Dear all, I'm booking some shows for JAMES BLACKSHAW. He is available in late May and early June 2013. Territories: The Netherlands + Belgium JAMES BLACKSHAW http://www.youtube.com/watch?v=2nGzZGyHz3c British guitarist James Blackshaw debuted at the age of 23 with Celeste (Celebrate Psi Phenomenon, 2004 - Tompkins Square, 2008), that contains a two-part fingerpicking-intense raga-folk improvisation for twelve-string acoustic guitar in the vein of John Fahey. The exuberance of the first part, revealing the influence of Scottish lullabies and Irish jigs, lays the foundation for a wistful melody, distributed over a tinkling lattice of fast tones, that represents the piece's zenith of pathos. The second part opens with surreal, oneiric, warped and elongated sounds. A more labored melody emerges that reflects a more neurotic mood, almost like the mirror image of the serene and almost childish first part. When the guitar resumes its breathless gallop through the imaginary skies of Blackshaw's mind, it retains that unnerving quality as well as the occasional counterpoint of cymbals. Lost Prayers & Motionless Dances (Digitalis, 2004 - Tompkins Square, 2008) is devoted to a 34-minute piece of droning ambience. Here the guitarist sounds like a different artist. Instead of the virtuoso display and the agile perambulation of Celeste, the lengthy Lost Prayers And Motionless Dances offers a stately and lugubrious Zen-like meditation. It begins with a dilated melody played on an accordion-like harmonium (almost reminiscent of Pauline Oliveros' "deep listening" minimalism) that slowly decays to a single droning note. Then the guitar begins interacting with the drone. The guitar's melody sounds painful and indulges in raga-like detours. This manner basically splits the melody into two melodies: an underlying constant trance-y pattern and an unstable colloquial phrasing that periodically erupts into a twirling motif. After 20 minutes, the piece dissolves into rattling and hissing noises. The main melody and the harmonium return at the very end on a more emphatic and almost symphonic register. Lost Prayers And Motionless Dances is overall more cryptic than Celeste. White Goddess (2005), one of the four Blackshaw compositions that appeared on a split album, is even more obviously non-Western in nature, sounding like a sufi hymn from the Middle East, replete with piano and wordless chanting. Sunshrine (Digitalis, 2005 - Tompkins Square, 2008) delivered another lengthy masterpiece, the 26-minute Sunshrine, that marks a return to the mood and technique of Celeste. Bells set the tone for the guitar improvisation, that initially has the shimmering and effervescent quality of Leo Kottke's country vignettes. Then the intricate and florid cascade of tones continues, but it assumes a more and more pensive tone. The harmonium joins briefly what has become a melancholy melody. Reemerging from this moment of pessimism, the guitar launches into a vehement raga-like crescendo, perhaps an affirmation of will and love of life in the face of existential doubts. The bells return to close the piece, but this time they share the stage with a distorted drone. O True Believers (2006) was the first proper full-length and contained four medium-length compositions. Transient Life In Twilight alternates between a slow, contemplative and gentle shuffle and a country & western gallop. The album's tour de force, the 18-minute Elk With Jade Eyes, sounds unusually convoluted for his standards, frequently shifting gear and mood for the first seven minutes, before being joined by the harmonium and the Indian lute tanpura for a sort of psychedelic raga that ends in a surreal duet of tampura and dulcimer. The brief O True Believers is, instead, an unusually straightforward (and loud) hymn played on guitar, harmonium, xylophone and percussion. The Cloud of Unknowing (Tompkins Square, 2007) is one of his most varied collections. The Cloud of Unknowing is a transcendent Fahey-ian eleven-minute guitar solo but its shimmering cascades of notes sculpt a dense wavering tapestry that is uniquely his. Ditto for the primal energy released by the shorter Mirror Speaks. The guitar sounds like a harpsichord in the slower raga-tinged beginning of Stained Glass Windows, but then Blackshaw weaves together techniques of rapid pattern iteration and modulated melodies. After ten minutes the music decays into five minutes of pure dissonance. The strings and xylophone of Running to the Ghost and the musique concrete of Cloud Collapses are less successful detours. Brethren of