Tag Archives: TrioVD

December 2015 – upcoming gigs, London and elsewhere – classical/folk/songwriter fusion with James McVinnie, Mara Carlyle, Liam Byrne and HART at Daylight Music; an experimental boilup at St Johns Hackney with Faust/Nurse with Wound/Cut Hands; plus Tom Slatter’s steampunk prog acoustica in Winchester, and a Gong spinoff in Brighton (with Dave Sturt, Kavus Torabi & Ian East)

1 Dec

There were too many gigs this week to fit into the last post – go back there for details on assorted chamber music, folk, sample pop and the Anawan gigs in New York (one of which spills over into the weekend). For my usual erratic pick of what’s on over this coming weekend, keep reading.

* * * * * * * *

Daylight Music 209, 5th December 2015

Daylight Music 209 – James McVinnie, Mara Carlyle, Liam Byrne + HART (Union Chapel, Compton Terrace, Islington, London, N1 2UN, UK,12.00pm) – free (suggested donation £5.00) – information

World famous organist James McVinnie makes the perfect partner for the Union Chapel’s 200-year-old Henry Willis organ. In the spirit of Christmas, James has invited his closest musical chums to share the stage with him: Mara Carlyle, Liam Byrne and HART. Together, they’ll be presenting some of their own music and doing arrangements of hidden gems and forgotten carols.

Organist James McVinnie was Assistant Organist at Westminster Abbey between 2008 and 2011 (playing for both regular and special services as well as directing the Abbey’s world-famous choir) and has held similar positions at St Paul’s and St Albans Cathedral. He appears on numerous recordings of vocal and choral music and, as a continuo player, he has appeared at most European early music festivals. In parallel to this, he is internationally renowned both as a soloist and a collaborator in new music whose boundless approach to music has lead him to collaborations with some of the world’s leading composers and performers. David Lang (winner of the 2008 Pulitzer Prize in music), Martin Creed (winner of the 2001 Turner Prize), Richard Reed Parry (Arcade Fire), Shara Worden (My Brightest Diamond), Pee Wee Ellis, Max de Wardener, Mara Carlyle and Bryce Dessner (The National) have all written works for him. He is a member of Bedroom Community, the Icelandic record label and close-knit collective comprising like-minded, yet diverse musicians from different corners of the globe. ‘Cycles’, his debut release of music written for him by Nico Muhly was released on this label in 2013 to widespread critical acclaim. 2016 will see releases of music for organ by J S Bach and Philip Glass.


Originally from Shropshire and now living in London, Mara Carlyle is a singer-songwriter, an arranger and electronic orchestrator, and a player of both ukelele and musical saw. The child of musical parents (with whom she played in assorted folk projects from childhood) and the product of classical training, she’s also the possessor of an eclectic taste as much enthused by A-Ha and Amerie as by Henry Purcell.Initially known as a guest singer on a succession of Plaid albums between 1997 and 2001, she released her first solo album in 2004. Mara’s own work blends her operatic voice with classical structures, torch jazz and electronic flourishes. In addition to her own original material, she specialises in interpretations and adaptations from the classical, baroque, Romantic and modern-classical canon including works by Handel, Purcell (Dido’s Lament), Robert Schumann (whose Ich Grolle Nicht was the basis of her single I Blame You Not), Walford Davies and Jacques Offenbach. Since 2014 she’s been part of the presenting team on Late Junction. Mara is currently in the process of recording her third album.


