Tag Archives: V A L V E

June 2017 – upcoming London/German gigs – Lindsay Cooper remembered by Half The Sky (22nd June – plus Avantgarde Festival appearance on 25th June)

15 Jun
Half The Sky, 22nd June 2017

Half The Sky (photo © Jean-Hervé Péron)

Long before the knot of current pop culture wrangling over women’s control over the music they make, the late Lindsay Cooper was plugging away in her own corner, striving (and ultimately succeeding) for much the same thing in the often arid and unforgiving spaces of British art rock, improv and jazz. Later this month, the Half The Sky ensemble (led by vigorous curator/arranger /multi-instrumentalist Yumi Hara) will be bringing their showcase of her music both to London and to a small town outside Hamburg, re-animating the work she created for Henry Cow, News From Babel and Music For Films between the late ’70s and the mid-’80s.

Originally formed in 2015 for festival appearances in Japan and France, Half The Sky derive their name from the Maoist/feminist maxim, “women hold up half the sky”, as used by Lindsay as a composition title on Henry Cow’s ‘Western Culture’ album, back in 1978) and feature an impressive alliance of British and Japanese art-rock musicians. As well as Yumi on keyboards, lever harp and vocals, the ensemble features two members of Cicala-Mvta (Miwazow on koto, ching-dong percussion and voice; Wataru Okhuma on alto saxophone and clarinet), the Korekyojinn/Altered States bass guitarist Nasuno Mitsuru; Chlöe Herington (the reeds and melodica player from Knifeworld, Chrome Hoof and V Ä L V Ē) and finally two of Lindsay’s former Henry Cow/News From Babel colleagues (singer Dagmar Krause and drummer Chris Cutler). As Yumi points out, “the gender split follows Lindsay’s general practice and the example of the original bands – Henry Cow (50% female) and News from Babel (75% female).”

Yumi’s comments on the music:

“In 2013, soon after Lindsay passed away, Matthew Watkins made a call for arrangements of her mini-composition ‘Slice’ for a special edition of his podcast ‘Canterbury Sans Frontières‘. I made a transcription of the piece and recorded it for solo clavichord. Chris Cutler and I also played it in Japan and New York. A little later, inspired by the three memorial concerts Chris Cutler organised in 2014 with the original bands, I put Half The Sky together to play Lindsay’s music in Japan.

“With the exception of ‘Slice’, it was only after – and because of – the 2014 concerts that any working scores for the Henry Cow pieces became available, having been painstakingly assembled from Lindsay’s notebooks, original band-members’ surviving parts and careful analysis of the recordings. A handful of the News from Babel songs – none of which had ever been performed live – had already been reconstructed for the memorial concert by Zeena Parkins; the rest I had to work out from scratch – as well as rearranging everything for a mixture of occidental and oriental instruments.

“This programme is approached very much as a music of the present – and not as an academic reconstruction.”

In addition to Half The Sky’s performance, the London show will feature DJ sets from two of London’s more interesting musical personalities. Marina Organ’s known both for three decades of staunch work as writer/co-driving force of ‘Organ’ magazine and for her indefatigable DJ/interviewing work on ‘The Other Rock Show’. James Larcombe is the keyboard player and sometime composer with Stars In Battledress, Arch Garrison, North Sea Radio Orchestra, Zag & The Coloured Beads and the William D. Drake band; now he seems to be extending his talents (or at least his brassy neck), to disc-spinning.

Half the Sky: Music of Lindsay Cooper

  • Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England, Thursday 22nd June 2017, 7.30pm – information here and here
  • Avantgarde Festival, Steinhorster Weg 2, 23847 Schiphorst, Deutschland, Sunday 25th June 2017, 2.15pm – information here and here


 
* * * * * * * *

Pinning down the nature of a woman’s work in art – or women’s work in general – is not always an easy thing, nor even desirable. Even the most positive intentions can produce more restrictive categories, more unwanted boxings and demands to conform. In the case of Lindsay, whose career always foregrounded honest effort and end product over personality showboating, and which was tinted by doubt and determination, it’s probably best to concentrate mostly on the mind behind the music: to listen to the querying voice coming through.

