Residencies

O YAMA O is a music project of London-based artists Keiko Yamamoto and Rie Nakajima. Using a combination of kinetic devices and found objects, they create soundscapes inspired by Japanese myth, ritual, anthropology and everyday, non-spectacular sound worlds.  

Lennert Jacobs finally kicked out everyone from all different bands he's playing in - MDCIII, Rape Blossoms, The Germans and cUNST just to name a few. He'll be residing at les ateliers claus during the 4th heatwave of 2021 working on a live presentation of his debut solo album which will presented in the fall of 21 and will be a co-production between les albums claus & De Werf. 

Lennart Jacobs is a sound explorer and turned himself to the lavish lifestyle and opulent environs of an electronic prospector. He ventures through almost every experimental genre, from spliced tape works and minimalism to loose folk-rock and dub. This bizarre, endlessly fascinating juxtaposition is all the more mysterious as he unveils no formula of his work process - until now.  

Naomie Klaus offers us a little tale about the artificial paradises of globalization, a melancholic stroll through the exotic relics of free trade, where appearances matter more than knowledge. Here, geishas eat fries, Europeans confuse Tokyo and Beijing, tribal ceremonies start with drum rolls and everything can be bought

Brussels based composer Giovanni di Domenico is planning to compose new works with Pak Yan Lau , Manuel Mota, Joe Talia and Stan Maris.

For nearly two decades now, Belgium’s Laurent Baudoux has been a pivotal figure in his country’s underground electronic music scene; he has been active as a member of groups such as Electrosold Collectif (alongside Mouse on Mars’ Jan St Werner) and working solo under a wide range of pseudonyms such as Sun OK Papi K.O. and Baleine 3000. Currently working under the name Lawrence Le Doux, Baudoux’s most recent releases for Brussels’ VLEK label have thrust him back into the international spotlight, receiving praise from the likes of Resident Advisor and Thump for his uniquely uplifting take on house and techno.

Julien Meert is a contemporary musicians and visual artist, who originates from Belgium. He decides his time between two passions, which are music and painting. He uses both mediums as a means to express my perception of the world, which he briefly describes as a general feeling of estrangement combined with a constant amazement.

Charl Telosqa is the artistic solo project of Charlotte Schoeters. With her mainly classical vocal training, she’s always looked beyond borders of musical genres and kept writing her own music. During her opera studies at the Royal Academy of Music in London, she got offered the opportunity to record a few of her first songs at the legendary Abbey Road Studios. With her music she tries to translate her vivid inner world.

Her band consists of Tom De Cock (Ictus Ensemble) on micro percussion/electronics/soundscapes, Mattijs Vanderleen (Marble Sounds) on drums & Charl Telosqa on vocals/movement/performance. 

Christophe Clébard is a solo doom-disco-dance-punk project, recalling the punishing groove of Suicide. His music is undeniably groovy and puts the listener into a trance while his punishing vocal assault sends one on a dark psychic odyssey. Christophe Clébard has been a refreshingly severe addition to the Brussels music scene. Christophe Clébard will be recording his second album during his residency at les ateliers claus. 

‘This has more to do with improvisation and its allied possibilities of transcendence and failure than running up and down 12-bar schemes at lightning speed.’ The Wire

Ignatz is the alter-ego of Bram Devens. Usually with an acoustic guitar and a few effects, he creates his very own style of music between country, free and blues. For this event Bram Devens will play a grand piano and present you his new compositions.   

met de steun van de culturele activiteitenpremie Vlaanderen.

Dennis Tyfus' work is based on an unbridled drawing practice and a preference for language and words, but the way it appears is always different. The work is constantly moving. The sculptural aspect of Tyfus’s work is to be found in the way in which he carefully and consciously deals with the space it occupies. Tyfus’s work is everywhere, and often in the public sphere. There are flyers and posters, drawings, paintings and performances, as well as installations, sculptures, videos, vinyl records, concerts, T-shirts, magazines, books, and tattoos. Through his label Ultra Eczema, which by now has produced about 250 releases, Tyfus integrates influences and interests and keeps count of his tangled artistic practice.

Dennis Tyfus is in residency at les ateliers claus to work on his latest compositions for piano and voice.

Farida Amadou (b.1989) is a self taught bass player based in Liège, Belgium. The electric bass is her main instrument since 2011. In 2013, she has started to play a lot of different musical genres, including blues, jazz and hip-hop. The same year, she had a big interest on improvised music when she met L’Oeil Kollectif members and started to play with percusionnist/ drummer Tom Malmendier. Nystagmus duo was born in late 2014.

Bert Cools begint op 7 jarige leeftijd met gitaar. Al zeer snel ontwikkelt hij een zowel de akoestische als de elektronische kant van muziek. Hij vervolmaakt zijn masteropleiding Jazz gitaar aan het Conservatorium Codarts te Rotterdam, waar hij les volgt bij Hein Van de Gein, Ed Verhoef en Hariprasad Chaurasia. In 2010 behaalt hij de Rotterdamse 'Erasmus jazz prijs'.

Bert richt samen met zijn broer Stijn Cools het creatief platform 'granvat' op in 2013. Een platform dat zich vooral richt op elektronica, folk, wereldmuziek en improvisatie. granvat kent vele releases en projecten die zowel nationaal als internationaal concerten spelen. Book of air vvolk & Fieldtone, Merope, Hoera., Solo& Indre, AAN/EOP, Hariprasad Chaurasia. Naast granvat is Bert ook een veelgevraagd side man.

Humbros est un projet qui semble à la fois très réfléchi et spontané. Il réconcilie des sonorités pastorales, presque new age avec de lointains souvenirs de la brutalité des sonorités techno des free parties. Le groupe le dit lui même, chez eux: “le réel et la fiction, la cérémonie et la fête, la vie quotidienne et la dystopie s’entrelacent constamment”.

Just as the identity of Brussels is unclear, forever shifting and very much alive, so is the sonic world SAGAT conjures up, moving the listener into forever unexpected syncopations and melodic elements that seem to tell the story of human flesh being fused with fiber optics.
 
SAGAT doesn’t score a soundtrack to his memories of Brussels, he makes the music as he lives in the city, traversing it on a daily basis.
 
Not many people can pin down the elusive mix between all the seemingly contradictory elements that make up the city, but SAGAT has caught this essence for long enough to present it to you, before it crumbles and reconfigures into his next productions.

les enfants terribles van de Vloamsche muziek 

Soet Kempeneer begon bass te spelen voor ie kon kruipen. Soet Kempeneer is een jong, pas afgestudeerd bassist en contrabassist uit de Brusselse gordel die zich ook met electronische muziek bezig houdt, wat hij zelf dan 'beatmuziek' noemt. HIER vind je een eerste babbel met Soet online

Stijn Cools & boer Bert Cools richtten in 2012 het muziekplatform/platenlabel Granvat op, dat een bundeling vormt van een aantal jazz/improvisatie-projecten, waaronder bv. Merope.

Beide broers Cools spelen in Banjax, Pudding oO, AAN, Mephiti en Hoera en maakten beiden deel uit van de live-begeleidingsband van Pomrad. Tevens zijn ze drijvende krachten achter Book of Air.

In Book of Air wordt erg verstilde muziek gemaakt, die bewust erg traag is om de relatie tussen klank en tijd te onderzoeken. Er werd twee Book of Air albums opgenomen (onder de naam Fieldtone), het eerste met werk van Stijn Cools, het tweede album (onder de noemer Vvolk) bevat opnames van beide broers.

Percussionnist, drummer, SEIJIRO MURAYAMA has worked with FRED FRITH, TOM CORA, KEIJI HAINO (FUSHITSUSHA), KK NULL since 1982. 

Now he lives in Paris, France and works with several projects/bands such as:

• ANP (Absolut Null Punkt) with KK NULL
• Trio Lo with Thierry Madiot, Pascal Battus
• Duos with Eric Cordier (hardy gardy), Jerome Noetinger (dispositif electro acoustique), Antez (percussion), Naoaki Miyamoto (guitar), Jean-luc Guionnet (alto sax)

Also he has collaborated with some French contemporary dance/theather/performance groups as a composer-musician.

For the dance:

• "Donkey is going" / with L' Ensemble W (1999)
• "Gallopatoio" / with L' Ensemble W (2000)
• "Tryptique" / with L' Ensemble W (2000)
• "JoHaKyu" / with Cie Itra (2001)
• "Volubile" / with Sophie Lamarche (2002)

For the theater:

• "Il Faro" / with Anna Maria Civico (2001)

For the performance:

• "Son Image" / with Bernard Dutheil

Axel Dörner was born in 1964 in Köln, Germany. At the age of nine he started playing piano, at the age of eleven playing trumpet in a local music school. In the time from 1983–1986 he studied trumpet with Jon Eardley in Köln. Later from 1988–1989 he studied piano at the conservatory in Arnhem, The Netherlands, then from 1989–1994 piano and trumpet (with Malte Burba) at the Musikhochschule in Köln. While in Köln he performed with Bruno Leicht in a band called The Streetfighters and formed a quartet with Frank Gratkowski, Matthias Bauer and Martin Blume. In 1993 he recorded his first CD in a trio called The Remedy (with Sebastian Gramss and Claus Wagner), with Matthias Schubert, Peter Kowald and Tom Cora as guests. In 1994 Dörner moved to Berlin. With Rudi Mahall on bass clarinet, Joachim Dette (bass) and Uli Jennessen (drums) he started the band Die Enttäuschung playing exclusively compositions of Thelonious Monk. In 1996 this quartet (with Jan Roder as a new bass player) was joined by Alexander von Schlippenbach and became the quintet named Monks Casino. Die Enttäuschung continued from then on with a continuously growing program of original compositions of the band members. Around that time Dörner also started collaborating in different formations with Sven-Åke Johansson, which continues until present time. In 1995 he started visiting London which led to longtime collaborations with many musicians from the English scene. At the same time he also took part in performances all over Europe (and later at Carnegie Hall, New York) of Requiem für einen jungen Dichter by Bernd Alois Zimmermann with SWR Symphony orchestra conducted by Michael Gielen. Parallel he continued his research on extended trumpet techniques and musical structures while working together with Robin Hayward, Andrea Neumann and Annette Krebs. In 1998 he visited Chicago for the first time and played, among others, with Fred Lonberg- Holm, Michael Zerang, Ken Vandermark and Hamid Drake. Other newly formed trios around that time were Contest of Pleasures (with John Butcher and Xavier Charles), TOOT (with Phil Minton and Thomas Lehn), a trio with Paul Lovens and Kevin Drumm. In 2005 a quartet with Otomo Yoshihide, Sachiko M and Martin Brandlmayr was formed which went on concert tours in Europe and Japan. Before he recorded his first officially released solo CD named Trumpet (A Bruit Secret, 2001), he made a number of trumpet solo releases in the late 1990s, only published as CD–Rs with self-made covers. Since 2000 extended concert tours on all five continents which led to a worldwide genre- comprehensive musical network with most distinguished musicians of our time. His discography consists at this time of more than 150 CDs / LPs.  

Since 2000 he is working on an electronic extension of his music on the trumpet (together with Sukandar Kartadinata). 
 

