Friday, 29 March 2013

Trash - LittleBerry Big laughs

'Vikki' - Sophie Wardlow
'Inga' - Catherine Forrester
Out of a festering pile of rubbish erupts Vikki (Sophie Wardlow), hair darting in opposing directions, alive like Medusa's mane, but these are not serpents that writhe but a medley of cans, discarded food and I'm sure a few creepy crawlies. Although she looks like Stig of the Dump this isn't her home but the larder from which she hand picks the choicest delicacies.
Surprisingly she is not the only diner at this bin bag buffet. In fact she shares her spoils with a brace of houses and their inhabitants. You would expect her to be territorial, but despite some petty irritations all the characters in Tom Hunt's new comedy Trash are free from stereotype and aggression.

'Liam' - Craig Deuchar
This is a comedy which hinges on the central theme of Freeganism, a desire to eat and live without spending a penny, foraging in bins and hedgerows alike. It's a matter of recalibration, mouldy cheese becomes a blue veined bonanza, a squishy melon is not overripe but at its fullest flavour. All the characters have iron stomachs and you expect them to object, at least on the grounds of hygiene, but no, it seems there are no limits, only those of the audience's squeamishness. Most of the time it is like a game of 'dare', no one wanting to refuse the most putrid morsel.
'Gabriel' - Henry Allan
The fine collection of characters don't rely on cliché to describe their inner motivations and trash can tastes. It would be easy to do so with the main scenes being grounded in students digs. Even the main counterpoints to the student's way of life are swayed to their ideology (sometimes unwittingly).
The landlord is played superbly by Paddy Cooper who immediately captures the hearts (and laughs) of the audience with his Rigsby-esque comic patter, but he still posseses a hint of menace. His tasting of the Freegans peach wine elicits an unexpected response.
'Neil' - Paddy Cooper
The ideology of Freeganism is gently represented and not once does it get on its high horse. In fact the most political figure 'Gabriel' (Henry Allan) subtly unseats himself throughout with bad jokes and camp dialogue.
Another strong performance was Catherine Forrester as Inga, who provides a small but spikey opposition to this rubbish heap lifestyle with sharp Eastern European mentality and desire for tidiness.
Tim Fulker
It was hard for me to draw all the characters because of the play's frenetic pace, and to follow all the humorous duels so I relied on the man next to me (Tim Fulker). I could hear him titter and giggle throughout. During the break at the White Bear Theatre I asked him what he thought as he constructed a roll-up......

"I love the variety of comic characters, particularly Neil/Nigel. Occasionally I've been short of
'Craig' - AJ MacGillivray
money myself, In fact I've lived off Out-Of-Date sandwiches for the past 3 months, so I know the pure pleasure when an unexpected treat falls in you lap".
Whether Tim was talking about finding a chocolate button down the side of the sofa or the play itself was unclear but from the amount of laughter in the second half I'd say it was the latter.
'Little Tom' - Joseph Stevenson
The whole cast worked well together and it was fast paced, tight knit performance, in fact I was still in mid sketch as the curtain fell, catching me unawares. As a new comer to both the excellent White Bear Theatre and LittleBerry Productions I grabbed a word with the play's producer Phoebe Hunt. It is clear she has many projects in the pipeline for LittleBerry, a company that helps young actors, directors and fledgling theatre professionals get a foot in the stage door.
My favourite scene of the night was steered by James Stirling-Gillies 'Curly', when he unearths a bottle of 1980's ketchup from a mountainous mound of refuse sacks. Not only are digits dipped into
'Curly' - James Stirling-Gillies
the sauce with great relish but the subsequent sampling sticks two fingers up at the likes of Masterchefs' Torode and Wallace. These characters, after all, are hungry people whose taste buds and sense of community have been heightened by necessity.
'Julia'- Holly Ashman
Trash doesn't pretend to be champagne theatre but a very apt comedy in these times of austerity, so lets celebrate with a bottle of Chateau Heinz c.1988 amongst good friends.
What more could you wish for.
Trash continues its run at the White Bear Theatre until 13th April 2013

Thursday, 28 March 2013

Mental Health Cat and Mouse

The day (6/2/2013) I spent in a simulated Mental Health ward was unforgettable, it was exhausting, intense and dramatic. I was the guest of Kingston University and psychotherapist Harvey Wells who had set up this opportunity for 50 students and 1 inquisitive artist. Over the next 6 hours the students were thrown into a 'live' ward environment, they had to think on their feet, diagnosing, helping and reacting to the 'patients' in their care.

