Archive pour août, 2011


Posted in Uncategorized on août 31, 2011 by debloque

Hello, Dear all, I’m booking some dates for HARMONIOUS THELENIOUS. Availability: from the end of January 2012 onwards. Please find here words giving a description of HARMONIOUS THELONIOUS + HARMONIOUS THELONIOUS, the new electronic project by Stefan Schwander (aka Antonelli), combines the reduced serial structures of American minimalist music with African rhythms and European sequencing. Without any ideological agenda, the Düsseldorf-based musician blends gripping harmonic and rhythmic patterns to create an entirely new kind of club music. He conjures up hypnotic voodoo atmospheres – danceable, challenging, and melodically playful. Stefan Schwander released the « Just Drifting » EP under the pseudonym HARMONIOUS THELONIOUS on London’s Dreck Records in 2008, crossing Throbbing Gristle with the djembé. With the « On Stages » EP, released recently on the new Düsseldorf label Diskant, he formulated his intoxicating, sequencer-driven Afro-Industrial with more urgency and reaped bountiful applause from London to Berlin. Now ITALIC brings you « Talking », the debut LP by this Rhenish jack of all trades, who has never cared about trends and instead constantly explores new worlds of rhythm. Alongside the tracks from the « On Stages » vinyl EP, it includes four new pieces whose pulse is driven in equal parts by the rhythms of Africa and electronics of Europe. In future HARMONIOUS THELONIOUS will also tour as a live band (Stefan Schwander, Marc Matter, Stefan Suhr), hitting the clubs with turntables, sequencers, effects and Afro-Cuban percussion and conjuring up enthralling trance states. I hope to hear from you asap. Regards. Alain



Posted in Uncategorized on août 30, 2011 by debloque


I’m booking some dates for LUIGI ARCHETTI and BO WIGET. LUIGI ARCHETTI can also perform solo if you want.
Open dates are between 20th February and 31st March 2012.

Please find here a review of on eof their releases:
Please click on this link to listen to how they sound like:

Low tide is a time of revelation: Bits of driftwood, seaweed, and shells form a cryptic record of the immense forces that arrayed them. Bo Wiget and Luigi Archetti could not have picked a more apt metaphor for their ongoing collaboration. They work exclusively in rubbish– scraps of treated cello, guitar, and mandolin; layers of low-hertz tone and fizzing treble; sculpted interference; asphyxiated frequencies– which their improvisational rapport turns into treasure. Their music possesses a sense of disclosure: These compositions feel like the exposed edges of vast, submerged things, soon to slip beneath the surface again.

Ten years into their learning curve as a duo, Wiget and Archetti have gotten so good at listening to each other that their music feels telepathic. Low Tide Digitals III is the product of two minds operating as one, pursuing common goals with empathetic tension. Currents of severe modern classical, harsh noise, and ambient music pass in a fluid back-and-forth, like a comfortable but tendentious conversation between old friends. Both musicians are out-music veterans: Archetti, an Italian based in Zürich, was a member of Krautrock band Guru Guru, and Wiget, a native of Switzerland, has collaborated with many secret-stars of improv, like Taku Sugimoto. Their experience means they never have to rush or force anything; they close in on coherent themes with measured, effortless strides.

An undulant pulse ties the pieces together, and each one is distinguished by its unique 3-D shape and finessed timbre. « On « Stück 26 », Wiget and Archetti gently dissect a glassy cluster of notes, gouts of dark matter spilling from the incisions. « Stück 27 » is a huge onrushing shape, like a freight train bearing down in the darkness. The organic and electronic aren’t grafted together; they’re fused. Prickly strings melt into torrents of mechanical sludge, or shed pitch-bent droplets that swoop out into powerful arcs, or just flex and then roar. Wiget and Archetti exploit timbral overlaps to make noise and melody work in tandem. Or actually, more like negate each other– social constructs like classical and experimental, organic and electronic, pretty and ugly don’t appear to pertain in the private world of Low Tide Digitals III, an ocean built for two.

I hope to hear from you asap.



Some Noise asbl
C/O Alain Bolle
1050 Brussels 5


Posted in Uncategorized on août 20, 2011 by debloque

Dear all,

I’m booking some dates for TROPHIES. They’re available between 25th
January 2012 and 6th February 2012.

Please find here a biography and also visit:

Composer and sound artist Alessandro Bosetti is joined by Kenta Nagai, and
Tony Buck for TROPHIES. Focusing on mantra loops of spoken/sung abstract
and highly emotional poetry Bosetti has created a powerful trance band
where voice and electronic sound melt with the hallucinatory fretless
e-guitar playing of Kenta Nagai , and the patiently groovy and virtuoso
pulses of Tony Buck. Throphies uses len…ghty, repetitive and higlhy
dinamic text-sound forms in a totally unique and genre defying way.
Trophies is a band that deal with sung/spoken loops and repetitive song
structures. We repeat and repeat and repeat. Just words over and over. All
the musical material is derived from speech patterns that we « translated »
so that they can be played on instruments and sung again.

