Archive pour avril, 2013


Posted in Uncategorized on avril 29, 2013 by debloque

Dear all, I’m booking some dates for LUC EX / VERYAN WESTON / HANNAH MARSHALL / MARK SANDERS. They are available from 22nd June backwards. LUC EX | acoustic bass Dutch Acoustic bass player Luc Ex is a founder member of the punk group The Ex, and since leaving in 2003 has become a force of creative music making and improvisation driven by his punk roots and the Dutch experimental music scene. He worked for many years with the cellist Tom Cora in ‘ROOF’ – A 4tet with vocal virtuoso Phil Minton and drummer Michael Vatcher, which after Tom’s death became 4WALLS with the maverick British pianist Veryan Weston, both groups receiving international acclaim. They were specifically appreciated by their new approach of combining tightly rehearsed pieces with free improvisations. Forming a new group in 2007 with Veryan Weston, Tony Buck, Hannah Marshall, Mandy Drummond and Ingrid Laubrock – SOL 6 saw luc continuing a collaboration with Veryan Weston combining original rhythmically driven pieces with open and highly explosive improvisations, who’s live performance was featured last year on The Arts Council’s ‘Space’ online. He has recently started to work on a new project TRIOLEX with improvisation maestro’s Tristan Honsinger, Phil Minton and African drummer Serigne CM Gueye. “Guaranteed to make hairs stand up where you didn’t know you had any”- Dan Warburton (about 4Walls) VERYAN WESTON | piano Pianist and composer Veryan Weston is regarded, by those who have followed his unusual and fascinating musical path, as one of Europe’s great free improvisers, starting from a jazz background, he is one of very few musicians who has managed to absorb and assimilate his far ranging influences (jazz, particularly Thelonius Monk, West African & Pygmy music, geometrical patterns and their correspondences in rhythm and song) so that his music has become truly his own. His 1990 work ‘Songs from a Prison Diary’ with Phil Minton, won the Cornelius Cardew Composition Prize. He plays regularly in collaboration with Phil Minton, the tenor saxophonoist Trevor Watts, Alto Saxophonist Caroline Kraabel, with extensively with the late Lol Coxhill, and Violinist Jon Rose. As well as working on large solo projects and compositions. « Veryan Weston is one of the most creative musicians in recent times – or, perhaps, ancient times would be closer to the truth, for what is new emanates from the old and what is old gives birth to the new. Weston presides over this conundrum like a medieval apothecary concocting brilliant and powerful and magical potions that take the form of musical scores invented on the spot where time and space collide.” “Weston is an artist who follows the prompts of every raw, neural impulse and his music has the pulse of the eternal heartbeat that fibrillates from the centre of his being—his very soul, it would seem”.- Raul de Gama Rose (review of Haste with Hannah Marshall & Ingrid Laubrock) HANNAH MARSHALL | cello Hannah Marshall is a cellist who is continuing to extract, invent, and exorcize as many sounds and emotional qualities from her instrument as she can. She has been a regular member of Alexander Hawkins’ Ensembles and has toured in Europe and South America with Luc Ex and Veryan Weston’s ensembles – SOL 6 & 12. She plays with ‘String Terrorists’ – Barrel (a trio with Violinist Alison Blunt & Violist/poet Ivor kallin). And has been invited by Fred Frith and Suichi Chino in their residencies at café Oto. She also plays with Terry Day, Tim Hodgkinson, Roger Turner, Paul May, Kay Grant, and the London Improvisers Orchestra. “sublime technical abilities…she reinvents melodic lines, provides spectacular harmonic intervention”…’ sets the pulse around which much of the music revolves” Raul D’Gama Rose “Ask your ears :] Exploring sonic territories and visiting musical antipodes, demonstrating an esoteric approach to instrumentation that is truly unique”- DreamCraeft recommendation for Tulse Hill. MARK SANDERS | drums Mark Sanders has been acclaimed as “the most exciting, original and overwhelmingly powerful drummer alive” (Steve Reynolds, Jazz Corner) and is one of the key figures of European free improvisation, unostentatiously experimental, never using exactly the same kit twice and always seeking out new sonic possibilities and musical potential, his precise and propulsive drumming has graced projects with, to name but a few, Evan Parker, Jah Wobble, Broadcast, Agusti Fernandez, John Butcher, Roswell Rudd, and Otomo Yoshihde Axel Dörner to Wadada Leo Smith, Peter Brötzmann and Matthew Shipp. « ubiquitous, diverse and constantly creative, drummer Mark Sanders always outdoes himself, whether playing with restraint or erupting like a dynamo. » Bruce L Gallenter, Downtown Music Gallery. NY « a gifted player capable of seamless movement between free-rhythms and propulsive swing » John Fordham. The Guardian. I look forward to hearing from you asap. Regards. Alain Some Noise C/O Alain Bolle PO BOX 43 1050 Brussels 5 Belgium


