Pages: 1 5 6 7 8 9 26

Introducing Fulhäst

I sometimes forget to feature my extra curricular activities here. Fulhäst is my good friend Nik Vestburg and it’s a strange mix of stark, bare, heartbroken lyrics and blut, brutal Gameboy music. I spent two days recording his album ‘Broken’ back in January.

My and Nik almost have no shared fram of reference. He likes horror movies and Swedish punk rock. I like Free jazz and alternate guitar tunings.

But we work well and fast together. We are going to do more stuff together again soon.

The easiest introduction to Nik might be this remix I did for him.

However I would advise you to avoid my sweetening and drink some neat Fulhäst.

Here you go….

Occupation 6 – Darren Hayman and the Wave Pictures

Occupation Show 6 at the Vortex Club will be over two nights on the 12th and 13th December. Darren will be playing sets with The Wave Pictures.

It’s a long time ago not but when the Wave Pictures first moved to London back in 2006 for a short while there were the original Secondary Modern. Darren took them to Spain with him and they also did a few UK shows. Since then they have collaborated regularly, playing on each others records and Darren directing Wave Pictures videos.

In 2011 they made a single together ‘Who Hung the Monkey’, part of the January Songs project.

https://vimeo.com/18802568

To make the show extra special we are going to try and organise a secret santa event. Every ticket holder should try and bring a £5 ish present and all of the presents will be swapped and distributed throughout the night.

THE SETS ON BOTH NIGHTS WILL BE LARGELY SIMILAR.

Thursday 12th December http://www.wegottickets.com/event/242735

Friday 13th December http://www.wegottickets.com/event/242738

The Vortex
11 Gillett Square, London N16 8AZ
www.vortexjazz.co.uk
Doors 8pm
£12 Adv

www.hefnet.com

@DarrenHayman
@VortexJazz
@ThePopside

Darren Hayman’s Occupation is a series of monthly shows at The Vortex, Dalston. There will be a mix of sets showcasing different albums, themes and special guests. This is not your standard indie gig:

“I love gigs. I hate gigs.

I want to play live and I love what shows can be, but I’ve found myself frequently stifled by the limitations of my career. I can’t play the plush, seated venues and I can’t experiment with a string section or play 20 minute opuses.

My music was born in the sticky floored rock venue. I like the sticky floored rock venue but I have had a hankering for something different recently. My own taste has veered towards free improv and jazz and although it’s hard to imagine that music influencing my own I do love the culture of live music in this genre.

Long sets, sometimes two, comfortable venues and a reverence and respect for the event and the moment; less talking, less cameras, more dynamics, less microphones.

I wondered if these would let an indie rock interloper amongst their ranks. My show at the Vortex back in last November was successful enough to make me think of playing a monthly residency there.

The idea is that each show is themed. I don’t want to go the whole predictable route of playing complete albums, but rather group, types of songs together for different evenings. Experiment, sometimes play two sets, sometimes have unlikely guests. I will be playing with members of my bands from through out my career as well as old friends like the Wave Pictures and Allo Darlin.

The Vortex is a beautiful venue. I’m trying to do something different; something, smaller, prettier. I hope you can come.”

 

Occupation 5- Old Hymns with Jack Hayter

For the fifth Occupation show we are expanding to two nights; 11th and 14th NOVEMBER

The theme this time is simple, Darren and his old bandmate Jack Hayter will play the songs of their old band Hefner. Darren and all the members of Hefner have remained firm in their intention that the band will never reform and even nights like these are very rare. The last time Jack and Darren played sets like this was in 2008.

This time Jack and Darren hope to turn their attention to the softer side of Hefner. Less Hello Kitten, more Hymn for the Alcohol.

ALTHOUGH THEY ARE PLAYING TWO NIGHTS  THE SETS ON BOTH NIGHTS WILL BE LARGELY SIMILAR.

Support on 11th is from Papernut Cambridge. An awesome new band, formed in a dream and sometimes featuring Darren himself.

http://www.wegottickets.com/event/241421

Support on 14th is from Jack Hayter playing his own songs.

http://www.wegottickets.com/event/241422

All tickets here  www.wegottickets.com/popside

The Vortex
11 Gillett Square, London N16 8AZ
www.vortexjazz.co.uk
Doors 8pm
£12 Adv

www.hefnet.com

@DarrenHayman
@VortexJazz
@ThePopside

Darren Hayman’s Occupation is a series of monthly shows at The Vortex, Dalston. There will be a mix of sets showcasing different albums, themes and special guests. This is not your standard indie gig:

“I love gigs. I hate gigs.

