La Laverie x Les Before de Couriot présentent :
DIMANCHE 29 JUIN DE 14H30 A MINUIT

Guinguettes stéphanoises / Parc du Puits Couriot
_
Prix libre (au chapeau)
__
de 14h30 à 16h30
et de 18h à 20h

CINEMA DYNAMITE / Un cinéma dynamique artisanal en caravane
En continu : 10 minutes par séance

Les travailleurs et travailleuses de l’ESAT/CDAT de Saint-Priez-en-Jarez vous invitent à plonger dans ce véritable cinéma dynamique artisanal A caravane !
Avec les artistes de la compagnie stéphanoise Le Cri de la Lune, ils et elles se sont aventuré dans l’écriture du scénario, la réalisation du film, l’aménagement de la caravane, la construction d’effets spéciaux et leur mise en œuvre pendant la projection...
Une véritable expérience cinématographique qui vous fera dire “le cinéma c’est de la dynamite” !

—
à 17h

2 SECONDES - Compagnie du Petit Monsieur
Spectacle définitivement muet, résolument burlesque - 40 minutes

2 secondes, c’est le temps qu’on met pour replier une tente comme le prétend le mode d’emploi...
Petit Monsieur nous montre que c’est une mission quasi impossible !
Technologiquement brillant, incroyablement confortable, mais tellement sournois !
Coincé dans son costume trois-pièces étriqué et ses chaussettes rouges, il va l’apprendre à ses dépens.
En s’inspirant de ces circonstances banales, il les fait basculer doucement dans le burlesque en jouant sur le comique de situation accentué par les vertus clownesques du mime et de l’acrobatie.
Pour la seule jubilation de l’absurde et du rire !

—
à 20h30

DEADWOOD BRASS BAND

Le duo/trio électro-blues azimuté Deadwood revient pour une performance cuivrée Honky Tonk, du bayou en passant par la Nouvelle Orléans, ils embarquent le public sur leur navire de fortune. Un plus grand rafiot cette fois, puisqu’ils sont désormais 10 sur scène.
C’est groovy-punky-jazzy et rock’nroll baby, comme un feu sans fin qui fait danser les cendres.
Un cri d’amour au milieu des fantômes. One, two... You know what to do.

via https://lenumerozero.info/La-Laverie-aux-guinguettes-Cinema-Dynamite-2-secondes-Deadwood-Brass-Band-7485

Non, je veux dire ils ont toujours une longueur d'avance :)

Et oui je sais c'est pas tout jeune, c'était juste pour créer le topic

http://www.youtube.com/watch?v=z_cfvDVqpyE
http://www.youtube.com/watch?v=ohytG5wyFvk
http://www.youtube.com/watch?v=t6FPfd59834
http://www.youtube.com/watch?v=dvMgwgFat2o
http://www.youtube.com/watch?v=BDPk6OQkpeI
http://www.youtube.com/watch?v=HcOZ6xFxJqg
http://www.youtube.com/watch?v=IxaWldrxP9A
http://www.youtube.com/watch?v=bDbpzjbXUZI
http://www.youtube.com/watch?v=dlf6n7IzZYk
http://www.youtube.com/watch?v=fzA5H3LYwoQ

2 track album

1 track album

All text and images are taken from of The Táin translated by Thomas Kinsella from the Irish epic Táin Bó Cuailnge

Many remscéla, or pre-tales, lead up to the Táin. Though not strictly part of the story they are important tributaries. This work details the remscéla contained in p.1-20