Liam Byrne divides his time between playing very old and very new music on the viol. With the firm belief that baroque music can be vibrant and expressive on its own terms, Liam’s solo work regularly explores lesser known corners of the 16th and 17th century repertoire. For several years he was a member of Fretwork, and has also toured and recorded with the Dunedin Consort, The Sixteen, Le Concert d’Astrée, i Fagiolini, Concerto Caledonia, and the viol consorts Phantasm and Concordia, among many others. Liam’s interpretative curiosity has also led him to work increasingly with living composers, and he has had new solo works written for him by Edmund Finnis, Nico Muhly, Valgeir Sigurðsson and others. Beyond the realm of classical music, he has worked with a wide variety of artists including Nils Frahm, Matthew Herbert, Martin Parker and The Hidden Cameras. He has played a significant musical role in the creation of several large-scale operatic works: Damon Albarn’s ‘Dr Dee’, Shara Worden’s ‘You Us We All’ , and Valgeir Sigurðsson’s ‘Wide Slumber’ . In 2015 he will undertake a new project with Belgian ensemble Baroque Orchestration X and Icelandic musician Mugison. Liam plays a 7-string bass viol by John Pringle, a 6-string bass by Marc Soubeyran, and a treble viol by Dietrich Kessler, which is graciously on loan from Marc Soubeyran.

Described as possessing “one of the most noteworthy male voices of the last twenty years,” (‘For Folk’s Sake‘), singer/songwriter Daniel Pattison trades under the project name of HART. Featuring elements of dream-pop, folk, avant-garde psychedelic rock, electronica and contemporary classical songcraft, his debut EP ‘Songs Of The Summer’ (featuring string arrangements from Nico Muhly) was released in October this year).

Playing in-between on this weeks festive edition will be singer songwriter Harry Strange, a singer-songwriter from London currently working on his first EP.

http://www.youtube.com/watch?v=bh4QI2necOg

* * * * * * * *

If all of that sounds too genteel, the same evening brings this triple-legend concert of experimental and industrial music heroes (also in a church). Putting this one on is a real point of pride for the organisers, who describe it as “a dream line up for us as we are all very heavily influenced by each of these artists. It will be an amazing show and the last one of 2015 from us.” I’ve just seen that tickets for the concert are selling out even as I post this – so move fast.

Faust/Cut Hands/Nurse With Wound @ St John Sessions, 5th December 2015

Faust/Nurse With Wound/Cut Hands (St John Sessions & Thirtythree Thirtythree @ St John at Hackney Church, Lower Clapton Road, Clapton, London, E5 0PD, UK, Saturday 5th December 2015, 7.30pm) – £18.15 – informationtickets

Roadmaking equipment onstage, self-invented instruments, performers who refuse to conform even to standard roles of getting onstage and playing…if any or all of this sounds familiar (or even the kind of thing that’s mentioned in ‘Misfit City’ every other week) it’s because Faust set the blueprints at the start of the 1970s, or at least brought them into the world of popular music. An inspiration for innumerable questioning music-makers for over forty years, the band (or, more accurately, the collective event which calls itself Faust) have maintained the same sense of spontaneity, constructive pranking, rude assertion and open-ended possibilities throughout an erratic and frequently interrupted existence.

Initially assembled and pitched (by record producer/journalist-philosopher Uwe Nettelbeck) as a counter-cultural boy band for the lucrative but conservative German record market in 1970 – as if they were a Hamburg take on The Monkees – Faust showed their true avant-garde colours immediately and deliberately. Only a rock band in the very loosest sense of the word (perhaps only their electric instrumentation, amplification, time of emergence and love of rough immediacy really plugs them into the genre), their music has combined free improvisation, garage-band jamming, a pre-punk inspiration-over-technique aesthetic and a distinctly Dada perspective. Stories about perverse, inspired experimentation and behaviour in the face of an increasingly bewildered and irritated music industry have passed into legend: rebellions which seem, for once, to have been essential and genuinely inseparable from the band’s music creation (even from their very existence). Today’s Faust may be mining a tradition rather than breaking new ground, but even as the original members pass through their sixties and into their seventies they retain their commitment to the methodology they unearthed.

To be honest with you, I’ve got only the faintest idea about which of the parallel current incarnations of Faust (each featuring various different original members) is playing in London this coming week, although the evidence is pointing towards a grouping of Zappi W. Diermaier/Jean Herve Péron/Maxime Manac’h/Uwe Bastiansen). The members themselves seem particularly unconcerned: Péron has never much concerned himself with rules and (in an eminently readable interview with ‘The Quietus’) founding organist/noise-marshaller Hans Joachim Irmler from the other main faction has confessed “our idea was that all six original members could be Faust but there should never be two Fausts at the same time. It was an agreement but the version of Faust based around Diermaier, Péron and [Amaury] Cambuzat broke the rules, in a way. It took a little while for me to get used to it but now I think… ‘Why not?!'” If they don’t mind, maybe we shouldn’t either. Increasingly, Faust is of more an idea than a band, per se – or perhaps it’s best to call them a travelling opportunity, an open mind; a self-contained performance space.

