Archives de février, 2012


Posted in Uncategorized on février 29, 2012 by debloque

I'm arranging some dates for Emmanuel Mieville.

He's available both in mid June and early September 2012.

Emmanuel Mieville is Paris born composer who studied in a cinema school in
the sound engineer section, and learned musique concrète at the Groupe de
Recherches Musicales.His approach to experimental music and soundscape
composition was fueled by constant listening of creative radio programs
since his childhood.He realised many radio shows for french national
broadcasting (France-culture and France- Musiques), he had comissions from
Radio France for music for shakuhachi, voice and electronics.He is guest
composer for Framework’s field recordings based shows, on Resonance fm. He
plays non european instruments such as Javanese gamelan for two years. His
concern for aural perception, and memories conveyed in urban and wildlife
environements, yields compositions where soundfield materials are layered,
mixed and sometimes transformed by effects.The portrayal of a specific
location,with its blurred and erratic emotions passing to the listener’s
ears, is what he aims, interpreting the architecture and topography, and
composing a musical substance for listeners, who don't know visually the
location. He had collaborations with dancers, photographers,video artists
and improvisers with fellow musicians, such as Eric Cordier, Guido
Huebner, Benjamin Thigpen, Heesok Yu, among others.His electroacoustic
pieces have been played in festivals by Motus and Licences-Brulures des
langues(France), in Spain(Confluencias), Italy(finalist of the Udine
composition competiton).He performed concerts, and improvised with
musicians in Malaysia, Hong Kong, Costa Rica, Taiwan, Paris(Instants
Chavirés) He is also interpret of other composer’s music, for example K.H
Stockhausen, with the CLSI, a innovative laptop group.He has released
music on labels such as Tibprod(with Töre H.Boe),XingWu, Lona records, and
upcoming is a solo field recording album on Baskaru.

Please get back to me asap.




Some Noise asbl
C/O Alain Bolle
1050 Brussels 5


Posted in Uncategorized on février 27, 2012 by debloque

I'm arranging some dates for PIETRO RIPARBELLI + YANNICK FRANCK in late
June 2012.


Pietro Riparbelli is a philosopher, composer and sound-multimedia artist
based in Livorno (Tuscany). His compositions have been published by TOUCH,
Radical Matters Ed/Label (IT), Aurora Borealis (UK), Actual
Noise/20buckspin (US), Afe Records (IT), Boring Machines (IT). He is
working in Italy with the Enrico Fornello Contemporary Art Gallery...
Riparbelli’s performances and installations have been presented at
D’Amelio Terras contemporary art gallery (NY), Equinox Festival (London),
Nuit Blanche (Paris), Magazzino d’arte moderna (Rome), Palazzo delle
Papesse (Siena), Flora (Florence), Fundació Tàpies (Barcelona), Base
progetti per l’arte (Florence).
He works with performances, sound installations and recorded works and in
the last three years has been collaborated through selected projects with
Massimo Bartolini, Nico Vascellari, Philippe Petit, Fabrizio Modenese
Palumbo, Influx, Francisco Lopez, L’Acephale, Christina Kubisch, Seth
Cluett, Burial Hex, Yannick Franck and others... He is a curator/executive
producer of the independent music label Radical Matters - Editions Label
with the new series “Metasound” to investigate the dimension between music
and contemporary art.


Yannick Franck (°1981, Liège, Belgium) is a sound artist, a devout noise
experimentalist and a vocalist.

He runs the independent label Idiosyncratics Records.

He is the founder of electroacoustic project Y.E.R.M.O. (Venice Biennial
2009, Pavilion of Luxembourg) in which he's active since 2005 with
guitarist Xavier Dubois and drummer Jason Van Gulick.

