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 Upset The Rhythm presents…
EDITRIX BEIGE PALACE ES Sunday 4 June The Lexington, 96-98 Pentonville Rd, Angel, London, N1 9JB 7.30pm | £9 | Tickets: https://link.dice.fm/de59bbb09db5 EDITRIX is Steve Cameron, Josh Daniel, and Wendy Eisenberg. Steve plays bass, Josh plays drums, Wendy plays guitar and sings. Editrix came to life around 2018. Eisenberg had honed their skills as a jazz guitarist, but was drawn to noise after growing frustrated by a limited area of study. Inspired by the Northeast's thriving DIY scene, they moved from the Washington, D.C. suburbs to Boston. Editrix is as if you took music that is borderline classical in its crystalline perfection and obsessive attention to detail, and then played it through Kurt Cobain's Rat pedal, with not a shred of piety or decorum. From the first slide guitar notes of the opening title track, this is doom-laden nihilism lovingly decorated in heart stickers. It is caring, pretending not to care, resisting the emotive signals so abused in mainstream, which is what tells you that it really does care. It is the synthesis of the dialectic and the clarion call of the proletarian revolution. ‘Editrix II’ is the group’s new album, a record that’s impossible not to like. Do not expect calcified recreations of pre-existing bands, even the ones Editrix loves. But if pop is anything to do with melody, well, prepare yourself to be singing along by the second line of each track. If it's defined by rhythm, warn your head not to get caught napping because it will shortly be banging. And if for you pop equals a full-on full-frequency sonic sickness, this one grabs your ears by the ear lapels and never lets go. This is haiku rock, its minimal lyrics compressing novels into a few syllables. It sounds like it came to their heads like bolt of lightning. https://editrix.bandcamp.com/album/editrix-ii-editrix-goes-to-hell BEIGE PALACE is a minimalist
rock trio from Leeds, featuring Anthony Bedford (drums/vocals), Kelly
Bishop (keys/violin/vocals) and Freddy Vinehill-Cliffe (guitar/vocals).
Incubated at the noise-rock-melting-pot communal space CHUNK, and having
toured with the likes of Shellac and Mclusky, the band tends to adopt a
subtler approach than many of their peers. Drawing as much inspiration
from Ivor Cutler and Bjork as from Deerhoof and This Heat, they have
been described as "beautifully unnerving" by Kerrang! and "stalking,
ominous" by Pink Wafer. Since the release of 'Leg' in April 2019, Beige
Palace have been dormant more often than not, but a second LP 'Making
Sounds For Andy' is due for release via Human Worth in 2023.
https://beigepalace.bandcamp.com/ ES returned this month with
their incredible new EP ‘Fantasy’ (Upset The Rhythm). A four-track
contact-high anxiety amid fact and facsimile, the new release attempts
to define a sound that still resonates in an increasingly confused
public theatre, where cerebral dreams manifest in corrupt fascination.
Echoing the legendary Pylon or the later, disco-inspired releases from
PIL, tracks like ‘Emergency’ and ‘Unreal’ blend the band’s established
disjunctive style of gothic restlessness with brighter, poppy, and
danceable tones. Es deconstruct our modern wreckage of personhood and
self-deceit, granting a sense of solidarity inside alienation.
