BOOKING OFFER: OLIVIA BLOCK

Dear all, I'm booking some last minute gihs for OLIVIA BLOCK. She's available on and around 22nd September http://www.oliviablock.net/listen/ Olivia Block is a contemporary composer and sound artist who combines field recordings, scored segments for acoustic instruments, and electronically generated sound. Block works with recorded media, chamber ensembles, video, and site-specific sound installations. She has performed throughout Europe, America, and Japan in tours and festivals including Sonic Light, Dissonanze, Archipel, Angelica, Sunoni per il Popolo, Outer Ear, and many others. Her works have premiered at La Biennale di Venezia 52nd International Festival of Contemporary Music, and she has completed residencies and premiered works at Mills College of Music and The Berklee College of Music. She has taught master classes at several additional universities. Block has created sound installations for public sites and exhibition spaces including the Museum of Contemporary Art in Chicago, the library at Wesleyan University in Connecticut, the Lincoln Conservatory Fern Room in Chicago, and at the “Echoes Through the Mountains” exhibit at the 2006 Winter Olympics in Turin, Italy. Her 2008 DVD release with film projector artists Sandra Leah Gibson and Luis Recoder, Untitled, on SOS editions, has been screened at the 2008 Sundance Film Festival and the Expanded Cinema symposium at the Tate Modern in London. Her release Mobius Fuse was voted one of the best albums of the decade by Pitchfork. Block has published recordings through Sedimental, either/OAR, and Cut, among other labels. I hope to hear from you asap. Regards. Alain Some Noise asbl C/O Alain Bolle PO BOX 43 1050 Brussels 5 Belgium https://debloque.wordpress.com www.lesateliersclaus.com info@somenoise.be

BOOKING OFFER: PATRIK FITZGERALD

Dear all,

I'm booking some dates for Patrik Fitzgerald.

http://www.youtube.com/watch?v=4u4lAPV865Y

He is available from early December 2012 onwards:

Patrik Fitzgerald (born Patrick Joseph Fitzgerald, 19 March 1956, East
London)[1] is a singer-songwriter and an originator of folk punk[2] The
son of working-class Irish immigrant parents, he began recording and
performing during the punk rock movement in 1977, after working briefly as
an actor.
Early recordings

His early songs were generally short, sarcastic efforts, recorded with
just an acoustic guitar and occasional studio effects, with lyrics
containing a large amount of social comment. Fitzgerald was soon regarded
as an original of his genre, somewhere between a punk-poet and an urban
folksinger, and was lauded in some circles as "the new Bob Dylan". After
starting out as a busker, he approached David Bowie's original manager,
Ken Pitt, requesting his services; Pitt declined but an audition was set
up with Noel Gay in 1975 who also turned Fitzgerald down.

In 1976 Fitzgerald auditioned, alongside Mick Jones and Tony James for the
band London SS, again without success. After a spell acting in a communal
theatre group, he drifted towards the developing Punk scene. He was a
regular customer at the Small Wonder record shop in London, and when Small
Wonder launched a record label Fitzgerald was one of the first to submit a
demo - and got a deal, with the new label releasing his first three EPs,
the first being Safety-Pin Stuck In My Heart, still his best-known work,
and one which he subtitles "a love song for punk music". Patrik became a
regular performer at London Punk gigs, and supported The Jam on their
national tour.[3]
Polydor era

These early recordings attracted interest from Polydor who signed him up
to record his first LP, Grubby Stories in 1979, recorded with established
punk musicians including Robert Blamire of Penetration and John Maher of
the Buzzcocks.[1] The LP contained 17 tracks, 7 of them recorded with
these musicians.

Two singles were also released by Polydor, either side of the album, and
Fitzgerald undertook a tour with a new group of musicians: Colin Peacock
(guitar), Charlie Francis (bass) (later to join Toyah), and Rab Fae Beith
on drums (later of The Wall & UK Subs).

Fitzgerald appeared in the post-punk documentary 'Rough Cut and Ready
Dubbed' in 1979/80 contributing the title song 'Island of Lost Souls' and
one performance of 'Tonight' with Colin Peacock on keyboards.
Early 1980s

After being dropped by Polydor, he continued to play solo acoustic
concerts, gradually forsaking the ironic, sarcastic mode for a more
deeply-etched, darker formulation.