the Free Spirit is a collaboration between James Blackshaw on guitar and Josef Van Wissem on lute from the Netherlands. The mini-album All Things are from Him through Him and in Him (audioMER, 2008) runs the gamut with aplomb from the dissonant sonata of How The Unencumbered Soul Advises that One Not Refuse the Calls of a Good Spirit to the minimalist rhapsody All Things are from Him through Him and in Him. The Brethren of the Free Spirit then released The Wolf Also Shall Dwell With The Lamb (Important Records, 2008). Litany Of Echoes (Tompkins Square, 2008) contained two solo-piano pieces inspired by minimalist repetition of the 1970s and a piece in which the guitar is juxtaposed against violin and viola. Continuing along the path of diversification, The Glass Bead Game (Young God, 2009) introduced more experiments. To start with, Cross challenges the stream of consciousness of the guitar with neoclassical strings and operatic vocalizing. Fix is even more neoclassical in nature: a simple duet of piano and cello. Bled is typical of the confused sonatas of this period, when the guitarist might be under the influence of his virtuoso skills rather than using them for artistic purposes. Key The 19-minute Arc is an atmospheric concerto for lounge piano and strings in which the guitarist tries to play the piano as if it were a guitar. The results of these experiments are mixed. The eight-movement All Is Falling (Young God, 2010) is a mixed blessing. Part 1 is a tepid essay in piano minimalism that a pupil of Steve Reich could compose. Part 4 is a more interesting variation on the concept because it integrates raga overtones (and it uses the guitar instead of the piano). Part 7 is a twelve-minute minimalist concerto that adds the strings to piano and guitar. Now it is no longer just a case of Steve Reich's gradual increase in complexity of pattern and orchestration but also of Philip Glass-ian cascading melodies and rhythms. Alas, the whole thing (and its coda of wailing dissonance) sounds hopelessly amateurish and dejavu. The redeeming piece is Part 2: a slow, elegant Renaissance madrigal for electric guitar and strings. Part 8 is also a lot more interesting than the minimalist pieces: here the patterns are distorted drones (fat and mournful keyboard tones) that get combined and recombined to create an effect of refraction. The EP Holly (Important, 2011) contains two dreamy pieces. Love Is the Plan, The Plan Is Death (2012), mostly played on a nylon six-string guitar that restricts his textural expansiveness, looks like a more pensive work than usual, but the guitar playing is rather plain and repetitive, and the piano playing is as unassuming as usual, insinuating the doubt that this be simply a whimsical detour. There is no magnum opus. The piano elegy The Snows Are Melted the Snows Are Gone is the prettiest of the pieces, and it is telling that it is not a guitar piece. Vibraphone, electronic organ and Genevieve Beaulieu's vocals add very little of note. I hope to hear from you soon. 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 _______________________________________________ SomeNoise mailing list info@somenoise.be http://listes.agora.eu.org/listinfo/somenoise to unsubscribe
Archive pour février, 2013
BOOKING OFFER: JAMES BLACKSHAW
Posted in Uncategorized on février 27, 2013 by debloqueBOOKING OFFER: OTOMO YOSHIHIDE
Posted in Uncategorized on février 25, 2013 by debloqueDear all,
I’m booking some dates for OTOMO YOSHIHIDE.
He is available between 3rd and 6th June 2013
Territory: Europe
http://www.youtube.com/watch?v=rtSAppmCAz4
Turntable and guitar player
Otomo Yoshihide was born on August 1, 1959 in Yokohama, Japan. He spent his teenage years in Fukushima, about 300 kilometers north of Tokyo.
Influenced by his father, an engineer, Otomo began making electrical devices such as a radio and an electronic oscillator. In junior high school, his hobby was making sound collages using open-reel tape recorders. This was his first experience creating music. Soon after entering high school he formed a band which played rock and jazz, with Otomo on guitar. It wasn’t long, however, before he became a free jazz aficionado, listening to artists like Ornette Coleman, Erick Dolphy and Derek Bailey; and hearing music, both on disk and at concerts, by Japanese free jazz artists. The musician who influenced him most at that time was alto sax player Kaoru Abe (two of whose concerts he went to hear) and guitarist Masayuki Takayanagi. For Otomo, this was a turning point–the point at which he decided to play free jazz.
