Prominent exterior signage would help at Peckham’s CLF. The former cricket bat factory has such a range of office, event and creative spaces that go under the banner of the Bussey that an ill-thought out stride through the wrong entrance could result in disappointment.
After visits there to see Opera Story’s production of Dani Howard’s Robin Hood, and one or two other events I always assume the main spaces are accessed via the side entrance. But there is a door at the front – leading up two flights of stone stairs to an white washed adorned with bulky post-war speakers hinting at its industrial past. That’s the key space for me. I probably just need to make a mental note.
This detail is worth stating again (not least because my archive of blog posts is currently unavailable due to a malware attack). CLF’s interior sets the tone, long before a note has been played. And if you’ve had a fraught day full of busy-ness that tone is distinctively one of escapism. A life never lived because you never dared, now possible because it’s open, uncluttered, unfussy and welcoming.
Percussionist Joby Burgess has a similar air. Cool, passionate, proud and excited. He retains the cool-kid-who-plays-the-drums-from school vibe, at the same time as speaking with knowledge, experience and love about every composer’s work he brings to life
Wizard-like creations of live sequences permeated this intimate gig showing Burgess as nimble, light-footed, and assertive, marshalling multiple forces to construct imaginative worlds impossible to ignore. Becca Dale’s work written for Burgess – fun, atmospheric, playful and sweet – did much to set the tone. Spirit and verve gently squeezed out from each tantalising melodic cell. Gabriel Prokofiev’s Fanta Bottle riff was riveting storytelling reminiscent of any GCSE music students composition class, Burgess delivering deft theatre and effortless self-deprecation.
Composer, producer and curator Alex Groves Curved Form was scored largely for tam tams – provided a more reflective piece of storytelling. Not so much chilling as gratifyingly dark. An ambient creation that satisfied my NLP weaknesses, healing the flesh-wounds of the day that had gone before it.
Feldman’s King of Denmark – a whispered response to Stockhausen – continued the compelling listening experience but in comparative terms the material felt more a passive aggressive response to Stockhausen’s creative madness. In that way I’m not sure it worked quite so well in the running order – the other works shone brighter. Max de Wardener’s Winterreise infused exploration pushed us the edges of comfortable listening with anguished fragments of barely recognisable material and very loud drums. Some in the audience stuck their fingers in their ears.
Linda Buckley’s brilliant Discordia for sonic harp complete with rosin-coated gloves made for a mesmerising conclusion. This 2018 Barbican commission deserves more outings in evocative spaces after a recording has been released for streaming and download. An ambient-lover’s must-listen.
Alex Groves continues to show his creative and producer mettle with SOLO which combined with his gentle affability must surely project him and his work higher and higher. So too I hope for CLF Art Cafe which has over the past two years developed into a must-be-booked-at South London venue.