Now without a manager, Fitzgerald returned again to acoustic solo
performance, then releasing a single under the pseudonym Josef Garrett,
then, using a borrowed Revox, he began recording a series of backing tapes
to use in live performance. These recordings, based partly on the former
group's unreleased material, with Patrik playing everything, were released
in 1982 by Red Flame as his second album 'Gifts and Telegrams'.

At this point, Patrik Fitzgerald formed a small group of solo performers,
working under the banner, Ghosts of Individuals, and featuring himself,
David Harrow, U. V. Pop, Kevin Hewick and Anne Clark (known for her solo
albums on Red Flame). The forerunner of London's cabaret scene, the
Ghosts, like Fitzgerald's music, was aimed at, and appealed to London's
loners[citation needed].

In 1981, he released a five track 12" titled Tonight EP. This recording
was credited to a trio, Patrik Fitzgerald Group, comprising Fitzgerald -
credited with songs, guitars piano etc., Colin Peacock - credited with
synth and guitar, and Lester Broad - credited with saxophone. Engineer was
given as abbey. This EP had three tracks on side one - MR & MRS, Animal
Mentality and Tonight. Side two contained A Superbeing and Waiting for the
Final Cue.

Following this, in mid 1983, Patrik Fitzgerald formed a collusion with a
peripheral musician from the Ghosts, clarinet player Alistair Roberts, and
along with three more brass instruments players he recorded his next LP,
Drifting Towards Violence. The music on it is mostly acoustic, accompanied
by the gloomy sound of the brass section and hard-hitting lyrics. Released
by the Belgian label Himalaya the record went completely unadvertised,
and, consequently, sank without leaving a trace. The release was followed
by a solo tour of Europe, where Fitzgerald has retained a loyal following.
Return in 1986

In 1986 he released Tunisian Twist, which introduced a radical change of
style towards a more commercial sound. The album features a
guitar/bass/drums/keyboards band, with a brass section; its sound is thus
much fuller than Fitzgerald's previous work. The lyrics deal with subjects
as diverse as terrorism, surrogate birth and trade unionism in the climate
of Thatcher's "economic realism". While some of the songs are heavy with
ironic humour in the manner of Patrik Fitzgerald's early days, there
remains the biting incisiveness which has always been his hallmark.

In that year he also contributed a duo with Anne Clark to the compilation
LP Abuse - Artists For Animals, dealing with the controversy of
bullfights. In the absence of commercial success, Fitzgerald took a job as
a waiter at the British House of Commons, before relocating to Normandy in
1988. However, he found himself disenchanted and unable to find gainful
employment, and so returned to England three years later.
1990s and beyond

The early 1990s saw Fitzgerald return to playing gigs again, and he also
re-launched an acting career, the most high-profile engagement of which
was a version of Molière's The Miser at Stratford.

Seven years after his last release, 1993 saw the release of a new album on
Red Flame, Treasures from the Wax Museum, a compilation of early 80s
material, with four new tracks.

In 1995 he released Pillow tension on the Greek label Lazy Dog and
relocated to New Zealand. Beat Bedsit Records issued Room service a CD
with new bedroom recordings in 2001.

The album Floating Population (2006) was issued to coincide with a
European tour with Attila the Stockbroker. It contains a few new songs and
alternative versions/recordings of songs spanning his entire career.

Dark side of the room (2006) is a split CD with the band POG. It contains
12 tracks by Fitzgerald, mostly versions of old songs.

Spirit of Revolution (2007) is a split 7" single with punk poet Attila the
Stockbroker. It contains 5 tracks, 2 new Patrik Fitzgerald recordings. The
Next Revolution recorded live in Norway and Tired recorded in New Zealand
and sent by email to Norway, where industrial classical musicians and the
sound of rainfall were added and the track was mixed.

An early rough cut of film documentary called 'All the Years of Trying'
directed by Dom Shaw previewed on 6 March 2009 at the Kosmorama Film
Festival in Trondheim Norway. There was also a tribute concert organised
on the same day as part of the festival, organised by Crispin Glover
Records. The finished film, incorporating footage of the tribute gig
premiered at the Raindance Film Festival on 4 October 2009 and was shown
at London's Whitechapel Art Gallery on 24 April 2010 as part of the East
End Film Festival.

I hope to hear from you asap.

Regards.

Alain


Some Noise asbl
C/O Alain Bolle
PO BOX 43
1050 Brussels 5
Belgium
https://debloque.wordpress.com
www.lesateliersclaus.com

info@somenoise.be

BOOKING OFFER: HIEROGLYPHIC BEING

Dear all,

In partnership with Lee Tusk I am booking some dates for HIEROGLYPHIC BEING.
His avails are:

8th October open
9th October Ghent (tbc)
10th October open

http://mp3.com/artist/Hieroglyphic%2BBeing

Eclectic Chicago producer Jamal Moss. Also records as The Sun God and
Iamthatiam. Jamal is also a member of the following groups: Africans With
Mainframes, Chicago Bad Boys, and I.B.M. (together with Steve Poindexter)
and produced with collective The Dirty Criminals.

Read More…

Jamal Moss’ tracks recall a sort of wild experimentation, following his
mentors: Chicago legends Adonis and Steve Poindexter, who are also
involved in Moss’ Chicago Based Label Mathematics Recordings. As its A&R,
Jamal Moss dedicates himself to his search for rather unkown underground
artists creating raw sound-sculpting – more or less – house sounds. About
the label, he sais:

« Mathematics is the body of sound knowledge centered on such concepts as
quantity, music, structure, space, and change – and also the academic
discipline that studies them. Mathematics is the first stage of this
concept on the academic disciplines of classic house, rhythmic noise,
industrial jazz, acid house, ragtime electronics, new age, ambient and
classical structures. »

Jamal Moss has long been a part of the Chicago house/techno scene as both
a producer and DJ. Moss’s first creative endeavors were as part of a crew
that created industrial soundscapes for the Liquid Love parties at the
famed Powerplant in Chicago from 1989-90. When the Powerplant was closed,
Moss and his cohorts started Liquid Sex, which became a magnet for many
well-known house artists such as Steve Poindexter, who put Moss in touch
with future collaborators the Chicago Bad Boys collective. From the Fall
of 1993 – to the Summer of 1996 was Host/DJ for WNUR’S 89.3 StreetBeat
Program Showcasing a segment named JACK-FM( Thank U Shaun Fahey ). He was
also taken under the wing of house legend Adonis, who became a key mentor
figure in Moss’s life. He is on of the last of the line of producers
directly influenced by Ron Hardy at the Music Box, therefor he is uniquely
qualified to write a new chapter of Chicago’s Musical history.

I hope to hear from you very soon.

Regards.

Alain

Some Noise asbl
C/O Alain Bolle
PO BOX 43
1050 Brussels 5
Belgium
https://debloque.wordpress.com
http://www.lesateliersclaus.com

info@somenoise.be

BOOKING OFFER: MY CAT IS AN ALIEN

Dear all,

I’m booking some gigs for MY CAT IS AN ALIEN.
They’re available from early December onwards.

http://www.mycatisanalien.com/news.htm

MY CAT IS AN ALIEN (MCIAA) is the duo of radical instantaneous composition
and audiovisual art formed by brothers Maurizio and Roberto Opalio in late
1997. They started their activity in Torino, Italy, before moving in a
remote region of the Western Alps. Multi-instrumentalists, they primarily
play electric and acoustic guitars, various toy instruments (so-called
‘space toys’), modified electronics (‘alientronics’) and a wide set of
percussion. Roberto Opalio’s personal use of wordless vocalizations adds
human voice as a further instrument in the list.
MCIAA’s work range over many artistic activities: musical performance,
films and videos, audiovisual installations, photography, painting and
drawing, poetry.

On their own Opax Records, they release vinyls, tapes, cds and dvds, whose
unique handmade art-edition style represents the esthetics of the duo,
giving a strong and peculiar visual aspect to all MCIAA’s works.

MCIAA have set up multimedia collaborations with vanguards such as Sonic
Youth, Thurston Moore, Lee Ranaldo, Christian Marclay, Keiji Haino, Jim
O’Rourke, Loren Mazzacane Connors, Jackie-O Motherfucker, Nels Cline, Text
of Light, Steve Roden, Mats Gustafsson, Enore Zaffiri and many more.

MCIAA’s prolific works have been released by Thurston Moore (Sonic Youth)
on his own Ecstatic Peace! label, as well as by Atavistic Worldwide (USA),
Les Disques VICTO (CAN), Important Records (USA), Very Friendly/ Cargo
(UK), PSF (Japan), Staalplaat/ Mort Aux Vaches (NL), Eclipse Records
(USA), Starlight Furniture Co./ Revolver (USA), Last Visible Dog (USA),
Time-Lag Records (USA), PseudoArcana (NZ), Sloow Tapes (B), Ikuisuus
(FIN), A Silent Place (ITA), Digitalis (USA), Sound&Fury (AU), Elliptical
Noise (CAN) among others.

Between 1998 and 2009 MCIAA toured several times in Europe with Sonic
Youth, and have performed at many prestigious international festivals:
Festival International de Musique Actuelle de Victoriaville (Canada), ATP
Nightmare Before Christmas curated by Thurston Moore (UK), Music Lovers’
Field Companion festival at Sage Gateshead in Newcastle (UK), CCA Center
of Contemporary Arts di Glasgow (UK), K-raa-k Festival (B), State-X
Newforms (NL), Feedback Festival in Dijon (F), Stimul Festival in Prague,
All Frontiers and Netmage in Italy, among many others.

In 2005 Roberto Opalio has been commissioned to design a t-shirt for The
Wire magazine.

Roberto Opalio and My Cat Is An Alien has taken part to Sonic Youth etc.:
Sensational Fix exhibition, scheduled in big European museums of
contemporary arts between 2008 and 2010. For the first opening at LiFE
museum (F) in June 2008, MCIAA set up a live performance collaboration
with Lee Ranaldo (Sonic Youth) and Micheal Morley (Dead C), published by
Starlight Furniture Co. USA in September 2009. A new album of this
collaborative project with Lee Ranaldo is published in November 2010 by
Atavistic.
Other than the official exhibition catalog published by Walter Koenig,
curator Roland Groenenboom presented a spin-off limited zine at Malmo
Konsthall, featuring exclusive artworks by Roberto Opalio and MCIAA.

I hope to hear from you very soon.

Regards.

Alain

BOOKING OFFER: MEG BAIRD

Dear all,
In partnership with Lee Tusk I’m booking two dates for Meg Baird.
She’s available in 17th and 18th September.
http://www.youtube.com/watch?v=Z_F1AhK9XtU
Meg Baird is an American musician originally from New Jersey and currently based in Philadelphia, Pennsylvania. She is best known as a founding member and lead female vocalist for the Philadelphia folk rock band Espers. In 2007, Baird released her first solo LP Dear Companion on Drag City. She has also collaborated with sister Laura in The Baird Sisters, and appeared as a backing vocalist on Bonny ‘Prince’ Billy’s 2007 EP Ask Forgiveness. [1] She also appeared as a backing vocalist on Sharon Van Etten’s second album, Epic. As a solo artist, she has toured with Bert Jansch,[2] James Blackshaw, Micah Smaldone, Sharron Kraus and others.
Her vocal style has often been compared to that of Fairport Convention’s Sandy Denny and Pentangle’s Jacqui McShee,[3][4][5] although she has herself cited Trees’ Celia Humphris as the more personally influential member of the 1960s and 70’s UK folk scene.[citation needed]
Most recently she appeared on a 7″ compilation entitled Meet the Philly Elite, featuring former touring partners Kurt Vile and Jack Rose, as well as US Girls. Baird comes from a family with deep roots in the folk tradition. Baird is the great-great niece of Isaac Garfield « I.G. » Greer, a historian and Appalachian folk singer born in 1881.[6] His inclusion on one of the earliest albums issued by the Archive of American Folk Song in the Library of Congress helped expose Baird to folk music at young age while she was taking piano lessons, teaching herself guitar, and listening to Smithsonian Folkways LPs.
I hope to hear from you very soon…
Regards.
Alain
Some Noise asbl C/O Alain Bolle PO BOX 43 1050 Brussels 5 Belgium https://debloque.wordpress.com http://www.lesateliersclaus.com
info@somenoise.be

BOOKING OFFER: MY DISCO

Hello,

In partnership with Tom from Julie Tippex I'm booking some dates for My
Disco. These dates are open for Belgium only.
Avails are: 26th/27th/28th October + 2nd November.

