I’m booking some dates for Olivia Block.
She’s available on 20th and 22nd March.

Please find here a biography and click on that link:

http://soundcloud.com/olivia-block

Bio

Olivia Block is a contemporary composer and sound artist who combines
field recordings, scored segments for acoustic instruments, and
electronically generated sound. Block works with recorded media, chamber
ensembles, video, and site-specific sound installations.

She has performed throughout Europe, America, and Japan in tours and
festivals including Sonic Light, Dissonanze, Archipel, Angelica, Sunoni
per il Popolo, Outer Ear, and many others. Her works have premiered at La
Biennale di Venezia 52nd International Festival of Contemporary Music, and
she has completed residencies and premiered works at Mills College of
Music and The Berklee College of Music. She has taught master classes at
several additional universities.

Block has created sound installations for public sites and exhibition
spaces including the Museum of Contemporary Art in Chicago, the library at
Wesleyan University in Connecticut, the Lincoln Conservatory Fern Room in
Chicago, and at the “Echoes Through the Mountains” exhibit at the 2006
Winter Olympics in Turin, Italy.

Her 2008 DVD release with film projector artists Sandra Leah Gibson and
Luis Recoder, Untitled, on SOS editions, has been screened at the 2008
Sundance Film Festival and the Expanded Cinema symposium at the Tate
Modern in London. Her release Mobius Fuse was voted one of the best albums
of the decade by Pitchfork.

Block has published recordings through Sedimental, either/OAR, and Cut,
among other labels.

I hope to hear from you asap.

Regards.

Alain

Some Noise asbl
C/O Alain Bolle
PO BOX 43
1050 Brussels 5
Belgium
http://debloque.wordpress.com
www.lesateliersclaus.com

info@somenoise.be

I’m booking a few dates for the Russian duon Astma featuring Alexei
Borisov and Olga Nosova.
They are available between 26th and 29th April.

Please find here under a biography.

Please also click on: http://www.youtube.com/watch?v=9l4shHfQeyU

Next, I was very impressed with the Russian, improv-collaboration duo,
Astma (Alexei Borisov and Olga Nosova).* Pairing drummer/vocalist Olga
Nosova from the Russian noise- core scene and Russian industrial legend
Alexei Borisov (seriously were talking pre-’89 USSR here), Astma is a drum
and guitar-torture act incorporating looped electronics and disturbing
improv vocal performance. Playing in near total darkness, the two set to
work, seemingly unaware of one another and yet making music that
complimented each other in powerful ways.
If kung-fu styles could be applied to drum-kits, I would describe Nosova’s
style as drunken-master. She worked the kit in forceful, stumbling ways
that kept the listener off-balance the entire performance. Borisov played
his guitar effects pedals more than his guitar as he manipulated the
signal from it into all sorts of electro-glitches and worbles. Astma’s set
began with a spare sound and became increasingly dense as they introduced
new elements such as Nosova triggering a killer industrial backing loop
(the main instrument of forward propulsion in the set), or when Borisov
stood up and unleashed on his guitar. Both Nosova and Borisov did some
form of singing during the set, but it was completely alien in its effect.
Nosova sang in high-pitched eee-ooo’s that sounded like a female toddler
in-the-wild discovering and attempting opera vocal warm-ups; while Borisov
mumbled into the microphone sounding like a microphone sound-check coming
through the walls from the building two doors down. Astma’s set was
awesome and their 45-minutes of electro- industrial-noise left me wanting
more.

I would like to hear from you very soon

Regards.

Alain

Some Noise asbl
C/O Alain Bolle
PO BOX 43
1050 Brussels 5
Belgium
http://debloque.wordpress.com
www.lesateliersclaus.com

info@somenoise.be

In partnership with Lee Tusk I’m booking some dates for THE BLACK TWIG
PICKERS.
They are available between 20th and 24th March 2012.

Please read here a review and also click on:
http://soundcloud.com/user9979056/jack-rose-the-black-twig-pickers-sail-away-ladies-i-shall-not-be-moved

http://www.youtube.com/watch?v=Qb9OXXtcXek

Appalachian folk maestros and erstwhile bandmates with Jack Rose, The
Black Twig Pickers return with a new album for Thrill Jockey (their first
release for the label), recorded last year in the Virginian town of the
title. As far as Americana goes, these guys are just about as authentic
and on-the-money as it gets, romping through traditional regional songs
(with a couple of originals thrown in) with an all-acoustic instrumental
set-up that supplements a bedrock of banjo, fiddle and guitars with
washboards, bones, fiddlesticks and jaw harp. Possibly the band’s greatest
coup is making their antique material current and vibrant; nothing about
this fifteen-song selection sounds like it belongs to a defunct or expired
artform. Recorded in single takes with no overdubs, Ironto Special is a
joyous listen, performed by terrific musicians who clearly have a
scholarly grasp on their cultural heritage.

