Phoning it in

Dispatches from the back of the venue

RIYL: Henry Cow

  • North Sea Radio Orchestra

    North Sea Radio Orchestra

    The thing about being a Cardiacs fan is there are all sorts of curious leads to follow in their wider, cinematic universe of associated bands and offshoots – each with some connection (literal or spiritual) to the late great Tim Smith. Not far upstream I find the amazing North Sea Radio Orchestra. Formed by Cardiacs alumnus Craig Fortnam, the NSRO are described as a “contemporary music ensemble and cross-disciplinary chamber orchestra (plus chorus)” and have already clocked up 20 odd years of dizzyingly accomplished work before johnny-come-lately here caught up with them.

    Fortunately for me a mysterious promotion outfit located over Snake Pass from me – going by the name of Buds and Spawn are also immersed in all things Cardiacs and beyond and are dedicated to presenting ‘semi irregular nights of semi-irregular music’. They have managed to get the entire NSRO – 10 piece ensemble with woodwind, strings and archaic organ – up from down south to Sheffield to perform in a lovely little theatre tucked away in the University corner. This is their only show outside London on this current round of performances to promote the new LP ‘Special Powers’.

    It’s a 5.30 start – perhaps to give time to get the ensemble back home before the witching hour. The early start, and the cosy theatre venue sets the scene nicely – the atmosphere is hushed and studious with none of the distractions of a typical ‘gig’ (nobody chatting or getting beery) – this is music to get immersed in – so let’s get into it.

    First up is another Cardiac, William D Drake and quite rightly everyone is here already to catch his performance. No missing the support act who is well known to a large proportion of the audience. William performs on piano with assistance from NSRO keyboard player James Larcombe alternating between two different Hurdy Gurdys (what else). Drake (a distant relative of yer actual Nick Drake) plays a set that leans stylistically into early music, madrigals and goes deep into a folky undergrowth. So far, so mediaeval and those unmistakable twisty-turny chords and strangely arcane melodies sound both ancient and modern. What a way to begin!

    NSRO take to the stage – 10 strong with violin, Cello, woodwind of various denominations, drums, keys, bass and vocalists -all led by Craig who for the most part sports an acoustic guitar which he uses in place of a conductors baton to lead the players and singers- and I’m really struck by how he plays- picking the elaborate songs out and often forming the bedrock of the music (much like Sean O’Hagan when High Llamas play live) and occasionally getting into a hypnotic strum as if he was just busking these remarkable pieces of music.

    It feels ‘classical’ – the musicians are reading from sheet music, playing these carefully arranged songs – sitting quietly or eyes closed when they are not required for a particular piece – but it’s not staid or stuffy – and I really like the fact this is kind of a art-rock gig in disguise really (notably Craig almost forgets to give the band – sorry – orchestra a proper conductorly flourish to start the first piece).

    They start by playing the new album in full – with a knowing apology – but it’s excellent anyway and there is plenty of time for a sublime selection from the NSRO catalogue including ‘Heavy Weather’ and a fitting tribute to Tim Smith ‘Morpheus Miracle Maker’. The encores include a track from Craig’s solo LP ‘Ark’ which is a highlight and sends me off into his solo catalogue – another Cardiacs tributary to float my musical barge down.

    Cardiacs aren’t the only reference point – a lot of what NSRO do hits that sweet spot of British art-rock / ROI (Rock in Opposition) and the Canterbury scene of the 1970s – so Henry Cow, Robert Wyatt, Soft Machine, Caravan as well as Syd Barrett.

    A joyous, intriguing evening – and hats off to Buds & Spawn for bringing this amazing music to Steel City

  • Anthony Moore – ‘Home of the Demo’

    Anthony Moore – ‘Home of the Demo’

    Anthony Moore has an extraordinary CV that brilliantly straddles the deeply experimental vs some of the most mainstream Pop musical imaginable (of it’s time). How about this – he was part of the collective around the serious-as-your-life avant-rockers Henry Cow and formed the offshoot Slapp Happy – a huge influence on groups like The Fall. He also followed that Rock in Opposition trajectory and produced records with the likes of This Heat – Art Rock royalty basically. So it may come as a surprise that he also wrote a song called ‘No Parlez’ the title track of the gazillion selling Paul Young album (that famously seems to replicate itself in charity shop shelves, such was its ubiquity). He’s a key part of the post-Roger Waters Pink Floyd, collaborating on songs such as ‘Learning to Fly’ but has also worked on countless experimental and exploratory works and art installations which I’m still discovering. His most recent solo release is called ‘Arithmetic in the Dark’ – enough said. He’s comparable to someone like John Cale, or latterly Jim O’Rourke – able to work in mixed media, high art but, as this compilation demonstrates he has an appealing voice and a way with words and song.

    This very satisfying compilation collects lots of unheard material from his archives, mostly home recorded (hence the title and the cover – with Anthony unwinding a C90 with a pencil) but this is no scratchy lo-fi set – bar a few cheap sounding synth and drum machine patches, and you soon forget you’re listening to home demos and just enjoy a smart and intriguing set of would-be Pop hits. Floyd fans will home in on ‘Earthbound Misfit’ (which became ‘Learning to Fly’) but there’s lots more to enjoy. ‘Lucia Still Alive’ is a crunchy take on ‘Low’ era David Bowie, and ‘Coralie’ is a fab Velvet Underground/Roxy style strumfest. Best of the bunch is ‘Me and Neil Diamond’ featuring the unmistakable croon of Ian McCulloch recorded sometime in the mid-80s. It sounds like a song that 10 years later could have set Britpop era Radio 1 ablaze (and perhaps a counterpoint to ‘The Ballad of Tom Jones’) with it’s Easy Listening reference and ‘I can’t stop smoking and drinking and having a good time’ refrain – except that Moore uses a wrong-footing time signature that threatens to derail poor Ian but perhaps reflects the ‘all at sea’ motif in the lyrics.