Didier Hominal (ex Mr Bidon) : chansons poético-humouristique.
Glabre : Post-rock, blues et baroque.
Glabre se débat, jure, conjure et console avec boites à rythmes, guitares et chant. Les sons s’élèvent et raclent les sols, rasent les murs, suent et soufflent.
Sortie du premier disque, Cacochyme Rising (Araki Records / Urgence Disk / Ramblin Bastringue)
Ici est le lien pour écouter le disque :

https://soundcloud.com/glabre/albums

Là, c'est plusieurs vidéos live :

https://www.youtube.com/watch?v=R11l9xAXXIo

https://www.youtube.com/watch?v=cGc0kL4N4mk

via https://www.facebook.com/events/6876887569029075/

VEND 22 A LA CALE (amicale Crêt de Roch)
14h – 17h
Atelier "faire du montage sonore sur Reaper"
Animé par Clémence Culic (Atelier et Captation, réalisatrice, collectif radio les sonorités)
Atelier en mixité choisie (sans mec cis)- 8 participantes
Sur inscription : contact@lesrigoles.fr
Venir avec son ordinateur et clef USB (4Go min)
20h – 00h30
Concert Tachka + Dame Bambou
21h - Tachka (pop expérimentale)
22h30 - Dame Bambou (DJ set, ambient electronica, mentale wave, bass music)
ENTREE PRIX LIBRE

via https://www.facebook.com/events/330474239546789/?ref=newsfeed

Dans le cadre de la rencontre autour de la place des femmes et des minorités dans la musique, l’association Les Rigoles vous invite au Remue-Méninges pour sa 4ème Rigolade. Au programme :

– 10h-17h30 Atelier d’éducation populaire : Quelles pistes pour une meilleure représentation des femmes et des minorités de genres dans la musique ? Atelier ouvert à tou‧te‧s sur inscription (contact@lesrigoles.fr), conçu par Julie Champagne du Crefad Loire, Cécile Wouters des Rigoles et Claire Lapalus professeure de culture musicale au conservatoire de Saint-Etienne.

– 18h30 : Présentation du travail réalisé en atelier + discussions autour du livre  “Questions de genre dans les musiques actuelles – Genre, normes et mécanismes de pouvoir à l’œuvre dans les musiques actuelles en France.” de et avec Julie Champagne

– 21h : concert surprise 🙂

via https://remue-meninges.com/site/event/rigolade-4/

Le 23 septembre 2023, marche unitaire contre les violences policières, contre le racisme systémique et pour les libertés publiques.

À Saint-Étienne, départ à 10h de la Médiathèque de Tarentaize (24 rue Jo Gouttebarge).

Le meurtre de Nahel, tué par un policier à bout portant le 27 juin 2023 à Nanterre, a mis de nouveau la lumière sur ce qui doit cesser : le racisme systémique, les violences policières, et les inégalités sociales que creuse la politique de Macron. Une politique néolibérale imposée par des méthodes autoritaires, des lois sécuritaires et une doctrine du maintien de l’ordre décriée jusque dans les plus grandes instances internationales. Une politique régressive qui fait le lit de l’extrême-droite et piétine toujours plus nos libertés publiques, notre modèle social, notre avenir face à l’effondrement écologique.

En première ligne des victimes de ces choix politiques, les habitant·es, et notamment les jeunes des quartiers populaires et des territoires ultramarins, qui subissent de plein fouet l’aggravation de toutes les inégalités sociales dans un contexte économique d’inflation, de hausse des loyers, des prix de l’énergie et de politiques d’urbanisme brutales. Les réformes de la Macronie accentuent la pauvreté en durcissant notamment l’accès aux prestations sociales. La scandaleuse réforme de l’assurance chômage en est un exemple significatif alors que la précarité au travail augmente.

Les révoltes dans les quartiers populaires ne peuvent s’analyser que dans ce contexte global. Les habitant·es de ces quartiers, et notamment les mères isolées, pallient bien souvent seul·es les carences de services publics dont la destruction s’accélère de jour en jour.

A côté de cela, de nombreuses violences sont perpétrées contre les populations : délocalisation et destruction de l’emploi, évasion et fraude fiscale, mode de vie des ultras riches écocidaire, supers profits des multinationales, modes de production hypers polluants responsables de la crise climatique. Et pour cela, l’Etat laisse faire ! De plus, les populations racisées et/ ou issues des classes sociales défavorisées, des quartiers populaires, des zones rurales et périurbaines appauvries, des territoires ultramarins sont victimes de violences institutionnelles et systémiques, notamment policières.

La politique répressive de l’Etat est encore renforcée par le dernier remaniement ministériel, qui a élargi les compétences du ministère de l’Intérieur à la ville, l’Outre-mer et la citoyenneté. La répression s’étend avec toujours plus d’intensité et de violences policières, d’interdictions de manifester, contre le mouvement social et écologiste, comme lors de la lutte contre la réforme des retraites rejetée par l’immense majorité des travailleur-ses et leurs syndicats et à Sainte-Soline. La liberté associative, directement et indirectement, est de plus en plus mise en cause.

Cette situation est d’autant plus inquiétante que l’institution policière paraît hors de contrôle du pouvoir politique. Des déclarations factieuses de certains syndicats de policiers suite au meurtre de Nahel aux déclarations du Directeur général de la police nationale et à celle du Préfet de police de Paris ainsi que le ministre de l’intérieur, c’est l’institution policière qui aujourd’hui remet en cause l’État de droit, plutôt que de mettre fin à l’impunité des auteurs de violences policières.

