Posts Tagged ‘Live’

Defined as "The queen of the electric harp", Kety Fusco continues to surprise and subvert expectations with her new single ‘Shivers’, produced by Francesco Motta and Aris Bassetti, to be released on all digital platforms on May 13th on the international label Floating Notes Records. It is the first excerpt from a new solo album coming out in 2023.

With the addition of Carmine Luvone on cello, the Italian-Swiss harpist launches a new provocation: ‘Shivers’ represents a new form of music, a new genre. Fusco’s harp sings as if it were a voice, the sound box creates the rhythm, the resonant strings decorate the harmony, and the scratchy noises envelop the atmosphere of the composition. According to Fusco: "The search for the instrumental genre of the harp is also about discovering what kind of music and genre you can create with it. Since there is no real musical reference to the world of contemporary pop music on the harp, I have to make attempts to express myself and continue to embrace my idea of the contemporary harp, feeling its vibrations and letting myself be overwhelmed by the shivers that these resonances cause me, and continue to compose and let the world discover a new idea of the harp".

Kety Fusco’s music is a mix of insistence and passion, pop and electronic music, wild dancing, and organic research of experimental music. ‘Shivers’ follows the horror sound-track Music To Make A Dream Come True, released last March as the result of extensive sound research undertaken by Kety on her harp. Music To Make A Dream Come True, accompanied by an esoteric videoclip shot by Studio Asparagus, was the result of sampling sounds from Kety’s harp, which she then published in her personal sound library: Beyond the Harp, Extreme, Extended, Experimental, available to artists, producers and art lovers on the website www.ketyfusco.com. Fusco wants to transform the vision of the harp, moving away from the usual arpeggios and sound carpets, and instead delving into a world of timbres that are never usually associated with the instrument. Kety’s sound research on the harp will continue in autumn with the release of the experimental record The Harp by Kety Fusco Pt. I, made in collaboration with IOSONOUNCANE, the mastering and sound engineer Alessio Sabella, and Aris Bassetti. The record will premiere this summer at the prestigious Montreux Jazz Festival.

Watch  here:

AA

AA

KF  ppic

Wardruna release an official music video for their song ‘Skugge’ (meaning Shadow). The song is an eerie sonic journey, voicing a dialogue between man and shadow or as Einar Selvik puts it; “it is a song about shadows, echoes and the balance between seeking answers and wisdom internally and externally”. The video was filmed and produced in Norway by Ragnarok Film in January 2022.

To shorten the wait for their upcoming release Kvitravn – First Flight of the White Raven (out on April 22nd 2022), the live version of the song is also released on all digital platforms via Music For Nations/Sony Music/Columbia Germany/ByNorse. Watch the video here:

AA

Wardruna 2

Influential psych innovators Gong have shared a new live video for ‘If Never I’m and Ever You’ as the group prepare for an extensive UK & EU tour between Feb – Sept 2022.

Performing the song, taken from their acclaimed 2019 album ‘The Universe Also Collapses’, this new video captures the band in the intimate setting of their rehearsal space, performing together in early 2019. A mind-melting and incredible sonic experience, a Gong live show is something all fans should experience and as they prepare to embark on their massive ‘This Is The Moment And Now Is The Time’ tour, this new video offers a glimpse for fans of the magic to come.

Formed in 1969 by Daevid Allen, one of the founding members of Soft Machine, classic albums such as Camembert Electrique, Flying Teapot and You established Gong as one of the most unique, innovative and experimental rock groups of the Seventies.  

Before he sadly passed away in 2015, Allen laid out his hopes for a future Gong, that it should be uplifting, exploratory and a positive force. Kavus Torabi, Fabio Golfetti, Ian East, Dave Sturt and Cheb Nettles, chosen by him, continue his vision.