He has collaborated with Gast Bouschet & Nadine Hilbert, Craig Hilton,
Pietro Riparbelli / K11, Esther Venrooy, Raf Keunen and currently works on
several projects involving Jean-Marie Mathoul (48 Cameras), Philippe Petit
(Strings of Consciousness), Steve Kaspar and Stuart Dahlquist (Asva).
He has performed in venues and festivals such as Issue Project Room (New
York, USA), MUDAM & Philharmonie du Luxembourg (Luxembourg, LU), Young
Arts Biennial (Moscow, RU) and EPAF (Warsaw, PL).
His works have been released on several labels including Sylvain
Chauveau's concept record house Onement (FR), Silken Tofu (BE), Young
Girls Records (BE) and Italian label Silentes (with his partner in crime
Pietro Riparbelli).
He works as an independent composer for the National Theater of the French
Community in Brussels (TNB) and companies such as Artara / Fabrice Murgia
(for which he composed the soundtracks of critically acclaimed
performances LIFE:RESET / Chronique d'une ville épuisée and Exils) and
dance-theater company Trotz Ensemble.

I hope to haer from you as soon as possible.



Some Noise asbl
C/O Alain Bolle
1050 Brussels 5


Posted in Uncategorized on février 27, 2012 by debloque



MINNY POPS / Formed by vocalist/band leader Wally van Middendorp in Amsterdam in 1978, Dutch electro pioneers Minny Pops took their name from a primitive Korg drum machine. The band released several singles and a debut album, Drastic Measures, Drastic Movement, on independent Dutch label Plurex before joining Factory Records in 1980. Minny Pops’ association with the legendary Manchester label would see them produced by Martin Hannett, tour with Joy Division and later New Order, and become the first Dutch group to record a Peel Session. Singles including Dolphin’s Spurt, Secret Story and Time were followed by the acclaimed album Sparks in a Dark Room in 1982. They split up in 1985, but now in 2012, for ULTRA, they revist their Drastic Measures, Drastic Movement album.



Net als nu hielden zo’n dertig jaar geleden recessie en economische crisis de westerse wereld in hun greep. Het was de tijd van No Future, van gigantische werkeloosheid en diep-donkere nucleaire doem. Het was ook de tijd van een ongekende creatieve explosie. In het kielzog van de punk, die Londen en de rest van het Verenigd Koninkrijk in brand zette, raasde met het ethos van ‘do-it-yourself’ de experimentele post-punk popmuziek over podia en platenspelers.

In Amsterdam, maar ook in veel andere grote Nederlandse steden, nestelden tienduizenden jongeren zich in de kantoorgebouwen en woonwijken die, uit geldgebrek, door de overheid aan hun lot waren overgelaten. De door de kraakbeweging gecreëerde, anarchistische en autonome onderwereld was de voedingsbodem voor een explosie van nieuwe, onafhankelijke, jonge kunst en popmuziek, die in Nederland ULTRA werd genoemd. Jonge muzikanten en kunstenaars trokken gezamenlijk een hele lange neus naar gevestigde instituten en de overheid, en gingen het allemaal zelf doen. Ze creëerden hun eigen podia, hun eigen galeries en hun eigen tijdschrift als alternatief voor de ingeslapen gevestigde muziekpers: Vinyl, met bij ieder nummer nieuwe muziek op het bijgeleverde flexiplaatje, een revolutionaire vormgeving en het fotowerk van getalenteerde fotografen als Anton Corbijn.

Ultra was een nooit eerder vertoonde combinatie van kunst en rock ‘n’ roll: de elektronische grote stads neurotica en elektropop avant-la-lettre van de Minny Pops, de anti-essentialistische art-rock van The Young Lions, de metal giergitaarpunk van Tox Modell, de performances van Z’ev, de electro-mechanieke gitaarinstallaties van Remco Scha, de combinatie van de swingende post-punk van Nasmak met de dada-esque experimenten van Plus Instruments, de free jazz punk van Gulf Pressure Ais, het dichtwerk van Ton Lebbink, de elektronische dubbele bas pop van Mekanik Kommando, en nog veel en veel meer. Ultra kreeg ook in het buitenland, en met name in de Engelse muziekpers veel aandacht en waardering. De Minny Pops namen met Martin Hannett singles voor Factory Records op, en in België liepen de contacten via Les Disques du Crépuscule.