Nos organisations syndicales, associations, collectifs, comités de quartiers populaires, de victimes de violences policières et partis politiques se mobilisent ensemble dans la durée pour la convergence des justices antiraciste, sociale et écologique, féministes et pour que cessent les politiques sécuritaires et anti sociales.

La crise démocratique, sociale, politique que nous traversons est très grave.

Nous ne pouvons accepter qu’il y ait encore d’autres morts comme Nahel, ou d’autres blessé.es, victimes des violences policières.

Nous appelons à reprendre la rue samedi 23 septembre, à organiser des manifestations ou d’autres initiatives sur tout le territoire, pour faire front ensemble contre...

via https://lenumerozero.info/Marche-pour-la-justice-6447

Concert en soutien à la gueule noire
15/09/2023

Prog :

M4uv3 (hiphop gre)
Krav Boca (hip hop punk tlse)
Pagaille (dj set punk post-punk sté)
Ouverture des portes à 20h, fin de soirée à 1h

Entrée prix libre

Lieu : 1elephantdans1jeudequille chez riseup.net

via https://lenumerozero.info/Concert-de-soutien-a-la-gueule-noire-hors-les-murs-6443

Vendredi 22 septembre au Méliès St-François :

14h > 1h45 : L’équipe de votre cinéma préféré a plongé dans ses souvenirs pour sélectionner les films vus au Méliès qui ont le plus marqué chacun de ses membres. Un Best-Of totalement subjectif que nous vous proposons de (re)découvrir. Les 12 passionné.es de ciné que nous sommes vous présenterons 12 films, des moments forts, des coups de cœur, des découvertes, des raretés, des classiques, etc… Soyez curieux et venez partager avec nous ces quelques titres que nous avons hâte de projeter à nouveau sur nos écrans !
21h : Apéro mix spécial cinéma avec les DJs de l’équipe / Izwalito vs. Little big man + Buvette + Food Truck
22h : Ciné karaoké sur grand écran / Viens faire résonner ta plus belle voix dans la grande salle de St-François (entrée libre)

Samedi 23 septembre au Méliès Jean Jaurès :

14h : Carte blanche à Marie-Christine Cramier, co-fondatrice du Méliès en 1983 : BILLY ELLIOT
16h > 20h : Mix «100% vinyls» spécial musique de film, sous le kiosque de la place Jean Jaurès, avec le collectif LES BUGNES
20h : Ouverture de la saison du Fil : concert du groupe YOU SAID STRANGE
21h : Soirée Drum&Bass en partenariat avec La Charbonnerie production : projection du film SONIC IMPACT : A HISTORY OF DRUM & BASS en présence du réalisateur Laurent Pasquier + mix au Méliès Café

https://www.lemelies.com/wp-content/uploads/2023/09/LE-MELIES_titre-et-mentions_OR_.png

via https://www.lemelies.com/evenement/les-40-ans-du-melies/

La 2ème Marche des Fiertés de Saint-Etienne aura lieu le 23 septembre 2023 Rendez-vous 14h Place Chavanelle….
Détail de l’itinéraire
Place Chavanelle
Rue du Bois
Place Jean Grivolat
Rue Fougerolle
Rue Badouillere
Rue De Cordier
Rue Michelet
Avenue de la libération
Place Jean Moulin
Rue du Jeu de l’Arc
Rue de la République
Place Dorian
Place de L’hôtel de ville
Rue Gerentet
Place Jean Jaurès
Rue Balay
Rue Honoré d’Urfé
Rue Rouget de Lisle
Place Sadi Carnot

https://stetienne.citycrunch.fr/wp-content/uploads/sites/10/2023/09/378837723_795623315904201_1287462260625156633_n.jpg

via https://www.facebook.com/events/662918109084849

https://martineravagerecords.bandcamp.com/album/martine-ravage-vol-4

https://f4.bcbits.com/img/a3274737894_10.jpg

:70.gif::70.gif::70.gif::70.gif::70.gif::70.gif::70.gif::70.gif::70.gif::70.gif::70.gif:
- Martine Ravage Records, Electronic Industrial Weird music label -

https://www.youtube.com/watch?v=46ivFpsmEVQ

10 track album

Listen to Brazilian Experimental Music - Tea Mikeladze [DOA Presents Sounds Of Brazil] [09.07.2023] by Mutant Radio

ᴀʀᴛ ᴇxʜɪʙɪᴛɪᴏɴ
After her graphic collaboration with The Ultimate Dreamers for 3 cover sleeves, 𝗠𝗶𝘀𝘁𝘆 will exhibit some artistic work from her B&W stylized world.

ᴍᴜꜱɪᴄ ꜱᴇʟᴇᴄᴛɪᴏɴ​
The musical ambience will be provided by none other than 𝗣𝗮𝘁𝗿𝗶𝗰𝗸 𝗖𝗼𝗱𝗲𝗻𝘆𝘀 (𝗙𝗿𝗼𝗻𝘁 𝟮𝟰𝟮) and 𝗟𝗶𝘀𝗮𝗟𝘂𝘃 (Addams Family).

ɪɴꜰᴏ
Free price (€5 recommended)
Special offer: CD + ticket = €10 (https://violentghost.eventbrite.be)
Presentation & details: lefantastique.net/

Le Lac
rue de Witte de Haelen 36 - 1000 Bruxelles
(prévente: https://derrierelemiroir-brussels.eventbrite.be)
http://www.lefantastique.net

Martine Ravage t'ouvre les portes de son salon pour la sortie de sa 4è compilation !

