29 May 2016

On August 5th we’ll be releasing Nottingham drum/voice duo Rattle’s self-titled debut album. In collaboration with our friends at I Own You, the beautifully minimal and hypnotic suite of songs will be appearing on LP (including some limited number on transparent vinyl), CD and digitally, pre-order here. Formed by Katharine Eira Brown and Theresa Wrigley, Rattle began as an experiment in crafting rich songs and melody using drums and voice alone. Their music weaves and intertwines post-punk, minimalism and experimental rock, through off-kilter rhythms, patterns and counter melodies. Rattle are at once magnetic, monastic and danceable, but don’t take our word for it, check out the first track from the album, ‘Stringer Bell’ now!


20 May 2016

We are very excited to announce this new record from VEXX, entitled 'Wild Hunt' the LP will be potently chasing all throughout the sky this Autumn! Our pre-order link is up for 'Wild Hunt' now on LP and CD. Showcasing the band utterly consumed in the moment, these six tracks blaze with giddy abandon, raging mere heartbeats away from oblivion.


12 May 2016

Very happy to confirm two new shows this morning for Chris Cohen and Colin Self, both shows look set to be brilliant, look out below for the full listing and check our blog for more details and videos!


1 May 2016

TERRY have an album ready, entitled 'Terry HQ', and we're ecstatic to announce its release on July 1st. It collects together ten of the greatest misshapen glam pop tunes Melbourne, Australia has to offer. You can pre-order 'Terry HQ' from our webshop now, whilst you can listen here to the first track, 'Don't Say Sorry', Siri, is death an illusion?

News archive







Tuesday 31 May

The Victoria

451 Queensbridge Rd, Dalston, E8 3AS | Map
7:30pm | £7 | Buy tickets

DOWNTOWN BOYS are a bilingual political sax punk party from Providence, RI. Comprised of a formidable voice, two saxophones, guitar, bass and drums, their scathing energy is palpable in every room they take hold of. Shifting from English to Spanish, punk to rock to jazz to pure fun, they open eyes, rattle ribs and bring dance floors to their knees. They released a 7" on Sister Polygon records in February 2014 and last year released their debut album on Don Giovanni. ‘Full Communism’ is a thrashing record of songs about smashing the prison-industrial complex, racism, queerphobia, capitalism, fascism, boredom, and all things people use to try to close our minds and hearts. ‘Full Communism’ comes at a current critical moment in the struggle for justice being fought in the US and throughout the world. It is set to a commanding tempo programmed make you move regardless of whether singer Victoria Ruiz is singing or shouting. “Wave Of History” opens with the ominous funk of a horn line, deciding this generation has the power to create change, “Break A Few Eggs,” opens with punk-infused guitars and saxophones and only two lines of lyrics that need little interpretation. “Monstro” is a feminist anthem, in your face in the best way with an incredibly infectious sax line.

TRASH KIT have a wild feel for melody, writing songs that pull at the reins with a spontaneous charm. Having formed the band in 2009, Rachel Aggs, Rachel Horwood have since become the glowing core of London’s DIY underground. Their music is primal yet thoughtful, affirming yet sincere, drawing on the potential of post-punk and the naturalism of an internal folk music. Although Trash Kit have their forebears in bands like X-Ray Spex, The Ex and The Raincoats, their sound is very much their own take on facing forwards. Galloping polyrhythms, overlapping sung-spoke lyrics and entwining guitars are all drawn together into a taut unity, sounding willfully alive. Both Rachels tangle their vocals with each other whilst expressive drumbeats and restless guitar flurries provide the rhythmic drive. Aggs’ guitar playing is as much informed by African fingerstyle patterns as the percussive attitude of various no wave shredders. Horwood approaches her drum kit with an untamable freedom, pushing it into the realm of a vivid lead instrument. Trash Kit's music is full of pauses, woven silence and punctuation too and this is where Gill Partington and her resonant, soulful bass work finds a perfect home. Check out their self-titled debut album and ‘Confidence’, its excellent follow up, out now on Upset The Rhythm.

ULTIMATE GUITAR TABS deploy synth, drum machine, astute vocals and costumes to make some of the most decidedly non-guitar-based music around! Being new kids on the block, Ultimate Guitar Tabs leave us pregnant with anticipation!





Friday 3 June

The Old Baths

80 Eastway, Hackney Wick, London, E9 5JH | Map
7:30pm | £10 | Buy tickets

KAREN GWYER was born in the southern US and raised in the north. Now based in London, she shifts between hypnotic, thickly melodic, bass-laden tumbling left-of-techno dancefloor vibes and diversionary acidic psychedelia in her expansive largely analogue live electronic performances. Her music is bathed in immersive atmospheres, hewn in layers of thick, gauzey synth and drums that are itchy and fractious, straining to pull out of the confines of regular patterns. Her tracks now mostly work in long-form, stretching out to around the 15-minute mark allowing motifs to seep in and take shape before dissipating into gradual decay, embedding the listener in a hinterland soundscape. Her last record was released on Nous Disques last Summer, entitled ‘Bouloman’. ‘Bouloman’ is hectic, unpredictable and delirious, but crucially, it's also propulsive. There's no shortage of murk on the record, it's just that Gwyer's clever arrangements blow right through it. To date, she has also released a handful of recordings on Kaleidoscope, No Pain In Pop and Opal tapes, for which she has toured twice and continues to appear occasionally as part of the ongoing Opal Tapes showcases. She has produced remixes for labels such as Nous, Software, Public Information, Domino, Kaleidoscope and Different Fountains Editions, and created a number of commissioned pieces for Open Music Archive.

CONTAINER is the stripped-down, beat-oriented electronic project of Providence, RI’s Ren Schofield, who somehow sculpts vicious punk sonics into raw jackhammer rhythms that groove in the most relentless, hypnotic, unstoppable and psychedelic ways currently working the grid. This lo-fi mesh of maxed-out drum patterns, spiralling loops and mesmerising arrangements makes for live music of serious weight and function, capable of both rushing the high-end dancefloors of Unsound, Donau and Berghain, and banging the below-stairs basements of Europe into submission. Started in 2009 in response to his discovery of nineties minimal techno, Container combined elements from his background in noise and cassette collage music with a new found interest in repetitive beats to create this raw and damaged rhythmic sound. After a string of various cassette releases, the debut full length “LP” was released by Editions Mego sub-label Spectrum Spools in 2011, and has since been followed up by a second Spools “LP” and the “Treatment” 12” on the Morphine label…a steaming new 12” pulled in earlier this year on Liberation Technologies (see track ‘Glaze’ below) as well as the thrillingly violent mauling of Four Tet’s ‘Kool FM’. Container’s new record came out on Spectrum Spools in June 2015 to much acclaim.

GIANT SWAN are an embryonic, shapeshifting duo who press repeat and take aim at the sun. Grabbing the necessary sounds from guitars, pedals and their own throats, Robin Stewart and Harry Wright coax raw-hearted live experiences that are constantly shifting in their stillness, bleeding between several sonic movements that both obliterate and invigorate and find them drifting away, serene and discordant, from the noise-techno bevy. Vital players within Bristol’s Howling Owl collective and with strong ties to Young Echo, Stewart and Wright formed a preteen musical alliance as part of psych guitar miscreants The Naturals: Giant Swan sees them go feral, a cross-breed of hypnotic bass, industrial percussion and disorientating noise delivered with telepathic intricacy.



‘Thankful Villages’


Plus Spoken Word & Nature Disco

Saturday 4 June

Cafe Oto

22 Ashwin Street, Dalston, E8 3DL | Map
8pm | £10 | Buy tickets

DARREN HAYMAN is a prolific singer-songwriter, intrigued by our relationships with places and armed with the idiosyncratic eye of a Shell Guide. Recently he’s stepped outside for rural jaunt through Britain’s 54 Thankful Villages and this concert sees him share the fruits of these labours in a live setting, making full use of both a band and projections. A Thankful Village is a village in Britain where every soldier returned alive from World War I. The writer, journalist and educator Arthur Mee coined the term ‘Thankful Village’ in his series of guidebooks, ‘The King’s England’ in the 1930s. Darren Hayman has visited each of the villages and, focussing on local life, has made a piece of music and a short film for each one. Some take the form of instrumentals inspired by the location, some are interviews with village residents set to music, others are new songs with lyrics or found local traditional songs. ‘Thankful Villages Volume 1’ (released by Rivertones on June 3rd) is the first album of a three volume study from this project and contains the first 18 villages that Darren visited during 2014/15. The pieces do not necessarily refer to the Great War, rather they portray the village and it’s communities at many points in history. In ‘Stocklinch’ Ros tells a story of a painting of the old church changing hands through the village, whilst in ‘Strethall’ Darren sings a story of infidelity from the parish records from 1607 and in ‘St Michael, South Elmham’ Dolly tells the story of her melodeon playing father and his adventures in Salonika. ‘Thankful Villages’ is a collage of Britain’s hidden places. Rich in history and community, ‘Thankful Villages’ is a further enthralling chapter in Darren’s journey through the country’s underbelly.

JULY SKIES is a West Midlands based recording project begun by Antony Harding in 1997. In 2008 the band released their gorgeous British landscape LP from 2008 entitled ‘The Weather Clock’. A lost guitar–led, harmonic-ambient gem, it’s less a hauntological delve into the British psyche and more a bleached out mid-summer’s daydream much like Felt’s ‘Train Above The City’ – something akin to a transportational meditation on the British countryside soundtracked by Vini Reilly and viewed from a perfect horizontal hillside vantage point. This April, Rivertones (the phonographic arm of Nature and culture website Caught by the River) will be reissuing ‘The weather Clock’ for the first time on vinyl. Since the release of The Weather Clock, July Skies has regrouped as a five-piece band and have been spending time recording the fifth LP ‘A Day In The Country’. July Skies is: Orford Ness, lost youth, Henry Moore, pylons across fields, abandoned airfields, Avebury, endless childhood summers, forgotten England, the romance of the heavens well after closing time, Super8, countryside, mornings in May, ruins, faded innocence, post-war Britain, skies of all seasons, trudging coastlines, Festival of Britain 1951, memories made with a Polaroid Landcam 103, overgrown follies, East Anglia, concrete precincts and tower blocks, suburbia, old Ordnance Survey maps, lost airmen, rustic charm, John Nash, poppy day, a half remembered smile, BST, municipal parks at dusk, love, infatuation and loss.




Tuesday 7 June

Bethnal Green Working Men's Club

44-46 Pollard Row, Bethnal Green, E2 6NB | Map
7:30pm | £7 | Buy tickets

GENEVA JACUZZI (born Geneva Garvin) is a Los Angeles-based visual artist, musician, composer, and playwright who is known for her synth-driven bedroom pop recordings, theatrical stage performances, and retro-style video art. She has honed a blithe and cryptic wit filled with telling people what to do, body-motional detachment, bodiless baby traffic directing, humanoid furniture, nonsense, puns and mime control. Since the early 2,000's Jacuzzi has developed a cult following after self releasing multiple albums of analog 8-track cassette home recordings. Her lyrics describe blood being thrown onto fire, clown-like machines in search of sadness and the raging monologues of future/past elemental beings. Her videos and live performances portray the story of a once abundant Self being shattered into a variety of other personas, all being played by Jacuzzi, and all cannibalizing-commodifying their revenge upon the idea of an original Self which is now lost if not mythical, somewhere in the Islands of the Jacuzzi. Vinyl International put out 2010’s incredible ‘Lamaze’ album which Geneva toured extensively in support of alongside John Maus and Ariel Pink, whilst Medical Records recently issued her stunning new album ‘Technophelia’.

LIBERATION is the alias of one David West, principal songwriter in Rat Columns, Rank/Xerox and Lace Curtain and former member of Total Control. A seasoned travelling wilbury, West’s discography crosses Blackest Ever Black, DFA, Software and soon Night School, though he is always difficult to set in stone. Liberation is a deconstruction of synth pop, R+B, 80s House music and an emotional fragility that lures the listener into West’s singular world of missed connections, night-time lovers staring across foggy bays, the untethered heart adrift in the modern world.

MOONBOW is the sonic brainchild of London multimedia artist Eleanor Hardwick. Performing alongside a rotating cast of collaborators, it's post-internet political lyricism and spaced out pop melodies on top of industrial cold wave beats. New single 'Altering Ego' came out May 2016 followed by praise from i-D, Clash and The 405.




LAFMS documentary - ‘how low can you go?’

Tuesday 14 June

Servant Jazz Quarters

10A Bradbury Street, Dalston, London N16 8JN | Map
7:30pm | £6 | Buy tickets

Aside from being founding members of Los Angeles Free Music Society, Joe and Rick Potts also performed in legendary, early-noise group Airway, which Vetza’s electrifying vocals contributed much to, amid the subliminal messages, crashing drums and walls of tape delay. Airway is the brainchild of Joe Potts who controls the flow of chaos from the mixing desk, he has also recorded several solo documents and played in Extended Organ with Mike Kelley and Paul McCarthy. Rick Potts is a multi-instrumentalist and visual artist, he played mandolin/guitar in Airway and appeared in Solid Eye and Dinosaurs With Horns, both with Joseph Hammer.

The evening will begin with a screening of ‘LAFMS: how low can you go?’. A short film portrait of the Los Angeles Free Music Society. These irreverent, LA-based experimental musicians have been fearlessly exploring sound since the early 1970’s. The collective is bonded by friendship and a love for blowing apart boundaries. The influence LAFMS has had on the explosion of international DIY culture is immeasurable. Explicitly acknowledged as a motivation for the emergence of the Japanese noise scene in the 1980s, as well as being cited specifically by the likes of Thurston Moore (Sonic Youth) and John Olson (Wolf Eyes), the collective that emerged in LA in 1973 resulted in countless adventurous music lovers tasting the delights of a new kind of creative freedom and getting out there and doing it for themselves.




Thursday 16 June

Courtyard Theatre

Bowling Green Walk, 40 Pitfield Street, Shoreditch, N1 6U | Map
8pm | £8 | Buy tickets

COLIN SELF utilises the voice, the body and computer software in his practice to open up a highly distinctive space that challenges the boundaries between human consciousness and technology. His music explores the transformative power of the human voice drawing on a diverse set of influences that include queer theory, liturgical ritual, trap rhythms and electro-acoustic sound design. He is known for his highly charged, physical performances that combine his vocal virtuosity with choreographed movement and electronic processing, unfolding into a compelling play of transmutation. Elation is the debut solo release from Colin Self. The album is comprised of music from The Elation Series, a six-part opera demonstrating themes of transformation and global consciousness. He has performed in galleries worldwide, from the global queer underground to contemporary art galleries such as PS1 MoMA and Issue Project Room. He is also a close collaborator of Holly Herndon, contributing vocals/production on her latest record ‘Platform’ as well as being a member of her new live set up.

LIBEREZ is the latest incarnation of a long running music collaboration between John Hannon and Pete Wilkins. Since their debut album 'The Letter' (Alter Records), the project has also involved multi-instrumentalist Tom James Scott and vocalist Nina Bosnic too. Repetitve dual vocal patterns are augmented with amplified percussion, loping rhythms, guitar and hypnotic violin dissonance to create a sense of abstracted ritual which can't help but draw listeners further into the labyrinth. Since ‘The Letter’, Liberez have released an LP lurching around Britain's industrial past called 'Sane Men Surround' on Savoury Days and followed that up last year with ‘All Tense Now Lax’ Night School; a tense, gut-wrenching listen wrought with carefully considered space, the range of techniques and the depth of atmosphere is staggering. The album is allowed to breathe and evolve, with field recordings, industrial patterns and alienated instrumentation woven together seamlessly.

I KNOW I’M AN ALIEN is music made by an incarnated alien from a 5th dimensional star realm. Aware of the trappings of 3D reality, the artist utilises unconventional guitar sounds and vocals to express his awkwardness when faced with violence, greed, love for technology over living beings, war and just the plain zombie-like behaviour of his fellows. He uses these sonic tools to also invite the willing listener to surrender and join in on embarking on a journey of creating a momentary alternative reality together. Musicians and artists are today's wizards, shamans and magicians.



In collaboration with Cafe OTO

Friday 17 June

Cafe Oto

22 Ashwin Street, Dalston, E8 3DL | Map
8pm | £10 | Buy tickets

JOSHUA ABRAMS has released eight albums, collaborated on over a hundred recordings, and composed soundtracks for Steve James’ Life Itself, the Emmy award winning The Interrupters, and Bill Siegel’s The Trials of Muhammad Ali. The New York Times describes his 2012 record, Represencing (Eremite) as "music that hints at the ceremonial without losing its modern bearings" and The Wire named his record Natural Information (Eremite) one of the top 50 recordings of 2010. The Village Voice picked his record Unknown Known as “one of the top 10 jazz albums of 2013”. He was a founding member of the “back porch minimalism” collective Town and Country and with Matana Roberts and Chad Taylor, the trio Sticks and Stones. Primarily known as a bassist, Joshua’s performances and recordings include work with Fred Anderson, Roscoe Mitchell, Hamid Drake, Peter Brotzmann, Bill Dixon, John Tchicai, Toumani Diabate, Joe McPhee, The Roots, Bonnie “Prince” Billy, Nicole Mitchell, Jeff Parker, Mike Reed, Rob Mazurek, Gerald Cleaver, Henry Grimes, Bobby Broom, Dana Hall, Axel Dorner, Neil Michael Hagerty and the Howling Hex, Prefuse 73, Savath and Savalis, Sam Prekop, Jandek, Rhys Chatham, Damo Suzuki, Theaster Gates, Craig Taborn and Earle Brown. His latest record “Magnetoception” is due out in the fall of 2014 on Eremite records. Natural Information Society is the name of Joshua Abrams’ group that formed in the wake of his records for Eremite. Live the music centres around the sound of the guimbri (a Gnawan lute), integrating composition and improvisation to create hypnotic, highly rhythmic, psychedelic environments with an orientation towards uplift. For this show they'll be joined for a very special performance with the great Evan Parker.

EVAN PARKER has been a consistently innovative presence in British free music since the 1960s. Parker played with John Stevens in the Spontaneous Music Ensemble, experimenting with new kinds of group improvisation and held a long-standing partnership with guitarist Derek Bailey. The two formed the Music Improvisation Company and later Incus Records. He also has tight associations with European free improvisations - playing on Peter Brötzmann's legendary 'Machine Gun' session (1968), with Alexander Von Schlippenbach and Paul Lovens (A trio that continues to this day), Globe Unity Orchestra, Chris McGregor's Brotherhood of Breath, and Barry Guy's London Jazz Composers Orchestra (LJCO).




Thursday 23 June

Servant Jazz Quarters

10A Bradbury Street, Dalston, London N16 8JN | Map
8pm | £5 | Buy tickets

CC DUST is a new duo from Olympia, Washington featuring Maryjane Dunphe and David Jaques. Channeling an elemental life-force hewn straight from the heart, Dunphe’s voice bursts into every melodic line, a cracked, soulful instrument powered by conviction, duetting, duelling and dancing with Jaques’ crisp electronic production. A light that casts shadow, a doomed, romantic music anchored by Jacques’ live bass and powerful performance values Dunphe has honed both in her punk group Vexx and in various film and performance projects. Musically, CC Dust’s precedents might be considered the European synth pop originators of the early 80s, there’s also an abundance of low-end hooks played on baritone and bass guitars that teases the ear like early New Order productions, but in Dunphe’s passionate vocal performances there’s a close-to-the-bone reality that bypasses cool detachment. CC Dust play real songs lived.

STATIC PALM is the solo project of James Burgess, joined live by Sealings' Michael & Liam. Synth & drum-machine led brooding post-punk. Fans of John Maus, Total Control, Tuxedomoon and other practitioners of ice-cold post-punk will enjoy.



Friday 24 June

o2 Forum Kentish Town

9-17 Highgate Road, London, NW5 1JY | Map
7pm | £17.50 | Buy tickets




Saturday 25 June

Cafe Oto

22 Ashwin Street, Dalston, E8 3DL | Map
7:30pm | £9 | Buy tickets



Saturday 2 July

DIY Space for London

96-101 Ormside Street, South Bermondsey, SE15 1TF | Map
7:30pm | £8 | Buy tickets

DIYSFL is a members club, become a member here!


Saturday 9 July


1a Amhurst Road, Hackney, E8 1LL | Map
6:30pm - 10pm | £10 | Buy tickets


Thursday 14 July

Bethnal Green Working Men's Club

44-46 Pollard Row, Bethnal Green, E2 6NB | Map
7:30pm | £12.50 | Buy tickets



Wednesday 27 July

Tufnell Park Dome

178 Junction Road, Tufnell Park, N19 5QQ | Map
7:30pm | £16 | Buy tickets



Thursday 4 August

The Forge

3-7 Delancey Street, Camden, NW1 7NL | Map
7pm | £10 | Buy tickets

HEATHER LEIGH is the daughter of a coal miner, weaving a trail from West Virginia to Texas and now residing in Scotland. Heather travels the vast unexplored reaches of pedal steel guitar. Her playing is as physical as it is phantom, combining spontaneous compositions with a feel for the full interaction of flesh with hallucinatory power sources. With a rare combination of sensitivity and strength, Leigh’s steel mainlines sanctified slide guitar and deforms it using hypnotic tone-implosions, juggling walls of bleeding amp tone with choral vocal constructs and wrenching single note ascensions. In late 2015, Heather Leigh released her first proper studio album, I Abused Animal on Stephen O’Malley & Peter Rehberg’s Ideologic Organ/Editions Mego labels to widespread acclaim. Renowned as a fearless free improviser, I Abused Animal is a breakthrough work showcasing Leigh’s songwriting prowess, foregrounding her stunning voice and her innovations for the pedal steel guitar. Warmly recorded in a secret location in the English countryside, the album transmutes the power of her captivating live performances to a studio setting, capturing her tactile playing in full clarity while making devastating use of volume and space. Heather Leigh explores themes of abuse, sexual instinct, vulnerability, memory, shadow, fantasy, cruelty and projection across the album’s psychedelic hymnals. At times the intimacy of the recordings makes you feel like she’s singing directly into your ear, playing just for you.

ASIQ NARGILE aka Nargile Mehtiyeva was born in Tbilisi and is now based in the Borcali region of Southern Georgia. She has been playing saz (long-neck lute) and singing since the age of 15. Fluent in Azerbaijani, Georgian, and Russian, Nargile represents the cosmopolitan heritage of old Tbilisi, a city once known as a meeting point for multilingual aşıq bards who would travel through the region serving as conduits for news, ideas, music and culture. A powerful solo performer, her vocal recital of epic folk poetry is by turns ecstatic and deeply expressive, and is interspersed with bursts of virtuosic, highly ornamented saz. Equally comfortable performing moving laments or upbeat folk dances, Nargile is currently the only female aşıq living and performing in the ethnic Azeri region of Georgia, and has been teaching the art to new generations. Thanks to the efforts of The Sayat Nova Project,  a non-profit group aiming to help preserve and promote the diverse musical dialects of the Caucasus, European audiences can now experience the elusive, hypnotic beauty of Nargile’s music for themselves. A recording of her live performance at Cafe OTO will be released soon, following on from a successful UK tour with kindred folk channeller Richard Dawson.


Monday 5 September

Cafe Oto

22 Ashwin Street, Dalston, E8 3DL | Map
8pm | £8 | Buy tickets

CHRIS COHEN is a native of Los Angeles currently residing in the farmlands of Vermont. He is the child of a former music business executive and a former Broadway actress. His resumé of prior musical projects is a long one: as a contributing member of The Curtains, Cryptacize, Deerhoof, and Natural Dreamers, he released 10 full-length albums between 2002 and 2008. Along the way, Cohen was also a touring player with White Magic, Cass McCombs, Haunted Graffiti and Danielson, among others, for stints both short and long. All of this culminated in his first release under his own name, and his first for Captured Tracks, 'Overgrown Path'. A singing drummer who writes psychedelic pop music, Cohen also records his own bass, Casio MT65, piano, and guitar. Tracks like “Caller No. 99″ and “Monad” follow idiosyncratic forms, but are still melodic in an unconventional and homegrown way – like the best of Robert Wyatt, Mayo Thompson, Syd Barrett, and Jerry Garcia. 'Overgrown Path' unfolded its delicate and unexpected arrangements around Cohen’s relaxed baritone, unhurriedly revealing the detailed world wrapped up in each song. ‘As If Apart’, the long-awaited sequel to Chris Cohen’s 2012 soft psych garden of unearthly alter-pop, follows on from its predecessor with another bittersweet ensemble of dreamy, complex songs. Pushing the idiosyncrasies of Cohen's melodic and rhythmic approach into even more fractured, shifting spaces, ‘As if Apart’ unsettles lazy pop conventions, upending jaded heads and hearts with an expansive, moody psychedelia.