Brussels electronic duo working on their debut album 

Ugne & Maria is a collaboration between Marija Rasa Kudabaite and Ugne Vyliaudaite. The duo is originally from Lithuania but now reside in Belgium. Their musical output began in 2016 with a live debut in Brussels and continued with a various experimentations using violin, synthesisers and sampling techniques. Their compositions revolve around down-tempo as well as dance-orientated approach, including multilayering composing principles and improvisation.

Belgium's psychedelic blues folk master Ignatz returns with his band. Recording a full length for Ultra Eczema and Cafe Oto. These are songs to get lost in and confused by. Tripped-out blues folk that sounds like Les Rallizes Dénudés feedback in 100% Egyptian cotton. 

Brussels-based trio schroothoop (Dutch for ‘junk yard’) is formed by Rik Staelens (wind & string instruments), Timo Vantyghem (bass & clarinet) and Margo Maex (percussion). 

In May 2020, they released their tribal oriented mini-album 'Klein Gevaarlijk Afval (translates Small Hazardous Waste), featuring homemade instruments built from lost and found objects like scrap wood, old metal or anything that would end up in a landfill. The band’s music is infused with sounds from around the world orchestrated by PVC flute melodies, jerry can beats and washtub bass lines. The trio effortlessly incorporates Northern African Chaabi, jazz and reggaeton with Eastern melodies and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the Brussels melting pot. 
 

There is an endless abundance of variations that the clarinet can use in changing the colour of a single note. As a privileged listener - and - experiencer, Ben Bertrand through his favourite instrument shared the musical blueprints with me, which resulted in this album. His music has become a vivid part of my almost daily thoughts - allowing what I hear to clash and sing with the patterns and rhythms already established in my mind. A voluntary trip, an absorbing experience in our Brussels vibrant cultural life. With his instrument and countless machines, Ben creates a web of sounds that are hard to pin down but easy to absorb as a whole. Ben Bertrand happened to me. His music, full of beauty, is good to listen to and pleasant to follow. A sense and perception of continued growth too illuminated and overwhelming to resist. While I sense when a new composition is coming, Ben was able in our daily conversations, to progressively untangle a musical mystery and layout the puzzle of a new creation. Listening to his music is like sitting at the sea, watching a slow motion of our crazy life sailing by. You, as a listener, with this record stepped in an early stage of his career, with hardly any involvement of other people, composition wise. Besides composing alone, there have been countless hours when Ben Bertrand worked and interacted with Christophe Albertijn for the recordings. There is also the essence of our regular exchanges and the visions we knit. These are in my opinion just the starting points of plural interactions and musical endeavours to be. It is a matter of his artistic trust and let go, while Ben creates his own language, package and macrocosm. The excellence of Ben Bertrand's music lays in its involving and easily accessible nature, regardless of your personal or musical past experience. Ben Bertrand is all before you for you to dig, and nobody is asking you to file him away under any category. 

Aksak Maboul (also spelled Aqsak Maboul for a while^{[nb 1]}) are a Belgian avant-rock band founded in 1977 by Marc Hollander and Vincent Kenis. They first made two studio albums, Onze Danses Pour Combattre la Migraine (1977) and Un Peu de l'Âme des Bandits (1980), the latter with ex-Henry Cowmembers Chris Cutler and Fred Frith. They were also active in the Rock in Opposition movement in 1979.^[1][2]

Around the mid-1980s, Aksak Maboul went into a 30-year hiatus, during which Marc Hollander fully devoted himself to his Crammed Discs label, before resuming his activities as a musician in 2014 by working on an unfinished album, Ex-Futur Album (by Véronique Vincent & Aksak Maboul), that had been written and recorded between 1980 and 1983. The album came out in October 2014. Aksak Maboul started touring again in 2015, with a new line-up. In May 2020, they have released a brand-new double album entitled Figures.

Farida Amadou (b.1989) is a self taught bass player based in Liège, Belgium. The electric bass is her main instrument since 2011. In 2013, she has started to play a lot of different musical genres, including blues, jazz and hip-hop. The same year, she had a big interest on improvised music when she met L’Oeil Kollectif members and started to play with percusionnist/ drummer Tom Malmendier. Nystagmus duo was born in late 2014.

A three-armed entity consisting of Sagat, &Apos, and Walrus - Bepotel build sonic landscapes. Hazy or sparkling, their sound is a portal to digital emotions, their interpretations of widescreen sympathy, lukewarm spandex conviviality, of miscalculated disorder. 
With previous releases for Meakusma, the Brussels-based label/artist-platform Lamadameaveclechien, a remix for Shock Corridor on Testoon, as well as a plethora of releases on their own eponymous imprint, “Kikkerkelik” comes as a conscious step away from the improvised jam sessions that gave birth to the trio’s earlier material: while it not only marks their debut release for Vlek, it also marks somewhat of a shift in both stylistic output and production technique – a simultaneous step towards a more club-focused sound and the production of tracks that function as individual pieces as opposed to one single entity. 
From the driving techno chaos of title track Kikkerkelik through the swirling synthetic groves of Kaketu and the Detroit-echoes of Swth Central, these are analog stories of dim underpasses and the faded miasma of industrialized skylines, of the digital isolation born out of deserting the hauntingly sinister soporiphic rhythms that emerge from fantasy warehouses sat alongside acid-infused canals. Psyche- delic, evocative, and consistently effective, the four cuts on Kikkerkelik linger long after listeners emerge from the cracked Wormhole that rounds off proceedings. 

From their debut in 2010 on, the Brussels-based Razen aimed at using the unique timbral and drone characteristics of their chosen string and wind instruments in improvised, instinctive music that mixes pre-industrial, spectral and ethnic dreamtones with trance and medieval mysticism.
Originally a duo of Brecht Ameel and Kim Delcour, over the past years Razen has grown into a larger ensemble, with the addition of Pieter Lenaerts on 5-string double bass and sarangi, Paul Garriau on hurdy-gurdy, and David Poltrock on ondes-Marthenot. The band has built a strong reputation in Belgium and abroad, both on their recorded output as with their ever-changing live shows.

Will Guthrie is an Australian drummer / percussionist living in France. He plays solo using different combinations of drums, percussion, amplification and electronics, and leads the contemporary percussion / gamelan group ENSEMBLE NIST-NAH. His music has been released on labels such as Black Truffle, Editions Mego, Ipecac, Erstwhile, Clean Feed, Gaffer Records, Hasana Editions, 23five, iDEAL and his own label Antboy Music.

Guthrie first made a name for himself within the Australian jazz scene, establishing himself at a young age as a major presence by winning the Wangaratta National Jazz Awards for drums in 1997 and going on to perform with many of Australia’s most celebrated jazz musicians. In the new millennium, his work took a long detour away from the drum kit through junk electronics, extreme amplification and electro-acoustic techniques, documented on a series of solo and collaborative recordings from these years.
 
Alongside continuing his electro-acoustic work, in the last decade, Guthrie has returned to the drums with a vengeance, developing a series of solo works marked by a radical single-mindedness, from relentless rhythmic workouts to earth-quaking explorations of the bass frequencies of gongs and other metal percussion instruments. In the crowded world of free jazz/improv percussion, Guthrie’s work is distinguished from the delicately pointillist approach of much European improvisation by its rhythmic sophistication, unashamed virtuosity and undeniable physicality, touching on aspects of world musics from Javanese gamelan to South Indian Carnatic music.

Pak Yan Lau (BE/HK) is part of the Brussels underground crowd. Her music spans different horizons with improvisation and sound as main focus. 

Taking the extraordinary out of the ordinary and creating little sound mosaics in a minimal, poetic way, while exploring the vast spectrum of sonar possibilities is the best way to describe her path.

She is active in different projects from grooving (‘Going’) till abstract structuring (‘Lauroshilau’, ‘Duo pour 454 Chordes’) made music for dance theater, shadow theater, photographs and documentary. 

Toured Europe and Japan, and shared stages with musicians such as Paolo Angeli, Lynn Cassiers, João Lobo, Nico Roig, Eric Thielemans, Chris Corsano, Yuko Oshima, Andrea Parkins, Mathieu Calleja, Lazara Rosell Albear, Mathieu Ha, Tatsuhisa Yamamoto, Norberto Lobo, Susana Santos Silva, Daysuke Takaoka, Lionel Malric, Gregoire Tirtiaux, Audrey Lauro, Mori-Shige, Giovanni Di Domenico, Manja Ristic, Peter Jacquemyn, Akira Sakata, Mette Rasmussen, Tetuzi  Akiyama, Toshimaru Nakamura, Rie Nakajima and many more…

Up-Tight (jap): Hamamatsu-based three piece psych group with history dating back to 1992. The current line-up is original member Aoki, Ogata and Shirahata. The Ghost Of The Velvet Underground, Realizes and Amon Duul loom over there their personal style and songs. Up-Tight will be in residency at les ateliers claus from 14th until 16th November to record new material. On Saturday they'll present you their new work. 

Melancholic whisper, water rhythm, some sentences mixed with hyperactives guitars. Ubaldo is one of the monikers that Andreu G. Serra, catalan multidisciplinary artist based in Brussels use for create trembling ambient atmospheres. He is an active person in the iberian peninsule underground scene…The Noise of Mutt, Ensemble Topogràfic, Odd Labu, Bimbo Picasso and Or sobre Blau are some of the projects that he is/was involved. Since 2014 he runs the experimental label Boira Discos. In residency at ateliers claus from 14th until 25th October to record his new album. This is the 2nd leg of his residency, during the summer of 2019 Ubaldo already resided at ateliers claus in order to create new songs.

MILAN W. AND THE TULNIC ENSEMBLE OF AVRAM IANCU One of EUROPALIA ROMANIA’s residency highlights is the encounter between Belgian electronic music composer Milan Warmoeskerken and a tulnic Ensemble comprising 5 women from the village Avram Iancu. The tulnic is a 2,5m - 3m long traditional wind instrument, used since medieval times as a communication tool in village com- munities in the mountains. Milan W. spent 10 days in the Transylvanian mountains and will experiment with harmonies and textures of the traditional wind instrument to create a long electro- acoustic piece. How rhythmic can he go? What are the melodic capacities of the instrument? Is e ect proces- sing and dubbing possible on such a big instrument? This project is realised in collaboration with The Attic, an online music magazine, which focuses on a wide spectrum of music genres and investigates how music is modeled by certain specific socio-cultural contexts. The live show of Milan W. will be premiered at the opening event of EUROPALIA ROMANIA’s music programme at the Brigittines chapel in Brussels on 4th October 2019. 

Arnold Dreyblatt & The Orchestra of Excited Strings (usa/ger) 

Arnold Dreyblatt: Excited Strings Bass
Konrad Sprenger: Percussion, Digitally Automated Guitar System
Joachim Schütz – Modified E-Guitar

Arnold Dreyblatt has been called “the most rock ‘n’ roll of all the composers to emerge from New York’s downtown scene in the 1970s.” Dreyblatt founded The Orchestra Of Excited Strings in 1979, harnessing unusual tuning intervals to an exuberant performance style.