The Táin saga is probably Ireland’s most illustrious saga. It’s a sort of King Arthur-style Irish legend. It’s a heroic saga and deals with a cattle raid basically, what else. Táin means raid, it was originally Táin Bó Cuailnge, the Cattle Raid of Cooley. It deals with a conflict between the forces of Ulster and the forces of the rest of Ireland. It concerns a queen in the south of Ireland called Medb and her allies attacking Ulster to steal a prize bull. The fact that the Táin is about a battle, I’m sure, particularly about a battle over something, uh, some sort of strange totem reflects something very close to the soul of the Irish. All the wars are merry and all their songs are sad, I mean they do seem to make a-a-a, do a lot of fighting about, over things, yeah I think there’s a certain amount of significance in that. Queen Medb was the lady who led the allies of the south of Ireland and, uh, she was a very wily old queen — With her royal women sitting outside Emain Nes daughter of Eochaid. Druid Cathbad from the Tratraige of Mag Inis passed by. ‘What is the hour lucky for?’ the girl said to him. 'For begetting a king on a queen', and so she took him in. Feast of Othar, Nes was delivered of the boy Conchobor. Fergus mac Roich, king in Ulster, sought Nes for his wife. ‘Only if I get in return kingship for my son. Give the name to him for a year so they can call his son the son of a king’. Year to the day Fergus called back his pledge, but the men of Ulster said they were insulted that Fergus had like a dowry given them. ‘What Fergus sold let it stay sold, what bought let it stay bought’ and in this way Conchobor became king and with kingship Fergus parted. No wiser in the world, no harder warrior, every man in Ulster worshipped Conchobor. Heroes and brave champions every fight went before him, any man gave him a bed gave him his wife to sleep with. Spoils and severed heads kept at the ruddy branch, the king sat at the red, red being royal. Téte Brec, the Twinkling Hoard, sets of goblets drinking horns. Conall Cernach’s swift to hand the black shield of Cúchulainn. Hundred and fifty rooms panelled all in red yew, gold birds on copper screens, coal vat for drinking. Over Conchobor’s head there was gold apples on silver rod if it shook all noise would stop you would hear a needle drop. Crunniuc lived with all his sons in a lonely place in the mountains. When he was in the house alone he saw coming toward him a woman. She began to work as though she was well accustomed to the house and without being asked when night came slept with Crunniuc. A fair in Ulster was held, in his best clothes Crunniuc set out. Woman said it would be well not to grow careless or boastful. At the end of the day the king's chariot was brought onto the field and the crowd said nothing could beat those horses. ‘My wife is faster,’ said Crunniuc. He was taken before the king, messenger sent for the woman. ‘Now I’m with child’ the woman said ‘to go is a heavy burden’. She went to the fair as her pangs gripped her. Cried out ‘Wait till my child is born a mother bore each one of you’ but the crowd would not be moved. What was that shuddering sound in the hollow of your womb the uproar at your waist. Hurts all ears that hear it my heart trembles as at some terror or cruel injury. She turned to Cathbad and said ‘Druid can you answer him? Though the womb was my own what it holds no woman knows’. Twisted yellow tresses, green irised beauty, cheeks flushed like foxglove howled in your womb. Chariot warriors will deal blows for her jealousy dog her like a flame. On her waist placed his hand ‘There is a girl there’ he said. Derdriu shall be her name and everywhere leave little graves. One time in winter the girl’s foster father was skinning a milk-fed calf on the snow and a raven the blood was drinking, she said, ‘I could desire a man those colours; hair like the raven, his cheeks like the blood and his body like the snow on the ground’. ‘He is close at hand’, Leborcham said ‘He is Noisiu the son of Uisliu’ Noisiu was chanting along the ramparts near Emain, the three sons of Uisliu chanted very sweet. She slipped out to pass him as though she didn’t recognise him. She said ‘I could desire a young man like you’ ‘You couldn’t,’ he said ‘for you have to yourself the king of all Ulster and been raised for his bed’ at that she rushed at him grabbed the two ears of his head said ‘Shame and mockery if you don’t take me’. Sons of Uisliu crossed the sea with hundred fifty fighting men. Came to Alba hired themselves out as soldiers to its king. Built their house so that no one could see the girl that was within. Steward came round early saw the girl went to wake the king. ‘I never saw a woman that was fit for you until today, if you have killed Noisiu mac Uislenn you can have the woman’. ‘No’, said the king ‘But ask everyday if nothing can be done then we’ll call together fighting men, kill sons of Uisliu’. News reached Ulster and everyone said that it would be a shame, sons of Uisliu fall for the fault of a bad woman. Conchobor sent for them and the sons of Uisliu crossed the sea promises of safety came to stand upon Emain green. Noisiu was met by a spear thrust broke his back and through him down. Field broke out in slaughter Derdriu taken and her hands were bound. No one left but by the spike of spear or by the slash of sword. Three hundred and fifty men laid down, Emain Macha burned. 'Noisiu’s voice a sweet sound to hear forever, the three sons’ triumphant song. Now I need not watch nor wait for Noisiu, the son of Uisliu will not come'.
credits
released May 2, 2025