http://soundcloud.com/alldaybreakfast/perfect-protection-my-disco

Hailing from Melbourne, Australia, post-punk trio My Disco were formed in
2003 by brothers Liam and Ben Andrews and Rohan Rebeiro. Named for a Big
Black song, the band specialized in angular, cerebral indie rock. My Disco
made a name for themselves with their busy touring schedules, but found
themselves slowed down in 2004 when Liam Andrews was diagnosed with
Hodgkin’s lymphoma. The band continued to play shows, squeezing in shows
and rehearsals in between Andrews’ chemotherapy treatments. During this
time, the band began to develop a more minimal, biting sound reminiscent
of the metallic thump of Shellac. In 2006 they released their first
full-length, Cancer. The following year, My Disco journeyed to the other
side of the world to begin working on a new album with Steve Albini at the
famous Electrical Audio in Chicago. Paradise, released in 2008, found the
band shifting even further away from math rock, delving deeper into more
minimal waters. The band set off on a world tour in 2009 before returning
to Electrical Audio the following year. After recording with Albini, My
Disco decided to go in a different direction with the production, instead
taking the album to Silverchair producer Scott Horscroft. The album,
Little Joy, was released in early 2011 on Temporary Residence.

I hope to hear from you asap.

Regards.

Alain

Some Noise asbl
C/O Alain Bolle
PO BOX 43
1050 Brussels 5
Belgium
https://debloque.wordpress.com
www.lesateliersclaus.com

info@somenoise.be

BOOKING OFFER: WINDMILL MOTH GLUE

Hello,

I’m booking some dates for WINDMILL MOTH GLUE.

They are available from 6th November onwards.

http://www.youtube.com/watch?v=VbDqopPtSv8
http://www.youtube.com/watch?v=Cvv-SPeZ3bk

It is the perfect band you’ve been dreaming of as a support for ages:

Windmill Moth Glue are a collection of the deceased souls of disenchanted
salesmen
of sound, gathered from the deepest darkest depths of the auditory
underworld and
hell bent on spreading their distinctive brand of sonic terrorism wherever
and
whenever they can. Windmill Moth Glue utilise musical instruments that
would be
better suited to the concert hall of Hades himself than any earthly stage,
to create
a sonorous explosion of noise, a hullaballoo of discordant harmony and a
devilish
din of piercing percussive confusion, the likes of which have never been
heard
outside of the underworld from whence they came. Prepare for your body to be
possessed as the supernatural reverberations twist your limbs into a
frenzied rave
and Windmill Moth Glue’s sonic sycophants invade your cranium and inflict
the most
delightfully devilish listening pleasures upon your mind.
And shorter version:A trio of sonic terrorists possessed by the sinister
souls of
medieval jazz alchemists fished from the deepest darkest depths of the
auditory
underworld.

Conjuring up a sonorous explosion of satanic freeform, a hullaballoo of
discordant
harmony, a devilish din of piercing percussive confusion and sonic
sycophants that
will invade your human shell and inflict the most delightfully devilish
listening
pleasures upon your mind.

I hope to hear from you asap.

Regards.

Alain

Some Noise asbl
C/O Alain Bolle
PO BOX 43
1050 Brussels 5
Belgium
https://debloque.wordpress.com
http://www.lesateliersclaus.com

info@somenoise.be

BOOKING OFFER: FUSHITSUSHA feat. KEIJI HAINO

Dear all,

 

In partnership with Lee Tusk I’m booking some rare selected shows for FUSHITSUSHA feat. KEIJI HAINO.

 

Avails are:

 

9th October open

 

11th October open

 

13th October Les Ateliers Claus (Brussels).

 

http://www.youtube.com/watch?gl=BE&feature=related&v=vZ7_NFKc_0M

 

 

 

The completely unexpected (but beyond welcome) return of Keiji Haino’s dark star destruction unit Fushitsusha, resurrected with the assistance of original drummer Ikuro Takahashi (who also marked time in the equally obliterating Kousokuya) and bassist Mitsuru Nasuno (with whom Haino shreds in Seijaku.)  Haino has kept himself busy with all manner of music since putting Fushitsusha on indefinite hiatus in 2001, but his most recent recordings, most notably his trio outings with Jim O’Rourke and Oren Ambarchi, have focused on a return to the staggering simplicity of blundering, crushing rock and roll primitivism performed with reckless abandon, as though Haino were discovering himself all over again.  Little wonder then that he would revive the group he made his name with; legions of guitarists (myself included) worship at the altar he so casually but brutally erected in the early ’90’s, a testament to the ultimate nihilistic powers of the electric guitar when brandished by someone so attuned to the cosmos’ nether pockets.  For all his experimentation, Keiji Haino is the very emblem of true sonic violence, caustic and extreme, barely held together by tendrils of mystery and a hazy aura of cool that never once threatens to overtake the awesome power of the music.  Haino channels darkness, and that darkness becomes a living entity, crawling and oozing its way into frontal lobe eradication.

