#Jono Podmore

[feathersalwaysmakepplattractive]

P.E

Immerse yourself in this fragment of a larger audiovisual journey, where ambient electronica meets visual depth. Close one eye, and let the simulation pull you into a more vivid 3D experience.

🎵 Music by Jono Podmore 🎥 Visuals by Rui Martins

Explore the full video on YouTube: 👉 https://www.youtube.com/watch?v=nddIkT91lQM&t=240s

[rookeryensemble]

Since Alison passed away in 2020 we had to go through many stages of grief with thought and process which is still on going. But the idea of playing live again was always an intention as was completing the Islets of Langerhans album. The initial gigs in coming back through 2022 were full of a new energy with a new member K whom later dropped out for abit to concentrate on other projects. The last gig we did with him was the Alison Tribute event with Annabella Maneljuk also joining us on stage. The line up shifted again doing some solo bits and pieces then the build to do album launch. We were looking at working with a classically trained pianist whom also improvised for this. We didnt have to wait that long and found someone who lived locally as in Hilary Robinson. The live album here in link is the recording of part of our set we did with Hilary.

This is a recording of Rookery Ensemble performing live at the Islets of Langerhans Album Launch that took place on Saturday 25 March 2023 at The Book and Record Bar in West Norwood South London.

Quote about our live sound from another gig at Crystal Palace Food Market from one of the stall holders - "It's not selling music. It's the kind of music that makes you rise up above capitalism and realise you don't need money. Quite hard to sell salami to. It's the kind of music that makes you forget who you are, where you are and what day it is."

Rookery Ensemble on this recording are

George E Harris - Voice, Electronics, Typewriter, Flugelhorn, Melodica, Glockenspiel, Kalimba Loops Hilary Robinson - Piano, Keyboards, Melodica Erik Moore - Bass Guitar, Electronics, Percussion Mark Hill - Electronics and Radio Effects David Rothon - Pedal Steel, Omnichord, Drone Box, Melodica, Percussion

Recorded and Engineered by Jono Podmore / Kumo Thanks To Michael Johnson and Staff at Book and Record Bar in West Norwood and speical thanks to Woodland Chaos for performing the support slot on day.

Also Thanks to all those in Audience that came along on night.

[nofatclips]

Waiting For The Streetcar by CAN from the collection album Lost Tapes

[randomvarious]

D*Note - “The Garden Of Earthly Delights (Ballistic Barrio Boom)” A Jedi’s Night Out by Tom Middleton Song released in 1995. Mix released in 1999. Acid Jazz / Downtempo

***Song starts at 56:04 and ends at 1:00:03***

D*Note, a project that primarily sprung from the mind of the UK's Matt Winn, was originally a group that came out of Britain's acid jazz and rare groove scenes. But as the novelty of acid began to fade by the mid-90s, Winn and his bandmates found ways to fuse their acidic tendencies with other popular forms of electronic music, like drum n bass, ambient, downtempo, and house. And this decision more than likely allowed them to remain viable for far longer than many of their contemporaries.

In 1995, D*Note released Criminal Justice, an album that saw them taking a bite out of the dnb apple. However, its final track, "The Garden of Earthly Delights," which featured the vocals of a singer by the name of Pamela Anderson (no, not that Pamela Anderson), was on an acid jazz-tropically spiritual deep soul kind of tip, and it had what sounded like some real hypnotic, Steve Reich-inspired marimba work on it, too.

"The Garden Of Earthly Delights" then spawned a hefty dose of official remixes, the bulk of which came courtesy of Jono Podmore (Kumo) and a deceptively named London trio called X-Press-2, which consisted of DJ Diesel, DJ Rocky, and Ashley Beedle at the time.

But X-Press-2 also formed three-quarters of another group called Ballistic Brothers, and the Ballistic Brothers also made an excellent remix of "The Garden Of Earthly Delights," which took bits from the original version and turned it into a pleasantly groovy piece of breakbeat-infused downtempo.

Instead of a marimba on this track, which played a large part in defining the overall character of the original version and established a good chunk of its rhythm as well, this remix combines some of the original's rich piano parts with light waves of buttressing strings, and is undergirded with a sampled looping drum break, a hand-drum, and some softly bonging bass frequencies, too. With this instrumental then set, the Ballistic Brothers find ways to lift Pamela Anderson's vocal parts from the original version and deploy them into this more uptempo remix. And they manage to pull that off wonderfully.

