Tag Archives: Zuno Men

January to March 2020 – assorted London gigs – Holly Penfield at 100 Club (8th March) and with Ian Ritchie at the Fiddler’s Elbow (10th January); skewed surf, pop and acoustica with Kenny Process Team, Keith John Adams and The Happy Couple (13th January); Balkan/Gaelic folktronics with Arhai (18th January); plus Minute Taker’s ‘Wolf Hours’ in Manchester (24th January)

7 Jan

Holly PenfieldIf you missed Holly Penfield’s London launch gig for her ‘Tree Woman’ album back at Halloween last year – or if you attended and wanted to see it again – then she’s looping back on herself and staging another one at the 100 Club on 8th March. For those unfamiliar with her, here’s what I wrote (indeed, here’s what I recycled) last time.

“Raised in San Francisco (and a veteran of the 1980s LA pop scene with the scars to prove it) Holly spent much of the ‘90s writing and performing the psychodramatic one-woman pop show ‘Fragile Human Monster’ in London and elsewhere. A show with such troubled and intense undercurrents that it eventually blew itself apart, it’s now spawned a return… but under very different circumstances. The whirling mirror-glass synths and saxophones of the old days have been replaced by a gritty post-Americana rock band (which growls, gnaws and struts through her songs like a Cash or Waits ensemble) while Holly herself has mostly forsaken standing behind a keyboard (except for when a grand piano ballad calls for that set of skills).

“It’s funny, sad, uplifting and stirring all at once. Once the very embodiment of storm-tossed waif and precarious survivor, Holly’s now a wiser and much happier woman. She still absolutely owns the stage, though, helping herself to a big dollop of the jazz and blues flavourings which shaped her initial development, playing a dash of ukulele and engaging in some zestful shimmying (and some delightfully ludicrous party outfits, worn with wit and flair – it seems as if her recent steps away from cabaret involved at least one sly step back).

“What hasn’t changed is the quality of her singing, and of her songs. While old FHM standards like Misfit, The Last Enemy, puddle-of-grief ballad Stay With Me, and slinking fingersnapper You Can’t Have The Beauty Without The Beast have shed skins and made the transition to the new show, Holly’s also been dipping into a trunk of neglected and mostly previously unheard work, including the tremendous state-of-the-world song Confessions (based around a lyrical hook she once dangled in front of an intrigued Joni Mitchell) and the vivacious Tree Woman (a more recent effort in which she vigorously embraces both her own ageing and the resilience that comes with it).”



 
Holly Penfield & Ian Ritchie, 10th January 2019If you can’t wait until March, Holly and her multi-instrumentalist husband Ian Ritchie (the latter an ex-Deaf School member recently fresh off playing sax on the Roger Waters tour) will be playing another London gig this coming Friday, up at the Fiddler’s Elbow. This one will be an “experimental thirty-minute duo gig of originals with vintage ‘80s drum machine… interesting, quirky,and challenging!”

Although Holly and Ian are going out under their Cricklewood Cats moniker (under which they’ve previously released a few synth-jazz swing songs), theirs has been a long and varied partnership also encompassing cabaret, out-and-out jazz balladry, noisy rock diva songs and the bewitching sequencer-torch-pop of the ‘Parts Of My Privacy’ album. So you could expect takes on all of the above and more, including some of Holly’s newer songs. At the moment she’s on a serious creative upswing, and there’s rarely been a better time to see her than now.


 

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Kenny Process Team + Keith John Adams + The Happy Couple, 13th January 2020On the following Monday, the reunited and reinvigorated Kenny Process Team launch their own new album, ‘Travlin’ Light With… Kenny Process Team’. Actually, it’s an old one, recorded as a live session over twenty years ago with the band’s 1998 lineup but lost in the abstracted shuffle of the band’s history, which has seen members swap out, disappear, impale themselves on fences and even join Oasis.

Part avant-surf, part Afro-prog and compared in their time to both The Ventures and Captain Beefheart (while proggies will also find parallels with Television and The League of Gentlemen), there’s more on the Kenny Process back story here. In the present, with the addition of Rhodri Marsden as new guitarist (replacing the late Simon King) and thanks to his existing connections with Lost Crowns and Prescott, they’re further cementing their links with London’s current crop of art/prog/psych/cellularists.