Arnold Dreyblatt’s Orchestra of Excited Strings peforms in a 20-tone unequal tuning system based on the harmonic series. For the ensemble he has invented and modified musical instruments has developed new performance techniques. Dreyblatt’s tuning system is calculated from the third, fifth, seventh, ninth and eleventh overtones and their multiples. These mathematically related overones are heard as a tonal relation when they are transposed and sounded above a fundamental tone.

In 2009, Dreyblatt formed a new ensemble for concerts for Nymusikk in Oslo and the Impakt Festival in Utrecht with himself on Excited Strings Bass, Jörg Hiller on Percussion and "Motor-Guitar", Joachim Schütz on modified E-Guitar and Robin Hayward on Tuba.  The ensemble grew out of many years of collaboration with Jörg Hiller as musician, music producer and recording engineer.  This ensemble has continued to peform internationally at theSKIF Festival, St. Petersburg; MMI Festival, Marseille; Face E Festival, Geneva and at the State-X/New Forms Festival in the Hague as well as in galleries and concert sites in Germany such as the Stadtgarten, Köln, Mex 21 Festival, Dortmund; Kunst als Klang Festival MANALESE editions and Neue Berliner Kunstverein and at the Berghain in Berlin as part of the MaerzMusik Festival. 

The five ensemble pieces currently being performed are composed for “excited strings” bass, modified electric guitar, percussion, computer controlled mulit-channel guitar, Hammond Drawbar emulator and microtonal Tuba.  

Arnold Dreyblatt & The Orchestra of Excited Strings are doing a recording residency at les ateliers claus  

Liz Harris & Roy Montgomery (usa/nz)

If there’s any trait that New Zealand guitarist Roy Montgomery and Grouper mastermind Liz Harris share as songwriters, it is their ability to build diaphanous sounds into forms as spired and sacred as temples. Montgomery and Harris have joined forces in the past, namely for 2010’s split LP Roy Montgomery/Grouper, and they reconvene on “Landfall”—the lead single for Montgomery’s forthcoming record Suffuse—to create a shrine of ethereal noise.

As usual, Harris’ lyrics are elusive. Instead of concrete words, utterances are drawn out of her like silken thread from an unwinding spool, tangling with fragments of Montgomery’s multi-tracked guitar. His composition feels as sprawling as Harris’ voice, but assumes a more jagged presence, his delayed riffs and brittle strums are the briny waves and sharp edge to Harris’ siren song. The more intertwined Montgomery and Harris’ mediums become, the higher and more beautifully they rise.

Liz & Roy will be doing a residency to compose and work on their live concerts at the Meakusma festival & les ateliers claus 

João Lobo (pt) + Norberto Lobo (pt) + Soet Kempeneer (b) will be in residency at les ateliers claus during the first half of June 2019. They will present you their work during this concert. 

João Lobo (pt) : From jazz to gnawa music, electro-acoustic trance to total improvisation, in solo or in a big band, collaborating on dance and theatre productions and making soundtracks for movies (including “John From” which got him a nomination for Best Original Music at the Fénix Awards 2016 in Mexico), João Lobo maintains a versatile career as a musician mainly playing the drums.

He is the co-founder of Oba Loba, Going, Tetterapadequ, Norman, Mulabanda, and a proud member of Giovanni Guidi Trio, Manuel Hermia Trio, Punk Kong.

He has recorded more than 40 albums, some self-produced and others for labels such as ECM, Clean Feed, CamJazz, De Werf, El Negocito, three:four records, Challenge, NEOS.

He has performed and/or recorded in many countries around the world with many musicians including Enrico Rava, Marshall Allen, Rosewell Rudd, Carlos Bica, Nate Wooley, Maalem Hassan Zogari, Tatsuhisa Yamamoto, Thomas Morgan, Chris Corsano, and collaborates intensely with Norberto Lobo, Giovanni Di Domenico, Lynn Cassiers, Manolo Cabras and Giovanni Guidi.

Norberto Lobo (pt): Norberto’s case is that of the artist-illusionist that suggests a ground zero for tradition, conjuring several ghosts while leaving them at his door step. It appears that he’s single-handedly changing the relationship between Portuguese music and the guitar. His playing doesn't get insular nor does he try to hide his many influences - yet you feel like you’ve been exorcized just by listening.

Soit Kempeneer (b) begon op 12-jarige leeftijd met het ontdekken van de basgitaar, vanwege zijn grote passie en indruk van de diepe bassen in de muziek. Wanneer hij vertrok naar de Kunsthumaniora Brussel was het duidelijk, jazz, lichte muziek en allerlei interessante genres lagen klaar om ontdekt te worden... Hier studeerde Soet basgitaar bij Wouter Berlaen en Janos Bruneel, allebei welbekend in de muziekwereld, die hem een stevige duw in de juiste richting gaven. Op 16-jarige leeftijd was het tijd voor een nieuw avontuur naast de basgitaar, de contrabas, aangeleerd door Janos Bruneel en voor korte tijd door Nathan Wouters. Soet speelt ondertussen in enkele 'jazz/...' groepen, o.a. Sam'adi Kidsùne (met Reindert Spanhove, Tim Caramin, Jonas Desmet) en Triopated (met Hendrik Lasure en Joram Bemelmans). Sound, klank, sfeer, emotie, intensiteit,... zijn elke keer doeleinden voor élk moment achter het instrument.

recording residency at les ateliers claus, with the aim to release a record on les albums claus & three:four records

a fresh new trio with David Maranha (pt) + Chris Corsano (usa) + Richard Youngs (uk)

Youngs, Maranha & Corsano
Opened up to virtually infinite possibilities, this is a blessed gathering by three of the most idiosyncratic and illuminated artists working in the sprawling field where the most defiant and unmapped musics converge. Leading figures of the unnamable, each of them on his own has created a superlative and indelible body of work, driven by their own vision and willingness to face the unknown. The same uncompromising position that presides over this trio. Let us embrace this with open hearts and minds. We shall be rewarded.

Glaswegian musician whose diverse and extremely prolific output sounds only like himself, Richard Youngs has carved a fascinating path that goes from folk infused reveries to devotional drone, from a capella hymns to electronic excursions and most points in-between with a singular vision and approach. Between song and improvisation, the multi-instrumentalist and singer's will to defy expectations while presenting such a unified and sprawling body of work - dozens of albums and collaborations on labels such as Jagjaguwar, Ba Da Bing! or No Fans - make him a true and humble innovator.

In an everlasting process that continuously repositions and reevaluates infinity as a consciously unachievable but ultimately rewarding goal since the 80's, David Maranha's music has been riding that arch with ferocity and aplomb. A unique vision that has been translating the ETERNAL in a sprawling language through countless performances, approaches and records like 'Marches of the New World' and the Roaratorio released classic 'Antarctica'. Always the unsettled mind, Maranha conveys his spiraling vision on the organ, percussion and violin through drone, improv or ritualistic excursions in different shapes.

Unstoppable north-american drummer whose lexicon seems to be constantly expanding into new and exciting forms, Chris Corsano is justifiably one of the most requested musicians within the improv, free jazz, out-rock, out everything spheres. Owner of a seemingly infinite power of reinvention and vision, Corsano has been travelling all over the globe with the most disparate but always relevant and visionary artists, such as Evan Parker, Jim O'Rourke, Thurston Moore, Paul Flaherty or Jandek, continuously advancing the potentialities of his instrument.

recording session on June 2nd 2019

Or Sobre Blau is a duo consisting of Andreu G. Serra (Ubaldo, Odd Labu) and Kiran Leonard. The project originated when the pair lived together in Penha de França, Lisbon. Having moved to Portugal at the same time by chance, from Southern Catalonia and North-West England respectively, the two tend to communicate in a poor garble of Spanish, English, Portuguese and Catalan, which gives rise to misunderstanding, disputes and comedy. This dislocation is reflected in the group’s name, a literal translation into Catalan of the Portuguese idiom ‘ouro sobre azul’ (blue over gold) roughly equivalent to the English phrase ‘the cherry on top’. In Catalan, this phrase is meaningless and somewhat bland. 

Their debut cassette, ‘The Piri Piri Samplers’, was recorded over three days at their rehearsal space/home in Summer 2017. The recordings are an attempt to map the members’ distinct and complementary approaches to the guitar. With a vast array of pedals and tapes, Serra creates thick, winding soundscapes, drones punctured by occasional stabs and flourishes. Leonard’s more straightforward, technical playing often acts as a harmonic foil. In sparser moments, the two feel their way through a hesitant counterpoint, exchanging chords and melodic fragments to build a sequence somewhere between them. In this sense, it is like all effective duos. The sum is greater than its constituent parts; each party only understands two-thirds of what is going on; the unknown and wrongly interpreted triumphs over composition and reason. Or sobre blau it is. 

What do you find in the middle of noise and harmony? A very old question, really. We know that the answer is usually endearing and a little tragic, like a bad translation. It ends up looking like a vase broken into pieces. 

in residency at les ateliers claus before their tour 

31/05 · Kiosk Radio / Fancifere Festival, Rumsteek · Brussels
01/06 · Rietvald Pavilion - Amsterdam
02/06 · The Grey Space in the Middle · The Hague
10/06 · The Waiting Room · London < Ubaldo solo >
12/06 · Sebright Arms · London
14 /06 · The Blue Moon · Cambridge
15/06 · Hatch · Sheffield
16/06 · TBC · Manchester

Solo for Table, Objects (and a Human Voice)

Les Ateliers Claus opens its doors to Lynn's research for a week. Offering recording facilities and an isolated working space. All the sessions will be filmed of which some video excerpts will be online under: Lynn Cassiers 'Solo for Table, Objects (and a Human Voice) at les ateliers claus.

Lynn Cassiers is a Brussels based singer and electronical artist that lingers in between musical fields. Her work varies from minimal electronic till eclectic free over electro-acoustic song. She sings in the rock-improv trio Tape Cuts Tape (Rudy Trouvé and Eric Thielemans) and collaborates with Jozef Dumoulin for his band Lidlboj and their free imrpov duo Lilly Joel. Lynn recently started her own band, composing music for an almost acoustic septet 'Imaginary Band'. They released 'Imaginary Band'(clean feed) in 2018.

Her solo dates back to 2007. The music was originally labelled as 'experimental slow electronic improv' but morphed eventually into 13 chamber pop songs on the album The Bird, the Fish and The Ball(Rat Records 2013). Resulting live in abstract electro-acoustic improvisations combined with pop songs. Today her solo shows itself far away from the poppy like songs we'd found on the album of 2013. Recent tours with improvising bands drew her focus back to the abstract. A residency at les ateliers claus this year is dedicated to record new material aiming to restrict her input sources for each session. Her current performance uses all sources combined, hence a 'Solo for Table, Objects (and a Human Voice)'. As for style; slowly modified electro-acoustic abstract song.

Picture (c) Laurent Orseau

The duo 64-Feet was formed in 2009 when they were invited to a duo-concert on the famous historical organ ‘Torre de Juan Abad' in Spain. For his occasion they commissioned Ann Eysermans for a creation, resulting in "7 little pieces for two organists". The combination of contemporary music played on historical organs produces special effects. The duo 64-Feet presents surprising programmes with old and new music, using new technology, live electronics and synthesizer. 64-Feet is an ensemble in residence at "ChampdAction"; a production house and studio for contemporary music. In the summer of 2014 64-Feet has recorded a first CD on the beautiful Robustelly organ in Langdorp. that resultated in "Miniatures": a special recording within the organ repertoire. Early music, contemporary music, graphic scores...; miniatures performed on the organ in combination with synthesizer, melodica, pandeiro and voice.