All work Milkweed
mastering by Rupert Clervaux

15 track album

Hi Electro-people ! We are happy to share with you exclusive LIVE set prepared by our neighbour from Finland - Konerytmi !
Konerytmi is the brain-child of longtime Electro musician Kirill Junolainen. It's a fusion of Electro, Techno, and Acid analog audio with a precise vision. Enjoy and thanks for listening !
Playlist:
01. Meripihka | Happolaatikko EP | EMC
02. Kvantti | Voimalaitos EP | Industrias Mekanikas
03. Sattumuksi | Sanaton EP | Wex\Telomere
04. Perhonen | Sanaton EP | Wex\Telomere
05. Tietokonegrafiikka | Voimalaitos EP | Industrias Mekanikas
06. Nokia 3310 | Musiikki Ja Arkkitehtuuri LP | Shoganai
07. Turun Palloseura | Muotiviesti EP | Eudemonia
08. Hakkeri | forthcoming
09. Breikkitanssi |forthcoming
10. Voimalaitos | Voimalaitos EP | Industrias Mekanikas
11. Replikantti | Various Artists | Kraftjerkz
12. On Hauskempaa Laskea | forthcoming
13. Kulma | forthcoming
14. Kolme-Nolla-Kolme | Mielenohjain EP | Wex\Telomere
15. Happo-Laskin | forthcoming
16. HUV | forthcoming
17. Tervetuloa Suomeen | forthcoming

All music written & produced by Kirill Junolainen

all Us: 1-866-HNYPQ-69
credits
released May 23, 2025

20 track album

Scores of American newspaper articles of the late 19th and early 20th centuries open with the proverb, "A whistling woman and a crowing hen never will come to any good end." Such articles then typically go on to exhort their readers that this well-known aphorism has now become outdated, and that we live in such modern times that it is now possible for a woman to stand in public before God and man, pucker her lips, and whistle without shame.

Such were the myriad tiny advances of the feminist cause in parallel to the movement toward the right to vote. History, however, does not move simply in one steady march in one direction. A female acquaintance of mine reported that at her Catholic high school in Baltimore during the early 1960s, she was advised by one nun that a whistling girl "makes the virgin weep."

One article from the San Francisco Chronicle from June 26, 1904 was titled "Whistling as an Art is Drawing Pretty Lips to a Pucker” and began with the verse:
"Boys may whistle but girls must sing
Now I call that a curious thing
If boys can whistle why can’t girls too?
It’s the easiest thing in the world to do."
Such a seemingly small, corny few lines were, in fact, one of innumerable works of social protest that lead to the establishment of whistling as a profession for hundreds of women over the next several decades.

Agnes Woodward, the founder of the California School of Artistic Whistling (and several satellite schools) was one of many who sought to reassure the pubic that whistling was good for one's health (and, it is implied, would could cause no physical harm to one's daughters). Rather overstating the case in her book Whistling as an Art: A Method for the Development of Tone, Technique and Style (Fischer, 1925), she wrote: "Whistling as an benefit to health is unsurpassed. It strenghens, by the constant practice of deep breathing, the lungs, the throat, and the diaphragm."
There was good science available to back her claims. For instance Dr. L.K. Hirshberg, AB, MA, MD of Johns Hopkins had already published a decade earlier in the Pittsburgh Post Gazette in April 1915:
“They hygienic advantage of whistling is only beginning to be recognized by psychologists and public health officials; most medical men, however, especially of the strict laboratory kind scoff at the very idea of it. Yet as an aid to health, whistling is the equal of the most muscular exercises and far superior to medicines, mud baths and morbid medicamentations.”

