Abi Rhodes' Zigzag Wanderings

Blues @ The Komedia, Brighton

I fondly remember the era when Blues...more explicitly British Blues... was the central pivot on which all underground music swung. Names like Taste, Rory Gallagher, John Mayall, Peter Green & Fleetwood Mac, Ten Years After and Savoy Brown were on our tongues daily and this led us to explore their American progenitors and the scene developed into the Prog. Rock scene the height of  which sadly did not last long before descending into the cesspool of pretentious navel gazing noodling boredom that spawned Punk.

Anyway these times were exciting and rapidly changing. Occasionally an attractive new Blues artist comes along and takes us back to those halcyon days in our ageing heads. I think this has happened to me in the last couple of weeks. I first saw Marcus Bonfanti at The Boogie Woogie Troop's gig @ The Brunswick in Hove last week and when I heard roles were to be reversed and The Toop were to appear as support to Marcus's band @ Brighton's Komedia this last Wednesday 30th May 2012.

Sadly I thought I wouldn't be able to afford another outing in May but then I got the chance of a guest list entry, so I jumped at it along I went!

The Boogie Woogie Troop were back to their basic format of The Amazing Matt Gest on Keys/electric piano andf Lead Vocals, The Ubiquitous Jim Mortimore on bass and The Muel Himself Mr Samuel Walker on Drums and Backing Voices. in a pretty short set they showcased their expansive spectrum of jazz, big band and rock'n'roll repertoire and think newcomers in the pleasing packed house were given something to ponder and inwardly digest.

Then Marcus Bonfanti swung onto the stage and amazed all with his fine guitar styling and exercised his lungs to show off his authentic Blues voice and very original songwriting ability. He is brilliantly supported by drums and bass. He plays a mix of traditional and self-composed tunes and each one displays a further amazing talent, be it his gravelly vocals, his very fine slide and bottleneck skills or the humour that permeates his songwriting. The show ended with Matt Gest back on stage with the band and these two great talents were able to bounce off each other producing a rare and fine exhibition of virtuoso playing at its best.

The other thing I need to mention about theis gig is that the sound quality was the best I've heard anywhere in years and years. hether that was down to the Komedia's own system, the particular engineer that evening or something Marcus's band brought along with them or a happy mixture of all of these I don't know. Whichever of these it was I'd like to thank all concerned for putting on such a great night out.

I fondly remember the era when Blues...more explicitly British Blues... was the central pivot on which all underground music swung. Names like Taste, Rory Gallagher, John Mayall, Peter Green & Fleetwood Mac, Ten Years After and Savoy Brown were on our tongues daily and this led us to explore their American progenitors and the scene developed into the Prog. Rock scene the height of  which sadly did not last long before descending into the cesspool of pretentious navel gazing noodling boredom that spawned Punk.

Anyway these times were exciting and rapidly changing. Occasionally an attractive new Blues artist comes along and takes us back to those halcyon days in our ageing heads. I think this has happened to me in the last couple of weeks. I first saw Marcus Bonfanti at The Boogie Woogie Troop's gig @ The Brunswick in Hove last week and when I heard roles were to be reversed and The Toop were to appear as support to Marcus's band @ Brighton's Komedia this last Wednesday 30th May 2012.

Sadly I thought I wouldn't be able to afford another outing in May but then I got the chance of a guest list entry, so I jumped at it along I went!

The Boogie Woogie Troop were back to their basic format of The Amazing Matt Gest on Keys/electric piano andf Lead Vocals, The Ubiquitous Jim Mortimore on bass and The Muel Himself Mr Samuel Walker on Drums and Backing Voices. in a pretty short set they showcased their expansive spectrum of jazz, big band and rock'n'roll repertoire and think newcomers in the pleasing packed house were given something to ponder and inwardly digest.

Then Marcus Bonfanti swung onto the stage and amazed all with his fine guitar styling and exercised his lungs to show off his authentic Blues voice and very original songwriting ability. He is brilliantly supported by drums and bass. He plays a mix of traditional and self-composed tunes and each one displays a further amazing talent, be it his gravelly vocals, his very fine slide and bottleneck skills or the humour that permeates his songwriting. The show ended with Matt Gest back on stage with the band and these two great talents were able to bounce off each other producing a rare and fine exhibition of virtuoso playing at its best.

The other thing I need to mention about theis gig is that the sound quality was the best I've heard anywhere in years and years. hether that was down to the Komedia's own system, the particular engineer that evening or something Marcus's band brought along with them or a happy mixture of all of these I don't know. Whichever of these it was I'd like to thank all concerned for putting on such a great night out.

Theatre at The End of The Universe

Ragnarok: The Weird of the Gods

Venue: Upstairs at Three and Ten

Category: Theatre

Sub-category: Funny, Live music

Promoter: Theatre of the Preposterous

Entrance fee: £9.00 (£7.50 concessions)

Website: www.theatreofthepreposterous.co.uk

Twitter: @johnny_acecraft

Facebook: http://www.facebook.com/events/232336040185051/

Age Suitability: PG – Children (16 and under) must be accompanied by an adult

Loki has broken his chains, and gathers his monstrous offspring around him. This is pretty shitty news. Basically, we’re doomed. Monsters, frost-giants and assorted freaks battle the gods in the battle to end all battles.
Musical comedy based on Norse mythology, from John Hinton, creator of international hit ‘Origin of Species…’: “Remarkably inventive, thoroughly entertaining… Must See!” (Stage)

Students - £5

WOW!

