you thought festival season was over. you wrong! sheffield’s singing knives present a host of hot lickin’ cockles.
November 27, 2017 at 8:06 pm | Posted in live music, new music, no audience underground | Leave a commentTags: acrid lactations, duncan harrison, dylan nyoukis, f. ampism, giblet gusset, happy birthday, historically fucked, joincey, jointhee, katz mulk, kieron piercy, luke poot, posset, singing knives, sippy cup
F.Ampism
Dylan Nyoukis & Kieron Pirecy
Sippy Cup
Giblet Gusset
Historically Fucked
Katz Mulk
Posset
Acrid Lactations & Jointhee
Luke Poot & Duncan Harrison
Beards and gals at a loose end on Saturday 2nd December are invited to hop the train, hitch a lift or bundle into a rusty van to attend Singing Knives clumper clam-bake of monumental proportions.
A batch of RFM favourites huddle together in a haughty scout hut to honk and bray their way through a mist of all day-drinking and goon-hatching.
Where? Regather, Sheffield, 57-59 Club Garden Road, S11 8BR
When? Saturday 2nd December
Like…I mean what time? Doors open at 3:30pm, and the laffs start at 4pm
How much? £5 Not even a quid a band.
F.Ampism
“A jungle lushness drips through the recent work of Mr F Ampism. Thick and green, waxy and water-resistant each micro-collage is rich beyond our feeble senses; ethnic percussive loops wobbly like belly fat, environmental recordings gurgle as algae-thick rivers, electronic squirts gush tessellated digital foof. It’s a sound you can smell and that smell is pregnant and full.” RFM
LP just out on the ace Ikuisuus label of Finland, but of course you know that already.
Dylan Nyoukis & Kieron Piercy
“Dylan Nyoukis’ work exists on the fringe of contemporary avant garde art and underground DIY insurrection. As a leading light in the UK’s tape/CD-R scene, Nyoukis has long functioned as a rallying point for artists working to clear a space for original, non-idiomatic sound and feral performance modes.” Ubuweb
Kieron is in Spoils & Relics yeah and probably carries a blade. What more do you want eh?
Sippy Cup
A two person group; both ying to each other’s yang. Flim to their flam. Watch ‘em empty a box of clogs on a table and make the damn things dance. Total introversion, rattle, squark and dog toys. Leading lights, oof-architects Kate Armitage & THF Drenching may be involved.
Giblet Gusset
A new name on me but a quick youtube search fessed up a poorly lit scene of folk in masks moaning and rolling cigs. Sudden peaks of pure chuddering power swept through the scene (by now faintly blue) to punctuate the mossy fiffle and ripe broad cheer.
Historically Fucked
“A four way entanglement. It is trying to make short songs at-once but also to destroy them then too. It is about playing and laughing at playing, and it is about not doing either of those things sometimes. Sometimes it is to do with talking, howling or grunting, and sometimes it is to do with hitting and rubbing. It has to do with some of the four people who do it, who each share the same duties, and whose names in sequence are Otto Willberg, David Birchall, Greta Buitkuté and Alecs Pierce and who would like to be remembered by them, so that when they have finished doing this thing, their names carry on doing other things.” Anon
Katz Mulk
“A three piece experimental group based in Manchester made up of Ben Morris, Ben Knight & Andrea Kearney. Ben Knight is a singer, researcher and social worker. He also plays in Human Heads and publishes the Dancehall journal with Hannah Ellul. Ben Morris is a Musician and artist. He records solo as Lost Wax and is in the long running duo Chora. Andrea Kearney is a dancer and graphic designer.” Singing Knives
Posset
“From identifiable vox chop-up to finely-ground tape slurry, with the occasional non-larynx instrument wheeze to brighten the corners.” We Need No Swords
Acrid Lactations & Jointhee