Woodward's influence is, in fact, recognizable to every listener, if only in that she trained the single most ubiquitous female whistler of the 20th century, Marion Darlington. Although she remains obscure, Darlington's whistling performances in the first five Disney animated feature films have been absorbed by millions. Many other female whistlers toured widely for decades, some becoming so popular that they were able to make sound recordings.

"Whistling as a vocation," Woodward wrote, "furnishes to the competent and finished solo whistler a remunerative and satisfactory livelihood in concert, in Chattauqua and Lyceum work, in vaudeville, moving picture houses, and other places as well as in special solo work in church services. As a stable and reliable income to the intelligent and capable instructor, it is quite lucrative."
Within Capitalism, financial independence is among the most sought-after short-term gains for any liberation movement.

Fame lasting after death eluded most of the performers presented here for a variety of reasons. There are instances of faded, perhaps trite, bits of tin pan alley, and the legacy of minstrelry is equally as pervasive as in other aspects of American popular music of the time. The influence of a movement toward a post-Romantic/ post-Darwin interest in a glorified nature of sunsets, campgrounds, woodland creatures, and non-urban, undissipated healthfulness as the women-whistlers connect themselves performatively and relentlessly with birds. But there are certainly bona fide virtuosos among them, and their contributions to American sound-art deserve a good end.
credits
released August 12, 2018

All tracks recorded 1918-27 except 1 (recorded 1907) and 13 (recorded 1947).
Transfers and partial restoration by Ian Nagoski
license
Some rights reserved. Please refer to individual track pages for license info.

http://empilements.incongru.org/img/header.png

Pour commencer :
* L'Éventail de la Destinée : http://empilements.incongru.org/?c=eventail
* The Butt Fetish Anthology, vol. 2 : http://empilements.incongru.org/?c=buttfetishvol2

Note: Cassette and digital versions contain bonus track 'Wucher', not on vinyl album. Vinyl album already released in summer 2022.

„a rhythmically and texturally rich amalgam of electronic tropes characteristic of krautrock, Fourth World aesthetics and Möbius’s own other works“ (theQuietus, 21 July 2021)
thequietus.com/articles/31813-guido-mbius-a-million-magnets-review

In May 2022 Guido Möbius released his 12” album „a million magnets“ on emphase records. Much of it sounds as if he has left the music to its own devices. As if he has given it space instead of closing it in and channelising. Little seems to be organised, reflected or calculated. Rather it booms and pulses and chugs and swells.

„a million magnets“ features some musical guests, among them the percussionist and composer Andrea Belfi on drums. Möbius took Belfi’s drum recordings as a trigger for the structure and character of each track on this album.

So we get the opening title ABAYANGA with its stoic pulse and airy cymbals. Or SCHLUCHT with such restless drums, fluttering feedback and the mantra-like spoken-song of YUKO MATSUYAMA. The magical HOW TO NEVER MAKE UP is almost a song: feverish percussion (Andrea Belfi on rimshots, ANSGAR WILKEN on the table top), a rich bass and the otherworldly singing by JANA PLEWA.

The accordion on WINDJAMMER seems to blow in all directions at the same time, propelled by Belfi’s hounding cymbal playing. Side B starts with a reflection of Windjammer: DISCRETE WIRING. Guitar riffs in endlessly circling movement and Yuko Matsuyama’s voice and all that it conjures up. FEED ME FOG freely improvised with on drums and feedback is simply complete as a self-contained piece. The singing on CHAYYAM comes from the Cambodian PRAK CHUM, whose voice can also be heard on the title track of Möbius’s 2016 album ‘Batagur Baska’.

This tape edition is not just a reproduction of an LP in another format, it‘s more than that. The beautiful artwork, the full on body print of the cassette itself and a bonus track make this edition a must-have for fans and tape lovers. Sound wise, the natural tape compression adds an extra to the warm and rich sound of the original version for vinyl. The tracks on this cassette are carefully mixed, creating a constant flow that makes „a million magnets (and more)“ even more a musical journey. This edition is limited to 75 copies.