In 1979 Otomo moved to Tokyo to attend university. While continuing to play jazz and punk rock, in his third and fourth years of university he took part in an ethnomusicology seminar directed by professor Akira Ebato.
Otomo became increasingly involved in the study of ethnomusical history, and of two subjects in particular: Japanese popular music during World War II, and the evolution of Chinese musical instruments during the Cultural Revolution. In 1981 he went to Hainan, China with a group led by Ebato, to research ethnic music. In the same year he began playing free improvisation professionally–using guitars, tapes, radios, etc.–at Goodman, a live music club in Ogikubo, Tokyo, where he continued to play for about a year.
Otomo became very active in live performance in 1987. Until about 1990 he often played duo concerts with Junji Hirose (on sax and an original self-made instrument). In that period he also played in a band called No Problem, with Lim Soowoong (junk), Jun Numata (electric bass), Kenichi Saitoh (guitar) and Hirose; performed with Kan Mikami (vocals); and was a member of pianist Kyoko Kuroda’s group ORT. Starting in 1990 Otomo collaborated extensively with other musicians, in a wide range of styles.
He joined bassist Hideki Kato’s group Player Piano (’90-’91), and organized a Japan tour with Hirose and percussionist David Moss (’90).
That year, he also started his own band, Ground-0 (later Ground Zero).
Until it disbanded in March 1998, the band was always at the core of his musical creativity, while it underwent several changes in style and membership.
Otomo first played outside Japan in 1991. In April of that year he took
Ground-0 to Hong Kong to play with two local musicians (bass and drums) in the « Best of Indies » concert; and in December he played in Berlin with Koichi Makigami (vocals), Yuji Katsui (violin), Hiroshi Higo (bass), David Moss (percussion), and Frank Schulte (turntables). Since then, Otomo has played overseas every year.
Otomo has created and organized various bands and projects in addition to Ground Zero. He had two bands between ’92 and ’94: the Double Unit Orchestra, comprised of two groups which he conducted simultaneously; and Celluloid Machine Gun, which he described as the Hong Kong movie-style music world. Otomo also formed Mosquito Paper, which was active from December ’93 to late ’94. The name came from the slang term for Shanghai tabloid newspapers filled with gossip and fake news stories. In their performances, Otomo set to music not songs but text readings, seeking to bring about the emergence of something between music and speech. He has had many connections with the Hong Kong/Chinese music and movie scenes, especially in the early and middle ’90s. Both the Celluloid Machine Gun and Mosquito Paper projects were eventually absorbed by Ground Zero, when the band launched its monumental work Revolutionary Pekinese Opera.
Another of Otomo’s major projects at that time was the Sampling Virus Project (’92 to ’98), in which sampling processes were applied to musical works which were « passed around » among musicians. In this way, the sampling acted in much the same way computer viruses do–invading, multiplying in and transforming the works –thus bringing new works into being. Otomo developed the project through his various musical activities–solo work, collaborations with other musicians, his bands, etc. One example is Ground Zero/Project: Consume.
Since the disbanding of Ground Zero, Otomo’s sound has changed greatly.
The difference can be heard especially well in his current major projects:
I.S.O., his trio with Yoshimitsu Ichiraku (drums, electronics) and Sachiko M (sampler); and Filament, his duo with Sachiko M. The sound, which tends to embrace simplicity, minimalism, and texture much more than dynamism and instrumental performance, contrasts sharply with the extreme chopping and plunderphonics (« plagiaristic » sampling) which used to characterize Otomo’s style. In another departure, in July ’99 he started a new jazz project based on his own concepts–a jazz quartet with Naruyoshi Kikuchi (saxes), Kenta Tsugami (saxes), Hiroaki Mizutani (bass) and Yasuhiro Yoshigaki (drums). (Half of the compositions played are those of jazz giants such as Charles Mingus, and the rest are Otomo’s). He plans to keep the quartet together at least until the band has made a CD and appeared at the Music Unlimited festival in Wels, Austria, in November 1999.
In addition, Otomo has been very active as a co-founder and a side member of other groups and projects, the major ones being drummer Tony Buck’s Peril (’92-’95); Hoppy Kamiyama’s Optical*8 (March ’93-late ’94); violinist Jon Rose’s Shopping project (’93-); vocalist Tenko’s Dragon Blue (’92-); drummer Chris Cutler’s P53 (’94-); vocalist Phew’s Novo Tono (’94-); Les sculpteurs de vinyl with Sachiko M and French DJs (’96-); and his duo with Tenko, MicroCosmos (’98-).
Otomo has demonstrated an exceptional talent as a composer of movie/TV/video sound tracks. He has in particular enjoyed an excellent relationship with creators in the Chinese and Hong Kong film worlds (See Major Movie/TV/Video Sound Tracks). He also served as music director of the theater group Rinkogun from ’92 to ’95, creating the music for such works as Bird Man, Inu no Seikatsu, Hamlet Symbol, and Picnic Conductor.
Finally, mention should be made of Otomo’s vital and wide-ranging writing activity. Since the eighties he has presented his ideas on music–from distribution problems in the music industry to sociocultural considerations of such topics as sampling and free improvisation–in his articles and essays for various magazines and books in Japan.
I look forward to hearing from you asap.
Regards.
Alain
Some Noise asbl
C/O Alain Bolle
PO BOX 43
1050 Brussels 5
Belgium
https://debloque.wordpress.com
Playlist: Noisy Crescendo: 03.02.2013
Posted in Uncategorized on février 24, 2013 by debloqueLeaving: JULIA HOLTER: "Goddess eye". Tragedy. On the Amper: PETER KERNELL: "Untitled". How to perform a funeral. Sony Music: LEONARD COHEN: "Amen". Old ideas. Hatology: ALBERT AYLER: "Ghosts". Stockholm, Berlin 1966 Edsel: JESUS & THE MARY CHAINB: "In a hole". Psycho candy Important: DUANE PITRE: "Section V". Feel free. Blast First Petite: DUANE McPHEE: "Cloud forest". Son of the black place. Glitterhouse: THE JIM JONES REVUE: "Ain't my problem baby". Various-The journey is long ???????: HIEROGLYPHIC BEING: "???????????". The black box.? Victo: BILL DIXON: "Envoi-section 1". Envoi. Sun Ark: SUN AEAW: "Untitled"L. Ancient romans. Soundway: THE FUNKEES: "Salem". Dancing time. The best of the eastern Nigeria's afro rock exponents 1973-77. Entr'acte: JOHNN WALL/ALEX RODGERS: "??????". Work 2006-2011 Geometrix: BIOMECHANICA: "Bmoi". Bmoi? Some Noise asbl C/O Alain Bolle PO BOX 43 1050 Brussels 5 Belgium https://debloque.wordpress.com www.lesateliersclaus.com info@somenoise.be _______________________________________________ Noisyaddict mailing list http://listes.agora.eu.org/listinfo/noisyaddict
BOOKING OFFERS: EYELESS IN GAZA + HACKACOMB
Posted in Uncategorized on février 22, 2013 by debloqueDear all, I'm booking some dates for EYELESS IN GAZA and HACKACOM EYELESS IN GAZA (UK) http://www.youtube.com/watch?v=gWlshxgXndA Availability: Between 25th and 31st March + between 27th and 3Oth May + between 22nd and 31st July + between 1st and 30th August. Territory: EUROPE Eyeless In Gaza are a post-punk/New Wave musical duo of Martyn Bates and Peter Becker, based in Nuneaton, Warwickshire, England. They have described their music as "veer[ing] crazily from filmic ambiance to rock and pop, industrial funk to avant-folk styles." [1] Formed in 1980, the group went into hiatus in 1987 as Martyn Bates pursued a number of solo projects and collaborations, reemerging in 1993. Te name is a reference to the novel of the same name by Aldous Huxley. Bates has said he chose the name "for the sound of it.... I was reading the Huxley book when I met Pete.... It sounded perfectly nice." But Bates has also acknowledged an allusion to the "biblical myth" of Samson, saying, "I feel attracted by religion. I feel that people don’t pay enough attention to the spiritual side of their life; it is a very interesting