Category: MUSIC

  • Balkan folk group Dunav celebrate 50 years of music making together

    Dunav members posed with instruments in 1993
    Dunav members posing with instruments in 1993

    A folk group based in Walthamstow, credited with popularising Balkan music in the UK, is celebrating its half-centenary this year and hopes to endure with the help of young and talented artists.

    Dunav, a collective taking its name from the Serbo-Croat word for the River Danube, formed in 1964 and has seen more than 30 members pass through its esteemed ranks.

    Established by Balkan dance enthusiasts Henry Morris, John Baldwin and Narendra Kotiyan, the group – who used to practise at Hackney Community College on Falkirk Street – cite friendship as key to their success.

    Caroline Thomas, who joined as accordionist in 1971, says: “I count Dunav members as my very best friends and sometimes, when I am making music with them, the thought comes into my head that I would not want to be anywhere else doing anything else.”

    Dunav began when folk-aficionado Morris met mandolin-player Baldwin, who had fallen for Balkan music in 1952 following a late-night encounter with four dancers at a Yorkshire youth camp.

    Kotiyan, the present ensemble’s longest-serving member, was born in Mumbai and moved to England in 1957. He attended various folk dancing clubs in London before meeting Baldwin and becoming part of Dunav’s original line-up.

    The founders took their authentic brand of eastern European music to London’s School of Pharmacy for their first performance. Soon after, they organised a successful Balkan music and dance festival at St Pancras Town Hall (now the Camden Centre).

    The group has since embarked on a series of European tours and played regular slots at Cecil Sharp House (a dedicated folk arts centre) and the Barnet International Folk Dance Club, as well as countless weddings, concerts and parties.

    “Tours to Bulgaria, Romania and the Republic of Macedonia were wonderful, and happily we have much of it recorded on video,” says Thomas.

    “A full-length concert in the Purcell Room on the South Bank was the fulfilment of an ambition of mine, and there we launched our first CD – a compilation of two earlier albums.”

    Helped along by much encouragement from folklorists and musicians of the countries whose music they play, the group have encountered very little controversy over the years.

    “We would hope that folk music is above politics, and try to ignore the occasional negative mutterings of people with strong feelings about national and regional identity.”

    Thomas says that after half a century of performing the music they love and inspiring others to do the same, as long as the current members can lift and play their instruments the group will continue.

    “The more distant future of Dunav depends on young talented musicians and singers joining us, and we would welcome them provided they fit in and are truly committed,” she says.

    For an industry in which ‘change’ is the word on the tip of everyone’s tongue, longevity is a rarity these days. But with the passion and energy of Dunav, another 50 years looks well on the cards.

    The friends continue to rehearse on a weekly basis at Thomas’s house in Walthamstow.

    See here for a video of Dunav performing in Romania in 1993.

    www.dunav.org.uk

  • ‘I’m the Oval Space man’ – Jordan Gross, the man with a plan for London’s night life

    Revellers at Oval Space. Photograph: Lee Arucci
    Revellers at Oval Space. Photograph: Lee Arucci

    Despite opening in only 2011, Oval Space is already one of London’s hottest night spots. Its industrial setting in Bethnal Green, overlooking a disused gasworks, rivals Hackney Wick for gritty urban chic, and the 6,000 square foot warehouse-style space affords mesmeric views over East London.

    It’s not the views, however, that make Oval Space regularly full to capacity. Jordan Gross, 29, is co-director of the venue alongside his business partner Daniel Sylvester, 28. It was their vision to transform a warehouse once used to stock pharmaceutical supplies into a top class music and arts venue.

    “We felt London needed more good entertainment spaces and that this could be one of those places,” says Gross. “But as with all of these things, what you end up with is a lot different to what you think it’s going to be in the first place.”

    A successful 2013 saw Thom Yorke, Bookashade, Cutcopy and Giorgio Moroder perform. Oval Space also has monthly cinema screenings from independent filmmakers and hosts one-off events such as this month’s TED event. Incongruously enough, you can also get married there.

    At 29, Gross is intimidatingly successful. He used to own a telecoms company and started his first business as a teenager. With Oval Space, however, he’s looking to embrace a slightly older and wiser crowd.

    “You’ve got to try and elevate the conversation a bit in terms of this nightlife thing,” he says. “We make sure that when you come here you’re having a really great experience, so the toilets are nice, the food and drinks are good and everything’s reasonably priced.”