About the artist:

Guido Möbius is one of those musicians you can positively recognize by their sound. At that it doesn’t matter whatever musical stops Möbius is pulling out or what instruments or stylistics he’s applying. His very own musical dialect attests his authorship. If Möbius sends one of his tracks on its journey you’ll never know where that journey might end. And it’s enormous fun to follow its musical mutations. The Berlin musician masters the art of subtly slipping us radical sounds and keeping a track in its flow even with the most unexpected twists and turns.

Guido Möbius runs the music publishing and PR agency Autopilot. His record label emphase records releases one-instrument-singles in an irregular cadence. Together with the singer Svetlana Spajic and drummer Andi Stecher he plays in the trio GORDAN. Möbius lives in Berlin. a million magnets is his sixth solo album.
credits
released December 2, 2022

Guido Möbius is published by Autopilot Music Publishing
www autopilotmusic com
Andrea Belfi is published by Strictly Confidential

Guests:

Abayanga:
Vocals by Abayanga, cymbals by Andrea Belfi.

Schlucht:
Vocals by Yuko Matsuyama, drums by Andrea Belfi.

How To Never Make Up:
Vocals by Jana Plewa, table by Ansgar Wilken, rims by A.Belfi, flute by Jutta Mayer.

Windjammer: Ride by Andrea Belfi.

Discrete Wiring:
Vocals by Yuko Matsuyama, ride by Andrea Belfi.

Feed Me Fog:
Drums and percussion by Andrea Belfi.

Chayyam: vocals by Prak Chum, hi-hat by Andrea Belfi, video by Tim Zerban.

Wucher: cymbals by Andrea Belfi

Vocals on „Abayanga“ by Abayanga, originally released by Sunset France on "Musique de l’Afrique traditionelle Vol.2“; vocals on „Chayyam“ by Prak Chum, originally released by Sunset France on "Musique de l’Asie traditionelle Vol.1“, used by friendly permission.

Mastered by Mike Grinser at Manmade Mastering.

Photograph and J-Card Design by bleed Air.

"Every follicle a valve or a thin brass pipe in some vast
breathing instrument."

-Ed Atkins-

Gyermekek vagyunk, minket az iskola untat,
halottnak tettetjük magunkat.
credits
released May 2, 2025

Vocal sample in A02 from 'Nancy Sings' by Jandek.

Written, performed, recorded, mixed and mastered by Gábor Kovács
cover by Gábor Kovács
2025.
Bruxelles

19 track album

A nice invitation by Fusion Festival, to play also a dj set at Dubstation in the afternoon. It was a lot of fun and I'm happy to do these things more often. Feel free to contact me:

booking[at]catani-music.de

/ catani
https://www.mixcloud.com/Patric_Catani/

Playlist:
Leila - Underwaters (one for Keni)
Os Barbapapas - Buena Onda
Jukio Kallio - Temple
Patric Catani - Family Circus (Piper Street Sound Remix)
ILL TILL & Dhirty6 Cru - Ich und Du
Disrupt - Meanwhile Deep beneath the Island
WOLS - Aramus Army vs Our Sneakers
Leese feat. Capiuz) - Skadu
ILL TILL - Unreleased Classic
Ridiculon - Retro Gnossienne No.1
ILL TILL - Unreleased
xKillx - BMBK0004
ILL TILL & Xberg Dhirty6 Cru - Dhirty Dancing (After Aua Remix) (feat. Man in the Mirror & Angxbeisser)
Lavender Worm - Lasagne Rhythm
Senor Coconut - La Noche Cool
Glenn Rune Galfos - Sid Track (C64)
Candie Hank - The Fox
Ya Tosiba - Gelu (feat. Trauma Trauma)
Patric Catani - Coco
ILL TILL & Dhirty6 Cru - Nix XL (Mad-EP Remix)
Chrizpy Chriz - China Town
Schlammpeitziger - What's Fruit (Candie Hank Remix)
Atom TM - Besame Mucho

Patric Catani - Official Website:

http://patric-catani.com

Peter Ole Jorgens + Vincent Epplay + Jorgen Teller + David Fenech
Live @ Olympic Café

17 JUIN 2025 - 20h00
OLYMPIC CAFE
20 rue LEON
75018 Paris

Pour la première fois en France, la rencontre sur scène de deux musiciens Danois et de deux musiciens Français. Ils ont joué et enregistré récemment en Suède et au Danemark (avec également Jac Berrocal) et se retrouvent ce soir pour un concert unique.