side of the human psychism and it fascinates me." (Interview in Les Inrockuptibles, number 14, 1988)[2] HACKACOMB (Switzerland) hackacomb.blogspot.com/ Availability: between 8th and 13th April 2013 Territories: The Netherlands + Belgium HACKACOMB uses miniature instruments and odd items taken from daily life, to play music which appears miniature as well. The sounds are amplified, often to the extreme, revealing their surprising nature, their existence itself and their vasteness. The intention is then to swamp the audience in a swell of unidentified sounds screamed through loud speakers. After specialising in acoustic concerts, in apartment and even bathrooms, for small audiences, under the name of Homeson 24, Hackacomb explores new and high degrees of sound amplification like the potential power of a piece of cardboard or toy piano. I look forward to hear from you. Have a nice week-end. 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 OFFERS: BOSETTI and CHRIS ABRAHAMS + ALESSANDRO BOSETTI performing MASK MIRROR
Posted in Uncategorized on février 20, 2013 by debloqueDear all, I'm booking some dates for ALESSANDRO BOSETTI and CHRIS ABRAHAMS: Availability: between 24th and 30th June 2013 Territory: Europe + ALESSANDRO BOSETTI performing MASK MIRROR Availabity: Between 19th ande 23rd May Territories: Belgium and France ALESSANDRO BOSETTI + CHRIS ABRAHAMS http://soundcloud.com/alessandro-bosetti/chris-abrahams-alessandro Recorded almost three years ago, but for whatever reason it has been lying around until now. We have Chris Abrahams at the piano and Alessandro Bosetti taking care of electronics and in two pieces also voice. It's a pity that these electronics are not specified. Sampling sounds from the piano, max/mps treatments, analogue synthesizers, stomp boxes? It's unclear. It opens with a nice sampled piece of prepared piano sounds, 'We Also Dress Today', but then 'We Arrange Our Home' is way too jazz minded for my taste. 'We Cannot Imagine' is then a more spooky piece with a meandering piano, moody electronics and also Bosetti reciting a text, rather than singing it. Like with what he does with his band, Trophies, I am not that blown away by that use of his voice. But then, the next two pieces are very good, intense, minimally changing sounds, clustered sounds of both the piano and samples, tied together and swinging around. In the final piece, 'Waltz For Debby', Abrahams plays piano like he is playing in a restaurant, Bosetti like he is on the love boat but with a default in the recording - or as a Whitehouse/Ikeda sine wave remix, but for me it doesn't save this particular piece. So we have here two tracks I firmly don't like, three which I do a lot and one that is sort of so-so. ALESSANDRO BOSETTI performing MASK MIRROR http://www.youtube.com/watch?v=5CV2ydyv5tE Since 2008 Alessandro Bosetti has been developing an instrument and software patch. Live in concert he reorganizes speech for musical purposes with narratives that are about nothing and everything at the same time. With echoes to the baroque clumsiness of the first mechanical calculators by the likes of Gottfried Leibniz and Blaise Pascal, Mask Mirror is guided not by mathematical principles but rather mines the unfolding of language and its meaning in random sequences, built on blocks of different sizes (from phonemes and incidental mouth noises to lexical units and prosodic fragments). Bosetti samples his voice with prerecorded voices in an electronic ventriloquism. Alessandro Bosetti is a Berlin based composer who usually works with speech as its primary material and vehicle. I look forward to hearing from you soon. 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: PHILL NIBLOCK + THOMAS ANKERSMIT
