Amongst the shows over the next seven days, we host the debut concert from Steve Noble‘s new alongside Thurston Moore and Farida Amadou. If you have witnessed Moore and Noble’s duo gigs (at Oto, the Wild Card Brewery and most recently at the Hoping For Palestine concert at the Roundhouse) you will know that together they form an incendiary powerhouse. Add the bass of Farida Amadou (rising star of the Belgium Impro scene and bass player in the punk/noise band Cocaine Piss) and you have a formidable combination.
This week’s digital release is nearly an hour of rhythmic explorations from tonbak player Mohammad Reza Mortazavi. His first vinyl release on Padre Himalaya was stocked by Hardwax – the comparisons between his technique and techno are evident. Live in a hot room, his playing barely ceases, and the organic polyrhythmic patterns he creates command a hypnotic force.
Full listings and all new shows below. We look forward to seeing you here.
£6 (£5 Venue Members) /
Digital Members: Download with credits
This week’s digital release is nearly an hour of rhythmic explorations from tonbak player Mohammad Reza Mortazavi. His first vinyl release on Padre Himalaya was stocked by Hardwax – the comparisons between his technique and techno are evident. Live in a hot room, his playing barely ceases, and the organic polyrhythmic patterns he creates command a hypnotic force.
One of the final Incus releases and one that was written up in The Penguin Guide to Jazz as ‘an essential document of modern music’. Otoroku is proud to release the first ever vinyl re-issue of Evan Parker’s legendary recording The Snake Decides. Featuring 4 solos recorded in 1986 in St. Paul’s Church, Oxford by the late Michael Gerzon. The Snake Decides is a groundbreaking example how far the language of a particular instrument can be taken.
From Brian Morton’s liner new notes:
“The Snake Decides attracts a certain array of adjectives – intense, radical, fearsome, hypnotic, virtuosic – and occasionally allows a more ambitious reviewer to avoid platitude by talking more specifically about 32nd harmonics, circular breathing, multiphonics and Gerson’s exact choice and placement of microphones. But this misses a point, too. Listening to this record, either for the first or the fortieth time, is an arousing experience.”
