Archive pour octobre, 2013

BOOKING OFFERS: ELI KESZLER, ROBERT PIOTROWICZ, FATHER MURPHY

Posted in Uncategorized on octobre 31, 2013 by debloque

Dear all, I am booking some dates for ELI KESZLER, ROBERT PIOTROWICZ , FATHER MURPHY. ELI KESZLER (USA) http://www.youtube.com/watch?v=rH4sCoB0wLA http://vimeo.com/73231868 http://vimeo.com/67454077 Availability: Between 2nd Januray and 28th February 2014 Territory: Europe ROBERT PIOTROWICZ (Poland) http://robertpiotrowicz.bandcamp.com/ http://soundcloud.com/rurokura http://www.youtube.com/watch?v=t8zAOjURqGk http://www.youtube.com/watch?v=V6YgaOaYES0 FATHER MURPHY (Italy) http://www.youtube.com/watch?v=JOpeMwkW6qA Availabilities: 23rd February, 5th/6th/7th March 2014 Territory:These dates are for Belgium. Still some open dates in the tour. Just ask. ELI KESZLER Born in Brookline, Massachusetts, and currently based in New York City, Eli Keszler began playing drums at eight, and composing at twelve. He played in rock and hardcore bands; his work retains an intense physicality and churning, often ferocious energy. 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, or solo performances with Keszler’s aggressive jarringly rhythmic and propulsive drumming. His most recent project used 16 wires ranging from 100 to 800 feet long, all of which were mounted off the Manhattan Bridge and accompanied by a performance commissioned by NPR in New York City. 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, all of the material tying into itself. His visual work was recently compiled in a collection ‘NEUM’, a large body of drawings, diagrams and screen prints often featuring dense, fine detailed drawing which use a variety of sources, from the surfaces of objects to large scale spaces, and intuitive design similar in intensity, sharing the mass quality of his sound work. He has collaborated with Christian Wolff, Oren Ambarchi, Phill Niblock, Roscoe Mitchell, Tony Conrad, Joe McPhee, Loren Connors, Geoff Mullen, Ashley Paul, Jandek, and many others, and has recorded more than a dozen CDs and LPs for PAN, ESP-DISK and his own REL. His installations and visual work have appeared at the South London Gallery where his NEUM installation is currently showing, Archway Dumbo – Manhattan Bridge, Tectonics Festival (Harpa Hall) Reykjavik, Centraal Museum in Utrecht, AP News in Zurich, Boston Center for the Arts, and at Barbican – St. Lukes, Nuit Blanche NYC and the Shreveport MSPC New Music Festival. ROBERT PIOTROWICZ Robert Piotrowicz’s LP from earlier this year, When Snakeboy is Dying, found the Polish composer stepping out of his comfort zone and working with a variety of traditional instruments with exceptional results. Lincoln Sea, however, sees him going back to his modular synthesizer array that has appeared on so many of his records. But rather than the chaos and noise that previous work was based, the sense of structure and composition here is significantly deeper and manages to touch upon rock and orchestral approaches. Piotrowicz’s return to the world of oscillators and patch cables is obvious the second the first side begins with its sustained, just slightly off kilter tones and electronics that lean more into the upper end of the sonic spectrum. Even though at first the sound seems static, ever so subtle variations are present, as are some understated low frequency undertones. Soon it begins to change and evolve: multilayered sounds build upon each other into a stuttering, disjointed mass. FATHER MURPHY Father Murphy is an Italian trio comprised of Reverend freddie Murphy (vocals, guitar), Chiara Lee (vocals, keyboards, chinese percussions) and Vittorio Demarin (drums, viola, vocals). Born in Treviso, northern Italy, from the ashes of freddie’s several previous musical projects, Father Murphy with just one album and a plethora of ep’s and limited releases became one of the most mysterious and enigmatic musical entities coming out of Italy. If their first album Six Musicians getting unknown was still somewhat rooted in twisted psychedelic pop and sounded vaguely related to Os Mutantes and Italian psych pop masters Jennifer Gentle, the new record is a bold statement and a significant step ahead – out of every familiar musical genre and right into the darkness. Recorded in San Crisostomo in Bombanella church between the end of 2007 and the beginning of 2008, And He told us to turn to the sun maybe was born like a rather weird attempt to a concept album about religion, but surely sounds like a collection of dark, foreboding songs that crawl and twist and hiss like that old biblical serpent. Think of Gnostic masses, kabbalistic chanting, chiming little bells, tinny Gregorian-like drones played on toy-keyboards and the subtle but inescapable influence of 70’s Italian horror rock acts like Jacula and you will have some of the ingredients that make Father Murphy’s music. Add a good deal of lunacy and enough humour to keep the gloom away (just because you cannot take yourself that seriously) and the album is here, in all its strangely beguiling simplicity. Song after song, from the initial semi-pop outburst of “We were colonists” to ascetic, almost medieval atmospheres of Go Sinister, the entire lp feels like a truly different, warped experience. Think of Alan Sparhawk’s Low doing versions of Twilight furniture from This Heat or Milk it from Nirvana. When the final, 10-minutes mastodon “In their graves” creeps in with all the agility of a primordial doom-metal beast slowly sucked in a prehistoric swamp, everything comes full circle: an uneasy, compelling, furiously heretic yet sandblasted in Catholicism little album that could come only out of Italy. Thanks for reading. I hope to hear from you asap. Regards. Alain

