Jazz Quarters and Clara Sanabras’ musical spin on ‘The Tempest’ at the Barbican

28 Feb

As some of you may have guessed already, I’m treating this blog – including the long stretches during which I’m only posting up about live dates – as an ongoing education. Plenty of the musicians I’m covering I’ve only learned about shortly before covering them; in other cases, in pursuing their tour dates around Britain or elsewhere in the world, I’m learning about places, projects and initiatives which I might otherwise have been ignorant about.

I’ve posted plenty about Laura Cannell since the start of the year. Her slightly psychedelic yet deeply-rooted improvisations on early, mediaeval and imagined tunes and ideas (played on standard or overbowed fiddle or on double recorder) span and spark across several of my musical interests. As she makes her way across Britain this year in a meandering voyage from high-profile festival to half-hidden venue to multi-genre bill, I’m following along behind (at least with the gig news). Here’s where she is this week:

Laura Cannell, 2015

Laura Cannell + Phil Mill
Colchester Arts Centre, Church Street, Colchester, CO1 1NF, England
Tuesday 1st March 2016, 7.30pm
more information

Playing in support is the Colchester experimental musician and sound artist Phil Mill, whose work “focuses on the use of field recordings and digital DIY softwares made for processing sound. He has recently been recording in a variety of locations in Europe, often associated with or identifiable as a territory or boundary between places and their sonic signatures. Phil’s music is often improvised, and he is currently developing software that reflects on this process – enabling the process of composition to reflect on the nature of the sound environment and the unpredictability of the soundscape.”

Below are videos of Laura in concert and one of ‘The Drifters’, a film soundtrack by Phil using only sounds from sea/environmental field recordings, which was commissioned for Colchester’s Lightbulb Festival in 2015.


 

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In London, there’s another gig by one of the finest, most rubbery (and recently augmented) instrumental bands out there at the moment, playing hand-in-hand with some special guests in one of the city’s snuggest venues…

Prescott/Charles Hayward @ Servant Jazz Quarters, 1st March 2016

Prescott + Charles Hayward “begin anywhere” + Kavus Torabi (DJ)
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Tuesday 2nd March 2016, 8.00pm
more information

“It’s the North London debut of a new-look, four-piece Prescott, featuring Keith Moliné (Pere Ubu, Two Pale Boys) alongside Kev Hopper (Stump), Rhodri Marsden (Scritti Politti) and Frank Byng (Snorkel, Crackle, many others). A mesmerising collection of new tunes featuring soaring melodies, nagging riffs and explosive sounds. Also, the legendary Charles Hayward (of This Heat and many other endeavours, including the recently resurgent This Is Not This Heat) will be at the piano with his (begin anywhere) project: “A solo song cycle sequence of betrayal, paranoia, subterfuge, as well as sound events, spoken word and percussion pieces, stark, minimal arrangements; an unexpected departure.” And binding the whole thing together from the safety of the DJ booth will be Kavus Torabi (Knifeworld, Gong, Cardiacs).”

I’ll just add this quote of my own here, from the last time Prescott played London:

“ a percolating musical alliance… According to The Harrison’s blurb, the band deliver “a curious mix of the melodic and discordant with syncopated funky, skewed beats and lopsided, sometimes jabbing riffs that emerge from a complex web of musical interactions and expand or contract like sections of a stuck record.”< The band themselves talk about "jabbing heteroclite riffs, circular rhythmic patterns, vibrating harmonic clashes, irregular note intervals, all contrasted with pockets of beautiful melody" and their trick of "microriffing" – repeating the same tiny melodic segment for “as long as they can hold their nerve” (out of a sense of persistence, a zest for irritancy or a desire to pay homage to loop culture) . I’ll add that while these descriptions make Prescott sound like a set of ticks on a battered art-music bingo card, they’re actually one of the most entertaining and even danceable bands I’ve seen in recent years; pumping out a surprisingly melodious batch of hiccups, peculiar grooves and inventive colours, and sometimes seeming to plug into a monstrous late-Miles Davis synth-fusion groove (entirely by mistake).”

