Archive pour novembre, 2011


Posted in Uncategorized on novembre 30, 2011 by debloque

Dear all,

I’m booking a few dates for ELI KESZLER.
He’s available between January 27th and February 7th.

Please visit his website:

and also read this:

Eli Keszler is a composer, artist and multi-instrumentalist based in New York City. In performance, he often plays drums, bowed crotales and guitar in conjunction with his installations. In his ensemble compositions, he uses extended strings, motors, crotales, horns and mechanical devices to create his sound, balancing intense harmonic formations with acoustic sustain, fast jarring rhythm, mechanical propulsion, dense textures and detailed visual presentations.


Eli has toured extensively throughout Europe and the US, performing solo and in collaboration with artists such as Phill Niblock (performing Asheli for crotales and soprano saxophone with Ashley Paul), Aki Onda, Joe Mcphee, Loren Connors, Jandek, Roscoe Mitchell, Anthony Coleman (recording Lapidation, New World Records), Joe Morris, Steve Beresford, C Spencer Yeh, Greg Kelley (Nmperign), T Model Ford, Ran Blake, Ashley Paul and Steve Pyne (Red Horse). He has recorded solo releases for labels such as REL Records, ESP-DISK’ and Type (Red Horse), in addition to his forthcoming record on PAN. His installations have appeared at the Boston Center for the Arts and Nuit Blanche NYC and the Shreveport MSPC New Music Festival. He has most recently won the Mata composers competition for the 2012 season. Eli Keszler is a graduate of the New England Conservatory in Boston where he studied with Anthony Coleman and Ran Blake.

I hope to hear from you asap.

Alain Bolle



Some Noise asbl
C/O Alain Bolle
1050 Brussels 5



Posted in Uncategorized on novembre 29, 2011 by debloque

Dear all,

I’m arranging some dates for Gilles Aubry. The ideal period would be from April onwards. Please find here a review of his latest cd released on Winds Measures. Please also click on these links:

Swiss sound artist Gilles Aubry, based in Berlin since 2002, uses field recordings, computer programming, and electronics as a basis for his sound installations, recordings, and radio pieces. His three-part s6t8r is a site-specific piece based on recordings made inside rooms within the now-empty Stralau 68 building, which formerly operated as a venue for experimental music in Berlin. The space is hardly silent, however, as the sounds of trains passing by on a nearby bridge are prominent in the mix. A steady train-generated thrum persists throughout the opening part’s first five minutes, until its abrupt cessation allows the material to reposition itself for a subsequent battery of hollowed-out emissions and smears. A low-level rumble inaugurates the second part until it’s joined by a louder flow of white noise, whose sudden onset is much like a valve being opened. Subtle transformations ensue as the gaseous sound becomes a high-pitched stream of whistles punctuated by intermittent clatter. The third part finds the train sounds re-emerging, asserting themselves once again as a forceful presence, until the work quietens as it enters its final minutes. Throughout the forty-two-minute recording, Aubry keeps the material at a steady pitch that, while generally loud, never rises to an uncomfortable, ear-splitting level. The work’s constant mutations in character ensure that one’s attention doesn’t stray, and one comes away from the work with an appreciation not only for the acoustical resonance of the building’s room spaces but a sharpened awareness of how a physical space functions as something alive as opposed to static. Adding to the appeal of the release (300 copies available) is a distinctive letterpress sleeve presentation.

I hope to hear from you asap.



Some Noise asbl C/O Alain Bolle PO BOX 43 1050 Brussels 5 Belgium


Posted in Uncategorized on novembre 28, 2011 by debloque

I'm booking some shows for Justice Yeldham.
He's available on: 17th, 18th, 19th, 20th and 22nd April 2012.

Please read some words about him and also click on:

What's been described as "a trumpet player trapped in a two dimensional
universe" is in fact the unique work of Justice Yeldham, a maverick
musician with an unhealthy obsession with sheets of broken glass. In his
infamous show that has astonished and bemused countless people in over 40
countries, yeldham ecstatically purses his lips against sheets of
amplified glass whilst deftly employing various vocal techniques ranging
from throat singing to raspberries, turning discarded shards into crude
musical instruments. The results are a wild array of cacophonous noise
that is strangely controlled and oddly musical. The instruments simple,
original and effective premise is a welcome riposte to over complicated
musical performances of modern times. A one of a kind act re-defining the
expression 'don't try this at home' this show quite simply needs to be
witnessed to be fully appreciated, let alone understood.

