An extended springtime evening programme of restless, playful and gravity-defying stage actions: three mesmerising live acts lead the ascent into oddball pop orbit, before a late-night slalom around the dancefloor solar system in the bar.
Featuring cult US outsider street-pop protagonist The Space Lady on her first ever UK visit, darkly colourful caps lock tape ambience from Brighton’s Wanda Group, and late discs spun by Bristol’s Dirtytalk collective.
PLUS a last-minute stage invasion by the elusive soulful presence of Dean Blunt.
The Space Lady has travelled through the stars to bring us the most wonderfully alien take on electronic street-song, channelled through a soul that has taken in UFO sightings, hiding from the US government, homelessness, communing, hitchhiking, and over two decades of playing the street corners, storefronts, and subways of America. A Casio battery-powered keyboard, vocal mic and echo & phaser controls are all the ingredients required for a live experience to align the spheres.
You may have spotted The Space Lady’s name alongside Daniel Johnston’s, and Jandek’s, on Irwin Chusid’s seminal Outsider compilation Songs in the Key of Z. Perhaps you registered the lo-fi synth minimalism of her Peter Schilling cover ‘Major Tom,’ on Erol Alkan’s Bugged Out mix last year, or John Maus’ 2011 Rough Trade set.
But now, after 30 years of building a reputation on word-of-mouth plaudits that have gradually taken the cult busker musician from the streets into the studio, The Space Lady’s Greatest Hits is the first official introduction to a most remarkable artist, and is out now via Night School Records. Initially self-released on hand-made cassette in 1990, Greatest Hits marks a return from outer orbit of a remarkable life. As such, the album covers some of the most memorable chart hits from the dawn of popular music, ‘I Had Too Much To Dream (Last Night)’ by The Electric Prunes, The Steve Miller Band’s ‘Fly Like An Eagle’, Steppenwolf’s ‘Born To be Wild’ and ELO’s ‘Showdown.’ They’re threaded together by some of the biggest outsider pop of the era, including Schilling’s ‘Major Tom’ and Sweet’s ‘Ballroom Blitz.’ Put through her electronic set-up however, these staples reduce, re-morph and dissipate into ethereally singular re-interpretations; with their melodies re-created via spindly synth lines and through the wisp-in-the-wind vocal of The Space Lady herself, and a sparse guide beat accompanying each, they take on alien forms, as though hypnotic transmissions refracted back from another planet. Having retired from performance in 1999, The Space Lady has found her winged helmet once again.
More on The Space Lady: http://us4.campaign-archive2.com/?u=dbf9d104f4e73212f58498d38&id=c9d4a18a42
Wanda Group on Wanda Group:
‘WANDA GROUP LOOKS UP AT THE NIGHT SKY AND THEN DOWN AND THEN LOOKS FURTHER DOWN IN THE EARTH. HE MAKES TAPE MUSIC SOMEWHERE BETWEEN WATER AND FROZEN WATER. HE OR THEY MAKE MORE MUSIC AND LOOK UP AGAIN AND THEN SPEND MORE TIME LOOKING UP OR DOWN ? IT IS EASY TO THINK OF ONE MAN OR A GROUP OF WOMEN AS ONE THING OR AS A GROUP OR MAYBE EVEN AS A PIECE OF ENERGY OR EVEN A WHOLE MOUNTAIN. I DUNNO ? ASK SOMEONE ELSE ?’
Listen to ‘Piss Fell Out Of Sunlight’:
Down the steps to the micro-dancefloor afterwards with some low slung astro-grooves, space laced disco and far out funk via Dirtytalk DJs https://www.facebook.com/dirtytalkdisco?fref=ts