The band will release a new live album Pulsing Signals on 18th Feb via Kscope. Recorded live across three shows at The Wardrobe in Leeds, The Cluny in Newcastle and Rescue Rooms in Nottingham in 2019 as the band toured  ‘The Universe Also Collapses’, this live record finds the group in spirited form as they undertake, unbeknownst to them, their final tour before the global pandemic took charge.

With touring now set to recommence and bookings going long into 2022 and beyond, Daevid Allen’s vision for the future looks set to be fulfilled.

Watch the video here:

AA

GONG LIVE IN 2022

FEBRUARY

Sun 27 – FLETCHING  – Trading Boundaries

MARCH

Tue 01  – BRIGHTON – Chalk

Wed 02  – SOUTHAMPTON – 1865

Thu 03 – READING – Sub 89

Fri 04 – GUILDFORD – Boileroom

Sat 05 – COLCHESTER – Arts Centre

Mon 07 – LEICESTER – Musician

Tue 08 – MANCHESTER  – Gorilla

Wed 09 – GLASGOW  – Oran Mor

Thu 10 – CARLISLE -  Brickyard

Fri 11 – WIGAN – The Old Courts

Sat 12 – STOCKTON-ON-TEES – Georgian Theatre

Sun 13 – NORWICH  – Arts Centre

Mon 14  -  BURY St. EDMUNDS – The Apex

Tue 15 – BIRMINGHAM – Hare & Hounds

Wed 16 – NOTTINGHAM – Rescue Rooms

Thu 17 – NEWCASTLE -  Cluny

Fri 18 – YORK  -  Crescent

Sat 19   – HEBDEN BRIDGE – Trades Club         

Sun 20  – BETHESDA – Neuadd Ogwen

Tue 22 -  EXETER -  Phoenix

Wed 23 – BRISTOL – Thekla

Thu 24 -  STROUD  – Sub Rooms

Fri 25 -  HITCHIN – Club 85

Sat 26 – RAMSGATE  – Music Hall

Sun 27 – TUNBRIDGE WELLS -  Forum

Mon 28 -  LONDON – The Garage

AUGUST

Sun 7 – Love Summer Festival 2022 – Plympton, Devon

Sat 13 – Guru Guru Festival – Obersülzen, DE

SEPTEMBER

Tues 6 – VERVIERS, BE – Spirit Of 66

Wed 7 – HEERLEN, NL – Nieuwe Nor

Thurs 8 – NIJMEGEN, NL

Fri 9 – AMSTELVEEN, NL

Sat 10 – MINDEN, DE

Sun 11 – BREMEN, DE

Mon 12 – HANNOVER, DE

Tues 13 – HAMBURG, DE

Weds 14 – BERLIN, DE

Thurs 15 – WEINHEIM, DE

Fri 16 – RÜSSELSHEIM AM MAIN, DE

Sat 17 – JENA, DE

Gong

Dependent Records – 28th January 2022

Christopher Nosnibor

My first encounter with Bristol-based duo MESH was as a support act for The Sisters of Mercy, although ultimately they’re an act I’ve been more aware of the existence of than familiar with. Then again, they’ve never really broken though here at home, and enjoy considerably more success in mainland Europe, particularly Germany – as is the case with so many acts of a darker / more electro / gothier persuasion. The fact that The Sisters and Placebo are still festival headliners in Germany speaks volumes. Mainland Europe is another world, culturally. That the majority of the tracks were shot / recorded at German shows is understandable.

In this context, the idea that MESH are an act who warrant a three-and-a-half hour documentary DVD release is quite something to assimilate, and the fact the email promoting it, with a link to press edit of the film says ‘We hope that this “easier to digest” version will find your interest as we are aware that the full 3.5 hours are a bit much to watch’ is touchingly humble, and seems to accept that this is a release that’s very much ‘one for the fans’ and that while they may be numerous, not all of us journos will be quite as rabid.

This single release is even easier to digest, and cuts to the heart of what fans often want, namely live takes of favourite songs done well.

