Aksak Maboul in residency at les ateliers claus - week of 14th September . On 21st September you'll be a able to watch a concert via Kiosk Radio &

  • Aksak Maboul

24/09 David Edren + Miaux
01/10 Ben Bertrand + 64 Feet
08/10 Ignatz + Farida Amadou
15/10 Ameel Brecht + Karen Willems
22/10 Mathieu Serruys + Liew Niyomkarn
23/10 Maze & Lindholm
29/10 Niels Van Heertum + Hanne De Backer
20/11 Razen + Kaboom Karavan
26/11 The End feat. Mats Gustafsson


  • circularium

Born Lowell Fillmore Dunbar, Sly Dunbar is one of the most influential drummers of the 20th century. As Sly & Robbie, Dunbar and Robbie Shakespeare have provided the rhythm section and/or production for numerous artists both in the world of reggae (Lee “Scratch” Perry, Peter Tosh, Black Uhuru) and outside of it (Grace Jones, The Rolling Stones, Herbie Hancock). Joshua Minsoo Kim talked with Sly Dunbar via WhatsApp on May 11th and 12th, 2020 to discuss his collaborations, how his drumming has evolved, and his recent album with Robbie Shakespeare and Sasu Ripatti, 500-Push-Up.

Joshua Minsoo Kim: Hello! Is this Sly?

Sly Dunbar: Yeah this is Sly.

Hi my name is Joshua, I was supposed to interview you right now.

Yeah, yeah, alright then, yeah!

Is that okay, or do you want to do a different time?

No, I can do it now!

Okay, perfect! How are you doing today?

I’m good, I’m good! And you?

I’m good, I was just working so I’m a bit tired. But I’m still good, I’m happy I still have work.


I actually wanted to start off by asking you about your childhood. What’s the most memorable memory that you have from being a child?

(laughs). A memorable memory as a child. Growing up I was very poor, I always loved music. At Christmas time they used to have stage shows at the theaters—my mother would send me to them. Growing up listening to The Skatalites and to all the Jamaican music, like from [Jackie] Mittoo.

Going to school, I went to Trench Town Comprehensive High School. This is where all the stars used to live, in Trench Town. Walking down the street you would probably see Alton Ellis, Bob Marley, Delroy Wilson. That was fun. Going to that school, I told myself that I wanted to be a musician, this is where I wanted to be, you know? I was supposed to leave and go to another school, but I didn’t go because I wanted to be in Trench Town. So I stayed there until I left, maybe at 13 years old. I started pursuing music very serious and I told my mom I didn’t want to go back to school and that I wanted to pursue music, and she said okay.

I did my first record around 14. By 15 I did the second record, which has a song called “Double Barrel” by Dave & Ansell Collins, it was a million seller. From there I kept going, going, going non-stop.



  • Sly
  • mea

Matmos is a Baltimore-based duo made up of Drew Daniel and M.C. (Martin) Schmidt. The two have been making conceptual cut-up computer music for over 20 years with critically acclaimed albums like A Chance to Cut is a Chance to Cure (2001), Supreme Balloon (2008), Ultimate Care II (2016), and Plastic Anniversary (2019). The duo’s new album, The Consuming Flame: Open Exercises in Group Form was made with the help of 99 collaborators, including artists such as Yo La Tengo, Oneohtrix Point Never, and clipping., who were all given one instruction: The music must be 99 bpm. Sam Tornow chatted with Matmos over Skype on August 14th, one week before the album’s release. They discussed the scope of the project, music created by a UFO cult, the duo’s past teaching careers at the San Francisco Art Institute, and more.

Sam Tornow: Hello!

Drew Daniel: Hello! Is this Sam?

Yes, this is Sam.

Drew Daniel: Can you see and hear us?

Yes I can! Here, I can turn my webcam on, too.

Drew Daniel: Great! Otherwise, we’ll just be looking at ourselves the whole time, which is vainglorious and narcissistic, and an interview about your own music is sort of narcissistic enough, I think (laughs).

Well, to be completely honest, in these Skype and Zoom meetings that are happening more and more, I spend too much time looking at myself, fixing my hair, etc.

Drew Daniel: Well, I think we all look great! I have lowered my seat, so that it’s the same height as Martin’s.

Martin Schmidt: And I’ve lowered my expectations.

Drew Daniel: He’s 6 foot 2, and I’m 5 foot 8, so you shouldn’t be fooled by the fact that we seem to roughly be the size. 

OK, I’ll take note of that.

Martin Schmidt: And speaking of fucked up optical illusions, what is with that map [on the wall behind you]?

I’m sitting on my bed with my computer also on the bed, so this (lifts computer up) is eye level.

Drew Daniel: Ah, okay, okay—

Martin Schmidt: Whoa, whoa, whoa, now I see. 

Drew Daniel: We thought you just had some fucked up parallelogram map that—

Martin Schmidt: Which I was like, that is fucking cool, but then when you moved your head, the other frame is perpendicular. I was like, OK, that’s probably a lens, not a really fancy framing job.