Operating over a set of times in which both contemporaries and colleagues had a tendency towards answers and stances, stated in both bald pronouncements and modernist-baroque ornamentations, she opted to bring a more questioning tone which nonetheless carried some of its possible answers in both action and presentation. Hers was a polymathic but purer musicality: an instrumental voice which voyaged alongside others’ often harsher pronouncements, détournements and doctrines and drew from them while never being subject to them, and which always kept a gentler, more accommodating side open to allow growing space and to consistently rebuild.

Although she also put in stints with both the cheery Canterbury fusioneering of National Health and the terrifying dark-folk band Comus during the 1970s, Lindsay was probably best known for her work with the powerful political chamber-prog of proto-Rock In Opposition ensemble Henry Cow (a creative ferment which she joined and left twice and, like most Cow-ers, never entirely left behind). Having initially brought in her toolkit of reeds, woodwind and piano skills to play on the band’s second album ‘Unrest’, she subsequently made small inroads into the writing, contributing to a number of group compositions on ‘In Praise of Learning’ and the ‘Concerts’ set. As a composer, though, she finally came into her own on the band’s final, all-instrumental statement ‘Western Culture’, on which she was responsible for most of the piled jazzy grandeur of the second side (finding previously unexplored links between the music of New York, Canterbury and Switzerland).

Lindsay Cooper

Lindsay Cooper

Perhaps more significantly, by this point in the late ’70s Lindsay had already formed the witty, subversive Feminist Improvising Group, or FIG; a project which she co-ran with vocalist Maggie Nichols in parallel with her Cow work. Generally considered to be the preoccupation and property of educated, intense, white men, the British and European free improvising of the time tended to be a little short on jokes (bar occasional pranking along the lines of the Free Art Research Trio). FIG allied Lindsay and Maggie with various other musical and performance talents – “feminist rock” trumpeter Corine Liensol (who’d played in Jam Today with a young Deirdre Cartwright), pianist Cathy Williams (who’d worked with another Cow-er, Geoff Leigh, in the Rag Doll duo), future filmmaker Sally Potter, latterday Cow cellist Georgie Born and Swiss free-jazz pianist Irène Schweizer (the last being allegedly the only European female improviser on the ‘60s and ‘70s scene). In classic feminist tradition, FIG not only enabled previously sidelined female voices onto the improv scene but deliberately upturned expectations as to what such a scene could achieve.

In comparison to the demanding and abstruse Maoist politics of Henry Cow (which, in private, sometimes resembled a brutally masculine university debating society preoccupied with games of political high-grounding), FIG were spontaneous, mutually supportive and – just as importantly – funny. With a strong and personal rooting in lesbian, class-based and feminist activism (plus parallel feelings of sidelining and denial on the part of others) but a suspicion of dogma, they expressed frustration and political challenge by drawing on a collective sense of the absurd and of the sympathetic. In addition to the music, their shows featured parodic stagings and examinations of domestic work (such as kitchenwork and cleaning) and of consumer preoccupations. Vegetables were peeled onstage; household tools such as dustpans and brooms pressed into service as props and noisemakers; oppressive or manipulative memes transformed into call-and-response singing.

Reading accounts of FIG work reveals a tale of tough gigs, audience misunderstandings and frequent frustration. Men carped, frowned and cold-shouldered; women laughed, argued and sometimes welcomed; the group members continually challenged their own sense of self and role; but the work itself sounds joyously unshackled – something I would have loved to have been around to see. It’s a shame that much improv and theatrical work is always of the moment and tends to vanish like dew in the morn. Without recorded evidence or restaging, it fades into hearsay, and in this case an important chapter in Lindsay’s work has to dwell in a kind of word-of-mouth samizdat.

