QUESTION TIME WITH POLY-MATH

Banana lovers! Math Rockers! Lend me your ears. Poly-Math are playing tracks from their new album at The Facemelter this Friday, 3rd November, at The Black Heart.

Chad Murray enters the coven of the Space Witch

I have to admit that I’d never heard of Space Witch before seeing that they were playing a show with Chaos Theory; they’re very fucking good. I wouldn’t completely lock them into the doom metal bracket but, if you’ve not heard them, they’re definitely very, very bong-friendly.

Ex People: “because sludge metal”

We asked Ex People to tell us more about them, as we still know relatively little since we recently discovered them, and they sent us some ridiculous answers.

So you might as well read them.

A history of DVNE

We asked Victor of DVNE if he would be able to tell us a little bit about their history, tech or influences ahead of their headline show at The Facemelter in Camden this Friday, and he sent us all of it!

Reading about their unusual collection of influences makes us think that the new album is going to be something pretty special…

‘We Are Peering Over’ album launch – Question 3

Ahead of their show at Rich Mix on Thursday 22nd September, Chris Sharkey, Peter Ehwald and Bitch ‘n’ Monk tell us about their latest musical discoveries.

Tickets at http://www.wegottickets.com/event/368263

More details at http://chaostheorymusic.co.uk/22nd-september-bitch-n-monk-album-launch-peter-ehwald-survival-skills-chris-sharkey/

Loss and Love: Muscle and Marrow’s journey

We continue our week of daily articles about the experimental artists performing at our events this week.

Today we focus on Muscle and Marrow, who bring their new album tour to New River Studios on Saturday, alongside Father Murphy.

Soprano Heidi Heidelberg speaks about her techniques and influences

We continue to share info about each of the seven experimental artists involved with our two events this week. Today we hear from soprano Heidi Heidelberg, one half of Bitch ‘n’ Monk, who hold their album launch at Rich Mix on Thursday. We asked Heidi about her unusual technique and her influences, and here’s what she had to say: *   *   *   *   *   *   * After a gig I am often asked that peculiar question: “are you classically-trained?”, mainly because I can use vibrato and tend to dance around in my soprano range when I improvise, in a way that is definitely inspired by operatic coloratura. However classical training generally means a total commitment to mastering the ‘correct technique’ for opera or lyrical singing, but my mission is rather to find the technique I need to suit the music I’ve written, and the story I’m trying to tell. Sometimes I dramatically switch characters during a song and I need to abandon an angelic soprano voice in order to express rage, or even madness. When writing a passage, you are experiencing one particular emotion in its essence, but in order to perform it with emotional integrity months, or even years, later I find that vocal and breath technique helps me to re-experience that emotion. Taking short gasps creates the real sensation of panic, while long meditative breaths calm the mind, so I use technique to enter a new mental and emotional space as well as to allow me the versatility to sing the melodies I like, however angular they might be. My own training begun...