Een aantal jaren lang was ‘experimentele wave’ een trend in Nederland, tot halverwege de jaren tachtig met de weer aantrekkende economie het autonome artistieke vuurtje doofde.   Het was vooral de mentaliteit van onafhankelijkheid en onderzoek, die bij Ultra essentieel was, en die in deze nieuwe tijd van recessie en crisis voor velen een bron van inspiratie is.


Harold Schellinx schreef een uitgebreide, persoonlijke, geschiedenis van de Ultra beweging, die op 1 maart verschijnt bij Lebowski Publishers: ‘Ultra (1978-1983). Opkomst en ondergang van de ultramodernen’. ULTRA 2012 brengt de sfeer en vooral de mentaliteit van de experimentele post-punk pop, in een combinatie van toen en nu, weer terug op de podia.

NOISE ADDICT 26.02.2012

Posted in Uncategorized on février 27, 2012 by debloque

1/ For a few (more) decibels I
2/ Zeitratzer: « Bia Mintatu ». Zeitkratzer – Whitehouse Electronics. XZ314G
3/ Faitiche: MASAYOSHI FUJITA & JAN JELENIK: Waltz [a lonely crowd].    XF938L
4/ For a few (more) decibels II
5/ Spoon: CAN: « Mushroom ». Tago Mago. XC052W
6/ CHRIS BROKAW: «  »Untitled ». Stories.
7/ For a few (more) decibels III
8/ MINNY POPS: « Time »
9/ Sedimental: OLIVIA BLOCK: « Heave to [part 1] ». Heave to. XB547R
10/ Erstwhile: KEITH ROWE-TOSHIMARU NAKAMURA: « Untitled ». Keith Rowe-     Toshimura Nakamura. UR8712.
11/ For a few (more) decibels IV


Posted in Uncategorized on février 23, 2012 by debloque

Dear all,

I’m booking some dates for SPEEDBALL BABY in Belgium in partnership with
Paperclip Agency.
Some open dates in late August and early September 2012. 1st September is
not available.

SPEEDBALL BABY come at you all tumble-grind and twang-beat like thunder in
a blizzard. Fusing the primordial slurp of rockabilly with a
broken-homegrown hybrid of gospel testimony and punk mayhem, the group
cuts a swath through the rotting cane fields of the contemporary music
scene. Live, they harness hysteria – pounding out a thrown drink
conniption fit as exuberant as a St. Vitas dance. Their shows have earned
them the loyalty of music lovers and emergency room ghouls on both coasts
and between. The notoriously fickle crowds in their home parish of NYC
have stuck to SPEEDBALL BABY like feathers on a tarred heretic.

SPEEDBALL BABY were conceived at singer Ron Ward,s wedding reception.
Among the assembled guests treated to an impromptu mauling of standards by
the well lubricated groom was Madder Rose bass player Matt Verta-Ray. The
virus of inspiration – to bring the then Blood Oranges drummer and Wobbly
Organist Ward up to the front seat to drive and return Verta-Ray to the
guitar chair – became as irresistible as the punch. It even made sense the
next day.SPEEDBALL BABY have outlasted the marriage.

SPEEDBALL BABY were perfected with the addition of former Kelly Township
mouthpiece Ali Smith onbass and UK transplant Martin Owens on drums. They
have festered together in the most fertile music hothouse of all: the New
York City apartment. Far from Israel Zingwell’s « Melting Pot » New York has
functioned more as a microwave for SPEEDBALL BABY – annealing them as
individuals and broiling them, inedibly hot on the inside, as a band.
SPEEDBALL BABY have a sound. Martin works the traps like a cocktail forge,
loading syncopated coal like the port town native he is. He,s a Liverpool
sophisticate gleefully hurling drum primers into the fire. Ali curls
around the beat with blunt grace, by measures a gamin then a pit boss.
Together, they’re more a twin barrel riot gun than a rhythm section,
laying down a field of rubber bullets piled so high you need snowshoes to
get through. Matt skewers cliché, wrestling fractured jabs of twang and
slur from a singed encyclopedia of guitar dont’s. « If you’ve ever had sex
with a Catholic, » he says, « then you’ll know that those with the strongest
sense of guilt enjoy crossing the line the most. » Ron flails, feints, and
careens with the teethmarks of Burroghs biting Beefheart. He works the
crowd like Lawrence Ferlinghetti hosting a game show or a midwife’s
blood-spattered husband. His antic destructive pageant has blanched
unsuspecting soundmen and cold-cocked (quite literally on occasion)
unsuspecting audiences.