Playlist: Noisy Crescendo le 14 avril sur les ondes de Radio Campus entre 22h30 et 00h30

Posted in Uncategorized on avril 27, 2013 by debloque

1/ Delmore: KAREN DELTON: « 2:K train ». 1966. 2/ Sundazed: MOE TUCKER: « Talk so mean ». I feel so far away. Anthology 1974-1988. 3/ Drag City: MASAKI BATOH: « ??????????? ». Brain pulse music. 4/ Cinq 7: DOMINIQUE A: « Loin du soleil ». Vers les lueurs. 5/ Stones Throw: QUAKERS: « Untitled ». Katalyst/Fuzzface. 6/ Invisible birds: YANNICK DAUBY/JOHN GRZINICH/MURMER: « Raud 07.06.12 » Lind, Raud, Aastaajad. 7/ 12k: STEVE PETERS/STEVE RODEN; « Winds through bleak timber ». Not a leaf remains as it was. 8/ Kaleine: YANNICK DAUBY: « Ketaflan ». Tai-Pal thia sa plan. 9/Parlophone: DAMON ALBARN: « Cathedrals ». Dr Dee. 10/ Monochrome: YANNICK FRANCK: « Hierophany ». Hierophany. Some Noise C/O Alain Bolle PO BOX 43 1050 Brussels 5 Belgium


Posted in Uncategorized on avril 26, 2013 by debloque
Dear all,

I'm booking some dates for AOKI TAKAMASA and MORKOBOT.

Availabilities: 21st, 25th + between 27th and 30th June
Territory: Europe

Availabilities: 17th, 18th, 21st June
Territories: North Of France, The Netherlands, Belgium

oki Takamasa was born in 1976 in Osaka, and seems to be one of the most
productive artists from the new music scene in Japan. He performed live in
2002 with Vladislav Delay, Snd, Akufen, and Jan Jelinek. Indigo Rose is
his third album and also fifth full-length release from the interesting
Progressive Form label based in Tokyo.

389 image 1

The sound of this album has a kind of abstract quality. It is different
and goes from more rhythmic and peaceful tracks to harsher and noisier
parts. Sounds new and familiar at the same time, maybe that’s because of
the sharper sounds that are always present in this accessible music. The
more accessible parts are always covered with a fine dose of sharp noises,
so you can call this music cutting edge or improvised IDM if you like. The
experimental flow is always there, but it’s not the typical melodic music
like Bola for example. The sound of Aoki Takamasa’s album is the
furthermost someone can go mixing equal parts melodica and noisy
experiments. It doesn’t fall apart completely off the edge like Merzbow
and it’s also not too sugary like Novel 23 or Ten and Tracer can be. It is
right in between experimental and classic electronica; this is pure
cutting-edge music at it’s best. Most of the songs, except the first one,
are more than 6 minutes in length, some are even more than 10 minutes.
There’s enough time for them to develop nicely, everything is well
balanced and the rhythmic and melodic parts are combined with good amounts
of light controlled noises. Tujiko Noriko from the Austrian label Mego
sings in one track.
Everything is perfectly OK until you get to the final song, one of the
best endings I’ve ever heard and one of the most accessible experimental
pieces of all time. This last song, called “There’s Not Much Left” is the
perfect blissful end of this music. Indigo Rose is a nice album that comes
from the very interesting new Japanese post-digital music scene, a scene
with labels and artists like Cubic Music, Wonderland Falling Yesterday,
Plop Records, Fonica, Aoki Takamasa, Progressive Form, Saag Records,
Toshiaki Ooi and many others… Many of the European electronic musicians
can learn a lot from the Japanese.
Progressive Form.

