Archive pour février, 2013


Posted in Uncategorized on février 27, 2013 by debloque
Dear all,

I'm booking some shows for JAMES BLACKSHAW.
He is available in late May and early June 2013.
Territories: The Netherlands + Belgium


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

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

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

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.



Some Noise asbl
C/O Alain Bolle
1050 Brussels 5

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Posted in Uncategorized on février 25, 2013 by debloque

Dear all,


I’m booking some dates for OTOMO YOSHIHIDE.

He is available between 3rd and 6th June 2013

Territory: Europe



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.







Some Noise asbl

C/O Alain Bolle


1050 Brussels 5



Playlist: Noisy Crescendo: 03.02.2013

Posted in Uncategorized on février 24, 2013 by debloque
Leaving: 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
1050 Brussels 5

Noisyaddict mailing list


Posted in Uncategorized on février 22, 2013 by debloque
Dear all,

I'm booking some dates for EYELESS IN GAZA and HACKACOM

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)
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.



Some Noise asbl
C/O Alain Bolle
1050 Brussels 5


Posted in Uncategorized on février 20, 2013 by debloque
Dear all,

I'm booking some dates for ALESSANDRO BOSETTI and CHRIS ABRAHAMS:
Availability:  between 24th and 30th June 2013
Territory: Europe


Availabity: Between 19th ande 23rd May
Territories: Belgium and France


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.


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.



Some Noise asbl
C/O Alain Bolle
1050 Brussels 5


Posted in Uncategorized on février 18, 2013 by debloque
Dear all,

I'm booking some dates for PHILL NIBLOCK + THOMAS ANKERSMIT.

They are available in mid May + September 2013.

Territory: Europe


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.



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.



Some Noise asbl
C/O Alain Bolle
1050 Brussels 5


Posted in Uncategorized on février 17, 2013 by debloque

NOISY 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