SPEEDBALL BABY know the gray virtues of the music. Not the commodity sound
of lite beer and Cambridge academics, but the dark blues of the messed up
and clueless. A « feeling » yes, but one those truly torn know how to give
not just get. Yeah in another place not so long ago a man broke down while
he watched a sixteen coach train take his baby away. But this is New York
and the J train’s left for Brooklyn with your keys, your prescription, and
a couple of your teeth. Lord have mercy.

I hope to hear from you asap.



Some Noise asbl
C/O Alain Bolle
1050 Brussels 5


Posted in Uncategorized on février 22, 2012 by debloque


VRIJDAG / VENDREDI / FRIDAY • 24 FEB • 20:00 • 8€

GAUNTLET HAIR, a Denver-based duo, founded by best pals Craig and Andy, make danceable avant-pop music. While they’ve definitely got some Animal Collective vocal influences, their blissful, pounding drum (machine) beats call more to mind the visceral thrill of Sleigh Bells. Throw in guitars that range from shoegaze to post-punk, and you’ve got one hell of an energetic and enjoyable hodgepodge. Fans of Foals and Battles should check this out without further ado!

Hailing from the Belgian capital of Brussels, SQUEAKY LOBSTER is known to his mother as Laurent and used to play bass in rock and jazz bands. Nowadays however you’re more likely to find him pushing buttons on stage ensuring the system in turn pumps out his heady concoctions of chest-pummelling bass and skittering beats. Mind you having said that he can still be found playing bass in the band South of No North, who have released an album on Belgian label Humpty Dumpty/ Squeaky Lobster keeps things close to home having released all his material on another Belgian label, Vlek records, also based in Brussels. It is in fact on Vlek that Squeaky Lobster took flight (huhu, flying lobster) first with a split 7” alongside Russian producer Lapti – AMAI #2/4 – and in 2011 with a solo 10” release titled Will-O-The-Wisp EP.




Posted in Uncategorized on février 21, 2012 by debloque

Dear all,
I’m booking two dates for ANDY MOOR and YANNIS KYRIAKIDES.
Open dates are on 20th and 21st June.
Andy Moor and Yannis Kyriakides … have found a true middle ground that seems to be Greek folk music of the early 20th Century. Kyriakides, born in Cyprus but raised in the UK, might have grown up around it. Moor the anarchist might see some appeal in the barroom guitar songs often associated with the revolutionary movement … Now they have something to talk about, and it’s refreshingly new  … Moor plays guitar against a variety of backgrounds supplied by Kyriakides, including samples of scratchy old rebetika records. Layers of strings meld together – bouzoukis from the past slide familiarly around a real-time electric guitar. Feedback and electronic tones sit comfortably alongside each other, only occasionally peaking in Exworthy frenzy. It’s beautifully mysterious and well worth the five quid download price. Netherlands-based composer Yannis Kyriakides collaborates with The Ex’s guitarist Andy Moor for a February 2006 septet of live improvisations issued under the collective title Rebetika. Merging Moor’s explorative post-punk deconstructions with dusty vinyl samples and experimental backings that reference traditional Greek music and bluesy lamentations makes for unique and unusual results. Over the course of 45 minutes, the two plunge headlong into episodes of squabbling noise and aurally recreate the final breaths of a dying species in the penultimate piece.
I hope to hear from you very very soon.

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