Now that the dust has settled, please take a moment to enjoy some sights and sounds from last week’s Saisonscape: Decay tour, where Howlround played a trio of dates across the UK alongside the great sound artist and tape-loop manipulator Mr. William Basinski and recent Quantum Natives signing Kepla. The video and images shown here were from the final night of the tour at The Kazimier in Liverpool, which was perhaps the most visually impressive of the three, with the loops teetering and wobbling upwards from the stage and disappearing over the balcony. It’s a miracle the whole thing held together at all, quite frankly, even with all the scaffolding parts and other heavy metallic items lying about backstage that we borrowed to stop the tape jumping off the spools…
My enormous gratitude must go to Art Assembly, in particular the amazing Julia Dempsey, as well as Messers Basinski and Kepla for being such affable and entertaining touring companions, not forgetting Victoria Hastings for doing such a fantastic job of documenting the whole thing. More photos to follow, no doubt, but I think it’s this one that makes me the most proud:
Must also thank everyone at The Kazimier as well as Cafe Oto in London and Salford’s Islington Mill for their warm welcome. I haven’t had a moment to go through all the recordings yet, but doubtless more audio from these events will surface before long. The response from the crowd each night was hugely encouraging and bodes well for the imminent release of our new album…. but more on that later!
Howlround’s first live performance of the year (and for almost a year!) occurs at ‘The Light And Shadow Salon’ on June 25th. An evening of varied audio-visual performances, film, improvisation and even magic lanterns, it’s the brainchild of our friends Speak No Evil and takes place at historic London arts venue The Horse Hospital.
There’s a Facebook Event page with details of the rather super line-up in full, plus you can learn more about this most fascinating building (and how you can play a part in saving it from the relentless march of the sterile corporate behemoth currently ravaging our fair city) here.
Our tape machines are looking set to make up for lost time with a busy summer playing at festivals in both Viseu, Portugal in July and Copenhagen, Denmark in August; further details of which should be arriving on these pages soon, as well as details of a new Howlround LP in late summer/early autumn. To be honest I’ve no real idea yet what shape it might take, but I can reveal we’re sitting on a sizeable reserve of new material; and that after the vinyl reissue of Torridon Gate sold out in a single afternoon, I’m very keen to follow it with something fresh. Rest assured that any subsequent developments will be trumpeted loudly from the rooftops.
Speaking of reissues, you might remember Brood Ma‘s excellent P O P U L O U S (not to mention the follow-up r e P O P U L O U S featuring remixes by Yearning Kru, Ornine and myself), released on his Quantum Natives label last year. Well, it’s now been reissued on vinyl by Untold’s ever-superb Hemlock Recordings and sounds fatter than ever. I was going to write ‘phatter’, but I’m not sure that’s been culturally acceptable since about 1996. Suffice to say it still bangs and squelches in all the right places and I’m happily rinsing it round at Fog Towers all over again.
Equally excitingly, Ghost Box have just put out two of their finest releases on vinyl for the first time – 2007’s Quatermass-channelling Seance At Hob’s Lane by Mount Vernon Arts Lab and The Advisory Circle‘s sublime Other Channels from the following year. Both are highly deserving of the heavyweight vinyl treatment and Julian House’s artwork looks better than ever in twelve inches. And as if this wasn’t enough, The Advisory Circle’s Jon Brooks, never one to rest on his laurels, has just released another excellent new LP, Walberswick on More Than Human Records. Whatever his secret is, I do wish he’d bottle it!
And finally, while it doesn’t really have anything to do with the above business, this wondrous thing finally turned up in the post last week:
Isn’t it beautiful?
I’ve been hunting a Sesame Street record box for a number of years now, even going so far as trying to sneak off with one belonging to fellow Sesame-addict DJ Food while his back was turned. Now, after a decade of impatient online scouring and bungled petty-thievery, this little beauty has pride of my place on my shelf and plays host to my modest collection of slightly battered CTW and other Muppet 45s (including ‘I Love Trash’, as you’d expect), a rather marvellous single by Bert entitled ‘Clink, Clank’ and – though I’m embarrassed to admit it – my copy of the decidedly non-canon: ‘Big Bird & His Blowers’. That’s right at the back of the box, as you might expect and it should probably stay there.