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BOOKING OFFER: MUGSTAR

Posted in Uncategorized on octobre 28, 2013 by debloque

Dear all,

 

 

I am booking one date for MUGSTAR.

 

MUGSTAR (UK)

http://www.mugstar.com/?page_id=41

Availability: 1st February 2014

Territory: Belgium

 

 

 

MUGSTAR

Mugstar are an English rock band, influenced by kraut/psych/space/noise rock such as Oneida, Sonic Youth, Neu! and Hawkwind. Since 2003 they have issued several full length albums, a split release with Mudhoney and an etched 10”. Mugstar recorded the last-ever Peel Session with the late John Peel.

Mugstar formed in Liverpool. Their first single, « Spotlight Over Memphis », drew attention from John Peel, who played the 7″ on his radio show. It was after the next 7″, « Flavin’ Hotrod », that Peel offered the band a Peel Session. A split 7″ with Hunting Lodge followed. A mini-album on Kabukikore Records, « Dark Matter », come next, closely followed by a session for BBC Radio One’s Huw Stephens. In January 2006 the band released « My Baby Skull Has Not Yet Flowered ».

 

The band’s self-titled debut album was released on CD at the end of 2006 on Sea Records, and on Critical MASS Records on a limited run of heavy weight vinyl in 2007. Mugstar then started a productive relationship with Ireland based Trensmat Records with run of limited 7″ singles. One of these releases was a split 7″ with Seattle’s Mudhoney, with both bands doing covers of Hawkwind songs. During this time Red Panda and Mugstar featured on a one-sided 10″ single, each performing half of « Tamlin », a song made famous by Fairport Convention.

 

Mugstar signed to Important Records, who then released « …Sun, Broken… »

in March 2010. Their third album, « Lime », was released in November 2010.

For Record Store Day 2011 Mugstar contribute a cover of « I Got the Six » by ZZ Top for « I’m So Agitated », a 12″ also featuring Carlton Melton, The Heads and Kool Aid, on Agitated Records. « Lime » and « …Sun, Broken… »

have both been released through Agitated Records on vinyl in September 2011. These were followed by a split album on Rocket Recordings with New York’s Oneida – called « Collisions 2 » – and a 40 remix of « Serra » (from

« Lime ») by Loop’s Robert Hampson.

The band’s fifth album, « Axis », came out in late 2012.

In April 2013 they performed a radio session for Marc Riley on his BBC 6 Music evening show.[2] For Record Store Day 2013 Mugstar released ‘Centralia’ their sixth album.

 

They have a new album on Important Records in November 2013.

 

 

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 OFFERS: NOVI_SAD, RITORNELL

Posted in Uncategorized on octobre 24, 2013 by debloque

Dear all,

 

I alm booking some dates for NOVA_SAD and RITORNELL

 

NOVA_SAD (Greece)

http://www.touchradio.org.uk/touch_radio_novi_sad.html

http://novi-sad.net/projects/sirens

http://novi-sad.net/projects/silence-aircraft-noises-and-harmonies-in-pain

Availability: Beween 25th March and 5th April 2014

Territory: Europe

 

 

RITORNELL (Austria)

http://www.youtube.com/watch?v=cdSqpPw0Dho

Availability: To be announced

Territory: Europe

 

 

NOVA_SAD

‘Novi_sad is the mutated body that stands on the tips of it’s toes to look over a wall of white noise. It reaches the edge, almost getting a glimpse of what is on the other side. It almost sees. And when it almost sees, then it hears. And when it hears, it hears the sudden attack of static.

And as it hears it looks: the sky is static and falls like a sonic ceiling collapsing on its sole inhabitant: Novi_sad. Novi_sad is the sound of the shadow of the body that faces the wall of sound. The mutated body steps back from the wall. It is not a wall, it is a mirror. The mutated body looks at itself. It sees: an open mouth that is shouting to itself and is not heard, it sees closed ears bleeding for themselves that do not hear.

It says: lift sonic ceilings up over my head, push them up over the sky, as far as my arms can reach, as far as my eyes can see. I will hear, I will here.’

