Saturday, November 15, 2025

Maria W Horn & Sara Parkman - live @ Kostel U Salvátora, Prague [Alternativa Festival 2025] - 14.11.25

If you're going to have an alternative music night in a church, with limited toilet facilities and an over-functioning dry ice machine, then you had better book an act that can fill the space convincingly.  Enter Horn and Parkman, with their guitarist.


The band take the stage adorned in Eastern European folk costumes, before delivering a set of thundering bass (that makes the pews shake) and fiddle, with ethereal vocals that drift up to the ceiling high above.  The Kostel U Salvátora looks nothing short of stunning, and the acoustics are unreal, elevating the singer's voice into something choral and grand.

Amateur photographers crowd around me, straining to get a shot of the dynamic trio, who are working hard to conceal the fact that they're not doing much.  I remember none of the music, but their outfits look great.  The poetry interlude is cringe-inducing, before the bassist taps spacebar on her MacBook and the music begins once more.  The singer begins waving around a stick of Palo Santo in a theatric fashion.  I find myself wondering where the guitarist got his suit from.

People stand up at the end to applaud, as I push my way past the band on their way back to the front of the church for their curtain call.  As I leave, I see the queue for the single lavatory is undiminished.

**

Event info:  https://www.alternativa-festival.cz/en/maria-w-horn-sara-parkman-funeral-folk

Bootleg:  https://www.alternativa-festival.cz/en/maria-w-horn-sara-parkman-funeral-folk

Grégory Dargent / Soleil d’Hiver & MUŠHUŠŠU - live @ Punctum, Prague - 07.11.25

MUŠHUŠŠU features a double bass with pickups on each individual string, which are plugged into a series of boxes stage left.  The double bassist begins by hitting the instrument body with a stick.  His partner - who is manning the boxes - samples this and begins to loop the textures on top of one another. 

During the whole 40 minute performance, no actual notes are played.  There is frequent silence.  Sometimes there are almost painfully long periods of near-silence, with only the echoes of the last sample disappearing into speaker hiss, or a jangling, harmonic gurgle coming from the E string on the bass.  The music is performed with a studious, solemn air.  

After about fifteen minutes I closed my eyes and was transported somewhere else:  I thought of past lovers at university, the polymer fleece I wore at the time, watching myself go about my daily business with a surreal detachment... all while the sonic tapestry accumulated around us.  

*****

Gregory comes on and fires up his Arabic Lute Oud, sticking to traditional playing for a grand total of about two minutes, before deploying a brutal glitch guitar pedal that scrambles the woody tones into a Nine Inch Nails digital blast... and we're off:  into a fusion of modern and ancient, with a tape player recording live loops onto quarter-inch tape that is spooling around a mic stand set several feet away from the rest of the equipment.  

Everything is made right in front of us, like watching a cook farm the ingredients in real time before throwing them at his antiquated hi-fi - with tape heads exposed - before letting the sounds from the guitar and his pedals stew into brief, strange blips and snippets.  

Dargent does this virtuosity with a casual demeanor, as if it's no trouble.  Behind him, his monochrome, expressionistic documentary of his visit to Algeria - retracing the footsteps of his father - plays.  It is only after the first few songs that I realise he is somehow triggering the scenes of the film by waving his hand in front of an infra-red beam, to keep it in time with the music.





After the show, during an impromptu lecture to a curious audience, Dargent explains that he made the technology himself during an artist residency.  We all stand around him listening to this charming Frenchman, as he jokes about being deported from Algeria while on a filming expedition, and how his father suspected that he might be a spy (rather than an artist) on account of his frequent travel abroad.  The mysteries of his musical process are described in an unaffected manner:  equipment settings are detailed and techniques broken down into understandable instructions should we wish to try for ourselves.

****

Event info:  https://punctum.cz/event/gregory-dargent-soleil-dhiver-mushussu-alternativa-f

Oneohtrix Point Never - live @ Nova Spirala, Prague [Prague Sounds 2025 festival] - 10.11.25

There’s a telling moment five minutes in, when a faulty cable renders the enormous video screen blank. 