Posted in Uncategorized on février 18, 2013 by debloqueDear all, I'm booking some dates for PHILL NIBLOCK + THOMAS ANKERSMIT. They are available in mid May + September 2013. Territory: Europe PHILL NIBLOCK Phill Niblock is a New York-based minimalist composer and multi-media musician and director of Experimental Intermedia, a foundation born in the flames of 1968's barricade-hopping. He has been a maverick presence on the fringes of the avant garde ever since. In the history books Niblock is the forgotten Minimalist. That's as maybe: no one ever said the history books were infallible anyway. His influence has had more impact on younger composers such as Susan Stenger, Lois V Vierk, David First, and Glenn Branca. He's even worked with Sonic Youth's Thurston Moore and Lee Renaldo on "Guitar two, for four" which is actually for five guitarists. This is Minimalism in the classic sense of the word, if that makes sense. Niblock constructs big 24-track digitally-processed monolithic microtonal drones. The result is sound without melody or rhythm. Movement is slow, geologically slow. Changes are almost imperceptible, and his music has a tendency of creeping up on you. The vocal pieces are like some of Ligeti's choral works, but a little more phased. And this isn't choral work. "A Y U (as yet untitled)" is sampled from just one voice, the baritone Thomas Buckner. The results are pitch shifted and processed intense drones, one live and one studio edited. Unlike Ligeti, this isn't just for voice or hurdy gurdy. Like Stockhausen's electronic pieces, Musique Concrete, or even Fripp and Eno's No Pussyfooting, the role of the producer/composer in "Hurdy Hurry" and "A Y U" is just as important as the role of the performer. He says: "What I am doing with my music is to produce something without rhythm or melody, by using many microtones that cause movements very, very slowly." The stills in the booklet are from slides taken in China, while Niblock was making films which are painstaking studies of manual labour, giving a poetic dignity to sheer gruelling slog of fishermen at work, rice-planters, log-splitters, water-hole dredgers and other back-breaking toilers. Since 1968 Phill has also put on over 1000 concerts in his loft space, including Ryoji Ikeda, Zbigniew Karkowski, Jim O'Rourke. www.phillniblock.com THOMAS ANKERSMIT THOMAS ANKERSMIT Thomas Ankersmit (1979, Leiden, Netherlands) is a musician and installation artist based in Berlin and Amsterdam. His main instruments are the Serge analogue modular synthesizer, computer and alto saxophone. He frequently works together with New York minimalist Phill Niblock and electroacoustic artists Valerio Tricoli and Kevin Drumm. "Ankersmit constructs a musical world that feels alive and capable of going anywhere, and yet also manages to give the music a strong sense of structured purpose, a degree of compositional control unusual in this area of live performance. It is the fine balance between the sense of chaos that threatens to pull everything apart and the controlled formation of the music into clearly defined sections of differing intensities that raises the work above that of so many of Ankersmit’s contemporaries." Richard Pinnell, The Wire "A dynamic performance that comes at the listener from all sides, as unpredictable as it is self-assured … Ankersmit is adept as ever at making transitions and staying one step ahead of himself with a keen ear for evolution and the patience to make it effective. There can be excitement in watching a musician grapple with sounds that threaten to escape his or her control, but precision can be equally arresting, and Ankersmit wrangles his material beautifully from beginning to end with a deft touch and a canny sense of timing. I look forward to hearing 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
DES PLAYLISTS.