https://esband.bandcamp.com/ * Upset The Rhythm & Cafe OTO presents… WENDY EISENBERG Gg with ISAIAH HULL Monday 5 June Cafe OTO, 18-22 Ashwin St, London, E8 3DL 8pm | £12 | Tickets: https://link.dice.fm/j7e7e795e1fb WENDY EISENBERG is an improviser and songwriter who uses guitar, pedals, the tenor banjo, the computer, the synthesizer and the voice. Their work spans genres, from jazz to noise to avant-rock to delicate songs; their performances span venues, from international festivals to intimate basements. Though often working solo as both a songwriter and improviser, with acclaimed releases on Tzadik, Ba Da Bing, VDSQ, Out of your Head, and Dear Life. They also perform in the rock band Editrix, and in endless other combinations of their heroes and peers including Allison Miller, Carla Kihlstedt, John Zorn, Billy Martin, and Caroline Davis. They are also a writer on music and other things, with published essays on music in Sound American, Arcana, and the Contemporary Music Review. https://www.wendyeisenberg.com/ Gg improvise with guitar, drums and cello, for this performance they will collaborate with Isaiah Hull too. Featuring members of caroline. |
 Upset The Rhythm presents… XIU XIU ME LOST ME Wednesday 7 June EartH Theatre, 11-17 Stoke Newington Rd, London, N16 8BH 6.30pm-10.30pm | £16 | Tickets: https://link.dice.fm/U47253457cae XIU XIU is the conduit for the uncompromising and unnervingly personal musical works of Los Angeles-based multi-instrumentalist Jamie Stewart, plus a roll call of collaborators both in studio and onstage. Streaming forth a ceaseless torrent of releases, side projects, art offerings and extensive international touring since 2002, Xiu Xiu's music has veered from damaged avant-pop to artfully orchestrated rock, squalls of black-hearted noise and most bases around and between, ever served with a bruising honesty and intensity that has ripped out the hearts of a legion of obsessive listeners. This March the band return with a devastatingly macabre, appropriately cacophonous new album, titled Ignore Grief, due for release on Polyvinyl. The current iteration of Xiu Xiu includes existing members Jamie Stewart and Angela Seo, now joined by old friend and new member David Kendrick (Sparks, Devo, Gleaming Spires). ‘Ignore Gried’ is an album of halves. Angela Seo sings on half of the record. Jamie Stewart sings on half of the record. Half of the songs are experimental industrial. Half of the songs are experimental modern classical. Half of it is real. Half of it is imaginary. Xiu Xiu has spent twenty years grappling with how to process, to be empathetic towards, to disobey and to reorganize horror; there is no other word for it other than horror. http://www.xiuxiu.org/ ME LOST ME delights in experimenting with songwriting and storytelling, creating a beguiling mix of soaring vocals and atmospheric electronics that playfully push the boundaries of genre. Led by Newcastle-based artist Jayne Dent who takes influence from folk, art pop, noise, ambient and improvised music, the project has transformed since 2017 from a solo endeavor to an expanded group; regularly collaborating with acclaimed North-East jazz musicians Faye MacCalman and John Pope. Me Lost Me’s music has been described in The Guardian as "stripping folk back to its bones while letting its future echoes bleed out", and by BBC Radio 6's Tom Robinson as a "brilliant peculiar noise". Me Lost Me’s forthcoming album ‘RPG’ will be released on July 7th via Upset The Rhythm. https://www.melostme.com/ |
 Upset The Rhythm presents… MOUNT EERIE SHAKE CHAIN (June 12) FREDA D’SOUZA (June 13) Monday 12 June - LAST FEW TICKETS Tuesday 13 June - SOLD OUT Grand Junction, Rowington Cl, London, W2 5TF 7.30pm | £18 | Tickets: https://link.dice.fm/w88164324bc2 MOUNT EERIE aka Phil Elverum is an artist and human being from the Pacific Northwest town of Anacortes. His recordings, released variously as The Microphones and Mount Eerie, represent just a portion of his artistic output, which has ranged from running a label and co-organizing festivals to self-publishing books, photography, and painting. But it is for his stunningly original music that he is known best, from the earliest tape experiments of the ’90s to the immersive sound-diary of Microphones in 2020. Elverum has never shied from exploring the high mountain passes, finding new ways to sculpt with sound, and trying to communicate the momentary experience of being human as clearly as the water from freshly melted snow. https://www.pwelverumandsun.com/ SHAKE CHAIN have been busy demolishing audiences and expectations for the best part of the last three years. Vocalist Kate Mahony sets that standard by anything from crawling through the audience’s legs in a bright yellow raincoat to crying and washing her hands in a nearby toilet, as the rest of the band start the set. The four-piece from London are completed by Robert Eyres (Synth/Guitar), Chris Hopkins (Bass/Synth/Samples) and Joe Fergey (Drums). Shake Chain are built of nervy bass lines, twitchy guitars that jolt and jerk and tack sharp drums, overridden by screeching vocal slurs and sampled television. Kate’s singing is a unique embrace of flights of atonal fancy, head-first repetition and ecstatic frenzy. Opinion-dividing arguably, but singular in making Shake Chain dauntingly brilliant. The band’s debut album ’Snake Chain’ is out now on Upset The Rhythm. https://upsettherhythm.bandcamp.com/album/snake-chain FREDA D’SOUZA is an artist who contentedly creates at snail’s pace. Her world is small; simplicity reveals detail and, in turn, detail reveals infinity. Her songs place the unspeakable intensity of love and life within a warm and shimmering sonic world, filled with layered vocals, lush strings and dynamic arrangements. Out June 2023, her debut EP Windowledge explores the trials of intimacy and the value of introspection and forging space for reflection. Freda cherishes space. In space, there is tenderness. https://soundcloud.com/fredadsouza |
