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Little Annie (live at Café OTO)

London 20 May 2016

Little Annie live at Café OTO May 2016Tonight, Matthew, Café OTO will be a smoky jazz club, only without the smoke due to it being 2016. It’s Ellroy for vapers, a healthier Lynch movie. Because tonight Little Annie is here delivering the latest instalment of her nearly forty-year career of eclectic awesomeness, on the back of her wonderful new album Trace. Accompanied by double-bass, understated drums, piano and sax, she takes the stage shrouded in a bright neon yellow scarf, and it’s this combination of the shrouding and the vivid colours that’s to typify the evening’s entertainment.

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Larsen – Cool Cruel Mouth

Tin Angel

I love Little Annie’s voice. It’s a time-stretched instrument; a voice wracked with melancholy, a voice you’ll find singing alone in a bomb-blasted, ex-colonial hotel at the outer edges of the Empire. The press release puts her way down in the mix, as if she’s on there in the same way she was on Coil’s Love’s Secret Domain, but this is misleading. This album isn’t hers but it is hers. Larsen are creeping around, Baby Dee is tinkling pianos, but this is her party and the other players are simply gracious (sometimes too gracious) hosts. She’s all over this album. It’s hers.

Throughout the album, even in the instrumental sections, Larsen seem hesitant, as if their music is meticulously designed not to infringe on Annie’s voice. They see that abandoned, bomb-shell of a hotel too, they see her alone at

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Little Annie and Paul Wallfisch – Genderful

Southern

Little Annie & Paul Wallfisch – GenderfulFrom early avant-garde releases on the legendary Crass records as Annie Anxiety, to guest slots with artists as varied (and awesome) as Coil, Nurse With Wound, On-U-Sound and Collapsed Lung, to her current incarnation as Little Annie, Annie Bandez has been nothing if not prolific, apart from eclectic. Now she and long-term collaborator Paul Wallfisch (Botanics, as well as the criminally-underrated unofficial contender for Best Band In The World Ever — according to me — Firewater) have released a new album, Genderful. From the title one could almost be forgiven for expecting some kind of dour post-feminist tract, but that would be to ignore the “wonderful” part of the compound. Indeed, the personal is political, but by the same token the political can be personal, with all the

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