Pour l'occasion on t'a réservé quelques uns de nos meilleurs échantillons :

- MondKobold (Experimental Techno/ Marseille)
- DLVR 救出 (Electronica Dystopique / Lille)
- Patré Patrik (Quadra Techno Beat / Lille)
- Abruti (Noise Footwork / Lille)

VJing par Machine Sauvage

https://martineravagerecords.bandcamp.com/album/mauvaises-d-finitions

----

JEUDI 28 SEPTEMBRE - 20h30/1h
La Bulle Café, 47/49, rue d'Arras 59000 Lille
Paf : 5e - CASH ONLY / LE BAR PREND LA CARTE, PAS LA BILLETERIE

---

:75.gif: Martine Ravage Records - Musique électronique inaccoutumée :75.gif:

Made with 100% compressed air

My (Non) Music Enlightenment
Yan Jun
translated by Hu Moran

I was born in a compound residence of Military Area Command. My parents were both military officers and my maternal grandfather who lived with us, was a carpenter. They spoke Hezhou dialect, Lanzhou dialect, mandarin with Hunan accent respectively, and mandarin as well. My neighbors spoke mandarin, Henan dialect, Shaanxi dialect, Lanzhou mandarin mixed with Dongbei dialect, etc. As I frequently lodged with different relatives, and transferred to different primary schools for three times, I never gained a fixed feeling for language and was not sure which group I belong to, since each background has its own accent.

I did not go to kindergarten. In primary school, we always sang theme songs of TV episodes in unison in music class. While in middle school, one of the teachers played us orchestral music and asked what instruments we could hear, and a student said, "Trumpet!" I was baffled. Who is Trumpet? Where does it come from? Where does it go?

Except for the harmonica, I didn't touch any instruments until I was 14. I learned to play the guitar for a week when I was 14, and then that potential of guitar was forbidden by my mom. I can only figure out just one, two, three, four, five, six, seven of those notes on a numbered musical notation by present.

I would like to say that, music has never been able to be transformed into notes for me, or maybe just except for rests. Music is direct, sensual, from sound to body, from vibration to electrical signal. Music is also complete, never being decoded and analyzed, its logic unexplained, and its reason buried deep down where the light of enlightenment cannot reach. It is an abyss beneath dialect and accent. From this perspective, I don't understand music at all. Or rather, the thing I understand should be called "non-music".

? – Funeral Music
My earliest memory about music was Funeral Music. It seemed to contain an endless amount of time, indeed, it seemed to be releasing an endless amount of time. What accompanied the music was the minimalist voice of the radio broadcast reading national leaders' orbituaries. The two vocals, which were already very standardized, became more standardized, more even, and more endless in such a situation. For a child, these two things seem to be the world that external to "I", which was huge, uninteresting and endlessly cyclical.

? - The Athlete's March
Luckily I could listen to the Athletes' March, an experience that lasted well into my middle school years. It had a comedic effect. Whether it was heard in the stadium of Military Area Command, or in the school playground, or on TV, I was always trying to find the beginning and the end of this piece, but failed. I think if Erik Satie was still alive, it is the ultimate piece he would have wanted to write.

Kao Ling-feng (aka Frankie Kao) - The Story of Pickles (1978)
I heard this song by an adobe wall on top of a hill in the suburbs. It was the earliest pop song I could recall. By then I had heard countless music: I was no longer innocent and blank. I had heard the Shaanxi Opera, the Revolutionary Model Opera, the reveille, the bugle call, the light music of Paul Mauriat, and, perhaps, had already heard songs of Li Guyi who was one of the first pop singers after Culture Revolution in Mainland China. These sounds had encoded my brain with a set of pre-staged stress response devices. But what is this? Hey, waiter, give me a bowl of pickles? Nuts! I was only a few years old when I experienced this very system failure.

Mitsuko Horie - Flames of Youth (1979)
This one is the theme song of Moero! Attack. But I'm talking about the version we had in music class------the class monitor wrote on the blackboard: hold European inner nun that oh bring, island forest nun grunt, how would western inner oh, how would western inner oh (Chinese characters pronounce as similar as the Japanese lyrics： bo orini na yah dai, do rin ni gulu, ande siri yah, ande siri yah) ... This is language mutation!!! This is heterogeneity!!! This is the reality of another dimension since the 1980s!!! A class of more than 50 students singing together!!!

Li Lingyu - Pink Memories (1985 or 1987)
When I was in junior high school, my family moved to another military compound, which was relatively small. One summer, the man in charge of the wire broadcasting was particularly fond of singer Li Lingyu, therefore I was forced to listen to this song several times a day and was getting sick of. It appeared at all occasions like breakfast, lunch, siesta, morning break, afternoon break, dinner, and evening study. This song became functional and acted as a signal. But why did that man think the group of guys lived here who in fact researched and developed chemical weapons need such a large dose of humanity? I'm growing up at that time, so I can't understand memories, let alone “pink”. I was just confused.

He Wenbiao - Star Wars (1984)
There were no opportunity to listen to foreign electronic music back then, but I had He Wenbiao's tapes. Fast electronic beats, light tones, but at the same time accentuated by smooth melodies. That is to say, in the form of discontinuity and modernity, the continuity is resolutely guarded as the structure of agricultural civilization. The feeling of this song was both new and familiar.

Michael Jackson - the way you make me feel (1987)
I think it might be 1987 when I was firstly amazed by Michael Jackson's extraordinary voice. For instance, the spasmodic sound of "g'on girl" in this song. Moreover, the percussion (including electronic sounds) is so dominant that it's completely different from melody-driven music, something that I've never heard before. If what shaped me before was a continuous, complete, sliding structure, then M.J.’s music was assembled, explosive, mechanical, thus my body changed forever.