Post-Cow and FIG, Lindsay ran her own Film Music Orchestra to create and record arthouse soundtracks (often working in cinematic cahoots with Sally Potter). She rejoined another former Cow colleague ((the now-mellowed Chris Cutler) for the 1980s post-Marxist art-song project News From Babel: here, Chris’ social and political musings would make a happier marriage with the pop-cabaret end of Lindsay’s music. She also contributed to the counter-cultural jazz colours of various Mike Westbrook and John Wolf Brennan bands, played with Pere Ubu ranter David Thomas, worked in theatre and (in the ’90s) composed a more formal chamber music which nonetheless retained the edge and inquiring spirit of her work in avant-rock and political art. She’d collaborate with Potter again for the Cold War song cycle ‘Oh, Moscow’ in the late ’80s, to which Chris Cutler also contributed. If encroaching multiple sclerosis (which had privately dogged her throughout her post-Cow career) hadn’t dragged her into early retirement in the late ’90s, there would have been more.

Half The Sky provide a welcome re-introduction to Lindsay’s work, performed by committed people whose sympathy with Lindsay Cooper’s music is absolute. However, they should also be viewed as a window onto the wider career of a quietly remarkable woman whose death in 2013 forced a premature coda onto the work of a mind whose personal humility had been more than balanced by its nimbleness, thoughtful and flexibility. Come along to these concerts and hear some of that mindwork and heartwork come alive again.


 

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).





 

* * * * * * * *

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.



 
* * * * * *

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
 

June 2016 – upcoming London gigs – Machinefabriek + Graham Dunning/Colin Webster at IKLECTIK (16th); a host of electro-noise-drone-loop-texturalists explore ‘Mechanical Dreams Along The River’ at New River Studios (17th); V A L V E, Haymanot Tesfa, Mark Braby, Ed Dowie and some Lonesome Cowboys From Hell at Scaledown (17th)

11 Jun

Boosting the signal for some experimental/eclectic gigs in London this coming week…

* * * * * * * *

Machinefabriek ( photo by Pieter Jan Minnebo)

Machinefabriek ( photo by Pieter Jan Minnebo)

IKLECTIK presents:
Machinefabriek + Graham Dunning & Colin Webster
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 16th June 2016, 8.00pm
information

Machinefabriek is the alias of Rutger Zuydervelt, whose music combines elements of ambient, noise, minimalism, drone, field recordings and electro-acoustic experiments. His pieces can be heard as sonic environments for the listener to dwell in. Finding tension in texture, tone and timing, the result can be very minimalistic at first glance, but reveals itself upon closer listening. The devil is in the details. Rutger has collaborated (on record and/or live) with numerous artists including Colin Webster, Jaap Blonk, Aaron Martin, Peter Broderick, Frans de Waard, Steve Roden, Michel Banabila, Dead Neanderthals and Gareth Davis, amongst many others.

“The duo of Graham Dunning & Colin Webster perform improvised music avoiding conventional playing of their respective instruments. Graham Dunning uses a single turntable with dubplates of field recordings, dentistry tools and other objects to create crackling textures, tones and disjointed noise. On saxophone, Colin Webster uses a range of techniques to bring a palette of percussive and textural sounds, drawn tones, and raw, searing blasts. The duo have recorded 3 albums, with their 4th out in May on Tombed Visions, and have also recorded a collaboration with tuba player Sam Underwood.”

 

* * * * * * * * *

An evening of assorted collective noises:

'Mechanical Dreams Along The River', 17th June 2016

D503 present:
‘Mechanical Dreams Along the River’: Echoes… Leytonstone + Norvoir + Precocious Mouse + Shabash + D503 + Noteherder & McCloud
New River Studios, Ground Floor Unit E, 199 Eade Road, Manor House, London, N4 1DN, England
Friday 17th June 2016, 7:30 pm
– information here and here

Echoes… Leytonstone is a solo project from James Shearman, interested in hypnagogia and inspired by musicians like Nadja, The Angelic Process and Birchville Cat Motel – ambient and ethereal dronegazing, minimal bellowing cave music.


