In the third part of his London Odyssey, Stephen Grasso reveals similarities between British creation myths and the Nephilim of Genesis and Enoch, recounts a history of insurrection in the capital under the banner of King Mob and casts a timely light on the occult stronghold of the City of London Corporation.
An accompaniment to Jane and Louise Wilson’s exhibition of photographs taken around the Chernobyl exclusion zone, our tenth event presented music themed around nuclear energy in the context of the wider energy industry, culturally embedded fears, environmental impact and humanity’s ceaseless and increasing demand for more power.
Part two of Stephen Grasso’s psychogeographic tour-de-force uncovers the pre-Christian mythologies of the site of St. Paul’s Cathedral, traces the global reach of St. Brigit though the syncretic religious practices of British indentured servants and African victims of the trans-Atlantic slave trade, and disinters the ghosts of Londons past in the City of the Moon’s unquiet burial grounds.
Pete Coward guides us through the richly populated, food obsessed, psychosexual dream theatre of somniloquist extraordinaire Dion McGregor.
Part one of writer, record collector, DJ and witchdoctor Stephen Grasso’s tour through London’s mythic resonances and troubled history. Follow his account in the coming weeks as he unearths the significance of the site upon which stands St. Pauls Cathedral, breaks down London’s history of urban resistance and insurrection, sheds light on the medieval power base of the Corporation of London and explores the notion of zombie march as protest theatre.
Rather than let the memories disappear into the mental flotsam cabinet marked ‘stupid things I once did’, Kev Nickells asked everyone involved to write down some reflections on their experience of the Hákarl communion’s 36-hour continuous performance at the 2011 Supernormal festival.
The second of our two-part investigation of Rob Hayler’s role in shaping the last decade of UK DIY music sees him holding court on everything from his labels Fencing Flatworm Recordings and oTo, attending shows at Leeds’ notorious Termite Club and his radiofreemidwich blog to dealing with depression, sci-fi and how the internet has/hasn’t changed things for musicians operating in what he calls the “no-audience underground” – as well as some exciting future developments for his midwich project.
Rhys Chatham is probably best-known for his multiple-guitar minimalist masterpieces, marrying apparent simplicity to high-academic tonal theory, though his most recent record (Outdoor Spell) shows him holding up against in a brain-melting array of trumpet-based loops.
In the first of our two-part investigation of Rob Hayler’s role in shaping the last decade of UK DIY music, bootlegger/blagger and Wire website tech guru Pete Coward reminisces on the skewed jigsaw puzzle of the ‘No Audience Underground’ that Fencing Flatworm Recordings and the oTo tape label presented to the world.
Free improvisation relies upon a hardy few to preserve it on record, and techniques are passed within private, infrequent conversations between players. 50 years from now, will this be enough to preserve the music?