What a half-hearted morning, the morning after the summer before, “Hi, I just wanted to remind You that V/A “Brutality Garden. Vol.1” is out in two days! Have a nice week. Kind regards”, no name or anything like that, just part of some record label’s Monday morning marketing plan – thanks for the nice week sentiemnt, I have no idea what the week will bring, I don’t really expect to “have a nice week”, not if we turn the news on – “Brutality Garden presents its first V/A album featuring Erva’s kuduro-driven hyper-pop, Ostrowski’s improvised meditation on juke and gqom, Clinamen’s and T’ien Lai’s frenetic, polyrhythmic afro-house. Artists define their distinct yet diverse musical style as „konk”. I can’t say this Brutality Garden compilation fires my Monday morning excitment, it sounds like hundreds of things that come in here demanding attention on an almost daily basis, it sounds harmless enough, it sounds, oh I don’t really know?, There’s a link up there.
What else can the Monday morning in-box offer? “The UK’s leading art fairs return with new curated sections, special artist commissions, talks and more” seems the Frieze Art Fairs are back, no reset or rethink then when the perfect (not quite) post-Covid opportunity to let’s question ourselves and think again as climate change impacts more and more and pieces of overiflated art flies back and forth around the globe only to be locked in one bank vault and then another. And there’s the liquid call of a wood pigeon, re-runs of Tweet of The Day, and it seems Frieze London and Frieze Masters are both on for Hyde Park for October, really? You’d maybe have though they might at least have taken a step back again this year. Sentinel bird? A sentinel wood pigeon at the top of the tree, they take a turn each, lookout duty. Is there any point in painting today?
“Hi, Hope this message finds you well, Please find below some presentation to the forthcoming first album of “Theodore Wild Ride”, side-project of Christine Ott, associating oud, ondes Martenot & analog synths, to be released on October 1st thru Icarus Records & Consouling Sounds (BOW, Amenra, Jozef Van Wissem…)” It is a rather beautiful album, a melancholic piece of work (or set of works), a quietly relaxing body of work, politee classical piano-led and rather beautifully detailed, slowly unfolding in a space and time all to itself, warm strings, organic, airely, we probably should review it properly but then why? There’s nothing we can share with you, no taster piece, no link to a Bandcamp or a You Tube so you can hear something and quite honrstly, a beautiful as it is for a fleeting moment, we get so muxh of this “post-classical” water-colour politeness Hang on, just found this, and here’s a Bandcamp page for more eve nthough there’s no actual music to hear right now so that’s my Monday morning part in their marketing plan played or their future dream of a shopping scheme or…
What else this mornnig? There’s a Song Thrush over there on the radio, and an invitation to come view the soon to close André Hemer & Anne Vieux show at Kristin Hjellegjerde Gallery‘s London Bridge, actually the Kristin Hjellegjerde Gallery are excellent in terms of an on-line presence, I do believe we’ve said this before. Well worth getting on the gallery mailing list where ever you are in the world.
This time we won’t take no for an answer, this piece of positive punk rock just passed our way. Wish I had paid more attention to the band opening for Here and Now that time, some band called Cardiac Arrest, little was I to know…
“Just prior to the start of another free tour in 1978, Here And Now recorded a John Peel radio session following a chance encounter with him at an open air gig at Meanwhile Gardens. The Peel session captures the essence of Here And Now well. The Two songs are from the ‘Give And Take’ album and the ‘space punk’ style is much more in evidence than on the ‘Floating Anarchy’ album, yet the importance of trying to capture the moment meant that two of the tracks were jammed ‘there and then’ in the Maida Vale studios. Much to the surprise of the BBC engineers!” – Jonathan Barnett – Weird Tales, and roadie for Here And Now and Zounds.
I had intended a second visit to the Sam Nicholson show before it closed last Saturday but hey, time and paint flow and such, ORGAN THING: Sam Nicholson at Gallery 46, there’s a rather bold painter emerging here…
Painter Sam Nicholson has a rather powerful show called “Bring me my papers, bring me my cheese.” happening right now, a show at East London’s Gallery46 curated by Miles Tuddenham and Martin J Ticker, when you talk to the curators about it they rightly sound a little more excited than curators often do. The Gallery… read on
Just felt like breaking up the page there with that exciting set of three big Paul Nicholson paintings in one of the Gallery46 room if the truth be told, I was genuinely excited or maybe disturbed by that show last Thursday. I also bough 35 oranges for a quid off one of the market stall at Whitechappel as well as stupily big bag of grapes for the same price. Don’t you just love going to Whitechapel and the market and the whilte vans, sheme Whitechapel Gallery itsefd is so stale and unengaging now..
And here comes another press release, “Pre-order ‘The Hope of Better Weather’ now, featuring 3 solo piano works by Michael Price and re-works and interpretations by Bill Ryder-Jones, Yann Tiersen, Malibu, Eluvium and Peter Gregson on very limited 12″ vinyl and digital” No! No more piano!