Despite my enthusiasm for Iceland, I've always found sorting out the rather confusing Norse Mythology somewhat beyond the capabilities of my pea-sized brain.

But all that's been changed...

                                  ...by "Ragnarok: Weird of the Gods performed byThe Theatre Of The Preposterous  aka John Hinton.

This one-man extravaganza did a fine job on me and now the muddle in my mind has been clarified.

If all education in History, Religion, Mythology etc was taught according to The Preposterous Theory, then the world would be full of graduates in those subjects!

Story-telling, musical numbers, video, funny hats and over-the-top mad-cap humourous writing all add up to a terrific show, and the good news is .....

                                                   ...it will be performed again in Ditchling in October

Boogie-Woogie, Honky-Tonkin' Barrelhouse, Ragtime,Rock'n'Rollin' Razzamajazz Jungle Book Troop

Yay!!!!!

Last night's 5-star trip down Hove's Ol' Holland Road to The Brunswick - just short of the seafront [else it'd be in the sea  (ha-ha)] - to see Matthew Gest's Boogie Woogie Troop as part of the Brighton Fringe Festival was a rare treat indeed.

Not only did we get a virtuoso display of a huge range of Piano stylees from Mr Gest himself - which has to be the reason for turning up in the first place, but the capacity crowd was vastly entertained by the unquenchable rapport between the band members especially Matt and drummer Sam Walker [aka The Muel] who were visibly making great sport of attempting to push each other into prematurely jumping clearly moveable lines in the sand to change to a different key, tempo,tune, style,next week, universe, whatever...

Tonight's incarnation of the band, including Sax [blown stylishly, but avec grande gusto by Charlotte Glasson whom I have not seen perform before] and Jevon Beaumont on Bass [wonderful empathy and facial expressions!] was, in the second half of the show supplemented by special guest [or Gest] Marcus Bonfanti, blues guitarist and singer-songwriter, and I have to say I have not heard such fine new blues composition in many a long year.

Sorry - not much else to say really - you really did have to be there to appreciate the quality of the gig. Mere words cannot do it justice.

Actually [as in Hove Actually], there is one more thing....I'm told you can catch Marcus and his band playing @ The Komedia, Brighton next Wednesday and co-incidentally Boogie Woogie Troop are their support band, so if you missed this one [or even if you didn't!] you do get a second bite of the cherry....

 

Launch of Scottish Independence "YES" Campaign

Once again England's population, that includes many, many Scots - is being sidelined and disadvantaged by not having a vote on this vital question which affects all our futures.

I personally have no objection in principle to this political change, but am very concerned about the future for English politics if the proposal is carried, especially if Wales eventually goes the same way. Goodness knows what the outcome would be if Northern Ireland ended up wanting Independence too!

Many of Westminster's Labour and Liberal-Democrat MPs are representing constituencies in these Provinces and the loss of them would seriously affect the Balance of Power rendering the Tories virtually unstoppable to remove from power and upsetting our traditional position of having regular swings in emphasis of philosophy in charge at Westminster, thus safeguarding our Democracy.

The Tories can happily oppose the move to independence for Scotland, knowing they will have no effect on the vote and that the change will be to their advantage in England in the future.

It is very selfish of the SNP to limit democratic decision making to Scotland over such an issue, while having spent years taking advantage of The West Lothian Question - the position where they've been voting on English issues at Westminster while excluding the English, Welsh and N. Irish from votes taken in the Scottish Parliament

looking back through this blog to find a record review that I wrote some years ago I found this which I thought I'd post again...
I cdnuolt blveiee taht I cluod aulaclty uesdnatnrd waht I was rdanieg The phaonmneal pweor of the hmuan mnid Aoccdrnig to a rscheearch at Cmabrigde Uinervtisy, it deosn't mttaer in waht oredr the ltteers in a wrod are, the olny iprmoatnt tihng is taht the frist and lsat ltteer be in the rghit pclae. The rset can be a taotl mses and you can sitll raed it wouthit a porbelm. Tihs is bcuseae the huamn mnid deos not raed ervey lteter by istlef, but the wrod as a wlohe. Amzanig huh? yaeh and I awlyas thought slpeling was ipmorantt

looking forward to going to this event at the Brighton Fringe Festival

http://boxoffice.brightonfringe.org/event.aspx?pfID=2333

Ragnarok: The Weird of the Gods

Venue: Upstairs at Three and Ten

Category: Theatre

Sub-category: Funny, Live music

Promoter: Theatre of the Preposterous

Date: 26 May 3:00 PM

Duration: 60 minutes

Entrance fee: £9.00 (£7.50 concessions)

Website: www.theatreofthepreposterous.co.uk

Twitter: @johnny_acecraft

Facebook: http://www.facebook.com/events/232336040185051/

Age Suitability: PG – Children (16 and under) must be accompanied by an adult

Loki has broken his chains, and gathers his monstrous offspring around him. This is pretty shitty news. Basically, we’re doomed. Monsters, frost-giants and assorted freaks battle the gods in the battle to end all battles.
Musical comedy based on Norse mythology, from John Hinton, creator of international hit ‘Origin of Species…’: “Remarkably inventive, thoroughly entertaining… Must See!” (Stage)

Students - £5

BATTLE CRY!!!!!