    Drawing on his experience in other international cities such as Berlin, Gross calls London “a world class city without world class night life”, and has made it Oval Space’s mission to redress the balance.

    This is not merely a case of attracting the biggest names – although they are doing that – or hosting shows by outside promoters. These days Gross and his team want to develop their own events in-house, taking advantage of the fact that nobody knows the space like they do.

    For Gross this is part of a wider philosophy. “In my view we’ve got to get back to having venues and clubs and places where you trust their curation and you’ll go along no matter what,” he says.

    In February begins Oval Space Music – Chapter 1, a grand title matching Gross’s ambition. Detroit techno pioneers Robert Hood and Jerome Sydenham will be part of a line-up that includes sets from the Oval Space’s new resident DJs, jozif and Fritz Zander.

    Gross adds: “We’d like to bring more interesting things to the audience and stuff that’s really very good but you just haven’t heard of it yet. That’s essential I think.”

    www.ovalspace.co.uk

     

  • Caught up in the fuzz – Oscar Suave

    Psychedelic noodlings: Oscar Suave
    Psychedelic noodlings: Oscar Suave

    Loud, proud and psychedelic, Oscar Suave are looking to serve up East Londoners with a slice of rock ‘n’ roll.

    It seems psychedelic bands nowadays have fallen down the pecking order when it comes to East London’s underground music scene.

    There is, however, a passionate and bustling sub-culture out there, with Oscar Suave one of the promising local acts determined to bring psychedelia up to date.

    “We are loud – very loud,” says Oliver Davitt, singer-songwriter and founder of the three-piece outfit and self-proclaimed ‘fuzz band’. “We are pretty energetic with quite a carefree approach, we love to play live, it’s our favourite thing to do.”

    Two out of three of the band members Erick Antoine and Gal Cohen, originally from France and Israel respectively, now reside in Hackney, while Davitt himself lived in Bethnal Green for years. “We rehearse there and most of our gigs are in East London,” he says.

    With a very mature yet wildly imaginative sound, Oscar Suave sound straight out of the original psychedelic rock era. “The Velvet Underground, Pink Floyd and The Doors are my most influential bands at this present moment,” says Davitt.

    “Erick knows loads of unknown sixties’ psychedelic music and he always sends me stuff to listen to. Sweet Smoke have an amazing sound and they have 30 minute songs. It’s great!”

    It wasn’t easy to get to a sound they could truly feel at home with. Since their inception in 2010, the band have gone through several line-up changes and, after three years of experimenting with different styles, they are now sounding tighter and louder than they ever have.

    Harsh but dreamy vocals and emotive lyrics are the main staple of their melodic and sometimes darkly orphic tracks, to the extent that it’s a wonder to think how they go about the writing process.

    “It’s normally triggered from a feeling or stuff running through my head. Some songs have taken five minutes to write, some have taken months. I still have unfinished songs that are four years old. There’s no real formula – it just kind of happens.”

    www.oscarsuave.bandcamp.com

     

  • Ears to the ground: an interview with Field Day founder Tom Baker

    Eat Your Own Ears founder Tom Baker
    Tom Baker of live music promoters Eat Your Own Ears

    The health of London’s live music scene is mainly a reflection of the calibre and variety of its artists but those who facilitate that experience deserve some credit too.

    Tom Baker is the mastermind behind Eat Your Own Ears, a company he founded in 2001 that has become a major force in promoting live music.

    After starting the company in 2001, he help the likes of Fourtet, Hot Chip and Florence and the Machine in their early years, and in 2007 found Field Day, the annual music festival that sees 30,000 people trek to Victoria Park each year.

    His secret, it seems, is to take your chances when they come. After graduating in arts management, he moved to London to work at the Scala in Kings Cross. It was one day while flyering that fortune struck.

    “A friend who worked at 93 Feet East on Brick Lane asked me if I’d thought about doing my own night,” he explains. “He offered me the venue and said he’d help if I came up with some ideas.”

    The next step involved putting his university research into action. Tom’s dissertation had been on independent versus major record labels, which gave him the idea to approach labels like Domino, Rough Trade and Warp with the idea of putting on nights where a new artist would be presented alongside the label’s more established artists.

    And this link to artists and labels remains, even though the company is much bigger.

    “It’s about the music we like and are passionate about and about working with artists we’ve worked with over time and finding and developing new ones,” he says.

