Archive pour mars, 2011


Posted in Uncategorized on mars 31, 2011 by debloque


These two bands are touring soon together: DIVORCE + STIG NOISE
The open dates are on 16th + 17th + 27th + 28th + 29th October 2011.

Please read the texts that follows and also click on some of these links
to know more about the two bands:


        Divorce were born in Glasgow through a frustration that their kinda music
wasn’t getting heard in their city. Brought together through random
encounters, solid friendships and drunken obsessive discussions at
terrible parties, the four members who make up Divorce have no more of an
exacting agenda than just MAKE NOISE and MAKE IT GOOD. The end result has
been likened to a roughly grafted assemblage of no-wave punk bands like
Teenage Jesus & The Jerks and DNA, the squalling noise of Big Black and
Swans and the rhythmically violent sounds of bands like AIDS Wolf and
Arab On Radar.

        Since forming in the summer of 2008, Divorce have shared stages with the
likes of HEALTH, Chrome Hoof, Part Chimp, Deerhoof and have toured the UK
numerous times with bands like Child Abuse, Comanechi (who they’ve also
shared space on a split 10” with) and their Glasgow-based
brothers-in-noise Ultimate Thrush (again also sharing space on a split
cassette). Divorce have previously had their music released through the
Optimo, Merok, Milk and Winning Sperm Party labels and 2011 will see new
7” releases appearing on a slew of great DIY labels.

        But fundamentally, Divorce are best experienced live, in a small sweaty
room, with all the ear-splitting volume & uninhibited audience
confrontation that goes with it.


We are DIY noise orientated hip hop mariachi punks from the North of England.
We write our own bio’s :p

We make continually evolving  mixed up : Grungy noisy gypsy folksy hip
hop(ish) experimental guitar -mariachi trumpet – multi jaggard brutal
drummers – anolouge broken childish electronics- ridiculous amounts of
bass based music, both, Brutal and Joyful in approach and liv e delivery.

We have been extremely lucky  in recent years to meet and play with
genuine  hero’s of ours like Daniel Johnston >>  The Ex >> Deerhoof >> Old
Time Relijun  >> Melt Banana >> From the train station festivals of
Brussels too Squats Legends in Paris to the Anarchist run Fusion Festival
in Germany.

  We found endless inspirations and friends through shows and tours with
legends like  Drum Eyes / Dj Scotch Egg >>  Vialka >> Pneu >> Shield
Your Eyes >> MohA >> Shitmat >> Tim Exile >>  Duracell >> Jason Forest
>>  Marvin >> the lists are endless …. we have delivered joy
successfully and destroyed equally our outbursts of noise from
Experimental noise rock shows in France, jazz festivals in Swizz and
Electronic  Wrong  parties in Holland, spreading, we hope, some hope :p
everywhere from Ireland to Italy to Latvia.

We have worked only with DIY Agents & LAbels in our time, WRONG MUSIC,
friends who help us travel and release music all over Europe.

Our self recorded output and live shows, is an ongoing analysis of hooks
and motivational sound, exploring and discovering ways to exist in the
shite show of modern existence.

We do not have  delusions of commercial success other than to not to
knowingly follow in the footsteps of majority, either humanly, musically
or commercially.

Stig Noise in 2011 is a collective of 4 friends based in a non-funded
derelict old building, now,  creative space in Liverpool, England. Our
Space, U are welcome here >>

For All Multi-Media and Future Release / tours please visit;



Posted in Uncategorized on mars 30, 2011 by debloque


I’m booking dates for Cornershop.
They are available for festivals in July and August and also for some club
shows in October and November 2011.

Please visit the band’s Myspace and also read a review of their latest

I hope to hear from you asap.



In the accompanying press for Cornershop & the Double ‘O’ Groove Of,
erstwhile frontman Tjinder Singh claims that he’s “wanted to do an album
like this for 20 years.” At first listen to Cornershop’s new release, one
wonders why he and cohort Ben Ayres waited so long to put forth such a
seamless fusion of Punjabi roots-music and sample-happy Britrock. Maybe an
earlier attempt – outside of the odd appetite-whetter like “Brimful of
Asha” or the few more Indocentric tunes on 2009’s Judy Sucks a Lemon for
Breakfast – would have sounded forced and not as fully realized. Or maybe
he was waiting for the right collaborator, which they’ve found in featured
vocalist Bubbley Kaur.

Kaur may have stumbled her way into a full-time gig, and kudos to
Cornershop for drawing from the giddha (Punjabi folk/dance music as sung
by women — think of it as the more feminine side to bhangra) tradition
rather than basing these tracks on some harder-hitting bhangra dhol
rhythms. Her rosewater-sweet vocals — sung entirely in Punjabi — sound
like they served as the compositional centerpiece of more or less every
track on this record, leaving Singh and Co. to come up with the catchy
accompaniment for her melodies and cadences.