 

« Hikari to Nazukeyo » isn’t a return to peak form as much as it is a return to peak attitude.  It’s incredibly aggressive-Haino’s vocal histrionics throughout are some of the more intense he’s delivered in his lengthy career-but it’s also remarkably tempered and calculated, given over more to the idea of structure than almost any Fushitsusha recording preceding it.  There are actual songs here, influenced as much by new wave impressionism and krautrock numbing theatrics as it is Haino’s beloved delta blues by way of Blue Cheer.  The sounds here are more vital, visceral, and urgent than anything Haino’s laid down in the past decade.

That he blows it out of the water in a mere 35 minutes without sacrificing any of the ragged rock glory is fucking insane to me.  Fushitsusha is a band built on excess; here it’s streamlined, maybe even mainlined, into a virulent feed of rock bloodletting that constantly reignites itself with each mangled note.  And there are plenty of them throughout.

 

The highlight of any Fushitsusha record is Haino’s severe and particular brand of guitar holocaust, and « Hikari to Nazukeyo » delivers in spades; most of the tracks here revolve around Haino’s frenzied guitar mangle.

The obvious peak, as well as the most « classic » sounding jam here is « Chuushin no Ketsui I, » an excursion into pure molasses lightning sludge, an inferno of feedback shriek and amplifier gurgle filtered through stuttering bass and an incessant staccato drum.  Haino’s guitar is in the grave and buried, clawing away at mounds of dirt to reach the caustic night sky.  Bitterness rages and danger ignites on its own fumes, a dirge to hell that considers the sky the equal of the earth.  « Todomi Yari Hou (Zenkaku Supesu 2) » continues along those same hellish lines, adding Haino’s black-metal tinged vocal (vokill?) to the mix for ultimate audio meltdown.  It’s the very essence of metal distilled into four simple punishing minutes, the epitome of « heavy » without any of the pretense, and totally free of any constraint.  « Chuushin no Ketsui II » sees Haino in a more classic « shred » mindset, with a slaughter of notes being sent to the great musical beyond in a fiery torrent of careless and wanton obliteration; the flurry of distorted bass notes that closes the track (and the record) out almost seems relief after Haino’s towering conflagration.

 

The magic of the record lies in the curveballs.  Haino is nothing if not unpredictable, and for all its black hole aestheticism, « Nikari to Nazukeyo » is lush with iconoclastic departures from the formula.  Opener « Mada Hikato Nazukerarenai Mono » eschews guitar completely in favor of grinding yet melodic bass rumble, allowing Fushitsusha to approach an approximation of melody and form not yet harnessed.  It’s a surprise to say the least, and points to the eclecticism that Haino so casually summons up when the mood strikes (this is also one of the few Fushitsusha albums that doesn’t feature artwork done entirely in black and white, perhaps indicative of its multifaceted ambitions); all of that eclecticism here becomes a rainbow prism of expression, a technicolor explosion of passion and authority.  « Ore no Wake Mae » features actual riffing within the chaos, confused and bludgeoning and chromatic but nothing short of blunt.  « (Shire Ru) Toiukoto » is some sort of devolved lounge song, jazz let free to lord over the Slayerized constructs of elevator hell.  Haino goes even further in his outre reference and evokes Frank Zappa in the gorgeous atonal but hypermelodic soloing found in « Aredakeha, » recalling Zappa’s live improv’d stylizations rife with gorgeous clean guitar lines and plucky tone; like Zappa, Haino exerts total control over the proceedings at hand but lets the musicians wander where they may within a certain definition.  Psychedelia gives way to frigidity and a sort of oversaturation void of welcome; despondence retreats into the foul.

Haino’s breakthrough is attained via noise and horror.  As a whole « Nikari to Nazukeyo » recalls Haino’s work with his death folk/rock band Aihiyo more than anything under the Fushitsusha moniker; there’s a sort of spiritual blackness here that seems more birthed from traditional forms and outdated modes of rock extravagance than the apocalyptic hollowness of Fushitsusha proper.  But the mission remains unchanged: annihilation through provocation and majesty by way of deathly grandeur.

 

I hope to hear from you asap.

 

Thanks.

 

Regards.

 

Alain

 

 

Some Noise asbl

C/O Alain Bolle

PO BOX 43

1050 Brussels 5

Belgium

https://debloque.wordpress.com

www.lesateliersclaus.com

 

info@somenoise.be