Alan Tam - Flowers in the Water (1991)
I probably heard Alan Tam’s songs when I was in high school. I think it might be the Mandarin version. Now every time I think about this song, it is accompanied by a fragrance of hair spray, which suggests that back then people around had started to imitate the hair style appeared in Hong Kong movies. In the meanwhile, this song is accompanied by the aura of poetry and verse of the Tang and Song dynasty, probably Li Shangyin. I had no opportunity to hear Claude Debussy’s music or seen Claude Monet’s paintings at the time, but was reading Song Iambic Verse Appreciation Dictionary and Works of Stream of Consciousness Literature. Words, rhymes and instruments overlapped on different levels to create rippling impressions. For me, this is the jewel of Chinese culture.

Chen Li - Vain Longing (1987)
Compared with that in HK and Taiwan, pop songs created in Mainland China are relatively a little less atmospheric and weak in literary grace, but instead more functional. It's just like a knife. We shall consider it as a back step from Claude Monet and Georges Seurat to Gustave Courbet, which was seemingly mild, indirect, smooth-moving and petit-bourgeois, but in actuality violent and straightforward. It is a naked socialist revolution with sleek materials, that is to say, 'the pebble is the weapon of the proletariat'. The proletariats here are of course people like me, enslaved to the adult world and lacking the knowledge to rebuild my life, culturally barren, emotionally exuberant yet repressed and ultimately, blind.

Chi Zhiqiang - Tears Behind the Iron Window (1988)
Once a friend of mine from a band took me to visit a released prisoner. He was sentenced to eight years in prison for robbing a few cents during the first round of Yanda---or "strike hard"---campaign in early 80s, and has been disconnected with society ever since. He had recorded over 200 prison songs. I had heard many people sing Tears Behind the Iron Window before then, but the lyrics always varied and the tune was not always Chi's version. The song’s style is not that decent. Of course it's not in good taste. Do not expect to give birth to Delta blues or anything here. It's just barren, with nothing but a shaky body. During my growing up I was surrounded by this state of barrenness, not by ECM jazz, for instance.

Cui Jian - It's Not That I Don't Understand (1986/1987)
I heard this song on the radio in 1986. It was a thunderclap. The lyrics were all understandable, but what was it? There was no melody! Several lines running in parallel with no main focus! At the same time there was a feeling of sorcerer’s dance in Chinese folk culture, while the suona horn conducted as a purely physical noise device. There was also syncopation, that is to say, what was once a complete sound now can be syncopated and in disorder. There were also all sorts of clear, disorderly high pitches, hysterical high pitches. ...... I can put it in a clear way at this moment, but back then it was totally shocking, and no words could describe it. The structure, and the form of energy, was completely different from the world I was in before, the one that had been fabricated beyond my knowledge.

Xue Yue - Don't Kiss Me on the Street (1986)
I think I heard this song in a movie written by romance novel writer Chiung Yao. The rests were particularly moving. As I said it was the only musical note I can recognize. It was certainly in the absence setting of classical Chinese aesthetics that I recognized it immediately: the special sense of space. Not the scholar taste of Southern artists Ni Zan and Su Dongpo, but the northern one, such as Fan Kuan, where first there was large size and then the blankness of his painting was vast. By the way at that time I might probably hadn't even seen Zhang Daqian’s modernized ink paintings. Anyway, the few lines of refrain reveal themselves bare from the vacancy when there was no accompaniment, not in the form of flesh, but in the form of machine, with the sounds of the street behind it.

Roman Tam, Jenny Tseng - Heart of Steel (1983)
Actually, what attracted me most in The Legend of the Condor Heroes were the villain lady Mei Chaofeng, and the sort of thing like the Nine Yin Skeleton Claw, the brains, the miserable moonlight, and the people abandoned by human society. It was something that beyond my imagination at that time. Heart of Steel was about deserts which the singers'd never even seen, and was sung in Cantonese, a language I didn't understand at all. For me, these all had to do with the boundaries of imagination. Despite being drawn to the cult elements, I succumbed to the haunting sentiment of the touching theme song and later gradually forgot (or pretended to forget) about Mei Chaofeng.

Wang Di - Harvest Beans From Melon Seeds (1986?)
Wang Di's most famous song is the one from The Trouble Shooters. But I've also heard another one. I forget the title, and just remember the lyrics are like "My dad said this to me, what the fuck are you doing there ......" It's the first time I've heard dirty talk in a song. The feeling was so great. Me and a few of my classmates suddenly became angry. That is to say, the anger, which we didn’t make sense before, was suddenly given a form by Wang di. It was very simple blues rock, and it was very real angry youth. Of course, for many years afterwards, me and my friends encountered the same problem: anger needs a form.

Liu Hong - Platform (1987)
In 1987, this Cantonese singers were different from ones of Hong Kong and Taiwan later on. Their Mandarin was not standard either, but with a flavor just as a tea restaurant chef, which was not at all high class. "My heart is waaaiting, forever waaaiting, yeah." But, more or less, it's probably fair to say that this is the singing-with-one's-life style. I might be despaired of the aesthetics at that point since I was just raised up by those people with no taste at all.

Zhu Feng - My Life (1985)
This is the ending song of Master Haideng. For a while such kind of particularly masculine female singers with a strong voice were very popular. I must have been in my first year of high school at that time and was questioning everything. There's nothing special about this song, and it was just frank and dark in particular. It was like the beginning of works by so-called ghost kung fu writer Chen Qingyun: Darkness! Darkness! Darkness that you can't see your own hand! Particularly poor in aesthetics, but super powerful for the singer. What a bold and rough life. Whether darkness or slumber, the will to life was the driving force of this voice.

Jacky Cheung Hok-yau - Passing through Your black hair, my hand（1985）
It is possible that Lo Tayon’s original version was better，but I happened to hear Cheung’s version first. It is very amusing about his slurred Mandarin, which sends out a sort of pretentious feeling: three “of”s in one sentence, or three repetitions in trivial parts which carry no meanings. Plus such affected unclear Mandarin, with all aforementioned elements, produced a shadow and echo in language. That’s probably the reason why I became curious about those minor stuff later on.