For three decades and over fifty releases, sonic collage project and “purveyor of sinister whim to the wretched” Nurse With Wound (predominantly the work of Steven Stapleton) has been drawing directly on nearly every musical genre imaginable, mixing them up via tape loops, samples and whichever methods work to illustrate Stapleton’s curiosity and sense of humour, itself influenced by surrealism, Dada and absurdism (which explains why John Cage, filched easy-listening and snatches of kosmiche could be rubbing shoulders on any given NWW track). The project’s music is also informed by Stapleton’s keen visual and fine-art sensibilities, reflecting his other work as painter and sculptor.

Originally the key figure in transgressive 1980s power electronics band Whitehouse, William Bennett has been exploring “Afro-noise” under the Cut Hands moniker since 2008. The project is heavily inspired by William’s fascination with Haitian vaudou, deploying Central African percussion in radical new ways and generating an intense sound unrivalled in its physical and emotional intensity. In a recent interview with ‘Self Titled‘, William has commented “with Cut Hands, one of the original intents was to try and achieve the same kinds of emotional transformation through polyrhythmic percussion where once words were used… I confess there is a bit of a crazy, beardy New Age composer trying desperately to break free.”

* * * * * * * *

If you’re in Winchester that night, rather than in London, and you fancy a bit of budget-imaginarium fun, I can point you towards this…

Tom Slatter (Heart Of Saturday Night @ The Art Café, 2 De Lunn Buildings, Jewry Street, Winchester, Hampshire, SO23 8SA, UK, Saturday 5th December 2015, 7.30pm) – free (donations encouraged) – information

record-tomslatter-ftfThis is Tom’s last gig of the year (although he’s got a few lined up for both London and Brighton in early 2016) and it’s free entry, though a hat might be passed around at some point for donations – possibly the topper which Tom is famous for wearing while he delivers his Victoriana prog songs.

I might as well requote my quick description of Tom from a few months ago, since he’s cheerfully seized on at least part of it for himself – “Tom describes his work as “the sort of music you’d get if Genesis started writing songs with Nick Cave after watching too much ‘Doctor Who'”, while one of his occasional collaborators, Jordan Brown of airy London prog-poppers The Rube Goldberg Machine, calls him “a sci-fi storyteller with a penchant for odd time signatures and soundscapes.” Both descriptions ring true but fail to pinpoint the cheerfully pulpy weird-fiction exuberance of Tom’s work as a one-man band. He’s a man not just happily out of his time, but making a virtue of it – a latter-day Victorian street-theatre barker with a guitar promising tales of mystery, imagination, ‘orrible murders and bloody great waving tentacles.”

For a second opinion, try this from ‘The Progressive Aspect‘ – “Tom is an engaging singer with a resonant voice and an unorthodox songwriter whose songs push the boundaries of what can be expected from the solo acoustic guitar troubadour, straying into the darkest of corners. There is a strange mind at work here but one that makes for a compelling and fascinating listen.”

Recorded and live tasters below…

* * * * * * * *

Meanwhile, over in Brighton, there’s something for the psychedelic crew:

Inspiral Trio & The Fibroid Nebulae @ Real Music Club, Brighton, 5th December 2015

Inspiral Trio + The Fibroid Nebulae (The Real Music Club  @ The Prince Albert, 48 Trafalgar Street, BN1 4ED Brighton, England, Saturday 5th December 2015, 8.00pm) – £8.80-£11.00 – information – tickets

The Real Music Club is delighted to present an intimate night of highly eclectic music.

