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Musica Sanae explores the intersection of sound and medicine

Over the course of three international festivals, musicians, performers, researchers and theorists examine the health effects of new ways of hearing

The research based arts project Musica Sanae has invited 40 musicians, performers, researchers and theorists to present works spread over three separate events in Italy, Poland and Germany investigating how new ways of hearing interact with notions of hygiene, well-being and mental health.

Musica Sanae’s operations begin at Naples’ La Digestion Festival (3-4 May), and then continue at Sokolowsko, Poland’s Sanatorium Of Sound Festival (16–18 August) and NK, Berlin (15–16 November).

The Naples programme includes lectures by Davide Borelli and Michal Libera; lecture performances by Erik Bünger and Luciano Chessa; film screenings curated by Rafaella Morra; an installation by Lucio Capece & Gerard Lebik, and performances by Fis, Inconsolable Ghost, Eks, CM von Hausswolff, Felicia Atkinson, Okkyung Lee, Croatian Amor and more.

Other participants through the year include Felicia Atkinson, Rashad Becker, Tiziana Bertoncini and Ziúr.

For more details you can visit their website.

Corey Mwamba retires from live performance

Back in June 2018, the Derby based vibraphonist set the date for his final gig as 23 March 2019

Corey Mwamba’s show at Baby People Studios in his hometown Derby on Saturday 23 March will be his last.

The improvisor and composer announced his retirement last summer, noting that he had made the decision a few years ago. He will still be making home recordings, read his statement, adding that he will be focusing his energy on the British/Irish jazz and improv communities.

“My life isn’t a comic book and it certainly won’t be the fourth Avengers film, so I won’t be coming back,” he states. “I’m retiring from live performance for a number of reasons. Before I was put into the world of making music for a living, it was something I enjoyed. My relationship with live performance has always been shaky: I still get stage fright. Music has made me more sociable (and social); but also less empowered in terms of personal decision making. This has affected me physically, emotionally, and mentally.”

He continues, “I never planned to be a musician. I started when I was 16, and that was on a large ensemble improv gig with Steve Noble! But I was young enough to be told to do more, and I did. When I started making my own music, it was predominantly electroacoustic. But here at that time, making that music while black was not going to work – any conversation about black British experimental music is a short one, even today, and I am never included in it. So I focussed on vibes playing, as that was something more intelligible. But then the music I wanted to make was towards the totally improvised end. And I don’t live (and have no wish to live) in London. And so there was a rejection on that level too, including from the community who thought that improvised music wasn’t ‘real music’. And then there are The Usual Things, as well as my physicality being objectified (even in bands, by band leaders or managers) or ridiculed.

“And it has been difficult. But I am still here, I am proud of the music I have made, and thankful to those people who have really supported me through that music.”

You can read the full letter on his website, and listen to his music via Bandcamp.

Major Peter Brötzmann festival happening at Cafe Oto

The East London venue will host four day Brötzmann special in September

London arts space Cafe Oto has announced a four day Peter Brötzmann festival. Running from 4–7 September, it will feature a range of performances from the saxophonist and his collaborators.

The programme opens with Han Bennink & Brötzmann, Alexander von Schlippenbach (solo) and Brötzmann with Heather Leigh (4 September); Schlippenbach, Brötzmann & Bennink, Pat Thomas (solo), and Leigh, Brötzmann & Camille Emaille (5); Brötzmann, Eric Revis & Nasheet Waits, Bennink (solo), and Leigh & Emaille (6); Brötzmann, Matana Roberts, Thomas, Revis, and Waits (7).

Tickets are on sale now.

Lou Reed archive opens at New York Public Library

Documenting Lou Reed’s life as a musician, composer, poet and tai chi student

A Lou Reed archive has been opened at the New York Public Library for the Performing Arts. Featuring his papers, photographs, recordings and more, the collection documents Reed’s life as a musician, composer, poet, writer, photographer and tai chi student. It ranges from 1958 when he played in the Freeport High School band up until his final performance in 2013.

Visitors can also grab a special edition Lou Reed library card. For more information how to use the archive, go to NYPL's website.

Final release for The Caretaker project after 20 years

Leyland James Kirby closes the door on The Caretaker with stage six of Everywhere At The End Of Time

Leyland James Kirby has announced his final release as The Caretaker. Running for 20 years, his first music under that moniker was 1999’s Selected Memories From The Haunted Ballroom. That was followed by a host of albums on both his V/Vm label which he co-founded back in 1996 with Andy McGregor, and its successor History Always Favours The Winners.