Het duo 64-Feet is in 2009 ontstaan bij uitnodiging voor een duo-concert op het befaamd historisch orgel te ‘Torre de Juan Abad’ te Spanje. Zij geven de opdracht aan Ann Eysermans voor een creatie, wat resulteert in “7 little pieces for two organists”.
De combinatie van hedendaagse muziek op historische orgels levert dan ook bijzondere effecten.
Het duo 64-Feet brengt verrassende programmaties met oude en nieuwe muziek, door gebruik van nieuwe technologie, live-electronics en synthesizer. 
64-Feet is ensemble in residence bij “ChampdAction”; een productiehuis en studio voor actuele muziek.
In de zomer van 2014 neemt 64-Feet een eerste cd op op het prachtige Robustelly-orgel te Langdorp. "Miniatures" is een bijzondere opname binnen het orgelrepertoire. Vroege muziek, hedendaagse muziek, grafische partituren...; miniaturen uitgevoerd op het orgel in combinatie met synthesizer, melodica, pandeiro en stem. Ze krijgen lovende recensies door onder andere Ambrozijn, Knack en Staalkaart. 
64-Feet wordt met haar demo-opname en cd opname diverse keren opgenomen in de programmatie van het programma “Late Night Lab” met Bart Vanhoudt en Gerrit Valckenaers op radio Klara. 
Ze geven in 2016 een masterclass “grafische partituren” voor kinderen, in het kader van de ‘Vlaamse orgeldagen’ in Harelbeke.
Ze concerteren op verschillende nationale en internationale podia: Orgelpark Amsterdam, Musica antiqua Brugge, Leuven Orgelstad, Cultuurmarkt Antwerpen, Happy-new festival Kortrijk, Festival d’orgue de Jette, Orgel-Melsele, Internationaal orgelfestival Koksijde, Diksmuidse orgelkring, Exposed Music Antwerpen, Orgelproms Antwerpen, Spanje: Torre de Juan Abad, Festival d’orgue Bienne (CH)...
www.64-feet.be

Why The Eye!? are preparing a new record. in order to create and procrastinate they'll reside at les ateliers claus at the end of March 2019. 

Why the Eye's paleo-futurism suggests a mode of Rock in Opposition displaced into alternative timelines. It is as if the Leg End of Henry Cow has escaped its retro-avant 'chamber music' fetters, toward the hypnotic patterns of dance floor exuberance. These rituals exhume unidentified audio relics from a future yet to be within a deep past that will have been. 

Each track on Why the Eye's debut leads into an exploration of an entranced dreamscape that would be mislabeled as an 'interlude'. Instead, Why the Eye weave numerological significance into their myth: the energetic, odd-numbered tracks are counterbalanced by the mesmeric reveries of the even-numbered tracks. Using ∆ for their titles, these unpronounceable names express the unconscious catacombs of their invisible sonic worlds. 

Why the Eye uses an array of handmade instruments, each featured on the album's insert: hurgy, papillon, radiocaphone, castabignettes, drumkit, and the various sizes of lamellos. These hybrid tools give an elemental presence to their lithic grooves and a uniqueness to their spectral techno. 

The Congolese of KOKOKO!, from Kinshasa, differs from the norm by playing with "homemade" instruments, altered to be “unplugged” because power cuts are common in the capital. So, their music is a mix of electro, pop and post-punk made with a typewriter instead of a drum machine, with a toaster that replaces the battery and with steel wire which are already basically guitar strings. Everyone will enjoy their insolent and colourful ingenuity.

recording session of 

• Thurston Moore (Sonic Youth): Vocals + 12-string electric guitar
• Deb Googe (My Bloody Valentine): Baritone bass guitar
• James Sedwards: 12-string electric guitar
• Jen Chochinov: 12-string electric guitar
• Jem Doulton: Drums and percussion
   

In his new ensemble Moore opts for a twelve-string guitar, resulting in a sharp, screeching mix of instrumental rock and noise. He will be accompanied live by bassist Deb Googe (My Bloody Valentine), guitarists James Sedwards (Thurston Moore Group), and Jen Chochinov with Jem Doulton on drums and percussion. 

Christophe Clébard is a solo doom-disco-dance-punk project, recalling the punishing groove of Suicide. His music is undeniably groovy and puts the listener into a trance while his punishing vocal assault sends one on a dark psychic odyssey. Christophe Clébard has been a refreshingly severe addition to the Brussels music scene. Christophe Clébard will be recording an album during his residency at les ateliers claus. 

period: december 3rd until 12th.

The Chouk Bwa rhythm scientists are steeped in the deep traditions and long cultural memory found in Gonaïves, Haïti. Branching out of Africa into an expanding Diaspora, this incarnation seeks a new soundscape for each evocation. Never a retromania always obsessed with return, Chouk Bwa & the Ångstromers unearth untimely dances where rituals of the future can be heard leaking into the precisions of the past. 

Jean Claude « Sambaton » Dorvil - lead singer 
Jean Rigaud Aimable - drums & vocals 
Riscot Cedieu - drums & vocals 
Gomez « Djopipi » Henris - chime & vocals 
Edèle Joseph - vocals 
Sadrack « Mazaka » Merzier - drums & vocals 
Nicolas « Ripit » Esterle - modular synthetiser 
Frederic Alstadt - modular synthetiser 

In residency at les ateliers claus during the periode 25th November - December 2nd with the aim to record their new album.

Mr. Marcaille is coming to record his new album at les ateliers claus. Mr. Marcaille brings raw and heavy hardcore punk as a one-man band playing cello and a set of two kick drums ! He'll be in residency from November 5th until 21st. 

Two Envelopes consists of a harpsichordist and a percussionist who find their own adventurous path through the early music and contemporary repertoire in order to go beyond their classical fundament while combining it with theatrical elements and performance, as well as with electronic sounds and audiovisual art.
In their programs they walk on the edges between seriousness and humour, the private and the social and the concept of the classical concert formula. They interpret compositions and work on own creations as well.

Lisa Kokwenda Schweiger: Harpsichord, Voice, Performance
Jacob Vanneste: Percussion, Electronics, Performance

Jeroen Uyttendaele ‘Avlas’ 

AVlas is an audio-visual performance in which a metal mirror is simultaneously used as a resonator and a light-reflector.  A live-composed film of moving color gradients is projected on to the metal mirror while simultaneously a soundtrack is passed through the same mirror. The image and sound is manipulated by carefully moving, bending and touching the metal during the performance.

http://www.jeroen-uyttendaele.org&nbsp;
http://www.jeroen-uyttendaele.org/avlas/

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iii is an artist-run-platform for research, production, presentation and distribution of radical interdisciplinary practices based in The Hague.

iii promotes artistic research and creation centered around the development of self-made instruments and performative media which engage with the four dimensions of image, sound, space, and the body.

Inventing new instruments and presentation formats, iii brings the laboratory to the stage and offers unique, playful experiences to all audiences

Caroline Profanter (it)

Born 1985 in Bolzano, Caroline Profanter studied Computer Music and Electronic Media at the University of Music and Performing Arts in Vienna and holds a Master's degree in Acousmatic Composition from the Conservatoire Royal de Mons in Belgium.

Caroline Profanter works in the field of electroacoustic music and sound art as a composer and performer.

Her focus lies on acousmatic composition, soundscapes and live electronics. She is interested in sounds and noises taken from the context of everyday life, transformed digitally and used as pure material. Therefore she collects and classifies recorded sounds and relates them to instrumental sounds or generated sounds, from analog synthesizers and feedback-systems. She collaborates with different musicans and artists within interdisciplinary projects between video, literature and radio art.

Since 2009 she is an active member of Velak - association for Electroacoustic Music of Vienna. 
Since 2011 she is on the committee of FKL – Forum Klanglandschaft.

http://cprofanter.klingt.org
https://soundcloud.com/carly-profanata

correspondances sur la mer de chine (b) in residency, working as cool as a summer breeze on sound and image.

from May 7th until 13th Oona Libens is working on a new project which will premier in the fall of 2018

Oona Libens (1987) is a Belgian-Swedish artist. Her work revolves around media-archaeology and the history of the (moving) image. She develops a distinct universe by creating a dialogue between historic and recent media phenomena — from shadow theatre as the most primitive form of the moving image, by way of the magic lantern, the computer or TV screen, to today’s entertainment society and Google. With her performances Oona Libens tries to broaden our experience of the image and the screen, to create an analogue virtual reality and to make an entertainment machine that is slow, hesitates, falters and fails. Since her graduation from KASK Gent in 2012 she has been working on a series of poetic-scientific lectures dealing with topics such as the universe, the sea, time and the human body.

Thibaut de Raymond aka Raymonde is coming to les ateliers claus  from April 23rd to 28th to record his forthcoming album on Brussels finest imprint VLEK
He will play live on April 28th  with Sister Iodine and Qonicho B!

Thibaut de Raymond aka Raymonde (Raymond IV when playing on a quadriphonic set-up) is based out of Lyon, France; He’s the founder and curator of the cassette-label Mus Joutra. Besides a release on his own imprint «Trilo IV & Percussion», collaborations with percussionist Plein Soleil (La Société Étrange) under the moniker of Pan Pan Pan and now Gong Bong, he made his vinyl debut on Lyon-based label Zèbres Records with the EP «J’aime bien le Tonnerre» (February 2017).
He has also worked for choregraphers during Lyon’s last Biennale de la Danse; His work features etudes on voodoo polyrhythm, african percussions and instruments as well as experimental hip-hop, mainly via tapes as a basis to build upon and play with during live performances. He’s taking care of a bimestrial show on LYL Radio called «La Nostalgie du Souffle»;
He has played along Black Zone Myth Chant, the BFDM label, C_C, Les Maîtres Fous, Salsa, Jean Bender. 

Thibaut de Raymond aka Raymonde sera en résidence aux ateliers claus du 23 au 28 avril pour enregistrer son quatrième album qui sortira chez VLEK
Il se produira en live le 28 avril prochain en compagnie de Sister Iodine et Qonicho B!

