Thursday 12 April 2018, 7.30pm

Photo by Laurent Orseau

Ashley Paul – ‘Lost In Shadows’ album launch + Hugh Metcalfe / Gwilly Edmondez (duo) + Fielding Hope (DJ)

No Longer Available

American composer/performer Ashley Paul celebrates the release of new album, Lost In Shadows, on Slip – an expansive, deeply personal excavation of recent motherhood, told through songs dissolving and re-crystallising at the threshold of free improvisation.

At the LP's heart is Paul's mercurial multi-instrumental style, which renders the primal wails, clunks, and twangs of clarinet, saxophone, percussion, and guitar uncannily melodic, alchemised by frank, vulnerable vocals. The deft negotiation of the fragile and the coruscating evidenced on Paul's 'Line The Clouds' (2013) and 'Heat Source' (2014) has now reached a kind of hesitant sublime.

Recorded over 3 weeks at a FUGA residency in Zaragoza, Spain in December 2016, 'Lost In Shadows' documents a cathartic outpouring; the first time Paul had been able to write since the birth of her daughter 11 months earlier.

The record is completely influenced by "many hours spent awake at night in a dream like state of half consciousness, darkness and solitude; an overwhelming feeling of loneliness and exhaustion made light by a profound new love", with Paul's solo playing bolstered by additional baritone saxophone, cello, tuba, and percussion. This ensemble set-up, which premiered much of this work at 2017's Counterflows festival, gives the album a fresh sense of luxuriousness, bounce, and rich possibility.

Ashley Paul / saxophone, voice, guitar
Ben Pritchard / guitar, voice, percussion
Lia Mazzari / cello, percussion
Yoni Silver / bass clarinet, keyboard
David Aird / tuba

Ashley Paul

Ashley Paul is an American performer and composer based in London. She uses an array of instruments including saxophone, clarinet, voice, guitar, bells and percussion, mixing disparate elements to create a colorful palate of sound that works its way into her intuitive songs; free forming, introverted melodies. This blend manifests beautiful and simple musical forms against acoustic experimentation.

Ashley has performed or recorded with Phill Niblock, Rashad Becker, Nik Colk Void, Loren Connors, Heatsick, Aki Onda, C. Spencer Yeh, Anthony Coleman, Bass Clef, Joe Maneri, Joe Morris, Seijiro Murayama, Greg Kelley, Bill Nace and Eli Keszler appearing on such labels as Important, PAN, ESP-DISK’ and Tzadik. She received a Masters of Music from New England Conservatory in 2007.

Fielding Hope

Fielding Hope is a London/ Glasgow-based curator and DJ. He works as the Senior Producer of Cafe OTO and co-curator of Counterflows Festival in Glasgow. The best part of his life has been spent exhaustively traweling the outer-reaches of music, sucking all sorts of strange and beautiful aural debris into his tilted orbit. His DJ sets reflect the results of this ongoing journey; crossing strange terrain between pastoral vignettes to 190bpm pulvisors (and more or less everything in between) in equally coherent and contradictory ways.  

Gwilly Edmondez

Gwilly Edmondez represents a coagulation of multiple character strands derived out of one private/public individual whose corporeal manifestation carries it through live shows, albums, videos and numerous collaborations in improvised music. Born in Lake Fear, Pen-Y-Bont, Gwilly has released numerous albums in different formats; as a performer he has worked with (among many others) Heaving Stews, Valerie Pearson, Karl D’Silva, Tony Gage, Richard Bowers, Rhodri Davies, Faye MacCalman, Posset, THF Drenching, Odie Ji Ghast, Brown Torpedo, Wrest, People Like Us, Tobias Illingworth, Pat Thomas, Lauren Kinsella and James Joys.

http://ubu.com/sound/edmondez.html
http://freemusicarchive.org/music/Gwilly_Edmondez
https://vimeo.com/feltbeak

Other incarnations include Radioactive Sparrow co-founder Bill Bargefoot, MYKL JAXN out of YEAH YOU and the writer/composer/artist Gustav Thomas which is probably his real name. In all guises he is a purveyor of reaLFake Wild Pop, tearing open the terrified quotidian regimes of colonized consciousness (through, and in, his own brain) in order to plunge intensities between the cracks exposed. This doesn’t actually, necessarily, work - per se - but it’s the in engagement of attempts where the drama takes place.