- Jørgen Teller est un guitariste très particulier, qui a inventé son propre instrument appelé « Bastard », qui est en fait un instrument hybride entre une basse et une guitare. Il a joué avec de nombreux musiciens dans le monde entier, notamment Otomo Yoshihide, Rhys Chatham, Tony Conrad, David Thomas (Pere Ubu), Jean-Francois Pauvros, Blaine Reininger (Tuxedomoon), Kristof Hahn (SWANS), Pierre Bastien, Mark Cunningham, Kim Cascone, Macromassa... et bien d'autres encore !

- Peter Ole Jørgens est un batteur et compositeur danois. Il a une technique de batterie étendue, fabriquant lui-même ses propres sculptures sonores pour étendre sa batterie. Il a enregistré plusieurs albums avec David Thomas (Pere Ubu) et également avec des improvisateurs renommés tels que Peter Brötzmann, Evan Parker, Andrea Centazzo, David Moss et bien d'autres.

- Vincent Epplay, artiste/musicien, élabore un travail mettant en jeu la matérialité du son et ses modes de réception. Développant une pratique qui emprunte à la fois aux arts visuels et aux musiques expérimentales, il interroge les rapports son/image. Son travail à été montré dans de nombres lieux d’art (Palais de Tokyo, Centre Georges Pompidou). Il se produit régulièrement en concert avec Samon Takahashi, Bader Motor, et en trio avec Jac Berrocal & David Fenech.

- David Fenech est un musicien parisien, guitariste, chanteur, improvisateur. Son style est en marge du rock, du jazz et des musiques improvisées. Il a enregistré et joué avec des musiciens aussi divers que Felix Kubin, Jad Fair, Pierre Bastien, et en trio avec Vincent Epplay et Jac Berrocal.

26 track album

8 track album

via https://www.youtube.com/channel/UCVveoFZCpwyaMsJiTAMXnNQ

on commence par ça

http://thirdworlds.net/img/exmilitarysmall.jpg

http://soundcloud.com/deathgrips

...Quelques Morceaux de "gALettE"...

via https://www.youtube.com/channel/UCrWIQKiZQ214Bv4dxieSc4g

via https://www.youtube.com/channel/UCB6I8n41NhGZR49Ccz2FJAg

"Droges", premier EP maintenant disponible : https://idol-io.ffm.to/lesinvisibles 15.01.26 - Droges en concert à La Maroquineriehttps://my.weezevent.com/drog...

via https://www.youtube.com/watch?v=Jwm7IhecoJc&list=PLa9uEYVsrmjQexrBFBM9iDxBpD9PU4prh&index=1

9 track album

HOODED - Real Headz II from social harmony

via https://socialharmony.bandcamp.com/merch/hooded-real-headz-ii

J.G.G. began making music under this name in 2013, after a dream in which he discovered a melody capable of bringing about the end of the world. That dream led to his first album, Intentos, released on cassette in 2014 and later on vinyl in 2015. He has since continued producing music and releasing it through his own label (Ediciones Populares), as well as through other labels in Spain (Discos Mascarpone, Discos Walden), in Europe (Cut Surface, Schamoni Musik, Tonal Shifts, Manufacture Errata), and in Asia (Tobira Records). His music shifts between psychedelic, early electronics, dub, exotica, ambient, and pop.

J.G.G. worked intermittently on the 13 tracks of Bombolla between January and July 2024. He always tries to avoid overworking parts and melodies, as he likes to preserve the spontaneity of first ideas and takes. The concept behind the album: enthusiasm!
credits
released May 16, 2025

Music by Jordi Gegé
Recorded in Arpa Global (Barcelona - SPAIN)
between september 2023 and july 2024
Master by Brice Kartmann.