Thibaut de Raymond aka Raymonde
Raymonde IV, artiste lyonnais, entre percussion et transe en quadraphonie. Prenez place au milieu et perdez-vous ! Thibaut de Raymond aka Raymonde (ou Raymond IV quand il joue sur un dispositif quadriphonique) vit à Lyon en France.
Il est le fondateur et directeur du label cassette Mus Joutra.
Outre une release sur son propre label «Trilo IV & Percussion», des collaborations avec le percussioniste Plein Soleil (La Société Étrange) sous le nom de Pan Pan Pan — Gong Bong maintenant, il a sortit son premier vinyle chez Zèbres Records, intitulé «J’aime bien le Tonnerre» (Février 2017)
Il a aussi travaillé avec des chorégraphes, pour la dernière Biennale de la Danse à Lyon.
Son travail comprend des études sur la polyrythmie vaudou, les percussions et instrumentations africaines de même que des expérimentations autour du hip-hop, en se basant principalement sur la cassette et la bande pour construire sa musique et jouer lors de ses lives
Il anime une émission bimestrielle sur LYL, nommée «La Nostalgie du Souffle»
Il a pu jouer par le passé aux côtés de Black Zone Myth Chant, the BFDM label, C_C, Les Maîtres Fous, Salsa, Jean Bender…

https://soundcloud.com/lopppossum

Kohier will be in residence in les ateliers claus to work on new compositions from 9th to 15th of April.
They will play on the 14th of April with multi-limbed drummer and improv veteran Dirk Wachtelaer

Jürgen de Blonde & Brecht Ameel’s first musical meeting was as choirboys of choice for a Hermann Nitsch organ recital on a frostbit afternoon.
Inspired by the meeting of heaven and hell on that event, they decided to explore their own sense of kosmotheoric wonder through a minimal setup of baritone guitar and synth, combined in a protocol of kaleidoscopic sludge and weird minor tunings.
Inspired by Tomita at his dreamiest and Bohren & der club of Gore at their moodiest, the world of Kohier is as slow and psychotropic as a late night patrol car in the parallel universe of 1980s Brussels.

Jürgen de Blonde & Brecht Ameel's eerste muzikale ontmoeting was als ‘koorjongens’ voor een Hermann Nitsch orgelrecital.

Geïnspireerd door Tomita op zijn dromerigste en Bohren & der club of Gore op hun humeurigst, brengt Kohier met hun minimale set up van baritone gitaar en synth een heel eigen versie van kosmische muziek . Voor hun concert op 14 april zal het duo worden uitgebreid met drummer en improv-veteraan Dirk Wachtelaer.

https://soundcloud.com/sloowtapes/kohier
https://kohn.bandcamp.com/
https://soundcloud.com/brlaab

ladr.ache (b)
(Alice Bacquaert / Annabelle Pêtre / Antonine Gougeau / Faye Yannarou / Juliette Thomas /Lou Vercelletto )

ladr.ache is een zeskoppig vrouwelijk koor dat de scherpe randen kleurt van hedendaags polyfonische muziek. Ze startten enkele jaren terug met traditionele Griekse en Italiaanse nummers, maar zijn dit stadium ondertussen ontgroeid. ladr.ache zijn klaar om naar buiten te treden met hun eigen werk.

Ze werken hieraan tijdens hun residentie bij les ateliers claus van 5 tot 9 maart. Aanrader!

Polyphones sur corde raide - langue d'oiseau encastrée dans le plancher.
Collages de 6 timbres goudronnés / micros contact / percussions / oscillateurs / n=f/p (vitesse du champ tournant = fréquence du courant/nombre de paires de pôles).

Et qu'est ce qu'on fait de nos briques ? 

ladr.ache sera en résidence aux ateliers claus du 05 au 09 Mars 2018 pour préparer un enregistrement et les future live concerts.

Paul Destieu (fr)

Le projet « Échos de l’indépendance » propose l’élaboration d’une partition plastique par le prisme de la photographie. Ce projet de création prémédite une installation qui rejouerait la forme du concert et dont l’interprétation serait confiée à un ensemble de projecteurs diapositives : appareil optique dont le fonctionnement d’automate rudimentaire offre une vision technologique auto-réflexive, singularisant le rapport entre le geste musical et les mécanismes du réflexe.
Le projet se développe en une composition automatisée dans lequel photographie et création sonore se conjuguent en un séquençage audio-visuel percussif, permettant de révéler les mécanismes fascinants du geste sonore et offrant une appropriation de la fondamentale faculté de coordination psychomotrice des différents membres du musicien, ou «expérience d’indépendance».

Paul Destieu vit et tra­vaille à Mar­seille, France.
Ses recherches inter­rogent l’évolution des médias et la place qu’ils occupent dans notre envi­ron­nement actuel. Ses réflexions sont sen­si­blement nourries par l’histoire des tech­no­logies, des lan­gages, du son ou du cinéma. Sa pra­tique de l’image se déve­loppe dans une relation élargie à d’autres médias, à la recherche de nou­velles formes d’expression et de logiques de création par le biais du son, de mises en espace, des outils numé­riques et de l’architecture. Son travail investit de manière trans­versale les ten­sions qui se jouent entre l’émergence et la dis­pa­rition d’outils à dif­fé­rentes époques. Il s’agit alors de pousser ces tech­no­logies dans leurs retran­che­ments, à la limite de leur point de rupture, pour ali­menter autant de sens de relecture de notre his­toire.
Il est à l’initiative d’Otto-​​Prod /​ La Vitrine et par­ticipe à la mise en place d’échanges entre la France et la Slo­vénie ainsi que dif­fé­rentes ini­tia­tives cultu­relles autour de cette dyna­mique.

Paul Destieu et l'équipe d'Otto-Prod seront en résidence de création aux ateliers claus du 26 février au 11 mars 2018.
Une présentation d'une étape de travail sous forme de performance et une vidéo du travail de Paul Destieu seront proposés.

In Dreams Begin Responsibilities (titre provisoire)

La metteuse en scène et dramaturge liégeoise Camille De Bonhome suit une formation d’art dramatique (EICAR) et de sciences théâtrales (Sorbonne Nouvelle) à Paris. Elle fait ses stages avec Rosalba Torres (Ballets C de la B) et le metteur en scène et auteur Jan Lauwers (Needcompany). Après ses études, elle retourne vivre en Belgique où elle travaille en tant que assistante à la mise en scène avec Peeping Tom, Eudike De Beul (KoudVuur) et Guy Cassiers.
Parallèlement elle crée ses propres projets avec un groupe d’artistes multidisciplinaires à De School van Gaasbeek, Kaap et De Grote Post.
Sur base d’un travail dramaturgique, Camille De Bonhome développe une méthode qui remet la source de théâtralité en question et interroge particulièrement la nature et la place du texte.
Son travail se concentre avant tout sur l’intimité comme espace de tous les doutes et le rapport d’influence entre l’intérieur et l’extérieur de l’individu. En travaillant sur la confession, la délivrance, les hallucinations et les fantasmes, principalement à travers le mythe familial, elle questionne la possibilité de plénitude à travers une question récurrente : Sommes-nous capable de traverser pleinement notre propre histoire ou seulement de la raconter ?
Pour son nouveau projet, elle travail sur une nouvelle de l’auteur Delmore Schwartz, In Dreams Begin Responsibilities:  Un jeune garçon de 21 ans est dans un cinéma. Le film qui passe est celui de la rencontre de ses parents. Mais la pellicule est de mauvaise qualité : l’image saute, elle est abimée et la lumière est mauvaise. Devant ces images qui annoncent son triste destin, l’angoisse s’empare du jeune garçon. Il tente de changer le cours des choses mais il ne peut rien faire. Après tout, ce n’est qu’un film, non ?
In Dreams Begin Responsibilities est un projet théâtral, musical et visuel qui interroge différents lieux possibles de vérité et l’inexorable volonté de savoir même à travers le mensonge qui manipule notre perception.

Avec Raquel Castellano, Zoë Croegaert, Mocke Depret et Sandro Mabellini
Mise en scène Camille De Bonhome
Collaboration artistique Manolo Sellati
Musique Mocke Depret
Texte Delmore Schwartz, Camille De Bonhome

Ce projet est soutenu par Kaap, De Grote Post, Festival Factory et les ateliers claus.

Camille De Bonhome et son équipe seront en résidence du 12 au 14 février 2018 afin de finaliser la mise en espace qui sera présentée lors du Festival Factory en février 2018.
 

De Luikse regisseuse en dramaturge Camille De Bonhome doorliep een drama- opleiding (EICAR) en haar studie theaterwetenschappen in Parijs (Sorbonne-Nou- velle). Ze deed stages bij Rosalba Torres (Ballets C de la B) en bij toneelregisseur en auteur Jan Lauwers (Needcompany).
Na haar studie keert ze terug naar België waar ze als regie- en dramaturgie-assis- tente aan de slag gaat bij Peeping Tom, Eurudike De Beul (KoudVuur) en Guy Cas- siers (Toneelhuis).
Tegelijkertijd creëert ze eigen werk met een multidisciplinaire groep kunstenaars, en toont de verschillende etappes in De School van Gaasbeek en Kaap (Brugge). Op basis van de tekstbewerking ontwikkelt Camille De Bonhome een methode die voort- durend de bron van de theatraliteit, en in het bijzonder de tekst ter discussie stelt.
Haar werk focust zich op intimiteit als ruimte voor alle twijfels en op de verhouding van de invloed van het innerlijke en uiterlijke van het individu. Werkende op de bekentenis, de bevrijding, de hallucinaties en de fantasmes, vooral in betrekking tot de familiemythe, stelt ze zich de vraag of de mogelijkheid van vol- heid bestaat door het stellen van deze steeds weerkerende vraag :
« Zijn we in staat om ons eigen verhaal volledig te beleven of kunnen we dit enkel verhalen? »
In haar nieuwste project bewerkt ze de novelle van schrijver Delmore Schwartz, In Dreams Begin Responsibilities :
Een jongeman, 21 jaar, bevindt zich in een filmzaal. De film gaat over het begin van de relatie tussen zijn ouders. Het beeld is slecht: het verspringt, het is beschadigd en het licht is wazig. De beelden van zijn eigen trieste lot beklemmen de jongeman. Hij wil het verloop rechtzetten maar kan enkel machteloos toekijken. Het is maar een film, toch?
In Dreams Begin Responsibilities is een muzikaal en visueel theaterproject dat ver- schillende plaatsen van waarheid bevraagt, alsook de onuitputbare wil tot kennis doorheen de leugens van onze beperkte perceptie.

Met Raquel Castellano, Zoë Croegaert, Mocke Depret, Sandro Mabellini
Regie Camille De Bonhome
Dramaturgie en Artistiek medewerkerking Manolo Sellati
Muziek Mocke Depret
Tekst Delmore Schwartz, Camille De Bonhome

Dit project wordt ondersteund door Kaap, De Grote Post, Festival Factory en les ateliers claus

Camille De Bonhome en haar team zullen in residentie zijn van 12 tot 14 februari 2018 om de setting te finaliseren die zal worden gepresenteerd op het Factory Festival in februari 2018.

In dreams begin responsibilities

The director and dramaturge Camille De Bonhome (Liège) studies Drama Arts (EICAR) and Theatrical Science (Sorbonne Nouvelle) in Paris. She does her internships with Rosalba Torres (Ballets C de la B) and the director and author Jan Lauwers (Needcompany). After her studies, she returns to live in Belgium where she works/worked as a staging assistant with Peeping Tom, Eudike De Beul (KoudVuur) and Guy Cassiers.

At the same time she creates her own projects with a multidisciplinary group of artists at De School van Gaasbeek, Kaap and De Grote Post.

Based on a dramaturgical work, Camille De Bonhome develops a method that challenges the source of theatricality and particularly questions the nature and place of the text.

Her work focuses primarily on intimacy as the space of all doubts and the relationship of influence between the inside and the outside of the individual. By working on confession, deliverance, hallucinations and fantasies, mainly through the family myth, she questions the possibility of fullness through a recurring question : Are we able to fully cross our own story or just tell it?

