Help Me I’m melting no. 15
SAT August 27th, 2pm
Kim Moore works collaboratively across arts projects and makes experimental noise pop music
under the name WOLF;. She produces contemporary scores live and recorded, varying from scored
work for ensemble to electronic minimal soundscapes. She plays viola, piano, guitar, and voice and
strings feature a lot in her work as well as manipulated found sound. She is interested in
compositional process across artforms, especially choreography and this, along with a continuing
research interest in sounddesign filters into her own approach to making that tries to explore the
physicality of space inbetween listener and performer, on stage and on record.
In the Sea with Tristan Honsinger, Bravest Boat, Richard Youngs
SATURDAY 29th OCTOBER 8pm
Get tickets HERE
Tristan Honsinger started improvising in Montreal more than forty years ago, prior to his decisive move to Europe, where he’s been at the centre of improvised music activity ever since. So this group represents an oblique sort of homecoming. Their rapport is obvious, the results a satisfying mixture of musical empathy and creative conflict. Tristan plays with characteristic daring from his reserves of readymade tune fragments and shards of poetry and into the protean unknown that is the foundation for the best group improvising. Josh Zubot,and Nicolas Caloia don’t merely follow him there, but provoke him and each other in ways that are, by turns, subtle, assertive, and irreverent. A superb encounter.
Bravest Boat are a collective based in Glasgow and Bradford exploring structured improvisations, loose composition and prepared spontaneity. Some written bits, some not. Emerging from a series of concerts of varying line ups led by the idiosyncratic twin guitars of Stevie Jones and Jer Reid, the personnel eventually settled down to form this group, also including Aby Vulliamy (viola, voice), George Murray (trombone) and Rafe Fitzpatrick (violin). Bravest Boat, all voracious collaborators, have a background of working together within Glasgow Improvisers Orchestra, Sound of Yell, The One Ensemble and Sycamore with Friends, as well as within countless other contexts; with film makers, dancers, artists, theatre makers, community projects, and music therapy. Stewart Smith described this extended scene in The Quietus as more of a rhizome than a family tree.
Richard Youngs; Since the release of a solo album, Advent, and a collaboration with Simon Wickham-Smith, Lake, in 1990, Richard Youngs has appeared on well over 100 releases on labels as small as his own and as big as Jagjaguwar. His collaborators include Jandek, Acid Mothers Temple’s Kawabata Makoto, Vibrecathedral Orchestra/Astral Social Club member Neil Campbell, and Skullflower’s Matthew Bower. He runs No Fans, his second label, from his kitchen table, and he masters records by his friends.
Alasdair Roberts & James Green Album Launch
THURSDAY 29TH SEPTEMBER – 7.30PM
GET TICKETS HERE
Album Launch for ‘Plaint of Lapwing’ a new collaboration between Alasdair Roberts & James Green.
Here Alasdair explains how the record came about:
Mayday 2012: an email from James Green in Sheffield reached me in Glasgow. I knew James a little not particularly well; we had met a few times over the years and had collaborated a little too (I’d sung on a couple of songs on the album Folk Songs 2 by his group The Big Eyes Family Players). I understood that he played the harmoniflute, an instrument somewhere between a harmonium and an accordion, and seemed very enamoured of it. His email read: had an idea about approaching you with… an ep or few songs (trad or otherwise) accompanied by my harmoniflute, and nothing else… just an idea once the dust has settled, maybe….
The dust was not long in the swirling before coming to rest upon both of our past endeavours, and shortly we set to work on the project which became Plaint of Lapwing. My initial thought was to concentrate on just four pieces I’d just recorded the Drag City LP/CD A Wonder Working Stone and had some songs left over from that. In a process which James was later to characterise as ‘surreal’, I started emailing him recordings of my disembodied voice; in response I would eagerly await, tracks featuring aforesaid voice with James’ harmoniflute accompaniment.
The project gradually, almost imperceptibly, developed in scope and complexity over two years. I began sending James more vocal takes as well as other sonics I’d generated, for a variety of original compositions and some by other authors (including a song by the Perthshire folklorist Hamish Henderson, an arrangement by Benjamin Britten of a piece by the Irish poet Thomas Moore, a lyric by beekeeping Cornish film maker Timothy Neat and a setting of a work by the Angus poet Violet Jacob). James in turn increased his instrumental palette to include drums, guitars and all other kinds of musical things.
As the project developed, so did a wonderful friendship blossom between James and myself. I found I was sending vocal tracks attached to emails detailing current grievances in my personal life, as if envisaging James as some kind of agony aunt. James, in return, sent completed tracks and, apparently regarding me as some kind of sounding board, emails venting his strident opinions (invariably in line with my own) on whatever political matter ruled the day. Before we knew it the disembodied sounds had become incarnate and James and I found we had an LP’s worth of material – an LP featuring beautiful artwork by Frances Castle which you, dear listener, now have the opportunity to welcome into your own home.
