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Charles Hayward and Thurston Moore – Improvisations

Care In The Community

Charles Hayward and Thurston Moore - ImprovisationsThe conversation on Improvisations is first rate, smarting with witty crosswires and argumentative animals. Charles Hayward‘s percussive verve is more than a match for Thurston Moore‘s mauling muscle, both parties templeing temptation fluidly, seeding your mind in animated gusto.

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Zombie Zombie/Charles Hayward (live at Baba Yaga’s Hut)

Zombie Zombie Baba Yaga's Hut, September 2014Electrowerkz, London 25 September 2014

I had not been to see anything at Electrowerkz for a very long time; in fact so long, I initially forgot where it was, and so was surprised that the place had changed very little over the years. One thing that has improved though was the sound in the venue, and both acts tonight have a wonderful clear sound that penetrates deep into the audience.

By the time I arrive, Charles Hayward is just taking to the stage. He sits sentinel behind his drum kit and begins to play a series of complex rhythms over a backing tape. Sometimes his drumming is subtle and reminds me of Bill Bruford with its light, almost jazz touch; at other points he clatters

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Charles Hayward – Abracadabra Information

Label: Locus Solus Format: CD

Abracadabra Information - sleeve detailCharles Hayward‘s unique observations on the grimness and greatness of human existence are usually slightly off to one side of the general flow of music and song, and Abracadabra Information is decidedly at a tangent to, but entirely redolent of the pains and pleasures of 21st Century living.

Flickering on, flourescent tube style, with “Toytown” and it’s straight in to an entropic hymn of displeasure with urban life in London, with John Edwards contributing some subtle yet powerful double bass vibrations. There’s yet more urgent cy to the upbeat tempo and bleepy electronics of “My Madness”, where Hayward’s mental state becomes audibly and lyrically paranoid, building into a clattering roll of funky drums and imprecations for moments of sanity in an insane world. His voice sounds especially ragged and honest here – Hayward is no

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London Musicians’ Collective Ninth Annual Festival of Experimental Music

South Bank Centre, London 27-29th May 2000

Now semi-permanently established at the South Bank for the past few years, the LMC Experimental Music Festival has become one of the fixtures of the London Improv and New Music scene, struggling through into something approaching mainstream cultural acceptance – though that’s a relative position of course. This isn’t to say that its become particularly watered down, blanded out or easily commercial; far from it, and while not everything will be pleasing to all ears, it neither should be nor could be, and much on offer is is such high quality that a few dull spots can easily be avoided by those disinclined to favour one piece of Avant-noodling will soon find another of superb quality for their edification and enjoyment.

Ninth time around, and Saturday’s Purcell Room show has two extreme of that which can be described as experimental – Die Trip

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An interview with Charles Hayward

May 2000

As impassioned and animated offstage as behind his massive drumkit, Charles Hayward radiates a genuine intensity. He first came to wide attention as drummer with the highly influential This Heat as the embers of Post-Punk simmered off into wilder experimental tangents. He has released a dozen solo and colaborative albums, and puts on rare solo live shows which pull the raw muscular percussion at the heart of Rock into new shapes with devastatingly powerful results. The Freq team quizzed him on what makes drives his particular brand of rhythmic intensity as the London Musicians Collective’s Ninth Annual Festival of Experimental Music drew to a close on the South Bank in May 2000. Interviewers: Lilly Novak, Antron S. Meister, Iotar and Deuteronemu 90210.

FREQ: We know about This Heat and all of that, but what you did yesterday in the LMC Festival, is that available on record?

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