BOOKING OFFERS: NEIGE MORTE + KANINE

Dear all,

I'm booking some dates for NEIGE MORTE and KANINE.
Both bands will play at the Incubate festival and I'm booking some dates
around it.

NEIGE MORTE (France)
www.neigemorte.com
Available on 18th/19th September


KANINE (France)
http://kanine.bandcamp.com
Available on 22nd/23rd September



NEIGE MORTE
Neige Morte was born in 2011, in France. This trio released a first self
titled full
length on Aurora Borealis and and 10" split with The Austrasian
Goat on MusicFearSatan. Their music is somehow deeply related to Black
Metal, but
not only. Neige Morte can be considered pioneer in this very vein of
Black Metal with a blend of noise, free improvisation, industrial and
death metal.
Neige Morte is a forward thinking unit regarding their
experimentation within the music genre, as they still go deeper and deeper
into the
weirdness and push the boundaries further.
With members and ex-members of Overmars, Burne, SoCRaTeS, Sheik Anorak, LOUP,
Alabaster, etc.
The second full length of Neige Morte will be available in late 2013 and
promises
will be kept as the music is even more twisted and unpredictable.
"It's psychotic in one sense, and totally original in another; [...]. It's
very
avant-garde and progressive without exhibiting any of the normal traits
one might associate with metal."
Maskofgojira
http://dontcountonitreviews.blogspot.fr/
"Neige Morte’s first release is an achievement. The band’s attack is
primitive and
abstract, but there is a definite experimental slant to the sound
that speaks for yet another incredibly unique act from one of black
metal’s finest
outposts."

KANINE
Art' plays sax and Sheik Anorak (LOUP, Kandinsky, Anorak/ Walter/ Rechtern
trio and
Neige Morte) plays drums, those 2 guys are Kanine. A fierce and
relentless free jazz duo from Lyon, France.
Both musicians started to play together after a heavy discussion about US
free jazz
and European improvised music, their biggest influences obviously.
Think Evan Parker, Peter Brötzmann, Rashied Ali or Sunny Murray for the
direction
and punk/rock for the energy.
Their first full length "Rain Dance" was released via Gaffer Records
(France) and
the second album "Broken Jazz" is edited by Norwegianism Records
(from Nijmegen).
Kanine is still a young band but is already outstanding and furiously
contagious.

I hope to hear from you asap.

Regards.


Alain







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

BOOKING OFFER: BODY/HEAD

Dear all, I’m booking some dates for BODY/HEAD featuring Kim Gordon (Sonic Youth) BODY/HEAD (USA) http://www.youtube.com/watch?v=NrXFTbqRZjE http://www.youtube.com/watch?v=eF9-_A0v2gE Availability: Between 30th October and 5th November Territory: Belgium BODY/HEAD Body/Head, the experimental duo of Kim Gordon and Bill Nace, are joined by legendary No Wave musician, Ikue Mori. Ikue has been playing electronic percussion for the last 25 years, and her band DNA was one of Kim’s original inspirations. To Body/Head’s two-guitar ‘dissonantine’ and haunted vocals, Ikue brings not just her electronics, but also live drumming – this is the first time she is playing a drum kit in public in 25 years. Kim says of perfroming with Ikue, ‘I’ve been searching for a drummer like Ikue to play with ever since seeing DNA play back in the day. Playing with her and Bill is a dream come true.’ I hope to hear from you asap. Regards. Alain Some Noise C/O Alain Bolle PO BOX 43 1050 Brussels 5 Belgium info@somenoise.be https://debloque.wordpress.com http://www.lesateliersclaus.com

BOOKING OFFER: PHIL MINTON / AUDREY CHEN

Dear all,

I'm booking some dates for PHIL MINTON and AUDREY CHEN as a duo

PHIL MINTON / AUDREY CHEN (UK/CHINA)
http://www.youtube.com/watch?v=BP1VxL0QMJ0
Tour periods between 14th and 20th October + between 1st end 13th November
2013
Territory: Europe




can be taken as, on the one hand, pieces for two voices and improvisation
chamber orchestra (which is what the musicians felt throughout the
recording session) and, on the other hand, pure free improvisation.
Both voices in interaction, perpetually urging the other on, producing
more than their simple addition, producing a third voice - like a
semi-autonomous organism - very difficult to explain how - why - as if
what had been mostly deeply burrowed was surfacing. an ur-song, like
Schwitters' ur-sonate / their breath. the importance of scat, the rhythm
from beyond language.

Phil Minton

(1940, Torquay, United Kingdom) is a jazz/free-improvising vocalist and
trumpeter. Minton is a highly dramatic baritone who tends to specialize in
literary texts: he has sung lyrics by William Blake with Mike Westbrook's
group, Daniil Kharms and Joseph Brodsky with Simon Nabatov, and extracts
from James Joyce's Finnegans Wake with his own ensemble. Between 1987 and
1993 Minton toured Europe, North America and Russia with Lindsay Cooper's
Oh Moscow ensemble.
He is perhaps best known, however, for his completely free-form work,
which involves "extended techniques" that are extremely unsettling. His
vocals often include the sounds of retching, burping, screaming, and
gasping, as well as childlike muttering, whining, crying and humming; he
also has an ability to distort his vocal cords to produce two notes at
once.
Audrey Chen

Chinese-American musician who was born into a family of material
scientists,doctors and engineers, outside of Chicago in 1976. She turned
to the cello at age 8 and voice at 11. After years of classical and
conservatory training in both instruments, with a resulting specialization
in early and new music, she parted ways again in 2003 to begin new
negotiations with sound in order to discover a more individually honest
aesthetic.
Now, using the cello, voice and analog electronics, Chen's work delves
deeply into her own version of narrative and non-linear storytelling. A
large component of her music is improvised and her approach to this is
extremely personal and visceral. Chen has performed in Europe, Russia,
Australia, New Zealand, China, Japan, Taiwan, Brazil, Canada and the USA
during the last years.


I hope to hear from you asap.

Regards.


Alain


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

BOOKING OFFER: A GAMBLER’S HAND

Hi, I’m booking some dates for A GAMBLER’S HAND. A GAMBLER’S HAND (USA) http://www.youtube.com/watch?v=P9LA7DjHfmk http://www.youtube.com/watch?v=xyOu6w_FbaY&list=PLC7C2E7D88F910DFE&index=4 Availability: between 13th and 18th November Territory: europe A GAMBLER’S HAND Those expecting a direct follow-up to Sean Noonan’s 2008 album Boxing Dreams are in for a surprise on A Gambler’s Hand. Here he’s traded punk jazz’s wailing guitars, skittering beats, funked-up basses, and frenetic visceral energy for his virtuosic drumming with a string quartet. Just as he was able to cohere the various dynamic elements of Boxing Dreams into a focused series of smaller narratives, here he takes the textural, sonorous, and harmonic qualities of strings and combines them with the propulsive and dynamic possibilities of his drums to create an extended single narrative. A Gambler’s Hand — based on a short story– is soon to be a film for which this recording will serve as a score. It crosses lines between jazz, third stream, and classical music even as it observes them. Noonan embraces the seams between modernist and avant music’s compositional strategies from the 20th century; he finds his way to slot them into 21st century compositional notions and modern jazz’s improvisational schemas. What’s more, Noonan and his string quartet — Tom Swafford and Patti Kilroy, violins; Leanne Darling, viola; David West, cello — are hardly academic in their approach. The drummer is a musical terrorist at heart. That said, this is not a mess of atonal skronk and scree (though dissonance does make itself properly known in places), but a series of well-conceived and expertly arranged and performed pieces that reveal not merely an inner logic, but an external one as well. The basic story — of Pavee, a gambler who is locked behind a wall — may not tell itself literally, but the logic at work in the way these pieces interact and the logic with which they move from one to another is inescapable even in a casual listening encounter. Noonan’s sense of drama is canny, but hardly obvious. His balancing act occurs on the line where conventional notions of beauty, dynamic, rhythmic shifts, and timbral explorations are sophisticated yet full of emotion. The interplay between the more formally composed aspects of these ten pieces and the improvisational ones is organic. Humor and chaos have their place in grounding the work as a whole, but it’s the tension that builds and resolves as this musical story unfolds that gives it heft. A Gambler’s Hand will prove a delight for anyone interested in the fine body of work Noonan has been assembling this last decade, and for those who seek more formal encounters between jazz, avant, and classical musics. I hope to hear from you asap. Regards. Alain Some Noise C/O Alain Bolle PO BOX 43 1050 Brussels 5 Belgium info@somenoise.be https://debloque.wordpress.com http://www.lesateliersclaus.com

BOOKING OFFER: ELI KESZLER

Dear all,

I'm booking some dates for ELI KESZLER.

ELI KESZLER (USA)
http://www.youtube.com/watch?v=7OtlwCWlu6s
http://www.youtube.com/watch?v=QTYsUcQ4160
Availability: End August/early September


ELI KESZLER
Born in Brookline, Massachusetts, and currently based in New York City,
Eli Keszler began playing drums at eight, and composing at twelve. Before
finding an interest in experimental music and improvisation, he played in
rock and hardcore bands; his work retains an intense physicality and
churning, often ferocious energy. He is a graduate of the New England
Conservatory, where he studied composition with Anthony Coleman and Ran
Blake. He has collaborated with Phill Niblock, Roscoe Mitchell, Tony
Conrad, Joe McPhee, Loren Connors, Jandek, and many others, and has
recorded more than a dozen CDs and LPs for ESP-DISK, REL, and PAN.

Keszler’s installations employ piano wires of varying lengths; these are
struck, scraped, and vibrated by microprocessor-controlled motorized arms,
giving rise to harmonically complex tones that are percussive yet
resonant. These installations are heard on their own and with accompanying
ensemble scores. Said Keszler in a NPR All Songs Considered interview, “I
like to work with raw material, simple sounds, primitive or very old
sounds; sounds that won't get dated in any way.” In addition, the patterns
formed by the overlapping piano wires allow Keszler to create visual
components that relate directly to the music, without having to use
projections or other electronic equipment.
His visual work often features dense, fine detailed drawing and painting
which use a variety of sources, from the surfaces of objects to large
scale spaces, and intuitive design.
His installations have appeared at Eyebeam (NYC), Boston Center for the
Arts, Nuit Blanche NYC and the Shreveport MSPC New Music Festival with
upcoming projects at the Tektonic festival in Reykjavik, Iceland, an
installation for the Gaudeamus Festival at the Centraal Museum in Utrecht,
and a performance at Barbican in London.

Have a nice week-end.

Alain


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

BOOKING OFFERS: JOHN CHANTLER + MIR

Dear all,

I’m booking some dates for JOHN CHANTLER and MIR

MIR (Switzerland)
http://atreeinafieldrecords.com/releases/1478/
Availability: September 2013
Territory: Europe

JOHN CHANTLER (UK)
http://www.youtube.com/watch?v=eAx7TB2wjYc
Availability: End September 2013
Territory: Europe

JOHN CHANTLER
John Chantler offers his most substantial solo recordings in over seven years. Housed in lustrous, silk-screened sleeve, ‘The Luminous Ground’ glows with a deeply instinctive feel for bewildering, alien harmonics and psychoactivated tunings arising from processes of modular synthesis. A pulsing and glimmering collision of oscillated tone, filtered textures and syncopated rhythm, John guides his captivating patterns with a playful but sincere intent, clearly fascinated by the sounds his machines make and with the compositional intuition to give them a semblance of human form, articulating pure abstractions as tangible, visceral emotions through the possibilities of patching. Experiencing this record, it’s understandable that he took so long to craft a solo release. This is once-in-seven years material, the kind of precious substance which must pass through many refinement stages of personal discovery and experimentation until it’s possible to almost blindly find his way through the wires. The result is a fresh palette of distinctly accented and flavoured tones which unfold in the most unforetold manner; acrid and bittersweet sounds which calmly alarm the senses. Fans of Keith Fullerton Whitman or Leyland Kirby’s searching electronics will find much to immerse themselves in. Highly recommended!

I hope to hear from you asap.

Regards.

Alain

MIR
MIR are Daniel Buess on drums, Marco Papiro on strings, Marlon McNeill on Bass and Michael Zaugg on Synths. No vocals needed, since all musicians use a large variety of electronic instruments along with more conventional rock equipment. Their shows are forceful and physical. If we were still in the 80s or 90s, we could place MIR somewhere close to the Avantgarde section: Japan-Noise, New York No Wave, British combat easy-listening à la Coil, the Arizona-madness of Sun City Girls or atonal German Sound-Brainfuck. This might all sound terribly heady and complex, but if anything it is refreshingly simple and in-your-face. Onstage, MIR pick out the single listener and hypnotize him with metallic sound-lassos, until the audience find themselves swirling in blissful ecstasy – or running for the emergency exit.
The refreshing thing about MIR is their un-intellectual handling of intellectually loaded music. Their dark soundscapes conjure up cinematic visions in the vein of early Andrey Tarkowski or David Lynch’s «Eraserhead». It is also beautiful to see how the band occasionally enjoy drifting into Punk territory.
MIR is probably the most compact, most positive and loudest Experimental Rock Music in a long while, in any case since the break-up of 16-17.

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

 

BOOKING OFFER: DEFUNKT

Dear all, I’m trying to fill a gap in the tour of DEFUNKT. DEFUNKT (USA) http://www.youtube.com/watch?v=vpICR-JpK-w Availability: 9th June 2013 Territory: Belgium DEFUNKT (bio) Led by trumpet player Joseph Bowie — the son of a St. Louis-based music teacher, the brother of big band arranger Byron Bowie, and late trumpet player of the Art Ensemble of Chicago’s Lester Bowie — Defunkt created some of the most adventurous sounds of the last quarter of the 20th century. Formed in 1978, Defunkt initially took a danceable approach to jazz. Although their first three albums — Defunkt, Razor’s Edge, and Thermonuclear Sweat — made them leaders of New York’s radical underground music scene, their inability to achieve commercial expectations led them to disband in 1983, with Bowie retreating to the island of St. Croix. Reorganized after Bowie’s return to New York in 1986, Defunkt recorded an additional six albums, including A Blues Tribute: Jimi Hendrix & Muddy Waters and In America, between 1988-1993. Beginning in 1996, Bowie sought a way to combine the big band jazz of the 1930s and ’40s and the dance rhythms and grooves of the ’70s, ’80s, and ’90s. Expanding Defunkt with the addition of more horn players and background vocalists, Bowie introduced the Defunkt Big Band with a six-week stint at the Knitting Factory in New York. I hope to hear from you with some concrete offers asap. Have a nice week-end. Alain Some Noise C/O Alain Bolle PO BOX 43 1050 Brussels 5 Belgium info@somenoise.be https://debloque.wordpress.com http://www.lesateliersclaus.com

BOOKING OFFER: SMEGMA

Dear all,

 

SMEGMA are available for some selected dates between two festival. Tusk festival in the UK and Luff festival in Switzerland:

 

 

SMEGMA (USA)

https://soundcloud.com/ideal-recordings/smegma-its-just-the-beginning

Availability: Mid October 2013

Territory: Europe

 

 

SMEGMA (Bio)

Smegma¡¯s roots lie in the Los Angeles Free Music Society (LAFMS) scene of the mid-¡¯70s, and yet this long-running avant-rock collective are one of the few groups from that era that are still active today. With the musicians hidden behind ridiculous pseudonyms, Smegma offered a strange psychedelic improvisational music, throwing in all sorts of odd instruments as well as tapes, and turntables. The group began in Pasadena, CA in 1973 as a reaction to the bloated fusion rock of the day. They were unaware that other nearby groups had also formed to perform similar free-form experimental music. They became part of a gang of similar noise artists who gathered almost nightly in the backroom of the Poo-Bah record store in Pasadena, which in 1975 merged with the LAFMS. Smegma have always been a loosely run collective, and early members included Amy Zonbambi, Chucko D.K. Fatts, Ju Suk Reet Meate, Dennis Duck, Cheez It-Ritz, Cheese-Bro, Dr. Id, Dr. Odd, and Reed Burn. Ace Ford Farren, who joined the group in early 1974, introduced Smegma to crazed street performer and Zappa prot¨¦g¨¦ Wild Man Fisher, and in two sessions, one on New Years Day of 1975 and one a few months later, they recorded some tracks with Fisher on vocals. Smegma moved to Portland, OR by the end of 1975 but remained in touch with the rest of the LAFMS crowd. After appearing on various LAFMS compilations, their first LP, Glamour Girl 1941/Five Years Wasted was recorded and produced in their own studio in July 1978 and released by LAFMS the following year. They also released several 7¡å singles that same year on their own Pigface label. The next year found them sharing a 7¡å with industrial pioneer Non (Boyd Rice), released by Mute. Throughout the ¡¯80s Smegma kept a low profile and continued to put out LPs, singles, and cassettes on their own label, and occasionally gigged live. With their worldwide reputation firmly cemented, their LP Nattering Naybobs of Negativity was released by the U.K. label Dead Mans Curve and the LP Smell the Remains by the German label Dom. More albums came out in the mid-¡¯90s on the Portland label Tim/Kerr, including the LP Smegma Plays Merzbow/Merzbow Plays Smegma with Japanese noise artist Merzbow. In the late ¡¯90s, rock & roll author Richard Meltzer became their vocalist, adding his verbal ramblings and sardonic wit to their improvised sound. ~ Rolf Semprebon, Rovi

 

 

 

I hope to hear from you asap.

 

Regards.

 

Alain

 

Some Noise

C/O Alain Bolle

PO BOX 43

1050 Brussels 5

Belgium

info@somenoise.be

https://debloque.wordpress.com

www.lesateliersclaus.com

 

 

BOOKING OFFER: SMEGMA

Dear all,

 

SMEGMA are available for some selected dates between two festival. Tusk festival in the UK and Luff festival in Switzerland:

 

 

SMEGMA (USA)

https://soundcloud.com/ideal-recordings/smegma-its-just-the-beginning

Availability: Mid October 2013

Territory: Europe

 

 

SMEGMA (Bio)

Smegma¡¯s roots lie in the Los Angeles Free Music Society (LAFMS) scene of the mid-¡¯70s, and yet this long-running avant-rock collective are one of the few groups from that era that are still active today. With the musicians hidden behind ridiculous pseudonyms, Smegma offered a strange psychedelic improvisational music, throwing in all sorts of odd instruments as well as tapes, and turntables. The group began in Pasadena, CA in 1973 as a reaction to the bloated fusion rock of the day. They were unaware that other nearby groups had also formed to perform similar free-form experimental music. They became part of a gang of similar noise artists who gathered almost nightly in the backroom of the Poo-Bah record store in Pasadena, which in 1975 merged with the LAFMS. Smegma have always been a loosely run collective, and early members included Amy Zonbambi, Chucko D.K. Fatts, Ju Suk Reet Meate, Dennis Duck, Cheez It-Ritz, Cheese-Bro, Dr. Id, Dr. Odd, and Reed Burn. Ace Ford Farren, who joined the group in early 1974, introduced Smegma to crazed street performer and Zappa prot¨¦g¨¦ Wild Man Fisher, and in two sessions, one on New Years Day of 1975 and one a few months later, they recorded some tracks with Fisher on vocals. Smegma moved to Portland, OR by the end of 1975 but remained in touch with the rest of the LAFMS crowd. After appearing on various LAFMS compilations, their first LP, Glamour Girl 1941/Five Years Wasted was recorded and produced in their own studio in July 1978 and released by LAFMS the following year. They also released several 7¡å singles that same year on their own Pigface label. The next year found them sharing a 7¡å with industrial pioneer Non (Boyd Rice), released by Mute. Throughout the ¡¯80s Smegma kept a low profile and continued to put out LPs, singles, and cassettes on their own label, and occasionally gigged live. With their worldwide reputation firmly cemented, their LP Nattering Naybobs of Negativity was released by the U.K. label Dead Mans Curve and the LP Smell the Remains by the German label Dom. More albums came out in the mid-¡¯90s on the Portland label Tim/Kerr, including the LP Smegma Plays Merzbow/Merzbow Plays Smegma with Japanese noise artist Merzbow. In the late ¡¯90s, rock & roll author Richard Meltzer became their vocalist, adding his verbal ramblings and sardonic wit to their improvised sound. ~ Rolf Semprebon, Rovi

 

 

 

I hope to hear from you asap.

 

Regards.

 

Alain

 

Some Noise

C/O Alain Bolle

PO BOX 43

1050 Brussels 5

Belgium

info@somenoise.be

https://debloque.wordpress.com

www.lesateliersclaus.com