    Such an attitude would stand any potential festival organiser in good stead, but the roots of Field Day are somewhat more idealistic.

    “It was inspired by an event called Return of the Rural,” he says. “Me, my brother and partner are all from Somerset, and at the time of Foot and Mouth we thought we’d put together an event that celebrates the countryside. We did it in the 291 Gallery in Hackney and it was a mixture of dance music, live bands and a ceilidh band.”

    Anyone who’s experienced Field Day will recognise the village fête in an urban setting vibe. The festival has grown year-on-year, and in 2014 will become a two-day event.

    “The Saturday will be the full onslaught with multiple stages and a mixture of dance music and live bands, new bands and world music, and the Sunday will be a scaled down version that’s accessible for people who have to go to work the next day,” he says.

    It promises to be a special year, with Pixies to headline the first ever Field Day Sunday and melancholic electronica masters Meteronomy confirmed as Saturday’s main act.

    Baker adds: “We’ve taken our time to take it to a second day until we felt comfortable we could do it and until we were sure we’d found the right act to launch it with.”

  • Spitalfields Winter Festival – Remember Me: A Desk Opera

    Desk Opera - Claudia MolitorSpitalfields Music Winter Festival 009. Photo credit- Tommy Ga-Ken Wan
    Desk bound: Claudia Molitor. Photograph: Tommy Ga Ken Wan

    An opera which takes place inside a writing desk is to be performed for the first time in London as part of this month Spitalfields Music Winter Festival.

    Remember Me: A Desk Opera is inspired by a Victorian writing desk handed down to the opera’s composer, Claudia Molitor, from her grandmother.

    “This desk was the only space that was just hers, and it has a life time of experience with it – I am fascinated by it,” says Molitor.

    The opera uses a replica of the original desk as a focal point, accompanied by film, an orchestral pit visit and live performances.

    “The desk is the central focus, with performance going on around it, helping it to come alive.

    “I wanted to do something different when writing this opera – it means I can tell big opera-style stories on a small scale,” says Molitor.

    The opera tells a fictional story of two Greek heroines: Dido and Eurydice – both of whom are dissatisfied with their lives.

    “Dido laments the fact her husband is going around the world while she is left at home, while Eurydice’s husband Orpheus is an amazing musician and singer.

    “They are two women who are trapped and can’t do anything: Dido in the palace, and Eurydice in the underworld.

    “I thought what would happen if they were friends and moaned to each other about their lives,” Molitor says.

    The idea for Remember Me came early last year, when Molitor discovered a lot of composers were working on operas – something which she thought was “bizarre” in the 21st century.

    The opera uses no score or libretto, but instead makes use of a variety of recordings made by Molitor which are then put together for the performance.

    Molitor says she hopes Remember Me will appeal to a wide range of people when it comes to the Winter Festival this month.

    “It’s a playful attraction, as it is quite small and tiny,” she says.

    “The idea you can make stories from something from very little is almost like when children can spend hours creating and playing in their own imaginary worlds.”

    Remember Me: A Desk Opera  is at Rivington Place, EC2A 3BA from 9 – 10 December.

  • ‘Alone in a box of stone’ – Benjamin Clementine

    Stage presence: Benjamin Clemantine. Photograph Eleonore de Bonneval
    Stage presence: Benjamin Clementine. Photograph: Eleonore de Bonneval

    One morning in June I was listening to French radio when I heard some folk-soul music. The voice singing “I am lonely, alone in a box of stone” sounded intense, fragile and incredibly sincere. I was moved to tears.

    “Benjamin Clementine is from Edmonton, London” said the presenter. Edmonton is the final stop of my 149 bus route and I’d never heard of him?

    Then last month in St Luke’s church, Old Street, a hushed crowd listened as Clementine played ‘Cornerstone’, a song emblematic of the loneliness he carries within him.

    Clementine, 24, actually left London two years ago. He explains it was “because of family problems, friends, work, studies. There was nothing there. The only thing I was good at was English.”

    His career started after being spotted busking in Paris. Astonishingly, Clementine claims he never aspired to be a singer. “It was more a matter of  finding a place to stay and  finding some sort of accommodation, food … No matter how bad, I just sang. I had no choice,” he says.

    An extreme honesty runs through his music, which he writes himself. He cites his older brother’s advice: “Don’t waste your breath if what you say isn’t important.  There is no point.”

