Archive pour juillet, 2011


Posted in Uncategorized on juillet 26, 2011 by debloque


I’ve got two open dates to offer for the double bill The DOOZER and HEAD
OF WANTASTIQUET. 22nd + 23rd September.

Please click on these links and also read these words here under:

Originally released as a CD on the UK label Pickled Egg in 2009, Great
Explorers is the second full-length effort from one-man dynamo The Doozer.
Siltbreeze was delightfully chuffed to make its acquaintance (by way of
Matt Valentine’s suggestion) and agreed to release it unto all the world
on the much-sought-after vinyl format.

Hailing from Cambridge, England, The Doozer bears an almost uncanny vocal
resonance to past legend Syd Barrett, as well as a knack for cobbling
together occasional found-tape narration with string-strum and hypnotic
percussive plonk not unlike The Shadow Ring. The gin doesn’t come much
pinker than this.

Great Explorers is limited to 500 copies and includes a free download.
Look for a possible Doozer East Coast American tour in August.

« The Doozer makes angular bedroom psych-pop from guitar, keyboards and
drum machines. He insists that he ‘builds’ music, and it’s an apposite
word. Sheet Music has a lovely constructed precision underlying its
surface awkwardness, with a gift for finding chords or sour melodic twists
that initially sound wrong, but turn out right. His counter-intuitive
logic and oblique associations put him in a lineage connecting The
Incredible String Band, Kevin Ayers and Billy Childish, but most of all
another Cambridge alumnus, Syd Barrett. The Doozer has a voice of his own,
though, and the quavers and quirks of songs like ‘Dogwalking’ and ‘Burn
the Tape’ lodge themselves in the brain with strange persistence. »
–Sam Davies, The Wire

« The Doozer furrows a path somewhere between the progressive folk styling
of Animal Collective and the wide-eyed wonder of early Badly Drawn Boy.
Weirdness levels are ramped up to eleven–not least due to some initially
jarring chord sequences–and pastoral psychedelia reigns in a not unlovely
debut. »
–James Skinner, Plan B

Head Of Wantastiquet is the alter ego of Paul Labrecque, an American
musician, songwriter now residing in Belgium.

He has recorded several solo albums and collaborations (with Chris
Corsano and Valerie Webb) and he plays and records with the bohemian
group Sunburned Hand Of the Man. He recorded  for  labels such as Mad
Monk, Three Lobed, Eclipse and Bad Da Ding.

His new album under the Head Of Wantastiquet moniker is set for release on
Conspiracy Records in October 2010.

Historically, aesthetically and sonically his new work bears genuinely
comparison with ‘American primitivism’. It’s a mix of psychedelic banjo
hymns, apocalyptic space folk and incredible drugged out soul-whispers. It
layers banjos, guitars and smoke as though they were shimmering veins of
black pearls, pulsing against the scarlet dawn.

Head Of Wantastiquet manages to take a conceptual precept as dark as life
itself, and invests it with an inner glow that churns our own black hearts
like butter.

I hope to hear from you asap.



Some Noise asbl
C/O Alain Bolle
1050 Brussels 5


Noise Addict – playlist (17.07.2011)

Posted in Uncategorized on juillet 22, 2011 by debloque
1/ Blutch : « Burst »
Materia (XB626F)
[2006-Delboy Records]

2/ The Ex : « Double Order »
Catch My Shoe
[2010-Ex Records]

3/ DKV Trio : « Complete Communion Suite » (Part 2)
Live in Wels & Chicago, 1998. (UD6312 - 2CD)

4/ Klangkrieg : « Ortung »
Compilation  « The Sound Works Exchange » (X 828I)

5/ Amps for Christ : « The  Blacksmith »
Circuits (XA463T)

6/ Hotzeniebotsze : « Merel + »

7/ Analogue Digitalism : titre inconnu
RadioWorm # 131

8/ Büff : « A Wheel in the Sludge »

9/ Franck Vigroux : « Fichier »
Caméra Police
[2010-D'auters cordes]

10/ Leif Elggren & Carl Michael von Hausswolff : Rotterdam Worm 55 (extrait)
RadioWorm # 127

11/ Sylvie Courvoisier : Lonelyville
Lonelyville (UC8813)


Posted in Uncategorized on juillet 12, 2011 by debloque

Dear all,

I’m booking some dates for CUT HANDS.
Please get back to me and tell me if you’re interested in having CUT HANDS
in your venue or club.