As I arrive in the ward this morning instead of 'real' mental health patients I find 11 jovial actors all preparing for the day ahead. As the actors meet each other, a strong gallows humour develops, like a game of Mental Health poker, they guess, bluff and raise the stakes on one another by revealing their character's conditions and medication. As the 'live'  hour approaches they slowly get into character, disappearing behind one of the many blue screens. Their silhouettes still visible as they pace back and forth, talking to themselves. Some start to change their clothes. 'Sheila' explains to me that she has to wear her 'depressive cardigan' while 'Daisy' places so many scarves and brightly coloured necklaces around her neck, she looks quite the opposite of depressed.

The students come in and a Facilitator blows the metaphorical whistle and the ward is immediately a maelstrom of activity. I am in a tight booth with an agitated 'Jeffrey', he is frustrated that no one takes him seriously. He is soothed and listened to by the student. He calms down and explains a little about his life, his achievements, his aspirations.

Just out of the corner of my eye I snatch a glimpse of a white vision. A lady has entered the booth and is disrupting 'Jeffrey's' new found peace, by trying to get a message to God. Clad only in a hospital bed sheet and clutching a white dove, her hands shoot up and plead with her deity. A number of students converge to deal with the disturbance, but Georgina is on a roll and darts into anther booth, students scurry to contain this saintly whirling devish, and I am left with 'Jeffrey'. Unattended he opens a window, pauses on the edge of the sill, but luckily doesn't jump. Instead he's had enough and walks out of the ward.


I made my way between the booths, a voyeur and an artist who was desperate to catch all the action. 'Sandra' is abusive, she shouts at the other patients and threatens a student. Her left hand is entwined in her hair, turning repetitively, agitated. She hears voices saying abusive things, it seems that she has been abused herself. The brave students keep calm but suddenly there are more bodies in close attendance.

There are quieter interactions though. I come across 'Jane', she isn't saying anything but is obviously furious about her mother's care. She sways in her chair like a listing ship, an inner battle rages in her head. Her mother is in the cubicle next door, a charming lady called 'Daisy', she seems absent minded and continually searches for her glasses in her bag.

Sheila is the quietest of them all. She is rolled in a ball. Too scared to murmur the shortest sentence but fragments of a story emerge. Just 5 weeks ago she had a baby and now the waves of  despair are drowning her. Compassion from the student who is talking to her start to cast out that life-line.
Hopefully she'll grab it with both hands but this must be the frustration and sadness with some patients, if they choose to enter the deepest waters alone.

Much of the interaction between patient and student was detective work. On the whole it was a tremendous success, listening is a valuable commodity, not only does the patient unburden themselves but there is much to learn from a person's explanation or description. Occasionally things went wrong. I sat next to 'Jamie', he rocked back and forth clearly agitated. His eyes pleaded with the student in front of him, yet Jamie's mouth let forth the word 'I'm fine, I'm fine'. The student started to panic himself and fired off a series of rapid questions. Jamie was sweating and you could see he was serious trouble.

It was a poignant reminder that these simulations were sometimes about failure. Learning from the experience even if things go wrong, because now is the time to do so with Kingston University's Facilitators holding the safety net.


The actors who play these roles are giving the students clues through their back stories but also through their mannerisms. I was particularly interested in the way they used their hands. 'Jeffrey' held his like a church's roof,
tucked neatly under his nose, here was a procrastinator. 'Sheila' bit her thumb nail repetitively, her hands locked in rock solid fists.
'Julie's' hands propped up her heavy head while paranoid eyes darted nervously from side to side, 'Francis' couldn't trust her hands, they just had to be sat on, locked in place, just like her emotions. 'Leo's' waved uncontrollably in front of his chest and then caught an imaginary butterfly, holding it to his heart like a tender fleeting moment of positivity and warmth.

This whole drama on the ward only lasted 20 minutes. I hope I've been able to capture the range of emotions that were concentrated into this short period. The whole experience reminded me of a game of cat and mouse, the actors giving the students clues or flashes of their stories as bait. The students having to pounce on the information gleaned  before the patients retreated back into their dark holes once again.

We'll be exhibiting all the drawings and paintings from this brief art residency at The Frank Lampl Building on 25th July 2013. I've also been commissioned to make a short film/documentary of the experience and I'll let you know more info when its near completion.