 

RITORNELL

Acoustic and electronic sounds merge on»Aquarium Eyes«. Paying great attention to detail, Ritornell recorded at various locations (the studio of Patrick Pulsinger being one of them). The results are gently woven into their very own world of sound. Defamiliarized by subtle electronic manipulation, instruments such as piano, double bass, vibraphone, kalimba, and accordion develop a surprising life of their own, only to be consequently swallowed up by the hissing and buzzing of electronic devices.

Gleaming multi-layered electro-acoustic drones, isolated organic sounds, and sophisticated textures complete the intricate arrangements.

On »Aquarium Eyes«, Ritornell tackle the art of songwriting for the first

time: Vienna based vocalist Mimu sings, whispers, and sighs golden threads through some of the fragile sound structures that Gerold and Eigner assembled with intuition. The duo also collaborated with vocal artist Didi Bruckmayer on the track »Tremble«.

»Music Box« is a conceptual piece: Under the direction of Richard Eigner,

20 people simultaneously turn the levers of their music boxes: Melodies of musical history blend into a sparkling confusion of sound.

With their interpretation of »In Every Dream Home A Heartache«, Ritornell finally present their very own version of a Roxy Music song, albeit with a

twist: the guitars from the original have been replaced by a string trio.

During live performances, Richard Eigner and Roman Gerold present their music together with Mimu and Gerhard Daurer, occasionally supported by Bernd Klug on double bass and Meaghan Burke on cello.

 

 

Thanks for reading.

 

I look forward to hearing from you soon.

 

Regards.

 

Alain

 

 

 

BOOKING OFFER: KEN CAMDEN

Posted in Uncategorized on octobre 23, 2013 by debloque

Dear all, I’m booking some dates for KEN CAMDEN. KEN CAMDEN (USA) http://www.youtube.com/watch?v=REVQdCNP080 http://www.youtube.com/watch?v=MjapQVU4d74 Availability: To be announced (2014) Territory: Europe KEN CAMDEN New album from Chicago’s Ken Camden, moonlighting from his day job in post-rock astronomers Implodes. This is in fact his third solo album to date, and his second for Kranky following 2010’s ‘Deft’, diverting Lethargy & Repercussions; and it takes us further from Camden’s shoegazing roots into the realm of pure cosmic electronics. The zero-gravity synth terraforming of curtain-raiser ‘Spectacle’ puts us in mind of Emeralds man Steve Hauschildt’s solo sides, while the magnificent ‘Eta Carinae’ combines the sound palette of Dieter Moebius’s Tonspuren with a haunting, almost medievalist folk approach to melody. Camden’s heavily treated guitar comes to the fore in ‘Moon’, a forlorn, exquisitely minimal space blues that’s equal parts Pink Floyd and Popol Vuh, before ‘Trapezium’ steers us back into dainty, soft-hued Z-Arts psychedelia; ‘Antares’ and ‘Dominic Sunset’ nod to the eerie, expansive drones of Oneohtrix’s Rifts material, and the carefully articulated isolationism of Artemiev’s scores for Tarkovsky, distant vocal harmonies amplifying the acute sense of existential drift and nostalgia for a world you can’t remember, and may not ever have existed. This record is a genre-piece, make no mistake, but a lovingly and confidently rendered one. Thanks for reading. I hope to hear from you very soon. 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: BLACK BUG

Posted in Uncategorized on octobre 22, 2013 by debloque

Dear all,

 

I’m booking some dates for BLACK BUG:

 

BLACK BUG (Sweden)

https://soundcloud.com/blackbug

http://www.youtube.com/televisionscream

Territory: Europe

Availability: after 15th January 2014

BLACK BUG

Black Bud will be a solo project on this tour.

A terrifying throb of sinister synthesizers, endless shadows, and mysterious dried blood, this transplanted Swedish band now evading the authorities in Bordeaux, France is a seductively subtle nightmare you won’t be able to pull yourself away from. Breaking out from their insidious debut LP’s screech and grind, the reborn Black Bug carries their torch even further down the dimly-lit well of desperation, creating a far more atmospheric, horror film soundtrack-type feel between it’s gnarled bursts of blown-out Spits-style synthpunk energy. Cold-blooded robotic rhythms permeate every track, ushering in an instant sense of forboding and unsettling visions of the human race, completely overrun by androids with TV screens for faces. But under all the dark animosity, frigid song patterns, and morbid melodies, lies an album of incredible songs destined to haunt your abysmal nights, and chill your bones to no end.

The certified degenerate buzz that’s surrounded Black Bug for the past few years has been dangerously bubbling under the surface and toxically spread over a handful of singles and their debut LP, as they have emerged as the truly most demonic and nihilistic of the minimal synth acts of the current suffocating wave. Hailing from the bowels of the Swedish underground, Black Bug are a terrorizing ambient noise duo of questionable origin, existing in a vacuous plane of reality, where simplistic, analog reverberation is the answer to all of life’s questions, and when isn’t it?

