ANDREW POPPY
MISTER POPPY: JELLY
Composer, musician, vocalist and record producer Andrew Poppy’s vast portfolio has seen scores for theatre, opera, film, contemporary dance and art installations. His latest project, Jelly, a beautifully challenging and intensely-detailed spoken and sung solo performance, sees him adopt his Mister Poppy persona.
Sat 1 June 2024, 7:30pm
Running Time: Approx 1 hour 10 mins
JELLY
Jelly is an avant-garde vocal experiment featuring a continuous electronic score in five parts and staged with video and sound projection. The album was created as a sonic homage to Robert Rauschenberg’s Nightshades and Phantoms, a series of dream-like paintings on the surface of a sheet of polished metal. Poppy’s finely-crafted loops and dense blocks of electronic sound contain a sense of tantalising, enveloping danger. The piece is accompanied by hyper-visual vocal arrangements reminiscent of a Beat poet’s stream of consciousness. Dramatic, dirty and laced with a Lynchian notion of the fixated gaze, Poppy’s words alight upon grim notions with microscopic detail.
ANDREW POPPY
Andrew Poppy is a post-minimal composer, musician, vocalist, writer and record producer with a unique body of work and collaborations. He performs solo (piano/voice/electronics) (London, Dusseldorf, Lisbon, Oporto, Turin) sometimes with his own Sustaining Ensemble and recently as piano soloist in his work Almost The Same Shame with the BBC Concert Orchestra as part of The Rest Is Noise Festival at Queen Elizabeth Hall in London.
Poppy’s early musical life included playing bass guitar in an improvising rock band, playing Bartok and Debussy on the piano and making music concrete (a form of electroacoustic music) with his father’s tape recorder.
In the early 1980’s he was an accompanist at the Laban Centre for Dance and pianist and composer with The Lost Jockey, a large ensemble dedicated to the performance of new works by minimalist British composers who were influenced by the styles of Philip Glass, Steve Reich, and Louis Andriessen. Since then, his unusual body of work constantly explores different musical contexts. There are scores for theatre, film & video, contemporary dance and art installation; writing collaborations and arrangement for industrial rock and synth pop artist including Psych TV, Erasure, Nitzer Ebb, Claudia Brucken and Bernardo Devlin. A wide range of ensembles have commissioned and/or performed his works at prestigious musical festivals including Noszferatu Ensemble and the Graham Fitkin Band. He is now in the midst of developing a new project.
01: Tattoo / Copy Something That You Love
The voice exists in a tattooed body that it doesn’t own.
02: Mister Post-Man / No More Fumbling In The Dark
The voice is taking delivery of a message or a memory. A letter from the past or a passport to the future. A large cardboard box full of ... what?
03: There Is A Walk We Can Make
This is all the memories and the dreams of travelling through something, with someone They spill out of a box like a year ’ s supply of love letters The scene ends with a proposal: “Give me your hand.”
04: A General Choosing / Feather In The Flames
This starts with a map for negotiating the powers and politics of the day-to-day labyrinth. A mythical history of eating and being eaten and the pragmatic options of making a sound and calling it music. The voice is wondering if the creative enterprise is synonymous with believing in the Phoenix or Angels. A useful us l hi h d ’t t ll i t 05 Th ving th e to th in m
JELLY is what’s left. A voice born in the 50s. Propelled by the optimism of the 60s into the hysteria of the 80s and surviving the end of the pre-covid Eden. Through it all to
JELLY is a decadent ‘‘fin de siècle’ moment reaching for the ecstatic through the energy and movement of pulse with humour and irony.
JELLY is a musical work where a spoken and sung voice are embedded in an endless and static electronic throb that doesn’t acknowledge the human presence or breath.
JELLY is a sonic environment that denies any awareness of harmonic movement or melodic content that might harbour the voice So the voice is contained and free-floating but not anchored. As if it was a sample. Which it is not. But it is as if it were.
JELLY is a shorthand for the instability of materials.
JELLY fits any mold It resists the sentimentality of form
JELLY is a party material. Playful and ridiculous. Coloured water in the process of being frozen.
JELLY is a material that can be molded into a static shape by a container, or a ch i t t ld d i t t i h i l l tt f the alp JE nut of un the pr JE oid. JE JE
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