ASHBIRD:The Edge of Reality            [Seismic Studios]

www.ashbird.co.uk

The most important thing when designing an album’s running list is that the opening bars of the first track should grab the listener’s ear right from the word ‘go’. This is doubly so if the listener is a jaded reviewer fed up with hearing more of the same old same old. The second most important thing is to make sure the first track is not the best you have on offer – thus you should have at least half a dozen ‘goodies’ before you even consider laying down tracks for an album. Otherwise you should think in terms of just issuing singles for the time being.

The instrumental opener on Ashbird’s ‘The Edge of Reality’ certainly passes the first test. The sinister lead in few bars of ‘Scratch the Surface’ get the adrenaline pumping in anticipation of what will happen next. You really have no clue in what direction the song is heading… then.. WHAM!!!.... the track bursts into a thrillingly murderous modern metal thrash. This serves as a fanfare announcing  that here is a band who will NOT be meddled with – they mean business as the track runs seamlessly into ‘Damnation’ a song whose title says it all – Death Metal of the first order.

But the band is no mere one-trick pony. Track 4, ‘Face the Light’ brings a totally new direction reminiscent of such Zeppelin sweeties such as ‘Black Mountain Side.’ Here guitarist Matt Chalk [ex-Vivid Sky] shows off his prowess in solo acoustic territory. This bodes well for the question of whether there’s enough quality and variety to mark a great album rather than a merely adequate one.

The band goes on to prove their versatility with ‘My Duality’ – a more personal,  mystical and lyrical offering which is a move into more conventional rock than hitherto.

Then comes the album’s title track which has to be a goodie to earn that epithet. And it is!  It’s another intriguing intro which this time heralds a great metal anthem, which surely stirs the mosh-pit into action.

‘Battle Cry,’ similarly to ‘Scratch the Surface,’ starts by building a prog-rock soundscape using a thunder storm and ominous guitar meandering, then bursting into a vocal call to action as the title suggests. Military Rock! Get YOUR marching orders here! Possibly the best track of the album for Zeppelin fans, like me!

Some of the lyric writing – mostly, I should guess, by lead vocalist Aaron Burke stands quite well as read-out-loud poetry. None more so than that found in ‘Across Divides’ – and it mixes admirably and equally well with iconic metal guitar riffs and clashing cymbals as it does here - and is not lost in the process.

Possibly the third most important thing about album composition is to end with a number which rounds off the whole but leaves the listener wanting more. Ashbird, having ticked all the other boxes, accomplish this requirement effortlessly with ‘Hypnotize,’ another fine rocker that reminds us of the wonderful spectrum of songwriting and instrumental virtuosity we’ve experienced throughout this brilliantly well-conceived album.

A great debut from an exciting and compelling band who will hopefully take both the rock and metal worlds by storm.

Sing Unto Me

Moulettes: The Bear's Revenge  Album

Moulettes: Sing Unto Me  EP

www.moulettes.co.uk

I have blogged a couple of times about gigs I've been to where The Moulettes have been the most remarkable item on the programme. Now I've got the opportunity to review this couple of cds from them.

If you've read my previous ramblings you'll know the attraction that makes this band stand apart is the diversity instrumentation which includes bassoon, autoharp, cello glock and banjo to name but a few. What I'm keen to find out is whether the immense warmth the band generates in the live setting translates onto disc. The answer is that, by-and-large, it does; mainly, I think, because the quality of the vocals by the whole crew retains that quality that says they're singing just for, or with, you.

Both discs open with the song 'Sing Unto Me' which is a totally stunning number. It's got a wonderful simplicity that says you've known this song all your life - although there's a complexity which makes it quite unique.  It's not quite a nursery rhyme nor a playground chant yet we know we know it. I must be in the soul. A beautiful yet strangelly evocative anthem that will stay with us forever. It's worth the purchase for this one alone. And I haven't even mentioned the amazing strings that weave in and out of the ditty.

Apart from the above song, the track listings on the 2 cds are quite different from each other which is a nice way to ensure you will want to buy both.

The EP has six tracks including the title track and 2 remixes [which are so different they can be viewed as different titles] and an 'acappella' track [quotes because it's accompanied by a drone which makes it shiveringly haunting].

The album gives a much wider opportunity for the band to illustrate their fantastic diversity and virtuosity. From simple [eh??] traditional folk to straight pop, jazz ["yeah"], quasi-classical, prog-rock and various stops in between they manage to show us they are a folk-fusion band of great skill and the highest standing and they deserve to be heralded as such.

