Home- Musician
- Producer
- Educator
- News
- Shows
- Tumblr
- Twitter
- Facebook
- WATCH THIS!
- Contact
chris sharkey
A MUSICIAN WHO PLAYS THE GUITAR IN NO PARTICULAR STYLE WITH LOTS OF DIFFERENT PEOPLE
-
Musician
- "Sharkey is at the cutting-edge of contemporary improv-fusion guitar technique, colliding headlong free-jazz phrasing with roaring thrash metal riffs and ghostly electronics"John Fordham - The Guardian"… astonishing technique that produces a vast array of otherworldly sounds from his battered looking Fender Strat, creating a torrent of angular flurries, gut-wrenchingly heavy, chugging, riffs and spaced out looping. He's one of the most exciting young guitarists on the UK scene, and one that might just find fans in both free jazz and avant metal camps."Jazzwise MagazineI like making things with people.Please feel free to get in touch if you want to make something.BILBAO SYNDROME
In 2008 I was chosen as a participant for the Take Five artist development programme led by serious which was an amazing opportunity to play with some of the best young players in the UK.This year and 2013 I'll be taking part in the European edition of the programme.
I also play in a freelance capacity whenever i can and have worked with some of my favourite musicians such as James Allsopp, Tom Cawley, Jack Dejohnette, Dave Okumu, Pete Wareham, Sebastian Rochford, Kari Bleivik, Shabaka Hutchings, Alex Bonney, Matt Manieri, Leo Taylor, Ruth Goller, Corey Mwamba, Andrew Plummer, Dominic Lash Andrea Triana, Tom Arthurs, Leo Taylor, Marilyn Crispell, Mark Ducret, Corinne Bailey Rae, Mark Stewart, Orphy Robinson, Marc Ribot, Roy Nathanson, Debbie Harry, Andy Sheppard and Three Trapped Tigers.
-
Producer
If you would like me to record and/or mix your project, get in touch using the contact form or call me on 07932752267.I have a small studio in Leeds ideal for up to a trio.Alternatively, location recording can be arranged.The trioVD album 'Maze' and the Collider Ep 'Nantbach and Sandwich' were recorded and mixed with the gear listed below that I have begged, borrowed and stolen over the last 5 years.EQUIPMENT LIST2 x AKG 4141 x Sennheiser 4411 x Royer 101 ribbon mic1 x Sontronics Sigma active ribbon mic2 x Rode NT 51 x Shure SM571 x AKG drum mic kit (including D112)1 x Dav BG 11 x Metric Halo 2882Mac Pro/Macbook Pro running Pro Tools 10/Logic 8+UAD 2 Quad V6 Omni Satellite+Altiverb 7+Soundtoys, SoftTube, Sonnox, Wave Arts, Abbey Road, Native Instruments, Slate Digital + MoreI also have a load of these which can come in very useful...
-
Educator
I'm interested in challenging expectations of what music education can and should be.We are constantly being told that our young people need to be 'creative' and 'innovative' but music education, a field that should be an example to other disciplines, is often lacking in these two vital areas.My ideas towards education projects, whether that is a workshop or a long-term project, focus on an experimental, collaborative approach.Putting an emphasis on 'making something' versus subjective ideas about what may be correct or incorrect practice leads to young musicians rediscovering a sense of fun in music education while at the same time engaging in progressive concepts of music-making.Bråkebøtta (Noisebucket)Around 5 years ago myself and the two other members of The Geordie Approach, Petter Fadnes and Ståle Birkeland, were approached by Rogaland fylkeskommune in Stavanger, Norway to produce a show for their Rikskonsertene series of concerts.The Rikskonsertene programme is a state-funded series of concerts for school children designed to showcase various forms of culture, art and music.Now entering our fifth year of touring with an 'A' rating from Oslo central office, hundreds of concerts under our belt and a collective audience of over 10,000 school children, Bråkebøtta (English translation, Noisebucket) is a 35 minute performance that explores varying methods of communication and improvisation. The audience play a huge role in shaping the show, and the music that occurs, through participation with clapping, singing and the playing of basic percussion equipment.The key to the show is that that throughout the 35 minutes the 3 performers do not speak a word. Participation comes from the students engaging directly with us musically
. The SharkestraIn early 2012 I was asked to put together a performance for the Gateshead International Jazz Festival featuring some of the young musicians from The Sage Gateshead's music programmes. It needed to cater for a wide range of ages and abilities.Here is the press release:The Sharkestra is band like no other.Featuring some of the North East's best up and coming musicians, The Sharkestra draws upon the skills and influences of it's members to create truly original music.Through a process of experimentation, improvisation and collaboration, the ensemble will work together in the run up to the concert with the aim of developing a language of playing together that is completely unique to the players involved.The Sharkestra is a place where rule books can be ignored and the idea of 'right' and 'wrong' in music can be challenged. It breaks down the roles of composer and performer and challenges the pigeonholing of music.Most importantly however, it's a lot of fun!The students really got behind the performance and contributed ideas straight away. The final concert was an hour long whirlwind of musical ideas that showcased each member of the band and covered a huge range of styles from experimental improvisation to choir-style vocal music.
