Here are my booking offers this week: YOKOCOLA, MEREDITH MONK, JASON VAN GULICK, KEIJI HAINO, THE POP GROUP, L’OEILLERE, HALF JAPANESE, LAETITIA SADIER SOURCE ENSEMBLE.
Please get back to me soon.
I will give you all useful details and info.
YOKOCOLA (The Netherlands)
Availability: From early October 2017 onwards
MEREDITH MONK (USA)
Availability: Early November
JASON VAN GULICK (France)
Availability: Between early October and 17th December
KEIJI HAINO (Japan)
Availability: 29th May
THE POP GROUP (UK)
Availability: From late October onwards
Availability: Between 25th October and 4th November
HALF JAPANESE (USA)
Availability: May 2017
LAETITIA SADIER SOURCE ENSEMBLE (UK)
Availability: 7th or 8th May
JASON VAN GULICK
Jason Van Gulick is one of the most inventive drummers on the
contemporary music scene. For more than a decade, he has used his
education as an architect to explode the foundations of drumming.
Maintaining a distance from all aesthetic, disciplinary or formal
limitations, he has developed his artistic approach in the confrontation
between the acoustic character of his chosen instrument and
architectural resonant spaces. He has performed with Carla Bozulich /
Evangelista, for many tour and share stage withStephen O’Malley (Sunn
O)))), Chris Corsano, N.U. Unruh (Einstürzende Neubauten), LÊ QUAN Ninh,
Proto Punk, Psychedelic, Industrial, Experimental Rock, Kraut-Rock.
Think fierce punk tripping out on acid, or Space Ritual Hawkwind or a
wild night out in Rotterdam where they are from. They are like new
York’s No Wave cranked to the 21st century and their synth swooshes
added to the guitar crank gives them a twist all over their own.
MEREDITH MONK (b. November 20, 1942, New York, NY) is a composer,
singer, director/choreographer and creator of new opera, music-theater
works, films and installations. Recognized as one of the most unique and
influential artists of our time, she is a pioneer in what is now called
« extended vocal technique » and « interdisciplinary performance. » Monk
creates works that thrive at the intersection of music and movement,
image and object, light and sound, discovering and weaving together new
modes of perception. Her groundbreaking exploration of the voice as an
instrument, as an eloquent language in and of itself, expands the
boundaries of musical composition, creating landscapes of sound that
unearth feelings, energies, and memories for which there are no words.
Over the last fifty years, she has been hailed as « a magician of the
voice » and « one of America’s coolest composers. » Celebrated
internationally, Monk’s work has been presented by BAM, Lincoln Center
Festival, Houston Grand Opera, London’s Barbican Centre, and at major
venues around the world. Among her many accolades, she was recently
named an Officer of the Order of Arts and Letters by the Republic of
France and the 2012 Composer of the Year by Musical America. In
conjunction with her 50th Season of creating and performing, she was
appointed the 2014-15 Richard and Barbara Debs Composer’s Chair at
Carnegie Hall. In September 2015, Ms. Monk received the National Medal
of Arts from President Obama.
Stemming from the Antonin Artaud-inspired theatre milieu, since the
beginning of the ’70s Keiji Haino  explores such fields of music as
psychedelic, improvisation, minimalism, noise and drone. From 1973 until
2013 banned by the Japanese public broadcaster NHK, he co-founded such
ensembles as Fushitsusha, Vajra or Nijiumu, and has also collaborated
with artists as varied as i.a. Peter Brötzmann, Derek Bailey, Tatsuya
Yoshida, Pan Sonic, Merzbow or Jim O’Rourke. « Keiji Haino towers over
the Japanese underground: his colossally heavy guitar excursions
inspired a whole generation of psychedelic
rockers, but his omnivorous musical appetites have also seen him
collaborate with jazz musicians, branch out into DJing, and play an
entire gamelan orchestra single-handedly. There’s no knowing what to
expect from a Haino gig » – Time Out Tokyo »Keiji Haino lives among the
class of improvisers who roam so far from what we usually call form —
meaning, basically, rules — that they make you question whether what
they’re doing is music. » – New York Times
THE POP GROUP
The Pop Group’s return represents post punk provocation for a
contemporary era, a resistant continuation of dissentious intent that
refutes the nostalgic comfort of the old for a bracing, contrarian
engagement with the new.
Since reforming for a specially curated ATP festival in 2010 – at the
behest of Simpsons creator Matt Groening – the band have been
industrious in their reactivation. Laying the groundwork for the Citizen
Zombie recording sessions the band toured key international festivals
and played numerous gigs across the UK, Europe and the rest of the world
throughout 2010 and into 2014, a period in which the potency of earlier
years was refined and reignited.
L’Œillère is a wild classical guitar soloist, whose long narrative
compositions mix contemporary music with heavy, percussive rock.
L’Œillère borrows as much from contemporary music, from the solidity and
linearity of its structures, as from the energy of rock and the modal
variety of jazz. Each of his pieces are composed for the classical
guitar, which he uses without effects or electronic post-production.
Half Japanese began in the late ’70s as a band of primitive outsiders,
breaking musical rules that founding brothers Jad and David Fair never
even learned. But it didn’t take them long to become influential
indie-rock journeymen. Since the mid-’80s, their albums have been
consistently solid and often spectacular. They’ve never stopped
following their own weird muse — primarily the heart-on-sleeve lyrics
and voice of Jad Fair, Half Japanese’s only constant member — but the
majority of their music has been reliably well-made.
LAETITIA SADIER SOURCE ENSEMBLE
Find Me Finding You, the new album from the new organization called the
Laetitia Sadier Source Ensemble, manages to strike new chords while
touching familiar keys in the song of life. From its percolating opening
beat, Find Me Finding You locates new systems within the sound-universe
of Laetitia Sadier. When we hear synth lines diving, lifting and
drifting, unusual guitar textures, the plucked sound of flat wound bass
strings or the bottomless pulsing of bass pedals stepping out of the mix
with an exquisite vibrancy, this is the sound of the Source Ensemble!
This designation implies a new togetherness phase; alongside long-time
collaborators Emmanuel Mario and Xavi Munoz, keyboard and flutes parts
played by David Thayer were essential contributions, as well as further
keys, synths and electronics from Phil M FU and several intense guitar
sequences from Mason le Long.
Thanks for reading.
I look forward to hearing from you asap.
All the best.
Alain Bolle / Some Noise
84, Rue des Pâquerettes