falling over and over and over: joe murray on dale cornish, these feathers have plumes, isnaj dui, sarah hennies

May 4, 2016 at 11:25 am | Posted in new music, no audience underground | Leave a comment
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Dale Cornish – Ulex (vinyl LP, Entr’acte, E190, edition of 200 or download)

These Feathers Have Plume / Isnaj Dui – untitled split (tape, Was Ist Das?, edition of 75)

Sarah Hennies – Gather & Release (CD in hand sewn packaging, Category of manifestation, KIND_3)

190

Dale Cornish – Ulex

Ya fucker!  I had one of them Airfix models yeah.  Harrier Jump Jet and all that, it was the Falklands and shit and I pure built the fucker up from like about 200 parts.  Fucking V/STOL engines and undercarriage and the little fucker that flies it in his own little ejector seat.  It took me, like, hours and hours to glue the bastard together, smoothing off the excess glue, filing down the rough edges and shit.  Even longer to paint it all.  Navy colours yeah, as a result of it being part of the Task Force and what have you.

Consider that Harrier Jump Jet Dale Cornish’s Ulex; an evocative piece of miniature machinery.  Then, in a moment of glorious enlightenment, Dale strips off the paint, slices open the fuselage and lays each grey piece out all naked and alone.

This act of separation (pieces pinned like a butterfly under glass) lends a steely intensity and purpose to each sound, the distillation of thoughts and deeds become pure essence. It goes like this…

  • Ulex Pattern 1. The steel pan revenge plan; a falling over and over and over into endless insect Gamelan.  Donkey kick drum, once then twice… then that’s it.
  • Ulex Pattern 2. Bamboo rattles in a magnetic hole. Invisible forces snatch and grab at any vibrations causing a stretching of each dry, brittle note.  Sufi mystic collapse.
  • Ulex Pattern 3. She’s lurching, dragging a sandbag over bright pink coral. I tap the side of my canoe with an outstretched palm and bail out the overflowing rice with an old soup can.
  • Ulex Pattern 4. Fog demons breathe over mangrove roots to haunt the islanders with deep booming warnings. The earwigs glassy cascade becomes relaxed antiseptic counterpoint.
  • Ulex Pattern 5. I’m slightly shocked as the spare crackle of needle hitting vinyl is overwhelmed with a distorted voice all meshed up and jaxxed, rolling in three dimensions like some forgotten Fylkingen piece.  My inner Agatha Christie picks up a little something though.  I might be old but I’m crafty.  All I’m saying is Alright Duckie!
  • Ulex Pattern 6. Steelies penked off a copper plate.
  • Ulex Pattern 7. The longest rippling.  Distant fireworks ignition in slightly off-kilter realities, the original cucaracha stepping on echo-bugs ‘till each pops like dark ink.

Ulex is deconstructed so completely it’s almost empty.  Some of these tracks are so spare they make regular minimal look messy.  It’s so damn pure and yet, tied up in silver-plated knots.  Jagged and fresh but never sharp.

whatchyalookingat?

tfhp-id

These Feathers Have Plume / Isnaj Dui – untitled split

Oh.  The synchronicity!

Planning the previous Dale C piece I came upon a tweet from Andie Brown (AKA These Feathers Have Plumes) explaining her next tape would feature that Dale on spoken words.  That’d make a neat journalistic link I thought and contacted the most excellent Sophie Cooper, a known accomplice, to help me locate it.  Like clockwork a download code arrived (cheers Ned) and I plugged in my earphones all ready to get swept away in the foaming clouds of glassy tones.

These Feathers Have Plumes carry me to three specific places on those rusty wings.

For this is music of the sea.  The boom of the swell against the groyne; the ever-churning motion of salt-water loops.  The sneaky shifting creep of dunes, the ‘sshhhussshhh’ of shingle dragged across a beach.  ‘Return II’ moves from pregnant ringing blossoms, all rounded and warm, into the nightmare sound of ice cracking beneath your feet as you dash across the fiord.