The final release also rounds up the last stage of Everywhere At The End Of Time, a collection focused around dementia featuring commissioned artwork from longterm collaborator Ivan Seal.

“When work began on this series it was difficult to predict how the music would unravel itself,” explains Kirby. “Dementia is an emotive subject for many and always a subject I have treated with maximum respect. Stages have all been artistic reflections of specific symptoms which can be common with the progression and advancement of the different forms of Alzheimer's.”

He closes the project with the statement: “Thanks always for your support through the years. May the ballroom remain eternal. C'est fini.”

Coinciding with the release, a bonus download edition from the archives, Everywhere At The End Of Time, will be made available for free until 16 June. It will be presented at the Ivan Seal & The Caretaker exhibition Everywhere, An Empty Bliss at FRAC Auvergne in Clermont-Ferrand, France, from 7 April–16 June.

“In celebration of its completion and only for a limited time here is a surprise golden farewell. Compliments of the house. Offering you one last chance to raise a charged glass for those we lost along the way, for all the works, for those ghosts from our past, for our uncertain future and for The Caretaker.”

Everywhere At The End Of Time is out now. You can listen to it in full below.

Black Atlantic scholar Paul Gilroy wins Holberg Prize

Author of The Black Atlantic wins the Norwegian prize for being “one of the most challenging and inventive figures in contemporary scholarship”

The UK scholar known for his writings on black cultural expression has won Norway’s Holberg Prize, as reported in The New York Times. Paul Gilroy is currently a professor of American and English literature at London’s Kings College. In 1982 he published The Empire Strikes Back: Race And Racism In 70s Britain, which was followed in 1987 by There Ain't No Black In The Union Jack: The Cultural Politics Of Race And Nation. His groundbreaking 1992 book The Black Atlantic: Modernity And Double Consciousness (Verso) transformed popular thinking and academic studies on the African diaspora.

The Holberg prize is six million Norwegian kroner, approximately £530,000.

To mark 2018's Windrush celebrations, Gilroy compiled a playlist of tracks for The Wire that highlight a distinct black British musical aesthetic over the last 70 years.

BBC Radio 3 pares back experimental and jazz shows in new schedule

Jazz and Late Junction scaled back and “classical music programme designed for late night listening” introduced

UK music and arts broadcaster Radio 3 has announced a new autumn schedule for the station that sees it scale back its engagement with experimental music and jazz and introduce extra classical music shows into its weekday evening programming.

According to a BBC blogpost written by Alan Davey, the station controller, two jazz shows will be “resting”: Jazz Now (which itself had replaced Jazz On 3 in 2017) and Geoffrey Smith’s Jazz.

Meanwhile, the longrunning Late Junction, dedicated to experimental and adventurous music and sound, which has been a fixture of the Radio 3’s late night weekday programming since the show launched in 1999, is being cut back to a single two hour show on Fridays.

In the blog post, Davey declares “From Monday to Wednesday in our After Dark zone we will establish a new classical music programme designed for late night listening.” The After Dark strand began in 2018 to explore “edgy free thought and mind-expanding ideas, of elegant and provoking essays, of poetry, of radical mixes in music.“ A new show Unclassified is being promoted, dedicated to a new generation of "composers and performers", and with a remit including “neo classical and ambient”.

The blog begins by noting reasons for the changes: “Some of the changes are brought on by opportunity and creative renewal – and some as a result of us having to play our part in finding the £800m of savings the BBC needs to make by 2021/22.”

Late Junction had recently debuted its first festival back in March, with performers such as This Is Not This Heat and Gazelle Twin appearing across two days at EartH in Hackney, East London.

Update: since the publication of this article an open letter has been published in The Guardian with over 500 signatures from musicians, critics, label owners and music programmers, including Shirley Collins, Charles Hayward, Stephen O’Malley, Cosey Fanni Tutti, Shabaka Hutchings and Brian Eno. A petition is also running via 38 Degrees.

Mordant Music announce final releases and share Travelogues 22

“A more than satisfied portcullis is finally being lowered after almost 20 years,” says Ian Hicks

Ian Hicks aka Baron Mordant has announced the end of his Mordant Music label. After nearly 20 years and 99 releases – “just shy of a ton to avoid blues taxation...” – the label rounds things up with three final releases. Notably, the finale includes the concluding 22nd episode in the Travelogue series: a “GRATIS to everyone,” says Hicks.