The music stumbles on without its companion, utterly useless, a wash of synth and ambience that is playing off the laptop of a manchild Brooklynite, a man who knows his days of having a full head of hair are to be relished before they are taken from him forever. His parents don’t fully understand what he does for a living, when he visits at Christmas they nod mutely and patiently wait for him to go upstairs and get stoned. 




His opposite number, whose baseball cap suggests he knows the writing’s on the wall, feyly directs the stage crew to fix a problem with his setup that is clearly his own fault. 


He should be praised for trying to incorporate real lenses into his setup, and the videogamification of some of his landscapes remind me of what my first years play on the school computers in the corridor: the ones where you have to climb endless flights of stairs before falling off and plummeting right to the bottom again. 



But there’s no purpose, no narrative thrust to any of it. It is the work of a man who has nothing to say, and an endless sea of filters and polygon generators with which to fail to tell it. 


Like much of the audience, a future in advertising beckons. I regard the crowd. How many of them have paid for their ticket? I certainly haven’t. I got mine from my friend Elen who got it free with an arts magazine subscription. 


I feel sorry for the statuesque girl with the little black number, who looks a little peeved that she got all dolled up for this. 


I feel less sorry for the peroxide fringe in front of me, who has her phone fonts all in red, and who is pretending to love it but has to keep checking if her (also baseball-capped) partner is loving it too. I switch my tape off and leave early. 


These sorts of “emperors new clothes” shows make me furious: that all the grand resources of the Nova Spirala should be squandered on this foolishness. 


A lesson to all aspiring creatives: with shows like these, there is even more reason to try. 


*


Event info:  https://novaspirala.cz/en/program/oneohtrix-point-never-en/


Bootleg:  https://drive.google.com/file/d/1nSX-1TrcHH4Lbu9J6_n9bjm_ltqdz6IF/view?usp=sharing

Thursday, October 30, 2025

Future Loss session @ Springfield Road, Belfast - 24.10.25

 



Gus Gus - live @ Radio Palac, Prague - 19.10.25

I preferred them during their previous visit to Prague, when the waved their arms around like traffic wardens.  


The singer has a great voice, and looks like he has an ageing portrait in his attic.  He conducts several costume changes.  The DJ, on the other hand, looks like he’s stayed up a few hours past his bedtime.  The 2nd vocalist looks like a young Annie Lennox and brings a welcome dimension to the backing vocals, even if most of them are on a backing track.  Sometimes she wanders off stage for a few songs.  There is a noticeable absence of traffic warden dance moves this time, much to their detriment.

Their material is shiny, accessible and untaxing fare.  Lyrics often centre on a single phrase or word - “Higher”, “David”, “Over” - which is then repeated for the last two minutes of the song.  

The accompanying projected imagery is the worst of current digital artistry:  just-because-we-can visuals that consist of a galloping horse with snakes coming out of its head, a big red skull or the band logo spinning around.


**


Bootleg:  https://drive.google.com/file/d/12aM0C_YuSqaAcp5sLJHaR9VDF838cMpC/view?usp=drive_link

Wednesday, October 15, 2025

Chris Cutler and Tom Hodgkinson - live @ Punctum, Prague - 14.10.25

“I don’t normally get piss on my hands,” says Tom, who passes me in the cramped lavatory facilities of Punctum. I gesture that he can wash his hands before me. He does so. It’s not clear whether he actually did get piss on his hands, or whether he was reassuring me that handwashing wasn’t strictly necessary. 

Whatever his pre-gig hand-washing routine, it seems to do the trick: seconds later he is on stage and for the next 45 minutes he delivers a tour de force of lap steel guitar noises, clicks, twangs and burps… while his collaborator Chris uses HIGH GAIN microphones on his drum kit to do much the same, only with the occasional burst of rhythm streaming through the experimentation… just to prove that he can do it should he want to. 



There are so many original sounds, textures and moments that bubble up out of the duo’s improvisation. They use vibrators, electrical fans, tambourines, wooden flutes, a clarinet, bits of metal, fingernails, knuckles, palms, ball bearings and violin bows to constantly evolve the sound into a hushed and delicate landscape that never quite stands still. 


