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Paired
with a lyrical intricacy which emits a desire to break the fetish of
false representation, ‘Fantasy’ reminds us that worthy punk records,
like any manifesto of neurotic suspicion, balance testimonial,
speculative-fiction, and social critique. Es deconstruct our modern
wreckage of personhood and self-deceit, granting a sense of solidarity
whilst pointing sharply to the future! ‘Fantasy’ is available digitally and pressed onto a neon-blue vinyl 7” disc courtesy of Upset The Rhythm now. |
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 Upset The Rhythm presents... CLAIRE ROUSAY LAILA SAKINI Tuesday 11 April Grand Junction, Rowington Cl, London W2 5TF 7.30pm | £16 | Tickets: https://link.dice.fm/g3773706d1eb CLAIRE ROUSAY's music zeroes in on personal emotions and the minutiae of everyday life -- voicemails, haptics, environmental recordings, stopwatches, whispers and conversations -- exploding their significance. Based in San Antonio, Texas, Claire's acute assemblages of sound are both a diaristic portal into the life of their creator, and an exercise in dressing and undressing the bare audio field using compositional threads that feel loosely entangled, yet fastidiously woven. A prolific run of recordings since 2020, culminating in this year's 'everything perfect is already here' (Shelter Press), has seen Claire come closer than most modern sound-makers to aesthetically nailing the temperament of a world turned inward. Now, as music leaves the house once more, Claire's live show - in both solo mode and trio formation with close collaborators Mari 'More Eaze' Maurice and Theodore Cale Schafer - brings a singular reflexivity, unflinching honesty and adroit humour to the performance space, with an ever-burgeoning audience accepting the invite into her soundworld. https://clairerousay.com/ LAILA SAKINI works with piano, voice, guitar, found sound, electronics and silence to create dynamic and textured environments that provide the listener with space to develop their own meanings and responses. Her major works include Like A Gun (EP), Vivienne (LP), Strada (EP), Into The Traffic, Under The Moonlight (LP), Princess Diana of Wales (LP) and her 2017 collaboration with poet Lucy Van, Figures (EP). Laila has performed at Cafe Oto, Galeria Zé dos Bois, Berlin Atonal, Listen! festival, The White Hotel, Meakusma x Arkaoda, Kings Place, Wunkderkammer Festival, Ponto d’Orvalho among others. https://lailasakini.bandcamp.com/ |
 Upset The Rhythm presents… MARY LATTIMORE FLORA YIN-WONG (April 20) LEAFCUTTER JOHN (April 21) Thursday 20 April - SOLD OUT Friday 21 April St John on Bethnal Green, 200 Cambridge Heath Rd, London, E2 9PA 7.30pm | £13 | Tickets: https://link.dice.fm/K76f761d465c MARY LATTIMORE is a harpist and composer living in Los Angeles. She experiments with her Lyon and Healy Concert Grand harp and effects. Her solo debut, The Withdrawing Room, was released in 2013 on Desire Path Recordings. Lattimore also writes harp parts for songs and recordings, performing and recording with such great artists as Meg Baird, Thurston Moore, Sharon Van Etten, Jarvis Cocker, Kurt Vile, Steve Gunn, Ed Askew and Fursaxa. Her debut solo record for Ghostly International, 'At The Dam', was recorded during stops along a road trip across America and released in March 2016. The next year, she compiled sounds from her past life in Philadelphia for a cassette tape titled 'Collected Pieces'. Released in May 2018 to acclaim from the likes of NPR, Pitchfork, and The New Yorker Lattimore's next album 'Hundreds of Days' presented an expression of mystified gratitude for the natural world. She capped off the banner year — which included international tours with Iceage and Kurt Vile, a performance with Harold Budd at Big Ears Festival, and an appearance on Billboard’s New Age charts — with two collaborative albums released on Three Lobed Recordings, one with Meg Baird and the other with Mac McCaughan. Lattimore's most recent album 'Silver Ladders' (out 2020 on Ghostly), saw her arriving at her most confident work to date, expanding her style of instrumental storytelling with the help