Humdinger...Folk Singer

http://www.reverbnation.com/saracoffield

Well... I've had the honour of knowing this lady for what?...five or more years now. I first came across her on her myspace page lurking under the name Saravian. As she was inhabiting Brighton at the time and I'd had this idea of turning the Blaker's Park Community Picnic into Woodstock, I was contacting likely looking local artists and inviting them to give their services completely free of charge and totally at their own expense! Lo!... and Behold! - Sara was not only able and willing to meet these exacting requirements, she also hung around after her set talking to everyone and she actually lent her guitar to a total stranger to do an ad hoc performance during the proceedings which in the event turned out to totally random - haphazard, even - in the true Woodstock tradition. Sara sang a few songs of her own composition which everyone present showed much appreciation for, but I believe it was her quiet and quirky rendition of Donovan's Season of the Witch which [which witch?] convinced the cogniscenti amongst us that here was a talent worth watching.

'Twas not long ere, sadly for Brighton, Sara upped sticks and moved to our Sister City, Bath and eventually settled in Frome [ pronounced Frooooooooooom, for those who don't know]. Her career has blossomed and fruited into a pretty good all-round musician, event organiser, radio presenter, spiritual guru and what-have-you. Luckily, for moi, we have stayed in touch - thank you Sara for putting up with my sniping at your various webpages from the sidelines - and at long last she has sent me a record for review!

Let me get my little quibble out the way to start with - and then no more need be said on the subject - the packaging is not exactly exciting and attractive - it has a rather ordinary layout and track listing with little further information and a very old-fashioned [rather than 'retro']   picture of Sara and her guitar [a drab colour version of the above].  A quick visit to any of her sites [I'd pick Facebook]  will reveal any number of much more attractive shots.

 https://www.facebook.com/media/albums/?id=303943583003634#!/SaraCoffieldPersonal 

It's an EP - entitled.. well not actually entitled anything, which I think is sad. The first track is called 'Wild, Free and Beautiful' - a song which Sara has been singing and developing for quite a long time now and I suspect she, Dylan-like, sings quite differently from performance to performance as she's that kind of girl. She's more than the obvious folk singer/songwriter which the record sleeve portays her as - she's actually quite the jazzer as the second track 'Love Be with Us!' illustrates.

This brings me on to the spiritual aspect of Sara Coffield. She never really quite defines what this is but frequently hints in her public utterances that this is a very important aspect of her being. But not in an intrusive way, which old cynics such as I would not handle particularly  benignly. She is more the type of person who seems to want to just share her joy in living.. and I have to say it's catching and rather beautiful.

Track three, 'Bless My World' reinforces this message and compliments the listener with plaintive offerings such as "You're a crazy genius......I really, really like you.." - who can possibly resist responding positively to that?

The EP winds up with 'Trickster' - a medium paced moody enquiry into our motives vis-a-vis what?I'm not sure but the enigmatic question is posed just the same.

Despite, or more probably because of, the rather strange abrupt ending to that last track in particular and hence the EP, one is left wanting more.. a lot more.

I'm really, really pleased to be able to give the thumbs up to a record release from Sara after such a long friendship. She deserves wider recognition and certainly stands head and shoulders above a number of currently adulated female [male too] so-called folk singers.

Dada da Dada / Dub'n'Tuff Allstars

I just got sent a couple of trax from Dada da Dada of the Dub'n'Tuff Allstars asking me to play them on my Radio Show, unbeknownst to them that my mental health has kept me away from such activity for some time now. Anyway I like them so much I thought I'd give them a mini-review......

Reggae Don't Pay: This is a rather raucous ska-based number which bumps along in a way that calls for you go get up and get down, if you know what I mean. A really sharp-dressed record, with a great little soprano sax solo in the break. Beats any modern reggae you get from mainstream radio - the band seems to be almost a reggae orchestra - I guess I ought to get out and see them.

David is a pretty standard dub-israelite-exodus-type thang which is totally excellently produced that you'd think you were listening to one of the world's top-flight reggea combos.

Not a lot more to say other than I mightily impressed - check out their pages @ https://www.facebook.com/#!/dadadadada69 and listen to some other tunes @ http://www.reverbnation.com/thedubntuffallstars

I'll be doing just that quite often from now on!

courtesy of Facebook

.The really rather wonderful Moulettes launch their new CDs season with a two-night residency in Brighton. Guest appearances from once and future Moulette, Ted Dwane, now of Mumford & Sons on the 12th and Arthur Brown, of The Crazy World of...! Yup the the very man! On the 11th. The wonderful Laura J Martin supports on both nights.

http://www.facebook.com/events/340393216008131/?notif_t=plan_user_joined

MOULETTES' Single Launches – Brighton 11th *and* 12th, April
‎11 April at 19:30 at The Marlborough Theatre, 4 Prince's St, Brighton BN2 1RD
I'm going..

The Architects of our Downfall and Depression

Do you remember these 2 villains. They're called Raymond Baxter [left] and James Burke. From 1965, in a TV programme called 'Tomorrow's World,' they bombarded us with futuristic designs, ideas and inventions which would free us from wage slavery and bring increasing leisure to all our lives. We could expect a future of prosperity, idleness and pleasure.

Well, many of us have the idleness although not in the way we were led to expect. Others do in fact have the pleasure and prosperity - but number only a measly 2-3% of our population. Many of us are being forced to spend the evenings of our lives as drudges or searching for jobs that do not exist.