 
Norvoir is an ambient/drone project by Sam Saljooghi, using his guitar to slowly build and create vast atmospheric soundscapes from which you can immerse yourself in through his use of delay, reverb and looping.


 
Precocious Mouse will be performing a new live iteration of the ‘seance’ project. Using a combination of generative, microsonics and found sound, the experimental/electronic/glitch piece explores themes of communication and alienation.


 

“A secret rendezvous of witches and sorcerers, characterized by orgiastic rites, dances and feasting and using violin, piano and noise, Shabash brings spirits of the deep forests and multidimensional realms, allowing different worlds to meet and journey together.


 

D503 are Nicola Serra (beats, synthesizer, percussion) and Francesco Garau (guitars and manipulations), a North London-based duo aiming to explore drone, techno and industrial by using primitive and minimal sounds.

Noteherder & McCloud undertake investigations. A thick grey soup of electronic noise and field recordings enlivened by some remarkable soprano sax playing from Chris Parfitt. We watch from dark corners where synthesisers struggle against illegal parameters.”


 

* * * * * * * *

Finding out everything that’s happening at a event at central London eclecti-night Scaledown always tends to be a last-minute matter, but here’s what was scheduled a working week before the latest show…

The Orchestra Pit presents:
Scaledown #119: V A L V E + Haymanot Tesfa + Frank E. & JK-ee (Lonesome Cowboys From Hell) + Mark Braby + Ed Dowie
The King & Queen, 1 Foley Street, Fitzrovia, London, W1W 6DL, England
Friday 17th June 2016, 7:30 pm
– information here and here

“Coming up this month we have:

V A L V E is a progressive/avant-garde sound project from Knifeworld’s Chloe Herington, featuring an ever-morphing line up of conspirators and collaborators and rather a lot of bassoons, saxophones and found sounds.

“The beloved singer and artist Haymanot Tesfa brings her lyre to enchant us with songs of Ethiopia, ancient and contemporary, fresh and traditional.

 
“Yee-haw…. last year we put out the call for some cowpunk, and this coming Friday we get the grits courtesy of Frank E. & Blind ‘Gentleman’ JK-ee, two of the low-down psycho-reprobates that are Lonesome Cowboys From Hell. They will be regaling Scaledown with tales of family strife and cross-country travellin’ life.


 
“Co-Scaledown host Mr Mark Braby will perform one short story, one or two wee rhymes, two songs and an improvisation which will last until Duane the intern informs him that he has to stop.

Ed Dowie has been making music since the late 1990s, firstly as one third of Parlophone’s Brothers in Sound, then later a solo act under the name Redarthur. After a five-year hiatus which he spent living in University libraries & music technology labs making strange bleeps, he returned to the music industry to join The Paper Cinema, a puppetry/animation/theatre/music hybrid (that tours both internationally & in Hackney). Now performing and recording under his own name, he makes music which fuses experimental techniques with melodic aspirations.”


 

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.)

* * * * * * * *

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.

ATTN:Magazine

Not from concentrate.

Xposed Club

improvised/experimental/music

I Quite Like Gigs

Music Reviews, music thoughts and musical wonderings

Make Weird Music

Because 4 chords aren't enough

The Recoup

The 232,359th Most Trusted Voice In Music

A jumped-up pantry boy

Same as it ever was

PROOF POSITIVE

A new semi-regular gig in London

We need no swords

Static and debris. Skronk and wail. This is 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

Headphone Commute

honest words on honest music

Yeah I Know It Sucks

an absurdist review blog

Pop Lifer

Waiting for the gift of sound and vision

Good Music Speaks

A music blog written by Rich Brown

Archived Music Press

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

The Weirdest Band in the World

A lovingly curated compendium of the world's weirdest music

OLD SCHOOL RECORD REVIEW

Where You Are Always Wrong

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.

Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

eyesplinters

Just another WordPress.com site

FormerConformer

Striving for Difference

musicmusingsandsuch

The title says it all, I guess!

%d bloggers like this: