Archive pour juillet, 2013


Posted in Uncategorized on juillet 31, 2013 by debloque

Dear all, I’m booking some dates for: KING CHAMPION SOUNDS, ROBERT PIOTROWICZ + TETUZI AKIYAMA JEAN D.L + SANDRINE VERSTRAETE. ROBERT PIOTROWICZ (Poland) + TETUZI AKIYAMA (Japan) Availability: from 14th November onwards Territory: Belgium KING CHAMPION SOUNDS (Holland) Availability: 22nd October Territory: Belgium JEAN D.L. + SANDRINE VERSTRAETE (Belgium) Availability: 2nd, 3rd, 5th, 6th October 2013 Territory: Great Britain ROBERT PIOTROWICZ (Poland) + TETUZI AKIYAMA (Japan) Tetuzi Akiyama is a highly unique and experimental guitarist heavily applying free improvisation and noise. Besides guitar, he also plays electronics, viola, and self-made instruments. Akiyama became an enthusiastic hard rock fan when he was eleven years old, and started playing electric guitar at the age of thirteen. Later, he also came to be very interested in free improvisation and classical music. He formed the improvised music band Madhar in 1987. He also started playing classical viola, and formed the Hikyo String Quintet in 1994. The band, which played avant-garde improvised classical music, consisted of a viola, two cello, and two violin players, and included Taku Sugimoto on cello. Sugimoto soon left the band, which thus became a quartet. Later that year, Akiyama and Sugimoto launched their guitar duo, Akiyama-Sugimoto. They played gigs in New York in 1995, and in the Midwest (including Chicago and Detroit) in ’96. For about a year starting in early 1994, Akiyama was also a member of Nijiumu, one of guitarist Keiji Haino’s bands. Recently Akiyama has two improvised music projects: Sutekina Tea Time, a duo with Takashi Matsuoka (guitar, vocal); and Mongoose, a trio with Sugimoto and Utah Kawasaki (analog synthesizer). Since 1998, together with Sugimoto and Toshimaru Nakamura (no-imput mixing board), he has been organizing an inspiring monthly concert series, The Improvisation Meeting at Bar Aoyama (renamed The Experimental Meeting in ’99, and Meeting at Off Site in 2000). Robert Piotrowicz: sound artist, composer, improviser. Co-founder of the Musica Genera Festival and the Musica Genera label. He has authored radio dramas, sound installations, and music for theatre productions, and collaborates regularly with other artists on audio-visual performances. As an instrumentalist, Piotrowicz works mainly with his own live performance setup, developed around the electric guitar and analogue modular synthesiser. His music has as much in common with contemporary electro-acoustic compositions as it does with sound art. His concerts feature saturated, detailed musical forms created with analogue synthesizers and computers. He has developed his trademark sound of intense dynamics seized in dramatic and balanced structures. PIotrowicz has released several solo albums as well as collaborations with artists such as Burkhard Stangl, Anna Zaradny, Jérôme Noetinger, C. Spencer Yeh and Kevin Drumm. Other collaborators in recent years included Valerio Tricoli, Oren Ambarchi, Martin Klapper, Zbigniew Karkowski, Łukasz Szałankiewicz, Lasse Marhaug, John Hegre, Kasper Toepltz, Xavier Charles,Tony Buck and others. Piotrowicz has given live performances throughout Europe, North & Central America, Japan and Australia KING CHAMPION SOUNDS Even street thugs love KING CHAMPIONS SOUNDS. A surefire way to reduce street crime for 45 minutes is to book these charm school graduates at yr local hostelry. Tattoo shops have claimed that KCS is the de rigueur inkspot. But what about the band..what do they sound like? They sound like the primordial ooze that birthed touchstones like the Stooges and the Velvets come to life, nursing a mutha of a hangover, and a grudge. They sound like a group of 6 talented musicians who locked hard into a groove and gave the 7th fellow the chance to grab the mic and spew out his laser guided lyrics. On days off, lazy journos have been known to throw out reverential references like Can, The Fall, PiL, Gang Of Four, Throbbing Gristle, Neu. But hey, it’s something you’re born with, not something you learn. As on record as live. KCS are something to behold. JEAN D.L. + SANDRINE VERSTRAETE Jean D.L. develops a universe at once intimistic and noisy, made of hazy soundscape. Jean D.L. has worked in solo but has also collaborated with the likes of S. Biset, B. Drugmand (aka Impostor), Sébastien Karkoszka, Zbigniew Karkowski, Mauro A. Pawlowski, Teun Verbruggen, Antoine Boute, Othin Spake, Soumonces!, Noir, Jozef Van Wissem, Justice Yeldham, Jean-Philippe De Gheest, Paul Labrecque, Anla Courtis, Jozef Dumolin Trio (Feat. Eric Thielemans & Trevor Dunn), Pauwel de Buck, Perte Total Operations, Damo Suzuki Network, Sandrine Verstraete. Sandrine Vertraete studied performance at KASK Ghent. Her works balances on the verge of different media: literature, (sound)installation, video and performance. Always in the search of a more intimate, physical way and more embodied way of experiencing language and texts. A first book, with a collection of her texts was published in april 2013, at uitgeverij het balanseer ( In the context of this research she started also working with different experimental musicians, like Gino Coomans, Kris Vanderstraeten, Pauwel de Buck and Jean De Lacoste. I hope to hear from you asap. Regards. Alain