 
Also playing is KPT labelmate Keith John Adams. Once Rhodri’s bandmate in zestful 1990s avant-skifflers Zuno Men, for twenty years now Keith has been a solo act coming at acoustic pop from a gently skewed angle, buffeting around friendly lyrical ideas like a sozzled housefly bumping against a lampshade and turning out understated little song-gems as he does so. His accidental forebears might include Robyn Hitchcock, Kevin Ayers; you might also pretend that he’d been dreamed up from some lazy Walthamstow afternoon when Leon Redbone shared a sofa with the young Bill Oddie.



 

Opening the evening is The Happy Couple, the languid instrumental duo formed by Kenny Process drummer Dave Ross and his life partner Judith Goodman, born out of two decades of inseparable love mingling with the inspiration of the Epping Forest woodscapes where they live. Judith plays a variety of open-tuned guitars, predominantly a Weissenborn acoustic slide guitar but also a 4-string tenor and a 3-string cigar box model (plus a mysterious “early English” example which suggests a rewriting of instrumental history). Leaving his drumkit behind, Dave plays a variety of mouth-held lamellophones: a classic American jaw harp, Indian morchangs in both brass and iron, a Norwegian Munnharpe and a mouth bow harp created in Devon. As for the music, it’s a relaxed evocation of companionship, glissando and boing and intersecting rhythms: or, as Judith comments, “it’s about the sounds that happen when we put our sounds together. We just create a world we want to be in.”



 
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Arhai, 18th January 2020

The following Saturday, British/Serbian electronic folk project Arhai slip into the little cellar at the Harrison to deliver their own electro-acoustic atmospheres. A two-decade-long project led by singer/composer Jovana Backovic, they were a traditional Serbian acoustic octet for their first ten years, gradually shifting into electric terrain before dissolving and allowing Jovana to form the current duo with British multi-instrumental specialist Adrian Lever (mediaeval dulcimer, hammered dulcimer, guitar, tambura, Bulgarian lute etc). Now they’re Balkan-cum-Gaelic, intertwining ancient and technological: or, as they put it “rethinking the archetypal modes of music performance in the context of modernity”. Which sometimes means they’re ultra-accessible and synth-quilty in the familiar Clannad model, and sometimes means that they’re off and racing like a cross between izvorna and a hyperspatial hip hop track.




 
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All of the above events will be in London: for the next one, you’ll need to head up to Manchester, where singer, songwriter and electronic pop creator Ben McGarvey, a.k.a. Minute Taker, is unveiling his multi-media performance ‘Wolf Hours’. Ben is no stranger to mixing theatre and music, having already presented a love-and-ghosts story on tour with ‘To Love Somebody Melancholy’ featuring animations from Ana Stefaniak. ‘Wolf Hours’ is an even more ambitious undertaking – “a unique performance combining mesmerising film with a dynamic live soundtrack. From forbidden love in the First World War, to the pain and rage of AIDS, to contemporary hedonism and heartbreak, ‘Wolf Hours’ explores the stories of gay men at different points in time through their dreams. This series of stunning new short films (directed by John Lochland, Joe Stringer, Kirk Sylvester, Raphaël Neal and Ben McGarvey) are accompanied throughout by Minute Taker performing an intimate musical and vocal score that both builds the atmosphere and pulls on the heartstrings. Visually explosive and emotionally thrilling, ‘Wolf Hours’ transports the audience through pleasure, grief, lust, joy and our collective historical imagination.”



 
In this interview with ‘Superbia’, Ben expounds on the approach he took when putting together ‘Wolf Hours’, which he describes as “jumbled-up memories, fears and fantasies.. It’s presented a bit like late night TV from back in the ’80s and ’90s (when anything queer was relegated to an after-midnight slot!) with different programmes and images emerging out of the static as you drift in and out of sleep… I also decided to include lots of archive footage in the show, which explores the way homosexuality has been portrayed in the media over the years… all of the stuff that finds its way into the subconscious minds of the characters as they lie awake at night, having an effect on how they view themselves and the gay community.” He’s hoping to take the show out on a broader tour much later this year, but for now this is all that you’re getting…

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Dates:

Holly Penfield & Ian Ritchie: The Cricklewood Cats
The Fiddler’s Elbow, 1 Malden Road, Kentish Town, London, NW5 3HS, England
Friday 10th January, 2020, 8.20pm
– no information links, just turn up…

Kenny Process Team + Keith John Adams + The Happy Couple
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Monday 13th January 2020, 7.30pm
– information here, here and here

