You might think that taking over a week to upload some sound and images to these pages from Howlround‘s triumphant gig at 4’33” Café in Barcelona is a rather shoddy way to run a website. And I’d be inclined to agree with you, while letting slip the fact that since we returned I still haven’t got round to the necessary but highly-tedious task of untangling the huge pile of tape loops that were hurriedly scooped off the floor at the close of the performance, our de-rigging having been made all the more urgent by the promise of some impending late-night tapas. And the fact that I still haven’t done any laundry. But in truth, it’s been another busy week. I’m heading off to the US in a few days, hoping to find fresh inspiration recording desert ghost towns and other haunted spaces, so I’ve been trying hard to wrap up all of my various affairs before I go. I’ve also spent a considerable amount of time swearing at Photoshop while fiddling with the cover artwork for a new Howlround release scheduled for the autumn, but more on that at a later date.
What is rather shoddy, however, is leaving it this long to give huge thanks and gratitude to JP and Ale of 4’33” Café for being such fantastic, supportive and entertaining hosts (and for taking the above photos), to Robert and the Base Elements Gallery for allowing us to perform in their magnificent 12th century basement in the Gothic quarter; and also to our many new friends in the large and enthusiastic crowd who gave us such a huge reception – our set met with an ovation and our first ever encore!
Speaking of which, perhaps the strangest moment of the entire trip occurred a few hours before the show as we were returning to our B&B in the Montjuic district to pick up our gear. Walking up the road towards our lodgings, we were suddenly stopped in the street by a lady who pointed at the Outer Church T-shirt I was wearing and asked ‘Are you Robin?’ Despite the enormously high profile I enjoy from years of art radio broadcasting, DJ-ing between bands and creating obscure sound art, it’s still a surprisingly rare thing for me to be recognised in the street, particularly when that street is in a city I last visited on a school art trip at the age of 16. But then this interloper was no ordinary lady – it was Rosa Arutti, local musician, sound artist, part of the rather super Nad Spiro and subsequent gig attendee. I guess you could call this a tribute to the enduring influence of Mr. Joseph Stannard‘s great institution and to the power of T-shirt sloganeering. But even so, I wonder what kind of crazy alignment the planets must have been in to allow this chance meeting in a small side-street in a strange city at the very door of our bed & breakfast? How does Rosa herself account for this amazing coincidence?
‘Well,’ she commented in a subsequent email, ‘they say Montjuic is the magic hill. I think I’m going to get myself an Outer Church t-shirt !’
Nad Spiro have something of the magic about them too. Check out this recent album:
Before we left, JP and Ale also took some time to show us around the site for their new venue, currently under construction, which they intend to open as Barcelona’s answer to our own Cafe Oto here in London. The prospect of such a venue opening and what it might offer to the city is a most enticing one, as is the hope of being able to accept their invitation to come back and perform there once it does so!
In other news, I noticed while flipping through the latest issue of The Wire on the plane over that I get a mention in their charts page – another minor ambition fulfilled with thanks to The Geography Trip! Incidentally, if you haven’t bought their latest release by The Resource Centre yet, you jolly well ought to go and do that now – it’s a quiet marvel and is apparently recommended ‘for fans of Terry Riley, birdwatching, John Cage, that warm feeling you get when remembering your first school and Music concrete’; which I imagine will tick plenty of your boxes too. I can’t find that much coverage of this splendid label anywhere else online, which is rather an oversight on the part of the internet.
As for the immediate future, Chris has returned to Dubai to continue his residency (which appears to be going really well – you can keep up to date with his exploits on his own blog here) and I’m going to be packing my trusty Edirol and an 8GB flashcard in my hand-baggage and hoping for some fresh audio adventures in California in the coming week (but no earthquakes, please). Work on our next release(s?) will continue remotely, though our original plan of sending demos to one another via tape spools in the post has been abandoned for the far more economical benefits of We Transfer. It’s much less romantic but infinitely more practical and I guarantee you won’t be able to spot the difference.
It was great to have Chris back, though, and what an amazing month we had. And, once again, how lucky we are to have so many good friends who support what we do. And to have friends who make nice T-shirts. Glad to know them all!
Thanks to everyone who came to see us HEADLINE the Friday night of the Beacons festival – and as we were the last act of the evening in the only tent left open, I feel I can declare this statement technically accurate. Look, we’ve even got an appropriately surrealistic picture by the great Matt Colquhoun to prove it:
As some of you will be aware, the specific nature of a Howlround performance often requires having my back to the crowd; but my spies cunningly placed among the festival-goers in attendance have revealed that the reception to our set fell into three broad categories – a small but noble group who were enchanted, a slightly larger group who were rather baffled and a very small group of one who was actually quite outraged. This is all to the good – the last thing anybody wants to inspire is indifference. My favourite comments so far have included ‘brilliant’, ‘strangely remedial’, ‘eerie as f**k’ and ‘is this supposed to be an act?’, all of which I’m hoping to fit on the sticker attached to our next LP. Why not have a listen to this brief extract and send me your own three-word review? I’ll print the best ones!