This is music of the city.  The huge-wine-glass clang is as full and broad as Spitalfields’ Christ Church.  Field recordings slide into the mix: the chatter of taxi cabs and metallic shudder of shopping trolleys; the stark staccato clack of stiletto heels that chitter over cobbles.  Brandy balloons writhe and wobble on ‘Soho Living Room’ with Dale’s dry crackle striking teenage memory gongs while Joincey, the sinister ice cream man, packs something wicked into his 99’s xylophone dubs.

This is music of the sky. ‘You can’t burn my dreams’ swoons like lovesick chem-trails, a thousand feet above, streaking deep white scars across the palest Springtime blue.

The impeccable Isnaj Dui responds with ‘Answers at Dawn’ a noble and ancient wisdom.

I’m transported to a cloud kingdom.  The children are piped into the barren courtyard with ornate horns.  Curved downwards, the sound bounces from the terracotta tiles to echo around the courtyard setting up a matrix of slow breath. 

They dance in staccato movements, each limb stiff and mechanical.  At first in unison, then falling slowly out of phase, each arm, each leg fluttering in stroboscopic effect. 

From above miniature bronze bells are hung from prayer flags.  The gentle tinkle is accompanied by each child, now armed with reed-end sheng randomly puffing like the crickets they keep in tiny cages.

Silently the children are marched back to their solitary cells to sleep until the ritual is repeated tomorrow.

KIND_3-cover

Sarah Hennies – Gather & Release

I first came across Sarah’s work via a wonderfully head-tilting vibraphone piece Settle and did the usual bit of cyber-sleuthing to see what’s up. When I usually do this I find I’m so far behind the curve my ‘new’ discovery is wrapped up shroud-wise and I’ve been dozing 25 years too late (example: François Dufrêne – we could have made such sweet music together!). So I was super thrilled to find a new Hennies release was, like… imminent.  I paid my pal and waited…

This nifty package turned up a week or so later with a real needle and thread sewn into the cardboard sleeve (ha ha) evading customs (ho ho). The two lengthy tracks make up almost an hour’s worth of extraordinary music that left me giddy; brain fizzing and fingers tingling.

‘Gather’ is 27 minutes and 56 seconds of exquisite minimal hiss.  A real recording of a distant waterfall apes a prickly electronic cascade; a shy, wavering tone blends into a constant tide of warm and wooden.  It continues…

The sharp change at 21 minutes makes me sit bolt upright.  We are edging a corner and the salty gush is revealed.   The chromed larynxes of the Sirens are dancing across the wide stereo field – a psychic Doppler Effect.   Droplets of steel-gray water gather on stiff riverside grass.  They quiver, slowly recovering from their thunderous journey.

The final 30 seconds of HNW/H2O-NOISE is shatteringly complex and then bursts into hollow silence.  Oh…consider me gathered!

‘Release’, unrolls another half-hour or so of gentle movements… an eruption in slo-mo.

Felt, the most underused of elements, patters great pools of molten copper.  The swell and its decaying negative unlock the rhythm in simple sets – ( )  ( )  ( ) – brackets of time in which tension is folded.

Hard wood pitches between ears now softened up (creamy like butter) making my lanky frame a pendulum that swings (tick, tick); a nervous clock.

It seems like the air is trembling with glass beads.  And yet… forgotten memories of a music box, complete with plastic ballerina doomed to twirl forever, enter my skull clear and bright.  A gruesome poem is drowned in a racket as pure as the scar on my skinny wrist.  Justice’s violins are wrecked.

A soft canvas bell / a fudge clapper.  Both marking out a dusty life; school to work to retirement to death.  Brief shreds of joy peal gently.  But the rhythm never falters: byenn-boom, byenn-boom, byenn-boom.

(sotto voce) when it stops all things around me judder.

—ooOoo—

Entr’acte / download

Was Ist Das?

