Venue and Date
Maryhill Community Central Hall, 2 April 2020
18:00 doors –
Counterflows opens with a celebration of song – weaving together past traditions and pushing them into the present. Come down early for some free vegan food served up by Glasgow Supper Club!
Food will be served 6pm-7.30pm.
**please note it will be a cash only bar at this event**
Sosena Gebre Eyesus is an Ethiopian artist whose soulful, life-affirming incantations are guided by the gentle strums of her Begena, otherwise known as King David’s Harp. One of the world’s oldest and most beguiling instruments, the Harp of David has been employed as a soother of evil and disturbed spirits since ancient times, and has long been the central instrument used to accompany Ethiopian Orthodox hymns. Sosena Gebre Eyesus is one of its most captivating practitioners, playing the instrument in an utterly entrancing manner as she softly sings songs of devotional reflection. We are delighted to welcome her for her UK debut performance at Counterflows 2020.
Fukuoka native Kumio Kurachi is one of the most original players of the Japanese underground. When he’s not making visual art, Kurachi writes, sings and performs his unique brand of song – often pairing surreal lyrics and unorthodox tunings with theatrical vocal mannerisms. He has performed actively in Japan since the 80’s and still plays shows in Fukuoka regularly. Past collaborators include Taku Unami and Tatsuhisa Yamamoto. He has played with Tenniscoats, Kazuhisa Uchihashi, Katsura Yamauchi, Tori Kudo, Jim O’Rourke and Eiko Ishibashi. His first album released outside of Japan ‘Sound of Turning Earth’ was released on bison in June. This will be his first trip to Scotland.
“The music is so melodious that the mixture of the strange wording, guitar and variations of voices thrives all together and it can haunt you without noticing it, just like the small events of everyday life you can’t escape from.” – Midori Ogata
Quinie (Josie Vallely) is an unaccompanied singer based in Glasgow, Scotland. She sings primarily in Scots, influenced by a range of song traditions from folk revivalist campfires to Scottish traveller singers. Her vocal style is informed by the singing of Scottish traveller Lizzie Higgins (1929-1993) in particular. Supported by Counterflows, Quinie has developed a body of work, partly drawn from archival recordings of the School of Scottish Studies Archives, that explores the influence of the pipes in Lizzie Higgins’ singing. Quinie’s new ‘Piping Sangs’ bring together reinterpretations of traditional songs and new compositions based on the Scottish mouth music traditions of diddling, cantering and canntaireachd.