Preview | Strange Victory Presents 2017’s Autumn/Winter Calendar Of Events
Check out a unique calendar of avant-garde, post-hardcore, Americana, psychedelic rock, dream pop, and composer/pianist taking place in Belfast from September ’17 to February ’18.
Click on links for tickets.
By Cara Gibney
DAVID HOLMES GODS WAITING ROOM – MARIE CURIE FUNDRAISER:
Sat 30th Sept ’17 – 9pm – The Maple Leaf Club, Belfast
“The return of Gods Waiting Room is a special fundraiser for the Marie Curie Hospice in Belfast. With the amazing Raphael Doyle & Gerry Diver performing the incredible ‘I Come From Ireland’. We also have the return of Barry Woolnough and Alain McClean who will be performing ‘Great Spirit Father In The Sky’ and ‘Judgement Day Blues’ as heard on my recent Late Night Tales album”.
With DJ David Holmes and Compère Joe Lindsay..
More likely to play Reykjavik than Detroit, and more likely to release songs on flexi-discs in Dutch comic books than provide MP3s on their website, Shellac (or Shellac of North America) operate completely outside the typical machinations of the music industry.
Their distinctive sound is based on asymmetric time signatures, repetitive rhythms, an angular guitar sound, and surreal, bitingly sarcastic lyrics, courtesy of Steve Albini and Bob Weston. Both Weston and Albini are recording engineers who prefer a sparse, analog recording sound with little or no overdubbing, and are meticulous about microphone placement and choice of equipment.
Their songs generally aren’t made up of the regular verse/chorus/verse structure and their arrangements are bare. Shellac’s signature sound is often associated with their enthusiasm for vintage Travis Bean guitars, a rare brand of aluminium-necked instruments, and the Interfax “Harmonic Percolator” distortion pedal. The band prefers the intimacy of smaller clubs and live appearances are sporadic.
Since his 2004 debut, ‘Micah P. Hinson and the Gospel of Progress’, he’s been growing renown for his scathing alt-country sensibilities, brought to our attention through his rough-edged vocals, and the finest instrumentation. The interim years have brought another seven releases, looking us in the eye with their themes of homelessness, depression, politics, and so much more. This is music for grown-ups.
Micah P. Hinson’s new album “Presents The Holy Strangers” is described by the artist as being a “modern folk opera.” Telling the story of a war time family, going from birth to love, to marriage and children, to war and betrayal, murder to suicide – spanning all of the strange and glorious places life can lead. We follow their story, we see their decisions, we see their faults and their beauty. We live with them, we die with them.
JENNY HVAL With Special Guests: Sat 07 Oct 2017 – Doors 8pm-11pm – Black Box, Belfast
Presented by Moving on Music and Strange Victory, as part of the JamJar weekend.
Norwegian artist and writer Jenny Hval has developed her distinct take on intimate sound since the release of her debut album in 2006. For her last two solo albums, 2013’s Innocence Is Kinky and 2015’s Apocalypse, girl, Hval’s debut for Sacred Bones, she has received thoughtful and widespread international acclaim for her fascinating voice, singular delivery and markedly non-traditional arrangements which incorporate elements of poetry, prose writing, performance art, and film. The New York Times defines her writing as “taking a scalpel to the subjects of gender politics and sexuality.” Hval has eloquently brought to light issues of both male and female gaze, which for years had been swept under the rug and/or denied all together.
Acid Mothers Temple & the Melting Paraiso U.F.O. (and subsequent offshoots) is a Japanese psychedelic rock band, the core of which formed in 1995. The band is led by guitarist Kawabata Makoto and early in their career featured many musicians, but by 2004 the line-up had coalesced with only a few core members and frequent guest vocalists.