I hope to hear from you asap.




Posted in Uncategorized on août 15, 2011 by debloque

Dear all, I’m arranging some dates in November for ALEXANDER TURNQUIST. At the moment datewise things are a bit open. Could you get back to me and tell me what your favourite date is/are? Please find here some reviews and a link you can click on to listen what he sounds like: Selected Media Quotes Pitchfork Media (score of 8.2) « By embedding both new age and noise-oriented electronic themes into his pastoral pieces, Turnquist unites disparate traditions and ideals, essentially employing sonic counterweights to construct 57 minutes that are as surprisingly dynamic as they are perfectly beautiful. » – Grayson Currin (Pitchfork Media) Mojo Magazine « Turnquist layers his six and twelve string guitar instrumentals with electronic drones, piano and vibes. This first widely available release is a filmic beauty, its chilly pastoralism distinguished by the physicality of his playing » The Silent Ballet The Silent Ballet Top 50 Albums of 2009 #6 of 50 If the album’s title is any indication, Alexander Turnquist has crafted a very dynamic poem of dreamful instrumentation; horizontal simplicity intertwines with vertical complexity in ways that recall the workings of the mind at rest, a permanent harmony of acoustic neurotransmission bristling with small, but enormously significant events in the form of short keys, violin, and cello interventions. The twelve-string guitar functions as the bloodstream of this impressionistic system, taking its textures and minimalist developments forward, backward, sideways, and everywhere in between. Like both a system and a poem, the movements in this music are rhythm and harmony-based, a continuous flow of ideas made in precise short movements that gradually build a greater whole – a whole that is one of this year’s best, one of those albums that is a practically must-listen regardless of musical preference. (David Murrieta) « Few artists have broken the TSB radar as quickly as Alexander Turnquist. After receiving rave reviews on Apneic and Faint at the Loudest Hour, Turnquist performed the hat-trick by contributing the stunning « We Are Magnets » to TSB Volume IX: Wenn Ich Ein Eisbär Wäre. Yet, with his second full length, As the Twilight Crane Dreams in Color, he appears to have only begun his dominance of the acoustic guitar album. If the « We Are Magnets » indicated that Turnquist would be migrating away from guitar-based compositions, then it was a red herring. The three quarters of an hour of music on the album are largely guitar centered, but subtle additions are made by other instrumentation, such as piano, glockenspiel, and vibraphone by Turnquist himself, cello by Marlan Barry, and violin by Christopher Tignor. The cohesion of elements is stunning and easily places Turnquist at the top of his class. Although there has been many acoustic guitar albums in the past few years, none have been as accomplished as As the Twilight Crane Dreams in Color.  » (The Silent Ballet) « Here is an instrumentalist who pushes plumes of tightly woven acoustic patterns into the atmosphere, quickly following them with other tufts of strings or occasional electronic passages, sculpting thick patterns that escape the casual listener, but tease and engage anyone who takes the time to sit down and share a moment with his work. » – Jonathan Brooks @ The Silent Ballet Direct Current « Minimalist New York guitarist Alexander Turnquist creates shifting layers of intricate finger-picked guitar with piano, violin and cello shadings for a sound that is mesmerizing and hypnotic. Second album « As The Twilight Crane Dreams In Color » may have a title that should have been a Pink Floyd epic but the touch here is delicate and dreamy not psychedelic on tracks such as the ten-minute opus « Dancing In Borealis Ribbons of Vivacity ».Recalling at times guitarist virtuosi James Blackshaw and Jack Rose, Turnquist uses his instrument as a Takoma tapestry of chiming, detailed patterns, adding subtle melodic turns to the extended repetitions of « raga-style » chording. If Philip Glass had played guitar on his groundbreaking works such as « Metamorphosis », it might have sounded something like what Turnquist is exploring here. » -Direct Current Textura « What makes the new recording so special? In simplest terms, it’s because the New York-based guitarist fulfils the promise evidenced by his previous releases and challenges himself to go beyond what he’s done before. What recommends the album even more is that Turnquist shows himself to be not only a distinguished instrumentalist but most importantly a composer of distinction. Ambitious in structure, the album features three long-form tracks, the shortest ten minutes and the longest almost nineteen, but all fully justify their length. One of the most interesting aspects of the compositional design is that Turnquist often extends the guitar’s dense clusters throughout the pieces so that they act as stabilizing anchors for the intermittent voicings of the tracks’ themes. » – Ron Schepper I hope to hear from you soon. Regards. Alain Some Noise asbl C/O Alain Bolle PO BOX 43 1050 Brussels 5


Posted in Uncategorized on août 13, 2011 by debloque


I’m booking some dates for two Indian musicians performing classical  music.