of producer and guitarist Neil Halstead (Slowdive, Mojave 3). Recorded in Halstead’s studio near an old English surftown, the songs on 'Silver Ladders' reflect Lattimore’s vivid memories against the gloom and glimmer of the ocean. https://marylattimoreharpist.bandcamp.com/ FLORA-YIN WONG is a producer, DJ and writer from London, currently on an artist residency in Kyoto exploring instrument building and shrine maiden traditions. Her debut album 'Holy Palm' was released on Modern Love in 2020 and has previously featured on labels like PAN, Archaic Vaults, and Danse Noire. She has performed live at ATONAL Berlin, Unsound and Semibreve Festivals, at the MACRO Roma, MUTEK in Peru, Buenos Aires, and Montreal, New York’s ISSUE Project Room, The Volksbühne Theatre, The V&A Museum, Somerset House, The Jazz Cafe and Cafe OTO. This February she launched a DIY record label and publishing house Doyenne, focusing on female-identifying artists in experimental literature, sound, and sculpture. https://florayinwong.bandcamp.com/ LEAFCUTTER JOHN grew up in Wakefield fascinated by sound, but it wasn’t until halfway through his painting degree at the Norwich School of Art and Design that he discovered a computer he was using to write his dissertation could take him on new sonic adventures by recording and manipulating sound. Since 2000, John has released nine full-length albums (Border Communitym, Planet Mu, Staubgold), toured widely, built expressive interfaces for electronic music, and received the prestigious Paul Hamlyn Foundation award. His most recent work ‘Lockdown Patchwork’ was commissioned by HCMF and Leeds Art Gallery and used interview material, publicly submitted field recordings, and new music written by John. Aside from his solo work, he’s written for theatre, dance, and radio. He was also a key member of experimental jazz band Polar Bear, recording five albums with them and picking up two Mercury Prize nominations. John has performed with Shabaka Hutchings, Talvin Singh, and Imogen Heap and supported Matmos, Otomo Yoshihide,Yo La Tengo and Beck. www.leafcutterjohn.com |
 Upset The Rhythm presents…
CINDY INDEX FOR WORKING MUSIK Wednesday 26 April The Lexington, 96-98 Pentonville Rd, Angel, London, N1 9JB 7.30pm | £8.50 | Tickets: https://link.dice.fm/z790b084119e CINDY is a band built around the singing and guitar playing of Karina Gill that she self-nurtured after finding an abandoned Squier Strat in her San Francisco apartment basement. Her intrigue soon grew into the band that is Cindy who have found a worldwide following of their slow-moving, dream-pop world that shrouds Gill’s songs thanks to support from model independent labels Mt. St. Mtn and Tough Love Records. Cindy’s fourth LP Why Not Now? will be released this April. The music captured is simple out of necessity and introverted in delivery, but the songs contain vivid worlds and are quietly ambitious. With this latest batch, Gill pulled the process of making Cindy music even more inward. “Some of these songs were first recorded as demos alone in my basement. I think that process set the tone for the record...Maybe it set up a kind of starkness,” she says. While the dream-pop tag is probably still relevant, this isn’t algorithm-fed genre ambience. Gill’s vocal/lyrical presence can be as gently momentous as Leonard Cohen or as intellectually potent as any ’79-’80 Rough Trade post-punk. Cindy’s Why Not Now? is that muffled street symphony inside a passing daydream. https://cindytheband.bandcamp.com/album/1-2 INDEX FOR WORKING MUSIK just released their debut album ’Dragging the Needlework for the Kids at Uphole’ via Tough Love. 35 minutes of repeat phrased guitars, slow-clipped drums and dulcet vocals where the recurring landscape is the desert. Reel-to reel-loops of Afghan music compete with the found sound overlays of voices recorded at the queue of the pharmacy and drum machines borrowed from Spanish heroes, channelling both far-off climes and snippets from a closer reality. It’s a strange psychic brew, built of imagined mysticism and domestic realities, of fever dreams and days that stretched into weeks of months. https://indexforworkingmusik.bandcamp.com |