Since the dawn of the First galaxies the voice of Morkobot resounded
solemn over the saturated atmospheres of the planets in evolution.
Dominator of the magnetic strengths and ancestral regulator of the
conscience flows, Morkobot has returned to the Earth through his three
messengers Lin, Lan, Len brutally subdued to his will.

Morkobot is a totally suggestive instrumental sonic monster.
A magmatic and liquid atmosphere lead the listener to a psychedelic and
caotic world in which vibrations become dense like glue, light and
darkness are continuosly turning in a nonstop changing lysergic noise:
moments of raw power suddenly replace those with softer, deliberate
arrangements, and viceversa.
Musically, this italian trio is the perfect middle point between robotic
mechanisms (the term ‘robot rock’ comes to mind) and organic humanity.

Mostro, the second work of Morkobot out in 2006, bring the listener to a
sensorial experience in which different musical genres become so extreme
you cannot find a definition able to describe the music.
From John Zorn to Black Sabbath, from Pink Floyd to Godflesh, Don
Caballero meet Lightning Bolt in a alien delirium... this is Morkobot, a
band out of every scheme.

With Morto the final chapter of Morkobot's first trilogy, the trio (Lin,
Lan, Len) has realized a single long track, creating with two basses and
drums, an incredible maze of sounds. Morkobot leads the listener into the
ocean of “Death concept” and its value as “Reborn”.
This is Morto, all the rest is dead.

2011 marks the return of MoRkObOt, bringing forth their heaviest, most
focused and most adventurous music ever. Enter, Morbo…
After the previous one track album Morto, Morbo (latin for disease)
consists of seven cacophonous songs in which the psychedelic attitude of
the first Trilogy (Morkobot - Mostro - Morto albums) is dried to expose
the bones and nerves of a more intricate, but at the same time more
straightforward and focused music, skilfully assembled by the two bass
guitars and drum-kit.
The result is a raw yet complex low-end sound, interesting to hear as the
spectrum of it becomes pure and essential so that Morbo will modify
quickly the way You're used to hear musicKnown for carving a sonic
language of their own, MoRkObOt's fourth album takes their sound to new
depths and offers a different way of approaching.

I look forward to hearing from you asap.

Have a nice week-end.


Some Noise
C/O Alain Bolle
1050 Brussels 5


Posted in Uncategorized on avril 23, 2013 by debloque

Dear all,


I’m booking some dates for ATOM tm + ALFREDO COSTA MONTEIRO/PASCAL BATTUS.



ATOM tm (Germany)

Availabilities: in June 2013. 1, 2, 6, 7, 8, 9 + 22

Territories: France + Belgium




Availabilities: In June 2013. Between 20th and 23rd + between 27th and 30th

Territory: Europe



ATOM tmince his early musical beginnings in 1985, Uwe Schmidt (Atom™), has earned global notoriety for his vast and variegated projects, number of releases, collaborations and musical styles. His catalogue includes works with and for artists such as Depeche Mode, Air, Bill Laswell, Yellow Magic Orchestra and Towa Tei, just to name a few.


Originally hailing from Frankfurt, Germany, Uwe Schmidt moved to Santiago de Chile in 1997. After relocating, he released the internationally acclaimed album, El Baile Aleman under the project name Señor Coconut.

After its release, El Baile Aleman was licensed internationally in many countries – Germany, the U.K., France, Spain, Greece, Turkey, Hong Kong, Brasil, the U.S.A., Mexico, Japan and Australia. With a demand in so many places, Señor Coconut began touring worldwide in 2001. In 2006, Señor Coconut was awarded a Quartz 1 Award for best arrangement & composition.