Despite personally sailing close to some depressive winds I hope I never end up in a position like Jeffrey, Georgina, Sheila, Jane, Sandra, Daisy, Jamie, Peter, Julie, Francis or Leo, but if that happens, I know I'll be in safe hands.


Nick Meier and a Sirkis Smile

Nick Meier - Guitar
I've just finished sketches of the Nick Meier group at Pizza Express, Soho (19/03/2013) for Rainlore's World.
Check out the review HERE.

Sketches of Nick Meier, Asaf Sirkis, Demi Garcia, Lizzie Ball, James Pearson and Pat Bettison.

Lizzie Ball - Viloin & Vocals

Thursday, 21 March 2013

Chris Hart and Fish Bowl Peter

Harvey Wells
As a regular sketcher on the 'live' music circuit I encounter all kinds of performances but last month I was given the opportunity to immerse myself in a new 'cutting edge' experience. On February 5th and 6th 2013 I sketched students, lecturers and 'patients' on a Simulated Mental Health Ward.

My host was the Tutor and Psychotherapist Harvey Wells, who I have previously worked with on many a Public Art project, and most recently on his book 'Therapeutic Interventions For Mental Health Professionals', published by Sampson Low Ltd.

Chris Hart

This was an opportunity to observe the real experience of students diagnosing, managing and interacting with not only one patient but several in a high octane ward scenario. As you can imagine a mental health ward is going to be pressurised, so the stakes were high. In society we're very much aware of recent NHS criticisms and failures in the care of some Mental health patients in the community. Here then was a chance for the professionals of the future to dive into the ward's melting pot. If they got it right it could save a patient's life, if they got it wrong then.... well you already know the wider implications.

As I arrived there was a palpable tension in the Sir Frank Lampl Building at Kingston University. It was a unique opportunity for the students and everyone was full of nerves. First the motley crew of Facilitators were being briefed on the day ahead. The man in the middle was the charismatic Chris Hart, he leaned on a grey hospital crutch like a general who arms himself with a battle weary swagger stick. He was very much the Lee Marvin of mental health trying to weave the squad in front of him into the formidable 'Dirty Dozen' of Simulations. There were more than a few Telly Savalas lookalikes too in his bunch. These were practitioners who had been invited from Mental Health's mosaic of professional disciplines, paramedics, hospitals, prisons and universities.

Next I was introduced to the students who were split into smaller Ward teams (12 students), to better tackle the unique challenges ahead of them. They started to discuss the patients in their charge and assign a Traffic Light code for swift and easy action. As the meeting progressed it became clear that all but one of their 10 patients would be RED.

Now if you hadn't already guessed this was going to be a simulated experience for us all. Meaning that the role of the 'Patient' was going to played by an actor. You would think therefore that this would be like a normal performance where the audience sits back in voyeuristic comfort. Not one bit!

As the students discussed their patients they became more and more tangible.
"He cut his throat 25 years ago, he's very difficult to engage, recently divorced."

"She was very frightened she would be killed. She has assaulted other patients and twice threatened nurses. She self harmed from the age of 12"

The discussions went on for a long time, the layered personalities needed dissecting and assessing. In a break I discussed the phenomenon of the patient's realness with facilitator Kevin, and he remarked
"Sometimes I feel I know these imaginary patients more than the students themselves. The patients start to take on a life of their own the more we discuss them".

The final stage of the day was a nerve wracking experience for all concerned. In a true act of Theatre one student was chosen to conduct a clinical session with a patient while we all looked on. Imaginatively called a Fish Bowl interview, this had every chance of being as slippery as an eel if things went awry.
'Peter' shuffled in and the room went quiet. He was agitated and with hands thrust deep into his pockets he made his excuses to leave before a word was uttered from the nervous student in charge.
"my bus is leaving in 10 minutes"
He was defensive.
"My doctor doesn't know anything about me"
The student did very well to tease more information out of 'Peter'.
"People are talking about angels here, it's a strange place"
"I hear voices on the TV"
This was a difficult experience, through the glass walls of the fish bowl we could see the student flounder a little. He was processing at least 4 different thoughts in his brain...what is 'Peter' talking about? What does it mean? What's the next question? and what should I do to help him!

It felt like an eternity but after 15 minutes the session was over and we all let out our collective breaths. 'Peter' took off his wooly hat and became the likeable actor he really is.
We all felt a little more relaxed but we all knew that tomorrow would bring a bigger challenge.
A Mental Health Ward filled with 10 more 'Peters' and their personal problems and potential explosive actions.