Sweet mid-90s remix here of the experimental UK acid jazz group, D*Note.

[arterrorist]

That’s a cool one! With two Can members (Jaki Liebezeit, Irmin Schmidt plus Burnt Friedman & Jono Podmore) this 12″ contains a fine contemporary (2013) take on krautrock legacy. 

[ppwbm-blog]

Accro au plastique ? L'éco-vinyle et l'impact de nos habitudes d'écoute

Accro au plastique ? L’éco-vinyle et l’impact de nos habitudes d’écoute

Alors que le vinyle est désormais sur le point de se vendre plus que les CD au Royaume-Uni, de sérieuses questions ont été posées sur la durabilité de ce format destructeur de l’environnement. Cependant, dit Jono Podmore, il existe une alternative plus verte Selon le site web de DeepGrooves, Vinyl Revolution, il s’agit de “l’usine de pressage la plus verte d’Europe”, créée en 2017 par Chris…

[synthesizerbook]

I never stumble onto my music or books easily. There is always a search, learning involved. That’s the fun bit, I think. So it was when I found this... #jakiliebezeit ...The Life, Theory and Practice of a Master Drummer. Jaki has slowly, over the past couple of decades, become my favourite drummer/percussionist. I know I’m not alone. Book edited by Jono Podmore. I’m saving this easy reading for under an umbrella next month. https://www.instagram.com/p/B8wfa-0BUez/?igshid=ql8job9i4yk4

[xerks44]

JAKI LIEBEZEIT - a Tribute" Philharmonie Köln, 22. Januar 2018 Drums Off Chaos: Reiner Linke drums Maf Retter drums Manos Tsangaris drums Drums Off Chaos w/Dominik von Senger git w/Rosko Gee b w/Jochen Irmler keys Manfred Schoof tp, flh Gerd Dudek ts Helmut Zerlett p Rosko Gee b Drums Off Chaos /w Baba Zula w/ Murat Ertel voc, saz w/ Levent Akman perc Pi-hsien Chen p Jah Wobble b Marc Layton-Bennett drums Irmin Schmidt p     René Tinner sound design Jono Podmore electr Ian Tregoning electr Robert Coyne voc, git Aglaja Camphausen vc   Werner Steinhauser drums Drums Off Chaos w/ Damo Suzuki voc w/ Michael Rother git w/ Dominik von Senger git w/ Helmut Zerlett keys w/ Rosko Gee b Gianna Nannini voc Hans "Bäär" Maahn b Rüdiger Elze git Helmut Zerlett keys Ralf Gustke drums Manos Tsangaris - Moderation Gerhard Veeck - Technische Leitung Jonna Grimstein - Produktionsleitung Svenja Doeinck - Pressearbeit Anna Harbord - Stage Management Wanda Steffen - Künstlerbetreuung Tom Gotthardt - Shuttle Jono Podmore - Videoton Mischung Michael Häck - Saalton Mark Buss-Kuchenbuch - Bühnenton Hendrik Nachtwey - Bühnentechnik Örnie Wiesehöfer - Bühnentechnik Günter Jäckle - Lichtgestaltung und Regie Mitsu Kürbis - Verfolger Hans Otto Richter - Licht Assistent Ali Lindenberg - Videoton und Tondokumentation Evs Backline - Instrumente Contour - technische Ausstattung Marc Cremer - Sicherheit Yuman - Verpflegung Idee und Konzeption: Birgit Berger, Reiner Linke, Hans Maahn, Reiner Michalke, Maf Retter und Manos Tsangaris Eine Veranstaltung des Europäischen Zentrums für Jazz und Aktuelle Musik im Stadtgarten Köln Wir danken den Technikern der Kölner Philharmonie für die gute Zusammenarbeit. © ℗ 2019 Initiative Kölner Jazz Haus e.V. & klangmalerei.tv GmbH www.klangmalerei.tv

[feathersalwaysmakepplattractive]

[rookeryensemble]

First Review in for Album

As written by Neil March for Trust the Doc Blog

Electronic & Avant Pop

I was delighted to receive a copy of the new album by my good friends from Crystal Palace, the inimitable Rookery (https://soundcloud.com/worldofsurprises) and, just to really underline the honour for me, the album is recorded live at a gig I promoted - Vanishing Point @ The Ivy House.

