Upset The Rhythm presents…
WENDY EISENBERG & RYAN SAWYER
KIRAN LEONARD
Wednesday 9 April
The Lexington, 96-98 Pentonville Rd, Angel, London, N1 9JB
7.30pm | £12 | Tickets: https://link.dice.fm/G8802b91cafe
WENDY EISENBERG & RYAN SAWYER came together seemingly by fate. The duo originally came together in a dream Eisenberg had, and not long after, were brought together in reality as substitutes for a show at Union Pool, where they instantly fell in step. Both artists’ work traverses genres from jazz to noise, all sorts of avant substrata and delicate songs, each placing a special emphasis on vast dynamics, textures, and moods. Their performances ebb and flow between long, improvisational pieces and composed songs from each of the artists’ repertoires, setting the sonic intersection between Blaze Foley and the New York Art Quartet. The duo has previously opened for caroline at National Sawdust.
Ryan also plays on Wendy’s new single ‘I Don’t Miss You’ (Joyful Noise Recordings). Wendy has previously played for us solo, and as a member of Editrix and Bill Orcutts’s guitar quartet, and their recent album ‘Viewfinder’ was described by The Guardian as “unexpected shifts in pace mix with Americana and jazz, with the singer-songwriter’s distinctive guitar sound driving a song cycle like no other”. Ryan Sawyer has played drums / percussion for Tv On The Radio, Marshall Allen, Susan Alcorn, Gang Gang Dance, At The Drive-In and collaborates frequently with John Dwyer.
https://www.wendyeisenberg.com/
https://ryansawyer.bandcamp.com/music
KIRAN LEONARD’s unique and ambitious body of work spans more than a decade of releases on labels such as Moshi Moshi and Hand of Glory, limited-run noisy DIY fare, and everything in between. The adolescent guitar/chamber prog of early records such as ‘Bowler Hat Soup’ (2013) and ‘Grapefruit’ (2016) earned praise from Pitchfork, the Guardian and the Quietus, and produced several BBC 6Music-playlisted singles. More recent work has seen Kiran attempt to synthesise interests in situated/home recording, collage, his live practice, and a combination of songcraft with graphic scores, as documented on the monumental (i.e. two-hour-long) and abstract ‘Trespass on Foot’ (2021) and ‘River Holds Peace, Some Live’ (2023), a collection of new and old material arranged for an ensemble of multiple electric guitars, cittern and double bass. Last year, After half a decade of songs without choruses, Kiran released ‘Real Home’ on Memorials of Distinction, which was named by the Guardian that summer among the best albums of 2024 so far.
https://kleonard.bandcamp.com/