These men stand accused of selling us similar dreams to those peddled by the likes of Mao, Stalin and Hitler.

They have betrayed generations. They should be rounded up tried for treachery of the highest order.

Psychedelia grooves again

Had a fabulous night yesterday at The Real Music Club's Psychedelic Evening staged at The Green Door Store underground at Brighton Station.

Two bands were on show and they displayed 2 distinct styles in the development of space music.

First we witnessed The Plastic Sturgeons who presented a set of improvised space rock in the true psychedelic style of, say Hawkwind or Pink Floyd. 

In fact, a number  of members of the group have connections with Hawkwind and the various bands it's spawned over the years. Notably the captain of tonight's crew was Steve Swindells previously of Hawkwind and The Hawklords.

The music was exciting and swang comfortably through traditional space-rock, electronica and funk-based tunes with ease. With the exception of one song which used vocals in a beat  poetry type stylee, the music was all purely instrumental - always a plus in my estimation and something we don't get often enough.

Sadly the audience for The Plastic Sturgeons was minimal - probably not many more than about 30 bods and all of these were of the generation that lived through the original Space Rock Era. This was sad because the second act - The Space Agency - drew a much larger crowd as it took to the stage. These were largely of a much younger generation - probably the current student scene. It would have been nice for them to have witnessed their elders getting down and dirty.

That was quiet ironic because the music that The Space Agency plays is firmly rooted in an even earlier era than the space rock of The Plastic Sturgeons.  The Space Agency clearly draws its influence from the "Space and Surf " styles of bands such as The Ventures, The Shadows, The Spotniks, The Tornados and The Wakikis.

It was truly inspiring to find a young band mining such a neglected musical vein from nearly fifty years ago and taking it, applying new technology and producing a music that sounds so fresh, exciting and appropriate to a new age.

In fact, the music was so inspirational that quite a number of the audients chose to strut their stuff on the dance floor - and not all of these were members of the younger generation. A few elderly gents took to the floor and hopefully did not find themselves in traction by the time dawn broke.

The Space Agency are a high quality band which is tight and thrilling to watch. I hope very much that they will be around for a long time and are able to find lines of progression that will enable them to develop some totally new fields of musical exploration so they might be remembered as one of the interstellar ground breakers of the future.

 

A word must be said abouta third star of the evening's show - that is Cliff Dowding's Lighting Extravaganza which added an updated version of the old coloured oil on projector slides as a visual backdrop to the superb night of psychedelia. 

 

more photos at facebook

advertising feature

Event name: Soltek presents A1 Bassline, Arkist and more

Start date: February 24, 2012 22:00
End date: February 25, 2012 04:00

Venue name: The CAMP Basement

Venue address: 70 – 74 City Rd, Old Street, London, EC1Y 2BJ

Genre: DJ Music

Tags: The CAMP Basement, Deep House, Bass, Garage, Old Street, Clubbing, East London, Dance Music, A1 Bassline, Arkist, Soltek, February, Electronic music, The City Arts & Music Project, The CAMP, Friday night, weekend

How Much: £6 Advance, £10 On the Door

Artists: A1 Bassline, Arkist, Daffadam b2b Medlam, Jdan, Jarvey

Ticket link: http://www.ticketweb.co.uk/user/?region=gb_london&query=detail&event=485502&interface=&referral_id=tw_uk_buyat

Summary:
After selling out their Halloween bash last year, Soltek return at the end of February to dust away those winter blues and kick off the new year in style with a typically exciting and diverse lineup.

Description:
After selling out their Halloween bash last year, Soltek return at the end of February to dust away those winter blues and kick off the new year in style with a typically exciting and diverse lineup. Topping the bill in exemplary fashion Soltek have opted for Tighten Up head honcho and DirtyBird Records favourite, the man behind 2011’s massive single “Falsehood”, A1 Bassline. He’ll be joined by Bristolian bass cadet and arguably one of electronic music’s most innovative and flourishing labels, Hotflush Recordings’ very own Arkist. Support will come from residents Daffadam and Medlam in the form of a rare back to back set alongside fellow regular Jdan, with the bill being rounded up by special guest Jarvey.

Soltek presents A1 Bassline, Arkist & More

@ The CAMP Basement (City Arts & Music Project),
70 – 74 City Rd, London EC1Y 2BJ
(Nearest tube Old Street)

Friday 24th February 2012
22:00 – 04:00

£4 Limited Early Bird SOLD OUT
£6 Advance
£10 On the Door

Tickets available from TicketWeb below…

http://tinyurl.com/6poundtickets

VIDEOS from past events

Soltek presents Phaeleh & Joe Syntax
http://tinyurl.com/Phaeleh-JoeSyntax

Soltek presents Commix
http://tinyurl.com/CommixVideo

Lineup:

A1 BASSLINE (Tighten Up, DirtyBird)
http://www.facebook.com/a1bassline
http://soundcloud.com/a1-bassline

ARKIST (Apple Pips, Hotflush)
http://www.facebook.com/pages/Arkist/135624509800440
http://soundcloud.com/arkist

DAFFADAM b2b MEDLAM (Soltek)
http://soundcloud.com/daffadam-soltek
http://www.residentadvisor.net/dj/medlam

JDAN (Soltek)

JARVEY

Live Visuals/Effects by Mind Over Matter

About Soltek:

http://www.facebook.com/SoltekUK
http://twitter.com/#!/SolTekUK
http://www.youtube.com/user/soltekUK?feature=mhum

Soltek is a club night in London that provides an antidote to the over-priced, generic parties that we're all tiring of.