Category of manifestation

eat local part one: rfm gorges on new produce from sheepscar light industrial

September 16, 2013 at 11:07 am | Posted in new music, no audience underground | Leave a comment
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Hagman – TKT and TMS (3” CD-r, Sheepscar Light Industrial, SLI.019, edition of 50 and download)

Seth Cooke – Run For Cover (3” CD-r, Sheepscar Light Industrial, SLI.020, edition of 50 and download)

These Feathers Have Plumes – Untitled (3” CD-r, Sheepscar Light Industrial, SLI.021, edition of 50 and download)

seth cooke - run for coverhagman - tkt and tmsthese feathers have plumes - untitled

The 22nd anniversary of my move to Leeds is fast approaching.  Numbers such as these mean less and less as I get older – my nipple piercings reached the age of majority in 2011, for example – but occasionally the change in the seasons, the ripening of the blackberries or the pressing of releases like the above into my sweaty palm make me look with renewed appreciation at my adopted home city.

I don’t need to sing its praises at length – it ain’t that type of place.  Leeds supports a dedicated, self-sufficient noise scene brimming with talent, good-humoured respect and a thoroughly punk-rock suspicion of hype.  Unlike our hipper big brother over on the wrong side of the Pennines the Leeds scene does not need the approbation of the wider world (though it is nice when we get it occasionally).  No-one has any money; the only motivation is satisfaction in the work.  Knuckle down – put the hours in – keep the quality control tight – have fun.

Leeds based microlabel Sheepscar Light Industrial is run very much in this spirit.  In fact, despite its roster being drawn from all over the place, it could be said to represent this spirit distilled to its essence, as it were.  Whilst I can’t agree with Uncle Mark over at Idwal Fisher that SLI has never dropped a stinker, I have nothing but respect for the refined and definite taste of label boss Daniel Thomas.  His ears are golden.  So what of the latest trio of releases?

First up is Untitled by These Feather Have Plumes.  These two tracks by Andie Brown (of that London), totalling about 16 minutes, have already garnered plenty of super-superlatives from my peers who write about these things.  Allow me to add my own: this work is clearly informed by a profound respect for and connection to the human condition.  Andie uses an organically sourced sound palette – bells, gongs, singing glass, (possibly) field recordings (I hear the sea at one point, I may be imaging it) – discretely looped and treated.  The whole created manages to be both earthy and ethereal at once.  She has harnessed the kami of these objects to draw forth a music with the homespun grace and human-scale emotional pull of a roadside hokura.  Amazingly though, I’m afraid this release only wins the bronze medal today.

In second place is TKT and TMS by Hagman, the duo of Dave Thomas (ap martlet) and Daniel Thomas (no relation).  When Dan handed this over he proudly claimed it to be the best Hagman recording yet.  I humoured him much as I might a toddler displaying a crayon scribble and added it to the playlist that accompanies my daily chores.  During the first couple of listens I didn’t grok this at all – 20 minutes of industro-drone, change of scene halfway through, some nice crescendo management – but choosing it as a lullaby one night and listening to it closely in a state of otherwise sensory deprivation revealed what a dolt I’d been.  There is a lot going on.  Their daisy chain of pedals, synths and homemade tuppertronics emits a satisfyingly grainy low end throb.  Into this field recordings are sunk and suspended.  These augmentations give the vibe a sense of location, albeit intriguingly unanchored and vaporous.  This factor – place – really lifts work of this kind to the next level (see, for example, the cartographic back catalogues of Petals and Culver) and with this recording Hagman join the ranks of those explorers who have figured out that ‘X’ marks the spot.

Finally then, we have Run For Cover by Seth Cooke (lately of that Bristol) which ‘bolts’ (Ha! ‘Bolt’!  Like that guy who is good at running!) past the competition so comprehensively that he is already being photographed cheekily biting his gold medal whilst the rest of us are taking off our tracksuits.  I have, like, totally, a crush on Seth.  Not only is he the owner of the most strokable beard in improv (a hotly fought category, as you can imagine) but he is a family man, musician and improviser of rare talent, writer, thinker and co-curator of essential web-resource Bang the Bore.  I know: swoon, right?