For her new project, she is working on a short story by author Delmore Schwartz, In dreams Begin Responsibilities:  

A young boy is in a cinema. The film that passes shows how his parents met. But the film is of poor quality: the image jumps, it is damaged and the light is bad. In front of these images which announce his sad destiny, the anxiety seizes the young boy. He tries to change the course of things but he cannot do anything. After all it’s just a movie, right?
In dreams begin responsibilities is a theatrical, musical and visual project that questions different possible places of truth and the inexorable will to know even through  the lie that manipulates our perception.

With Raquel Castellano, Zoë Croegaert, Mocke Depret and Sandro Mabellini
Directed by Camille De Bonhome
Artistic collaboration Manolo Sellati
Music Mocke Depret
Text Delmore Schwartz

La musique insaisissable de Senyawa au tempérament punk évoque les performances vocales de Mike Patton ou Diamanda Galas. Cette formation unique de Yogyakarta transforme la musique traditionnelle javanaise en une expérience d’avant-garde dopée au punk. L’instrumentiste Wukir Suryadi fabrique ses propres instruments, tandis que le frontman Rully Shabara impressionne le public avec ses techniques vocales ébouriffantes, alternant entre cris stridents, chants, murmures et halètements.

Patshiva Cie est un chœur féminin de vingt-cinq âmes basé à Bruxelles. À la barre : Dounia Depoorter, chef de chœur, et Fatou Traoré, une chorégraphe aux racines franco-maliennes qui a notamment dansé pour Rosas (Anne Teresa De Keersmaeker) et Alain Platel.

Sur l’invitation d’EUROPALIA INDONESIA, Senyawa résidera du 5 au 10 janvier aux ateliers claus, où le duo planchera sur de nouvelles compositions avec une collaboration inédite avec  l’ensemble polyphonique Patshiva Cie.
Ils présenteront le rendu de ce travail lors d’un concert le 14 janvier à l’Ancienne Belgique.

Anyone who has ever experienced the explosive Javanese duo Senyawa at work, is no doubt reminded of vocal artists Mike Patton or Diamanda Galas and of an intangible musical impact with a punk streak. This unique duo from Yogyakarta transformed traditional Javanese music through avant garde experiment and a serious injection of punk. Instrumentalist Wukir Suryadi builds his own instruments and frontman/singer Rully Shabara screams/pants /mumbles /sings and impresses with his unbelievable vocal technique.

Patshiva Cie is a 25-member polyphonic female choir that resides in Brussels. At the helm: choir leader Dounia Depoorter and choreographer Fatou Traoré who has French-Malinese roots and earned her stripes with/collaborated with Rosas (Anne Teresa De Keersmaeker) and Alain Platel.

At the invitation of EUROPALIA INDONESIA, Senyawa will reside in les ateliers claus from 5th to 10th of January while the two work there on new material with the collaboration with polyphonic choir Patshiva Cie.
The will show the result of this work on the 14 of January at L'Ancienne Belgique.

https://youtu.be/_ZnzJIYsJ7s

https://europalia.eu

https://www.patshiva-cie.com/

Nous avons le plaisir d’accueillir l’artiste belge David Neaud en résidence aux ateliers claus.  Après être venu jouer en avril 2014 dans nos murs, David Neaud viendra travailler sur une nouvelle méthode de performance musicale et visuelle.

David Neaud (b) s’intéresse essentiellement à l’art audio et plus particulièrement aux propriétés physiques et aux instabilités internes des sons avec lesquels il joue. Basés sur une technologie low tech, ses dispositifs de concert bricolés sont des laboratoires sonores de fortune évoquant tables de mixage archaïques et synthétiseurs primitifs. Grâce à ces dispositifs, David capte et piège des vibrations afin de générer des nappes sonores . L’élaboration des dispositifs est construite sur une technologie  précaire, la maîtrise du jeu en concert reste improbable. En cela, ses concerts sont largement ouverts au hasard et à l’accident, donnant lieu à des temps d’improvisation et de recherche.

David Neaud sera en résidence du 1er au 9 février 2018 et présentera sa nouvelle performance le 09 février.

We have the pleasure to welcome the Belgium artist David Neaud for a residency in the ateliers claus. After his concert in April 2014 in our house, David Neaud will come to work on a new performance method with music and visuals

David Neaud (b) is primarily concerned with audio and more specifically with the physical properties and internal instabilities of sounds with which he makes art. Based on his low tech technology devices are sounds cobbled together with archaic mixers and primitive synthesizers. With these devices David captures vibrations to generate sound layers . The development of devices is built on a shaky technology, mastering the game in concert remains unlikely. In this, his concerts are largely open to chance and accidents, resulting in improvisation and research.

David Neaud will be in residency from 1st until 9th of February 2018 and he will present his new performance on the 9th of February.

http://davidneaud.wixsite.com/davidneaud

Ben Bertrand is een klarinettist in de hedendaagse/klassieke traditie. Hij bedacht een manier om het geluid van  zijn instrument in elektronische geluiden om te zetten, waardoor hij loops kan creëren en deze live kan bewerken tijdens solo performances.

Ben Bertrand resideert van 23 tot en met 25 oktober 2017 bij les ateliers claus, en neemt er zijn eerste album op.

Ben Bertrand is a clarinetist who evolves in the classical/contemporary scene. He imagined a device which enables him to transform the natural sound of his instrument into electronic sounds that enables him to create loops and to orchestrate it live, to create solo performances.

Ben Bertrand is doing a residency at les ateliers claus and recording his first full album, from the 23rd until the 25th of October 2017.

Bridget Hayden (UK) en Ignatz (B) zullen één week bij les ateliers claus resideren en op deze avond het resultaat voorstellen.

Bridget Hayden schreef geschiedenis als violiste bij het Vibracathedral Ochestra, de moeder van de vroege eenentwintigste eeuwse Europese avant garde drone rock. In 2006 verliet ze de band om zich te concentreren op haar eigen werk, dat naast intense stukken drone ook poëzie, film en schilderkunst omvat. Met gitaar en altviool verdrijft ze de heavy noise uit haar lichaam.

In 1910 creëerde de illustrator George Herriman de Krazy Kat comic. Ignatz, een kwaadaardige muis, was Krazy Kats aartsvijand, en zijn favoriete tijdverdrijf was het gooien van bakstenen naar Krazy Kats hoofd (die deze handelingen als liefdesverklaringen opvatte). De Belgische artiest Bram Devens gebruikt Ignatz als zijn alter ego, en komt gewapend met zijn eigen stapel bakstenen: spaarzame, gevoelvolle songs die voortvloeien uit de menselijke conditie, ingepakt in effecten, aangevreten door tape, voortgedreven door improvisatie en spontaniteit.

De songs van Ignatz stammen uit een vertrouwd uitgekleed folk framework, en Devens’ behandeling doet denken aan het louche primitivisme van V.U. of Henry Flint. maar ze klinken binnenstebuiten gekeerd, drijven weg, hun koele ondertoon verraadt een belemmerde gloed onder de oppervlakte. Autonome loops verstrengelen zich in elkaar. De songs schurken langs percussie, bastonen, of een karig keyboardmotief. Een stem trekt zich terug uit het hart van de song in de richting van een verloren gelopen gewauwel. 

een residentie van 18 tot en met 22 september 2017

Bridget Hayden (uk) & Ignatz (b) will reside at les ateliers claus during one week and show the result on this night.

Bridget Hayden wrote history as a violinist with Vibracathedral Orchestra, the mother of early twenty-first century European avant-garde drone rock. In 2006 she left the band to focus on her own work, which alongside that of intense drone pieces also includes poetry, film and painting. With guitar and viola she exorcices the heavy noise from her body. 

In 1910, the illustrator George Herriman created the Krazy Kat comic strip. Ignatz, a vicious mouse, was Krazy Kat’s arch enemy, and his favourite pastime was to throw bricks at Krazy Kat’s head (who misinterpreted the mouse’s actions as declarations of love). Belgian artist Bram Devens uses Ignatz as his alter-ego, and comes armed with his own pile of bricks; sparse, emotive songs born of the human condition, wrapped in effects, corroded by tape, driven forth by improvisation and spontaneity.

Ignatz’s songs stem from a familiar stripped folk framework, with Devens’ delivery recalling the louche primitivism of V.U. or Henry Flynt – but these songs sound inverted, cast adrift, their cool touch belying a stymied heat beneath the surface. Where Devens’ fretwork is adorned, it is executed with a refined coarseness. Autonomous loops entwine each other. Songs brush past percussion, bass notes, or a scant keyboard motif. A voice recedes from the heart of the song into a dislocated, cracked drawl.

a residency from the 18th until the 22nd of September 2017

https://bridgethayden.bandcamp.com/
http://www.ignatz.be/

Felix Kubin & Marie Losier  will be residing at les ateliers claus in the second half of August. Marie is making a documentary about Felix and he will show our eyes his love for Belgium. Felix Kubin will sing a cantate for the 9th ball at the Atomium, chant about the orange highway lights, trill about the fries, quaver around the beers and croon about Manneken Pis. 

Marie will show a few of her visual work and she allows us to see a sneak preview of the documentary she'll make about Felix. 

Marie Losier (born in 1972 in France) is a French filmmaker and curator who has been living and working in New York City for 20 years. She has shown her film and video work at a number of museums, galleries, festivals and biennials internationally. Losier has studied literature at the University of Nanterre (France) and fine arts at Hunter College in New York City. She has made many film portraits based on directors, musicians and composers, including George Kuchar, Guy Maddin, Richard Foreman, Tony Conrad, Genesis P-Orridge and Alan Vega. Her films are distributed by Video Data Bank. Additionally, Losier has been the film curator at the French Institute Alliance Française since 2000

‘Unterführungskünstler’ and ‘marriage impostor artist’ Felix Kubin composes electronic music since his early teens. Apart from that, he makes radio plays, videos, animation- and short films and is the founder of the label Gagarin. Kubin came to play in a circus tent at the tenth anniversary of les ateliers claus in 2016. One year later, he returns to Brussels for an eleven day residency and a concert on the 29th of August.

 ‘Unterführungskünstler’ en ‘marriage impostor artist’ Felix Kubin componeert elektronische muziek sinds zijn vroege tienerjaren. Daarnaast maakt hij hoorspelen, videoclips, animatie- en kortfilms en is hij oprichter van het label Gagarin. Kubin kwam spelen in de circustent van les ateliers claus in 2016 . Een jaar later keert hij terug naar Brussel voor een elfdaagse residentie en een concert op 29 augustus.

www.felixkubin.com

“I start with writing (language is movement), then I interview people (who's talking about dance?),
I use my mouth to make knots in cherry stems (I have never tried it before)
and I edit a movie vertically because virtual space is better than likely (verosimile),
as Paolo Uccello might have said. Or better: piling up is also peeling off.” 

Spectacle #4 is een film over de relatie tussen dans en taal als een fictie in vier hoofdstukken.

Gebruikmakend van EKPHRASIS, de beschrijving van een ingebeeld of echt bestaand, maar niet fysiek aanwezig kunstwerk, begint de film bij een reeks interviews die laten zien hoe we al dan niet praten, begrijpen en ons een performance herinneren.