To this day, Señor Coconut is still actively touring worldwide.


Amongst countless compositions which have been distributed worldwide, 2008 and 2009 saw Atom™ producing a movie soundtrack for the Hungarian movie Bibliotheque Pascal (with Burnt Friedman as the project Flanger), music for the dance piece Llamame Mariachi for spanish choreographer Maria Ribot which premiered at Centre Pompidou in Paris (November, 2009), and remixes for Towa




The second interaction of improvisers and artists Pascal Battus and Alfredo Costa Monteiro, ‘Fêlure’ represents a high concept drone record masquerading as sound art and esoteric free improvisation. If the roles assigned in the liner notes can be taken seriously, the duo coax a startling array of timbral variation from the extreme limitations of performing solely utilising ‘rotating surfaces’ and ‘amplified paper’.

Having the affect of the pieces hinge on the absurdist proposition of collaborating across such elements risks overwhelming the processes actually at work. Yet the sub bass groans, undulating textures and focused sense of physicality reflected in, but also surpassing, the conceptual practices, ensures that this is not the case. The work here is precise and detail-oriented, concerned with amassing minor alterations and recording direct physical relations in performance; no processing or editing, instead amplifying friction and reaction to create something rich and and almost palpable. The harsh contrasts and toneless drones, like the amplification of vast and shifting tectonic plates, capture movement and conflict within a transparent and direct improvisatory method.

Yet, conceptualising the bizarre pieces amid traditions of analogue noise, with industrial affectations, is still the most satisfying. Within this context the record is a great success; dynamic non-music, abrasive (almost literally), stark and disorienting. Whilst alongside this, ‘Fêlure’

remains an interesting piece of pure abstraction at the limits of European improvisation, extending the subtle and often maddening techniques of groups such as AMM to transmit tactile, amelodic sound without preconceptions or expectations; certainly indicative of how best to approach the sessions.

For constructing this riotous piece of performance and experimentation, equal parts meticulous and ridiculous, framing what essentially becomes a bewildering drone record and as fascinating improvisers, the duo, and these nonsensical pieces particularly, deserves recognition.



I hope to hear from you asap.


Thank you for reading.





Some Noise

C/O Alain Bolle


1050 Brussels 5



Playlist / Noise Addict / 07.04.2013 (Radio Campus)

Posted in Uncategorized on avril 22, 2013 by debloque

1/ Brah: SIGHTINGS: « City of straw ». City of straw. 2010 2/ For a few (more) decibels I 3/ Another Timbre. RHODRI DAVIES/MICHEL DONEDA/ LOUISA MARTIN/PHIL MINTON/LEE PATTERSON: « Strines ». Midhopestones. 2010. 4/ For a few (more) decibels II 5/ Victo: RICHARD PINHAS, MERZBOW, WOLF EYES: « Victoriaville mai 2011 ». Victoriaville mai 2011. 2012. 6/ Clean Feed: BALLISTER: « Roller Nuts » – Mechanisms – 2012 7/ Dead C on Youtube 8/ For a few (more) decibels III 9/ FATAKA:v JOHN BUTCHER + MATTHEW SHIP: « Generative Grammar » – Live at Oto – 2012 10/ Touch; ELEH, BJ NILSEN, NANA APRIL JUN: « 2 » – Touch, 30 years and Counting – 2012 11/ For a few (more) decibels IV 12/ Jonny Trunk: JEFF KEEN: « Artwar noise llop ». Noise art 13/ Neurot: UFOMAMMUT: « Deityrrant ». Oro – Opus alter. 2012

Playlist: Noise Addict le 7/04 sur les ondes de Radio Campus entre 22h30 et 00h30

Posted in Uncategorized on avril 21, 2013 by debloque

1/ For a few (more) decibels I 2/ Thrill Jockey: MATMOS: « E.s.p. ». The marriage of true minds. 2013 3/ For a few (more) decibels II 4/ Wavetrap: MIKA VAINIO: « Hampaat ». Revitty. 2006. 5/ RHYS CHATHAM on Youtube 6/ For a few (more) decibels III 7/ Fire: PERE UBU: « The carpenter sun ». Lady from Shanghai. 2013. 9/ Dust-to-Digital: LONNIE HOLLEY: « The end of the film era ». Just before music. 2012 10/ Dixie Trog: LITTLE BOB BASTARDS: « Hearbreak hotel ». Break down the walls. 2012. 11/ Unsounds: LEAN LEFT: « Drevel ». Live at Cafe Oto. 2012. 12/ Quattrophage on Youtube 13/ Key Sound: LHF; INDIAN STREET SLANG: ‘No fixed abode ». 2012 14/ TALK NORMAL on Youtube 15/ Fons: VANDAL X: « How sick is that ». God Knows. 2013. 16/ UT: « Dr. No ». On Youtube


Posted in Uncategorized on avril 18, 2013 by debloque

Dear all, I’m booking some dates for KASPER T. TOEPLITZ and ULRICH TROYER KASPAR T. TOEPLITZ (France) Availability: from 26th September onwards Territory: Europe ULRICH TROYER (Austria) Availability: from 26th September onwards Territory: Europe KASPAR T. TOEPLITZ Composer, electric bass player and musician who has developed his work in the no man’s land between « academic » composition (orchestra, ensembles, opera) and electronic « new music » or « noise music ». Has won several prizes and distinctions ; 1st prize for orchestral composition at the Besançon Festival, 1st prize at the « Opéra autrement / centre Acanthes » competition, Villa Médicis Hors les Murs (New York), grant Leonardo da Vinci (San Francisco) , Villa Kujoyama (Kyoto), DAAD (Berlin). Got numerous commissions from the French Governement, the radio and from electronic studios such as Ircam, GRM , GMEM, CRFMW, EMS.. Works with experimental or unclassifiable musicians such as Zbigniew Karkowski, Tetsuo Furudate, Dror Feiler, Art Zoyd, Eliane Radigue, Phill Niblock, Ulrich Krieger, Stevie Wishart, Z’ev, others…….. Some of his long-term groups or projects are LE DEPEUPLEUR (with Zbigniew Karkowski), KERNEL (a trio of computer players), Basstaarang (with Philippe Foch playing taarang), Ephémérides (bass & image by Strom Varx) Has definitively integrated the computer into the very heart of his work, as a tool of thought and composition, and as a live instrument, hybridising more traditional instruments if necessary, or working on the sheer electronic noise. ULRICH TROYER Somatic Soundtracks » is a selection of compositions from Vienna based musician and sound artist Ulrich Troyer created between 2010 and 2012. The pieces were produced in close collaboration and especially for dance performances by choreographer Georg Blaschke. During the live performances Troyer’s minimalistic soundscapes and Blaschke’s carefully articulated body images form a symbiotic unit of sounds, movements and spaces. Resulting in fascinating body-sound-landscapes. The tracks on this cd are special reworks of the multichannel compositions. The everchanging pulsating and oscillating tracks give a wonderful acoustic impression of the hypnotic and slipstreaming live performances. The tracks on « Somatic Soundtracks » move between abstract experimental sound architectures (« Embraceable You », « Ensemble in Gefahr »), distorted guitar-noise-drones (« Somatic Script ») and deconstructed dub-basses and dub-structures (« Your Dancer », « In Case of Loss ») . Troyer places tiny acoustic and musical events within big echo-chambers in a way that various elements of musical bits and pieces suddenly form exciting new units. Towards the end of the CD more concrete musical motives show up and give an impression of Troyer’s passion for dub, reggae and techno (« Song for Heide », « Back from Serbia »). An obsession he has already shown on his recent 2LP « Songs for William » (Deep Medi, 2011). » I hope to hear from you asap. Regards. Alain Some Noise C/O Alain Bolle PO BOX 43 1050 Brussels 5 Belgium