BUY Harvey Wells' latest book, Therapeutic Interventions For Mental Health Professionals HERE.
(I'll be writing up my second day of Simulations soon, keep an eye out for it)

Friday, 15 March 2013

Tim Fulker - The New Curiosity Crop

Jaz Delorean - vocals/piano
 An artist friend, Stuart Simler, organised a sleepover at the British Museum once, he said it was the most unusual of experiences. As he walked the hollow corridors and peered into the crowded display cases his nerves were wired into the mains. He was convinced that many a mannequin was about to spring to live or old ritual totems would spill their curses and spells.

Last night's entertainment (14/3/2013) at the Rose Theatre Café held the same kind of compartmentalised joy as a trip to the Pitt Rivers Museum. The exotic collector, with suitable wild beard and explorers hat was Tim Fulker. He is an impressive musician in his own right but had converted from poacher to gamekeeper to present a new experience called Mosiac with chums at Our Friends Records.

Mosaic is a project that fuses music, dance, poetry and comedy. Even though it is set in the Rose Theatre's Café, this isn't a hastily constructed affair, with a couple of bar stools and a guitar. No, the sound is expertly produced and the space creatively fluid for all the different genres at play.

Jack Grace
It was a modest start for what was to become a raucous finale and that suited those of us who needed to recalibrate our Thursday night radars. Jack Grace played tunes from his recently released EP. Looping his own voice and accompanying guitar he created sound strata that emphasised once again the imagery of empty museums and landscapes. Both 'Remember Me' and 'Winter' were particularly haunting.

Wayne Hughes (left)
Turan Duncan (right)
Drama and Theatre took the spotlight with a fantastic performance of Harold Pinter's 1964 vignette That's Your Trouble by Moonlight Theatre's Turan Duncan and Wayne Hughes.

David Goo
In true eccentric style Tim Fulker had two monkeys leaping about between sets, known as the 'Rumpsteppers' they DJ'd from a commandeered Chippendale sideboard, juggled and generally made mischievous. In fact both Miles and Liam (Cottrell) found themselves as erotic dancers for the next act of the night, David Goo. It was a riot of noises and charisma, Goo's mouth so loud and big at one point that the audience teetered precarious on the edge of his tongue.

Liam Cottrell
Another notable act was the melancholic Jaz Delorean who was playing from the Tankus the Henge's songbook. A little fragile from the Tankus album launch the previous night he took to the stage embalmed like a chrysalis in a heavy poncho. Once de-robed he warmed his wings in the sunshine of the crowds fervour until he flew high into the Rose Theatre's ample atrium. But he was more of a Mayfly than the Butter variety because no sooner had we got the best of him his short set was over.
Jon Stone - Poetry

Jon Stone gave us several poems from a variety of publications. His work was evocative and beautiful and he stood like the birds he is inspired by. An absolute pleasure to draw, he held still like a hunting heron and spoke with clarity, his cheek bones an artist's delight.

As this was my first time and I was completely alone I sketched a young man in my eye-line who carefully corralled 3 bottled of Becks into his arms. I introduced myself and he (Sean Westwood) explained what had attracted him to Mosaic's showcase.
"I'm always stuck to my seat because of the variety of genres but never too comfortable as the performers all have a streak of unpredictability about them."

Sean Westwood
Tim Fulker has undoubtedly snared my own curiosity in his net and hopefully in the coming year my own creations will be taking to the Mosaic stage. The Murder Minutes project has been playing throughout Europe at arthouse cinemas but maybe the time has come to release it into the wild. I do not know in which category to place our combination of Artist film and improvised Jazz, hopefully it wont be the one labelled 'Pretentious'.

You can judge for yourself when you come and see it.


Wednesday, 13 March 2013

Michael Janisch - The Whirlwind hours

Michael Janisch - Bass and Boss
"'Tis now the very witching time of night"
the young man next to me said. I knew his face, he was not the over dramatic kind, but right now he was serious. This would be a contest, a reckoning, not physical in the pitbull kind but a battle of nerve for each performer.
In the den of the Pizza Express, Soho (08/03/2013) all the empty tables were slowly occupied by the guns-for-hire. They checked each other out with furtive glances and if they recognised each other, they acknowledged the fact in muted greetings.