I hope to hear from you asap.

Regards.

Alain

Some Noise asbl
C/O Alain Bolle
PO BOX 43
1050 Brussels 5
Belgium
http://debloque.wordpress.com
www.lesateliersclaus.com

info@somenoise.be

DRAGOS TARA: Composer, double bass player and electronic musician, Dragos Tara spends his time between composition and improvisation. His musical and extra-musical collaborations are motivated by an interest in the game theory, the diversion of social rituals and the extension of instrument and body by technology.
http://dragostara.blogspot.com/p/sons.html
I hope to hear from you asap.
Regards.
Alain
Some Noise asbl C/O Alain Bolle PO BOX 43 1050 Brussels 5 Belgium http://debloque.wordpress.com www.lesateliersclaus.com
info@somenoise.be

I’m arranging some dates for Peter J Taylor. He’s available in May and
June 2012.
Peter J Taylor creates music on the night with compositions performed by
musicians of your choosing from your town/city. The music is very easy to
play and
requires one hour sound check. Shows require a minimum of 6 guitars and
one drummer.
There is no maximum. The more musicians the louder the music the bigger the
overtones.

Please find here some words describing his music and also some usual links:

VIDEO:

http://www.youtube.com/watch?v=fhtz9p6xNGc&feature=related
http://www.youtube.com/watch?v=0wpC_JVRUDw&feature=related
http://www.youtube.com/watch?v=7pSLbx303YU
http://vimeo.com/29367302

AUDIO:

http://peterjtaylor.bandcamp.com/
http://peterjamestaylor.com/

Peter J Taylor is a Composer, Guitarist from the UK, His music currently
explores
the harmonies of micro-tonal changes in overtones outside the boundaries
of the 12
note tonal system. Taylor can be described sounding in comparison to Rhys
Chatham,
Glenn Branca, Boredoms, and has performed nationally and internationally
playing
with hundreds of musicians.

In 2010 Taylor finished work on his first album “MATE”. Comprising of Eight
compositions written for an Ensemble of 6 Guitars and one drummer. This
has been
performed by a regular ensemble of both national and international
musicians. Being
completely self funded and released to critical acclaim on Fortissimo
Records in
August 2010.

In 2009 Taylors first major composition written for 26 Guitars and Drums
saw its
European premiere in Austria at ARS Electronic, Linz during the European
Capital
City of Culture.

2012 SEES THE RELEASE OF A NEW ALBUM.

Reviews
“…a palate-scorching blast of screaming guitars by Peter James Taylor,
formerly of
no-wave influenced Bletchley punks Action Beat. This track, Up Yours,
announces its
intentions straight away with a wave of tremelo-picked guitars (with
Shellac-style
metallic distortion), and doesn’t let up from there – the
Sonic-Youth-at-their-most-hectic drums ensure that all of the instrumental
song’s 7+
minutes pound their way into your psyche. The track is arranged and played
on 6
guitars, and it shows and pays off in its sheer wonderful violence.”
FatCat Records Demo Player. Feb 15th 2011

………………………………………………………………………………………………….

“This is a pretty astounding sounding record. Taking time off from his
main band
Action Beat, PJT has assembled a contemporary UK “guitar army” in the vein
of ol’
Noisy bastard Glenn Branca’s NY outfit. ‘Mate’ is the result. A taut, wiry
collision
of furious and mighty monotone guitar thrash & some seriously insane Steve
Shelley-esque drum abuse. This incredibly fine record reminds you of what
it is like
to get caught right in the eye of a prime SY maelstrom or the culmination
of an
Action Beat curated aural tornado. This is rock music on a very pure,
electrifying
plain. Forceful, intelligent, relentless, euphoric & very loud. But with
the source
ingredients being relatively minimal, you’re getting all the uncluttered
detail.
Just galloping, driving drums & walls of fierce guitars that slice up and
down the
side of your face like the most brutal biting wind. Put this vicious
fucker on and
you’ll get forced right slam into the back of your sofa, such is the
velocity & fury
of this very righteous rock. Power on boys. Stellar line-up also includes
memebers
of House of John Player & Hired Muscle!”
5/5
NORMAN RECORDS. dec 2010

…………………………………………………………………………………………..