Posted in Uncategorized on février 17, 2013 by debloqueNOISY CRESCENDO (20.01.2013) 1/ Honest Jon: ACTRESS: « Jardin ». R.I.P. 2/ Pogus: NATE WOOLEY: « The almond ». The almond. 3/ VP Music: ALEXANDER PORTIOUS: « Everythin I own ». Live at the turntable club. 4/ Ambiances Magnétiques: JOANE HETU: « Standing in the wind ». Nouvelle musique d’hiver. 5/ Xl: JACK WHITE: « Sixteen salteen ». Blunder Bluss. 6/ Nonesuch: STEVE REICH: « It’s gonna rain ». Early works. 7/ Actes Sud: BERTRAND CANTAY/BERNARD FALAISE/PASCAL HUMBERT/ALEXANDER MACSWEEN: « Révélation de l’oracle. Choeur. 8/ gigaware: HIEROgLYPHIC BEINg: « Untitled »./ A synthetic love life. 9/ Shitkatapult: OVAL: « Kosine ». Ovaldna. 10/ Beautiful Happiness: JACK ROSE: « Calais to Dover ». Kensington blues. 11/ Sacred Bones: POP 1280: « Nature boy ». The horror. 12/ Important: ELIANE RADIgUE: « Transamorem ». Transamorem-transamortem 13/ Naïve: ARTHUR H + NICOLAS PERAC: « La foire aux morts ». L’or noir. 14/ Sharp Wood: JAIROS SIACHINDYA: « Ndilila bwanu ». The kankobela of the batonga, vol.2 15/ Fabric: PINCH & PHOTEK: « Acid reign ». Fabriclive61 16/ Editions Mego: DANIEL MENCHE: « guts 2 X 4 ». guts. 17/ Pias: DE LA SOUL: « Backstage interlude ». First served. 18/ Etude: ALFREDO COSTA MONTEIRO: « Epicycle ». Epicycle NOISE ADDICT 10/02/2013 1/ Sub POp: METZ: « Sad pricks ». Sad pricks ». 2/ For A Few More Decibels I + HEADWAR 3/ Northern Spy: LOREN CONNORS + SUZANNE LANgILLE: « Come with me ». 4/ Joyful Noise: DON CABALLERO: « I never liked you’. Langed banes with a headache and live. 5/ For A Few More Decibels II + HEADWAR 6/ ????? Music: ELECTRIC ELECTRIC: « XX2 ». Discipline. 7/ Megaforce: BAD BRAINS: « Popcorn ». Into the future. 8/ For A Few More Decibels III + HEADWAR 9/ Brilliant: JOHN CAGE: « 27 o-55 ». Music for an azuatic ballet – Music for carillon n°6 – Jonathan Faralli – Robert Fabbriciani. 10/ For A Few More Decibels IV + HEADWAR 11/ ??????????: PETER BRÖTZMANN TRIO: « Intensity ». Mayday 12/ Joyful Noise: TALK NORMAL: « Baby, your heart’s. Sunshine. 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: ZBIGNIEW KARKOSKI + PAPIER TIGRE
Posted in Uncategorized on février 15, 2013 by debloqueDear all, I’m booking some dates for ZBIGNIEW KARKOWSKI and PAPIER TIGRE ZBIGNIEW KARKOWSKI (Poland) Availability: between 28th and 5th April and from 21st April onwards…. Territory: Everywhere PAPIER TIGRE (France) Availability: 7th June 2013 Territory: BelGium ZBIGNIEW KARKOWSKI http://www.youtube.com/watch?v=8FQ6DVdmnw4 Zbigniew Karkowski was born in 1958 in Krakow, Poland. He studied composition at the State College of Music in Gothenburg, Sweden, aesthetics of modern music at the University of Gothenburg’s Department of Musicology, and computer music at the Chalmers University of Technology. After completing his studies in Sweden, he studied sonology for a year at the Royal Conservatory of Music in Den Haag, Netherlands. During his education, he also attended many summer composition master courses arranged by Centre Acanthes in Avignon and Aix-en-Provence, France, studying with Iannis Xenakis, Olivier Messiaen, Pierre Boulez and Georges Aperghis, among others. He works actively as a composer of both acoustic and electroacoustic music. He has written pieces for large orchestra (commissioned and performed by the Gothenburg Symphony Orchestra), plus an opera and several chamber music pieces that were performed by professional ensembles in Sweden, Poland and Germany. Along with Edwin van der Heide and Atau Tanaka, he is a founding member of “Sensorband.” In performances by this electroacoustic music performance trio, Zbigniew “activated his instrument by the movement of his arms in the space around him; this cut through invisible infrared beams mounted on a scaffolding structure” (Tanaka 2012). Zbigniew has lived and worked in Tokyo, Japan for the past eight years and is active in the underground noise scene there. Karkowski is currently on a residency at UC Santa Barbara in California. PAPIER TIGRE http://www.youtube.com/watch?v=mIfGW1zJv70 5 years after they started from scratch, PAPIER TIGRE have built a name for themselves with two albums Papier Tigre (2007) and The Beginning And End Of Now (2008) and 350 shows in more than 20 countries