The man they all wanted to impress held the microphone and introduced himself as Michael Janisch. Just like many a leader this man had charisma and that fervent edge that means he is always one step ahead of the pack. This was going to be the first night of many he explained, a chance for collaboration and expression every Friday night from 11am to 3am at Pizza Express......
and the reason why all the jazz mercenaries present wanted to be part of Janisch's gang?
In 18 months he has attracted a skilful and cutting edge group of players to his South London stable. They are creating exciting and ground breaking music that is casting waves of improvised sounds around the globe.

Phil Robson - Guitar
Musicians nervously tested the valves of their trumpets and over-worked hearts knowing if they impressed.... then Janisch's appraising eyes would be on them. The basement at Pizza Express very much resembled a western saloon too, with the late opening and free entry there were groups of inebriated hired-hands, releasing the acrid stress that comes from being under London's cosh all week. Not much drink was spilled though as the tension was lanced with the quartet's opening tune.

Zhenya Strigalev - Sax
They all looked nervous on stage. This was the start of a new era and the Whirlwind Hours were starting to tick. Only History will judge if this late night hangout will be a breeding ground for talent. The 'Man in Black' was Phil Robson, his back pressed against the piano, he had no where to run so he played for his life. Zhenya Strigalev  tilted back his head and played his saxophone like a circus performer swallowing his sword, his Lee Van Cleef eyes unnerving us as he scanned the room through those meagre slits. Gene Calderazzo was very much the urban cowboy with dark wooly and white specs on drums.

Gene Calderazzo - drums
The night developed with musicians taking their shot and having fun too. Lets not forget that the chance to play with the best is a kick of adrenaline for us all. Notable participants were Partikel's Duncan Eagles and Jeff Williams who played Monk's Rhythm a Ning and Jerome Kern's I'm old fashioned.
There's nothing old-hat about these regular Friday nights so give it a go, whether performer of listener alike.
All the details are here.
Duncan Eagles - Sax

Over the coming weeks I'll be sketching on a regular basis and busy preparing for an exhibition at Whirlwind Recordings Festival, Kings Place in October 2013. Where you will get a chance to see these paintings and the musicians performing too.

I didn't make it to the 3am close because I had a 9.5 mile walk awaiting me the next morning to help launch my second book Patternotion. I knew though that the Whirlwind hour will strike once more in Soho and that the jazzslingers will be back in town.

I'll be there when the bell tolls.


Ben Castle and Will-o-Wisp

Ben Castle - Saxophone
I just had to close my eyes after 90 minutes of Ben Castle and Makoto Kuirya's set at Pizza Express last Friday (08/03/2013). The last hour and a half had been a frenzied scribble of scratches, sweeps and dots. The music had captured my soul and replaced it with an overflowing voltaic pile of Jackson Pollock energy.

I had a wonderful view courtesy of my hosts Mike and Gail Watts, who had bagged a central table. They had discovered Castle at Nottingham's Splendour Festival, he was dressed as a matador and playing with the idiosyncratic Duke Special so they did not know quite what to expect. It is true, even in more conformist attire, he is hard to categorise as a player and person. I suspect he does not know himself, he is an excellent player and is probably having the time of his life playing and exploring the boundaries of his musical playground.
Makoto Kuriya - piano

He is modest and easy going, deliberately stepping out of the limelight during the performance to support others. I'm sure his generosity encourages advice from all quarters, to play this, try that, jam with me and change your style. His foundations run deep though (he was anchored by his father's sax in hand), and his strong grounding allows him to express and explore without restraint. Who else could slip a Minogue melody into proceeding while wearing his Mountie striped trousers with such dead-pan cheek. The future changes from day to day for Ben Castle, the next day was a visit to the Maida Vale studios with his piccolo and then further afield to finish an album project of Pop tunes in a 30's jazz style with two other singers.

What had brought me to a state of near exhaustion was Makoto Kuriya on piano. He was an untamed ethereal force whose speed and execution was hard to mirror with my pad and pen. His lightweight frame bounced in and out of his chair, frequently his left hand kicked back like he was a rodeo star bucked by the piano's ferocity. His mouth was continually animated, it bit, chattered and snapped at imaginary 'amuse-bouche' that floated in front of his starving eyes. Even without sketchbook in hand it was hard to keep up.