Justice Yeldham is the latest alter-ego of Australian sound performer
Lucas Abela, whose past sonic experiments were conducted under monikers
like A Kombi, Dj Smallcock, Peeled Hearts Paste and more recently his band
Rice Corpse. Initially classed as an experimental turntablist, though his
early work rarely resembled anything in the field. Early feats, saw him
stab vinyl with Kruger style stylus gloves, bound on electro acoustic
trampolines, drag race the popemobile across Sydney Harbour Bridge,
perform deaf defying duet duels with amplified samurai swords,
hospitalised by high powered turntables constructed from sewing machine
motors, record chance John Peel sessions with the Flaming Lips, & be Otomo
Yoshihides' favourite entry into his Ground Zero remix competition;
'Consummation' even though instead of sampling the CD he destroyed it
using amplified skewers! Principally a live audio artist, performing
professionally for the past 17 years, since Oren Ambarchi and Robbie
Avenaim stumbled across one of his late night radio performances in 1994
and asked him to play their What is? Music Festival. He also founded of
the irreverent dualpLOVER group of businesses (recording label, cd/dvd
replicators, distributor and promoter of gigs and tours) and his now
dabbling in sound installation.

I hope to hear from you asap.



Some Noise asbl
C/O Alain Bolle
1050 Brussels 5

Somenoise mailing list

NOISY CRESCENDO playlist [16.10.2011]

Posted in Uncategorized on novembre 28, 2011 by debloque


Le label + le nom de l’interprète + le titre de la plage + le titre de
l’album + les references du titre dans les collections de la Médiathèque.

1/ V/VM test: THE CARETAKER: “Untitled”. Selected memories from the haunted

     Ballroom. XC092C

2/ Touch: KK NULL/CHRIS WATSON/Z’EV: “Climax”. Number one. XN920K

3/ Touch: CHRIS WATSON/BJ NILSEN: “Sigwx”. Storm. XW243D.

4/ Island: TOM WAITS: “November”. The black rider. XWO29V  (TC)

5/ Winds Measure: GILLES AUBRY: “Part two”. S6t8r. UA9013

6/ Jarring Effects: HIGH TONE: “Rub_a-dub anthem”. Out back. KH3855. (TC)

7/ Sound Threshold: CHRIS WATSON: “Valle des venti”. Cima Verde. XW243E.

8/ Mipu: HILMA BISS: “Thirminna”. Montyska Songs. MU4055. (TC)

9/ Rer: THIS HEAT: “A new kind of water”. Deceit; XT…….

10/ Touch: CHRIS WATSON: “Untitled”. Stepping into the dark. Xw243A.

11/ Pnl: PAAL NILSEN-LOVE: “Part III”. 27 years later. UN7512

12/ Esp: SUN RA: “Outer nothingness”. The heliocentric worlds of Sun Ra.

13/ Dixiefrog: LAWRENCE MCKIVER & THE MCINTOSH: “Jubilee”. Various-Black

      & White. K O383 (TC)


     “In the chicken tree”. Various-Let me tell about the blues Atlanta. (TC)

15/ Honest Jons: EMIN TANININMIS EFENDI: “Rast Taksim. ????????????

      MY8034. (TC)

16/ Insubordination: DIATRIBES & ABDUL MOI ME ME: “S’amarrer”. Complaintes

      De mare basse.

17/ Bureau B; ROEDELIUS / SCHNEIDER: “Stunden 1”.  Stunden.

16/ Bureau B: TARWATER: “Furkan”. Inside the ships.  (TC)

17/ Bureau B: KREIDLER: “Evil love”. Tank. (TC)

Some Noise asbl
C/O Alain Bolle
1050 Brussels 5


Posted in Uncategorized on novembre 25, 2011 by debloque


I’m arranging some dates for the band OVO.
They’re available between March 19th and 30th.

Please find here some words to describe them:

and also click on:

A darker slant than their previous full length, OvO’s guitars scrape &
drums pound but the organic crunch & high fidelity of this release will
convince you that this is music taken further & harder. An avant
masterpiece, it takes cues from the tar covered hordes wearing jean
jackets & introduces a very natural middle finger of wigginess. Stefania
Pendretti’s vocals soar for the sky & rest like a golden piece of corn in
the steaming morass of dunt. Guitar undulates like a wriggling eel, with
Bruno Dorella’s drums providing crunching headburn.

I hope to hear from you asap.



Some Noise asbl
C/O Alain Bolle
1050 Brussels 5


Posted in Uncategorized on novembre 24, 2011 by debloque

Dear all,

I’m arranging some dates for DOPPLEREFFEKT. They’re available in April 2012.