For the first couple of minutes it sounds like a couple of guys just mucking about, before one’s ear tunes in and something much more considered and beautiful emerges out of the chaos. 


Bootleg:  https://drive.google.com/file/d/1ZSq8kuLOPF7qW_u0lQ73bOQUQbFSFR8W/view?usp=sharing

Sunday, October 12, 2025

Caroline - live @ MeetFactory, Prague - 12.10.25

Some of these many, many people clearly have a music degree. To demonstrate the fact, two different songs are played at once. 


They’re best when they sound like folk-Mogwai.


Should we be sitting?  Sometimes it sounds as though we should. 


The drummer rolls his eyes back into their sockets and begins an endless hi-hat beat that lasts for seven minutes. 


There is a long outro that lasts precisely the length of time it takes the 2nd guitarist to downtune his guitar. 


It is like a Christian rock group from Ballywillian Presbyterian could actually play, and do everything in bewilderingly complicated time signatures. 


Bootleg:  https://drive.google.com/file/d/1oRtaxy5cFqvJP9LqNFZEHwM3RezENTxR/view?usp=sharing


Thursday, October 09, 2025

YHWH NAILGUN - live @ Subzero, Prague - 09.10.25





Guitarist watches ethical porn, with a VHS filter on to make it seem classier. He likes Tom Morrello. He sounds like all of Ed O’Brien’s bits for Radiohead, without anything else around it.


The drummer is Brendan Canty, with a maths degree. Tuned toms, and endless rolling rhythms that are positively sublime. 


The keyboardist is you or I: some guy in a green sweater pressing buttons. We can image ourselves in YHWH NAILGUN through his lived experience. 


The singer is Damo Suzuki on those early CAN records. I didn’t realise it would be so theatric. With early-2000s Thom Yorke dance moves and a challenging stare to the audience, who lap him up.


****

Sunday, September 14, 2025

2021: sessions, concerts attended, rehearsals & mixing

Future Loss mastering using Trio amp, eq & compressor @ Colerabbey Studios, Portrush - 16.01.21





Future Loss playback @ Colerabbey Studios, Portrush - 17.01.21



Future Loss mixing @ Colerabbey Studios, Portrush - 23.01.21



Future Loss mastering settings explained @ Colerabbey Studios, Prague - 15.02.21




Aborted Ex Libris subscription service draft email - 18.05.21



Acquisition of DJ controller - 30.05.21



DJ IBM PC-Compatible set @ Monika's wedding, Moravia - 20.06.21


Future Loss session mixing - 08.07.21 



NES Advantage studio session @ Knockbracken Court, Coleraine - 08.07.21




Future Loss mixing session - 15.07.21



Sham mixing sessions & Bandcamp admin - 21.07.21 - 03.08.21







NES Advantage studio notes - 03.08.21



Future Loss mixing session - 07.08.21


Writing bass parts for NES Advantage - 16.08.21



Start of CCQs rehearsals (w/ lyrics) @ Depo Hostivar, Prague - 23.08.21






NES Advantage mixing session - 16.09.21






Flying Moon In Space & WWRNGDNG - live @ Underdogs, Prague - 17.11.21









Sham editing - 14.12.21



Future Loss session @ Springfield Road, Belfast - 30.12.21






Bootleg recordings of concerts made throughout 2021 (some of which are not documented above):










2020: sessions, concerts attended, rehearsals & mixing

 Future Loss session @ Springfield Road, Belfast - 02.01.20






Tony Hamilton's amp repair workshop @ Dundonald, Belfast - 08.01.20



Transcribing lyrics from notebooks to typewriter - 07.05.20



Uploading of Unimbued solo albums @ Colerabbey Studios, Lisbane - 14.06.20



Future Loss mixing @ Colerabbey Studios, Portrush - 16.06.20



Buffy Tripping rehearsals @ Depo Hostivar, Prague - 11.09.20



404.zero presents Black Sunday @ Lunchmeat Festival, CAMP, Prague - 28.09.20







Unimbued mixing, Prague - 23.11.20



Bootleg recordings of concerts made throughout 2020 (some of which are not documented above):