“Peter J Taylor’s name might make him sound like he’s a columnist for a
broadsheet
paper but listen to a split second of his music and you’ll realise that he
is in
fact a monstrous nutter who’s created an instrumental album of intense,
punky guitar
driven compositions that sound like they’re the backing track to a b-movie
car
chase. He used to be in some band I’ve never heard of, but who cares about
that,
care about this.
This record is partly white noise and it should really be awful. But it’s
not. It’s
good. Great in fact. I put it on and listened to the whole thing straight
through.
Sober. It doesn’t let up or let you go in it’s manic and tense nature.
It’s like a
refreshing citrus slap round the face that barks “Stop listening to Mark
Lanegan you
twat. What are you doing with your life? Don’t you remember what you used
to like?”
(Just me then?) It makes me remember how much raucous fun music can be.
Should be.
Taylor sounds like he’s having so much fun. I want to pick up a guitar
join in.
There’s also some great little intricacies to be found inbetween the
wailing eight
tracks here but I don’t think for a minute any of it was done consciously.
‘Mate’ is
like a Kandinsky painting: insane, nonsensical, alluring; hinting at
control and
overall it’s odd parts making a beautiful whole. It’s also a big bastard
sonic
onslaught of electric death too, of course.
The self released album ‘Mate’ is available for a mere £4 on his bandcamp
site but
if you’re a tight-fisted, miser, skinflint, cheapskate tight wad, then you
can just
stream the thing and rock out in front of your computer like it’s 2011. But
remember: Your ears are for life, not just for Christmas. Now go listen.”
http://musicgob.tumblr.com/  Feb 2011.

…………………………………………………………………………………………..

“Ex Action Beat member Peter J Taylor offers a lovely slice of frenetic
guitars and
discordant amp damage with this. Each track is unrelenting in its intent
and truly
drives the point home. Indeed at points it is as though Lightning Bolt got
rid of
their bass and replaced it with a guitar.With this in mind this formula is
touched
on time and time again and can be a little samey but the evident talent on
display
and desire to just straight up rock out often dispels any worries that
this mans
heart is not firmly in the right place. “Red Schuhert,” is the pot of gold
at the
end of a bright and endearing record that seems to have a huge sigh at the
end of it
after the amount of work that has gone into the previous　7 tracks.
The noise band
from Bletchleys loss is our gain.”
MASS MOVEMENT MAGAZINE. Steve Ready – Feb 2011

I hope to hear from you very very soon.

Alain

I’m booking some dates for SCANNER.
Robin Rimbaud (SCANNER) is available from 19th May onwards.

Please read this biography and also visit:
http://www.scannerdot.com/scanner_ie.shtml

Robin Rimbaud (born in 1964 in Southfields, London) is an electronic
musician who works under the name Scanner due to his use of cell phone and
police scanners in live performance. He is also a member of the band
Githead with Wire’s Colin Newman and Malka Spigel and Max Franken from
Minimal Compact.

RoninRimbaud is also a writer and media critic[citation needed],
multi-media artist and record producer. He borrowed his stage name from
the device he used in his early recordings, picking up indeterminate radio
and mobile phone signals in the airwaves and using them as an instrument
in his compositions.

Growing up, Scanner was interested in avant garde literature, cinema and
music. When he was a teenager his family was bereaved when his father was
killed in a motorcycle accident.[1] He attended Kingston University in
Surrey, earning a degree in Modern Arts (BA). There, he formed a musical
project The Rimbaud Brothers with fellow student Tony Rimbaud, releasing
cassette editions in the early 1980s, later becoming Dau Al Set with the
addition of Chris Staley.

He released Peyrere compilation cassette album in 1986, featuring the work
of Nurse with Wound, Derek Jarman, Current 93, Coil and Test Dept. That
same year, he composed the soundtrack to a short film A Horse with No
Name, directed by Phil Viner, shown at the London Film Festival.

In 1989, he was commissioned to contribute to the Cultural Icons
publication (Bloomsbury) edited by James Park, writing many articles on
contemporary art, literature, music and dance.