“Joincey is the peripatetic originator of a multitude of solo projects and the member of more bands that if printed here, would make this paragraph seriously unmanageable […] Acrid Lactations are Stuart Arnot and Susan Fitzpatrick […] who one day had Joincey turn up whereupon they made some tea and recorded some songs. Twelve of them. Each one having a different resonance each of them giving me that esemplastic laminal improv feel. Whilst listening I wrote: the Stokie Shaman, gut ache improv, Sun Ra skronk, stories told by someone pretending to be a witch, silence, taut Hitchcock-ian soundtracks, spoken word question and answer sessions…” Uncle Idwal Fisher
Luke Poot & Duncan Harrison
Sheffield-based Strepsils abuser. Collaborations with the likes of Adam Bohman, Part Wild Horses Mane on Both Sides, Blue Yodel, Ben Knight, Acrid Lactations, Chastity Potatoe, and Phil Minton’s gang of toughs. ‘I just listened to a bit that sounded like a pig pushing weights with a scotch egg in its gob.’ – Stuart Arnot
“Duncan Harrison hails from Brighton and his multi-pronged activities make him a man of diverse artistic peers, including TUSK favourites Ali Robertson, Pascal Nichols and many more. Duncan throws himself at sound poetry, tape use and abuse, electroacoustic improv and often more conceptual approaches. The trajectory of his sets is impossible to predict and can provoke as much aesthetic distaste and downright annoyance as they can pleasure, perhaps depending on how wide your mind is.” Tusk Festival
-ooOOoo-
sunny murray’s right foot: rfm on brb>voicecoil, artwhore, no audience underground tapes, teatowels
October 7, 2017 at 8:12 am | Posted in new music, no audience underground | Leave a commentTags: acrid lactations, ant macari, artwhore, brb>voicecoil, churchburner, damo suzuki, fells, louie rice, luciano maggiore, muza muza, no audience underground tapes, pinnel, posset, proboscis, rust ruus, sippy cup, smut, spoils and relics, teatowels, vampyres
brb>voicecoil – Reconfigure Moments (Muza Muza)
brb>voicecoil – Containment (Muza Muza)
Artwhore – Pasty Posture (Muza Muza)
Various Artists – No Audience Underground Tapes
Teatowels- We are the Deadness (Beartown Records & Tapes)
brb>voicecoil – Reconfigure Moments (Muza Muza) Cassette and digital album
“Heavy manipulation of source material and resetting of audio time frames” says the ever informative Muza Muza website.
But even that clear warning couldn’t prepare me for the massiveness of these sonic-boulders or the grittiness of the resulting rumbling on Reconfigure Moments.
Totally elemental with that whole earth, fire, water and air gang being represented at the top of their game. A full bandwidth vista is peeling open my reluctant eyes and saying:
FEEL YOUR BONES CRUSHED,
YOUR SKIN CRACKLES WITH PHOSPHOR,
YOU ARE BRIGHT WITH FIRE…
…until I feel myself lurching for the ‘stop’ button on the booming stereo (and in an instant thinking – the old thing has never sounded quite so vicious as this before).
Phew!
brb’s Kev Wilkinson has collected years worth of field recordings from across the UK and subjected them to the most punishing treatment turning minute taps into ocean-going groans and gossamer strokes into the poisoned lash of a stingray’s tail. This really is ‘sound as weapon’ territory but at no moment does it ever succumb to ‘noise’ cliché. Each sound-mugging is clear as a shiv in the moonlight and twice as sharp. The crackles, rattles and pops are HUGE but placed with delicacy and a dark poetic logic.
The canvas is vast and as much attention is paid to the silences, the absences, as the abrasive implosions and gigantic reversed echoes like someone turned a borehole inside out.
Phew!!
FOOTNOTE: I took this down to Richer Sounds to test out a new tape deck and the smarty pants clerk looked fucking horrified when I cranked this up. The assembled glut of customers looked round, gulped and left as one. What more recommendation do you need comrades?
brb>voicecoil – Containment (Muza Muza) Cassette and digital album
A sister piece to the fearsome ‘Reconfigure Moments’, ‘Containment’ is made up of nine unprocessed field recordings with ears precisely trained on the resonant interior of huge concrete and steel structures (I’m guessing).