    Clementine’s style developed while he sang covers on the Paris underground.

    Nina Simone was a “revelation”, he says. But his main influences are the classical and operatic music he listened to as a boy. He started playing piano by ear aged only 11, after hearing Erik Satie’s Gymnopédie. Later came Noel Coward and Pavarotti.

    “When I say ‘I am alone in a box of stone’ it is not a lie – it is true,” he says. “I don’t perpetuate emotions. I don’t want people to feel sorry for me. I think I just want people to understand me more.”

     

     

  • Tony Haynes: the brains behind Grand Union Orchestra

    The Grand Union Orchestra
    The Grand Union Orchestra

    Authenticity is difficult to define and express “but you know it when you experience it”, writes Tony Haynes, composer and artistic director of Grand Union Orchestra.

    This and the concept of ‘artistic truth’ are clearly important to the 71-year old, who founded the world jazz orchestra, known for its spectacular large-scale shows, in 1982.

    Anyone who has seen the orchestra perform may agree, the variety of cultures and styles represented through its members giving it an incredibly broad emotional range, which is borne out of individual musicians’ experiences as well as the freedom Haynes gives them to
    improvise.

    “I don’t believe in that autocratic notion of composer,” he says. “ If I have a steel band, an Indian ensemble, some African drummers and a community choir then I have to treat them as material. Improvisation of all kinds is absolutely essential to that process.”

    Haynes, who is classically trained and has experience working in theatre, is influenced by Brecht in his belief that an audience needs to feel that performers have actually lived what they are playing.

    Considering the genuinely internationalist nature of the orchestra (it’s no overstatement to suggest few nationalities or world musics have not at some stage been involved) this seems a powerful philosophy.

    “When you have people who quite clearly have come out of the coup in Chile” he explains, “when they sing about those things it has an immense immediacy.”

    But there’s no better place, says Haynes, to base the orchestra than in East London and its current Bethnal Green home.

    “The history of East London feeds into the work, particularly as the concerns we all pick up on are about migration, exile and the movements of people and mixtures of cultures.”

    In a series of events called On The Edge at Wilton’s Music Hall this month, the orchestra will be celebrating the ‘musical melting pot’
    of East London by bringing together musicians and singers from every major musical culture worldwide, including virtuoso players and great improvisers.

    For four days audiences will have the chance to listen, dance and play music with them. Explaining the title, he says: “There’s a literal edge because we’re on the edge of the city and there is a sense of precariousness in that economically.

    “But also as musicians we are living on the edge because we put ourselves out to express things that are unfashionable or unspoken, and especially because we are prepared to improvise.

    “It appeals to me because there’s this sense of danger – and we do court danger. We don’t play safe really.”

    Grand Union Orchestra play at Wilton’s Music Hall, 1 Graces Alley, E1 8JB from 21-24 November

  • Oxjam poised to takeover East London

    Dry the River
    Band aid: Dry the River. Photograph: Dan Medhurst

    If you’re still mourning the end of the summer festival season then fear not, as this month Oxjam, the UK’s largest charity festival, has put together impressive line-ups for its Shoreditch and Dalston Takeover events.

    The two mini-festivals take place over the weekend of 19/20 October and are the culmination of over a month of one-off events and launch gigs organised by volunteers with the aim of raising money for Oxfam.

    Nearly 100 bands and DJs are poised with their instruments and equipment to play across a total of 12 venues. The line-up includes local acts such as Tâches, Ligers, Sophie Jamieson, Milk Teeth and Zoe LDN.

    Mohammed Yahya, one half of Afrobeat hip-hop duo Native Sun, who headline Bedroom Bar on Sunday 20 October, told the Oxjam website why he wanted to get involved. He said:

    “I feel that it’s a great way to use our music for a positive cause. We often see musicians on TV promoting a very negative lifestyle, often glamorising sex, drugs, alcohol etc., and like many underground artists we understand the responsibility that we have as musicians and role models as well as the blessing and opportunity to have this platform that can touch people universally.”

    Last month’s Oxjam launch gigs and events included speed dating and gin tasting, which the organisers hope will put East Londoners in the mood for this month’s Oxjamming festivities.

    Wristbands for the day cost £8-10, and allow you free access to all of the venues.

    wegottickets.com/oxjamdalston
    wegottickets.com/oxjamshoreditch