‘The Traps We Made’ first appeared on Looking Skyward in 2016, and has been something of a signature and fan favourite ever since. It’s a quintessential dark electro tune, and it’s a sow-builder with a lot of soul, and it’s got ‘anthem’ all over it, but equally, the Depeche Mode trappings are extremely evident. And it’s good.

The documentary, from the segments I’ve seen, is also good – an incredibly ambitious project – well-realised with remarkable digital visuals and the footage is well shot, and matched by quality sound and some insightful backstage footage and interview segments. Not one for casuals by any stretch, but the live footage isn’t a bad entry-level intro to their catalogue.

MESH_03_photo_096_by_Bernd_Schwinn

In 2022, a year after the release of Kvitravn and as a prelude to the forthcoming and much anticipated live dates, Wardruna are presenting Kvitravn – First Flight of the White Raven.

An immersive audio arrangement that underscores the experiential paradigm shift and masterful musicianship of their superlative and boundary-pushing virtual live experience First Flight of the White Raven of March 26th 2021. This new release captures their special set list consisting of songs from Kvitravn and a selection of favourites from the discography, and will be released on a 2LP, as well as 2CD that also features the original studio album track listing. To mark the event’s exceptional impact, it will also be available as a limited Boxset Edition including 2LP (black), 2CD, DVD with livestream performance and bonus documentary material and three videos (only available in the boxed set), flag of the CD album cover, certificate of authenticity for the box and an exclusive autographed card signed by Einar Selvik.

As a taster, they’ve shared the performance of ‘Solringen’ from the release.

AA

Wardruna’s UK tour commences in March. About the tour Einar comments “It has been more than two years since we last gave a performance in front of an audience. Needless to say, this long and unwanted hibernation has made us very excited to finally be able to realistically plan our return to the stage.”

Full list of dates in the UK and Ireland below:

Thursday 17th March: Southbank Centre, London

Friday 18th March: Albert Hall, Manchester

Sunday 20th March: Cambridge Corn Exchange, Cambridge

Monday 21st March: Symphony Hall, Birmingham

Tuesday 22nd March: The Glasgow Royal Concert Hall, Glasgow

Wednesday 23rd March: Vicar Street, Merchants Quay, Ireland

​Plus more live dates can be found here: http://www.wardruna.com/tour-dates/

AA

Wardruna

Having recently unveiled the video to the killer lead song from their forthcoming EP, No Guts All the Glory, Weekend Recovery have announced they’re celebrating an EP launch in two of their favourite cities, namely  London and Leeds, at The Grace and Headrow House respectively, in early February of 2022.

Weekend Recovery recently debuted a new lineup as a three-piece, and a new sound that harder, rockier, and more direct, and these dates will provide an opportunity tom witness the emerging next stage of the band’s evolution, and they’ve got some cracking supports lined up, too.

Dates are:

Leeds, 3rd Feb with support from Salvation Jayne & Helle @ Headrow House. Tickets: www.weekendrecoveryofficial.bandcamp.com/merch/leeds-ep-launch

London 4th Feb with support from Dirty Orange @ The Grace. Tickets: www.ticketweb.uk/event/weekend-recovery-ep-launch-show-the-grace-tickets/11537935

No Guts’ is a corker and it’s already been getting early radio play, a sign that this is a band continuing their upward trajectory. Chances are they won’t be playing venues this size much longer. Exciting times.

See you down the front!

AA

257444014_4551127164923901_308912582594997544_n257940756_4551127148257236_4265160933946605075_n

For regular readers of Aural Aggravation, Videostore has been a band we’ve followed from its lockdown inception as something to do for Nathan and Lorna Argonaut while they were unable to operate normally with the rest of the band until the final release. We’ve loved their lo-fi drum-machine led indie rock tunes, and it’s felt like a journey.

The journey ends here. They celebrated their release from lockdown and the return of live music with a one-off live show with the duo expanded to a full band, and as they write, ‘to commemorate the Videostore gig we are releasing a live single of Your Mind and our cover of Suicide by Spacemen 3. Recorded by Joules on his trusty Zoom machine in the one and only rehearsal for our one and only show. Videostore live were Nathan, Lorna, Joules and Chris. We had a blast. Goodnight and thank you’.