Shri Partha Bose is a widely acknowledged Sitar player and a much
respected artiste in the arena of comtemporary Hindustani Classical Music.

Born on January 21,1962, Partha was initiated to the Sitar at the age of
six and thereafter underwent intensive training in the tradition of
Guru-Shishya parampara under the tutelage of Pandit Monoj Shankar of the
famous Maihar Gharana.

Partha has received overwhelming appreciation from connoisseurs and
critics of Hindustani classical music in India and abroad over two decades

As Partha delves deeper into the fathomless depths of his subject, he
seems to identify Concentration, Meditation and Yoga as essential
components in the making of a musician’s psyche. Naturally, Partha Bose
has been drawn, time and again, to Ashrams, Temples, Meditation Centres,
Ayurvedic Clinics, and Yoga Centres, in different parts of the world – to
spread the message of Peace, Tranquillity, Unity, Love and Compassion
through his Sitar.

He has been a distinguished performer on radio and television and was
invited by the Government of India to lead a cultural delegation to
African countries on the historic occasion of the Golden Jubilee
celebrations of India’s Independence.

His concert tours to the USA, Canada, Europe, Australia, Middle East &
Bangladesh have featured him in major international festivals as well as
reputed universities : in performances, workshops, lecture-demonstrations
and teaching sessions.

Internationally reputed organizations such as Ramakrishna Mission, Bharat
Sevashram Sangha, Vedanta Society, ri. Satyananda Devayatan, have featured
the sitar–virtuoso in sessions of ‘spiritual music.’

Social welfare organizations like old–age homes, orphanages, child–care
centres, homes for the handicapped have found the globetrotting musician
visiting with his Sitar – reaching out, spending time, talking, making
music and encouraging them into creative pursuits, for the sake of better
quality of life.

He’s available on 28th October + late November


Esha Bandyopadhyay, based in Kolkata, India, has emerged as one of the
well known performers of Indian Classical Vocal Music. Born and raised in
a family noted for its contribution to the world of art, Esha, even as a
child of nine, showed a natural inclination to Music. A creative family
atmosphere and a melodious voice found Esha effortlessly assimilating
initial lessons from her mother painter Maitreyi Banerji. Later, intensive
training under reputed masters moulded Esha’s musical personality. Ms
Krishna Dasgupta–the leading disciple of Sangeetacharya Tarapada
Chakrabarty and Ustad Ameer Khan –grafted on her the subtle nuances of
Khayal, Thumri and Bhajan. Esha’s musical pursuits are not merely confined
to classical music. Training in Nazrulgeeti and Ragpradhan under Shri
Biman Mukherjee has enriched her repertoire. Esha’s performances in the
last 15 years for various organisations including Sutanuti Parishad, Salt
Lake Music Conference, Bhowanipur Sangit Sammilani, Jhankar Music Circle,
Sri Aurobindo Institute of Culture, Govt College of Fine Art & Crafts, ABC
Academy, Varanasi, the ICCR, Calcutta, have been marked by serious
music-lovers and critics. She has also performed for Calcutta Television.
International Arena Teaching Music Offering to share her musical talent
with aspiring students, she founded ‘SHAILI’–an academy of Music, Dance,
Painting & Crafts. As principal and Vocal Music teacher, she has
contributed significantlty to the growing reputation of SHAILI. Esha has
also been teaching enthusiastic students abroad. Academic Qualifications
Esha is a Master of Arts in Comparative Literature from Jadavpur

She’s available between 3rd and 13th November 2011.

I would like to hear from you very soon.




Posted in Uncategorized on août 9, 2011 by debloque

Dear all,

I’m booking some dates for the Japanese musician Junzo Suzuki.
He’s available on 24th, 25th and 26th October.

Here’s a short biography:

Junzo Suzuki is a Japanese guitarist/vocalist perhaps best known for his
involvement in the underground psych bands Overhang Party and Miminokoto.
His solo music is stripped down form of ‘ghost’ blues and improvisation
that recalls Loren Connors and his fellow countryman Hisato Higuchi.

His second full length CD ‘Buried Sky, Spider Torn to Pieces’ has just
come out on Junzo’s own Plunk’s Plan label. He also performs with 20
Guilders, Nasca Car, Pouring High Water and Samm Bennett’s Ghost Steppers.

Please also click on this to listen to what he sounds like:

I hope to hear from you.