His debut Scanner CD was released in 1992 on Ash International, a
subsidiary label of London’s Touch Music label. He continued to produce
the first dozen releases with Mike Harding of Touch, including Scanner²,
Mass Observation, Blind, and Runaway Train, a real-time recording of the
captivating radio contact between Alfie, controller of the line and
Wesley, the driver of a runaway train. Location: New Brunswick, Canada,
recorded 9 March 1948.

In 1994, he pioneered one of the first webzines, in the very early days of
the internet, I/O/D, in collaboration with Matthew Fuller and Graham
Harwood. In 1998, he presented Surface Noise on a London bus, commissioned
by Artangel, and won the Imaginaria 99 Award for Digital Arts, ICA London
the following year. He re-soundtracked Jean-Luc Godard’s Alphaville movie
in a series of performances around the world, whilst playfully presenting
16 concerts in one evening using a series of Scanner look-alikes to
perform in his absence. For 2003, he installed a permanent installation in
Raymond Poincaré hospital in Garches, France as part of the bereavement
suite Channel of Flight.[2] In 2004, Tate Modern commissioned Sound
Surface in collaboration with Stephen Vitiello as their first sonic arts
work. In the same year, he composed Europa 25, an alternative National
Anthem for Europe that was freely distributed via 10,000 CDs and a
website.

He has continued to collaborate with classical musicians – Michael Nyman
for Ars Electronica in Linz, Austria, Musique Nouvelles in Belgium for
their ‘Play Along’ collaborative string quartet, and opera singer Patricia
Rozario for a new untitled work in 2007.

From 1994-2000, he set up and “curated” The Electronic Lounge music club
at London’s ICA, where these monthly sessions presented nights of music in
a social environment. Nights included presentations with the record
companies Warp Records, Irdial, Ninja Tune, Touch, Mego, Leaf Records and
many others.

Since 2000 he has featured on BBC Radio 4, as a commentator on issues
relating to popular music on a number of occasions.

Working with choreographer Wayne McGregor, he created Nemesis for Random
Dance in 2002, Detritus for Ballet Rambert in 2003, and Qualia for the
Royal Ballet in 2004. He continues to work with dance, with new works for
Shobana Jeyasingh and Siobhan Davies in 2007. In 2006 he created the sound
for Merce Cunningham’s E:vent at London’s Barbican theatre.

In 2006, he created Night Haunts, a monthly online artwork, working with
writer Sukhdev Sandhu and designers Mind Unit. He sound-designed Aitan
Errusi’s new British horror film Reverb. In 2007 he soundtracked British
filmmaker Steve McQueen’s film installation Gravesend, at the 52nd Venice
Biennial.

In 2008 he was President of Honour at the Qwartz Music Awards in Paris,
and scored the musical comedy Kirikou & Karaba in Paris, which was later
released on DVD (EMI). He premiered his six hour performance show, Of Air
and Eye at the Royal Opera House London in late 2008, and sound-designed
the new Philips Wake-Up Light with Philips Electronics in NL, a lamp to
wake you up with natural light and sound.

In 2009 He showed Atlantida, an HD film installation at the Canary Islands
Biennial, created in collaboration with filmmaker Olga Mink. In the summer
of 2009 he composed the soundtrack to the opening ceremony of the World
Swimming Championships in Rome, broadcast in 164 countries, and
soundtracked the new Samburg Corby telephone campaign in Italy.

In 2005, he was a contributing curator ‘J’en rêve’ at Fondation Cartier
Paris, and in 2006, jointly curated the video art exhibition ‘Mobile’ at
Espace Landowski Paris.

His BBC radio production of Jean Cocteau’s The Human Voice won the Prix
Marulic Award and recently, he won First Prize Neptun Water Prize for his
installation Wishing Well in Austria, in collaboration with Austrian
artist Katarina Matiasek. In 1998, he became ‘Professor Scanner’ at John
Moore’s University in Liverpool. In 2009 he became Visiting Professor at
University College Falmouth UK, and Visiting Professor at Le Fresnoy
National Centre for Contemporary Arts in Tourcoing France.

He is a Contributing Editor of kultureflash.net, a London centric e-zine
which goes out weekly via HTML email to 27,000+ subscribers.

He recently contributed a chapter to Sound Unbound: Sampling Digital Music
and Culture (The MIT Press, 2008) edited by Paul D. Miller a.k.a. DJ
Spooky. In 2010 Rimbaud working with The Post Modern Jazz Quartet on Blink
of an Eye with a very subtle touch, embedding his sounds into those of the
New York jazz ensemble seamlessly as critics observed.

I hope to hear from you soon.

Regards.

Alain