Artwork by Jordi Gegé
Layout by UJNSQ
Printed in risography at La Fabrique d'Usages Numériques (Tours - France) Un je-ne-sais-quoi 2025 - UJNSQ-055

Track Listing-

You're To Make Young Gems
Dumhevae
Loin Loin's Doings
Guilty Wind Or Wing
Crown Of Awful Ways
Spiddletop Knuck Knuck
Rainbows Made Of Meat
Strike Them Hard Drag Them To Church / Snake Bites
Coal Mound
Horse Flats

"Caroliner moves into a more mannered, less rocking phase with Strike Them Hard, Drag Them to Church. The lengthy title track is a suite of simple choral music, promoting the major thematic element of eerie organ alongside deep gurgling vocals, squeaky disembodied squeals and assorted groaning of a whole community of child-like phantoms. Eastern influences appear, the off-pitch erhu warble and buzzing sitar edging Asian-tinged aspects into Caroliner’s testaments of hard times in the Old West."
-Ian Christe
credits
released January 1, 1992

Caroliner Rainbow Wire Thin Sheep Legs Baking Exhibit

* Monÿang à 20h30
* Sunk Heaven [NYC] à 21h30
* O_U_T_R_E_N_O_I_R à 22h30
* EAUX-FORTES à 23h30

https://www.facebook.com/events/9950812024978117/

https://davidfpresents.com/wp-content/uploads/2025/05/fly44.jpg

À propos de leur musique :

||| _ EAUX-FORTES _ [Catherine Guesde & Hervé Boghossian]
Hervé Boghossian & Catherine Guesde guitares / amplis / feedbacks Un flux sonore en perpétuelle mutation, sculpté – au gré des feedbacks – par deux guitares électriques en mouvement sur des amplis couchés sur table, façonnant un live ondulaire amplifié, dense et vibrant.
https://www.youtube.com/watch?v=AvJpRt5bwyo
Hervé Boghossian travaille la matière sonore dans un champ minimaliste sur les scènes internationales (Europe, USA, Japon) de musique expérimentale depuis une vingtaine d’années. Guitariste électrique rock à ses débuts, passé par le traitement sur ordinateur du son de l'instrument ("Mouvements" Raster-Noton - 2004), le travail sur le feedback pur à la guitare ou comme source pour le traitement électronique via des micros (F.E.R For Eliane Radigue) - Confront Rec.- 2016), il a aussi exploré les possibilités de la guitare acoustique (type folk), de l'héritage "american primitive" à l'abstraction de l'art sonore acoustique au travers de longues pièces qu'il a composé ces 5 dernières années. Il a collaboré notamment avec David Grubbs, Günter Müller, AMM, John Tilbury, Tetuzi Akiyama, Yann Gourdon, Lise Barkas, Seijiro Murayama... et créé Plateformes avec Matthieu Saladin & Stéphane Rives, Harsh avec François Rossi...
https://raster-raster.bandcamp.com/album/mouvements
https://1pt8.bandcamp.com/album/plateformes
https://rvbmusiclabel.bandcamp.com/album/harsh-morne-plaine

Catherine Guesde développe une pratique brute de la guitare électrique, avec une attention aux sons fantômes et à la dissolution des formes. En solo, elle crée des compositions entre folk, drone et noise, parues chez Titania Tapes, Oaken Palace, MMLI… Sa pratique prend aussi la forme d’improvisations libres dans le cadre de collaborations (Leandro Barzabal, Céleste Gatier, Romain Perrot, Richard Comte, Makoto Sato, Antoine Viard, Kole Galbraith…). Elle se produit dans divers lieux et festivals, institutionnels (la Muse en Circuit – CNCM, centres d’art contemporain…) ou underground, en France et à l’international. Elle mène aussi une activité de recherche en philosophie, et de création-recherche autour de la mythologie et des expériences du son continu.
https://mmli.bandcamp.com/album/lore
https://titaniatapes.bandcamp.com/album/tt06-hearth
https://oakenpalace.bandcamp.com/album/what-makes-them-burn