With regards to the often-confusing array of names for the different bands, Kawabata has explained: “Though we shall henceforth be Acid Mothers Temple & the Cosmic Inferno, the new group will also be known in short as Acid Mothers Temple and this will no doubt sow confusion in the minds of many. But the true manifestations of Acid Mothers Temple are many—Acid Mothers Temple & the Melting Paraiso U.F.O., Acid Mothers Temple & the Cosmic Inferno, Acid Mothers Temple SWR. The future may see yet other groups bearing similar names. But each and all of them will be true manifestations of Acid Mothers Temple.”
Bass guitarist, singer, poet and composer Jah Wobble became known to a wider audience as the original bass player in Public Image Ltd (PiL) in the late 1970s and early 1980s, but left the band after two albums. Following his departure from PiL, he went on to a successful solo career, continuing to the present.
Post PiL, he became a respected solo artist and “band leader” with a genuine passion for Eastern and Global music; long before it was fashionable. Over the years Wob has worked with many different artists and genres; way too many to mention here. After a battle with alcohol he left the music business to work for London Transport in 1987, but was soon back on board (pardon the pun) with a revitalised line-up of his Invaders of the Heart band.
Wobble is probably recording or playing live – either under his own name or with The Invaders of the Heart, Deep Space, or the English Roots Band etc – Wobble is always recording or playing live; and probably always will…
Modern Kosmology sees Jane Weaver’s melodic-protagonist channelling new depths of creative cosmic energy within. Modern Kosmology is the result of a scientist of popular song gone rogue. Here we find a model student of second-hand Kraut-rock, female punk, hard-subbed new-wave, synthesiser skip-finds and unpronounceable worldly feminine pop who’s finally reached her eureka moment. From science to séance.
After the huge critical acclaim of 2012’s Fallen By Watchbird, followed by 2015’s exploratory “Silver Globe” LP winning her unanimous “record of the year accolades” and hefty measures of radio play-listing, Jane Weaver’s conceptual trajectory has sent her neo-kosmische penchants to the point of no-return. Flown too far from the nest into a wider vista where brave melodic feminine song-writing meets robust synthesis, brutalist composition and Letterist informed song-structure… this album, for many, might be the post-grad psychedelic pop album they never thought would happen.
With their first Belfast show in 15 years RFTC will stop at the Black Box for an unmissable live show on December 2nd..
Rocket from the Crypt. 1988. The story is a common one: the son of a Portuguese fisherman rediscovers punk rock and rock & roll and moves to Tijuana in order to find musicians who’s instincts haven’t been replaced by the sedate notion of what it takes to be successful in the world of professional music making.
Rocket from the Crypt issued a total of three records in 1995, including the limited-edition Hot Charity LP and the band’s most acclaimed album to date, ‘Scream, Dracula, Scream.’ The album spawned three singles, including the international hit “On a Rope”, which endeared the band to British audiences. RFTC followed in 1998, and ‘Group Sounds’ was issued on the band’s new label, Vagrant, in early 2001. The band proved to be a rock & roll machine throughout the early 2000s, their garage punk style as fresh as those following the punk revival trend. The band broke up in 2005 but reunited earlier this year to appear on ‘Yo Gabba Gabba!’ and perform “He’s a Chef.”
The renowned Berlin-based pianist and composer Nils Frahm makes a much-anticipated return to the live stage following 2017’s hiatus, and will embark on the beginning of a long worldwide tour entitled All Melody in 2018, playing brand new material in an intimate set-up.
Nils Frahm had an early introduction to music, learning the piano throughout his childhood. It was through this that Nils began to immerse himself in the styles of classical pianists from previous generations as well as the music of contemporary composers, before forging his own musical path through composition.
Today Nils Frahm continues to work as an accomplished composer, producer and celebrated performer from his Berlin-based studio at the renowned Funkhaus. His unconventional approach to an age-old instrument, played contemplatively and intimately, and on a mesmerising scale through his vast stage shows, has won him many fans around the world. Nils has gained global notoriety for his highly developed sense of control and restraint in his work, as well as a breath-taking level of emotion and personality.