Within Inspiral Trio, three current members of Gong explore their harmonious musical synergy. Dave Sturt (bass guitarist and composer) has worked with Gong, Bill Nelson, Steve Hillage, Jade Warrior and Cipher. His solo album ‘Dreams & Absurdities’ will be released on Esoteric Antenna on October 30th. Ian East (sax/woodwinds player and composer) has worked in multiple genres, from Gong to Balkanatics. Ian is currently producing a solo album to be released in 2016. Kavus Torabi (guitarist, singer and composer) has worked with Cardiacs, Gong, Knifeworld, Guapo and Mediavel Baebes – much of his work can be found on his own label, Believers Roast. Solo sets from each man (with Kavus promising some acoustic renditions of tunes from the forthcoming Knifeworld album in his one) will be followed by an improvised set from all three players together. Come and enjoy a tasteful melange of solo and triadic creations from these unique musicians.

The Fibroid Nebulae was formed by Damned/Sumerian Kyngs keyboardist Monty Oxymoron after opening the Real Music Club’s ‘Drones4Daevid’ gig in February 2015. The band consists of Monty (keyboards and vocals), Francesca Burrow (vocals, sax, clarinet and keyboards), Dave Berk (of Jonny Moped) on drums and vocals, Andy Power (Sumerian Kyngs) on bass and the Real Music Club’s own Gregg McKella (Paradise 9/Glissando Guitar Orchestra/Peyote Guru/Gregg & Kev) on synthy bits, vocals, guitar and glissando guitar. The Fibroid Nebulae play offbeat tracks and fuse their own styles and quirks with some lo-fi groove psychedelia, ambient sounds and Krautrock – taking in Soft Machine, Gong, Neu! and Pink Floyd along the way!

* * * * * * * *

And there’s more shortly

October 2015 – upcoming London gigs – electro-industrial at Corsica Studios (Necro Deathmort, DeadFader and Cementimental), and intercontinental at Café Oto (Maurice Louca, John Bence and Sam Shalabi)

4 Oct

More gigs for the coming week…

Firstly, Baba Yaga’s Hut are running an evening at Corsica Studios, which takes in the London date of an electro-industrial tour.

Necro Deathmort/DeadFader/Cementimental @ Baba Yaga's Hut, 5th October 2015Necro Deathmort + Deadfader + Cementimental (Baba Yaga’s Hut @ Corsica Studios, 4-5 Elephant Road, London, SE17 1LB, UK, Monday 5th October 2015, 8.00pm) – £6.00

As if Necro Deathmort‘s name didn’t tell you enough about them, over an eight year career they’ve released albums called ‘This Beat Is Necrotronic’ and ‘Music Of Bleak Origin’ (although more recent albums have seen a shift towards a less morbid and more science-fictional outlook. Dark electronica festival veterans with a drone, doom and noise approach, the project entangles electronic instrumentalist AJ Cookson (The Montauk Project, Medes, Sol Invicto) with Matthew Rozeik (guitarist from post-metal/post-prog band Astrohenge). Their music rises from gurgling boneyard beats, medical-equipment breakdowns, squishy miasmas and faux-sax drones towards something ruined and regal – a grand deathbed vision.

Sharing Necro Deathmort’s current tour is Berlin-based dubstep/noise/electro fusilladeer DeadFader – memorably described as “chainsaw-step” by Baked Goods Distribution (who went on to rave about how the project coughs up “the most seismic grooves imaginable” and that the music “sinks its teeth into your arm and refuses to let go”). I can’t top that as a description right now – have a listen below and see if you agree with it.

Joining Necro Deathmort and DeadFader for the London date are CementimentalEverything I can dig up about these guys is a barking blur of ludicrous disinformation: almost the only lucid facts coughed up from their promotional flotsam is that they’re led by a “noisician” called Dr. Age (or Tim Drage, who may or may not have a daytime/surface job in cute Lego animations) and have been doing “harsh noise, circuit-bending, rough music since 2000AD”. The Dr. is supported by a cast of obscure and possibly imaginary characters – a guitarist called Toru, a part-time turntablist, a man called Mrs Columbo (who handles the incoherent screaming), and “additionalists” called Murray the Eel and Sir Concord Discount (the latter’s a “rock goblin”). Maybe this makes Centimental sound like the joke band on the bill, and there’s plenty of humour in what they do (a couple of early tracks were called Too Long and Merzbow It Ain’t, while a more recent one’s called Commendable Amputation of an Excessive Gargoyle), but the fact remains that they’ve been going for nearly half again as long as their gigmates. Draw your own conclusions.