Posted in Uncategorized on juillet 29, 2013 by debloque

Dear all, I am booking some dates for OWL and PHILIPPE PETIT. PHILIPPE PETIT (France) Availability: December 2013 Territory: Belgium OWL (USA) Availability: Between 1st November and 8th December Territory: Belgium PHILIPPE PETIT To compose musics I use an Electric Psalterion + Hackbrett Cymbalum + Caterpillar Drum Guitars built by Yuri Landman (see right picture above) as well as a computer and synths to build up electronic layers, process acoustic and field recordings. To second the machine I like to move various glasses, pieces of wood, stones, or percussive objects, as well as taking advantage of vinyl material to fondle released sounds. Dealing with Electroacoustics, because I’m relying on electricity/amplification to produce, manipulate, work on sound-material, but trying my best to explore various genres and make sure that each of my albums differs from the previous one, trying to avoid routine and surprise my listeners. Fortunate enough to work with what people call a dream-team of collaborators, joining Lydia Lunch, Murcof, E.C.O., Cindytalk, PAS or Faust onstage and in studio. Besides I did some recordings with: Eugene Robinson (Oxbow), Edward Ka-Spel (Legendary Pink Dots), Simon Fisher Turner, Audrey Chen, Kumo, Scott McCloud (Girls Against Boys), Cosey Fanni Tutti (Throbbing Gristle), My Brightest Diamond, Sybarite, Foetus, Pantaleimon, Graham Lewis (Wire), Barry Adamson, Andy Diagram, Scanner, Machinefabriek, Mira Calix, Kammerflimmer Kollektief, Leafcutter John, James Johnston (Gallon Drunk/Bad Seeds/Faust), ASVA, Jarboe, Jad Fair and many more. OWL Owl was originally hatched in 2007, when the youngest Baechle brother, Axell, sprang from an egg (aged 13 years already and with a Gibson Les Paul in his hands) and began to compose original songs in the style of classic heavy metal (BlackZeppelinBudgieLizzyMotorVenomRamones). The middle brother Alex, disturbed from his book by the noise, soon decided to join in, adding his Fender Stratocaster, supernatural songwriting, composition and vocal skills to the mix. The Holy Trinity finally came together at Christmas 2009, when oldest brother Clint was summoned away from a three month tour with some other band. The trio met at the Baechle family mountain aerie, high in the Sierra Mountains, and the demo tape was recorded (Clint on drums). The demo was circulated, with some critical acclaim, and much curiosity as to the real age and relationship of the band members. Unable to procure a fourth sibling to complete the lineup of the band, the brothers adopted an African child named Melanie to be their bass player and sister in March of 2011. The Stone Loner seven inch was recorded soon after. The band picked up steam, playing gigs around the Bay Area, and lumbering drunkenly up the West Coast for the first time in August 2011. I hope to hear from you asap. Regards. Alain Some Noise C/O Alain Bolle PO BOX 43 1050 Brussels 5 Belgium

Noisy Crescendo – playlist du 8.06.2013

Posted in Uncategorized on juillet 29, 2013 by debloque

1/ Capitom: BESSIE SMITH: « This is always ». Inside Betty Carter. 2/ Warner: VINICCIO CAPOSSELA: « Il grande leviatano ». Marinai, profeti & balene 3/ Xl: BOBBY WOMACK: « Iglo refectionb ». Bravest man in the universe. 4/ Born Bad: GRANCIS BEBEY: « La condition masculine ». African electronic? 5/ Touch; THOMAS KÖNERE:  » Untitled ». Novaya Zemlya. 6/ Turpentine: KEVIN COYNE: « I love you baby baby ». Nobody dies in dream land. 7/ Discograph: DJ OIL: « Rock hit ». Black notes. 8/ Conifer Classics: HEINRICH SCHÜTZ: ‘ »Herr, unser Herrscher ». Psalmen Davids. 9/ Leftfield Media: NEIL YOUNG: « Introduction ». Cow palace 1986. 10/ Southeen Lord: SLEEP: « Dopesmoker ». Dopesmoker. 11/ Editions Mego: KTL: « Phill I ». Silence. 12/ Finders Keepers: SUZANNE CIANI: « Second breath ». Lixiviation 1969-1985 13/ Tompkins Square: MADDY PRIOR: « The prospector ». Various – Oh Michael look what you’ve done _ Friends play Michael Chapman. 14/ Family Vineyard: APACHE DROPOUT: « It’s a nightmare ». Apache Dropout. 15/ Planet Mu: TRAXMAN: « Callin’ all freaks ». Da mind of 16/ Milano: ADRIAN WILLAERT: « Toccata per organo del IX tono ». ???????? 17/ Smithorian: WOODY GUTHRIE: « This land is your land ». The Woody Guthrie Centennial collection. 18/ Unsounds: JOHN BUTCHER/TONY BUCK/MAGDA MAYAS/BURKHARD STANGL. Plume. Some Noise C/O Alain Bolle PO BOX 43 1050 Brussels 5 Belgium _______________________________________________ Noisyaddict mailing list


Posted in Uncategorized on juillet 26, 2013 by debloque

Dear all, I’m booking one date only for VEX RUFFIN. VEX RUFFIN (USA) Territory: Belgium Availability: 27th November 2013 VEX RUFFIN On paper, Vex Ruffin’s music is simple: an untrained punk musician who uses a few basic instruments in uncomplicated ways. He calls the style ‘minimalist.’ Although it may not seem like it upon first listen, Vex’s music is rooted in sampling and hip hop beat-making culture. The SP 303 sampler provides the drums and other sounds, a purchase inspired by Madlib. Vex is the first and only artist signed to Stones Throw Records on the strength of an unsolicited demo sent through the mail. I hope to hear from you asap. Regards. Alain Some Noise C/O Alain Bolle PO BOX 43 1050 Brussels 5 Belgium


Posted in Uncategorized on juillet 24, 2013 by debloque

Dear all, I am booking dates for GERMANOTTA YOUTH GERMANOTTA YOUTH (Italy) Availability: from 25th October onwards Territory: Europe GERMANOTTA YOUTH: Germanotta Youth is a Roman band that was born in July 2008 after a session of improvisation in which they mixed grindcore, breakcore, noise, metal and industrial. The project is composed by Massimo Pupillo (Zu) on electric bass, Fabio “Reeks” Recchia (Nohaybandatrio, Fire at Work) on synths and samplers, and Andrea Basili (Hastur) on drums. Their adventure begins officially with Harvesting of Soul, published by Wallace Records (released in December 2010), and takes its first steps on stage in a European tour in february 2011 after some lucky Italian shows. The band’s aim is to unify the many previous experiences of the musicians, who boast collaborations with Mike Patton, The Melvins, Dälek, The Ex, Peter Brötzmann, Hamid Drake, Ken Vandermark, Nobukazu Takemura, Eugene Chadbourne, Mats Gustafsson, Han Bennink, Fred Lonberg- Holm, Joe Lally (Fugazi), Amy Denio, Steve MacKay (The Stooges), Mick Harris, FM Einheit, Damo Suzuki, and many others. I hope to hear from you asap. Regards. Alain Some Noise C/O Alain Bolle PO BOX 43 1050 Brussels 5 Belgium


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

I am booking one date for JESU.

