Cute Owl Promotions have prepared a delightful New Year’s gift: tAngerinecAt (London via Ukraine), The Madeline Rust, Modulator ESP, and Katie Mitchell. An amazing night of highly individual genre-defying music with a plethora of musical instruments. Celebrating freedom and diversity of art!
Raw powerful cinematic and deeply atmospheric electronica with modern hurdy-gurdy, vocals, flutes and punk attitude. Based in London, nomadic duo tAngerinecAt was formed in 2008 in Ukraine as a collaboration between Ukrainian born Eugene Purpurovsky and English born Paul Chilton. Inspired by their studies, travels and music experiences in remote parts of the Carpathian Mountains, their music has also absorbed different forms of Ukrainian and Soviet counterculture; the classical music skills, composition, directing and stage experience of Eugene since 1990 as a singer, actor, poet and musician as well as influences from EDM, drone, blues, metal, art-rock and more.
Eugene’s lyrics are based on personal experience as someone recovering from severe childhood abuse, neglect and poverty, and the associated mental health issues. They also tell a story of resistance against gender, class and ethnic oppression, rape culture and other authoritarian structures. These themes are repeated throughout their album Many Kettles, and also in the form of images and symbols that help you to survive.
They have four independently released, successfully selling albums that have had airplay on BBC 2, BBC 3 and BBC 6. The band has toured internationally in Ukraine, UK and Russia from 2010 and since relocating to UK in 2016 have quickly gained momentum, intensively touring with headline shows all over UK.
“tAngerinecAt brought not just synth to the table, but a whole range of physical, classical instruments into the mix – most noticeably their use of the hurdy-gurdy, to make their music the deep notes of severe doom and dread that gave it the feeling of a rave in a mausoleum…”- LEFTLION
“Watch out for: tAngerinecAt… this is some of the most powerful music I have heard in a long time…” – LOUDER THAN WAR
“I’ve never seen someone play a hurdy-gurdy so punk…”
– DEVIL’S DYKE NETWORK
“Tangerinecat exploded into my world and I’m a happier man for it! Awesome energy and multidisciplinary. Myself and the team at New Art Exchange really appreciated your work.”
– Jason Pollitt, NEW ART EXCHANGE
“Eugene is a fantastic singer, a ranter and belter with occasional glassware-shattering screams. As abrasive noise went, I liked them a whole lot…” – ROCKNERD
“…the most important piece of art you need to navigate these times…” – David Eggleston (Mirrorkill)
Nottingham-based four piece, heavy on atmosphere and brooding darkness. This is the sound of sex, desire and despair. It’s a David Lynch road trip. Rock ‘n’ roll noir. Moody Americana blended with early 90s grunge and fed into a blender with Natural Born Killers, processed and reconstructed in Britain
“It does what all music should do, taking you to a place you might never otherwise visit and revealing truths you might not care to think about.” David Flint, Reprobate Press
“Quite simply, there is nothing remotely close to this band, they are unique. They deliver loud, emotional and powerful music, take it or leave it. 21 Girls delivers, it takes the template set with Truth or Consequences and expands upon it. This album is the full package of writing, performance and atmosphere from beginning to end.” Chris McGranaghan, TOR Records
“21 Girls is an album full of atmosphere and stunning music from a very unique band.” Geoff Penn, PROGPLANET
“Mix the best bits of Throwing Muses, Tarnation and Bettie Serveert together and you’ll be in the same ball park as The Madeline Rust.” Mat Handley, You, The Night and The Music
Modulator ESP is Jez Creek from Nottingham, he makes cosmic synthesiser music, using an array of synths and effects, looped and layered to produce vast shimmering notes, sparkling chords and deep bass drones from evolving sounds that emerge, mutate & then subside.
Katie Mitchell has been playing the Bb clarinet since she was 9, playing in several school and local orchestras, before giving it up in favour of the guitar because you can’t play Slayer on the clarinet. This was an error. In rediscovering the clarinet, Katie Mitchell is coupling it with loop pedals and synthesizers to make her own orchestra, exploring gothic themes with ambient and experimental sound. She uses all of the clarinet: the clacking of the keys, the disconnected duck-whistle of the mouthpiece, the trumpet-like nature of its headless body. This is solo clarinet as you’ve never seen it before, mixing classical music on the borders of storytelling, music, and sound making. With any luck, she might even be able to play Slayer on it.