？- L’Internationale (2018 park version in the mix)
Of course it was not the metal band Tang Dynasty’s version. At that time, I wasn’t heard of them. It was sung together in the streets with a lot of people in protest. Many of them forgot the lyrics, but somehow everyone kept singing along and we were moved. It was live event at the first place, not hi-fi. And it was something other than language. It was below the language. It was mumbling, humming, and a lot of voices, mixed in between the melody and the lyrics and also mixed in the turbulent space and time of streets, which could be seen as different forms of life being layered one by one. As to me, music is a living event. This experience was an enlightenment.

Li Yaming - Cool (1988)
"A kind of freedom that was once dreamed of is like a coastline, which can be twisted and changed". The song itself is the coastline that keeps twisting and changing, the melody of which was written after the lyrics, neither was neat, but constantly extending and turning, with a constantly autochthonous generated melody other than a flowing line. This might be the collaboration between Chyi Chin and Hsia Yu at their peak. But Jiang Jianmin's guitar was fluid, and it connected this unearthly spectacle with carbon-based life (I later read Neuromancer, what that song achieved might be the landscape of the matrix that the novel protagonist comes into after human-machine intergration). This was the unspeakable feeling that I experienced when I skipped my night classes in grade three of senior high school: freedom was no longer an idea, an object, but a structure, a relationship always in flux.https://music.163.com/#/program?id=2064761112

voice: Hsia Yu
voice and environment sound recorded by: Hsia Yu and Yan Jun in Taipei and Paris, 2011-2012
other sound materials played and recorded by: Yan Jun in Taipei, Shanghai, Lanzhou, Hangzhou, Nanjing, Wuxi, Suzhou, Beijing, Stockholm, Seoul, Berlin and Lausanne, 2011-2014
saxophone in track 6 played by Jun-Y Ciao (Zhao Junyuan), recorded by Yan Jun, through feedback circuit during sound check in Nanjing, 2012
produced, composed and mixed by Yan Jun in Beijing, 2011-2015
mastered by: Taku Unami in Tokyo, 2015

copyrights of poems: Hsia Yu;
copyrights of audio works: Yan Jun & Hsia Yu;
copyrights of poem translations: Steve Bradbury
design: Feng Hao

人声：夏宇
人声和环境声录音：夏宇、颜峻 2011-2012 台北、巴黎
其他声音素材：颜峻 2011-2014 台北、上海、兰州、杭州、南京、无锡、苏州、北京、
斯德哥尔摩、首尔、柏林、洛桑
第6首萨克斯由照骏园演奏（调音），由颜峻录音，2012，南京
制作、作曲、混音：颜峻 2011-2015 北京
母带处理：宇波拓 2015 东京

诗歌版权：夏宇
录音版权：颜峻和夏宇
诗歌翻译版权：Steve Bradbury
设计：冯昊

撒把芥末 密集系列
Sub Jam Miji Series
sub jam m003 2016
www.subjam.org
subjam@gmail.com

For the very first time, an exceptional and very complete panorama (more than 5 hours / 4cds) since origins (circa 1990) of all experimental and electronic music in China, Hong Kong, Taiwan, Singapore and Malaysia.

This anthology features 48 artists from within the Chinese area of influence. It is designed as a journey through what is currently happening underground, under extremely diverse forms. It also looks at the recent past and the key role of pioneers like Wang Fan, Dajuin Yao, and also Hong Kong-based Li Chin Sung aka Dickson Dee who, for almost two decades, has been spreading the word about Experimental music in Mainland China. This album was curated by Dickson Dee on Guy Marc Hinant's invitation. It includes an enlightening presentation on the short yet intense advent and history of the Chinese noise explosion,co-written by Zbigniew Karkowski and Yan Jun.

The Sound of the underground: an overview of experimental and non-academic music in China

The Chinese Cultural Revolution (1966-76) in one way or another eradicated most of the existing culture in China. At the same time as intellectuals were sent to rural labor camps... more
credits
released May 9, 2017
license
all rights reserved

Playing Folk. Sometimes referred to as the 'mecca' of folk music, Greenwich Village in New York gave birth to a musical community that alongside gaining notoriety there, also became an influential subgroup within the larger activist movements for peace and civil rights.
This two hour guide looks back to where it all started for many folk favourites, with music from Pete Seeger, Joan Baez, Jackson C. Frank & many more of whom are still going strong today.

via https://www.nts.live/shows/the-nts-guide-to/episodes/the-nts-guide-to-greenwich-folk-25th-april-2023

http://englishrussia.com/images/meat_ads/1.jpg
http://englishrussia.com/images/meat_ads/3.jpg
http://englishrussia.com/images/meat_ads/4.jpg
http://englishrussia.com/images/meat_ads/5.jpg
http://englishrussia.com/images/meat_ads/7.jpg
http://englishrussia.com/images/meat_ads/8.jpg
http://englishrussia.com/images/meat_ads/9.jpg
http://englishrussia.com/images/meat_ads/10.jpg
http://englishrussia.com/images/meat_ads/11.jpg
http://englishrussia.com/images/meat_ads/14.jpg
http://englishrussia.com/images/meat_ads/15.jpg
http://englishrussia.com/images/meat_ads/16.jpg
http://englishrussia.com/images/meat_ads/25.jpg