Territory: Belgium
Availaility! 17th September

Metal and shoegazing indie music, they're hardly the most obvious of
bedfellows now are they? I remember well when the shoegazer scene was just
bubbling out of the Thames Valley, and NME quickly saw a chance to label
it as music for bed-wetters. Of course we at Boomkat renounce that
statement with all the breath we have left in our bodies, and thankfully
in the last few years bands like Slowdive, Ride and their soppy chums have
enjoyed a renaissance of sorts. Shoegazer rock ran off to a Caribbean
island and was married in secret with electronica, giving birth to Ulrich
Schnauss and M83 among others, but this was hardly the biggest of
surprises. These artists re-interpreted the sounds they had grown up with
using a different, newer production method, and while it was hugely
successful it wasn't pushing the sound into genuinely fresh places. This
is where we come to Justin Broadrick, a man who had a hand in pioneering
the sound we would come to know as grindcore with his stint in Napalm
Death and under the Godflesh moniker. He's not someone you'd instantly
imagine to be swayed by the melancholic sound of Slowdive and My Bloody
Valentine, but under his Jesu guise he has slowly transformed his
signature brand of post-industrial metal into something altogether more
original. It was last year's 'Silver' EP that really began to whet our
appetites, in just a handful of tracks he showed us how the sound of metal
could actually sound melancholic and triumphant, and not in the same way
as ISIS or Pelican. No, Broadrick was unashamed to wear his influences on
his sleeve and unafraid to go deep into the shoegazer sound - powerful
synthesizer leads, heartfelt vocals, crushing waves of guitar; and after
all of this we were still left with a record that was intrinsically metal.
'Conqueror' is the full-length followup to 'Silver' and takes Broadrick's
sound even further, framing it properly and giving it the grounding it
needs to break through genre barriers. It's not often that an artist
manages to carry on pushing the boundaries throughout his entire career,
but Broadrick is indeed doing this with 'Conqueror', a record that could
just as easily appeal to fans of Ulrich Schnauss as fans of Black Sabbath.
Just skip to the album's ten minute centrepiece 'Weightless & Horizontal';
beginning with a gorgeous synthesizer drone we are carried into the body
of the song with crushing distorted guitars before Broadrick's signature
vocal - this could be My Bloody Valentine on half speed, and that's no bad
thing. With links to the burgeoning doom/drone metal scene (especially in
tempo) Broadrick manages somehow to sidestep the trappings of overplayed
theatrics and faux-drama and keeps what is actually good about it, yet at
the end we're left with a pop song. 'Conquerer' is in essence eight pop
songs and while they don't adhere to pop rules, you'll find yourself
playing them again and again, reciting the lyrics to yourself without
realizing it and playing them to your friends, desperate for them to hear
it like you hear it. This could be the best indie album of the year, and
also the best metal album - so leave your pre-conceptions at the door and
jump right in, you won't be disappointed.

I hope to hear from you asap.



Some Noise
C/O Alain Bolle
1050 Brussels 5

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Posted in Uncategorized on juillet 17, 2013 by debloque

Dear all, I’m booking one date for MATTHEW COLLINGS. MATTHEW COLLINGS Availability: 26th October Territory: The Netherlands + Belgium MATTHEW COLLINGS Combining the structures of minimal composition with avant-garde guitar music, Collings uses the amplifier as an instrument and the guitar as a control device for digital processes. Using numbers of ‘prepared amplifiers’, he coaxes unique sounds by placing bells, rice and wood directly onto the speaker cone and manipulating the physical vibrations with his fingers, producing a highly visual and physical performance. These approaches a viscerally demonstrated on his debut full-length release ‘Splintered Instruments’ (2013). This music is is textural, melodic and often sonically overwhelming. His work for films includes a specially commissioned live score for Dziga Vertov’s 1929 silent classic, ‘The Man with the Movie Camera’ for the Reykjavik Design Festival (2010) and an invitation to work on ‘The Invisibles’ (2010), a commission from Amnesty International with Ben Frost, featuring Gael Garcia Bernal. His score for Hákon Palsson´s film ‘Guilt’ was recently performed at the opening of the Glasgow Short Film Festival. His work has also featured in Installations at Glasgow City Halls (2011), Glasgow Royal Concert Hall, Dundee Neon Digital Arts Festival (2010, UK), Burning Man Festival (2010, USA), Chattanooga Gallery of Contemporary Art (2010, USA), Icelandic Academy of Arts (Iceland, 2009) and Manipulate Festival (UK, 2011). He has performed alongside many respected artists in his field, including Tim Hecker, Ben Frost, Chris Corsano, Nico Muhly and Jasper TX. Collings has already found considerable praise from the international community for his previous releases under the curious moniker Sketches for Albinos, releasing three full lengths albums in the US, UK and Japan. I hope to hear from you asap. Regards. Alain Some Noise C/O Alain Bolle PO BOX 43 1050 Brussels 5 Belgium