At our events you can expect music with a strong emphasis on both quality and diversity, that spreads across many flourishing genres ranging from Garage, House and Deep House all the way through to Drum & Bass.

Expect to hear innovative, underground beats from our up-and-coming resident and already up special guest djs.

Held at renowned East London venue The CAMP Basement, our parties offer a cheap, intimate and enjoyable Friday night out to any authentic and discerning music enthusiast.

State of the Music Industry - I wsh!!!!

PARADISE9 – STATE OF THE NATION

 

One could be forgiven if one saw this lot lounging on the steps of the local war memorial for dismissing them as a group of hardened alco-ex-jobseekers-now long-term benefit fraudsters. They certainly do a good impression of being just that…

They turn out to be, however, none other than top space/punk rock  beatsters Paradise9. And they’re here today to introduce to you their latest cd/ep ‘State of the Nation.’

Regular followers of ZigZag Wanderings will be aware that I can be frequently found singing their praises either on disc or at gig. They really are my number one fave artists. This one’s been available for a little while now but one thing and another has got in the way of me giving it a proper going over for you.

The compact EP format gives me a welcome opportunity to give you my track-by-track assessment of what’s in the package.

I must tell you before launching into the critique, that the record was mastered by Andy Jackson, who was responsible for Floyd’s ‘Division Bell’ album  and engineered, mixed and co-produced [with Gregg McKella]  by Steve Rispin – who must be held to account for various product by Asia, Uriah Heep, Focus and Wishbone Ash.

More importantly it contains the very last studio work by Judge Trev, famed for his role in forming Nik Turner’s Inner City Unit , Brighton’s Real Music Club and a big name in the festival circuit. Trev, sadly, passed away last year after a long battle with pancreatic cancer. He will be fondly remembered as the ultimate ageing hippie [and I mean that as a compliment]  by all who ever saw him performing or just enjoying somebody else’s music.

Track 1 – title track ‘State of the Nation’ is one of P9’s social comment type thangs which have  been so highly acclaimed  in the past [cf back catalogue: Nothing for Tomorrow, These Days]. Post punk anthem in a Strummeresque vain.” State of the Nation. Out of control. State of the Nation.  Hitting an all time low.”  And so say all of us….

Track 2 – ‘Is This the Time’  seems to be more personal politics than national crisis. It’s a quirky little ditty that gives this collection a direction which is quite different to any of the other three. In fact that illustrates the power of P9 – they are just totally not happy to remain in any one groove for more than the duration of a single song. Which begs the question – why don’t Paradise9 release everything they do as a single – they’d be feeding several markets at once and would sooner or later score a bull’s eye which would catapult them to fame and glory and they could abandon gigging in sweaty little holes around Brighton…wait a minute – that’s not a good idea at all – forget I said that.

Track 3 - ‘Ocean Rise’ is probably my favourite track on the record – it’s proper spacial psychedelia – the like of which you might expect to hear from Amon Duul II. It heavily features Gregg McKella [the maestro of the group] blowing on his somewhat electronically modified clarine. Speaking as a old time progger, both feet firmly planted in the Van Der Graaf Generator camp, there just can’t be enough music in this vein.  Comes complete with seagulls and breaking waves – nice!

Track 4 – ‘Distant Dreams’ – a real hippie visionary song,  a la Donovan or String Band maybe, so suitable for a sunny afternoon at a local festival and appropriately one on which Judge Trev plays trippy acoustic guitar meanderings – beautiful wishful thinking!

 

So, to sum up, Paradise9 maintain their unassailable place as number one alternative popsters in my book at least. Check ‘em out and see if they’re your faves too!

State of the Music Industry - I wsh!!!!

PARADISE9 – STATE OF THE NATION

 

One could be forgiven if one saw this lot lounging on the steps of the local war memorial for dismissing them as a group of hardened alco-ex-jobseekers-now long-term benefit fraudsters. They certainly do a good impression of being just that…

They turn out to be, however, none other than top space/punk rock  beatsters Paradise9. And they’re here today to introduce to you their latest cd/ep ‘State of the Nation.’

Regular followers of ZigZag Wanderings will be aware that I can be frequently singing their praises either on disc or at gig. They really are my number one fave artists. This one’s been available for a little while now but one thing and another has got in the way of me giving it a proper going over for you.

The compact EP format gives me a welcome opportunity to give you my track-by-track assessment of what’s in the package.

I must tell you before launching into the critique, that the record was mastered by Andy Jackson, who was responsible for Floyd’s ‘Division Bell’ album  and engineered, mixed and co-produced [with Gregg McKella]  by Steve Rispin – who must be held to account for various product by Asia, Uriah Heep, Focus and Wishbone Ash.