via http://englishrussia.com/2009/02/02/sausage-marketing/

http://empilements.incongru.org/index.php?c=not-gay

Shitmat - Invibible Hardcore
KIM WILDE - Words Fell Down
Expoptrue - Discoteca (Radio Edit)
Freddie Mercury - I Was Born To Love You (Max Tundra Remix)
Oldschool Union - Too Mellow For Me
Chicks on Speed - Wordy Rappinghood
Captain Ahab - The Best Party Ever
Steven Grandell - Burn My Eyes
Freezepop - Stakeout
Missing Persons - I Like Boys (Studio)
Takkyu Ishino - Warm Leatherette
Soft Cell - Persuasion
Ural 13 Diktators - Goodbye!
Bronski Beat - Smalltown Boy (Full 12 Version)
Regrets - Je Ne Veux Pas Rentrer Chez Moi Seule (Extended)

http://empilements.incongru.org/var/compilations/not-gay/cover.gif

https://www.mixcloud.com/lylradio/collerette-011122-wdj-chou-chou/

For the first episode of Collerette, DJ Chou Chou selects some favorite gems from
his personal collection of childish tapes, between toys orchestras and nostalgic
electronica ballads.

𝙇𝒆𝙨 𝙈𝒆𝙧𝒈𝙪𝒆𝙯 𝙀́𝒍𝙚𝒄𝙩𝒓𝙤𝒏𝙞𝒒𝙪𝒆𝙨

L’équipe des Merguez Électroniques se réunit pour vous offrir une nouvelle édition pour souffler les 20 bougies des Lez’Arts dans les Murs.
Après 7 éditions qui ont rassemblé grands et petits Montreuillois, danseurs et curieux sur la parcelle des Lez’Arts, on reprend du service.
Pour les hostilités, branle-bas de combat et caresses de velours sur le dancefloor de 13:00 à 00:00 avec du punk, du dub, de l'ambiant, des ritournelles expérimentales et autres brûlots électroniques.
Même formule que d’hab’, gratuit pour les enfants et les moins de 18 ans et 5 euros pour les grands enfants et autres de la majorité.
On clôturera en beauté la saison 2023 de cette parcelle magique.

-
𝙇𝙞𝙣𝙚 𝙪𝙥 𝙖̀ 𝙫𝙚𝙣𝙞𝙧
-
Association Lez'arts Dans Les Murs
Les murs à pêches de Montreuil
71bis, rue Pierre de Montreuil
PAF : 5 € / jour (gratuit pour les -18 ans)
Pas de CB

https://www.facebook.com/events/1069403007378022

7 track album

4 track album

KuNtErBuNt

As close to the sound of being electrocuted as possible, BBBBBBB from Okazaki, Japan recklessly shred all genres into pure energy turning them into some of the noisiest hyper-hardcore to scorch the planet. On the heels of their manic single "SHIN GOD", BBBBBBB unleash an electronic hardcore sound of pure fury, with relentless walls of noise propelled by undercurrents of manic rhythm and panic attack level vocals. No one can stand in the way without feeling the love of their 'Positive Violence'.

This trio will be releasing their 2nd album, 'Positive Violence', on Deathbomb Arc on August 11th ~ their 2nd release for the label, via cassette and bandcamp.
credits
released August 11, 2023

10 track album

Le sucre invite BRK, pour renouer avec l’histoire d’un collectif qui aura fait bouger les lignes d’une scène décalée des musiques électroniques à Lyon. Un territoire musical qui injustement n’a été que trop rarement associé à la culture club.
BRK, collectif des premières heures des musiques électroniques non alignées sur Lyon, s’associe au Sucre pour un événement qui fait place à des esthétiques inédites. Construit autour de cinq propositions de lives ou hybrid set, ce line up fait la part belle à cette scène artistique DIY et underground qui mêle breakcore, mutant bass-core, drill, fakecore, brain dance, noise et electronica dystopique…

𝐵𝑅𝐾 𝑒𝑠𝑡 𝑢𝑛 𝑐𝑜𝑙𝑙𝑒𝑐𝑡𝑖𝑓 𝑛𝑒́ 𝑒𝑛 2004 𝑎𝑢𝑡𝑜𝑢𝑟 𝑑’𝑢𝑛𝑒 𝑤𝑒𝑏𝑟𝑎𝑑𝑖𝑜 𝑒𝑡 𝑙’𝑜𝑟𝑔𝑎𝑛𝑖𝑠𝑎𝑡𝑖𝑜𝑛 𝑑𝑒 𝑠𝑜𝑖𝑟𝑒́𝑒𝑠 𝑎𝑙𝑙𝑖𝑎𝑛𝑡 𝑎𝑟𝑡𝑖𝑠𝑡𝑒𝑠 𝑙𝑜𝑐𝑎𝑢𝑥 𝑒𝑡 𝑖𝑛𝑡𝑒𝑟𝑛𝑎𝑡𝑖𝑜𝑛𝑎𝑢𝑥 𝑑𝑒 𝑙𝑎 𝑠𝑐𝑒̀𝑛𝑒 𝑏𝑟𝑒𝑎𝑘𝑐𝑜𝑟𝑒 𝑒𝑡 𝑑𝑒𝑠 𝑚𝑢𝑠𝑖𝑞𝑢𝑒𝑠 𝑒́𝑙𝑒𝑐𝑡𝑟𝑜𝑛𝑖𝑞𝑢𝑒𝑠 𝑑𝑖𝑣𝑒𝑟𝑔𝑒𝑛𝑡𝑒𝑠. 𝑃𝑜𝑢𝑟 𝑠𝑦𝑛𝑡ℎ𝑒́𝑡𝑖𝑠𝑒𝑟 𝑒𝑛 𝑞𝑢𝑒𝑙𝑞𝑢𝑒𝑠 𝑚𝑜𝑡𝑠 𝑙’𝑒́𝑡𝑎𝑡 𝑑’𝑒𝑠𝑝𝑟𝑖𝑡 𝑑𝑢 𝑏𝑟𝑒𝑎𝑘𝑐𝑜𝑟𝑒 𝑒𝑡 𝑑𝑒 𝐵𝑅𝐾 : 𝑢𝑛𝑒 𝑚𝑢𝑠𝑖𝑞𝑢𝑒 𝑒́𝑙𝑒𝑐𝑡𝑟𝑜𝑛𝑖𝑞𝑢𝑒 𝑖𝑛𝑡𝑒𝑛𝑠𝑒 𝑒𝑡 𝑓𝑜𝑢𝑡𝑟𝑎𝑞𝑢𝑒 𝑠𝑎𝑛𝑠 𝑟𝑒̀𝑔𝑙𝑒𝑠 𝑛𝑖 𝑙𝑖𝑚𝑖𝑡𝑒𝑠, 𝑑𝑢 𝑠𝑒𝑐𝑜𝑛𝑑 𝑑𝑒𝑔𝑟𝑒́, 𝑏𝑒𝑎𝑢𝑐𝑜𝑢𝑝 𝑑𝑒 𝑑𝑒́𝑟𝑖𝑠𝑖𝑜𝑛 𝑒𝑡 𝑢𝑛𝑒 𝑣𝑜𝑙𝑜𝑛𝑡𝑒́ 𝑑𝑒 𝑝𝑎𝑟𝑡𝑎𝑔𝑒 𝑎𝑣𝑒𝑐 𝑙𝑒 𝑝𝑢𝑏𝑙𝑖𝑐.

