Lume Festival

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Very happy to have been invited back for the second year running to the lovely Lume Festival in London. This year with these guys:

At this great venue Iklectic; its inside the grounds of an old school, a very cosy green spot tucked between Waterloo Station and Lambeth Palace http://iklectikartlab.com/

Last year at Lume was with the duo with Adam Fairhall

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Spitting Feathers Review

Nice review in French here of Spitting Feather’s CDr with Olie Brice and Philip Marks. Some plans afoot to do some stuff with this group later in the year.

http://grisli.canalblog.com/archives/2014/05/21/29911392.html

David Birchall (guitare), Olie Brice (contrebasse) et Phillip Marks (batterie membre de Bark!) démontrent en une heure un goût pour une improvisation aérée. Que taillent quand même quelques gestes incisifs et augmente une recherche sonore qui impose à Birchall l’usage d’effets variés. Changeante, la musique du trio intéresse.

Birds seen and heard 11/1/13

In December we moved from the South West side of Manchester to the South East. Our old place was in gardens surrounded by a number a huge old trees which made a great habitat for various types of bird. Our new flat is much more urban but there is a really splendid park nearby; Birchfields Park which dates back to the 1880s so I been heading there a few times a week to carry on my work with drawing bird sound.

birchfields 2birchfields 1birchfields 3

 

 

 

 

 

 

 

 

 

So far have heard and seen:

Crow (Corvus Corone Corone)

Magpie (Pica Pica)

Jay (Garrulus Glandarius)

Blackbird (Turdus Merula)

Yellow Wagtail (Motacilla Flava)

Lesser Spotted Woodpecker (Dendrocopus Minor)

Nuthatch (Sitta Eurpaea)

Blue Tit (Parus Caeruleus)

Sparrow (Passer Domesticus/Montanus?)

Some new reviews

New reviews in French & English of BBM and solo CDrs from Monsieur Delire over in Canada:

BIRCHALL/BRICE/MARKS TRIO / Spitting Feathers (Black & White Cat Press)

Une nouvelle micro étiquette qui publie des CDr. Les deux premières publications mettent en vedette le guitariste David Birchall. D’abord à la guitare électrique, en trio avec Olie Brice (contrebasse) et Phillip Marks (percussions). Improvisation libre européenne – techniques déconstruites, jeu équilibrant instant présent et écoute des autres. Le produit physique est peu soigné, mais ils ont du talent.
A new micro-label releasing CDrs. First two out feature guitarist David Birchall. First on electric guitar, in a trio with Olie Brice (doublebass) and Phillip Marks (percussion). European free improvisation– deconstructed techniques, playing that balances in-the-moment-thinking with attentive listening. The physical product is crude, but they are talented chaps.
DAVID BIRCHALL / Acoustic Textures (Black & White Cat Press)
Et le voici cette fois à la guitare acoustique, dans un set solo de guitare acoustique préparée. Sept pièces, 33 minutes. Il y a de très belles choses ici, des sonorités nouvelles, bien maîtrisées, qui donnent le goût de le voir en action, de savoir comment il s’y prend. Plus remarquable que le disque en trio.
And here he is at the acoustic guitar, in a solo prepared guitar set. Seven tracks, 33 minutes. Some beautiful stuff going on here, novel sonorities, well mastered. This record’s best feature is the fact it makes you want to see him play live, to see how he does it. More unique than the trio record

http://blog.monsieurdelire.com/2012/11/2012-11-29-moskus-1982-bj-cole.html

Another Tipping Point Review

Thanks to ATTN: Magazine for this one

Andrew & I are improvising with a film at this event on sunday

“When homing in on the minute details of Tipping Point– the sounds and mutations that occur second by second – David Birchall (guitar) and Andrew Cheetham (drums) appear to have a very warped, jittery relationship. Taut strings are pinged and flicked, pitches are bent untidily like the output of a broken tape machine, while beats judder awkwardly into being before collapsing back down to the ground with a bass drum thud. There are some fantastic noises embedded into the tangle of sound courtesy of both players, and sometimes they jut out of the mesh only momentarily: the phased inflation and flatulent deflation of balloons, frictional scrapes and guitar body knocks, effortlessly varied combinations of shots against the skin and rim. The whole thing jerks and convulses, and the duo don’t so much avoid the prospect of “groove” as exist in absolute ignorance to it; motion arrives as an arrhythmic scrape and stumble instead of in bold, equidistant strides, with Birchall and Cheetham staggering and bumping into eachother the whole time.

But while the pair may appear to be locked into a sort of bendy, elastic conflict to begin with, gradually they reveal themselves to be working in immaculate musical parallel. Dynamic change is always impending, the two embark brilliantly on gradual arcs both up and down: descending into crazed mumbles of dissonance and quivering drum roll, and rising again into squawks of broken guitar strums and the more assertive flourishes of snare and ride. “Hold On To Your Lamp Post” is perhaps the best demonstration of the duo’s collaborative interplay, with a jumpy and staccato opening that accelerates into a furious gush of attack; both players gradually become more frantic in their execution, challenging eachother to push their instruments into rapid fire, yet both are impeccably synchronised in their careful – yet swift – descend back into the quiet.”