An example: Seth realises that the BtB forum has been a bit quiet recently and wants to chivvy up a little activity.  However, instead of kicking off a bunch of obviously crowd-pleasing threads he starts this – a fascinating account of his upbringing in the charismatic Christian community, neuro-linguistic programming, the missing person report process that forms part of his employment, the television series Neon Genesis Evangelion and how he may try and link it all that together in a piece of creative endeavour.  I’d have just been rude about The Wire magazine or something.  He thinks differently.

The real cool thing though is that, unlike most theorists, his music rocks too.  Whilst it is wrong to call Run For Cover unprecedented (I know a bit about Seth’s influences and working methods) it is certainly, and gloriously, refreshing.  The spec is simple enough, a single track of about fifteen minutes in length, but its ingredients are tricky to separate out.  I suspect the noise that sounds like a swarm of angry wasps flying into a juddering extractor fan may be a vibrating implement set upon a drum skin.  The buzz is malevolent – like tapping the glass of a giant tank full of insects only to have them all turn in unison, give you a hard stare and then start working together to get the tank’s lid off…  Some abrasive electronics are then set loose in order to scour and gouge the source noise whilst a bucket of low end catches the swarf.  The concluding crescendo is visceral, tough and as sparkling as your peripheral vision after a sharp smack to the back of the head.  Yeah: awesome.

Sheepscar Light Industrial

the compass will always point north

June 24, 2013 at 11:13 am | Posted in live music, new music, no audience underground | 1 Comment
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Sheepscar Light Industrial Presented:

‘The Compass Points North’

Petals, Aqua Dentata, Hagman, These Feathers Have Plumes, Midwich, BBBlood

Wharf Chambers, Leeds, Saturday 22nd June 2013

01 hagman hands

Dan Thomas is to be congratulated.  Again.  The latest of his biannual gigs, themed (more or less) around his microlabel Sheepscar Light Industrial, took place last Saturday and was, without quibble, a triumph.  Background and biographies of the acts that played can be found via the numerous links Dan worked into the original publicity so I’m not going into much context here.  All I want to do is give a brief and immediate impression of what was a terrific, life affirming evening (this will be accompanied by my usual terrible photojournalism, which this time gets all arty part way through when I decide to forego the flash).  The gig was also appropriated by Mark Wharton of RFM’s sister blog Idwal Fisher as part of his 50th birthday celebrations.  More on him in the section about my set.

Being the model of efficiency that he is, Dan has already edited, mastered and posted freely downloadable mp3s of each of the six performances.  These can be found zipped up in rar files on mediafire but you lot can’t be arsed with that can you?  Thus I’ve taken the liberty of hosting unzipped mp3s here in the cavernous RFM vaults too.  Listen by clicking on the little arrows you’ll see below or download by right clicking on the links and saving the digital goodness.

Due to childcare commitments I couldn’t be part of the committee welcoming our three guests from London: Andie Brown (These Feathers Have Plumes), Eddie Nuttall (Aqua Dentata) and Paul Watson (BBBlood) so I met up with them, Kev Sanders (Petals) and Dan at Wharf Chambers sometime just gone 6pm.  Setting up and soundchecking was in full swing and Dan had thoughtfully dragged my usual table and standard lamp into my preferred position.  Kibe (apologies – I don’t know the spelling, it was pronounced Key-Bee), our soundguy, was super helpful and accommodating and asked a question I have never heard someone doing his job ask in all my years of droning:

Would you like it to be louder?

I knew right there the evening was going to be a belter.

So here’s us setting up, tabletop electronics is a breeze, eh?

02 setting up

Once all was in hand we retired to the Wharf Chambers beer ‘garden’ to relax and listen to the gathering crowd of ecstatic noise-fans chanting our names as they waited outside to rush the doors as soon as they opened.  Here’s Andie and dapper Eddie rockin’ his trademark mod look.