“United Provinces of India” throws everything into the brew from the get
go. Anchored by a breakbeat, the rhythmic pluck of the one-stringed
Punjabi tumbi gives way to single-note funk guitar while a Gangstarr-esque
jazz loop drops in and out of the mix. Disparate parts fall together
perfectly again on ‘Topknot,” whose sunny guitar riff and Casiotone
rhythmic tick create an unexpectedly comfy bedding for Kaur’s heartwarming
performance. Throughout, she shows her knack for emoting in a way that
renders the language barrier totally irrelevant — what might in another
context sound foreign here sounds like a greeting from an old friend, sung
through a smile. “The 911 Curry” forgoes a retro funk backing for what
could pass as a traditional devotional bhajan dominated by tabla and
droning harmonium with funky stabs of brass. Kaur’s floating vocal is
propelled by a skipping JB-style bass-and-drum groove on “Natch,” which
starts with a bizarre and comical college fight-song theme. It’s
juxtapositions like those that remind one of the band’s wry sense of
humor: “Double Decker Eyelashes” grafts a stately harpsichord melody to
Kaur’s vocal, bringing to mind the scene from the hit Hindi film Lagaan,
where the stuffy suited and gowned Britishers are having their very
“proper” ball within the confines of their Indian compound. “Once There
was a Wintertime” creates a similar comically quaint mood with
spliced-and-diced chamber overture samples peppering yet another funk

On the other hand, Cornershop recall their heritage — both Indian and
British — in the slinky, organ- and sitar-driven “Double Digit,” which
soundchecks Ananda Shankar’s early desi-funk experiments, and “The Biro
Pen,” which (save for Kaur’s golden-era Bollywoodisms) could pass for an
Ian Dury and the Blockheads out-take. The album wraps with a terribly
strong lead-out track in the vague Madchester rhythms of “Don’t Shake It,”
whose fingerpicked guitar chords, a la “Everybody’s Talkin’,” buoy Kaur’s
jubilant refrain of “hai, hai / hoi, hoi.”

Cornershop and the Double-O Groove Of finds the band’s east/west fusion
developed far past the experimental stage into deft and heartfelt
songcraft. And given the renewed interest in India’s pop culture in a
post-Slumdog Millionaire and Sublime Frequencies-informed west, the timing
couldn’t be better.

Some Noise asbl
C/O Alain Bolle
1050 Brussels 5
tel: 32 473 93 40 28

Playlist – noisy crescendo

Posted in Uncategorized on mars 24, 2011 by debloque


Figurent le label, le nom de groupe ou de l’artiste, le titre de l’extrait, le titrte de l’album ainsi que les références éventuelles du média au sein des collections de la Médiathèque.



1/ Tompkins Square : SHAWN DAVID MCMILLER : « A morning with dead friends ».

    Dead Friends. XM361Y


2/ Smalltown Superjazz : LASSE MARHAUG : « Mountain of the seven vultures ».

   All Music At Once. XM165V


3/ Dirter : ANDREW LILES : « Atomic, consistency, isolation, durability ».

    Mind Mangled Trip Monster.


4/ Gecophonic : MOON WIRING CLUB : « Marmalade sun ». Striped Paint For The Test Post.



5/ Year Zero : PINK FAIRIES : « Do it ». Various-Dirty Water The Birth Of Punk Attitude.

    X 214Q.


6/ Electra Asylum : ENSEMBLE NIPPONIA : « Godanginota ». Japan : Traditional Vocal

    & Instrumental Music.  MX4561.


7/ Nagam/ BACHAR MAR-KHALIFE : « Aroun d the lamp ». Oil Slick. XK272T


8/ Rpm : THE FLYING LIZARDS : « Summertime blues ». Fourth Wall. XF568A


9/ Radioworm : HENK B : «Jingle ». Various-Radioworm # 127.


10/ Inrockuptibles : L’EPICIER : « Dgic ». Various-Un Automne 2010.


11/ Crammed Discs : LES TUEURS DE LA LUNE DE MIEL : « Oh Suzanna ». Special Manubre.     XT887J


12/ Diw : SONNY MURRAY : « Black art ». Sonny’s time now ». UM9681.


13/ Important : JOZEF VAN WISSEM : « Our hearts condemn us ». Ex  Patris. XV184H


14/ Amina Music : AMIINA : « What are we waiting for ». Puzzle. XA449Z


15/ Thrill Jockey : BARN OWL : « Sundown ». Ancestral Star. XB147S



     « Untitled ». Broken Circle Live.


17/ Latitude Mfg : MASTER MUSICIANS OF BUKABE : « 122° 20 57 4299 ».