“Black Bug are a synth punk duo based in Bordeaux, France, and their LP Reflecting the Light is out via Hozac on March 26. On its face, the album features a handful of songs that definitely bring to mind the skate punk of the Spits or the sci-fi garage punch of Mind Spiders. But as “Threads”

proves, they can also venture far outside the grips of punk music and straight into the territory of bleak synthesizers. This song sounds like the jittery, minimal, nihilistic descendent of Giorgio Moroder’s Metropolis arrangements. It’s a sound these two do well, especially because with Reflecting the Light, their dark future world is usually tempered by a barrage of fuzz-smothered punk music.” – Pitchfork.

 

 

 

BOOKING OFFERS: E-SAXBOW and MOSCA VIOLENTA

Posted in Uncategorized on octobre 21, 2013 by debloque

Dear all,

 

 

I’m booking some dates for  E-SAXBOW and  MOSCA VIOLENTA.

 

 

 

E-SAXBOW (France)

http://florentcolautti.bandcamp.com/album/polyphasie

Territory: France, Switzerland, Germany, The Netherlands Availability;

7 – 9 Feb. : France

10 – 12 Feb. : Switzerland

13 – 17 Feb. : Germany

18 – 19 Feb. : The Nethelands

20 – 21 feb. : Belgium

22 Feb France

 

 

MOSA VIOLENTA (France)

http://www.youtube.com/user/ViolentaMosca

Availability: February 2014

Territories: Italy, Austria, Switerland, Belgium

 

 

 

E-SAXBOW

In its plastic and experimental research, e-SaxBow builds original sound material of wave motions, organic masses, synthetic rains, abstract sounds and cosmic bells.

Florent Colautti plays a six strings instrument (the e-String), hybrid home-made electroacoustic. He controls electronic bows which stimulate the strings. Then he transforms the acoustic vibrations with a chain of effects.

François Wong amplifies a baritone saxophone with a mouthpiece microphone. The wave is transformed by an analogical/digital set of effects played through a tube amplifier.

Their approach – focused on the musical result – is based on fundamental

principles: the importance of the primary source, always acoustic; the importance of a real-time show; the importance of a live stage performance.

In an acoustic/electronic ambivalence, they challenge, shape and compose an illusion. Their singular music prompts a letting go of emotions and draws an emotional path which brings the dream to life.

 

 

 

MOSCA VIOLENTA

“No misunderstanding, despite its name rather incongruous “Eyes Of The Head” has nothing to do with a banda or ska band since it’s an instrumental trio bass-drums-saxophone native of Caen, which just released its third album “Mosca Violenta” at Head Records, a label not really known for its festive side … yes you read that right, no guitar on board, but a saxophone, that thus ensures a bit of originality. A tip to start: do not rely on fast-paced first few minutes of the “cake” to form an opinion, you have it all wrong … “Mosca Violenta” certainly connects with class and ease the musical styles but remains throughout this disc an unfathomable darkness.

One foot in the noise, the other in jazz more or less “free” Eye Of The Head as suggested so his bio is that Shellac meet John Zorn, this is heavy, tight, angular and demanding. In this kind of music, everything is a matter of chemistry and there it works perfectly between copper, strings and drums to weave these ten titles all the more unhealthy than the others. If pressing, crushing, twisting brain is an experience that tempts you, then go ahead with your eyes closed, you will not be disappointed with the trip!

 

 

I hope to hear from you as soon as possible.

 

 

All the best.

 

 

Alain

 

 

 

 

 

Some Noise

C/O Alain Bolle

PO BOX 43

1050 Brussels 5

Belgium

info@somenoise.be

https://debloque.wordpress.com

www.lesateliersclaus.com

 

Playlist 20.10.2013

Posted in Uncategorized on octobre 21, 2013 by debloque

1/ The Fall: « And this day ». Hex Enduction Hour. 1982. Sanctuary. 2/ BLACK PUS: « I his hilarious attic ». [Youtube 2013] 3/ FRANCISCO LOPEZ: « Untitled #227 ». Lith. Sub Rosa. 2013. 4/ BLACK PUS: « Baltimore songs 1 ». [Youtube 2013] 5/ RABIH BEAINI: « Light within the light » + « Maples and rock ». Albidaya. Annihaya. 2013 6/ BLACK PUS: « Baltimore songs 2 ». [Youtube 2013] 7/ CREMASTER: « Untitled ». Noranta Graus a l’esquerra. Monotype. 2013 8/ HAROLD BUDD: « Jane 7 » – Jane 1 – 11 . Darla Rec. 2013. 9/ PAPAYE: « Grapes » – Tennis . Kytikong 2013 10/ BODYHEAD:  » Black  » – Coming Apart. Matador 2013.