Here’s a review of CUT HANDS’ latest album « Afro Noise, vol.1 ».

Also please click on this link:

William Bennett. For a certain noise fan, that’s a name that will always
elicit a certain frisson. Pioneers of the Power Electronics sub-genre in
the early 1980s, Bennett’s Whitehouse took the provocative stance of early
Throbbing Gristle and elevated it to terrifying heights, with unsettling
musings on rape, murder, misogyny and torture set to strident, aggressive
strains of tuneless synth madness.

If I’m honest, most of the crass posturing of the Power Electronics scene
seems old hat and silly these days (despite a certain revival with
Ramleh’s awesome Valediction and The North Sea’s Bloodlines); but as the
decades advanced, it became clear that Whitehouse, again like Throbbing
Gristle, had more going on than the chasing pack, with 2003’s Bird Seed
demonstrating an interest in African polyrhythms and a more textured,
nuanced approach than on ‘80s outings like Erector and Dedicated to Peter
Kurten, Mass Slayer.

It appears that this long journey has now come to fruition on Bennett’s
solo debut album as Cut Hands. As its title suggests, Afro Noise takes up
the challenge Bennett set for himself with Whitehouse and fuses the
abrasive textures of that band with a greater exploration of the timbres
and rhythms of traditional African music.

The percussion is what hits you first. On the second track, “Stabbers
Conspiracy,” harsh metallic patterns tumble out of the speakers like a
collapsing pile of ballbearings, undercut by more discrete djembes and
doundouns. It’s a tasty welding of the icy post-industrial clang of Power
Electronics, and something that feels earthier, even warmer. Later tracks,
such as “Rain Washes Over Chaff” or “Munkisi Munkondi” (already a
stand-out feature of Bird Seed) feel almost rock-ish with their motorik
grooves and swathes of echoing synth lines. Indeed, you almost feel a
connection between Afro Noise and the polyrhythmic, afro-tinted industrial
songs of early 23 Skidoo, Test Dept. and Einsturzende Neubauten. But,
typically, Bennett’s exploration of the influence and role of Africa in
modern music is darker, more ambiguous, a world away from « world » music.

And for all that, there is nothing retro or old hat about the music of Cut
Hands. In fact, this may be the most radical step in the evolution of
modern noise since the Harsh Noise Walls micro-genre first gained
international recognition through the works of Werewolf Jerusalem and The
Rita a few years ago. “Nzambi la Lufua” is one of the most strident,
atonal noise pieces I’ve heard this year, with Bennett drowning the
backing textures in a single tone so high-pitched it could probably make
your ears bleed. “Shut Up and Bleed” echoes in its title the ambivalent
misogyny of old-school Power Electronics, and also seethes and rages with
the raw power and menace of tracks like “Ripper Territory” and “Wriggle
Like a Fucking Eel”.

But a cursory perusal of the “Recommended Books List” on the Susan Lawly
website quickly puts paid to any suggestions that Bennett is simply a
vulgar provocateur – the works therein include emotionally charged
denunciations of Africa’s post-colonial traumas (We Wish To Inform You
That Tomorrow We Will Be Killed With Our Families) and Jayne Ann Krentz’s
compilation of feminist romance essays Dangerous Men and Adventurous
Women. There are books on eating disorders, 9/11 and religion, and, along
with the sensitive use of African instruments and the album’s hauntingly
primitive, yet elusive, artwork, this book list highlights the veiled
thoughtfulness and intellectual profundity that lies behind Bennett’s
seething bile. They elevate his work, especially Afro Noise Vol.,1 high
above the wannabe sadists.

Afro Noise is an at-times troubling foray into the dark heart of
post-colonial African history as seen through European eyes: its violence,
political turmoil, uneasy gender roles and strains of racial conflict.
It’s also a refreshing and abstract reflection on modern noise and its
on-going evolution as a genre by one of its longest-serving and most
controversial figures. Bennett, as before, even if we didn’t know it, is
showing the way.

I would like to hear from you soon.



Some Noise asbl
C/O Alain Bolle
1050 Brussels 5


Posted in Uncategorized on juillet 11, 2011 by debloque

Dear all I’m offering you the Japanese outfit NHK.

They are available in September on: 2nd, 3rd, 5th, 6th, 8th, 10th and 11th. Please click here on some links: you can get NHK profile: or here (you can click nhk and could listen short sample there,) NHK home page (you can listen 2tracks): And also read these words: kouhei matsunaga grew up in osaka, japan. he studied architectue and was listening to hardcore techno and rap music. he started to make music back in 1992 focusing on rather experimental music. kouhei also worked with artists like merzbow, john watermann, asmus tietchens, rudolf, anla courtis, greg davis, conrad schnitzler, lesser, sean booth (autechre), mika vainio, max turner, pm (puppetmastaz) and sensational (ex jungle brothers). For his project NHK he collaborates with toshio munehiro. today kouhei lives in berlin. I hope to hear from you asap. Regards. Alain Some Noise asbl C/O Alain Bolle PO BOX 43 1050 Brussels 5


Posted in Uncategorized on juillet 10, 2011 by debloque

Dear all,

I’m booking dates for some Japanese artists:

HIJOKAIDAN feat.Junko are available on 9th, 10th and 11th October.

Please click on those links and also read the long reviews that follow.

               HIJOKAIDAN feat Junko

The best hidden secret legends of Japan noise and it is completely thanks
to Lasse Marhaug’s efforts that they have left Japan to play a show at the
All Ears Festival 2006 in Oslo, Norway, which Mister Marhaug recorded and
now releases on his very own Piccadisk label. Hijokaidan are so withdrawn
from the public sphere that even amongst the ever-searching noise addict
scene they are hard to come by. This status is also enforced by the fact
that they hardly ever play live, especially not outside the Japan isle,
and that they record even less. I only ever came across one release – a
white ten inch – about fifteen years back and then I didn’t buy it,
because it was too obscure for me. (Can you imagine that!) Compare that
kind of productivity to Merzbow and you see what I mean, though Hijokaidan
have been around since 1979 so they actually stand right there next to
Kazayuki K. Null or Keiji Haino in longevity. The more thanks to Sir Lasse
Marhaug for making this unknown giants better known to a broader audience
(at least I hope it works.)

The core of Hijokaidan are Jojo Hiroshige, who abuses a guitar like not a
lot people are able to, and Junko, who does the same to vocal chords.
Recovering from a severe inflammation of the throat and larynx momentarily
I wonder how a human being is able to do that. To describe them as a
mixture of Masonna and Keiji Haino, though probably good for business on
the one hand, is completely out of course on the other one. Not only
because they usually mix up with a bunch of other, differing people in
shows, but because it does not do justice to the power of what can be
heard on this CD.

“Polar Nights” is structured according to the appearance of Hiroshige and
Junko during the three day All Ears festival, which had the two-people
basic line up of Hijokaidan on the first night and then Hiroshige
performing with Per Gisle Galaen (known probably from DEL, the most
underrated psychedelic band from Scandinavia – because whatever you say
about them is an understatement of some sorts) and Junko doing a separate
set with Sten Ove Toft (from Ryfylke, which draw a blank on my map, which
I intend to change as soon as possible).

So the first track is a long ride through incredible distortion and
chaotic noise consisting basically of a guitar and voice. Which in itself
is incredible, because most of the time it sounds as if you are stuck in a
giant building that is collapsing because Godzilla is stomping around on
it – yeah like that but a hundred times more extreme. The track is called
“No Oslo No Harm” for a reason, you know. Hiroshige leaves out no trick on
his six sides, giving them the full force destruction as well burning core
shredding and high level feedbacks while my throat goes back to hurting
like hell only listening to what Junko is doing. Message? Political
inclination? I don’t think so, apart from the cathartic cleansing that
experiencing such an event live must have on any kind of person, cleaning
him or her from all the bullshit and pretensions and arrogance that gets
so big in everybody these days. You know, there is a reason that noise
musicians always seem to be the most gentle people you could possibly know
when meeting them somewhere. Hijokaidan even do a encore on this track,
which in itself is another unbelievable act.