From my own perspective, our set was not without it’s challenges, particularly as our new UHER reporter machines were proving a little impetuous and uncooperative. But of course that element of risk and the chance that it might all implode at any moment is a key factor in Howlround’s live performances – the frequent bouts of frantic loop un-tangling, bursts of unexplained noise and sudden huge silences should always be considered part of the experience. Allowing this margin for error, failure or perhaps even outright disaster is what gives the performance an extra frisson. Not that this is the easiest thing to explain to a crowd of mashed-up ravers who have spent the last few hours ‘going hard’ in the Resident Advisor tent. As it were…
Our thanks once again must go to John and Glenn from the Octopus Collective for inviting us and being the entertaining and fascinating company they always are. One of my personal highlights from the festival was Glenn’s Bread Board Orchestra workshop, which turned several large groups of random strangers into chopstick-wielding band-mates, jamming for hours and making a wonderful racket – like a Tescos-powered Gamelan ensemble. I’m hoping they’ll put some of the recordings on-line at some point so I can share them with you. Naturally Chris and I had to have a go. Followed by another. And another…
Other favourite moments included Dām-Funk‘s vocoder-keytar jams (deserving a far higher billing), Special Request‘s house set suddenly ramping into an hour of glorious, teeth-grinding jungle, an extended tea and cake session with our old mucker Jonny Mugwump and Jez Riley-French treating me to a personal performance of his hydrophone recordings (it was very early in the morning and I was the only other person in the tent). Even the appalling weather was not without it’s comedy value, particularly when Chris got whacked and nearly blown over by a flying sign-post warning him to expect high winds. Who says Mother Nature doesn’t have a sense of humour?
Up next is Cafe 4′ 33″ in Barcelona on August 22nd. We’re hoping for slightly less rain.
Howlround are very proud and excited to announce that our first gig for several months (and our last UK gig for 2014) will occur this weekend in the ‘Into The Woods’ tent, at the Beacons Festival, Skipton, Yorkshire. And it’s a particularly special one for us as it marks the debut outing for our vastly more portable new live soundsystem!
With our recently-acquired quartet of (comparatively) lightweight ‘reporter’-style machines, we’re hoping to massively increase our range and effectiveness as a live unit while massively decreasing the risk of damage to our spines, our heavy-yet fragile Revoxes and the walls and door-ways of my flat. From henceforth the plan is that these much-smaller UHERs will take on our live duties while the Revoxes remain permanently set-up in the Howlround studio, which will hopefully save lots of endless rigging and de-rigging every time we perform and increase our productivity by a factor of hundreds.
Working with tape is never that simple, of course, and it’s entirely unlikely to prove plain sailing: these new machines run at a much slower speed, half that of the PR99s, which has meant some frantic work re-dubbing and cutting new loops over the past week. We also haven’t had time to properly put our new quartet through its paces yet, or monitor it’s effectiveness ‘in the field’ – going by past experience there’s always that slight chance that they’ll take umbrage with the atmospheric conditions, the country air or the position of the moon. However, I’ve no doubt that such unpredictability will add an extra extra frisson to our ‘witching hour’ live set, which will occur in the small hours of Saturday morning. And of course we will be testing the machines in an actual field…
Thanks to our friends The Octopus Collective of Barrow-in-Furness for once again asking us to perform. And as ever there’s a superb line-up of performances, films and other happenings to enjoy; including The Aleph, Ex-Easter Island Head, Jez Riley-French and the brilliantly named Shatner’s Bassoon amongst many others. Further details can be found here.
Howlround’s live manipulation of stretched, looped reel-reel tapes craft shifting soundscapes Fri 2am Into the Woods http://t.co/0rpUQbvGiI
— BEACONS (@BEACONSFEST) July 30, 2014
And just look who’s back in town:
A rather hurried post today, starting with an extract from Howlround‘s final gig (for the time being) at The Electric Dog Show, Power Lunches from earlier this month. It’s a ‘greatest loops’ set of sorts, so you may hear a few of our favourites alongside some brand new material, of which we now have rather a lot. We really do need to start knocking it all together into that album we’re supposed to be getting on with:
You can read a very complimentary review of the entire event (including superb sets by Quimper and Gyratory System) by Michael Holland (who we also have to thanks for these lovely photos) on the Ears4Eyes blog, but I’ve taken the liberty of quoting the paragraph pertaining to ourselves here:
‘Howlround were amazing, perfectly eerie, a droning, revolving yawn of sound, a morass of crumbling noise, whale moans, the distress of slowly compressing hulls and skulls, they conjured a hard to place melancholy – perhaps from the knowledge that the tapes and machines are at the end of their lives, still vibrant but with numbered days. Long strands of tape spun around stands, the duo stumbled around the flickering web like spiders, the audiences’ minds caught and bound, constricted further with each passing minute. A ballet of thread-hanging twirls, or a pair of tape-architects measuring drone boundaries for fencing-in sound-ghosts…
In other news, a most flattering post regarding Howlround’s debut album The Ghosts Of Bush (as well as a few other bits and pieces from the Foggy Archive) appeared this week on the excellent A Year In The Country website. Filed under ‘Trails and Influences / Other Pathways’, it’s the latest of the blog’s extensive investigations into ‘the underlying unsettledness to the English bucolic countryside dream’, and proves as immersive and well-researched as ever. This is amply proved by the fact that they dug out this home-made press release I’d forgotten ever making: And lastly, to pile glory upon glory, ace music curators and Boomkat offshoot 14 Tracks have included ‘неизвежбан‘ from Howlround’s second album Secret Songs Of Savamala in their recent selection ‘Psychoacoustic Geography‘. It’s the second time I’ve been featured on one of their regular download compilations, each one centred around a specific theme; and this latest selection also features work by Ingram Marshall, Moondog, David Toop, Janek Schaefer and Anne Guthrie amongst many more! Very proud to be in such company, particularly as the reissue of ‘Fog Tropes’ on Arc Light Editions is, entirely predictably, my favourite reissue of the year to date and one of my favourite releases full stop. And so, as Howlround prepares to head back underground to concentrate on finishing albums and shunning the spotlight (and as Chris prepares to head to Dubai – thus making the project a truly global concern), we appear to be experiencing one last flurry of welcome publicity. Hopefully this will keep our enormous fan-base happy long enough for us to get our act together and finish the three album’s worth of material we currently owe various people. Best foot forward, then.
Yours in haste,