Well, thank you, too, guys.

These are cracking versions, and you can hear them here:

AA

a0949049252_10

Since 2006 Maybeshewill have released four full-length albums of towering, cinematic instrumental music. After a decade long career that saw them tour across four continents they bowed out in 2016 with a sold out show at London’s Koko. Having reformed briefly in 2018 at the request of The Cure’s Robert Smith for a show at Meltdown Festival, 2021 sees the band return with their first new material since 2014’s Fair Youth. Having worked on ideas separately in the intervening years, it was the sketches of music that would become ‘No Feeling is Final’ that pulled the band back together. Building on the songs that they felt needed to be heard, together.

‘No Feeling is Final’ was born from a place of weary exasperation. From the knowledge that we’re living in a world hurtling towards self-destruction. We watch as forests burn and seas rise. As the worst tendencies of humanity are championed by those in power; rage, fear, greed and apathy. We see every injustice, every conflict, every catastrophe flash up on our screens. We stay complacent and consume to forget our complicity in the structures and systems that sustain that behaviour. As the world teeters on the edge of disaster, we sigh and keep scrolling, the uneasy feeling in our stomachs eating away at us a little more each day.

However easy it would be to switch off and pretend all is lost, there’s no choice but to remain engaged. To set that feeling of hopelessness aside and use the fear and frustration as fuel to make something positive.

‘No Feeling is Final’ is a message of hope and solidarity. It’s a story of growing grassroots movements across the world that are rejecting the doomed futures being sold to us, and imagining new realities based on equality and sustainability. It’s a reckoning with the demons in our histories and a promise to right the wrongs of the past. It’s a plea to take action in shaping the world we leave for future generations. It’s a simple gesture of reassurance to anyone else struggling in these troubled times: “Just keep going. No feeling is final.”

Guitarist Robin Southby comments on the new video for first single ‘Refuturing’, directed by Fraser West,

“Conceptually, Refuturing (and the album as a whole) is concerned with the existential dread surrounding the climate crisis, how we understand our complicity in the crisis within the confines of our current morality system and ‘refuturing’ – rejecting existing power structures used to subjugate, and reimagining a future built on entirely new systems that are sustainable and beneficial to all.”

Watch the video now:

Maybeshewill will also perform their first London headline show since 2016 at Islington Assembly Hall on 15th December 2021. Tickets are on sale now.

AA

thumbnail_F2C5EB30-EA59-44B4-8F8B-085165E8B653

Dret Skivor – DRET 009 – 3rd September, 2021

Christopher Nosnibor

On the face of it, it’s a straightforward question. But chewing on it a little longer than is probably advisable, like a lump of gristle you can’t quite find an opportune moment to spit out discreetly at a family meal, it presents a range of different potential inflections, from the casual ‘how do you like your noise?’ delivered with the same intonation as ‘how do you like your steak / coffee / eggs?’ through to the rather more personal but interrogative ‘how do you like your noise?’

So while listening to the ten pieces on this short release, available digitally and as a C20 cassette, I gave this some consideration. It wasn’t necessary, but then, not a lot is, beyond the basic functions of eating, drinking, breathing, and sleeping. Then again, art has existed longer than civilisation, and perhaps it’s not so wild to think that giving an outlet to one’s thoughts and feelings which transcend verbalisation is also necessary in the most fundamental sense. Perhaps we need art to live. This act of consideration in itself made me realise that a lot of noise is something that’s possible to think alongside listening to. It isn’t that it’s necessarily undemanding: it’s often far from it. It’s just that noise has the capacity to free the mind in ways that more structured genres, and modes of music more geared towards beats and lyrics can often pull the brain waves into their structures instead of encouraging that certain mental drift. Of course, ‘noise’ can be subject to a host of interpretations, sometimes with an interchangeability with ‘sound’. Specifically, here, though, I’m talking about noise.