I hope to hear from you ASAP.

Dopplereffekt is an electronic music act which has been active since at
least 1995 (year of first release). It is named after the German word for
the Doppler effect. While the musical style and the act’s image changed
radically during a non-release period from 1999 to 2003, two steady
characteristics are the display of a thematic affiliation with science and
the obvious use of pseudonyms and the hence rumoured but unconfirmed
identities of the members.

The main member during all periods has probably been producer/ artist
Gerald Donald alias « Rudolf Klorzeiger ». Donald is generally accepted to
be also the author of the acts Heinrich Müller/ Der Zyklus, Japanese
Telecom and Arpanet as well as one half of the band Drexciya (with James
Stinson). During that period the sound of these two acts showed strong
similarities, in their detroit electro sound that took influences from
industrial, new wave, electro-pop and others, reforming them in a style
which is musically complex, often using jazzy modal sequences, and
alongside other Detroit based acts on the labels Underground Resistance
and direct beat they were highly influential in the 90s’ revival of
electro. The 1999 compilation of all Dopplereffekt releases from this
period, Gesamtkunstwerk, depicted Donald with a new member, « To Nhan Le
Thi », who most likely had not been involved with the old material but was
given credit anyway and who has been a steady and visible member since,
giving occasional live performances.

This second period of the band, very contrary to the mid-1990s releases,
has been characterised by what sounds like mostly digital sound synthesis
and processing, the implication of a connection of the band’s music
composition to contemporary physics research via track titles and sleeve
artworks, and oftentimes the absence of danceable drum rhythms and / or
tonality, hence resembling Contemporary classical music styles, especially
musique concrète and early pioneers of electronic music with analogue
modular music systems / synthesizers. However, the compositions are still
mostly based on short sequenced riffs/ loops, and the instrumentation is
often still based on the traditional scheme « drums + bass + main riff +
background synth pads ». These traits (free form in some aspects, pop music
tradition in others) are contradictory from a mainstream point of view,
but are acceptable in the context of the ambient genre or film music.

There are no known interviews of Donald or other members concerning
Dopplereffekt at this time, except for a feature in the October 2009 issue
of new music magazine The Wire, containing exchanges with two people
purporting to be associated with the group.


Some Noise asbl
C/O Alain Bolle
1050 Brussels 5


Posted in Uncategorized on novembre 23, 2011 by debloque

Dear all,

I’m arranging some concerts for JOZEF VAN WISSEM.
He’s available in April and May 2012.

Please read here a biography + a Soundcloud link:

Composer and lutenist Jozef van Wissem is devoted to what he terms “The
Liberation of the Lute”. Taking an experimental approach to Renaissance
and Baroque forms of lute music, his compositions for the instrument have
involved a dynamic mix of conceptual, minimalist, classical and
improvisational strategies, seamlessly bridging the language of 17th
century music with that of the 21st, without compromising the timbre and
resonance of traditional lute playing techniques. Over the last two
decades, van Wissem has variously used cut-and-paste tactics, field
recordings, free improvisation, and created palindromic compositions by
playing pieces forwards and then backwards. The resulting sound world is
at once meditative and surprising, new and arcane. Mirror image melodies
are formed that step up and then back down seemingly without end, thus
eschewing traditional linear progression and climax, instead maintaining a
constant level of intensity. This music doesn’t demand concentrated
listening, but rather brings the listener into a state of concentrated
listening. His music is uncluttered and direct, with a viscerally hypnotic
and emotional impact,delivered with an ascetic intensity reflected both in
his Biblical titles and his No Wave influences. An incessantly touring
musician, van Wissem’s hypnotic live shows have taken him all over the
world. He has records out on Important Records and his own Incunabulum
label and has collaborated with James Blackshaw, Keiji Haino and Jim
Jarmusch amongst others. Van Wissem studied lute in New york with Pat
O’Brien and released a classical lute CD A Rose By Any Other Name
consisting of anonymous lute pieces. He lectures on “The Liberation of the
Lute” (at Harvard, Wesleyan University, Mills College amongst others) and
was commissioned by The National Gallery of London to compose a sound
piece to Hans Holbein’s painting The Ambassadors. His work is featured
more and more in documentaries and feature films and he recently composed
pieces for lute and voice for the new Sims Medieval video game’.

I hope to hear from you ASAP.



Some Noise asbl
C/O Alain Bolle
1050 Brussels 5