 Upset The Rhythm presents… SCREAMING FEMALES SNIFFANY AND THE NITS Wednesday 14 June OSLO, 1a Amhurst Road, Hackney Central, London, E8 1LL 7.30pm | £15 | Tickets: https://link.dice.fm/ld532d69ac2a SCREAMING FEMALES have now been a band for half the lifetime of its members. Formed in 2005 in New Brunswick, NJ, the trio has consistently created a hearty, surprising mix of indie, alt, punk and stoner-rock, all with their original line-up of Marissa Paternoster (guitar, vocals), “King Mike” Mike Abbate (bass) and Jarrett Dougherty (drums). Released on February 17th by Don Giovanni Records, the group’s new album ‘Desire Pathway’ was recorded at Minnesota’s Pachyderm Studios (where Nirvana recorded In Utero) and produced by Matt Bayles (Foxing, Pearl Jam, Mastodon, et al). Bright and full, the album captures the band at a time when nothing was certain other than their abiding desire to make music together. ‘Desire Pathway’ opens with the Sabbathy hypnotism of “Brass Bell.” Following a swelling haze of synth, feedback shrieks, martial snares advance, and the band explodes into a bracing groove. Soon, Paternoster makes the cryptic announcement: “I have flown us to the moon,” and we’re off. The song has the effect of clearing one haze and replacing it with another, much heavier one. “Beyond the Void” may gather gloomily, but it quickly releases into its jangly, memorable chorus. Single “Mourning Dove” successfully channels the Pixies into a tight, driving power-pop song that passionately declares “my love for you is too strong to hide.” Now 18 years and eight albums in, Screaming Females are still making their own path in the world, still touring DIY and releasing music without compromise. The route might cut a little off the main road, but you’ll quickly see there’s a reason they’re on it. You just might like where it leads you. https://screamingfemales.com/ SNIFFANY AND THE NITS are a deranged, genuinely troubling punk band from London featuring members of Joanna Gruesome, Ex-Void and The Tubs. The Unscratchable Itch is their debut album via PRAH Recordings. It’s Sister Sniffany, and her singular lyrical and performance style, who elevates the band beyond the sum of their influences. Her lyrics touch on a world of hidden humiliations, girl abjection, crumpled lager cans, clam chowder and lumpy, over-stuffed dollies. The band veer between atonal no-wave guitar assault, straight-up hardcore, goth/anarcho or whatever takes their fancy, while remaining identifiably Nit-like. Always grounded by a pounding, pogo-ing rhythm section, The Nits provide the perfect backdrop for Sister Sniffany’s wild, relentless live performances. https://sniffanyandthenits.bandcamp.com |
 Upset The Rhythm presents…
SHANNON AND THE CLAMS WATER MACHINE
Friday 23 June
Studio 9294, 92 Wallis Rd, London, E9 5LN 7.30pm | £16 | Tickets: https://link.dice.fm/hf06661a86a9 SHANNON AND THE CLAMS are from Oakland, California and comprise of Shannon Shaw (vocals, bass), Cody Blanchard (vocals, guitar), and Ian Amberson (drums, vocals). Sounding like a prom band from 1964 getting dosed with acid and having the sweetest lovelorn freak out, Shannon And The Clams defy expectations. Imagine a brawling Etta James, backed up by the 13th Floor Elevators singing Shangri La's tunes. Shannon has a voice that can go from a sweet girl group croon to a bluesy ballsy growl before you realize you're headed for the (dance) floor. It's total punk rock bop, brimming with doo-wop glory delivered to your door by the Homecoming Queen and Kings of weirdo rock 'n' roll. Year Of The Spider, the band’s sixth studio album, rages against death and disease with the power of a thousand angry Ronettes. Songs like “All Of My Cryin',” “Mary, Don’t Go,” and “Year Of The Spider,” pulse with girl-group elegance and punk ferocity. On a Clams record, you always get both. As a songwriter, Cody Blanchard said he can get neurotic, so he tried Dolly Parton’s trick: writing songs from another person’s point of view. It worked, yielding some of Spider’s darkest songs: the howling “Crawl,” which has a roiling hard-rock guitar (“that was really fun — just a classic, rippin’ ‘70s guitar solo”) and the album's first single, “Midnight Wine," a thundering baroque-pop number that was inspired by friends and people in the Oakland arts community. http://shannonandtheclams.com/ WATER MACHINE
is an office romance between Hando Morice (they/them), Flore de Hoog
(she/her), Jimmy Gage (he/him) and Goda Ilgauskaitė (she/her). They
play jangly punky music. They are here to have fun. https://goldmoldrecords.bandcamp.com/.../water-machine-demo |