𝐸𝑛 2007, 𝐵𝑅𝐾 𝑙𝑎𝑛𝑐𝑒 𝑎𝑢𝑠𝑠𝑖 𝑢𝑛 𝑚𝑖𝑐𝑟𝑜 𝑙𝑎𝑏𝑒𝑙 𝐷𝐼𝑌 : 𝑑’𝑎𝑏𝑜𝑟𝑑 𝑑𝑒𝑠 𝑐𝑜𝑚𝑝𝑖𝑙𝑎𝑡𝑖𝑜𝑛𝑠 𝑎𝑢 𝑓𝑜𝑟𝑚𝑎𝑡 𝐶𝐷, 𝑟𝑎𝑝𝑖𝑑𝑒𝑚𝑒𝑛𝑡 𝑑𝑒𝑠 𝑎𝑙𝑏𝑢𝑚𝑠 𝑒𝑛 𝐶𝐷𝑅 𝑒𝑡 𝑝𝑙𝑢𝑠𝑖𝑒𝑢𝑟𝑠 𝑣𝑖𝑛𝑦𝑙𝑒𝑠.

𝐸𝑛𝑡𝑟𝑒 2004 𝑒𝑡 2018, 𝐵𝑅𝐾 𝑎 𝑜𝑟𝑔𝑎𝑛𝑖𝑠𝑒́ 𝑒𝑡 𝑐𝑜𝑙𝑙𝑎𝑏𝑜𝑟𝑒́ 𝑎̀ 𝑑𝑒 𝑛𝑜𝑚𝑏𝑟𝑒𝑢𝑥 𝑒́𝑣𝑒̀𝑛𝑒𝑚𝑒𝑛𝑡𝑠, 𝑙𝑜𝑖𝑛 𝑑𝑒 𝑙𝑎 𝑠𝑐𝑒̀𝑛𝑒 𝑐𝑙𝑢𝑏𝑏𝑖𝑛𝑔 𝑙𝑦𝑜𝑛𝑛𝑎𝑖𝑠𝑒, 𝑑𝑎𝑛𝑠 𝑑𝑒𝑠 𝑙𝑖𝑒𝑢𝑥 𝑎𝑙𝑡𝑒𝑟𝑛𝑎𝑡𝑖𝑓𝑠 𝐺𝑅𝑅𝑅𝑁𝐷 𝑍𝐸𝑅𝑂, 𝑆𝑜𝑛𝑖𝑐, 𝑆𝑎𝑙𝑎𝑚𝑎𝑛𝑑𝑟𝑒, 𝑇𝑟𝑖𝑝𝑒𝑟𝑖𝑒… 𝑝𝑜𝑢𝑟 𝑦 𝑑𝑒́𝑓𝑒𝑛𝑑𝑟𝑒 𝑢𝑛𝑒 𝑣𝑖𝑠𝑖𝑜𝑛 𝑑𝑖𝑣𝑒𝑟𝑔𝑒𝑛𝑡𝑒 𝑒𝑡 𝑒́𝑐𝑙𝑒𝑐𝑡𝑖𝑞𝑢𝑒 𝑑𝑒𝑠 𝑚𝑢𝑠𝑖𝑞𝑢𝑒𝑠 𝑒́𝑙𝑒𝑐𝑡𝑟𝑜𝑛𝑖𝑞𝑢𝑒𝑠 𝑒𝑛𝑡𝑟𝑒 𝑒́𝑛𝑒𝑟𝑔𝑖𝑒𝑠 𝑅𝑎𝑣𝑒 𝑒𝑡 𝑃𝑢𝑛𝑘.
𝐴𝑢𝑗𝑜𝑢𝑟𝑑’ℎ𝑢𝑖 𝐵𝑅𝐾 𝑠’𝑒𝑠𝑡 𝑢𝑛 𝑝𝑒𝑢 𝑚𝑖𝑠 𝑎𝑢 𝑣𝑒𝑟𝑡, 𝑚𝑎𝑖𝑠 𝑟𝑒𝑠𝑡𝑒 𝑜𝑢𝑣𝑒𝑟𝑡 𝑎̀ 𝑡𝑜𝑢𝑡𝑒𝑠 𝑝𝑟𝑜𝑝𝑜𝑠𝑖𝑡𝑖𝑜𝑛𝑠 𝑒𝑡 𝑡𝑟𝑎𝑣𝑎𝑖𝑙𝑙𝑒 𝑛𝑜𝑡𝑎𝑚𝑚𝑒𝑛𝑡 𝑎̀ 𝑝𝑙𝑢𝑠𝑖𝑒𝑢𝑟𝑠 𝑟𝑒𝑙𝑒𝑎𝑠𝑒𝑠 𝑎̀ 𝑣𝑒𝑛𝑖𝑟…ℎ𝑡𝑡𝑝𝑠://𝑤𝑤𝑤.𝑏𝑟𝑘𝑐𝑜𝑟𝑒.𝑓𝑟/