WIDT, SUE TOMPKINS, plus SPECIAL GUEST
SATURDAY 24TH SEPT – 7.30PM
Patterned signals…. coloured light and words…
WIDT are an audiovisual collaboration of two sisters from Warsaw, Antonina Nowacka and Bogumiła Piotrowska. Oneiric visions guided by abstract, operatic vocals floating in the jungle of psychedelic visuals, created in real time from scratch. A unique trip into the land of forgotten, avoided and as yet unexperienced.
Sue Tompkins has been involved in the Glasgow-based post-punk band Life Without Buildings and has realised performances with the group Elisabeth GO. She presently works with solo or duo performances and drawings. Her object-collage based works can contain fur, magazine cut-outs, plastic bottles, ribbons, felt-tip pen drawings and more recently textdrawings made with a typewriter, in which words slip and slide across the page with the staccato rhythm of her performances. Tompkins talks about her work in terms of editing, layering, arranging and configuring. The patterns that repeat, the overlapping of words and phrases appear as accusations, statements, commentaries, requests…. The depiction of phrases from songs that are whirling in Tompkins’ mind, or quotes from film or mass media play an important role in her text drawings. Her selections of material are made at a subjective level that lends a density to her performances and gives them permanence through rhythm and repetition. Sarah Lowndes defines Tompkins’ production as being informed by the absent real and the romantic other. Apart from this, her works recall the futurist poetry and surrealist performances that took place in cafés and bars in the early 20th century. Her reactionary practice recalls autonomy. Her drawings ask for and state autonomy – autonomy from Tompkins’ side to bring together these phrases and words, emotions and thoughts and autonomy from the audience’s side to recall, think, evaluate, digest and reject to digest….
Our special guest this evening will be announced from the start of September.
Mystic Inane, Rattle, Anxiety, Brain Fluid
SUNDAY 11TH SEPT, 7.30PM
£6 TICKETS HERE
Mystic Inane is not for the faint of heart… This is some weird and messed up punk influenced noise from New Orleans. Sailing in on the wave of mutated punk crud flowing from the rank basements and suburbs of the dregs of Western Civilisation, Mystic reek of the twisted, garagefied slow burn of No Trend but with a decisively odd vocal that always seems to be playing catch up, adding a layer of desperation to proceedings. Mystic Inane sound like Bloodstains Over America but with a fucked-up-as-hell Messthetics attitude to professionalism. They are weird, wired and expect a broken new release on London label LA VIDA ES UN MUS very soon.
Rattle focus almost exclusively on drums and more drums, beneath a delicate overlay of vocal harmonies and percussive effects. Formed by Katharine Eira Brown (also of Kogumaza) and Theresa Wrigley (also of Fists), Rattle began as an experiment in crafting rich songs and melody using drums and voice alone. Their music weaves and intertwines post-punk, minimalism and experimental rock, through off-kilter rhythms, patterns and counter melodies. Their live performances are at once hypnotic, monastic and danceable, having entranced audiences at Supersonic Festival and Supernormal festival.
Anxiety feature members of Glasgow groups Pennycress, Herbert Powell, plus Apostille and London hardcore menaces The Lowest Form. The entire atmosphere of the record is hectic and oppressive with quite existential lyrics creating an overall feeling of uneasiness and internal confrontation pivotal to understand the band. Guitars like a formless, chaotic end of the world, bass that rumbles up from the centre of the dying planet.
Brain Fluid are a new congealment featuring members of the Rapid Tan x Herbert Powell axis. They are so new no one has heard anything. Maybe not even them. But they will be Heavy, lurching, mean, lean, raging against the dying of the night.
ROCKY LORELEI, SWEETHEART, SPREAD EAGLE, GUMMY STUMPS
SATURDAY 3RD SEPT – 8PM – £5
Rocky Lorelei playing with full band this evening from her dreamy floaty record, homespun on a tascam portastudio mf-po1 to tape VIDEO
Spread Eagle, Ex-Lung Parker play brilliant 70s NYC inspired articulted pop.
Gummy Stumps loose strings and biscuit tins… and an elvis imp.
IMAGINARY FRIENDS – Improv Comedy
Noel Meek, Blood Stereo, Malcy Duff, Phantom Chips
SUNDAY 21st AUGUST
7.30pm – £5
The Old Hairdresser’s presents an evening of the very best in fun weirdo music… maybe lip biting, maybe eye blinking, but almost definitely no chin stroking !
Noel Meek is all the way from New Zealand and puts out collaborations with Wolf Eyes and Neil Campbell on his End of the Alphabet Records. Swimming fuzz psychedelic weirdness that grows like a forgotten bucket of cartoon gizzards. LISTEN
Blood Stereo play tables full of broken gadgets, instruments and pedals, sometimes in masks, sometimes in films…. plenty more weirdness here and a fresh, eerie edge to the dark comedy noises…. proper DaDA theatre! LISTEN
Phantom Chips’ homemade ‘lectronix squeals bent charm and harsh mangled tones thru tactile electronics for righteous 23rd century skree with interactive bleep sea squids… Concocting rhythms from an array of homemade electronic instruments, samplers and wearable noisemakers Phantom Chips gets the audience wearing electronics and making noise with her. These deliberately clumsy tactile instruments create sound through movement and invite you to experiment with musical expression. Have a listen here.