     Elogia De La Sombra.  XM263U


18/ Pogus : PAULINE OLIVEROS : « Something else »/ No Mo. XO262M.


19/ Gecophonic : MOON WIRING CLUB : « Wool book ». An Audience Of Art Deco Eyes.



20/ Hinterzimber : GHEDALIA TAZARTES : « Dix ». Ante-Mortem. XT166H


21/ Adda : JEHAN TITELOUZE : « Magnificat sexti toni ». Hymnes et Magnifiucat. AT5516.


22/ Room40 : CHRIS ABRAHAMS : « Running out ». Play Scar. XA043F

23/ Empreintes Digitales : MICHEL CHION :  « All parties ». Prelude A La Vie. FC5230.



Posted in Uncategorized on mars 23, 2011 by debloque


I’m booking some dates from early September onwards for PRAIRIE CALMEL

Please find here a short biography and some links:

I hope to hear from you very soon.





A guitar plugged in 2 amps (bass and guitar) and a voice glued to a laptop. Fragments of text taken from films, poems, fiction, news items, field recordings. Distorted explosions, controlled feedback, hidden melodies, intimate reverberations, brushed strings. Voices, whispered, screamed, saturated, caressing the mic, open to objects, air and saliva.

Lucille Calmel (F)

Lives in Brussels since 2005.

Lucille Calmel is a performer and researcher in live writing on stage and on the internet. She has travelled the world as an author, has collaborated with Antoine Boute, Ariane Bart, Charles Pennequin, Christophe Fiat, Eduard Escoffet, Joël Hubaut, Julien Blaine, Laure Limongi, Maja Jantar, Michael Glück, Michel Giroud, Pascal Leclercq, Sebastian Dicenaire, Vincent Tholomé, absinthe (provisoire), Alain Bowl, Bruital Orgasme, ct jérôme, eox, Ernesto Gonzales, f.a.g.s., gibby, Hugues Warin, Jacques Foschia, Jean-Claude Charlier, jeanf Blanquet, Joachim Montessuis, Laurent Baudoux, Ludovic Pré, Mimetic, Mohamed Dali quartet, Phil von, Philippe Boisnard, prairie, Servovalve, syl-n, Thirtytwobit, Thierry Coduys, Tim Theall, Totenfest, Yannick Franck, Yvan Étienne…


Marc Jacobs  (B ) / prairie

Self-taught musician, spontaneous composer, ex-art director for Recyclart, Brussels (2000-2009),  freelance concert and party promotor (Halles de Schaarbeek, VK, Kunstenfestivaldesarts), solo project Prairie, has played inTervuren (guitar – 2006 – 2008) and has composed sound for various documentaries and shortfilms (Des Hommes – 2006 and Miramen  – 2010 by Khristine Gillard).


Posted in Uncategorized on mars 22, 2011 by debloque


I’m bringing over JON MUELLER from the USA after the Summertime.
Due to some tight schedule he can only spend one week in Europe.

Please read these words and also get back to me asap.
Please click on this link as well.

For the past ten years, I have been helping people–from music audiences to
corporate executives to best-selling authors to elementary and University
students–listen and communicate. The basis of my work is to listen, think
about and discuss that information with others, and work collaboratively
to create an output that will benefit others in some way; in other words,
taking input and creating a positive output.

As an active drummer and percussionist over the past 25 years, I became
increasingly focused on a physical dialog between situation and material,
often bypassing standard approaches to percussion and considering the
space in which that sound is presented in order to create a larger
experience for those listening.

My recordings have been featured in a variety of contexts, from cassette
tape to MTV, and I’ve performed concerts throughout the U.S., Japan, and
Europe. I have worked with members of the groups Swans, Wilco, Bon Iver,
and Rhys Chatham’s Guitar Trio, as well as being a longtime member of the
groups Pele, Collections of Colonies of Bees, and more recently, Volcano
Choir. I’ve also collaborated with artists such as James Plotkin, Marcus
Schmickler, Bhob Rainey, Dan Burke, Asmus Tietchens, Lionel Marchetti,
Z’EV, Jason Kahn, Jack Wright, and many others. My recordings have been
released by record labels as disparate as Table of the Elements, Polyvinyl
Records, Type Recordings, Jagjaguwar, and many others. My complete
recording discography can be viewed here.

I was artist-in-residence in Nijmegen, Netherlands as part of the Brombron
project, talked about my work at Wesleyan and Loyola Universities,
composed music for film and live film screenings, and held workshops for
people about how to think differently about listening.