Up-to-date info here, tickets here.

* * * * * * * *

On the Thursday, there’s a Cafe Oto convening of music from Cairo, Bristol and Montreal, running in parallel to events in Egypt and Lebanon and covering a broad variety of influences and outcomes.

Maurice Louca + John Bence + Sam Shalabi, October 8th 2015

Maurice Louca + John Bence + Sam Shalabi (Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, UK, October 8th 2015, 8.00pm) – £12.00/£14.00

Cafe Oto, in collaboration with Thirtythree Thirtythree   and Nawa Recordings, bring you the second edition of the five-part event series entitled ‘Labyrinths’ (or ‘Mātāhāt’ in Arabic) and based in London, Cairo and Beirut over October and November.

Maurice Louca is an Egyptian musician and composer born in Cairo where he lives and works. As well as being the co-founder of the bands Bikya, Alif and Dwarves of East Agouza, he lends his sound to numerous projects, composing for theatre, film and contemporary art. Inspired by many influences, from psychedelic to Egyptian shaabi, his second album ‘Benhayyi Al-Baghbaghan (Salute the Parrot)’, released on Nawa Recordings in November 2014, shattered the confines of musical and cultural labelling and was dubbed by many as a game-changer for the region’s bustling independent music scene. Amidst his collaborations and inconspicuous touring across Europe and the Arab world in the last few years, Louca has sought a richer and much more complex sound. ‘Benhayyi Al-Baghbaghan’, the fruit of such intense reinvention and a departure from his first solo album ‘Garraya’, is a work that leaves ample space for fluidity and improvisation, paving the way for unique live renderings.

From a family background rich in classical pedigree and firmly embedded in Bristol’s forward-facing electronic music culture, John Bence has pooled a breadth of influence scarcely credible for a composer only entering his second decade, and now he is starting to put his inspiration into live and recorded motion. As a producer he is already thinking ten steps ahead, often incorporating voice or home recorded percussion into his cyclical technique of scoring, recording, manipulating, re-scoring and re-recording in waves, creating heady, intoxicating ripples of harmony and noise. An obscure snippet of dub-plate drone under a previous moniker was enough for Nicolas Jaar, who instantly approached him about a release on his Other People label. Six months on, ‘Disquiet’ was released – a masterful hybrid of classical and electronic clocking in at a tantalising ten minutes. More, much more, is coming. Mercurial, elusive and of seemingly limitless imagination, John Bence is rising to the surface.

Sam Shalabi is an Egyptian-Canadian composer and improviser living between Montreal, Quebec and Cairo, Egypt. Beginning in punk rock in the late 70s, his work has evolved into a fusion of experimental, modern Arabic music that incorporates traditional Arabic, shaabi, noise, classical, text, free improvisation and jazz. He has released five solo albums (including ‘On Hashish’- a musical mediation on German writer Walter Benjamin; ‘Osama’, an audio collage on Arabophobia in the wake of 9/11; and his most recent ‘Music for Arabs’), five albums with Shalabi Effect (a free improvisation quartet that bridges western psychedelic music and Arabic Maqam scales) and three albums with Land of Kush (an experimental 30-member orchestra for which he composes). He has appeared on over sixty albums and toured Europe, North America and North Africa. Recent projects include the release of the sixth Shalabi Effect album, a duo album with Stefan Christoff, two albums on the Italian label Sagittarius with Beirut, Turkish and Egyptian musicians and a tour in the eastern U.S with Alvarius B (playing solo oud). He is also releasing ‘Isis and Osiris’ (a new composition for oud and electronics) on Nashazphone as well as releasing an album with The Dwarves of East Agouza (a Cairo based trio with Maurice Louca and Alan Bishop) while currently working on his sixth solo album.