This set takes up about half an hour of the CD and while other labels
would have sufficed with that, counting in the legend status of
Hijokaidan, on this release you will find some more. Galaen and Hiroshige
start off their collaboration in a more “gentle” manner, layering their
guitars over one another with the droning massiveness of Leviathan
swimming by. Suddenly all those records by Fear Falls Burning start to
taste a little stale, judging against the overwhelming depths and
multitude of these sounds. Maybe Dirk Serries is just releasing too much,
drawing out a single idea over to long a period? Maybe it means that
getting back to the roots of something is always more satisfying an
experience than ingesting the generic product? Anyway, this track is less
chaotic, less substantially self-destructing, but still intense and dense.
Most of the time you could easily guess that it is guitars, by the way.
The other collaboration of that night is Junko with electronic
experimentalist Sten Ove Toft and it is also a treat. Actually, it is a
scream. Do you remember those voices off-Hollywood producers like to use
on Horror-movies to portray the sounds that lost souls or a mass of evil
ghosts make? You get this here manifold a hundred times. Yes, definitely
intriguingly cool and devastating, the way it should be. Junko’s voice is
as destructive as a neutron bomb or any other distasteful and politically
non-correct comparison, and Toft’s electronic noise is like a single-layer
Masami Akita, which together makes for a unique experience. But since this
is turning out the longest review I ever wrote, and there are still some
little things to say, I’ll leave the rest to your imagination (as if you
would ever be able to…)

We also have to applaud again the incredible Lasse Marhaug for the genius
business plan of getting great noise musicians to play live shows and then
filling releases with the recordings of these shows. There is nothing
better than taking full advantage of possibilites, and as long as the
effects are as great as this, there is no way we are gonna complain in any
way. Amidst all the junk it is releases like this that seem to make all
the hassle worthwhile. Therefore I am gonna add here that there is another
great release on Piccadisk, which is an album by – gasp – the
Incapacitants, another Japan Noise legend, as well as a great album by
Lasse Marhaug on Quasi-Pop, which is a new collaboration with Anla
Courtis. Both of which will find praising reviews in these pages in the
next weeks.

I hope to hear from you asap.




Posted in Uncategorized on juillet 8, 2011 by debloque

Dear all,

I’m booking some dates for GÜNTER MÜLLER.
He’s available between 14th and 17th September, 21 st and 22nd October,
between 3rd and 5th November and between 17th and 19th November 2011.

Please read here a biography:

Born in München in 1954, living in Switzerland since 1966, percussionist
Günter Müller has been playing a unique drum set with a mobile pick-up and
microphone system of his own invention since 1981. The system allows
hand-generated sounds on drums and percussion to be modulated
electronically. Since 1998 minidiscs, since 2002 an ipod are included in
his electronic set. Nowadays he often plays 2 ipods and electronics only.
He has played and recorded with a large number of fine musicians, from JIM
Müller was a founding member of the trio NACHTLUFT, with Andres Bosshard
and Jacques Widmer, who have been creating sound-installations and
sound-architecture, and of the electronic quartet POIRE_Z with Erik M and
Voice Crack.
He is part of MKM with Jason Kahn and Norbert Möslang, and of the SIGNAL
QUINTET w/ Jason Kahn, Tomas Korber, Norbert Möslang, Christian Weber.

Müller plays SOLO, and now and then in various combinations – often in duo
He played allover Europe, in Russia, USA, Canada, Latin America, Japan,
Corea, New Zealand, and Australia.

Various recordings released on FOR 4 EARS, the label he founded in 1990,
as well as on Erstwhile, Cut, Grob, List, Audiosphere, Amoebic, Rossbin,
Creative Sources u.o.

I hope to hear from you soon.


Some Noise asbl
C/O Alain Bolle
1050 Brussels 5


Posted in Uncategorized on juillet 5, 2011 by debloque


I’m arranging some last minute gigs for Father Murphy.
Open dates are on 20th, 21st and 28th August.

Please find here a biography and some links to be clicked on:

Father Murphy is an Italian trio comprised of Reverend freddie Murphy
(vocals, guitar), Chiara Lee (vocals, keyboards, chinese percussions) and
Vittorio Demarin (drums, viola, vocals). Born in Treviso, northern Italy,
from the ashes of freddie’s several previous musical projects, Father
Murphy with just one album and a plethora of ep’s and limited releases
became one of the most mysterious and enigmatic musical entities coming
out of Italy. Since then the band, active member of Madcap Collective, has
toured several times Italy, and then France, Germany and just recently
both coasts of the United States, gaining attention from media and music
Their first album Six Musicians Getting Unknown was somewhat rooted in
twisted psychedelic pop and sounded vaguely related to Os Mutantes and
Italian psych pop masters Jennifer Gentle, but Father Murphy loves to push
the borders of their music and with the vynil ep I saw seven horns rising
from the Sea when a rooster sang for the third time their sound become
more minimal keeping all the melodic elements.

I hope to hear from you asap.