04 and andie and eddie

… and here’s Paul and Kev, synchronising their Sam Smith intake.

03 chillin with paul and kev

That bit about the baying crowd was a joke obviously.  For some time the first and only paying punter was the mighty Pete Cann.  Looks well excited, eh?

05 premiere paying punter pete

So come 8pm a respectable crowd was gathering but many jaded regulars were alarmed to find that the gig was going to start (and run throughout the night) on time.  Dan needed to run a tight ship to keep it afloat.  He did.  First up was Petals.

06 petals prepares

Picture shows Kev indulging in a little liquid preparation.  The esteem in which I hold this guy’s work is second to none and the sheer quality of his set made me want to simultaneously a) lie face down on the floor, eyes closed, palms up and b) accost the general public, grab lapels and thrust Petals releases into the pockets of the bewildered.  Putting him on first is a crime really, but it set the bar almost comically high for the rest of us.

[audio https://radiofreemidwich.files.wordpress.com/2013/06/01-petals.mp3]

Download Petals

Next was Eddie:

07 aqua dentata one08 aqua dentata two

After championing his release March Hare, Kraken Mare this time last year I have been following the Aqua Dentata story with an almost unhealthy interest.  Eddie’s music has a quiet but unswerving sense of purpose and is constructed with such patience and confidence that its simplicity becomes exhilarating.  Like a clear blue sky, like a perfectly sharp knife.  This guy knows what to leave out and, in so doing, makes anything other than rapt attention impossible.  Smart dresser too.

[audio https://radiofreemidwich.files.wordpress.com/2013/06/02-aqua-dentata.mp3]

Download Aqua Dentata

Then Dan had to relinquish his organisational duties for half an hour and take to the stage…

09 the solo hag man

Hagman, the duo of Dan Thomas and Dave Thomas (no relation) was exactly 50% short as the latter was not in attendance.  Due to Dave enduring an attack of ‘real life’ type stuff Dan had to play solo.  An intriguing start of cross-clattering rhythms (field recordings from his recent travels to Hong Kong?) gave way to the pressurised roar of a sleepless night in an aircraft cabin, augmented by the pots and sliders of the kit jumble you see above.  It was muscular but delicate too.

[audio https://radiofreemidwich.files.wordpress.com/2013/06/03-danielthomas.mp3]

Download Hagman/Daniel Thomas

…and then something really magical happened:

10 andie's giant wine glasses11 andie in action

To my shame, I wasn’t up to speed with Andie’s work as These Feathers Have Plumes before.  Suffice to say I am now a fan.  She used the three giant glasses (vases? punchbowls?) pictured above, part filled with water, to produce gorgeous, haunting, tones by rubbing a moistened thumb around their rims (titter ye not).  This augmented a carefully underplayed selection of field recordings – birds, weather, water – to create an effect that was, in short, perfect.  Usually, the act before I go on is a blur as I pace around retching and coughing with nerves but Andie’s music held me transfixed.  The artist Joan Miro once described his life’s project as to ‘conquer simplicity’.  I’ve always been quite taken by that notion, despite the machismo of ‘conquer’, and was envious of Andie’s obvious and natural understanding of the idea.

[audio https://radiofreemidwich.files.wordpress.com/2013/06/04-these-feathers-have-plumes.mp3]

Download These Feathers Have Plumes

My turn.  I didn’t take any photos of me performing, for the obvious reason, and my attempts to photograph the crowd at the beginning of my set were too rubbish to be used.  No matter, you can see my set-up at the back of the photo of Dan – sparkly scarf used as glamour table cloth, standard lamp, grumpy old mc-303.  The first of my two tracks was a version of the title track from inertia crocodile, my soon-to-released CD-r on WGGFDTB, and is mainly constructed from a rave stab noise filtered until it gets seasick and starts tripping over itself.  The second track is a new piece, as yet unnamed, in which a recording of Thomas the Baby drinking his bottle of milk is used as a rhythm track under a dense drone ‘lullaby’.  I was very pleased at how it turned out – good and loud and thick.  Now, I am a vain, self-regarding man and will shamelessly fish for compliments after a set but, to my delight, people I didn’t even know wanted to shake my hand and congratulate me.  My spoken intro got a laugh and most seemed charmed by my indulgent use of Thomas recordings.