I want to play live and I love what shows can be, but I’ve found myself frequently stifled by the limitations of my career. I can’t play the plush, seated venues and I can’t experiment with a string section or play 20 minute opuses.

My music was born in the sticky floored rock venue. I like the sticky floored rock venue but I have had a hankering for something different recently. My own taste has veered towards free improv and jazz and although it’s hard to imagine that music influencing my own I do love the culture of live music in this genre.

Long sets, sometimes two, comfortable venues and a reverence and respect for the event and the moment; less talking, less cameras, more dynamics, less microphones.

I wondered if these would let an indie rock interloper amongst their ranks. My show at the Vortex back in last November was successful enough to make me think of playing a monthly residency there.

The idea is that each show is themed. I don’t want to go the whole predictable route of playing complete albums, but rather group, types of songs together for different evenings. Experiment, sometimes play two sets, sometimes have unlikely guests. I will be playing with members of my bands from through out my career as well as old friends like the Wave Pictures and Allo Darlin.

The Vortex is a beautiful venue. I’m trying to do something different; something, smaller, prettier. I hope you can come.”

 

Buy the Occupation Posters!

You can now buy the first four Occupation posters. The posters are A4 and will be sent in a strong cardboard tube.

Buy Occupation Poster Set 1 (including P and P)


Occupation Show 4

One part of the Occupation idea is that we would do things we had never done before. That in getting used to the venue we would be spurred on to do new and experimental things. So far at each of the shows we have performed new songs. On October the tenth we take this one step further with a whole night of new song.

During August we hope to record all of these songs in a chapel in Wales. The songs are more loosely themed than recent albums but the songs do have a thread running through them. Soft pulsing hymns of regret.

These are songs about love gone wrong. A break up album. Please come and see us play a whole set of new songs on October 10th.

http://www.wegottickets.com/event/235168

The Vortex
11 Gillett Square, London N16 8AZ
www.vortexjazz.co.uk
Doors 8pm
£12 Adv

www.hefnet.com

@DarrenHayman
@VortexJazz
@ThePopside

Darren Hayman’s Occupation is a series of monthly shows at The Vortex, Dalston. There will be a mix of sets showcasing different albums, themes and special guests. This is not your standard indie gig:

“I love gigs. I hate gigs.

I want to play live and I love what shows can be, but I’ve found myself frequently stifled by the limitations of my career. I can’t play the plush, seated venues and I can’t experiment with a string section or play 20 minute opuses.

My music was born in the sticky floored rock venue. I like the sticky floored rock venue but I have had a hankering for something different recently. My own taste has veered towards free improv and jazz and although it’s hard to imagine that music influencing my own I do love the culture of live music in this genre.

Long sets, sometimes two, comfortable venues and a reverence and respect for the event and the moment; less talking, less cameras, more dynamics, less microphones.

I wondered if these would let an indie rock interloper amongst their ranks. My show at the Vortex back in last November was successful enough to make me think of playing a monthly residency there.

The idea is that each show is themed. I don’t want to go the whole predictable route of playing complete albums, but rather group, types of songs together for different evenings. Experiment, sometimes play two sets, sometimes have unlikely guests. I will be playing with members of my bands from through out my career as well as old friends like the Wave Pictures and Allo Darlin.

The Vortex is a beautiful venue. I’m trying to do something different; something, smaller, prettier. I hope you can come.”

 

The Shock of the Old

Darren Hayman and & Short Parliament’s album Bugbears is a rare thing. It’s a vision of the 17th century, and particularly the civil wars that saw Britain turned upside down; but it’s done through music that, though it’s more-or-less folky, is not at all nostalgic. Modern folk and 17th century history: it could be a little offputting. Putting aside the question of folk music, why would anyone be interested in the 17th century?

Here are three reasons, three things that everyone should know about Britain during those times:

1.
There was an information revolution. Really this began in mainland Europe with Johannes Gutenberg’s invention of movable type in the middle of the 15th century, which revolutionised printing. But in Britain it happened between the late 16th and 17th centuries. What happened? New communication media — cheap print — opened up new kinds of dialogues, speeding up communication, making great swathes of information that had previously been the preserve of educated elites available to a much broader public. At the same time many people worried about these new media: would they disrupt old ways of learning and traditional values? Would they undermine knowledge as much as they spread it? How could you know whether something in these new media was true?

Does any of this sound familiar?