More importantly it contains the very last studio work by Judge Trev, famed for his role in forming Nik Turner’s Inner City Unit , Brighton’s Real Music Club and a big name in the festival circuit. Rev, sadly, passed away last year after a long battle with pancreatic cancer. He will be fondly remembered as the ultimate ageing hippie [and I mean that as a compliment]  by all who ever saw him performing or just enjoying somebody else’s music.

Track 1 – title track ‘State of the Nation’ is one of P9’s social comment type thangs which have  been so highly acclaimed  in the past [cf back catalogue: Nothing for Tomorrow, These Days]. Post punk anthem in a Strummeresque vain.” State of the Nation. Out of control. State of the Nation.  Hitting an all time low.”  And so say all of us….

Track 2 – ‘Is This the Time’  seems to be more personal politics than national crisis. It’s a quirky little ditty that gives this collection a direction which is quite different to any of the other three. In fact that illustrates the power of P9 – they are just totally not happy to remain in any one groove for more than the duration of a single song. Which begs the question – why don’t Paradise9 release everything they do as a single – they’d be feeding several markets at once and would sooner or later score a bull’s eye which would catapult them to fame and glory and they could abandon gigging in sweaty little holes around Brighton…wait a minute – that’s not a good idea at all – forget I said that.

Track 3 - ‘Ocean Rise’ is probably my favourite track on the record – it’s proper spacial psychedelia – the like of which you might expect to hear from Amon Duul II. It heavily features Gregg McKella [the maestro of the group] blowing on his somewhat electronically modified clarine. Speaking as a old time progger, both feet firmly planted in the Van Der Graaf Generator camp, there just can’t be enough music in this vein.  Comes complete with seagulls and breaking waves – nice!

Track 4 – ‘Distant Dreams’ – a real hippie visionary song,  a la Donovan or String Band maybe, so suitable for a sunny afternoon at a local festival and appropriately one on which Judge Trev plays trippy acoustic guitar meanderings – beautiful wishful thinking!

 

So, to sum up, Paradise9 maintain their unassailable place as number one alternative popsters in my book at least. Check ‘em out and see if they’re your faves too!

Afterplanesman

NICK PYNN: AFTERPLANESMAN

Roundhill Music Round004

https://www.facebook.com/#!/profile.php?id=626051768

www.nickpynn.co.uk

http://itunes.apple.com/us/album/afterplanesman/id294063118

 

 

I’ve written reviews of albums and gigs by or involving Nick Pynn a number of times before, and although this is quite an old record, I’ve just recently acquired it – I won it in a Raffle at a Real Music Club event – I think it’s so good it deserves a review if only to encourage you, Dear Reader, to check it out.

Nick is one of those guys whom you envy because of his seemingly limitless energy and ability to adapt every new thing he discovers into his way of living with consummate ease and make it appear that it’s always been there. In this way we find that his thoughts and feelings while spending time on a WW1 submarine restoration project are translated into the album’s title track ‘Afterplanesman’ and almost unintentionally a number of very diverse tunes manage to contrive to form a concept album.

Not only does Nick manage to play every one of his vast collection of historic instruments and  self-built musical imaginings as if they were incorporated into his body at birth but the diversity of styles he applies to them is mind-blowing. Thus we have tracks which sound that they belong in the age of Baroque, or maybe a flamenco club, are sound tracks for the 1960s TV series ‘Tales from the Riverbank,’  or that wouldn’t be out of place on early Led Zeppelin or Pink Floyd albums.

Maybe the strangest track on this album is ‘Joker Jack’ which takes a field recording of a poker game where comedian Rich Hall [whose band Otis Lee Crenshaw and the Black Liars, Nick was once part of] is the dealer and overlays a gentle but appropriate string soundtrack – it’s a complete one-off but works so well that it’s not way out of place here.

Nick is a polymath of music, if I may be allowed that phrase, and deserves to be more widely known outside the circles in which he moves [where he is rightly acclaimed] so if you haven’t yet sampled his wares, I suggest that next time you want to explore musical pastures new you Google Nick or  rifle through the racks at your nearest PROPER record shop and pick out one of his cds to listen to – this one would be an excellent choice for starters!

A Matter of Labelling

Rebecka Larsdotter: Feathers & Concrete

Prophone: PCD113

It’d be interesting to know how this excellent album will ever find its most appropriate audience as record company Prophone classifies it as ‘Swedish Jazz’ – which might be OK for many parts of Europe but I feel English listeners would possibly be more inclined to classify it as singer/songwriter soft progrock/funk slow groove easy listening.

Although some of the instrumental sections do sound a bit Weather Reportish the songs themselves largely sound more in a Carole King/James Taylor bag to me and Rebecka’s fine voice is definitely more Maria Muldaur than Cleo Laine.

This just highlights the problems surrounding labelling music into the ghettos we call genres. Prophone is already saddled with the somewhat esoteric Eurojazz epithet, so I feel UK audiences would probably never come across this superb album. I know of no outlet which is liable to highlight it to any but the most tenacious of bulldog-like musical explorers. I would never have expected such material on this label and had Naxos not sent it to me for review I would never have discovered it.