This being brb>voicecoil the locations are selected with great insider knowledge of the very mechanics of these materials and years of scientific precision.
What we hear are dislocated ‘clunks’ and ‘squeals’. Sheered of their original context the howling winds whip up these thick steel cables to really sing an unnatural overture. There is a cold ‘thwack’ of metal against cement that reverberates in these man-made canyons, decaying gradually into another whooping collapse.
These recordings being at the mercy of the weather/ambience make strange things happen to the timings. A dry ‘crack’ or gravely ‘crunch’ pop at the most eccentric moments. Like the earth became Sonny Murray’s right foot, this tape swings with an internal metronome that us mere mortals can barely comprehend. Like the freest of all jazz soaring buttresses honk deeper than Ayler and become more ‘out’ than Sun Ra.
Use this tape as an essential stepping stone readers – plug into the industrial Gaia-beat outside your door that’s as syncopated as chrome Dixieland.
Artwhore – Pasty Posture (Muza Muza) Cassette and digital album
There was a time when you couldn’t pass a lamp post in Newcastle that wasn’t tagged with an Artwhore sticker. They seemed to be everywhere at once: playing a thousand shows and dumping flyers to soak up spilled beer in the Barley Mow, Egypt Cottage and Broken Doll.
But while this mysterious crew had their street-art and promotion in the bag unfortunately I never caught them live. Thankfully Muza Muza have released these lost 1996-97 recordings on a kicking and screaming public.
The issue with vintage recordings is pretty obvious – does it stand up today, right here, right now? I’m delighted to say a firm yes to these curious electronic hummers.
The darkness is turned on for the majority of these pieces – dull thumps underscore sleet-coloured drone but an optimistic twinkle, a very Geordie characteristic if I may suggest, peppers these recordings. What I think is ‘Vallis’ is a truly gorgeous rainbow and unicorns number, all pink sunsets and warm hugs. By contrast ‘Hooverdub’ and ‘Electricity’ spit nails and rubber bullets.
The influence of rave culture is another signifier of the time. It hit the toon hard and it wasn’t unusually to find dreads and skins swap their para-boots for flip flops on a Saturday night. This strangely sounds fresh as daisies on ‘Shamm’ and ‘Horseloverfat’.
For younger readers…just think of it as the original vapour wave or something yeah?
Various Artists – Live Series (No Audience Underground Tapes) Cassette with occasional inserts and detritus
And so it came to pass.
As I mentioned before on RFM the much-loved NAU stalwarts Fucking Amateurs called it a day with their 100th release (give or take a few) earlier this year. I’d hinted that the baton had been passed and I’m delighted to say their grubby, semi-legal but thoroughly heartfelt, true and D.I.Y corpse is being reanimated by David Howcroft (ex-Helter Skelter Records) and the impeccably named No Audience Underground Tapes.
A straight-outta-Gateshead thing NAU tapes are attending those shows that you can’t get to, jamming performances direct to tape and bundling them up in outrageous packaging. Then dear reader they are being offered to the global underground FOR FREE!
Yup. Keeping this real is important to Dave so he is just asking for postage right now. But I know you are a generous bunch so an extra quid for tapes and stickers might be an idea eh?
So…what are NAU Tapes offering? It’s an eccentric and ever-growing catalogue.
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NAUT 01# brb>voicecoil / Vampyres / Spoils and Relics / Ali Robertson & Joyce Whitfield. Live at Soundroom Gateshead 23/07/17
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NAUT 02# SMUT. Live at Soundroom Gateshead 13/05/17
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NAUT 03# Watts / Fells / Church Burner. Live at Soundroom Gateshead 30/06/17
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NAUT 04 # (Limited Edition Band Members Only) Church Burner. 30/06/17
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NAUT 05# Trevor Wren / Proboscis / Eigengrau. Live at the Little Buildings, Byker 15/07/17 (Ed – Dave notes – quality of recordings compromised by tape recorder malfunctions)
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NAUT 06# Sippy Cup / Ant Macari & Posset / Acrid Lactations. Live at The Old Police House 30/07/17
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NAUT 07# Damo Suzuki’s Network. Live at Cluny2 04/08/17
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NAUT 08# Louie Rice & Luciano Maggiore / Pinnel / Rust Ruus. Live at Workplace Gallery, Gateshead. 12/08/17
OK…that’s the infomercial. What do the damn tapes sound like?
