Posts Tagged ‘wonkystuff’

Christopher Nosnibor

Yeah, yeah, I know it’s not the done thing to review a show you’ve performed at, let alone one you’ve had a major hand in organising and promoting, but what’s not done sometimes just needs doing.

This was a lineup I’d been excited about – seeing it take shape around the initial basic concept of curating a show and giving …(something) ruined – a platform while showcasing other acts we like.

…(something) ruined coalesced into a formal unit following a one-off experimental collaboration back in May following a shout-out on Facebook from racketmonger Foldhead for recommendations for someone to provide vocals to compliment / contrast his wall-of-noise power electronics. My name was put forward by a handful of sonic sadists, and so it came to pass we brought a new level of brutality to an unsuspecting audience at CHUNK in Leeds. The idea for a showcase came before we’d decided anything else. Orlando Ferguson were top of our wants list, and promptly agreed, before we’d even decided exactly what we were doing, both for the gig and as a band. We didn’t even have a name. Truth is, we were deafened and buzzed on adrenaline and beer and before we’d even dismantled the kit, had decided it was going to be a thing.

The rest of the lineup coalesced largely through Paul (Foldhead’s) immense network of far-out acts. This was always going to be niche, an event that was about putting on a gig we wanted to see, regardless of who else’s tastes it would likely appeal to. This is where venues like The Fulford Arms are vital to the arts, and are sadly few and far between. Midweek in York, as long as the cost of paying the sound guy is covered one way or another, anything goes. Selling some pints beats no pints. As a totally underground, completely DIY operation, it’s only this kind of opening that makes catering to more outré tastes and providing a space for artists with a minority appeal.

So we went up first. I was only our second show after all. We’d failed to get the Paul’s visuals projected behind us, so they played on the screens at either side of the stage. Not ideal, not the impact we’d been hoping for, but sonically, it came together, probably.

…(something) ruined

How did we do? Alright, for sure. We’d spent five minutes planning the shape of the set and how it would build over the first few minutes, and Paul’s awareness of my delivery led to a set given to more undulations in comparison to the blazing wall of noise that was the first outing. The broad consensus was that we were brutal, but loud enough? The majority seemed to think so, but no-one fled the venue crying or with their ears bleeding, and I could even hear my own vocals in the monitors for 70% of the set, albeit only when I shouted so hard I felt like my throat would erupt – so probably not. Then again, could we ever be loud enough? Again, probably not. But I did shift a hell of a lot of books.

Primitive Knot, over from Manchester, are showcasing material from the latest release, Puritan. I use the plural because Primitive Knot is a band, although on this outing, it’s just front man Jim doing the work and creating the sound of a full band. It’s impressive to witness him playing synths and churning out grinding guitars over sequenced bass and drums, while also performing vocals.

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Primitive Knot

Said vocals are often single words, shouted, with heavy echo, reverberating into a churn of metallic overdrive, repetitive cyclical riffs, strongly reminiscent of the industrial grind of Godflesh, complete with thunderous mechanised drumming. It’s dense, oppressive, harsh, relentless. And as the only guitar of the night, PK’s set provides an essential contrast, standing out for all the right reasons.

Continuing to forge further contrasts, standing starkly against the regimented, heavily rhythmic attack of Primitive Knot, Territorial Gobbings’ freeform improvisational irreverence is different again, and then some. The new album, Sausage Chain, is a mess of random noises, but doesn’t really prepare the recipient for the crazed performance art that is the live show. Theo Gowans is nothing if not a showman, and one who doesn’t care about popularity or reception: tonight’s set begins with swinging mics and clanking beer bottles and concludes with cables and kit and the artist in a messy heap strewn across the stage. People watch perplexed, uncomfortable. Good. Art should challenge, be awkward and uncomfortable. And this is extremely awkward and uncomfortable – which is precisely why it’s ace.

