An extremely rare show by the triabolos of dustcore!
Distressed string band music for the 21st century.
Justin Adams (Robert Plant, JUJU, producer of Tinariwen and LOJO)
Lu Edmonds (PIL, Shriekback, Billy Bragg, Mekons, 3 Mustaphas 3)
Ben Mandelson (Yiddish Twist Orchestra, Billy Bragg, 3 Mustaphas 3)
RICH MIX. FRIDAY 19th JANUARY DOORS OPEN AT 8pm
£15 advance / £16 on the door box office: 020 7613 7498
Les Triaboliques blends Justin’s desert-blues-soaked guitars with Lu’s Turkadelic saz and cümbüs and Ben’s mandolin/barizouki world-string theories.
Their album rivermudtwilight was a critical smash when released some years back on World Village. This is a must-see show for all those who delight in that acoustic-electric territory where blues, Americana, middle-eastern, oriental, folk and Russian all roam freely. Their unique combination of instruments and multilingual harmonised singing give flight to original songs, with a few choice covers such the Prisoners’ song, in Russian. All delivered in full twi-fi.
The delta, the desert. The steppes. The underground. Crossing the stone bridge between dark city and dusk. On the creaking causeway, instruments on backs, rain on their packs. They smell the black earth. They are intent.
“I owe everything to Justin Adams” — Robert Plant
«Just magnificent, isn't it?...really, really is! Just…just wonderful!' -Bob Harris, BBC Radio 2
“Musicianship – varied, adventurous, exemplary – is the key here. That, and a lot of dark humour. Excellent stuff.”-Jazzwise
“the playing is mesmeric and the humour infectious.” The Observer
“a darkly humorous music all their own” Telegraph
“they’ve produced a quirky, genre-crossing gaggle of songs which touch on everything from the lowest-slung desert blues to the most restrained English folk” Independent on Sunday
»This was an evening of indescribable charm, an evening where we “cleaned the attics of our mind and emptied our suitcases” as Mandelson remarked. A true mark of what good music does, it takes us to other places" Songlines
«There were passages that echoed their original, quieter style, but sections of unexpected noise and fury where the improvisations seemed about to topple over; rivermudtwilight now sounded like a demented gospel stomp. For the most part, the bravery paid off, and the impressive finale included an inter-cut of eastern European styles and Don't Let Me Be Misunderstood, desert blues, a Celtic theme and the prison work song Take This Hammer. This is an experiment worth continuing» Guardian