I formed the imprint Crouton in 1999, because of an interest in how people
experience packaged sound and writing. Crouton published over 40 releases
in deluxe presentations; each of them collaborative projects that required
much listening, creative thinking, planning, discussion, organization, and
hands-on implementation. Crouton also organized events in the Milwaukee
and Chicago areas with artists from around the world. These were heavily
documented by the press and even filmed as part of a PBS documentary. I
stopped publishing via Crouton in 2009 to focus exclusively on

In 2006 I began studying how people interact in systems, and how the
design of those systems directly affects the output, receiving an MBA
degree in 2008.

I also host the Milwaukee franchise of Pecha Kucha, an event that began in
Tokyo which creates a platform for people to present their idea while
showing 20 slides that change automatically every 20 seconds.

I hope to hear from you asap.



Some Noise asbl
C/O Alain Bolle
1050 Brussels 5
tel: 32 473 93 40 28


Posted in Uncategorized on mars 21, 2011 by debloque


ALAN VEGA AND MARC HURTADO might perform together again in the future.
They’ve just released an album called Sniper.
Please read this review and also visit:

I’m collecting any idea to make it happen.

I hope to hear from you asap.


“Sniper” is the result from the common efforts of Marc Hurtado (Etant
Donnés, Sol Ixent ao) and Alan Vega (Suicide). It’s not a statement to say
that “Sniper” is the meeting between two living legends from the electro-
& industrial underground scene. Both artists already worked together on
the “Re-Up”-album from Etant Donnés released in 1999.
“Sniper” is much different and even appears to be a real surprise!
“Sniper” is Marc Hurtado composing all music and Alan Vega on vocals. The
composition is rather unexpected as M. Hurtado composed a kind of
electro-industrial sound, which is minimal. The sound color appears to be
dark. A. Vega sings in his unique and usual style. He’s adding a punkish
touch, which we all discovered into Suicide. I can’t really say that
“Sniper” sounds club-like, but most of the songs are quite danceable. Marc
Hurtado used different loops. The song structure sometimes sounds rather
repetitive, although always enjoyable. Alan Vega’s vocals inject a real
spirit to the compositions, and the music and vocals are in total harmony
with each other.
I was impressed by songs like “Bang Bang”, “Juke Bone Done”, “Fear”,
“Sniper”, “Crisis Cross” and especially “Crazy Driver”. “Crazy Driver” is
a real masterpiece in minimal electronics. The song emerges from the
tracklist for its heavier rhythms while Alan Vega is singing in a furious
“Sniper” also features a few experimental tracks. The most noticeable song
in the genre is “Prison Sacrifice” featuring Lydia Lunch. We here can
speak about an amazing apotheosis featuring three great artists who all
got a serious impact on the underground scene. It’s not my favorite song,
but it’s an essential song for the duo performance of Vega and Lunch
singing together.


Posted in Uncategorized on mars 18, 2011 by debloque

I'm arranging two dates for Jasper TX.
He's available on 6th and 7th September.
Please click on this so that you know how he sounds like:!/artist/Jasper+TX

Returning to his solo work after assisting in the triumphant post-rock of
De La Mancha's Atlas, multitalented Swede Dag Rosenqvist arrives at the
Miasmah imprint with a sound that's been greatly honed and refined since
it last graced our ears. 'Black Sleep' lives up to the dark, dreamscape
suggestions of its title, sounding more concerned with beautifully crafted
drones than previous entries into the Jasper TX discography, introducing
itself with the resonant glare of soft feedback on 'Pt.I', a piece led by
a kind of rhythmic pulse, beating quietly and impatiently in the
background, only to eventually dissipate into a wash of noise frequencies
and unassuming acoustic guitar arpeggiations. Next, 'Pt.II' explores Oren
Ambarchi-like low frequency tones and engine room rumble, only for
'Pt.III' to switch things around, approximating the Twin Peaks theme via a
guitar and organ arrangement, the end result of which provides one of the
album's most sweetly melodic, yet implicitly unnerving moments. You can
hear Rosenqvist's sound design expertise blossoming on the tactile
electroacoustic textures of 'Pt. IV', a composition that introduces itself
with two minutes of quiet, evocatively rendered creaking and muddied
crackling sounds before opening up into a sea of sustain and drifting,
distant harmonic signals. Finally, Black Sleep reaches its creative peak
during the nineteen-minute climax of 'Pt.VI', which sees some of the most
ambitious and fully realised music of Jasper TX's career to date, marrying
processed instrumental passages (most notably some spiralling,
dulcimer-like phrases towards the beginning) with carefully pieced
together field recordings and the kind of intangible, completely immersive
drones that only the very finest purveyors of the art can summon up.
Absolutely first class - and another amazing release from the Miasmah
I hope to hear from you asap.



Some Noise asbl
C/O Alain Bolle
1050 Brussels 5
tel: 32 473 93 40 28