💥 𝗹𝗶𝗻𝗲 𝘂𝗽
☽ Le Crabe (live) (Nancy)
le-sucre.eu/artiste/le-crabe/
☽ Kodek (live) (Jurmala Records / Lettonie)
le-sucre.eu/artiste/kodek-live/
☽ Stazma (live) (Concrete Collage - Meganeural - Peace Off -Structural Damage / Aix en Provence)
le-sucre.eu/artiste/stazma-live/
☽ Eat Rabbit (hybrid set) (Lyon)
le-sucre.eu/artiste/eat-rabbit/

ℹ 𝗶𝗻𝗳𝗼𝘀 𝗽𝗿𝗮𝘁𝗶𝗾𝘂𝗲𝘀
— 8€ avant minuit / 12€ après
— événement interdit aux mineur·es
— pièce d’identité obligatoire : Carte d’identité, passeport, permis de conduire, carte vitale (photo non acceptée)
— fermeture de la billetterie en ligne : 03:00
— fin des entrées : 04:00

📍 Le Sucre, 50 quai Rambaud, 69002 Lyon
Accès par les escaliers côté Saône
Ⓣ Tram T➊ : arrêt Hôtel de Région
Ⓑ Bus S➊ : arrêt La Sucrière
Ⓥ Velo’v : station Sucrière ou Les Docks
Ⓥ Vaporetto : arrêt Confluence
Le Sucre et sa terrasse en rooftop sont accessibles aux personnes en situation de handicap

https://www.facebook.com/events/674943391153243

Ordinateur Dans La Tête + Cookie Collective + All You Can Eat
Bips et boups de techniques variées ❤

• R41ÑB0W TR4$H - chiptune, toybending, sketchy shit (Canada)
Dominique Pelletier est une artiste multidisciplinaire née à Québec et vivant à Montréal. Sous le nom de R41ÑB0W TR4$H, elle rassemble et modifie jouets, jeux vidéo, synthétiseurs et matériaux obsolètes pour jouer des musiques oscillant entre chiptune, noise, musique populaire et expérimentale. Elle joue aussi du thérémine, de la scie musicale et de la basse. https://r41nb0wtr4sh.bandcamp.com/

• Bobby Snaxx - échantillonnage croustillant (Canada)
« Échantillonnage » est un mot beaucoup trop long et prétentieux. C’est tout de même le mot le plus précis pour décrire le travail de collage sonore que Maxime Robin réalise. « Bobby Snaxx » est son alter ego qui aime les chips. Il fait aussi parti du groupe de musique canine Morsure Attaque. Sa productivité est surtout canalisée dans la productions de courtes boucles vidéos musicales pour internouilles. https://maximerobin.bandcamp.com/music

• AFALFL - djembé x percussion x synthgroovy
AFALFL se retrouve attiré par la scène musicale électronique expérimentale et underground parisienne. Le producteur et codeur en direct utilise des logiciels open source, ainsi que des boîtes à rythmes, du code informatique écrit et des synthétiseurs...
https://afalfl.bandcamp.com/

• Secours Cathodique - musique oculaire
Duo de musique visuelle, qui fera sa sortie d'une semaine de tunnel audiovisuel au sein du fameux Localun.
Au programme : mix vidéo de DVD, Orgues fatigués, et expérience audiovisuelle à faire pâlir le paysage audiovisuel français.

• Cyanide Dansen - 8-bit tabasse
8-bit tabasse. Marie P. a apporté sa chiptune mélodique et rentre-dedans sur trois continents mais c'est la première fois qu'elle voit Lyon, c'est donc avec très grande joie qu'elle vous fera transpirer à grands coups d'ondes carrées de ses gameboy. https://cyanidedansen.bandcamp.com/

• Glafouk - skweee
« Le skweee, c’est la vie ! » serait l’un des mantras qu’il prêche dans les déserts en chouinant ostensiblement, honorant ainsi son prophétique prénom de « nowhere man » à sous-marin jauni par les six roses. Attendez-vous donc à devoir subir une bonne heure de SID simple et funky, charcutée à la truelle et rejouée approximativement sur l’pingouin des droits en liberté conditionnelle. De quoi prendre le temps d’aller rechercher une bière ou de palabrer au calme avant d’écouter les chouettes lives qui suivront cette prestation bien branquignolesque... https://glafouk.bandcamp.com/

Samedi 19 août 2023 de 20h0 à 01h30
Entrée : adhésion + 7€
C'est au GRRRND ZERO, 60 av de Bohlen, 69120 VALX-EN-VELIN!
Aucun comportement oppressif ou relou toléré. Test covid encouragé avant de venir. Restauration sur place
https://www.grrrndzero.org/ https://cookie.paris/ https://www.patreon.com/allyoucaneatparis

https://www.facebook.com/events/857925138521323/