There, that should do it – but here’s some video of the new-look Prescott quartet…


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Lastly for now, something mixing classical drama, classical music and folk work…

A Hum About Mine Ears

Shakespeare400 presents:
Barbican Shakespeare Weekender – Play On…
‘A Hum About Mine Ears’: Clara Sanabras/Chorus Of Dissent/Vox Holloway/Britten Sinfonia, conducted by Harvey Brough
Barbican Hall @ Barbican Arts Centre, Silk Street, City of London, London, EC2Y 8DS, England
Sunday 6th March 2016, 6.00pm
– more information here and here

“Shakespeare’s ‘The Tempest’ is set in new surroundings in this performance of vocalist and composer Clara Sanabras’s new album ‘A Hum About Mine Ears’. More than a simple soundtrack to the play, ‘A Hum About Mine Ears’ takes some of the ideas and themes in ‘The Tempest’ – loss and retrieval, exile and reunion – and relates them to Sanabras’s own experiences as an emigrant.

While some songs lift direct passages from the play, surrounding these in Britten Sinfonia’s soaring strings and the swirling vocals of choirs Chorus of Dissent and Vox Holloway, conducted by Harvey Brough, others place the characters in more modern settings – Sanabras’s powerful soprano solos casting Ariel as a festival-crazed free-loving spirit, or Miranda as a free and independent woman, emancipated from Prospero. Drawing on elements of everything from blues and jazz to European folk, see one of Shakespeare’s most famous works unravelled in a performance as deep, mysterious and expansive as ‘The Tempest’ itself.

This concert takes place as a part of Shakespeare400 – a year of celebrations in 2016 to mark the 400th anniversary of Shakespeare’s death.”

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Plenty, plenty more March gig news is on the way…

Upcoming London gigs – Prescott + A Sweet Niche + V A L V E @ The Harrison, August 26th; the welcome return of Daylight Music (with Pete Astor, TEYR and The Left Outsides), August 29th

22 Aug

Coming to a Kings Cross cellar next week…

Prescott - as beautiful as the chance meeting on a dissecting-table of a sewing-machine and an umbrella...

Prescott – as beautiful as the chance meeting on a dissecting-table of a sewing-machine and an umbrella…

Prescott + A Sweet Niche + V A L V E (The Harrison, 28 Harrison Street, Kings Cross, London, WC1H 8JF, UK, Wednesday 26th August, 7.00pm) – £5.00

Prescott are a percolating musical alliance between Kev Hopper (who once played elasticated bass guitar for Stump and went on to participate in offbeat experimental projects from laptop improv to pocket pop), veteran avant-indie/improvising drummer Frank Byng (of Crackle, Snorkel and the Slowfoot label) and polymath keyboard player Rhodri Marsden, whose curiosity, industry and dry wit has drawn him through a patchwork career of interesting music (including The Keatons, Zuno Men, The Free French, Gag and Scritti Politti) and deft, wry journalism on everything from drum machines to dating disasters.

According to the Harrison’s blurb, the band deliver “a curious mix of the melodic and discordant with syncopated funky, skewed beats and lopsided, sometimes jabbing riffs that emerge from a complex web of musical interactions and expand or contract like sections of a stuck record.” The band themselves talk about “jabbing heteroclite riffs, circular rhythmic patterns, vibrating harmonic clashes, irregular note intervals, all contrasted with pockets of beautiful melody” and their trick of “microriffing” – repeating the same tiny melodic segment for “as long as they can hold their nerve” (out of a sense of persistence, a zest for irritancy or a desire to pay homage to loop culture) .

I’ll add that while these descriptions make Prescott sound like a set of ticks on a battered art-music bingo card, they’re actually one of the most entertaining and even danceable bands I’ve seen in recent years; pumping out a surprisingly melodious batch of hiccups, peculiar grooves and inventive colours, and sometimes seeming to plug into a monstrous late-Miles Davis synth-fusion groove (entirely by mistake).

I’ve written about A Sweet Niche before, having encountered them a few years ago when they were roaring the roof of a cellar off in Spitalfields. Between them, guitarist Keir Cooper, baritone saxophonist Oliver Sellwood and drummer Tim Doyle have an intimidating list of project credits. In this band, however, they make a brinksman’s racket of free-form punk-jazz, bringing in whatever else they’ve learned from excursions into rock, theatre work and the thornier ends of contemporary classical.

Making the most of their disparate backgrounds (Oliver is a qualified musical academian, Keir more of a non-institutional outsider, newer boy Tim somewhere in between) they’ll attack their musical ideas at full blurt and with plenty of noise, like angry men stripping the wreck of a ca. They’ll toss disparate fragments up into the air and rant about them, but then sideswipe expectations with a run at a cute theme. Last time I described them as “if Bagpuss had joined Slayer”, and they seemed to like it. See what you think.