Hoe belachelijk en poëtisch het ook mag klinken, we zetten letterlijk woorden in dans om en vice versa om tegelijkertijd te ‘semiotiseren’ en ‘desemiotiseren’. Ons bewust van het gebrek aan transparantie wanneer het op vertaling aankomt, zeker bij vertaling van één medium naar een ander, kiezen we voor film om de complexiteit van het onderwerp op een excessieve en sensuele manier over te brengen. We gebruiken een zelfgemaakte 3D-technologie die het beeld verdubbelt, ruimte creëert tussen twee oppervlakken en virtuele perspectieven toevoegt. We werken ook verticaal door beelden en stemmen over elkaar te plaatsen, niet om een opeenstapeling te creëren maar net om de huid laag na laag af te pellen.

Beelden, geluid en montage door Sara Manente en Christophe Albertijn. In residentie van 26 tot 30 juni en van 2 tot 7 september 2017.

Spectacle #4 is a film treating the relation between dance and language as a fiction in four chapters. 

Using the literary form of EKPHRASIS, the description of an art work imagined or existed but not physically present, the film started from a series of interviews displaying how we do or don't talk, understand and remember a performance. 

As ridiculous and poetic as it may sound, we literally put words on dance and vice versa to semioticize and desemioticize at the same time. Conscious of the lack of transparency in relation to translation, especially from one medium to another, we choose film to convey the complexity of the topic in a rather excessive and sensual way. We use a DIY 3D technology which actually doubles the image, creating space in between two surfaces and adding virtual perspectives. We work vertically by piling up images and voices, not for the sake of accumulation but rather with the aim of peeling off or shedding the skin. 

Images, sound and editing by Sara Manente and Christophe Albertijn. In residence from the 26^th till the 30^th of June and from the 2^nd till the 7^th of September 2017. 

Als vluchteling van de oorlog in Irak is muzikant Arkan Mushtak vorig jaar in België beland. Van jongs af aan werd hij in Baghdad gevormd tot een getalenteerde toetsenist door meestercomponist Noor Sabah. Naast klassieke Iraakse muziek speelt hij ook de traditionele stijl ‘chobi chobi’ in elektronische vorm, met ratelende beats en bezwerende synth melodieën.

Voor de A-kant van de plaat die hij zal opnemen bij les ateliers claus, wordt Arkan bijgestaan door een Iraakse zanger. Op de B-kant zal de Belgische elektronische producer Michael Crabbé aka Weird Dust meejammen voor een hedendaags oosters-en-westers acid geluid. De opnames van deze plaat zullen leiden tot het opzetten van het live project Arkan Mushtak Synth Trio.

In residentie op 22 en 23 juni 2017

As a refugee from the war in Iraq, musician Arkan Mushtak ended up in Belgium last year.  From a young age on he was trained by master compositor Noor Sabah in Baghdad to be a talented pianist. Apart from classical Iraqi music, he also plays the traditional style ‘chobi chobi’ in an electrical form, with rattling beats and mesmerizing synth melodies.

For the A-side of the disc he will record at les ateliers claus, Arkan will be assisted by a singer from Iraq. On the B-side, the Belgian electronic producer Michael Crabbé, aka Weird Dust, will jam along for a contemporary east-meets-west acid sound. These recordings will contribute to the formation of the live project Arkan Mushtak Synth Trio.

In residence on the 22nd and 23rd of June 2017

Bégayer (FR) maken Frans chanson, bruitistische muziek, geluiden... Muziek die van veraf lijkt te komen. Ze werken met korte gedichten en zelfgemaakte instrumenten, geïnspireerd door Afrika en Azië, en radio's, versterkers en andere kleine elektronische objecten. Alle composities en arrangementen: Loup Uberto, Lucas Ravinale, Alexis Vineïs.

In concert op 10 juni 2017; in residentie van 11 tot en met 15 juni

Bégayer (FR) make french chanson, bruitistic music, sounds... That seem to come from far away. They write short poems and make artisanal instruments, inspired by Africa and Asia, and work with radios, amplifiers and small electronic objects. All compositions and arrangements: Loup Umberto, Lucas Ravinale, Alexis Vineïs.

En concert le 10 juin 2017; en résidence du 11 jusqu'au 15 juin 

Bégayer (FR) font du chanson française, musique bruitiste, rumours... Des musiques lointaines, Poèmes courts, instruments artisanaux inspirés d’Afrique et d’Asie, Radios, amplificateurs et autres petits objets électroniques. Toutes compositions, arrangements : Loup Uberto, Lucas Ravinale, Alexis Vineïs.

In concert on the 10th of June 2017; in residence from the 11th till the 15th of June

In residentie van 3 tot 11 maart 2017

Ondanks een beperkte discografie is het onorthodoxe raptrio Baleine 3000 er in geslaagd een volledig unieke sound voort te brengen. Veel is te wijten aan hun eclectische samenstelling – de Japanse MC Illreme, de Belgische producer Lawrence Le Doux en de Franse dj Afrojaws. De crosscontinentale relatie kwam toevallig tot stand toen Le Doux op zoek ging naar een Japanse rapper in de late jaren 2000 en stuitte op Jun Kamoda’s project Illreme. Afrojaws vervoegde de band om mee te werken aan zeven tracks op hun laatste plaat The Nap.

Desondanks heeft de groep nog nooit samen opgetreden: alle opnames werden online uitgewisseld. Op 11 maart 2017 zullen ze bij les ateliers claus voor het eerst een concert geven.

In residence from the 3rd till the 11th of March 2017

Despite a discography that has only seen an EP and a compilation on Sonig, the sound that unorthodox rap trio Baleine 3000 has engendered is entirely unplaceable. One look at their impossibly eclectic roster—which brings together Japanese MC Illreme, Belgian producer Lawrence Le Doux, and French DJ Afrojaws—will shed some light on how this comes about. As they explain, the cross-continental relationship came about by change after Le Doux stumbled upon Jun Kamoda's Illreme project when looking for a Japanese rapper in the late 2000s. Years later, Afrojaws joins the fold to compile seven tracks on The Nap, their latest offering.

Nevertheless, the three group members have never played together: all of their recordings were exchanged online. On the 11th of Mars, they will give a concert as a group for the very first time. 

Brusselse groep rond Jean-Philippe De Gheest (drums) en Gil Mortio (bas en zang) die groovy mengsels brouwt tussen jazz en rock. Geïnspireerd door science fictionfilms, gevoed door exotische melodieën, geeft Joy as a Toy de voorkeur aan reizen zonder kompas.

De groep stelt haar derde album, Morning Mountains voor. Verwacht u aan fijnmazige popklanken en zorgeloze cross-over, een fantastisch bestiarum en een droomreis naar ingebeelde tropen.

Residentie van 20 tot 23 september; concert op 23 september 2016

Thomas Bonvalet zal gedurende een week werken aan zijn soloproject. Aanvankelijk werkt hij enkel op gitaar met nylonsnaren en verkent hij de akoestische mogelijkheden van het instrument. In een tweede stap integreert hij het geluid van objecten (metronoom, stemvorken, harmonica's, ...) die hij op een oneigenlijke manier heeft gebruikt. De residentie start op 12 september, presentatie op 17 september 2016.

Thomas Bonvalet will be working on his solitary project during 1 week: initially focused on the nylon string guitar, limiting itself exclusively to the acoustic possibilities of the instrument. Integrating the sound of objects (metronome, tuning forks, harmonicas…) deviating from their common usage. Start of his residency: September 12th, presentation on September 17th 2016.

Le jour du seigneur zijn Benjamin Chaval (drums, electronica) en Arnaud Paquotte (bas).

Smeedwerk / klokken / hamers / trompet / snaren / huiden /elektronica

In residentie van 27 juni tot en met 1 juli 2016 om opnames te maken.

Le jour du seigneur are Benjamin Chaval (drums, electronics) and Arnaud Paquotte (bass).

Forgery / bells / hammers / trumpet / snares / skins / electronics

In residence from the 27^th of June till the 1^st of July 2016 to make recordings.

Theatermakers Eva Binon, Jason Dousselare en Louise Van den Eede kwamen tussen 23 mei en 3 juni 2016 werken aan de voorstelling Pymalion.

Theatre makers Eva Binon, Jason Dousselare and Louise Van den Eede came to work on the piece Pygmalion between the 23^rd of May and the 3^rd of June 2016.

Wat gebeurt er wanneer Fanfakids hun kostuum ontgroeid zijn? Ze starten zelf een drumgroep en maken eigen ritmes en nieuwe klanken onder de naam: Zica-N. In samenwerking met de muzikanten van ZOFT gingen een aantal jongeren aan de slag met een nieuw repertoire en bouwden ze hun eigen instrumenten. Niet alleen de muziek maken ze zelf, ze werken ook mee aan de ontwikkeling van het volledige project en staan in voor alle aspecten ervan (promotie, repetities, budget). Het resultaat? Urban grooves van de bovenste plank, gebracht door getalenteerde Brusselse jongeren. Een ‘must see’!

Wekelijkse residentiedag tussen 7 mei en 12 juni 2016; concert op zondag 12 juni op het festival Supervlieg/Supermouche in het Park van Vorst

What happens when kids in a marching band have outgrown their uniforms? They start a drum group of their own, and make rhythms and new sounds under the name: Zica-N. In cooperation with the musicians of ZOFT, a group of young people started working on a new repertoire and building their own instruments. They didn’t only make the music themselves, they also contributed to the development of the complete project and were responsible for every aspect of it (promotion, repetitions, budget). The result? First class urban grooves, brought to you by talented youngsters from Brussels. A must see!

Weekly residence day between the 7th of May and the 12^th of June 2016; concert on Sunday the 12^th of June at Supervlieg/Supermouche festival (Parc of Vorst)

1980: de band uit San Francisco Tuxedomoon brengt het album Half Mute uit, dat hen onmiddellijk vestigt als één van de leidende avant-garde popbands.

2016: zesendertig jaar, tientallen releases en honderden shows later komen de oorspronkelijke leden van Tuxedomoon, Steven Brown, Peter Principle en Blaine Reiniger, er daarbovenop Luc van Lieshout en Bruce Geduldig, samen om Half-Mute te herinterpreteren en opnieuw op te voeren in een reeks exclusieve shows over heel Europa.       

Hun residentie, van 26 april tot en met 12 mei 2016, had tot doel deze tournee voor te bereiden. De tournee startte met drie concerten bij les ateliers claus op 10, 11 en 12 mei.

1980: San Francisco band Tuxedomoon release their debut album Half-Mute, which immediately establishes them as one of the leading avant-garde pop bands.

2016: thirty-six years, dozens of releases and hundreds of shows later, Tuxedomoon’s original members, Steven Brown, Peter Principle and Blaine Reininger, joined by Luc van Lieshout and Bruce Geduldig, get together to revisit Half-Mute and perform it on a series of exclusive shows around Europe.

Their residence, from the 26^th of April till the 12^th of May 2016, was aimed to prepare for this tour. The tour kicked off with three concerts at les ateliers claus on the 10^th, 11^th and 12^th of May.

Radio Femmes Fatales, a.k.a. Maya Boquet en Lenka Luptáková, is een Frans-Belgisch duo dat radiofonische  spelen maakt die live worden uitgezonden op een naburig radiostation.