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Territorial Gobbing

John Tuffen and Ash Sagar, of more bands than I’ve had pints on a big night, are Orlando Ferguson. They sit twiddling knobs and looking intently at their kit, and don’t actually look like they’re playing chess this time around. It’s the bigger table and side-by-side positioning.

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Orlando Ferguson

Tonight’s set is so much more than electronic drone, and the long, sweeping notes that provide the foundations create an expansive field in which they conjure an atmospheric soundscape. Sonically, they explore an array of textures and tones, and their improvisation is magnificently intuitive. It’s a pleasure to watch, and an even greater pleasure to hear, and following the raging tempests of weirdness and noise from the preceding acts, their altogether more tranquil approach provides some welcome calm and relief to round of a varied yet complimentary array of far-out music. And if you missed it – as most did- you missed out.

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Wonkystuff

What do Neuschlafen do? The York / Leeds collective which features member of myriad other bands and projects seem to exist more in the ether and in theory than as a tangible entity, despite the existence of a handful of recordings, most of which capture live improvisations in collaboration with other artists.

It’s been some time since the trio, comprising John Tuffen (guitar, synthesiser, vocals), Ash Sagar (bass, percussion, synthesiser, vocals) and Jason Wilson (drums, percussion, synthesiser) combined forces to release anything ‘proper’, although What We Do – a rehearsal room recording committee to (virtual) tape on a Tascam DR07-mkII (with no overdubs) at House Of Mook, Leeds on March 24th, 2019 adheres to their improvised, zero-budget, DIY ethos to the letter. Some of the sound is a little muffled and muddy, and the balance isn’t quite what studio ix would aim for, but it does capture the band’s essence and approach a vast expanse, before

With the exception of the twenty-five second ‘Breath #1’ the eight pieces here are all long-form explorations that sit toward the ten-minute mark. The first, ‘The Set-Up’ could be a literal rendition of its title and is more f a soundcheck than a song, with a wild crash and slash of cymbal mayhem and frenetic jazz percussion over a gloopy, strolling bass.

‘A Slow Hand’, with its wandering, repetitive motifs, has echoes of latter-day Earth and conjures a spaced-out-desert rock / folk hybrid played under sedation. It meanders along, before the playing becomes quieter, and it finally sort of peters out. And yet it doesn’t feel remotely disappointing, because it sounds somehow intentional.

The tracks tend to follow a similar flow in fundamental terms: the drums plod along with frequent and explosive, unpredictable fills punctuating the rhythmic line while the bass wanders around casually while returning to its root motif by way of an anchor just when things start to look like the structure is losing shape and the guitar lays down layers of abstraction and textured atmospherics rather than affecting any semblance of melody or tune.

The title track is a definite standout: landing at around the albums mid-point, it steps up the tempo and goes straight into a chunky jazz-tinged krautrock groove. It’s the rhythm section that dominates, while synths waft and ripple and heavily echoed guitar rings out crisp and clean but at a distance. And whereas the other pieces tend to drift, ‘What We Do’ drives and maintain a linear, forward-facing trajectory as it builds through successive slow-burning crescendos.

It’s the percussion that comes to the fore on the closing tryptic, with the 15-minute ‘Divisions’ constructed around a relentless rhythm around which pulsating synths grind and drone in way that calls to mind Suicide’s debut. Somewhere, maybe about halfway through, when the drums have hit an optimal thump and the cymbals are crashing all over, the bass boosts into an approximation of Joy Division’s ‘Isolation’, while monotone vocals, the words inaudible, drone away in the background as the instrumentation stretches out into a vast expanse, before the final cut, ‘to the end’ breaks loose with a thunderous clatter of freeform percussion and sprightly bass that bounds around freely and fluidly to conclude a set that’s simultaneously tense and mellow, an amalgamation of so many disparate elements that renders it difficult to place. And that’s all the more reason to rate this effort, that broadly sits in the brackets of avant-garde, experimental, jazz, and even post-rock and math-rock, albeit at their most minimal and most deconstructed. And that is what they do.

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Neuschlafen – What we do