Anyway, the discovery of this box and the aforementioned glut of reissues by some of my favourite artists have contributed not only to making June a rather exciting month musically, but also to my recent inability to put my hand in my pocket and get a round in. And so, as an act of contrition I thought I’d leave you with this charming performance of ‘Clink, Clank’ I found on youtube. Some might argue that all this is veering dangerously off-topic, but I feel I should point out that Bert’s delight in the strange sounds produced by his apartment’s plumbing not only has vague echoes of my own childhood but also sums up the Howlroundmodus operandi pretty neatly.
Besides, I love going off-topic. Get to it, gentlemen:
A few random bits and pieces to bring to your attention this week. Firstly, do you remember thatremixI produced for shouty London groove-merchants Chips For The Poor back in 2012? Well, I enjoyed doing it so much that it’s only taken me two years to produce another (with apologies to Gum Takes Tooth, who have been waiting almost a year for theirs – I swear I’m working on it!). This latest reworking is for the new Brood Ma Remix album on the awesome Quantum Natives label, that shadowy collective of beat-makers, programmers and graphic designers that includes Ornine, Yearning Kru and Brood Ma himself amongst others. If the name sounds familiar, it could be because his second album P O P U L O U S was the subject of a very flattering review in last month’s Wire magazine. To my ears it sounds like OneOhTrix PointNever or Autechre trying to make an oldskool hardcore record (with hammers), and indeed Daniel Lopatin has confessed himself a fan. Wasting no time at all, remix album re P O P U L O U S is out this week, and I’m very pleased to have asked to add a contribution. Two remixes in as many years? Nothing can stop this runaway train!
“r e P O P U L O U S” is a view of the original work from 7 different perspectives, as seen through a virtual reality headset slowly fossilising under ash and magma. Two of the album’s tracks, ESTEEM and NRG JYNX, have been rehewn and augmented, different stresses placed on the nervous euphoria and heat-hammered visions of the originals: Ornine’s chittering percussive trance ritual, Al Tariq’s industrial dancehall schematics, Recsund’s melodic electro strata, Yearning Kru’s cthonic collapse, Lyd’s open-air psychedelic zone, Robin the Fog’s claustrophobic pleasure release, and Ana Caprix’s distant, mourning viewpoint. These excavated snapshots reveal a wider panorama of a world moments before the inevitable”
You can check out re P O P U L O U S on the above soundcloud link or download the entire album here for FREE! There’s plenty more to be had, including the original P O P U L O U S long-player at the delightfully panoramic Quantum Natives website, while Brood Ma’s debut full-length F I S S I O N for Mantile Records is also well worth hunting down. I’m a bit of fan, can you tell?
Next up is Sarah Tanat Jones, a musician and illustrator that Chris and I met when Howlround took over the Alien Jams show on NTS Radio back in May (or rather we were invited by host Chloe Friedman and politely made ourselves at home, but ‘took over’ sounds more edgy and exciting). Sarah produces electronic synth-pop under the nameSynaesthete, equally groovy illustration under her own name (the above ‘Record Shops of Soho’ is, entirely predictably, my favourite) and co-runs the Kit Records label. Her music is very much in the vein of artists such as Glasser, and I’d even go so far as to say that her recent EP Earth and Air contained more glacial electro pop brilliance in its four tracks than on much of the former’s recent album. This is my personal favourite:
Now Sarah is asking for help to record her debut LP, Array, a CD and picture-book project combining her two talents. Releasing albums being the expensive business that it is, there’s a Kickstarter campaign that could do with your support here, with lots of nice benefits up for grabs. including original artwork. At the time of writing the totaliser is nudging just over the halfway mark with less than three weeks to go, so get cracking. You can also buy the Earth and Air EP here.
Lastly, and on a note that couldn’t be more different if it tried, I was sorry to hear this week of the death of Francis Matthews, the actor who, as part of a long and distinguished career, played detective Paul Temple; but was probably better known – somewhat to his chagrin- as the voice of ‘that bloody puppet’ Captain Scarlet. The archetypal dashing and debonair Englishman, I was lucky enough to interview him along with Alex Fitch for Resonance FM’s ‘I’m Ready For My Close-Up’ way back in 2009; and as there doesn’t seem to have been much else in the media by way of a tribute, Alex has dug up the original podcast. Hope you enjoy spending some time in his company as much as we did!