Whether or not it is really the current sound of Swedish Jazz is irrelevant; my point is that this album deserves a much wider audience than the genre will earn it. It deserves to be aimed at a more general adult pop/rock public than it will be with this release.

Maybe if this ‘review’ stirs a big enough body of listeners  to explore the album or even buy it, then Prophone might think again and give Feathers and Concrete a second more general launch and I shall have done my duty.

 

Go to http://www.prestoclassical.co.uk/r/Prophone/PCD113 to give the album a listen

and find Rebecka on Facebook @ https://www.facebook.com/people/Rebecka-Larsdotter/1108793727#!/profile.php?id=1108793727

Edward Burra @ Pallant House Gallery, Chichester

On Sunday, we took a day out to The Pallant House Gallery in Chichester to check out the Edward Burra Exhibition which runs  22nd October 2011 — 19th February 2012. We enjoyed our last visit to see their Freida Kahlo show very much but found the publicity hoo-ha that surrounded it somewhat ovwer the top given the very small extent of the exhibition. We were hoping that this event wasn't to be similarly overrated.

We were very pleased to say that this truly is a major show, covering at least 4 rooms and including a very good video presentation too.

 

 

There are well over 70 paintings on show and I was amazed by the vast subject matter and styles Burra covered and how the artworld managed tocategorise him in practically every -ism  that popped up through the whole of  20th century art with the p[ossible exception of the YBAs.

He flatly defies any one categorisation, did not embrace any particular religious or political philosphy other than the cult of Burra. He painted all aspects of his life - in fact he often anticipated the next phase of his life by paintings images gleaned from cinema before actually travelling to the place represented as is the case with his is romance with the life and times of New York's Harlem.

 

He had a marvellous and weird sense of humour and a special eye for the grotesque. The theatre was a particular interest of his and the complement was returned in that he was particularly successful with costume and set design in top class drama, ballet and opera.

 

Besides the paintings we have the opportunity to read a number of his quite expressive letters to friends, in which no holds are barred and often fascinating little sketches are inserted to ram home a point. There are a number of sheets of his collected period photos of friends and acquainyences and of course the highly revealing and amusing video of the man giving a TV critic a very hard time for an attempted portrait show.

Edward Burra made his home base iN Rye, East Sussex and besides providing material for his longtime interest in sailors and the sea, it also gave him access to the countryside which gave him another world to explore.

 

I cannot recommend this exhibition too highly - it is thoroughly entertaining and shows how much a truly great artist has been relegated by the artworld, allowing many people to associate his name with no more than the cover artwork on some 1960s Penguin paperbacks.

I SHALL REMEMBER THE 5TH OF NOVEMBER

 

 I SHALL REMEMBER THE 5TH OF NOVEMBER

BREMF 2011 Event 22

 

The Telling: Vision

The Imagined Testimony of Hildegard von Bingen

 

Thanks to my old schoolmate "Harold," Hildegard was the first contact I had with really early music. Over 25 years ago we used to meet up a couple of times a year, have a family meal, go for a country walk, chew over various cuds and show off our latest musical discoveries - anything from Philip Glass and Steve Reich to Diamanda Galas and Laurie Anderson on my part - from Vaughan Williams and Gerald Finzi to Palestrina and Hildegard on Harold's.

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

One weekend, at his home in Aldershot, Harold suggsested I take a listen to Emma Kirkby singing on the 'Feather on The Breath of God' CD. I was  instantly drawn in and spent several following months seeking out similar music which was pretty thin on the ground in those days - even on the record shop shelves.

 

It was particularly with this in mind that I felt drawn to volunteer with BREMF this year, and I was pleasantly surprised to find the multi-media presentation 'Vision' on the festival agenda. The programme notes don't actually ue the phrase 'multi-media' [perhaps it's not a cool term nowadays] but essentially this is what the show is with its use of music, narration, lighting and dance - it only needs the inclusion of film and performance art to go the whole hog to become The Exploding Plastic Inevitable.

 

The Play 'Vision' is written and produced by Clare Norburn, who is part of The Telling and Musical Director of The Brighton Early Music Festival. This production is pretty enjoyable and totally original. I did wonder during the first third of the performance whether we had been sold a dummy. I felt at this point the story relied perhaps too heavily on the narration and some repeated 'meaningful' walking the length of the venue by a couple of the singers.

I thought the visions experienced by the infant Hildegard would have been better illustrated by some proper acting or dance - even some sort of sonne et lumier. But then the plot hotted up a bit from thereon and the final quarter positively sparkled - it literally shone.

 

The singing by Clare Norburn and Yvonne Eddy and instrumental work from Joy Smith [harp] and Layil Barr [recorder] were utterly beautiful.  Nuno Silva's modern dance performance, leading Hildegard to her appointment with her Saviour was  both moving and magical. The lighting effects, which utilised the setting of St Bartholemews Church to its utmost were simple but very, very effective and the haunting voice of Patience Tomlinson as the voice of the dying Hildegard was perfect.

 

I'm not sure whether there are plans to take this show on the road or not, but I would venture to suggest that if it were to be toured in its present form it would be a moderate success in a niche market but with some of the kinds of modifications suggested above it could be a crossover hit in a much wider market that could raise the profile of not only Hildegard but that of Early Music in general.