Folk and Roots presents:
Arhai
The Harrison, 28 Harrison Street, Kings Cross, London, WC1H 8JF, England
Saturday 18th January 2020, 7.30pm
– information here, here and here

Minute Taker presents ‘Wolf Hours’
Hope Mill Theatre, 113 Pollard Street, Beswick, Manchester, M4 7JA, England
Friday 24th January 2020, 8:00pm
– information here and here

Holly Penfield
The 100 Club, 100 Oxford Street, Soho, London, W1D 1LL, England
Sunday 8th March 2020, time t.b.c.
– no information links yet
 

May 2017 – upcoming London gigs – Naïm Amor and Keith John Adams up close in Fitzrovia (May 12th); Howe Gelb’s Piano Trio and Naïm Amor at Café Oto (May 13th)

6 May

Quick news of a snug gig piggybacked onto a larger tour…

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Shaun Hendry, Naïm Amor & Cyril Moya present:
“From Paris, Tucson”: Naïm Amor + Keith John Adams
The King & Queen, 1 Foley Street, Fitzrovia, London, W1W 6DL, England
Friday 12th May 2017, 7.30pm
– information here and here

Naïm Amor + Keith John Adams, 12th May 2017“Ahead of his performance the following night at Cafe Oto with Howe Gelb, Naïm Amor plays his first London show in nine years; and we’re delighted that he’s joined by a rejuvenated Keith John Adams.

“Naïm first started out on the Parisian underground punk scene before his (recently revived) Amor Belhom Duo act found their way out to Tucson, Arizona. Collaborations with Calexico followed, resulting in the ‘A.B.B.C. ‘ album and a Shane Meadows soundtrack appearance before Naïm went solo, working with John Parish (and pretty much the full Tucson A-Z of musicians) across a number of song based albums and his series of ‘Soundtracks’ collections.

“Last year’s collaboration with Calexico drummer John Convertino on the album ‘The Western Suite And Siesta Songs’ further enhanced his reputation; and 2017 finds him on tour both supporting and playing alongside Howe Gelb and his Piano Trio (with whom Naim guested on the album ‘Future Standards’, adding his delicate Django-esque guitar motifs).


 

“Keith is in that great tradition of artists (think Robyn Hitchcock) adept at coupling pop nous with sometimes seemingly off-centre lyrics that do not belie their astute insight on the human condition. Adored in the suburbs of Paris, where his music is the preferred soundtrack to a Sunday night session of anarcho-bingo; cherished by the good people of London and its radio station de choix… BBC 6Music, finding favour with the likes of Gideon Coe, Steve Lamacq and Stuart Maconie; and supported label-wise in the USA from Athens to Washington by way of Tucson, we are delighted to welcome him back for his first show on home turf in many a moon.”


 

Not that it was mentioned above, but some of you may remember Keith as the frontman and principal songwriter from art pop/prog/skiffle band Zuno Men, who had a delightful run of near-notoriety during the late 1990s…


 
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Meanwhile there are still tickets available for that aforementioned Howe Gelb show at Oto – so for anyone interested but still unbriefed, here’s the info…

Howe Gelb Piano Trio, 13th May 2017

Bird on the Wire presents:
Howe Gelb Piano Trio + Naïm Amor
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Saturday 13 May 2017, 7.30pm
– information here

“Let me set the scene – irresponsible lovers are canoodling in semi-lit booths, the jukebox is playing some old tunes by Frank and there’s some people over there who never want to fall in love again. It’s the last bar still open and the piano player mooches over to the battered grand. This guy, we know, is great. He expertly and succinctly slides in words like “iconoclast”, “apropos”, “tumult” and “ludicrous”, he even name checks Constantinople – that’s proper old school.

“For those celebrated guys who hit on the standards – Monk, Cohen, Bacharach, even Merle Haggard – Howe Gelb is creating new tunes with cathartic one-liners and malleable melodies that suggest any singer could interpret these dozen American piano ballads and take his offbeat worldview and make it their own. Who wouldn’t want to begin the beguine with the line “World peace declared, no problem spared…”?

“These are ‘Future Standards’ by The Howe Gelb Piano Trio, taking an outsider view of early gospel and rhythm-and-blues: both part of the American musical socialization that he touched on with 2006’s ‘Sno Angel’. Now he’s on a jazz-tinged trip, bending the genre, taking it back to his shack, giving an innovative fine tune in the lean-to garage.”


 

August 2015 – upcoming London gigs – Prescott, A Sweet Niche and 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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