 I watched the charming lady (Sarah Hadland) opposite me, as her eyes darted in hypnotic spirals. I asked her at the interval what she thought of the performance, "I'm desperate to see what's on his chart. I can't believe there's any notes written down at all. He's so free, physical and dynamic, like the flow is more important than the direction".
Understandably he is a hard man to capture and remains a will-o'-the-wisp type player that will take many viewings to trap in my artistic jam jar.

Arnie Somogyi - bass
MK's compositions were not my favourites of the evening though. That dubious honour goes to Arnie Somogyi and his tune 'JJ' which starts with a throbbing bass line and flows beautiful into lyrical swing.

I had a particularly bad view of drummer Bence Bolygo but could hear he was travelling at a good mph, there was no chance of any Salford traffic warden giving him a parking fine for nodding-off.
Bence Bolygo

Now it might look like I was falling asleep in the last 30 minutes but my body had taken an assault to its senses. The pure speed of Kuriya's playing had rendered my sketching hand exhausted and useless. Sometimes you've just got to give in to the music and listen. Shutting down all other senses....and....listen.

Still listening.....


Me listening
Photo Mike Watts

Monday, 11 March 2013

Partikel : Harnessing Eric Ford

Eric Ford - Drums
I know Partikel and their music more intimately than any other Jazz trio in London, if it wasn't for them I wouldn't be writing this now. Many years ago I accompanied my friend and guitarist Richard Savage to the infamous Jazz Jam at Kingston's Grey Horse. As we entered, our eyes were assaulted with a vision straight out of Star Wars' Mos Eisley Cantina band, imagine Duncan Hemstock mid-clarinet solo and you've got it!

As I returned week after week I started to draw the house band, Partikel, and the motley crew of jammers. Eventually I tried to draw their new (replacement) drummer Eric Ford and capture his Yoda like persona. I realised then that Ford is as enigmatic as a Jedi Master.

Cast yourselves light years ahead and I was once again in front of Partikel last Tuesday (05/03/2013) at The Amersham Arms, New Cross with the rest of the S.E. Collective audience.
In the years in between I have spent a considerable time listening to and drawing Duncan Eagles, Max Luthert and Eric Ford. I have dissected their work to create album covers and their tunes have inspired many an animation.
So here in the present they appeared before me. It was a night of new and old material, all superbly executed with passion and verve.

Max Luthert - Bass

Running full pelt through their first tune 'Restless Child' they immerged the other side in Luthert Land, and his signature tune 'Assam'. The crowd were particularly appreciative of Luthert this night. He is the most laid back of the band, considering he is a 10 cups of tea a day connoisseur, I would hate to think what would happen if he stopped imbibing the caffeinated drink, the result would be the first prone bass player in history. He must of been playing well to have caught the eye for he is a modest man for the shadows, like so many bass players.

Duncan Eagles is the ultimate pro and one of London Jazz's great facilitators. He was exemplary tonight if not a little aggressive in his delivery. With something to get off his slim chest I checked my usual Eagles indicator, the left shoulder, like a barometer in changeable weather, spits and starts when Eagles is 'in the groove'.
I was side on so couldn't measure the degree of tilt adequately. I looked for new indicators. I've never seen him blow so hard and his face turned a cherry red. In fact he was blowing so hard his slow-slung hipster jeans nearly fell off his narrow hips. He excelled on both tunes 'The Landing' and 'D to the G'.

My favourite tune of the night is a mysterious one.
Duncan Eagles - Saxophone
I hope you all get the chance to hear it one day. I first heard it in Derek Nash's studio last year during the notorious Mark Perry Experiment session. Why and what the experiment was I never found out but imagine a child with ADHD and who'd eaten a pack of blue smarties then that would be the excitable trumpeter Mark Perry.
His group (Eagles, Luthert, Leak and Nicholls) was bolstered by the small matter of Gareth Lockrane on flute and they created the most brilliant tune called 'Barter's Band' together. It is a swinging joy and provides you with a melody that kicks like a mule for the week to come. There are rumours that this experimental brew (including Ola Onabule on vocals) may be released into the world sometime soon.

Partikel were fantastic tonight providing us with all the proof why they are one of Michael Janisch's leading lights at Whirlwind Recordings. I dearly hope the talk is true and a third album is in the pipeline.

I was pleased with my night's work, at last, I captured a likeness of Eric Ford, that quizzical look when he is pleased with his cow-bell skills or he has battered the audience with a particularly loud solo.
He still remains an enigmatic figure on the London circuit and if Partikel want to take the next step in their development they'll need to harness the force of nature that is Eric Ford.

May the force be with them.