Entitled simply Rookery it is a fantastic mix and mastering of what was indeed a fantastic gig that showcases everything I have previously written about Rookery in TTD from Alison’s clever piano chords and clarinet skills to the band’s penchant for mixing a plethora of instruments and sound-related props, all topped off by George’s deadpan spoken word delivery, a sort of more politically focused Southern equivalent to The Fall’s late great Mark E Smith. This is thoughtful, experimental Avant Pop laced with a healthy dollop of improv. And it’s put together by such an impressive group of musicians. Of course, having been fortunate enough to have been at the gig on this album, I still remember just how good it was.

The band’s line-up on the night of the gig was Alison O’Melia (Piano/Clarinet/Accordion/Harmonica), George E Harris (Spoken Word/ Typewriter/Effects/Harmonica), David Rothon (Omnichord/Kalimba/Melodica), Agata Liswoska (Violin), Erik Moore (Bass Guitar) and Mark Hill (Electronics & Radio Effects). The Ivy House’s wonderful and talented sound engineer Hugh Aynsley is also credited as is producer Jono Podmore.

It is hard to pick out highlights on such a consistently good set but at a push, I might single out Vs in the window, Shipping Clerk and The Projectionist (live version of Rookery’s contribution to our Demerara Records compilation album Vanishing Point (Vol. 1)). Find it at https://rookeryensemble.bandcamp.com/

[randomvarious]

Kumo - “ACTA X (Edit)” Minimalism: More Or Less 1998 Drum n Bass / Experimental

Kumo is the solo performance name used by Liverpool’s Jono Podmore. Podmore’s musical path has been a very interesting one. As a kid, he played both the violin and guitar. He attended Middlesex University in the early 80s to study electronic music. He composed music for British plays and TV programs, and in ‘87 joined a cult indie rock band called the Corn Dollies, both playing violin and arranging strings.

The Corn Dollies broke up in 1990 and Podmore moved to Japan to study karate(!). When he moved to London, he started doing work for some huge music acts like Jamiroquai, the Shamen, Robert Owens, and Republica.

In 1994, Podmore and Mr. C of the Shamen opened a studio. Podmore then donned the name Kumo to release abstract drum and bass tracks and started two sublabels under Mr. C’s Plink Plonk Records. Kumo debuted in 1996 with a single and then released an album and three more singles in 1997.

In 1998, Kumo released a shortened version of an experimental dnb track he had been working on for British experimental label Law & Auder called “ACTA X (Edit)”. It appeared on the label’s Minimalism: More Or Less double disc compilation.

For this song, Podmore establishes an unorthodox, complex, and layered sound through a combination of a variety of rhythms. Beginning with muffled, lo-fi snares, kicks, and a wood block, Podmore progressively adds more and more elements including chimes. quavering harp strings, and constantly changing, filtered tambourines.

Intriguing, heady, experimental drum and bass.

[rizomecorp]

#trackoftheday

Cyclopean - Fingers (Edit)

Cyclopean is a collaboration from Burnt Friedman, Jono Podmore and Can founding members Jaki Liebezeit, and Irmin Schmidt. The four track EP will be available on 12" Vinyl & Download on 11 Feb 2013.

[sputnika]

Cyclopean - Fingers

Cyclopean is a collaboration from Burnt Friedman, Jono Podmore and Can founding members Jaki Liebezeit, and Irmin Schmidt. The four track EP will be available on 11 Feb 2013 via Mute.

[burlveneer-music]

Mute and Spoon are delighted to announce Cyclopean, the collaboration from Burnt Friedman, Jono Podmore and Can founding members Jaki Liebezeit, and Irmin Schmidt.

I like all those guys, so of course whatever they do together is going to be great. Click through to the sample track, "Fingers," which is not shareable.

[verbreverb-blog]

Wise Words From Some 70's German Band Called "Can"

Below is my post on PORTALS from today:

It's funny isn't it—how the internet has you do things you never imagined you'd do? As a 17 year old girl from Los Angeles, I never thought I'd speak to a highly influential and remarkably innovative German band of ages somewhere between those of my parents and grandparents. Well internet, you did it. Somehow in my internet exploration I found out about Can, fell in love, and spoke to their long time collaborator Jono Podmore.