over 3 continents, with the three-piece appearing at ATP among other festivals around the globe. In September 2010, to support a tour they did together with their friend bands Electric Electric, Marvin and Pneu, a 4 way split 7” was released with a brand new song from each band. Their music is firmly entrenched in the tradition of inventive, challenging punk but combines elements of experimental pop compositions and aggressive math-rock. The band understands that a song being intelligent and complex need not exclude it from having a raw, danceable energy. For their new album Recreation (2012), the band teamed up with John Congleton to produce their most significant work yet. Pushing the limits of their unusual line-up (drums, 2 guitars, percussion, vocals), the band has matured into a devastatingly efficient unit, with instruments, ideas and personalities bouncing off each other in an audible culture of creativity. The 10 songs are an impressive account of the band’s ability to balance different atmospheres, underlined by original rhythmic patterns, minimalist melodic lines and distinctive vocal hooks, the whole blossoming under Congelton’s sonic prowess. I hope to hear from you asap. Have a nice week-end. 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: ZENI GEVA
Posted in Uncategorized on février 13, 2013 by debloqueDear all,
I’m booking some dates for ZENI GEVA.
They are available in July, August and in September during these two periods September 08th – September 18th + September 23rd – September 29th
Territory: Everywhere
http://zenigeva.jpn.org/videos
ZENI GEVA is a Japanese prog-hardcore band, led by singer and guitarist KK Null, one pioneering group of innovators and legends.
ZENI GEVA was founded in Tokyo in 1987 and quickly found a dedicated fan base in Europe and the US. Their popularity in the west enabled ZENI GEVA to be one of the first Japanese bands to tour in Europe and the US with bands like Bastro, Crash Worship, Dazzling Killmen, Don Caballero, Eyehategod, Melvins, Neurosis, Pain Teens, Shellac and more.
Steve Albini rates ZENI GEVA as one of his favorite bands. He highlights the band’s wide range of influences for keeping the ZENI GEVA sound diverse and challenging. Steve also admires the way ZENI GEVA embrace the Japanese culture in their sound rather than trying to Westernize it.
Subsequent tours have comprehensively covered Europe, the US, Canada, New Zealand and Australia, proving a fast emerging worldwide audience.
ZENI GEVA has released 12 albums (5 out of them produced by Steve Albini) on Jello Biafra’s Alternative Tentacles, Null’s self label NUX Organization, Skin Graft, Neurosis’ Neurot Recordings and more. Also ZENI GEVA recorded twice for John Peel Session on BBC.
In 2009 the 2nd original drummer Tatsuya Yoshida (Ruins) who had been playing in the band in 1989-90 and recorded the 1st CD « Maximum Money Monster », came back and brought the band with more complexity and hyper energy.
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
BOOKING OFFERS: HEADWAR + CRASH NORMAL
Posted in Uncategorized on février 11, 2013 by debloqueDear all, I'm booking some dates for these two bands: HEADWAR (France) Territories: Italy, Germany, Swuitzerland, Luxemburg, Belgium Availability: from 26th May onwards CRASH NORMAL (France) Territory: Belgium Availability: 27th + 28th April HEADWAR http://vimeo.com/8838240 http://www.youtube.com/watch?v=N4CDFuMihdo Since 2004, Headwar skim inimaginable places in France and Europe. After they tour in USA last year, they out there last album "Touche pas l'enfant", on they own label (Label Brique) The freaky children from Amiens (FR) deliver an intence, irritating and hysteric set, with irons stuff and burnout guitars. CRASH NORMAL http://www.youtube.com/watch?v=nftISqVtC4I Between garage-punk and electro trash. Crash Normal is a duo. These guys drop their sound of rusty nails that hit the audience like rain... Echos and reverbs fight, the drum machine gets killed by the fuzz pedal. Low frequencies slither around you like a snake. No bassplayer. Only two guitars to fill the space left in the room. Real drums win the battle over drum machines at the end. I look forward to hearing 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