Andy Sheppards Saxophone MassiveGreat short film on this excellent project I was proud to be a part of during the London 2012 festival.I will also be leading the Saxophone Massive at the Gateshead International Jazz Festival in April 2013
FEEDBACK"Chris knows how to make things happen. His direction is incredibly dynamic, and the result was a powerful performance with full expressive and creative engagement by the players. The audience loved it".James Birkett - Course Leader BMus(Hons) Jazz, Popular and Commercial Music"Chris Sharkey of TrioVD fame, alongside the East London Creative Jazz Orchestra (ELCJO), created a sensational, jaw-dropping free stage performance at the Barbican for the 2012 edition of London Jazz Festival. The result of an intense, creative residency with ELCJO, Chris Sharkey and fellow TrioVD members Chris Bussey and Chris De Bezenac worked with the ELCJO and band leader Paul Griffiths to create new compositions, free improvised pieces and a re-working of existing TrioVD material especially for the Festival.
The project was a free stage highlight – a true testament to the commitment and passion Chris Sharkey and TrioVD share in inspiring a next generation of young musicians. Outstanding!"
The project was produced by Serious in partnership Barbican Creative Learning Team
-
News
You can find info about my regular Leeds improvisation/electronica club night 'tokyo doorbells' @ http://tokyodoorbells.tumblr.com/follow me on instagram!
Matthew Bourne and I are supporting Marc Ribot at the Howard Assembly Rooms in Leeds on March 14th - get tickets here http://www.operanorth.co.uk/productions/music-marc-ribotHere is a nice video of The Geordie Approach from last year. The town is Dunajská Streda in Slovakia.Really pleased that Maze by trioVD made it into John Fordham's albums of 2012 in the Guardian!http://m.guardian.co.uk/music/musicblog/2012/dec/18/fordham-month-jazz-best-20122013 is looking good for The Geordie Approach. At the moment it looks like we're off to Spain, Portugal the UK and Norway to tour the new album.The UK show is shaping up to be quite exciting, I'll post more details as soon as I know them.Really pleased to be working on 2 exciting projects in my home town in 2013.In April I'll be leading Andy Sheppard's Saxophone Massive in a performance at the Gateshead International Jazz Festival and In the Summer I will be MD in residence for JAMBONE - A big band made up of some the North-East's best young players.The final performance with be at The Sage Gateshead in July.