For those of you who don't know, Can is an experimental ensemble of noise and hypnotic nonconformity that began in West Germany in 1968. About a month ago, on June 19th, Spoon Records and Mute released Can — The Lost Tapes, a long awaited box set of unreleased and recently discovered studio, soundtrack, and live material which has been curated, compiled, and edited by Irmin Schmidt, Daniel Miller, and Jono Podmore. I've compiled some highlights from my conversation with Jono into what I'll forever consider to be a highlight reel of the opportunities the internet presents to a kid like myself.

So many musicians we adore learned from Can, now we're the lucky ones who they impart some knowledge upon:

I was born in '65—so I was 3 when Can first came into existence. Nevertheless I came across Can and the work of Can members with British musicians when I was a teenager..... so even without the web, the music and the ideas of German musicians from Köln we're getting through to me. The media was radio, cassettes and record shops, but the method was the same: find something, get enthusiastic about it and share it.

The web has sped up that process immeasurably but more important has made it universal, as long as you own a computer and live in a country where internet access is easy. When I find a new track I like I no longer simply play it to a small circle of friends in a provincial British city then make a cassette or 2. I hit "share" and my friends all over the (first) world can hear it and make their own minds up. This is a wonderful thing for the dissemination of ideas and artifacts, but isn't necessarily such a wonderful thing for creativity.

In the 200 years between the writing of Geoffrey Chaucer and of William Shakespeare, the English language developed and changed almost beyond recognition. A small population in constant trade with the continent were swapping and multiplying meanings in their language at a fantastic rate which enabled a rich seam of poetry to develop. Shakespeare himself created many new words in his output, which his audience would understand by context and resonance with other common words. Many of these words are now in daily use in our language. But if you compare the language of Shakespeare with contemporary English, with over 400 years between, there isn't such a difference.What happened to all the development? In those 400 years, the printing press had an enormous impact on language. It became codified, definitions were set—and so, perhaps, were the imaginations of the language's users.

My concern is that the internet is having a similar impact. Stylistic definition, pigeonholes, are becoming stricter and more universal, not just in music but in other arts. In this current context a band like Can could exist, but would never get the backing and support they need to explore such a variety of techniques and styles in their music, due in part to the internet. Which in a way is why it isn't at all surprising that younger generations are so interested in 'The Lost Tapes', they are hearing a creative freedom that may be out of reach for them. Hopefully that will be an inspiration to them to burn those restrictions to the ground and go for it themselves!!

My feeling is that there is A LOT of talent coming from young musicians—I work as a professor of music at a German university so I work with lots of young musicians. But I have a few concerns:

-internet access is making people feel stylistically restricted even before they play a note, as I mentioned before.

-too many young people are using their computers as musical instruments. It's very seducing to write music on your laptop and it appears that you have an enormous amount of options. But sadly, the results just aren't good enough. There's lots of reasons for this but one of the most pernicious is that it leads you to work alone. No synergy, no serendipity, no funk.

-there's a hideous lack of record company investment in new talent. Record companies no longer develop acts they have faith in, they simply buy up finished product with no overheads and with a guaranteed audience. It's a short term economic answer to their problems caused by...lack of investment in new talent!!! The answer? Do it yourself!!! Using computers for what they're good for (distribution and organization of ideas and data transfer) rather than using them to generate content, gives young musicians an unprecedented opportunity to escape the stranglehold of the traditional structure of music business finance. If they won't invest in new talent, that's their loss.

-the "woo yeah syndrome". Young people these days don't get the level of constructive criticism they need to improve. There is 1 reasons for this:

-a culture of sentimental encouragement, shouting "woo yeah!" about every miserable attempt, has made it uncool to criticise. If your friend plays a concert and one of the tunes is boring, HECKLE!!! They'll be surprised, angry even, but they will also think twice about the piece and maybe improve it. Support is one thing, but a banal lack of criticism is quite another.

So, to summarize Jono's words—heckle the bad, share the good, collaborate with others, and use laptops for only the right reasons. Thank you internet, and thank you Can.