I dedicated the set to Mark Wharton who, as mentioned, was there celebrating his birthday.  As well as being a friend, a comrade and an all round good egg, Mark has been an important influence on me over the years.  In a sense he taught me noise – no Idwal Fisher (and its predecessors) = no radiofreemidwich.  I’ve written about this before so I’ll just wipe the tear from the corner of my eye and leave it there.  He seemed touched by the gesture, which was my intention.

[audio https://radiofreemidwich.files.wordpress.com/2013/06/05-midwich.mp3]

Download midwich

OK, time for Paul Watson to step up and obliterate this soppiness…

12 bbblood13 bbbloodier

Finally: BBBlood.  A performance by Paul is always a treat and an eager throng gathered, vibrating in anticipation, as he kicked off.  The first section was all scabrous electro-mechanical rhythms, building in intensity until the appearance of his handheld noise-o-tron (a tobacco tin with a mic in it) indicated that the point of no return had been reached.  Paul then flung himself into it, clattering his sound source onto/under the long suffering furniture and fiddling viciously with the pots and sliders of his patch lead orchestra.  Totally joyous: we all went fucking crazy and when the noise dropped for a burst of pop funk many audience members, notable Kev, couldn’t resist busting a move.  There was even an encore of sorts as a ‘highly refreshed’ Andie wanted to shout into the microphone.  A dizzying, nostrils-flaring, grin-inducing end to a great night.

[audio https://radiofreemidwich.files.wordpress.com/2013/06/06-bbblood.mp3]

Download BBBlood

Post-gig, the atmosphere of drunken revelry was such that leaving the venue was like leaving a wedding party: all hugs and promises.  The rain didn’t dare touch me as I ran for the last bus.

More on Sheepscar Light Industrial

More on Idwal Fisher

reminder!! midwich live this weekend at ‘the compass points north’

June 18, 2013 at 12:58 pm | Posted in live music, midwich, new music, no audience underground | 1 Comment
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compass

Yes, on Saturday I have the pleasure of performing as part of the terrific line-up above.  I’ve no doubt the date has been circled in red in your diaries for some time but I thought it best to post a reminder just in case.  This unmissable gig, assembled by the tireless Dan Thomas of the peerless Sheepscar Light Industrial, has also been co-opted by Mark Wharton of Idwal Fisher as the end point of a Leeds-based pub crawl to celebrate his 50th Birthday.  You are all invited.

Full details of the gig here.

Facebook event page for the gig here.

Facebook event page for Mark’s debauchery here.

Huzzah!

midwich live at ‘the compass points north’, 22-06-2013

April 29, 2013 at 7:55 am | Posted in live music, midwich, new music, no audience underground | 1 Comment
Tags: , , , , , , , , , , , , , , , , , , ,

compass points at a cow

I will no doubt plug this again nearer the date but for those readers who have busy lives and, y’know, ‘keep diaries’ here’s a chance to get an unmissable gig scribbled on the kitchen calendar.

I have been tempted out of fatherhood-induced-semi-retirement by Dan of Sheepscar Light Industrial with the simple lure of a curry dinner and the prestige of playing with such a monumentally talented line-up.  My set will be the usual 20-25 minutes in length but will be entirely new, possibly based around tracks created for my upcoming release on We’re Gonna Get Fucking Drunk Tonight Boys, possibly featuring ‘field’ recordings of a snuffling infant.  Who knows?  All I can guarantee at this early stage is that by the night itself my performance will be finely honed, rigorously rehearsed and solid gold.

