An intimate evening of impov, folk drone, wonderment!
The solo music of fiddler Mike Gangloff is “augmented Appalachia,” Bill Meyer wrote in Magnet this year — droney meditations that weave improvisation, melodic composition, and traditional airs. A founder of Pelt, Black Twig Pickers and Eight Point Star, Gangloff has begun performing unaccompanied sets with a hardanger-style violin equipped with sympathetic strings or an octave fiddle that shifts the sound down to cello territory. His newest releases are the album “Evening Measures,” released at the end of last year by VHF Records, and a 7-inch shared with New England guitarist Liam Grant that came out on the Sound-o-Mat label earlier this year. A collaboration with US exploratory guitar masters Elkhorn is due out later this year.
Over the last decade, C Joynes has ploughed a singular furrow through solo guitar, with a body of work incorporating English folk-tunes alongside North & West African music, and lifting proto-minimalist and improvised techniques from the European classical and avant-garde traditions.
Joynes has released 10 albums to date, including ‘Poor Boy On The Wire’ (2021), his first solo album dedicated wholly to the electric guitar; ‘The Borametz Tree’ (2019), recorded with long-term fellow travellers Dead Rat Orchestra; and ‘The Wild Wild Berry’, a collaboration with singer Stephanie Hladowski (fROOTS Editors Choice Album Of The Year 2012, MOJO Top 5 Folk Albums 2012). He has played extensively across the UK, Europe and the USA, sharing bills with performers including Shirley Collins, Martin Carthy, A Hawk And A Hacksaw, Marc Ribot, Alasdair Roberts, Richard Dawson, Jack Rose, Josephine Foster, Sir Richard Bishop, Six Organs Of Admittance and 75 Dollar Bill.
Shifting away from the electric guitar of his most recent solo activities, he’s currently exploring the uses of an amplified archtop guitar, exploiting the instrument’s potential for placing intricate parlour music alongside overdriven garage blues throw-downs and the brittle ringing tones of free improvisation.
“As much Conlon Nancarrow and Ali Farka Toure as Blind Lemon Jefferson, the compositional mind at work here can take apparently disparate threads of modernism and ethnic tradition and treat them as though they were all archaic blues styles learnt from dusty 78s.”
BRUCE RUSSELL, THE WIRE
“An inheritor to Davy Graham; a lone operator prone to unexpected collaborations, with a repertoire that crosses continents and timezones with consummate ease, and dashed off with a phenomenal, yet lightly applied technique.”
ROB YOUNG, THE WIRE