And here comes yet another press release and another polite instrumental post-classical piano based album that the press release insists is vital in some kind of way, this I swear is the 14th such this morning – Rose Water from Mirror Ensemble by Brett Naucke and yes, it is all as very “nice” as the rest of them and why do they insist on sending them all to us? Oh gawd, how I’m hoping the next e.mail will unleash a dischordant guitar or a punk rock howl, this is like drowning in over-sugared chocolate. Neo-classical post-classical composers, maybe there’s more to this new Brett Naucke album than this one track is revealing? I don’t know, I don’t really care, I’m so facking bored with all this post-classical new age sanatised safety in our in-box, oh I don’t give a damn, I don’t facking care…
I don’t imagine I shall care that much about a new Caravan album either although the benefit is still with them for the Land of Pink and Grey, now that really was a “nice” album in the best possible nice cup of tea sense.
“For Immediate Release Prog Legends Caravan Announce the Release of Their New Album It’s None Of Your Business The new studio album out on October 8, 2021
It’s None Of Your Business is Caravan’s first album since Paradise Filter (2013) and features nine new songs plus one instrumental track influenced, to a degree, by the events and restrictions placed on society over the past 18 months.
Caravan are Pye Hastings (guitar, vocals). Geoffrey Richardson (viola, mandolin, guitar), Jan Schelhaas (keyboards) and Mark Walker (drums). Lee Pomeroy (ELO, Rick Wakeman and Take That) has guested as bass player, following the departure of Jim Leverton, while Jimmy Hastings has also guested on flute.
The album was recorded, as restrictions allowed, ‘in the old-fashioned way’ between 24th June and 4th July 2021 at Rimshot Studio, Bredgar near Sittingbourne. “Sitting round in a circle having eye to eye contact, a large sound room was required,” Pye Hastings explained. “I much prefer this method because you can bounce ideas off each other as they occur, and voice encouragement when the whole thing begins to click.
“And it is much more rewarding to be able to throw insults at each other in person rather than down a telephone line or via email. This is something we are all very experienced at, believe me!”
This togetherness characterizes It’s None Of Your Business with Caravan’s trademark warmth and humor and, also, a sensitivity reflecting the times in which we are living. Sitting among Caravan’s typically whimsical tales “Down From London” and “If I Was To Fly” sit the heartfelt and poignant “Spare A Thought” and “Every Precious Little Thing” which looks forward to a return to normality.
“‘Spare a Thought’ is a song that I hope will jog people to remember those unfortunate people caught up in the pandemic,” Hastings explains. “‘All those people who denied’ refers to the idiots who don’t follow the scientific advice. I get angry about that and the line ‘Sure are interesting times’ refers to an old Chinese saying: ‘may you live in interesting times.’”
“Lyrics can sometimes be my Achilles Heel, trying to find anything meaningful to write about. But sitting in front of a blank screen with a pandemic raging all around, it was hard not to be influenced by the dreadful events going on. The lockdown certainly focused the mind when it came to writing the lyrics.”
The press release offerers nothing in terms of anything t lactually heat, at the moment beither does the Bandcamp page so al lwe ca nreall yell you is the album aertwor klooks awful
Woodlarks sing from trees, Skylarks don’t, where would we be without Tweet of The Day.
“Hello, I am a Japanese producer, Mikado Koko. My new single The Walrus and the Carpenter (feat. Penny Rimbaud & Eve Libertine) will be out on 21th August. Could you please check this out?”
“Taken from a non-sense/sound poetry album Alice in Cryptoland which is celebrating the 150th anniversary of the publication of Through the Looking-Glass by Lewis Carroll” apparently, it ain’t no bloody revolution though is it?
Oh look, Lord Botham is going to “bat for Britain” and Johhny Rottttten has lost his court case with Cook and Jones, the lunch time news isn’t improving the light of the morning
on with the clearing on the inbox and the mornnig junk mail….
|Contemporary art projects that explore the historical, social and material contexts|
of various sites and architecture
Passengers is pleased to announce its publishing partnership with artist Michaela Nettell on her book Less a building. Realised by Cedric Price, Lord Snowdon and Frank Newby in the mid-1960s, the landmark London Zoo Aviary is known for its pioneering tensile structure, its immersive and sensory qualities and its architectural paradoxes of permanence/plasticity, transparency/opacity and openness/enclosure. Less a building takes the hiatus of the aviary’s redevelopment in the early 2020s as an opportunity to consider the structure anew, exposing it as a powerful catalyst for experimental thinking and making.
Ten site-responsive artworks and texts are presented alongside an in-depth roundtable between six architects and writers, and documents from the Cedric Price and London Zoo archives. Posing questions around cultivated habitats and curated landscapes, and asking what the aviary has come to represent in architectural, zoological and environmental terms, the project proposes a set of new, interconnecting and open-ended readings of an important piece of twentieth century design to mark this pivotal moment in its history.
Contributors include: Marcela Aragüez, licensed architect and Assistant Professor of Architecture at IE University, Madrid-Segovia; Tim Dee, writer; Polly Gould, artist; Alex Hartley, artist; Julie F Hill, artist; Helen Jukes, writer; Milena Michalski, artist; Colin Priest, practitioner and educator; Ana Ruepp, artist; and Matthew Turner, writer. The publication design is by Marit Münzberg.
Should you be interested in reviewing the publication, we would be happy to provide a review copy and high res press images. The full press release can also be found below.
Please also join us for the launch event on Saturday 4 September, 3–5pm, which will be held at our headquarters on the second floor of The Brunswick Centre (address below). Readings from the launch will be broadcast via Passengers Instagram Live at 4pm.
Despite their name Oyster Catchers don’t often eat Oysters