Tickets and up-to-date information are here and here.

* * * * * * * *

More noise rock and fringe jazz shortly…

July/August 2015 – upcoming London gigs for 3rd July (Shiver/The Fierce & The Dead/Alex’s Hand in Camden, and The Spiders of Destiny in Deptford); Tim Bowness tours in August; a release date for Levitation’s ‘Meanwhile Gardens’

30 Jun

More art-rock roars coming up…

Facemelter, 3rd July 2015

Shiver, The Fierce And The Dead, Alex’s Hand @ The Facemelter (The Black Heart, 2-3 Greenland Place, Camden, London, NW1 0AP, UK, Friday 3rd July, 7.30pm – £8.00/£6.00)

A night of insane math rock, prog, jazzcore and experimental riffs from some of Europe’s finest.

Shiver are the latest group from Acoustic Ladyland and TrioVD guitarist and producer Chris Sharkey. The trio have been challenging audiences perceptions of music for just over a year, sitting as comfortably at EFG London Jazz Festival as they have when headlining the PX3 stage at ArcTanGent Festival. Stretching the span of instrumentation and the imagination, this trio flits between solid, head-nodding riffs, ambient spaces and frantic electronic cacophony. Tonight they will be playing new material from their recently released third album.

The Fierce & The Dead are a hugely respected and critically acclaimed noisy pronk four-piece from London. Their precise musicianship and schizophrenic, immensely complex, yet catchy music has earned them headline slots all over the UK. Featuring internationally renowned guitarist, loop artist, blogger and all-round independent music guru Matt Stevens, TFATD have shared the stage with bands including PHILM, Knifeworld, Thumpermonkey, Anathema, Cleft and Lost in the Riots. Tonight they will premiere unheard material from their upcoming EP.

Formed in Seattle a few short years ago, experimental four-piece  Alex’s Hand subsequently relocated to Berlin and have been wreaking havoc on Europe’s DIY noise, post-punk and garage ever since. They’ve shared the stage with MoRkObOt, which must have been a bizarre evening. As at home on stage as they are playing avant garde installations (such as 24 hour festival Avant Garden) in a punk squat in Berlin, this will be their first venture to the UK.

More details here, and tickets available here.

I should put in a particular word for Alex’s Hand here, having watched them grow and sprawl over the past few years along a meandering but inspiring path from arch art-pop parodists to noisy song-brawlers and most recently to a kind of spontaneous noise-prog ensemble. There are a few ‘Misfit City’ reviews of their earlier material – one for ‘Madame Psychosis‘ and one for ‘This Cat Is A Genius‘. Although I’ve not covered Shiver yet, I do also have reviews of early Fierce & The Dead material (here and here), as well as a look at the band’s Matt Stevens playing a solo slot.

******

If you’d rather spend a free evening with Uncle Frank, The Spiders of Destiny are playing another London gig of Zappa music on the same day. As ever, expect some of London’s most accomplished art-rockers to work their way back and forth through the Zappa catalogue. The Deptford venue they’re playing this time has plenty of history, whether under its current name, its old monicker of The Oxford Arms or any other title it’s enjoyed over several hundred years. If you don’t spot Frank’s ghost leaning on the sound desk and having an appreciative smoke, you could try looking out for the ghosts of Dire Straits or Christopher Marlowe instead… Up-to-date details here or here, with two-as-yet unnamed bands to be added to the bill.

The Spiders of Destiny (The Birds Nest, 32 Deptford Church Street, London, SE8 4RZ, Friday 3rd July 2015 – 7.30pm, free)

The Spiders of Destiny play Zappa, The Birds Nest, July 5th 2015

********

Tim Bowness live flyer, August 2015Looking further ahead, Tim Bowness is out on a very brief tour in August, playing a handful of dates in England and Poland to promote his imminent album ‘Stupid Things That Mean The World’ as mentioned last month. His band features his usual cohorts of Andrew Booker (drums – also of Sanguine Hum), Michael Bearpark (guitar – Darkroom, Henry Fool), Stephen Bennett (keyboards – Henry Fool) and the more recent recruit Colin Edwin (bass guitar – Porcupine Tree).