Anyway, add the fact that Uncle Mark Wharton of RFM’s sister blog Idwal Fisher has appropriated this as his birthday party and there is simply no reason not to come.  Over to Dan for the links, details and whatnot:

Sheepscar Light Industrial presents an evening of celebration, with things to watch and listen to. Featuring performances from;

Aqua Dentata | BBBlood | Hagman | Midwich | Petals | These Feathers Have Plumes

£4 | 7-11pm | Saturday 22nd June 2013 | Wharf Chambers, Leeds

Facebook Event Page

Aqua Dentata |

As Aqua Dentata, Eddie Nuttall has been garnering some well deserved praise of late. Some great releases on Beartown Records, SLI & Feral Tapes, complimented by gigs where the audience “just shuts the fuck up and listens” (Rob Hayler), has meant that an invite back to Leeds was always on the cards. Expect to be consumed by sounds conjured from synths, tapes and bowed miscellany; shimmering, beautiful, throbbing and fizzing…

http://www.aquadentata.org/
soundcloud.com/aquadentata
Aqua Dentata live in Leeds, September 2012
SLI.008 – Aqua Dentata – A Staircase Missing

BBBlood |

Paul Watson, aka BBBlood, is a maestro of noise. Predominantly operating at the harsher end of the spectrum, the depth and consideration in Paul’s approach will have warming to the embrace of even his harshest roar. Following on from a stand-out performance at Pete Cann’s excellent Crater Lake Festival, I’m delighted it won’t be too long until he’s back up in Leeds…

BBBlood
soundcloud.com/bbblood
BBBlood live in Leeds, September 2012
SLI.010 – BBBlood – N 51°33′ 0” / W 0°7′ 0”

Hagman |

Daniel & David Thomas (no relation) are two men with lots of wire. The wire connects pedals, short-wave radios, oscillators, drum machines, synths and home-made Tupperware-tronics. Debut album on Striate Cortex coming in the Spring. “Hagman drift sublimely along a path of beautifully nuanced drone” (Idwal Fisher).

soundcloud.com/hagmanhagmanhagman
Hagman live in Leeds, November 2012
SLI.005 – Hagman – Wormwood

Midwich |

Midwich is Rob Hayler: head honcho of Fencing Flatworm Recordings and Radio Free Midwich‘s longest serving blog-jockey. Having (only very) recently entered fatherhood (congratulations!), Rob is claiming to have re-entered semi-retirement but, after the cracking live sets of the last twelve months and new releases on Kirkstall Dark Matter and We’re Gonna Get Fucking Drunk Tonight Boys (the latter coming soon!), I can only imagine that he’ll be itching to return. Augmented field recordings, deep electronic drone, head-banging.

Radio Free Midwich
Midwich – Single Figures (live in Leeds, January 2013)
SLI.006 – Midwich – Eaves

Petals |

PetalsKevin SandersHairdryer Excommunication. Former Sheepscar neighbour. Nice, shiny shoes. Library operative. Prolific, ebullient, drone-charmer. Deep, warm, crispy, electro-fuzz. Super!

Hairdryer Excommunication
Petals live in Sheffield, February 2013
SLI.009 – Petals – Whether to Drown

These Feathers Have Plumes |

I’ve been attempting to get Andie Brown, who performs as These Feathers Have Plumes, to record something for SLI or play in Leeds since the label began to function. Hence, it goes without saying how pleased I am that she’s joined the line up for this gig. Look forward to deep, textured drones, with contact mic accompaniment and occasional field recording forays. Oh, and wine glasses.

These Feathers Have Plumes
soundcloud.com/thesefeathers
These Feathers Have Plumes live in Nottingham, March 2012
SLI.0?? – These Feathers Have Plumes – ???

Oh, and here’s the usual bumpf about Wharf Chambers:

Wharf Chambers is a members’ club; you need to be a member, or the guest of a member, in order to attend. To join, please visit wharfchambers.org. Membership costs £1 and requires a minimum of 48 hours to take effect.

Awesome.  See you there.

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