The new album by The Geordie Approach 'Inatween' is now available for Pre-order!Check it out:http://brucesfingers.bandcamp.com/album/inatween
Had a great time hanging out during the London Jazz Festival in Nov 2012.Sitting in with Ihan Ersahin's Istanbul Sessions was totally wild - Amazing crowd and energy.The trioVD show with Puma and Electric Epic was cool - check out a review here:The highlight was the trioVD + East London Creative Jazz Orchestra show at the Barbican on Sunday. It was a pleasure to work with these amazing young musicians- hope fully some pics to follow!
was really pleased to be asked to do a remix for sebastian rochford's days and nights at the takeaway project - i did it on a train and you can hear it here: http://thetakeaway.bandcamp.com/album/days-and-nights-at-the-takeaway-10-octoberHad an amazing time in Slovakia, Hungary and Austria this back in october with The Geordie Approach - great venues and audiences - here is a photo set from our show at Stanica in Zilina, SlovakiaI'm also very proud to be taking part in the second edition of Take Five Europe this year which means hanging out and playing with amazing musicians all next year as well as learning a bit more about how this whole thing works!And to top it all off there's a new project with Mark Sanders (drums) , Corey Mwamba (vibes) and Andy Champion (bass) starting in the new year - can't wait!
-
Shows
- SCROLL DOWN!12.03.13 Solo + quartet with Matthew Bourne, Adam Betts and Tom Rogerson @ Proof Positive , Servants Jazz Quarters, Dalston, London14.03.13 Duo w/Matthew Bourne supporting Marc Ribot @ Howard Assembly Rooms, Leeds, UK17.03.13 TOKYO DOORBELLS @ Sela, Leeds, UK07.04.13 Andy Sheppard's Saxophone Massive, The Sage Gateshead (Gateshead International Jazz Festival)11.04.13 Eastern Europe Jazz/Improv workshop performance, The Sage Gateshead18.04.13 Take5 Europe band @ Banilieues Bleues, Paris, France21.04.13 TOKYO DOORBELLS @ Sela, Leeds, UK30.04.13 Take5 Europe band @ Jazztopad, Wroclaw, Poland16.05.13 The Geordie Approach @ Edinburgh, Scotland, UK17.05.13 The Geordie Approach @ Fox & Newt, Leeds, UK19.05.13 TOKYO DOORBELLS @ Sela, Leeds, UK12.06.13 Take Five Europe Band @ North Sea Jazz Festival, Rotterdam, Netherlands14.06.13 Jambone @ The Sage Gateshead18.06.13 Take Five Europe Band @ Molde Jazz Festival, Molde, Norway
-
Posts
- bits and pieces and bits
had some cool opportunities to test out various versions of rigs and pedal combinations lately - i’ve gone back to using fender twins when i go abroad to eliminate the extra cables involved with using effects loops in other amps - with the twin it’s just whack the pedals in a line and shove it into the front end (oh, grow up!)
this is fine but i’ve gotten so used to using my fryette and hearing delicious tube distortion and power amp compression, so what do i use to get anywhere near this type of sound with a twin?
1 - trusty modded Boss DS-1 - really natural sounding ‘break up’ distortion at low settings and cleans up well with gtr volume knob - you can crank it for a kind of fizzy sound that can be handy (especially if you put it before a volume pedal) for swells, feedback and general unpredictability
2 - Keeley Compressor - clean sustain and percussive nile rogers-ness - makes the twin sound like it’s running at 10 instead of 3 (er, chris, can you, er, turn it down a bit…?)
3 - Fulltone Octafuzz - unexpectedly sounds great through a twin, that’s it….
OK other things that have been floating my boat recently are:
Zvex Lo-Fi Junky - what can I say, want your guitar to sound it’s been mixed by Flying Lotus? This is for you - I can’t get enough of it
Earthquaker Devices Bit Commander - THE best sub-octave, synth fuzz I have EVER heard
Red Panda Particle - OK, keep this one on the down low because it’s one of those ‘secret weapon’ devices. Ostensibly a granular delay, its my new ‘desert island improv’ pedal (what’s yours by the way?!)
HOWEVER!!!! you know how those old Boss Vibrato pedals go on ebay for 400 quid?
Just get this instead, it’s great and i picked mine up for 20 notes :
keep it wrong~cs
- acoustic guitar (part 2)
the thing about playing an electric guitar with flimsy little strings is that it makes your hands pretty weak. as soon as i pick up an acoustic or electric with heavy gauge strings i feel like a beginner again.
the other thing about acoustics is that they have high action. no problem for strumming around the campfire but tricky if you want to get noodly or bendy which i like to do.
so the first thing i did when i got the acoustic in the picture below is whack thin strings on it and get the action lowered. genius right? wrong.
here’s the deal: i know nothing about acoustic instruments . turns out that the easier you make your guitar to play, the shitter it sounds.
dont get me wrong, it’s a nice sounding guitar for the price i paid for it. It has solid rosewood back and sides, spruce top, nice pickup system but the improved playability comes at the expense of sustain, dynamic range (it chokes out fairly quickly), bass response and overall volume.
so, for friday’s show with batteries (corey mwamba, andy champion and joost hendrickx) i upped the string gauge (which improved things a little) and went for it.
we recorded the show and, sure enough, when we listened back to the soundcheck (with the guitar miked with a nice neumann tube) it sounded horrendous! in the end we ended up using a mixture of a 57, the neumann and the pickup to get a sound that was decent. unfortunately we may have to ‘fix it in the mix’.
so, i’ve learned my lesson. i’m having the action raised again and have just bought a set of 13 gauge strings - let the weight-lifting begin.
- - - - - - - - - - - - - - - - -//////////////////////////————————————————-
in other ‘electric’ news - i’m pretty excited to be adding a kaoss pad to my live rig for the upcoming ‘spiel’ shows in norway in february.
it’s part of a fairly elaborate rig set-up based on the wet/dry/wet concept - i suppose that will be the subject of the next blog……
OK - keep it wrong ~cs
pedal set up for tonight’s show with the Geordie Approach at Tou Scene in
Stavangerleft to right:
digitech jamman / fender phaser / moogerfooger ring mod / hexe revolver / strymon el capistan / boss oc-3 / keeley modded boss ds-1 / ernie ball volume / m-audio expression pedal (controlling ring mod frequency)I’m using a 2 amp set up so the stereo looper brings the 2 signal paths together before they are split to the twin and the bass amp.
the revolver is a super cool 1 second sampler that does way more than I can be bothered to explain here. needless to say, if you get one, I’ll know you copied me.
the ds-1 turns the twin into a Marshall that’s breaking up and compresses the sound nicely for sustain and noodling.
I’ve nicked the phaser from my fellow wrong guitar mate, vidar schanche - it’s sounding pretty rad in the soundcheck even though it is RIDICULOUSLY big.sound in the room is nice tonight and we are working with a visual artist who is going to mess with the original get carter movie with max msp while we play.
I’ve also forced the soundman to parallel compress the drums and compress the overall mix to add a little ‘excitement’ to the mix (at the expense of a little dynamic range).
it was a bit of a battle getting him to do this…ok, geek-out over - keep it wrong…
you might not be able to tell from this picture but this mug is the size of james van der beek’s hollowed-out skull.
if I am not busy I will sit drinking endless cups of tea from this thing while playing the guitar - today, I’m not busy- remix for seb
was really pleased to be asked to do this - thanks seb!
funny though because he called me last minute and i hardly had any time to do it.
i ended up doing most of the work on a train from leeds to london (and back).
some final touches were done in the reliance in leeds (over a drink or 2) and i mixed it the next day.
sed and ollie’s piece is beautiful and features the cello as the only sound source for the majority of the track. seb turned the cello into drums and various other things in a very cool way.
i contemplated putting some guitar on it while mixing but everything i came up with sucked.
normally, with a remix, i won’t start work until i know what i want to do with a track but here, i did not have the time for that luxury. it meant that i just started and did the whole thing intuitively without any sense of where it might be going.
i had to mix in the way too and when i hit the deadline, just let it go.
i think if it was up to me i’d never finish anything so it was nice to have this constraint.
here it is, i hope you like it.
- ballad of the lefty part 2...
bit boring that last post eh?
that’s what staying at an easyhotel for a week does to your mind.
DON’T EVER STAY AT AN EASY HOTEL. EVER.
upshot of the acoustic thing was that i tried a load of axes on denmark street with prices ranging from 100 to 4 grand and pretty much hated them all.
the new plan is to get a fairly cheap one (that i won’t mind banging around in an improv context) and fixing it up to my weird specs (i refuse to use the term ‘pimping’).
it’s arriving tomorrow, i’ll keep you informed.
last week was great, really enjoyed doing the LJF stuff but it was especially good to do some playing with some of my favourite musicians: Ruth Goller, Dave Smith, Tom Rogerson from Three trapped Tigers and Max from Hot Head Show.
was great to improvise with these guys, i’m sure it won’t be the last time…
also, going back to an earlier post, the el capistan tape delay is a beast! such an amazing sounding, creative tool - it’s not going to be off the board for a while.
here’s an old clip of me and Ruth playing together with a couple of other guys ;-)
keep it wrong~cs
- the ballad of the lefty
I’ve been learning to play the guitar for about 23 years and and have never owned an acoustic guitar.
For some reason the organic guitar has never really got my heart racing like its genetically modified cousin.
I’ve not listened to much acoustic guitar music (Derek Bailey’s LACE album being a notable exception) and there doesn’t seem to be a lot out there that floats my boat.
However, I did a gig recently where it really made me think about changing all this.
I did a solo electric guitar set in Manchester a couple of months ago. After I played there was a duo of Corey Mwamba (vibes) and Dave Kane (bass) both of whom played acoustically.
As is tradition in these kind of shows, I joined them at the end of the set and immediately noticed an issue with dynamics.
In order for my amp to give me the range I need to play, it requires a certain amount of volume. The fact that I’m pushing the amp to this volume creates amp noise, a fairly loud noise floor that is there all the time.
This amp noise basically ate up all the dynamic range from ppp to mf!
Dave and Corey had made entire pieces from exploring this area where my only contribution would have been: SSSSSSSSSSSSHHHHHHHHHHHHHH….
When i did play, no matter how much I manipulated the volume control or used other techniques to try and create balance, I always felt like I was too loud. There was an inherent problem!
I’m playing with Corey, Mark Sanders and Andy Champion in a new project next year so I figured ‘why not make it an acoustic project?!’
I’ve been down in London all this week doing a project with trioVD and the Barbican - the perfect time to check out acoustic guitars on Britain’s most overpriced collection of music shops - Denmark Street!I will continue this story later when my thumbs have recovered from this iPhone typo- thon
in the meantime, keep it wrong
xc
ok - I don’t want this just to become a big advert for stuff but I just picked this up and it is pretty amazing.
I have amassed a lot of delay pedals over the years and every one I have is great at doing…well, something…
mostly I use them for extreme effects - glitch sounds, self-oscillation, modulated delays, warp, machine gun stuff but I’ve always found that trying to use them in a ‘traditional’ guitar-type way (i.e ambience, tone thickening) never works for me.
Also, I love the sound of tape delay and use it all the time when mixing, but stomp box tape delay pretty much always sounds pretty shit (even the eventide I have…)
Basically this little box (which is light, robust and uses standard 9v) can sound like soundtoys’ echoboy, waves H delay or even the UAD RE201 (it even has optional spring reverb) plug ins on your pedal board - amazing…
It actually uses the same chip that is in the UAD2 cards so the modelling is flawless…er, and it does sound on sound recording -
I’m honestly blown away.I’m going to be road-testing this little fucker all next week down in London where I’m playing with Ruth Goller (reunited!), Ihan Ersahin, some of the lads from Three Trapped Tigers and trioVD
In other news I have been listening very intently to Jim O’Rourke’s solo albums recently. Really inspiring, beautiful music. The Drag City ones, I forget the namesLastly, please google Alex Ward if you’re interested in checking out some amazing, wrong guitar.
It’s almost like he has all my ideas, just way before me! Incredible.- what is this all about?
hello.
this is here because i wanted to write something about playing the guitar.
most people play the guitar ‘right-handed’.
i am left handed, or ‘wrong-handed’ - hence the title of this blog.
that isn’t the only thing i do differently when it comes to the guitar, maybe we’ll get on to that.
i will try and put something here if i think it is interesting to guitarists, musicians and normal people.
i just got back from a tour in slovakia, hungary and austria with a band i play in called the geordie approach. TGA has been going for a long time (maybe 6/7 years) and i think this was our best tour yet. the music flowed, the audiences enjoyed it (mostly-a woman came up to me after one show and just shouted, “WHY?!”) and good times were had.
we were joined on the tour by the great recordist andy bell who documented the shows.
andy’s bread and butter is recording the best folk artists the world has to offer and it was great to chat to him as we swerved around eastern europe getting an insight into some music that i know very little about.
we checked out a lot of music from richard thompson to the punch brothers but something really clicked with me when he played me some music produced by t-bone burnett.
t-bone burnett is a music producer and guitarist who, quite simply, has made some of the best records i’ve ever heard.
lately, my playing has been changing quite a lot and there is something in the way this guy plays that really speaks to me.
his attitude to recording also leaps out at me. here’s an excerpt from an interview he did for performingsongwriter.com
How do you go about creating complexity in the low end?
First of all, I think of everything as a drum. An acoustic bass fiddle is just a big drum with strings attached that you attack with your fingers or a bow, but it’s still just attack and resonance. A piano is just 88 little drums—in fact, by combining notes, you can make thousands of drums out of it. And for me, it all has to do with the tribal storytelling that happens with music, so I don’t really care what’s hitting the backbeat, whether it’s a snare drum or a mandolin … as long as it’s getting hit in the right place with the right meaning.
So the attack of the instrument is just triggering the tone, and we’ve spent 10 years minimizing attack and maximizing tone. All of these other rhythms and beats get set up in the overtone structure, which creates a lot of mystery and a real sense of place. In contrast, the thing that a computer does best, which is to put all the notes on the right beats, becomes completely uninteresting.
Do you accomplish that by using compressors and limiters to hold down the attacks and emphasize the body of the sound? Your productions don’t sound especially compressed.
That’s because we actually accomplish it in another way: We play very, very quietly. The more quietly you play, the less attack and more tone there is. If you hit a guitar too hard, it chokes the note off; the volume of sound that’s attempting to escape from the box turns in on itself and cancels itself out, so the sound just collapses. The same with a drum: If you hit it too hard and leave the stick there, nothing happens. But if you tap it softly, you actually get a much fuller sound.
see what i mean?
anyway, those couple of statements have really got me thinking over the last few days - i hope it floats your boat too
keep it wrong
~sharkey
ps - i just bought a tremolo pedal
-
Tweets
- RT @AndyChampionACV: The new ACV album 'Busk' is ready for download over at the Babel website. Go and get it..... http://t.co/bJjQ3As4ExMar 22, 13 from web Reply, Retweet, Favorite
- driving to london soundtrack 21/3/2013: new timberlake (probably x2), mbv, new actress EP, sebadoh III, 'new' hendrix, new bad seeds - GO!Mar 21, 13 from web Reply, Retweet, Favorite
- i've just got one word for you today: louis CKMar 21, 13 from web Reply, Retweet, Favorite
- the sky is blue today, it's beautiful...wait, i must still be asleep...can i trust you all not to put my hand in warm water?Mar 19, 13 from web Reply, Retweet, Favorite
- the perfect cure for monday blues ...@SteveMartinToGo http://t.co/866r1K0VeD
- playlist and short video from last night's 'tokyo doorbells' here - > http://t.co/PwEObcMB71 - huge thanks to everyone that came down XXXMar 18, 13 from web Reply, Retweet, Favorite
- @JohnTurrell sounds great man, it's been too long :-)
- @gail_brand both of things are amazing
- @gail_brand you are human?!
- @JohnTurrell all the better for hearing from you my dear boy! how's life in the turrell universe? ? ?
- @NPandPimptones to be fair, 'so' is not as bad as 'to be fair'.
- @AndyChampionACV you've been take fived!Mar 17, 13 from web Reply, Retweet, Favorite
- watching QT in iplayer - wasn't surprised when Francis Maude put on the black cloak and shot all lightning from his fingertips #darkside
- uncontrollable pedal-buying frenzy! HELP!!!Mar 15, 13 from web Reply, Retweet, Favorite
- @thejohntoolan @howard_assembly @mortbutane of course, but sometimes the ground can be the best part
- playing with @marcribotmusic later on #smugtweet
- @michellecremin i think that's a dead heat!
- imagine giving someone a job based on rules that were made 800 years ago...beware witches and deviantsMar 13, 13 from web Reply, Retweet, Favorite
-
Wall
- my good pal ray kane (www.raykanecan.com) made this - we shot it a while back and i thought it had disappeared into the archives....but here it is! hope you enjoy the wrongness
- this is happening in leeds in a couple of weeks - live, loud music + co-ordinated, gobsmacking visuals on 4 screens, in the dark, backwards, on fire (maybe not fire....)
- RIP Jeff Hanneman
- off to poland with a view every musician fears ... anyone got any tips for Wroclaw? learning how to pronounce it would be a good start...
- some new things on the blog: 1 - complete recording of an acoustic, improvised show from january featuring corey mwamba, andy champion and joost hendrickx 2 - a geeky post on guitar effects, amps and the like make yourself a cuppa and check them oot x
- please pay attention, there will be an exam afterwards - full marks go to anyone who correctly translates the following: "Excuse me, could you pass me a hammer?"
- head still spinning from Gateshead Jazz Festival, too much fun was had - in other news, this is happening 'north of the wall' in May - be great to see you if you're in Edinburgh at the time :-)
- DJ playlist and film from tokyo doorbells #1 + info on #2 here - >>>>
- the very first ever TOKYO DOORBELLS at Sela in leeds tonight! Exactly or nothing like Steve Reich and Radiohead sitting in a room imagining Matthew Bourne and members of trioVD, Roller Trio, Submotion Orchestra and Shatners Bassoon re-imaging the soundtracks to "The Warriors" and "Predator". Moogs, 808s and tape echoes are primed - prepare to nod your head in a rhythmic fashion while sipping an old fashioned from a hollowed-out monkey skull. Mucky Sailor's own Chairman WOW! on the wheels of steel from 7PM...
- who wants my spare guest list spot for the show tonight? first comment wins!
- Matthew Bourne and i are playing at this tonight in leeds. w/Marc Ribot
- OK - if you're in london and fancy some sounds tonight you should come to this - me, Matthew Bourne + THREE TRAPPED TIGERS at Servant Jazz Quarters ....the psychotic screech of tyres outside my house mean matthew is here to pick me up - hope to see you there!
- looking for a london show for the geordie approach on May 15th - can anyone suggest a spot? the usual suspects are booked... it will sound something or nothing like this ->
- i'm starting a night in leeds - live bleeps, blips, booms shimmers and shakes interspersed with woozy, cerebral 808s, rim clicks and fractured vocals - if you know what any of that might means then you should come down! ....everyone can play but, please, no solos <<<>>><<<===+
- very pleased to announce that Matthew Bourne and I will be supporting Marc Ribot at the Howard Assembly Rooms in Leeds on March 14th - it's not the first time! check this pic from 10 years ago...just sad that Mr Black won't be joining us this time. - to paraphrase something Marc said back in 2004... 'Time for a bit of the old noise 'n' roll huh guys!'
- good morning! But first, this very important message from Charles Ives....
- this is simply astonishing...prepare for your mind to be blown!
- I'll be playing a solo set in London on March 12th at Tom from Three Trapped Tiger's new night at Servant's Jazz Quarters - there will also be solo sets from Tom, Matthew Bourne and Adam Betts and a quartet pile-up to finish. I'm absolutely gagging for this...
- thanks to Stuart McCallum for showing me how an acoustic guitar should be played last night - nice to chat and have mini geek-out afterwards about reeeeeeeevvvvvvveeeeeeerrrrrrrrbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbb...
- i recorded this short improvised piece this morning for jonny who requested a solo video last week - hope you all enjoy it... i guess i'm now officially taking requests! any more out there? ('American Pie' - £100)
-
WATCH THIS!