But why now? “I'm knackered after almost 20 years of swiMMing in the cross-cu(rre)nts as well as my recent addictions to both bar billiards and Plants Vs Zombies...” explains Hicks over email. “I'll still be making library production MMusic,” he confirms, referring to his career as a library music composer, “and burrowing deeper into my EMS Synthi-A.”

The first release for Mordant Music was in 2001 with a CD booklet – without a CD – called “Nijmegen”. Admiral Greyscale aka Gary Mills would join Hicks in running the label for a while, departing before 2009 song collection SyMptoMs. The MM002 release was a badge, followed by a Baron Mordant 7" Baud With You/Shot Away. The label's reputation grew with hauntological album Dead Air in 2006, a field recording series The Travelogues would launch in 2007, and three-parter The Tower ran between 2005-2009. Beginning in 2012, a collaboration with Nick Edwards under the name eMMplekz began to make regular appearances on the label, as would Edwards's solo work as Ekoplekz, alongside artists Tod Dockstader, Vindicatrix, Cosmic Dennis Greenidge, Some Truths and Shackleton, among others. Simon Reynolds wrote about haunted audio purveyors Mordant Music, Ghost Box and Trunk Records in The Wire 273. Any favourite releases in the history of MM? “The whole MM catalogue – it's one long single track and I'm proud of all the releases & artists, warts 'n' all...”

The final three releases are: some “unheard Cornwallian tracer fire” with Pyramids Of Space’s FROM AtoM; the label's last full length from Baron Mordant with Mark Of The Mould; and “chalking up its 22nd beano & buffers bookend” Mordant Music Travelogues 22: ‘The Bar’s Gone'.

Stream “The Internet Did It” from Mark Of The Mould and an exclusive stream of Travelogues 22.

Apartment House record Julius Eastman's Femenine

Led by Anton Lukoszevieze, this new ensemble performance is out now on Another Timbre

Apartment House have just released a new live recording of the late composer Julius Eastman’s 1974 composition Femenine. “I first performed Eastman's music in 2016, which was a revelation for me, as the extant scores are rather fragmentary and incomplete,” says the ensemble’s cellist and leader Anton Lukoszevieze. “Some are even just transcriptions from archive recordings.”

On the recording, which has been issued by Another Timbre, Lukoszevieze is joined by Simon Limbrick on vibraphone, Kerry Yong on piano, Mark Knoop on keyboard, Mira Benjamin on violin, and Gavin Morrison and Emma Williams on flute.

“What is relevant about Femenine now, in 2019?” asks Lukoszevieze, responding to a question posed to him by Another Timbre. “I am not sure, but there is an acknowledgment that this is very good music, that it is music that comes alive when performed with care and commitment, a lot of pieces are only as good as what the musicians put into them.

“Julius's music is also quite ecstatic and to my ears gives audiences and performers alike pleasure, whether from some kind of organic groove or a totally passionate immersive experience,” he continues. “Femenine grows from a simple two note rhythmic cell in the vibraphone, which is repeated for the full duration of the piece, and in the background we have an asynchronous aural 'curtain' of sleigh bells.

“There are moments of strangeness, instability, joy, melancholy and an aural fascination with heterophonic intricacy and intimacy. Lastly, Femenine is communal music, it instills a sense of community within the listening experience, it is honest and unselfish, it is something we aspire to, it is great music.”

There has been a wider re-engagement with Eastman’s music in recent years. His peer, the composer Mary Jane Leach, has been instrumental in preserving and archiving much of his work. Femenine remained unreleased until 2016, when Frozen Reeds published a CD of a 1974 live performance by SEM Ensemble featuring Eastman on piano.

You can read the full interview with Lukoszevieze and Another Timbre here, and hear an extract of the performance below.

We Will All Meet In The Same Place

Exhibition series in Wrocław looks at the ways sound is perceived

From 12 April–2 June, BWA Wrocław Główny Gallery will present an exhibition and talk series titled We Will All Meet In The Same Place. Curated by Paweł Szroniak, the exhibition focuses on ways of perceiving sound and movement within the sphere of experimental art, drawing connections between different artistic disciplines.

Artists taking part include Rolf Julius, Wojciech Bruszewski, Ryszard Waśko, Anna Zaradny, Sarah Hennies, Brandon LaBelle, Artur Żmijewski, Kama Sokolnicka, Grupa Budapeszt, Zorka Wollny, Sebastian Buczek, Magdalena Ptasznik, Anna Nowicka, Aleksandra Osowicz and Agata Siniarsk. English language tours are available on request.

Sebastian Buczek will be performing live on the exhibition’s opening night of 12 April. More information available on their website.