Cheap print was in some ways the equivalent of the internet. It seemed exciting and threatening at the same time. In Britain pamphlets began to appear — short books that argued about politics and religion in popular, accessible writing. They were intended to change what the reading public thought about things. Governments were concerned about the way pamphlets and pamphleteering might turn the world upside down, and from time to time tried to quash them. Pamphlets could not only be read by cobblers and tinkers: they could be written by them (actually the few who were literate). Gradually, however, politicians and governments accepted that pamphlets couldn’t be eradicated entirely, and increasingly they became part of the conduct of ordinary, everyday politics. If you wanted people to take your side, you persuaded them through print.

blogandpamphlet

Pamphlets were like blogs: pithy statements of fact and opinion, arguments with invisible enemies that sewed new ideas, explorations of popular religion that were not controlled or authorised by the church. Writers didn’t care who their anonymous readers were: this was a very public, perhaps democratic, form of engagement. With a pamphlet you could try to persuade people to take your side in an already polarised conflict; or you could just throw an idea out there and see if it floated. When the civil wars began — in 1637 or 1642 depending on how you look at it — pamphlets were part of the warfare. They were paper bullets.

Meanwhile weekly newspapers (which appeared in 1641) speeded up the news, and made more news accessible to more people. In a way they created the first news cycle (at least in Britain), because readers expected weekly updates. These days we have our 24 hour news cycle. In the 17th century the news was weekly: but this in itself was quite revolutionary, and perhaps changed the way people thought of time and history, exactly as it was happening around them. This was a media revolution.

2.
As the extraordinary The Violence records at double-album length, 17th century British people believed in witches — believed in them enough to hang a few hundred poor, defenseless old women. Surely this has to be the apogee of superstition?

But there was another aspect to 17th century Britain, one that we would call ‘modern’. These are some of the things that happened in 17th century Britain: the introduction of coffee, tea and drinking chocolate; the introduction of coffee houses, where you could drink a cup of coffee and read a newspaper; the first printed newspapers; the first playing cards; the first gambling on horses; the first (indeed the only) written constitution in the history of England; the first cabinet government; the creation of the Bank of England; the first banknotes; the creation of the National Debt; the invention of the forceps to deliver babies; the invention of the pressure cooker; the first documentary histories; the introduction of opera to London; the first professional women actors; the introduction of telescopes and microscopes; the discovery of the vacuum; the creation of the scientific method of experiments, and the use of a journal to disseminate scientific knowledge.

Now this may sound as if the 17th century had one foot in the ancient and one foot in the modern. But this is not an entirely helpful way of seeing it. Because witch-persecution seemed perfectly reconcilable with all of the above to almost everyone. It’s to us that they seem incompatible. In a way an interest in witchcraft and magic and astrology not only coexisted with the scientific method; they were different elements of the same belief system. Isaac Newton believed in alchemy and angels and magic, and revolutionised modern mathematics.

No doubt there were charlatans among the astrologers in London; but there were also honest and sincere people. The song ‘Bold Astrologer’ tells of one. In the song the astrologer is visited by a young serving girl; but later the same day he might have been visited by Shakespeare, Cromwell, or Isaac Newton. Plenty of people, especially the educated, expressed scepticism about astrology, but nonetheless attended them, or bought their books.

Declaration and Standard of the Levellers

3.
There was not only a civil war in the 1640s and 50s but also a political revolution. Men and women (mainly men) argued about the democratic franchise and property rights. In a debate held in a church in 1647, one colonel in Cromwell’s army famously said: “For really I think that the poorest he that is in England hath a life to live, as the greatest he; and therefore … every man that is to live under a government ought first by his own consent to put himself under that government; and I do think that the poorest man in England is not at all bound in a strict sense to that government that he hath not had a voice [i.e. a vote] to put himself under”. People argued about the king’s prerogative and the power of parliament. They argued about whether a republic was a less corrupt, more stable and more equitable form of government than monarchy. They argued about whether Bishops should have political power (Bishops were temporarily abolished), about whether the Church of England should be disestablished.
The cavalier song ‘Hey Then Up Go We’ makes fun of puritan extremism, and at the same time speaks of the deepest anxiety that the most fundamental premises of a hierarchical society are being challenged. In some ways it was easier to satirise this than to take on the arguments face to face.

People argued about whether the law and law courts should rely on Latin and Law French, leaving uneducated people helpless in the face of the law. They argued about censorship and the freedom to read. They argued about whether the two universities were the seed-beds of hypocrisy and false learning. They argued about the abuse of power by those in high positions. They argued about parliamentary corruption.

Areopagitica

Why would anyone be interested in the 17th century? When we look at the 17th century, we look in a mirror. It can show us ourselves, while making our own reflection seem strange and unfamiliar.

Joad Raymond