The Lousiana, Wapping Road, Bathurst Terrace, Bristol, BS1 6UA, UK, Tuesday 25th August, 7.00pm – tickets here and here.

The Boston Music Room, 178 Junction Road, London, N19 5QQ, UK, Wednesday 26th August, 7.00pm – £17.00 – tickets here and here.

Ino Rock Festival, Theatre Letni, Inoclaw, Poland, Saturday 29th August – 35.94 euros – tickets here (other acts at the festival are Fish, Motorpsycho, State Urge and Millenium).

Playing support at the Bristol and London gigs will be Improvizone, the flexible live-ambient improvising collective led by Bowness band drummer Andrew Booker. The rest of the Improvizone lineup looks as if it will be drawn from the current Bowness band (Michael Bearpark is a frequent Improvizoner) so perhaps you should expect the same band playing in two very different configurations. Up-to-date news will be here.

*****

Levitation: 'Meanwhile Gardens' (2015 issue)

Levitation: ‘Meanwhile Gardens’ (2015 issue)

Another follow-up from last month – there’s now a release date from Flashback Records for the lost Levitation album ‘Meanwhile Gardens’. Mark Burgess of Flashback posted the following on the Facebook fan page for the band’s lost recordings yesterday:

There is at last a provisional release date for ‘Meanwhile Gardens’. 23rd October 2015! Pre-orders will be available in due course from the Bandcamp site and elsewhere. The album is now with the pressing plant, but the lead time on the vinyl is long (pressing plants are straining under the pressure of so much vinyl at the moment, hence the provisional nature of the release date). You should all give yourselves a pat on the back and raise a toast to this group because without this page it might never have happened. Thank you all for your enthusiastic support!

Levitation, circa 1992

SWOONAGE

Swoon. /swo͞on/ A verb. To be emotionally affected by someone or something that one admires; become ecstatic. Here are some people and things that make me swoon. #swoon #swoonage

Post-Punk Monk

Searching for divinity in records from '78-'85 or so…

theartyassassin

...wandering through music...

Get In Her Ears

Promoting and Supporting Women in Music

Die or D.I.Y.?

...wandering through music...

The Music Aficionado

Quality articles about the golden age of music

THE ACTIVE LISTENER

...wandering through music...

Planet Hugill

...wandering through music...

Listening to Ladies

...wandering through music...

ATTN:Magazine

Not from concentrate.

Xposed Club

improvised/experimental/music

The Quietus | All Articles

...wandering through music...

I Quite Like Gigs

Music Reviews, music thoughts and musical wonderings

furia log

...wandering through music...

A jumped-up pantry boy

To say the least, oh truly disappointed

PROOF POSITIVE

A new semi-regular gig in London

We need no swords

Organized sounds. If you like.

Gapplegate Classical-Modern Music Review

...wandering through music...

When The Horn Blows

...wandering through music...

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

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

Ned Raggett Ponders It All

Just another WordPress.com weblog

FLIPSIDE REVIEWS

...wandering through music...

Headphone Commute

honest words on honest music

The One-Liner Miner

...wandering through music...

Yeah I Know It Sucks

an absurdist review blog

Obat Kanker Payudara Ginseng RH 2

...wandering through music...

poplifer.wordpress.com/

Waiting for the gift of sound and vision

Good Music Speaks

A music blog written by Rich Brown

Do The Math

...wandering through music...

Archived Music Press

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

The World's Worst Records

...wandering through music...

Soundscapes

...wandering through music...

OLD SCHOOL RECORD REVIEW

Where You Are Always Wrong

FRIDAY NIGHT BOYS

...wandering through music...

Fragile or Possibly Extinct

Life Outside the Womb

a closer listen

a home for instrumental and experimental music

Bird is the Worm

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

...wandering through music...

Life Just Bounces

...wandering through music...

Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Aquarium Drunkard

...wandering through music...

eyesplinters

Just another WordPress.com site

NewFrontEars

...wandering through music...

%d bloggers like this: