RICHARD YOUNGS is an iconic figure of the UK underground, having spent the last 30 years working on an incomparable output of solo records alongside numerous collaborations. Originally from Cambridge, but based in Glasgow for the last two decades, Youngs is as prolific as he is diverse turning his hand to lush folk hymnotics, a cappella minimalism, tactile improv, synth pop, hardcore punk and avant garde weirding. Youngs is even in a band with his six year old son Sorley and long time collaborator Andrew Paine called The Flexibles, who have a devolved industrial rock arc to them.
All of these eclectic musics have amassed on almost as many labels with key releases being found on VHF, Jagjaguwar, MIE Music and Ba Da Bing! as well as on his own No Fans imprint. Over the years Richard has also lent his skills to a number of bands including Ilk, Vibracathedral Orchestra, A Band and Sunroof! as well as playing bass for Jandek during his debut series of live concerts, and has collaborated on joint works with Luke Fowler, Andrew Paine, Makoto Kawabata and Simon Wickham-Smith to name a few.
Richard Youngs plays an eclectic range of instruments on these records from guitar to zither, homemade modular synth to recordings of a motorway bridge, yet central to all this is the importance he places on his own unadorned vocal, which almost acts like a rope pulling together all the disparate tangents and unpredictable projects into his very own transcendent realm of sound.
For this very special trilogy of shows in London's Tower Hamlets, Richard has been working with Upset The Rhythm to take live music away from its safe domain of established venues to somewhere different in search of a more radical and memorable experience. Over the three nights Richard Youngs will perform an entirely different in tune with each specific place and supported by the following artists:
TOM JAMES SCOTT is a classically trained musician interested in rich, densely treated atmospheres and lucid reflective moments. Tom's influences stretch far and wide, touching upon aspects of traditional music, improvisation, vocal music, composition, and field recording to name but a few. Tom's previous albums for Bo' Weavil, were both guitar based with added piano, distilled through a minimalist mind set to create some of the most beautiful elemental melodic lines that take the listener on a journey of meditative contemplation.
'Drape' is the title of Tom's recent LP of solo piano pieces. Strings of single notes become humming, shadowy resonances within the body of the instrument, echoing into frequent pause and fragmentation. New album 'Teal' was released last month on LP via Skire Music. Uniting all these records is Scott's rare ability within ambience to stop everyday life dead in it's tracks, forcing an invitation for consideration and contemplation at every moment.
LAURA CANNELL is a young woman drawing on ancient transcendental and earthly musics, playing fiddle, overbowed fiddle, double recorders, sometimes percussion and other rarefied wind instruments. Her sense of space, dynamics and working with acoustics is super sensitive. Whether solo or otherwise she explores the spaces between ancient, traditional and improvised music, often utilising a fragment from a medieval theme to her own end in a manner that embraces the apparitional, historical or the otherworldly. Her seemingly wild side, in such rarefied circles makes her involved yet emotive music really bristle and connect.
Laura's exquisitely-realised solo album Quick Sparrows Over the Black Earth was released in July 2014. Haunting chords move the heavy air of the church as fiddle drones drift across the flatlands of East Anglia. Her current live music show finds her performing improvisations on 'over-bowed' fiddle and double-barrelled recorders creating spell-binding new interpretations and breathing new life into lost and forgotten melodies from the 5th - 4th centuries.
DYLAN NYOUKIS (of Chocolate Monk / Blood Stereo) is a master of the vocal/performance stink and brain flummox. His solo vocal and tape work continues to push the envelope in terms of the expressive options offered by amplified physicality, making a music that's so intrinsically human it feels like you're listening from inside of his jaws. Sounds range from the describable (gloveless hands messing with steaming innards) to the impossible (Dylan as a match-striking dog), his range of squelch and rumble unconstrained by bodily functions.
His recent album 'Carrion Hut' collects five very different pieces recorded between 2003 and 2007. "The Frosted Growth" finds Nyoukis in Dubbletwee mode, snarling and barking at his multitracked self. While on the side-long "Late Night Vocal Gravy", Nyoukis is at his most composerly. The real diamond, though, is the text piece "Strange New Ache", originally written for Inside Wino Lodge but left off the final cut. The text -- read out loud, inverted and mangled, by a half dozen-strong assemble of male and female voices runs. "These strange new muscles have started to ache, these new muscles won't stop aching...". Isn't this what's going on in Nyoukis's lunatic sound poems? Psychosis felt as physical pain, delusions of the mind transferred into inexplicable sensation, expressible only in gibbers and howls.