Upset The Rhythm presents…
Thursday 14 June
Electric Ballroom, 184 Camden High St, London, NW1 8QP
7.30pm | £15.00 | http://wegottickets.com/event/431296
JOHN MAUS is a truly enigmatic musician. Broadly cut from the synth pop cloth, he's fashioned the frosty minimalism of its fabric into a cloak of infinite meaning, genuine grace and absurdist humor over the course of three defining albums since 2006. His music is a highly mutable affair, whilst often described as retro-futurist on behalf of the 80's drum machines and synth sounds employed, John's music is more personal than the nostalgic re-tread implied. There's a cinematic quality to his songs, with pathos conjured through propelling bass-lines, trailing arpeggios and of course his deeply resonant vocal. Moroder helped map out the territory but Maus is more interested in seeking cadence through his love of Renaissance polyphony and the experimentation behind post punk. It's an amalgamation of musical ideas as radical as its intent.
Maus is a 'man out of time' trying to make sense of the inhumanity of our world through his mobilisation of the language of punk rock. His aim is true as he reaches for the seemingly impossible. It's a want to emerge as part of greater multiplicity, to appear, to become, to connect that powers his songs and the man himself. It's now been six years since the widely lauded album 'We Must Become The Pitiless Censors Of Ourselves' appeared like a thunderbolt of maniacal energy and turned everyone's heads. Last October his fourth album proper entitled 'Screen Memories' came out like a clarion call through Ribbon/Domino, this April sees the release of his career defining boxset and new album ‘Addendum’. John Maus has returned to save us all from the apocalypse, now he is accompanied by his electrifying live band the triumph of the human is nigh!
NICK NICELY is one of the most innovative artists of the post-psych era, with his 1982 EMI single masterpiece “Hilly Fields (1892)” acclaimed by the NME as “the best psychedelic record since the ‘60s”. Despite being admired by contemporaries Robyn Hitchcock and Andy Partridge, his singles brace of psychedelic electronica in the early eighties did not garner the commercial success they deserved. Later that decade, inspired by the second summer of love, nick embarked on a new period of creativity. Renewed interest was assisted by his repeatedly reissued “Psychotropia” collection and support from psychedelic adventurers The Bevis Frond. Over the past few years he’s collaborated with Unkle and undertook a string of concerts including the prestigious Green Man and Terrastock festivals whilst releasing a brand new album last year called ‘Sleep Safari’. This record goes further into electronics while continuing Nick’s psychedelic journey into a unique pop juxtaposition.
COLIN POTTER has been a central figure in the UK’s DIY and post — industrial underground since the late ‘70s. His ICR label, founded in 1981, blurred the lines between post — punk experimentation, crude pop, Krautrock — inspired drone work and contemporary electronica, with releases by everyone from DIY legends The Instant Automatons through Chris & Cosey of Throbbing Gristle, experimental composer Trevor Wishart, drone soundists Andrew Chalk and Darren Tate and Bryn Jones’s Muslimgauze. He has also been a key collaborator with both Current 93 and Nurse With Wound, working in the studio with both groups since the late ‘90s as well as serving as a member of Nurse With Wound’s current live line — up. From the late ‘90s to the late ‘00s Potter’s IC Studio, based in a Victorian Water Tower outside Preston, was a lightning rod for musicians working beneath the radar and a focal point for the nascent UK drone scene. Recent years have seen an upsurge in interest in Potter’s solo works, which showcase a constant experimentation throughout, creating obscure atmospheres and a pleasantly disturbing feeling of disquietude.