De formats zijn opgevat als korte uitzendingen die noties rond vrouwelijke identiteit verkennen en ons laten kennismaken met 'ongewone femmes fatales'. Hieronder verstaan ze iedereen die door zijn of haar handelingen de traditionele categorieën overhoop haalt en het spectrum tussen de polen 'man' en 'vrouw' verbreedt.

RFF werkt met een sonore grammatica van heterogene en eclectische, analoge en elektronische elementen die zich met elkaar verweven zonder waardenhiërarchie. De hybride esthetica van de stukken van RFF benadert de Duitse 'Hörspiele', waarin als enige regel de verkenning van het ongehoorde geldt. 

In residentie van 18 tot en met 25 april 2016

Radio Femmes Fatales, a.k.a. Maya Boquet et Lenka Luptáková, is a Belgian-French duo which makes radiophonic pieces, played on a stage and broadcasted live on a radio station nearby.

The formats are conceived as short emissions that explore notions of feminine identity introduce us to a series of 'extraordinary femmes fatales'. These are men or women who, by their actions, blur the traditional categories and broaden the spectrum between 'male' and 'female'.

RFF works with a sonorous grammar made of heterogeneous and eclectic, analogical and electronic elements which are woven together without any hierarchy of value. The hybrid esthetic of the RFF pieces lies close to the German 'Hörspiele', literally 'hearing games', in which the only rule is the exploration of the unheard.

In residence from the 18th till the 25^th of April 2016

Bear Bones, Lay Low is het soloproject van Ernesto Gonzales. Gonzales resideerde bij ons om nieuwe opnames te maken. De opnames werden uitgebracht door het Nederlandse label RushHour.

In residentie van 13 tot 26 april 2016

Bear Bones, Lay Low is Ernesto Gonzales’s solo project. Gonzales resided with us to make new recordings, which were brought out by the Dutch label RushHour.

In residence rom the 13^th till the 26^th of April 2016

https://www.discogs.com/Bear-Bones-Lay-Low-Hacia-La-Luz/release/8842159

Monte Isola is een plek. Een eiland, gelegen in het midden van een meer in Noord-Italië. ‘Monteisola’ is bovendien het pseudoniem waar de Brusselse geluidartieste Myriam Pruvot achter schuilgaat. In 2013 bracht Monte Isola haar eerste album NIEBLA uit op het Franse label Wild Silence. Het was de uitkomst van een reis doorheen het zuiden van Chili, waar het album volledig is opgenomen. Geïnspireerd door populaire melodieën en allerhande bijzondere soorten muziek, lawaai en ritornello’s door elkaar gooiend, speelt Monteisola met ruimte en afstand, waardoor haar werk op de grens ligt van rudimentaire folk en concrete muziek. Voor optredens werkt ze sinds kort samen met de multi-instrumentalist TSEG (WHY THE EYE).   

In residentie van 4 tot en met 6 april 2016; concert op woensdag 6 april

Monte Isola is a place. An island, located in the middle of a lake in Northern Italy. And it is the pseudonym under which Brussels-based sound artist Myriam Pruvot chose to labor. In 2013, Monte Isola released her first album NIEBLA on the french record label Wild Silence. This was the product of a journey through South Chile, where the album was entirely recorded. Inspired by popular melodies and all forms of peculiar musics, jumbling together noises and ritornelli, Monteisola plays with space and lenghts, positionning her work at the border of vestigial folk and « concrète » music. For the stage, she recently teamed up with the multi-instrumentalist TSEG (WHY THE EYE).

In residence from the 4^th till the 6^th of April 2016; in concert on Wednesday the 6^th of April

Orgue Agnès is Laurent Gerard (Èlg) samen met een violist en een percussionist. Laurent Gerard is kind aan huis bij les ateliers claus en is volgens ons één der meest originele en creatieve Brusselse muzikanten. Vorig jaar schonk hij ons een excellent optredens met Cam Deas,  eind maart komt hij met twee gastmuzikanten van de groepen Sourdure en 1er Chausseur: Ernest Bergez en Clement Verceletto.

Voor deze presentatie komen ze van 21 tot en met 27 maart 2016 bij les ateliers claus resideren; concert op zondag de 27ste

Orgue Agnès is Laurent Gerard (Èlg) together with a violin player and a percussionist. Laurent Gerard is a regular at les ateliers claus and in our opinion one of the most original and creative musicians in Brussels. Last year he gave an excellent performance with Cam Deas; at the end of March, he will come by with two guest musicians of the bands Soudure and 1er Chasseur: Ernest Bergeez and Clement Verceletto.

To prepare for this presentation, they come to reside from the 21^st till the 27^th of March 2016; concert on Sunday the 27^th

Les Mutants Maha is de groep rond de Franse drummer Guigou Chenevier, de frontman van Etron Fou Leloublan. Naar ons gevoel was hun optreden één van de beste bij les ateliers claus van de afgelopen jaren. Ze maken geen licht verteerbare meezingliedjes, maar muzikale schoonheid voor het hoofd en het hart.

Tijdens de residentie maakten ze een opname die midden 2017 zal worden uitgebracht op les albums claus. 

In residentie van 11 tot 18 maart; concert op 18 maart 2016

Les Mutants Maha is the band around the french drummer Guigou Chevenier (also the frontman of Etron Fou Lebloulan).

Their performance was, according to us, one of the best concerts we hosted these last couple of years. Musical playing and writing of the highest level. Not the most easy thing to swallow, no sing-a-long-songs, but musical aesthetics that conquer your heart and brain.

During the residency Les Mutants Maha made a recording which will be brought out on les albums claus mid-2017.

In residence from the 11^th till the 18^th of March; concert on the 18^th of March 2016

Yann Leguay is een Brusselse geluidskunstenaar. Tijdens zijn residentie, van 7 tot 9 februari 2016, maakte hij opnames voor het Vleklabel, waarvan het resultaat eerstdaags zal uitkomen.

Yann Leguay is a soundartist from Brussels. During his residency, from the 7th till the 9th of February 2016, he made recordings which will come out shortly on the Vlek label.

https://www.discogs.com/label/223773-Vlek

La Barancande is de ontmoeting tussen de muzikanten van TOAD en Basile Brémaud rond het repertoire van Virginie Granouillet ofwel La Baracande, een zangeres wiens werk werd opgenomen door Jean Dumas in de jaren ‘50-‘60.

Deze muzikanten benaderen frontaal één van de fundamentele vragen aanwezig in de muzikale tradities van Centraal-Frankrijk, de correlatie tussen het geluid/timbre en de cadans, en hoe die twee noties zich organiseren om wat men Melodie noemt voort te brengen. Wat hen geraakt heeft bij het beluisteren van Virginie Granouillet is de onmiddellijke aanwezigheid van haar stem en de dramatische spanning die van haar uitgaat. Het gaat hier om muziek die gemaakt is om te beluisteren, narratieve muziek die niet aanzet tot dansen maar zich tot de luisteraar richt.

In residentie van 18 tot en met 22 januari 2016; met opnames; concert op vrijdag 22 januari

La Baracande is the collaboration between the musicians of TOAD and Basile Brémaud around the repertoire of Virginie Granouillet or La Baracande, a singer whose work was recorded by Jean Dumas in the fifties and sixties.

These musicians approach frontally one of the fundamental questions present in the musical traditions of Central France, the correlation between the sound/timbre and the cadence, and how these two notions organize oneself to bring forth Melody. What touched them while listening to the music of Virginie Granouillet is the immediate presence of her voice and the dramatic tension she emits. This is music made for listening; it's narrative music which does not invite to dance but which speaks to the listener.

In residence from the 18th till the 22nd of January 2016; with recordings; concert on Friday the 22nd

Chocolat Billy, opgericht in 2002 in Bordeaux, bestaat uit vier muzikanten die afwisselend verschillende instrumenten bespelen – gitaar, bas, drum, keyboard, diverse percussie.

Het gaat om een voornamelijk instrumentele rock die zich beweegt tussen verschillende muzikale kleuren: punkachtige wereldmuziek, bruitistische improvisatie, cold wave, pop, …

Met Joni Burgin, Armelle Marcadé, Mehdi Michaux en Ian Saboya

In residentie van 4 tot en met 14 januari 2016, met opname

Chocolat Billy, founded in 2002 in Bordeaux, consists of four musicians who share and exchange their instruments – guitar, bass, drum, keyboard and various percussion.

It’s an instrumental kind of rock which moves between different musical colours: punky world music, bruitistic improvisation, cold wave, pop, …

With Joni Burgin, Armelle Marcadé, Mehdi Michaux and Ian Saboya

In residence from the 4th till the 14th of January 2016, with recording

Frederic Bernier is een Franse stemkunstenaar. Hij resideerde bij ons van 14 tot 18 december om te werken aan een nieuwe presentatie die keelgezangen, poëzie en elektronische muziek vermengt. Hij gaf een concert op 19 december 2015.

Frederic Bernier is a french voice artist. He resided with us to work out a presentation that would include throat singing, poetry and electrical music. He gave a concert on the 19th of December 2015.

Èlg + Cam Deas bereidden gedurende de eerste twee weken van april bij les ateliers claus een nieuwe performance voor, een absurde mengeling tussen woord en muziek. Ze stelden hun Frans-Britse melting pot op 12 april 2015 voor, in het gezelschap van Vespre en Sweet Tongue.

Èlg + Cam Deas worked on a new performance, een absurd blend of words and music, during the first two weeks of April at les ateliers claus. They presented their French-British melting pot on April 12^th 2015, together with Vespre and Sweat Tongue. 

De legendarische Brusselse avant-gardegroep rond Marc Hollander (oprichter van het Crammed Discslabel) is na 20 jaar uit haar as herrezen. De eerste van een nieuwe reeks concerten vond plaats bij les ateliers claus. De residentie voorafgaand aan hun concert had als doel deze concerten voor te bereiden. 

Residentie van 9 tot 19 februari 2015

Concert met Véronique Vincent op 19 februari

After 20 years of silence, the legendary Brussels avant garde band around Marc Hollander (founder of the Crammed Discslabel) arises from its ashes. The first of a new series of concerts took place at les ateliers claus. The residency had the aim to prepare these concerts.

Resindency from the 9th till the 19th of February 2015

Concert with Véronique Vincent on the 19th of February

De Finse elektronicapionier Mika Vainio, de Belgische percussionist Eric Thielemans het Amerikaans-Brusselse fenomeen Charlemagne Palestine staken van maandag 21 tot zondag 27 november 2013 de koppen bij elkaar, maakten opnames en gaven een concert.

Pioneer of Finnish electronics Mika Vainio, Belgian percussionist Eric Thielemans and American Brusseleir Charlemagne Palestine teamed up from Monday the 21^st till Sunday the 27^th of November 2013 to make recordings and to give a concert.

Drummer Chris Corsano en multi-instrumentaliste Pak Yan Lau werkten aan de opnames van de LP asbestos and little rain, die werd uitgegeven door ons eigen label les albums claus.

in residentie van 30 oktober tot 6 november 2013 

During the residency, drummer Chris Corsano and multi-instrumentalist Pak Yan Lau recorded the LP asbestos and little rain, which was brought out by our own label les albums claus.

in residence from the 30th of October till the 6th of November 2013