Thursday 22 September

Cafe Oto

22 Ashwin Street, Dalston, E8 3DL | Map
8pm | £7 | Buy tickets

KATE CARR has been investigating the intersections between sound, place, and emotionality both as an artist and a curator since 2010. Her work has taken her from the Arctic circle to the borderlands of South Africa, with stops in rural Thailand, fishing villages in Iceland, and rainforests in Mexico, along with extensive explorations of western Europe, Ireland and the British Isles. Her music is an eerie symphony of cracking power lines, cries of water birds and the high pitched wine of nuclear towers, Carr’s recordings trace the temporary wetlands of Marnay-sur-Seine, situated alongside a large nuclear power plant, just after the flooding of the river. New album, ’I Had Myself A Nuclear Spring’ came to fruition last year, when Carr spent a month alone in Marnay, a small town of about 200 people in the champagne district of France, about 120 kilometres east of Paris. The surrounding woodlands provided an astonishing landscape to explore. Full of mud, water, rusting machinery, old boats, logs, and birds, it is a place Carr refers to as “spectacular, eerie and ugly”. In the spring, many of the roads into the town were closed, having been flooded with water up to about chest height and the many dirt tracks through the forest were transformed into fast flowing streams. Determined to document each surrounding sound, Carr procured a rusty bike and spent time slipping, sliding, falling and wading through bogs, ponds, surging streams and flooded fields. “These muddy marshes filled with buzzing electrical towers, corroded machinery, shrieking birds and canals feeding a nuclear complex were like nothing I had ever seen,” she notes. “Water has inundated our language. There is a watery word which can adequately serve for almost every emotional state we can imagine. The happy tinkle of a mountain stream, the drama of stormy seas, murky depths, and turbulent rivers. Water is unknowable and uncontainable – it floods and overflows, forms whirlpools and eddies. It surges, and runs away. Water leaves us to drown, float, sink or swim. It cleanses and redeems; it stagnates and threatens.” ‘I Had Myself A Nuclear Spring’ is released on 26th August via Caught by the River’s Rivertones label. You can pre-order the album now here

THE LONDON SOUND SURVEY collects the sounds of everyday public life throughout London and compiles past accounts to show how the sound environment has changed. The idea for the London Sound Survey formed while Ian Rawes was working as a storeman in the British Library Sound Archive. Older members of staff still referred to their workplace by its former title, the National Sound Archive, so the website's name was a hybrid of that and A Survey of London, the book written by John Stow in 1598. The historical aspects of sound can be as interesting as its present-day manifestations, sometimes more so. Ian made his first London recordings in April 2008 and the site went online just over a year later. Since then it's grown from about 200 recordings to 2,000 and progressed from a hobby almost to a full-time project. Alongside his own efforts he’s been pleased to feature work by Richard Beard, Andre Louis, Stuart Fisher, Felicity Ford, Jonathan Prior and others. Ian gives regular historical talks under the general title of London's Lost Worlds of Sound, presenting and discussing some of the archival recordings featured in the London Sound Survey, whilst certain recordings have also been featured on BBC Radio London, World Service, Resonance FM, and BBC1 London news. Sounds from the site have also been used on Radio 4 and in audiobooks released by BBC Worldwide.

DJ NICK LUSCOMBE is a British radio DJ, having presented various self-selected new music shows since 1999 for the likes of XFM, BBC 6 Music, Resonance FM and BBC World service. His hugely engaging Flowmotion radio show has been broadcast every week on FM radio since 2000. He has also presented BBC Radio 3’s Late Junction since 2010 too.



Friday 7 October

Cafe Oto

22 Ashwin Street, Dalston, E8 3DL | Map
7:30pm | £7.50 | Buy tickets




UTR082 | CD/LP | Pre-order


'Wild Hunt'

UTR086 | CD/LP | Pre-order



UTR084 | CD/LP | Pre-order


'The Magic'

UTR085 | CD/LP | Pre-order



'Managerial Material' EP

UTR080 | 7" | Buy


'Snack Fans'

UTR077 | LP | Buy


'Hexagonal / Diamond Springs'

UTR083 | Digital single | Buy


'Be Brothers'

UTR081 | Digital single | Buy


'The Bridge'

UTR079 | 7" | Buy


'Naz / My Will'

UTR078 | 7" | Buy


'Return Of The Ranters'

UTR076 | CD / LP | Buy


'Prince Pansori Priestess'

UTR075 | LP | Buy


'Talk About Terry'

UTR074 | 7" | Buy



UTR073 | 7" | Buy



UTR072 | CD / LP | Buy



UTR071 | CD / LP | Buy


'Divine Times'

UTR070 | CD / LP | Buy


'La Isla Bonita'

UTR069 | CD / LP | Buy



UTR068 | CD / LP | Buy