V A L V E is the solo project of Chlöe Herington – reedswoman, experimenter and Magma/Zappa/Peter Maxwell Davies fan. She’s best known for blowing taut, assertive bassoon and saxophone parts in Knifeworld and Chrome Hoof, but has also worked with lo-fi art-rockers Jowe Head & The Demi Monde and elusive psycho-lounge band Made By Monsters, as well as a clutch of contemporary classical projects. V A L V E places the bassoon to centre stage, surrounded by Chlöe’s clusters of technology and (when required) selected guests. At the Harrison, the project will be appearing in “its first non-gallery show ever”, which might either involve letting it off the leash or playing a little more safe. (Come and find out.)

Dotted around Chlöe’s other band commitments, V A L V E releases have been sparse so far – odd fits and starts on Soundcloud or YouTube plus a couple of Bandcamp tracks. Here are a few tasters, including the soundtrack to a dinosaur battle, something which Chlöe developed from a piece of music found in a skip, and a more sombre contemporary classical effort.

Up-to-date gig information available here and here. (Or, if none of this really floats your boat and you’d prefer some lustrous art-rock croon, here’s one last linking plug for the Tim Bowness/Improvizone gig at the Boston Music Room on the same night.)

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On the Saturday, it’s time to welcome back Daylight Music, who are starting up a new series of free midday gigs (and are still writing their own promo blurb, which makes things a little easier for me).

Daylight Music 198 - Pete Astor + TEYR + The Left Outsides
Daylight Music 198: Pete Astor + TEYR + The Left Outsides (Union Chapel, Compton Terrace, Islington, London, N1 2UN, UK – Saturday 29th August, 12pm to 2pm)

Ex-leader of The Loft, The Weather Prophets and numerous other esteemed acts, Pete Astor creates timeless chamber-pop, brimming with wry lyrical insight and haunting melodic hooks. Now recording for Fortuna POP!, he has his first full length album for four years ready for release. This has been made with Ultimate Painting, Veronica Falls and Proper Ornaments main man James Hoare along with Pam Berry (Black Tambourine, Withered Hand) on vocals, Alison Cotton (The Left Outsides) on viola, Jack Hayter (Hefner) on pedal steel and guitar, Emma Winston on synth bass (Darren Hayman’s Long Parliament, Owl & Mouse) and Susan Milanovic (Feathers) on drums. The recent single, ‘Mr Music’ has been very warmly received with Astor and band recording sessions for Marc Riley and headlining the Church stage at this years’ Indie Tracks festival among many other recent live outings. For the Daylight Music show Astor will be joined onstage by James, Pam, Alison, Jack, Emma and Susan making a seven-piece group playing Astor’s songs, old and new, for an edifying and nutritious lunchtime performance.

Forged amongst the hustle and bustle of North London’s folk scene, TEYR (“3” in the Cornish language) are a trio of formidable musicians who showcase the many sounds of the British Isles. With roots running from Ireland to Wales to Cornwall, James Gavin (guitar and fiddle), Dominic Henderson (uilleann pipes and whistles) and Tommie Black-Roff (accordion), the players thrive on close interplay and pushing the possibilities of acoustic music. Having met on the traditional music scene through late night sessions, each performer holds an intuitive sense of folk music, evident in their deft arrangements and compositions. The trio draws influence from neo-folk groups such as Lau, Kan and Lúnasa, whilst harnessing an innovative combination of strings, reeds and voices. With this distinct mix, TEYR strike an enigmatic path through the current folk wave.

The Left Outsides are Mark Nicholas and Alison Cotton, a London-based husband and wife duo whose atmospheric, hypnotic songs echo Nico’s icy European folk, pastoral psychedelia and chilly English fields at dawn. Their second album ‘The Shape Of Things To Come’ has just received a welcome and much-praised vinyl release on Dawn Bird Records and an album of new material is currently being recorded. The duo have played across the UK, France, Germany and in the USA; and have recorded radio sessions for Stuart Maconie’s Freakzone, Tom Robinson’s show on BBC6 Music, Pete Paphides show for Soho Radio and Tom Cox’s radio show.

As ever, Daylight Music is free, although you’ll have to pay for your tea and cake, and further donations are encouraged. Full up-to-date information is available here.

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