A PROPOS DE UN:ART:IG:

The Silence After "Die Stille nach dem Schluss"

The downfall of CBGBs. 50 minutes of black and white ventricular fibrillations. Onstage artifacts captured during the last supper of an anachronism passing away. Camera work as rough and stinky as the subject matter itself.

Before CBGB’s doors finally closed for good on October 15th 2006 a number of farewell shows graced the legendary club for a very last time. Dinosaurs mankind had believed to be extinct found their way back home from Jurassic Punk, onto a stage they hadn’t set foot on in ages. Some of these performances were sensational, others outrageously pathetic and insulting. No matter what category one might file them under, they all had one thing in common. A sold out madhouse atmosphere with a distinct vibe of nostalgia and last supper feasting. Talk about a good time. The Silence After presents the highs and lows of these unforgettable moments.

Avail 10/09/2006
Bad Brains 10/11/2006
Underdog 10/11/2006
Gorilla Biscuits 09/03/2006
Project X 09/03/2006
Leeway 06/18/2006
Bold 09/03/2006
Angry Samoans 09/09/2006
Avengers 09/08/2006
The Dictators 10/14/2006
Blondie 10/14/2006
Patti Smith 10/15/2006

A PROPOS DE PNEUMATIC HEAD COMPRESSOR

Des voix parfois melvinsienne et toujours aboyées et des riffs sournois, mais c'est aussi noise, électronique, expérimental, avant-gardiste, hip hop, breakbeat, bruitiste, stoner, hardcore, grind, tout ce que l'on veut.

Le groupe se forme en 1994 à la suite des retrouvailles hasardeuses de deux frères d'origine Française dans une école d'art Bruxelloise et de leur rencontre avec des musiciens de la scène "rock" Belge, puis Suisse. Ils composent un répertoire alliant le gros son de guitare avec une approche rythmique basse-batterie plus déstructurée, et un penchant certain pour les ambiances bruitistes, rehaussées de chants autant hurlés, gutturaux que posés et susurrés.

Ils jouent en Belgique, en France, en Suisse dans les clubs, les festivals et ce malgré les différents line-up du groupe (3 chanteurs ; 3 batteurs se succèdent). Fin 2000 le groupe décide de rester en trio + machines et commence la construction d'un home studio. 2001 est consacrée à l'enregistrement, la production et le mixage de l'album 10 titres " The Perfect Human Conflict".

Avril 2003, le chanteur Suisse, Jerôme, quitte le groupe pour d'autres Horizons, le duo restant s'acquitte de cette tâche.

Le groupe partage les scènes avec des groupes de tous styles : métal, hard-core, expérimental : An Albatross, Punish Yourselff, Lofofora, Double Nelson, Pulkas, SemiToneS, PPZ30, Length Of Time, Pigzwilltoast, Zeni Geva, Percubaba, Mass Hysteria, Panic DHH, Hint, Strup-X, Regurgitate Cheval De Frise, Raxinasky, Prejudice etc...

A PROPOS DE TO LIVE AND SHAVE IN L.A.

To Live and Shave in L.A. (aka Tlasila) is an experimental music collective. Begun in 1991, its members live throughout the continental United States, in Belgium, and in Hungary.

As of January 2008, TLASILA is:

Tom Smith, Frank "Rat Bastard" Falestra, Ben Wolcott, Don Fleming, Mark Morgan, Weasel Walter, Nandor Nevai, Liz "Misty Martinez" Armstrong, Chris Grier, Andrew Wilkes-Krier, Thurston Moore, Graham Moore, Andrew "Gaybomb" Barranca, Sickboy Milkplus, Mark Shellhaas, Kelly Jamison, Patrick Spurlock, and Balazs Pandi.

To Live and Shave in L.A. rip through sonic boundaries and demolish cultural mythologies with a kinetic mélange of violent, constantly shifting musique concrète structures, splintered electronics, and sta, dramatic vocalizations. Their powerfully evocative compositions can take the form of forty-minute Kuiper Belt freak-outs or dense, demonic, two-minute pipe bomb pop.

Their avowed enemy is genre itself, their ultimate goal, unknowing. Hyper literate texts, ungovernable performances, and a ruthlessly meticulous production regimen yield recordings without referent, sounds that garrote taxonomy.

Tlasila was formed in Miami Beach, Florida in 1991 by Tom Smith, an alumnus of late 1970s-early 1980s dada-improv outsider cabals Boat Of and Peach of Immortality, and the earliest (1985) incarnation of Jon Spencer's legendary Pussy Galore.

He was soon joined in TL&S by Frank "Rat Bastard" Falestra, a veteran of many aesthetically disruptive South Florida projects (most infamously, Scraping Teeth, and since the mid-1990s, the Laundry Room Squelchers), and Ben Wolcott, a filmmaker and lifelong circuit bender whose mammoth screeching oscillators sent early Shave audiences running for cover.

Now a full-fledged collective comprising nearly 20 members, To Live and Shave in L.A. have released dozens of albums on a variety of international labels and have toured the world with jagged frequency for more than seventeen years.

A PROPOS DE SUDDEN INFANT

Joke Lanz (aka Sudden Infant) creates an unique blend of physical sound-poetry and dadaistic vocal expressions, using contact microphones, prerecorded sound loops, and noises. A member of the infamous Schimpfluch collective and long time accompanist of Rudolf Eb*er, Lanz has presented his work for more than 20 years in venues, art spaces, and asylums all over the world.

Born in Switzerland, now based in Berlin, Sudden Infant has collaborated with the likes of Z'ev, Carlos Giffoni, Peter Kowald, Christian Marclay, Norbert Möslang, DJ Olive, G.X. Jupitter-Larsen, Christian Weber, Charlotte Hug, Jorge Sanchez-Chiong, Roger Rotor, Strotter Inst, Evil Moisture, Small Cruel Party and many others.

Lanz has also composed music for contemporary dance, theatre, sound-installations, and short-films. Innumerable albums have been released on many international labels, including Entracte, RRR, Tochnit Aleph, Blossoming Noise, Artware, Klanggalerie, and SSSM.

Artist residencies include Berlin (1999) and London (2004). Lanz also receives composition assignments from the Pro Helvetia Arts Council of Switzerland (2006).