And ultimately, I can only conclude that I do like my noise harsh. For some reason, noise that makes me grit my teeth and chew the inside of my mouth while I’m listening is the noise that meets the needs of my inner workings. It excites me and sets me on edge. I suppose it’s because ultimately, when it comes to this shade of noise, all you can do is submit to it, and it’s a cathartic release to allow the sound to draw the stress from the mind and body.

How do you like your noise? is pitched as ‘a bunch of noises recorded live 2020 and gems from the archives’, and while it’s not always clear which represents which, there’s no shortage of nasty abrasion on offer here, and it’s clear that Pulsen ‘get’s noise – by which I mean, he has a handle on the effects of varying textures and frequencies, and how shifts between different ranges can trigger both physical and cerebral responses. The grating ‘metal massage’ and squalling electronic blitzkrieg of ‘urbanoise’ are exemplary of the kind of circuit-melting experimentation that many will find painful and torturous, and be grateful for their merciful brevity.

There’s range here: ‘dead man’ is a sparse and spacious guitar piece that borders on post rock, while ‘ringu’ does some glitchy warpy bendy note electronics tricks and teeters on the brink of some kind of electrojazz odyssey. There’s also some whimsical faffery, clattering and clanking around that’s more throwaway interlude than composition, with sub-minute snippets like ‘still haven’t found what i was looking for’.

And so, I changed my mind: I like my noise varied. On this release, Poulsen shows the full spectrum of his versatility, and the range of his noise. I like my noise, and I like this a lot.

AA

a3069066462_10

Bam Balam Records –12th June 2021

Christopher Nosnibor

Two names to conjure with collided live in Tokyo on 14th March 2019, with sprawling psychedelic masters Acid Mothers Temple coming together once more, a full decade after the release of the live album Underdogg Express in 2009, with the founder of the legendary Krautrock band Guru Guru. ‘A fiery psychedelic collaboration recorded in the spirit of early Guru Guru’ ensued.

Edited neatly into four tracks – two per side of vinyl – it’s being released on limited edition vinyl for the French ‘Disquaire Day’ June 2021 (French Record Store Day 2021).

In recent years, I’ve come to despise Record Store day: after all, a record store is for life, not just for RSD, and the whole thing reeks of exploitation, from the retail prices being set as a level that means stores themselves make next to nothing from any sales, many fans are priced out – assuming they aren’t geographically advantaged – and then they’re shafted once more when those who had both the benefit of cash and location resell at even more exorbitant prices. Yes, one could discus free markets and supply and demand and how buyers choose to pay those prices – and I personally choose not to – but ultimately, a lot of the fun has gone out of it since the early years.

It doesn’t help that RSD has been swamped by reissues by major labels, meaning completists and hardcore collectors of some very popular acts are climbing over to buy new editions of old records, and none of them really give a fuck about independent stores, labels, or artists.

In this context, this release is a welcome one. It’s also a good one, and finds the collaborators veering from wildly chaotic and discordant free-jazz to muted, atmospheric ambience, with the fifteen-minute ‘Electric Junk’ spanning both, and beyond, exploding as it does into a searing proggy / post-rock crescendo in the closing couple of minutes.

‘The Next Time You See the Dalai Llama’ is built around a cyclical motif that whirls like a kaleidoscope over a throbbing reception of pounding drums and bass that lock into a relentless groove for the first four of is nine minutes. The title track closes with a mash-up of classic rock and wild desert psych, with some wild guitar work going fret crazy over an insistent, monotonous bass groove and thumping percussion that pounds and crashes relentlessly, and it even get on quite a swagger and swings into a full strolling jazz workout in the second half.

Tokugoya doesn’t bring any real surprises, and is, really, exactly what you’d expect – but then it doesn’t disappoint… although its limited availability might (but there is still a CD version).

BBLP085_front