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  • meakusma presales

The sequel to Grammar Wanker no one has been waiting for: 
Jason Williamson’s House Party collects all the Sleaford Mods LP 
and singles lyrics since 2014, along with insights and 
observations (read: rants) on the music industry and beyond. 

Special 1st edition mail order only – available exclusively from Bracketpress

  • Jason

BRORLAB - This could just be our bad sense of humor  

BRORLAB is a no wave punk band from Antwerp. They play short songs and short concerts. A short interview. 

When did you start BRORLAB? 

Sam (vocals): We started making music about a year ago.

How did you got to know each other? 

Casper and I knew each other when we were kids and met again while studying film. 
Around that time (this was about three years ago) we started going to a lot of garage rock shows in Antwerp, especially those of Hotsjumenas. Raf also played at a lot of their gigs with his (now defunct) band Jagged Frequency, so we saw him play a couple of times.
We started to get to know him better when filming him as part of a Belgian garage rock documentary we made and became friends.

Was there a plan? 

We didn’t really plan on starting a band together, it happened spontaneously: we were recording a song for Casper's band O’Grady at Raf’s studio, where I was doing the vocals. This was my first time “screaming” so we didn’t know beforehand how it would sound. Raf heard it and decided we should try a song he wrote with my vocals. That became the first song of BRORLAB.

Why do you play one minute songs? 

There isn’t any big reason for us playing such short songs, we just do it because we think they would quickly become boring when stretched. It also keeps the energy up, and gives me time to breathe. 

Why do you play ten minutes concerts? 

We think us playing so short is funny, but that could just be our bad sense of humor. 

Why do you record with a smartphone?

We use a smartphone as our drumcomputer for the same reason, but again, it’s highly possible we are the only ones who think it’s funny.

Why the female voice? 

We think using female vocals has a different sound, which we like for our songs. I also like doing it a lot because I’m quite calm and quiet in everyday life, it’s really an outlet for me. 

Is BRORLAB a performance act or a band? 

I can see it as a performance as well because, in a way, I’m playing a character. We also sometimes wear costumes or do silly things on stage, I really like exploring that stuff, but it’s still mainly about the music, that’s why we consider it a band in the first place.

Are you working on a record?

We just finished recording our first EP at Raf’s studio, Tooth Mountain studios. We recorded it on his tape machine. We decided not to use a synth anymore, for the moment, we don’t really need it and it gives me the freedom to move around when we play a concert, but it can always be reintroduced in the future. 

Live plans? 

We are currently planning our release show, somewhere in the near future.

Joeri Bruyninckx

BRORLAB live:  25/09 at Les Ateliers Claus, Brussels
http://www.lesateliersclaus.com/index.php/activities/acte-bonte-brorlab

Track from "The Sisypheans" LP/CD, available on November 8, 2019 from Drag City.

  • sept19

Erste Erinnerungen
von Dieter Sperl, Komposition: Caroline Profanter

Listen HERE

  • summerbummer

august 2019 , Ben Bertrand recording a new album at les ateliers claus with Christophe Albertijn 

  • BB
  • BB
  • BB

THU 19 SEP

Ewa Justka (pol) + Eric Copeland (usa) at Brasserie Atlas

  • brasserie atlas

presales started for MON 07 OCT: Keiji Haino (jap) + Ches Smith (us)

  • keiji Haino

Fred Frith ‎– Woodwork / Live Aux Ateliers Claus, out 23rd August on Klanggalerie

http://klanggalerie.com/gg308

https://www.discogs.com/Fred-Frith-Woodwork-Live-Aux-Ateliers-Claus/rel…

  • Fred Frith

out on 28th September 

  • dntel
TRAILER - me miss me - a film by Gwendolyn Lootens and Lubnan Al Wazny

TRAILER - me miss me - a film by Gwendolyn Lootens and Lubnan Al Wazny from Cinemaximiliaan on Vimeo.

In 2019, Temitayo Olofinlua, a Nigerian writer and academic, was denied a visa to attend the European Conference on African Studies in Edinburgh, UK. The British High Commission in Nigeria said they were “not satisfied” that Olofinlua would leave the UK at the end of her trip.

The visa refusal was later rescinded by the UK Home Office. Olofinlua went to the conference and has since returned to Nigeria.

Others have not been as lucky. In April 2019, the UK visa authorities prevented 24 out of 25 African scientists working on infectious diseases from joining their colleagues at various events taking place as part of the London School of Economics Africa Summit. The people most invested in and best-positioned to tackle the problem of diseases on their continent, were barred from participating in an event about “the challenge of pandemic preparedness.”

Read the ARTICLE HERE

This is the story of how Warsaw was the fourth European city in history to have its own studio dedicated to experimental electro-acoustic music, despite being ruled by a communist regime that was hostile to free thinking and avant-garde art.

One of the stories from this article is also available in an audio format. Click the player below to listen to our podcast Stories From The Eastern West on how the studio began and the experiments of Eugeniusz Rudnik...

After World War II, Poland fell under the Soviet Union’s influence and had to cope with a forcefully-imposed communist regime. Harsh censorship and a considerable lack of democratic, economic and civil rights were huge everyday constraints on the development of art and culture, nevermind the regime’s open hostility to its more experimental side.

Artists were supposed to create works useful for the system, to help turn people into communist comrades, or homo sovieticus. Meanwhile, the indirect messages carried by the likes of abstract art were widely believed to be dangerous and always suspected of conveying reactionist, anti-communist messages.

the complete article HERE