MKM! present: ANDY MOOR & GENEVIEVE MURPHY (UK/GB/NL) + HOWIE REEVE (SC) + ZEA
GENEVIEVE MURPHY & ANDY MOOR live in Amsterdam. And yet their first encounter took place somewhere between poetry and intuition. In OCCII, the spoken word performer from Scotland and the English guitarist will be performing “The One I Feed”: a work they created together that serves as a parable of the destructive forces in all of us and of the eternal struggle between good and evil. While Moor brushes, caresses and scratches at his electric guitar, Murphy tells a dazzling tale – a legend as old as mankind itself. Who will win in the end? That all depends on which of the two forces we choose to feed.
Andy Moor (NL/UK, The Ex) — electric guitar
Genevieve Murphy (NL/GB) — spoken words, analogue tape, bagpipes
“Howie Reeve is a unique and singular figure in the current British underground. Having spent over 20 years playing in a number of key Glasgow bands, since 2012 he has been performing solo on acoustic bass guitar, delivering a fragmented and dexterous music that takes in post-punk and avant-folk. Increasingly turning to songwriting, he further engages audiences with cryptic, intimate and unsettling lyrics. Resolutely DIY in his approach to music, he lives in Glasgow but appears to be perpetually on tour, whether in the UK, Europe or Japan.” (Chris Joynes)
Previous collaborations include Andy Kerr (NoMeansNo), Mike Watt (Minutemen/The Stooges) and GW Sok (The Ex).
Last vinyl with HR, Andy Kerr and Cathy Heyden on one side, and Kumio Kurachi on the other: https://howiereeve.bandcamp.com/album/double-rainbow
“Unplugged-punk genius Howie Reeve is a linchpin in Glasgow’s DIY community…a breathtaking bass player.”
(Nicola Meighan, The Herald)
Zea is Arnold de Boer: minimal, acoustic, eclectic, Frisian, strange-edge. New album “Witst noch dat d’r neat wie” out now on Subroutine and Makkum Records.
The Ex singer Arnold de Boer entertains us with his personal project Zea, where he wears the clothes of the postmodern busker-folkster: plucked and caressed acoustic guitar, trumpet inserts, synths, vocals and some interventions of friends at cello (Harald Austbo), violin (Mary Oliver) and drums (Ineke Duivenvoorde). The measure is that of the modern folkster-busker who draws watercolours in generally soft colours but at times resolute to the grumpy and always distracted from the norm with curious and bizarre devices and a melodic research that is nothing short of particular, perhaps also because Arnold sings in Frisian , therefore it has an alienating effect between English and German with vague puntarelle of French. The journey starts with the title track, a formidable apocryphal of The Ex who, although perfect even so, would like to hear from the whole band because it is born feeble and acoustic and then grows out of all proportion with the entry of those epic and geometric rhythmic quadratures that in the hands of The Ex yes would reveal an atomic bomb. And then the recitation De doar graced by the distant notes of a trumpet, a beautiful version of Ne me quitte pas by Jaques Brel poured into the language with the title Gean net by my wei, the unreal tension scarred by sudden hysteria and noisy glimpses of Boarne and Fuort, the sweet folk stillness that seems to take it from the 1970 California of Wat moatte wy dwaan as wy gjin jild hawwe and Roeiers and the one more tending to the jig of Wer werom komme (pining and sourness of the violin), the fragile improvisations of Paskeamer, the nostalgic and melancholy grand finale on Desimber‘s guitar tip. It is rare to listen to records that, like this one, force one to immediately and almost compulsively re-listen. Inserted in a booklet with translations of the texts in different and improbable languages (from Vietnamese to Italian), “Witst noch dat d’r neat wie” is perhaps Arnold’s masterpiece, or at least his most intense and successful record among those listened to by myself , which almost moved by so much honesty, clarity and creativity (pay attention to the care with which each song stands out from the others) sends it directly to the best of the year. – BLOW UP MAGAZINE
We are happy to welcome our audience back, however to enter OCCII it is mandatory to show a valid EU COVID Certificate (CoronaCheck App, or printed QR code). Events are seated, social distanced, and you will need to wear a face mask unless seated. Door closes at 22.00.
Find out more here: https://occii.org/covid-19
Bookings are closed for this event. 50 tickets will be sold at the door