NAUT 01. Captures the dark shudder of brb>voicecoil and Vampyres in grim fidelity. The boiling leaves a grey scum shot through with diamond streaks. On the other side of the equation Ali Robertson & Joyce Whitfield gabber like geese in an old-timey hairdressers (the ones with huge machines you put your delicate head in). Spoils and Relics fashioned their gruff-pumps through wires to hiss like an old factory of dreams. They are the equals sign, the fulcrum that balances a perfect evening.
NAUT 06. Acrid Lactations swirl a hand round the gene pool and pick out several chromosome-jamz. Both skitter-dry and tape deep –the first recording of the tiny AL with powerful lung! Dullard Posset and real-live artist Ant Macari continue their world domination thru corporate hypnosis and evil vibes (spoken word). The wonderful Sippy Cup (Drenching/Armitage) are as jazz as they come; each hand grabs an implement and drains it of sound-juice with expert timing. Total clutter core!
NAUT 08. Rust Ruus presents his piece for solo snare drum, tapes and steel butter dish – KLAKA, KLACKA, KLACKA energy! Pinnel loops soft voice and mouth pops on her Black & Decker Workmate. The crowd went wild after their vacation in these gentle hisses and slips. The most Eno! Rice & Maggiore are dressed in black and vibe out the audience with their regal focus and concentration. Performance for modular synth, puckered lips, red hands and two sets of big stamping boots. An outstanding show of control and timing. Don’t believe me? Order the damn tape yeah!
There’s no website comrades so please send questions, requests, stamps and good karma to : howcroft.d58@gmail.com
Teatowels- We are the Deadness (Beartown Records & Tapes) Cassette
As the gardener must prune their prize roses with regular surgical snips the musician must occasionally take a hatchet to their craft. Slicing out overused approaches, chopping back any excesses and burning the lazy ideas to truly grow.
The Teatowels have cut and cut and cut until all is left is one guitar/one drum/one voice. Even the idea of a song is sliced and diced in a semi-improvised blur. Sure, some pieces on this extraordinary tape are recognisable ‘songs’ (track 6) but others are fumbles, sketches and essences that make this like a long-lost practice tape found in the bottom of a shoebox.
The rehearsal room ambience is thick with amp fug and ideas blooming in the moment. It’s a secret shared in hot breathy gasps. The shamanic use of repetition and lowest of all known ‘fi’s’ becomes a grey carnation shuddering in an autumn storm.
If you’re looking for less botanical references the mumbled vocal, spindly guitar and boxy drums take me back to the woollen-scratchy and indistinct world when the Dead C and The Fall and Sonic Youth had a lot more in common and seemed to answer a three-way conversation back and forth across the international freak-rock underground.
And like all three examples above the process of recording became part of the signature sound: cheap studios, busted amps and exhausting schedules gave this music a patina of sleep-deprived itchiness, a splitter van’s claustrophobia.
Teatowels have built this up into an impressive whirl where things abruptly jump-cut between half-remembered jams, free-rock (track 2), drum-led moaning (track 3 ) and more realised explorations. A deft finger on the pause button (track 7) makes some of the more hectic jamz blur with distinctive tape smear and is the perfect hot sauce on this tasty wiener.
The closer (track 8) is a lengthy nine minutes and boils all these approaches into a thin gruel applied in erratic brush strokes over the bones of the type of speaking –song-dramatic-build that Slint favour.
But instead of the Louisville drama we get an unrelenting British chug – all tension and no release; drizzle sizzling forever on the vinyl roof of a Ford Cortina.
brb>voicecoil, Teatowels are playing TUSK festival 13th – 15th October.
–ooOOoo-
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