||| O_U_T_R_E_N_O_I_R [David Fenech & Marie-Pierre Rixain]
O_U_T_R_E_N_O_I_R est le binôme formé par Marie-Pierre Rixain (ici en charge de l’apport vocal et des field recordings, ainsi que du sampling, jusqu’alors personnalité de l’arrière des scènes, connue des milieux professionnels et artistiques par son travail d’organisation de concerts et d’expositions photo en lien avec les contre-cultures) et un certain David Fenech (Pierre Bastien, Nurse With Wound, Cosey Fanni Tutti, Jah Wobble;, Jac Berrocal…) : deux activistes au service d’un sound design atypique, et qui se lancent en 2025 dans une “exploration sonore inclassable, mêlant downtempo industriel, kicks droits, percussions froides, field recordings et larsens de guitare électrique.”
Il y a un minimalisme, une rigueur, mélange de rugosité et de substances aquatiques (“In a vast Ocean”). Art de suggestivité : c’est un voyage, des paysages sans trait d’horizon définis en fermeté. Vous les dessinerez vous-même. Insane Ghosts, enregistré en 2024, est annoncé pour le printemps 2025 chez Hublotone, label créé par Hugo Sampeur et Adrien Lepape. Pour sa pleine finition, les deux protagonistes principaux ont invité Alexandre Berly (La Mverte) sur “Toi en moi”. Et la maison de disque entend rendre les choses belles. Regardez la pochette. L’artwork part d’une œuvre photographique du photographe et cinéaste français Antoine d’Agata (Magnum Photos). Beau, non ?
Emmanuel Hennequin – Obsküre magazine – March 2024

https://www.youtube.com/watch?v=3-T04zaG-jg

https://www.youtube.com/watch?v=mVzzk7xYeYA

instagram.com/outrenoir_band

||| MONŸANG
Monÿang est compositrice et interprète. Elle s’intéresse aux états transitoires que l’on peut solliciter dans l’écoute, qui nous permettent de basculer d’un monde à l’autre et de naviguer dans une forme encore indéterminée de notre conscience. Sa musique est conçue comme un espace dans l’espace, à la croisée de musique électronique et acousmatique. Monÿang interprète sa musique en la spatialisant sur des dispositifs de plusieurs haut-parleurs. Elle prépare actuellement son 1er EP en son binaural dont une partie de l’enregistrement a été effectué au CNCM Le Césaré.
https://www.monyang.com/
https://www.instagram.com/monyang__official/
https://youtube.com/watch?v=Q0peEqle0ZY&t=4s&pp=2AEEkAIB

||| SUNK HEAVEN [NYC]
Sunk Heaven was founded in 2012 by experimental musician Austin Sley Julian. Based in performance, no input mixers, and synthesizers, sunk heaven has used the stretches of sonic extremity to produce elegant yet self destructing soundscapes. Through these sonic environments emerge the rhythm and poetry where song lives. Sunk heaven further expands this inventive instrumentation into the experimental electronic conversation. Sunk Heaven tours nationally and internationally, releasing 12 albums in the past 11 years, playing notable festivals including Lobster Fest (OH), Savage Weekend (NC) , Ende Tymes (NYC), Send + Receive (CA). Austin Sley Julian has produced work in Pioneer works Performance residency in Jan of 2021 and Issue Project Room’s Artist In Residence program in the same year of 2021.
Sunk Heaven uses performance in such a way that sets it far from other harsh noise/electronic projects. With wireless technology, Sunk Heaven can perform in a room and use all elements of the space. Using the contact micd saw instrument, the contact with different floors and objects create different sounds and sparks, creating high dynamics and energy. The mixture of song structure and freeform electronics create new and unconventional form that is unique to Sunk Heaven.
https://sunkheaven.com/
https://sunkheaven.bandcamp.com/
https://www.instagram.com/sunkheaven

Graphisme : Hyacinthe Lesecq
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Sport National #97
Jeudi 22 mai 2025
Ouverture du bar à 17h
Ouverture de la billetterie à 20h
Premier concert vers 20h30
Prix libre entre 7€ et 10€ (espèces seulement)
CB au bar
MIAM : Pizzas pas mal du tout sur-place
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Olympic Café
20 rue Léon
75018 Paris
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