Drew Daniel: Things are slanted and enchanted.


  • matmos
  • front

Stella Chiweshe (zw) - France (fr) -  Geoffrey Burton (b) - Teun Verbruggen + Vitja Pauwels + Cesar De Sutter (b)

Ugne & Maria (b) Bambi OFS (b) Naomie Klaus (fr) Tolouse Low Trax (ger)

As well as forming one-half of Tomaga, he was part of projects such as The Oscillation and Autotelia

Tom Relleen, one-half of Tomaga and a musician with projects such as The Oscillation and Autotelia, has died aged 42 of stomach cancer.

The news was confirmed to tQ today (August 25) by Tomaga's booking agency, while his Tomaga bandmate Valentina Magaletti further confirmed that Relleen died in St. Bartholomew's Hospital in London in the evening of August 23, surrounded by loved ones. He had been diagnosed with cancer at the end of March this year, and his partner, Marta Salogni, cared for him during his illness.

"Tomaga had a new album scheduled for next year and a few dates confirmed in September," Magaletti said. "We rushed to master the album in his final days because the release was important to him."


A memorial service will be held for Relleen, with full details to be arranged soon.

As part of Tomaga, a duo he formed with Magaletti in 2013, Relleen released six albums, as well as collaborative records with artists such as Pierre Bastien and Neil Tolliday. The last of those releases, Bandiera Di Carta with Pierre Bastien, came out via Nicolás Jaar's Other People label last September.

Alongside his work as part of Tomaga, Relleen also released a number of records with frequent collaborator Demian Castellanos in two different projects: The Oscillation and Autotelia. The latest of those, a debut Autotelia album titled I, came out last month on Rocket Recordings.

Castellanos said of Relleen's passing: "Right now I am completely emotionally overwhelmed, as are all his many friends and family who loved him very much. 

"Tom was a beautiful, inspiring friend who helped, encouraged and motivated many people. I am extremely grateful that we managed to complete the Autotelia album together before his passing and I will never forget the 15 years we spent playing music together. 

"Without Tom's enthusiasm and input The Oscillation would most probably not have become a live entity. We have lost a truly dear friend and an incredibly talented musician who never stopped pushing himself and exploring musical worlds. He will be hugely missed and remembered with love and many happy memories."

Marie-Pierre Bonniol, founder of the Julie Tippex agency for whom Relleen signed with The Oscillation and later worked as an agent, said in a statement: "We met in 2008 at Corsica Studios. For more than 10 years he was more than a collaborator for all of us at Julie Tippex, but also a friend, an incredibly nice, charming and intelligent man with a natural kindness, a calm and genial attitude to life and an openness to people and situations which was very comforting for everyone around him. 

"All his years of activities as label manager, agent, musician, have not only shaped the London scene but also the European one, by organiSing many tours of bands which have had an impact on many other musicians, such as Silver Apples, Acid Mother's Temple and Orchestra of Spheres, but also by building bridges in all directions, connecting people, organiSing collaborations.

"He was a driven man, always respectful of others and excellent at collective dynamics. His home was always a welcoming place for all of us, and many musicians and activists from the scene. His passing, at such a young age and within such a short period of time, is devastating to us. Our thoughts are with his family and loved ones."

  • tomaga

Bad news, Felix Kubin a du annuler son concert de ce soir. L'Allemagne a déclaré Bruxelles zone rouge. Il aurait dû faire une quarantaine en rentrant chez lui.
Good news, il sera remplacé par Christophe Clébard. 
Vous aurez la possibilité de vous faire rembourser, bien entendu. 


Jon Hassell’s 1977 debut Vernal Equinox was reissued earlier this year, garlanded with terms like “seminal” and sleeve notes from Brian Eno praising the US trumpeter’s “dreamy, strange, meditative music”. He is now 83, an age when retrospectives and appreciations dominate discussions of a musician’s career. This laudatory attention is double-edged: respect is laced by the implication that the work is over. But Hassell isn’t done yet.  In 2018, he ended a nine-year wait between albums of new material with Listening to Pictures (Pentimento Volume One). Its follow-up is Seeing Through Sound (Pentimento Volume Two). Both records are inspired by the visual arts term “pentimento”, which describes a change made to a painting while it is being created, hidden by the artist under new layers of paint. Over time, as the paint fades, these secret signs of alteration can show up on the canvas. 

Hassell’s version of this effect, made in collaboration with various musical accompanists, is based around a contrast between formlessness and shapes. Ambient hums and drones stretch into the distance, a gently undulating electronic landscape. Against this horizontal plane, patterns emerge. Some take the discursive shape of contemporary jazz, as in “Delicado”. Others have a world-music aspect, like the wind instrument melodies blowing through “Fearless” — a reminder of the 1980 album that he made with Eno, Fourth World, Vol 1: Possible Musics, which fused ancient and modern musical styles from around the world (or an invented globe).


  • jon hassel