Thanks to the good people at Club Integral and Brighton Safehouse The Static Memories have done three collaborations over the last month.
First up was guitarist Daniel Thompson at Club Integral at The Others in Stoke Newington. It felt quite chaotic and took us a while to get focussed, but produced some great moments.
Then back at Club Integral a couple of weeks later with free vocalist Phil Minton. A great set, one of our best we think; at I’Klektic, a lovely venue in Lambeth. I tried out a new setup, using a volume pedal at the end of the audio out so I could shape the sound quickly, which I thought worked well. We recorded the set and you can hear that on Soundcloud.
We played at Brighton Safehouse a couple of nights ago with Al Strachan joining us on cornet, objects and electronics. Al is a brilliant musician and improviser and despite all three of us being worn out by a combination of work and the festive season we pulled off a great low key set.
So thanks to Daniel, Phil and Al; and to Simon and all at Club Integral, and the Brighton Safehouse guys.
Here’s Brighton Safehouse
At a distance from the release anyway, this is a review of the long forgotten album by The Static Memories The Bloudy Vision of John Farley which we released 18 months ago. Lets face it in the age of the internet that’s like getting a review of something you released in the 18th century.
It’s a good review, by Massimo Ricci of Touching Extremes. Thank you Massimo!
A lot of peculiar timbres and reconstructed improvisational concepts, imbued with Franciscan wisdom and tranquil rebelliousness at once. It’s beautifully discordant stuff all the way: hard-hitting yet sweet to these ears, corrosive for commonplace but not for intelligence.
The review is here
Really pleased about two collaborations The Static Memories have got coming up at the legend that is Club Integral in November and December. We’ve played at Club Integral a couple of times and really enjoyed ourselves and had a great response. A very nice bunch of people who’ve been plugging away supporting all kinds of interesting stuff for a very long time.
On November 27th we’re playing with guitarist Daniel Thompson at The Others in Stoke Newington; and then on 19th December at I’klectik down in the fine old London borough of Lambeth with vocal improv giant Phil Minton.
Gus keep on pulling great collaborations out of his bag of interesting people, I must try and do the same. Although my bag of interesting people is not as full as his. But them I’m not as old as Gus (don’t tell him I said that).
Club Integral are here
The Others is a great place to go, you can find it here
This is I’klectik
Adam Bushell is a very nice chap and the latest person we’re collaborating with. He approached us a while ago about doing something and we were pleased to agree, but it’s taken ages to get it sorted out. But now we’re all set for 11th October upstairs at The Caroline of Brunswick in Brighton, in the afternoon. I may even be able to persuade E and the kids to come along.
We’re planning a solo set from each of us, followed by a group improvisation with all three. Here’s the poster, come and see us.
The title says it all really, we’re on Soundcloud. The track that’s up there is taken from the session at Bird Studios we recorded over the summer, and we reckon it sounds pretty good so you should take a listen if you’ve got 16 mins and 41 seconds to spare.
Well it’s been a couple of months since I last posted. I’ve been working on lots of new stuff; including a get together with Gus in a rehearsal space which was a new one for us, it was good to play without the pressure of an audience, soundchecks and so on and we made some recordings which I’m trying to get into shape for an EP.
Chris and I are working on the new nil piece, we’ve got some scores and ideas which we’re going to workshop into a performance. A lot came out of the performance at Dear Serge and we’ve made some decisions about how we set up, what to include and exclude; that kind of thing.
I’m playing at The Scope with Andrew Greaves next week, we’re doing an interpretation of In C. Andrew will play the parts and I’ll fiddle them into something new with a computer and effects pedals. The whole ‘collaborating with someone at every Scope in 2015’ which Geoff made me do has gone well, it’s good to be pushed in new directions. Geoff and me started up our noise project – Renfield – as part of it and did a gig at Splitting the Atom which was well received.
Gus and I are doing a collaboration with Adam Bushell on 11th October at The Caroline of Brunswick in Brighton, then at Listening Club in Peckham the following week (the 18th). Really looking forward to both of them.
I’ve been helping Chris Cook on a project to bring a group of Indian Classical Musicians over from Benares which is happening in November, partly thanks to a grant from Arts Council England, but mostly thanks to Chris. They will be doing some gigs in Sussex, leading workshops with local schoolchildren and collaborating with musicians from the Spirit of Gravity collective.
Paul Morgan and I have a project called Brambling which came out of a performance at The Scope and some recordings we did in Paul’s home studio over the last couple of years. It’s on The Slightly Off Kilter Label website as coming soon, so I guess it will be along soon.
Spirit of Gravity website with details of the gig on the 19th August – Gus is playing with Annie Kerr as well.
Me and Chris tried our new approach for Nil at Dear Serge on Saturday. We’ve decided to focus our attention on the things we like most, the sounds that sound right together to us and the theme we’ve gone back to again and again – ritual. Chris has been making some beautiful scores using a mix of media which we used at Dear Serge; I need to get working on something similar.
We brought far less each to play, rather stripped down from the usual assortment of junk, instruments and kitchen implements. Chris concentrated on reeds although diverted sparingley into objects as needed. I used my tuned percussion, ektara and voice. We also sat behind a table rather than on the floor, our knees just can’t take it any more.
The score gave a nice structure, even if it was more of a signalling device at times. We decided afterwards that we need to reintroduce some of the performance elements which got dropped. One of the reasons we started to change things is we were tired of being labelled as a couple of jokers, but there’s still space for the playful, rather than the downright silly.