Wednesday 23 January 2019, 7.30pm

Photo by Naomi Yang

Thalia Zedek Band + Bridget Hayden

Thalia Zedek - guitar, voice
David Michael Curry - viola (Willard Grant Conspiracy)
Winston Braman - bass (Fuzzy, Come, Consonant)
Gavin McCarthy - drums ( E, Karate)

Thalia Zedek is an unparalleled voice in rock music. Her music straddles the line between intimate and visceral. Zedek has received wide acclaim for her intense vocal performances and guitar playing in past projects Come, Uzi, Live Skull, and most recently her new trio E with Gavin McCarthy (Karate) and Jason Sidney Sanford (Neptune). Since the dissolution of Come, Zedek has focused her solo efforts on more vulnerable, stripped back arrangements. Her new album Fighting Season combines the grit of her past with the fragility of her solo releases, spinning tales of discord and struggle from the personal to the political and featuring performances by old friends Chris Brokaw (Come) and J. Mascis (Dinosaur Jr.). Through her exceptional songwriting and performances, Thalia Zedek’s fervent passion can be felt more than ever on Fighting Season, from blustering swirls of dissonance to hushed whispers.

Bridget Hayden

Bridget Hayden is a singer, guitarist, piano player, and a visual artist, based for a while now in semi- rural West Yorkshire. In the seven-year period since her last solo LP – A Siren Blares In An Indifferent Ocean, released by the Belgium-based Kraak organisation – she has put out a number of short-run cassettes, such as last year's fine tape of blown-out synth/vocal recordings on Fort Evil Fruit, and contributed to several interesting compilation projects, but a vinyl follow-up is what the 'Other' music community has been craving.

Her new LP "Pure Touch Only From Now On, They Said So" (september 2018, Early Music Records) has been a long time coming and provides the first full-length documentation of a number of zones that the artist has been inhabiting in live performances of the recent past: blasted, highly personal blues that has lurked under the surface of previous releases but that appears here in starker form; two-chord torch songs that use minimal structure to achieve maximal atmospheric tension; and a vocal melodicism abstracted by a gravitation towards the ecstatic possibilities of noise.

This is a record of significant heft and rare intensity, driven by the slow movement of heavy metal slides and the distorted surge of the guitar's lowest end. The contrasts herein – of density and starkness, turbulence and calm, grounded instrumental drone and vocal soar – are suggestive of great weights being borne and lifted, and of an artist letting go.

www.notwavingordrowning.co.uk