Fool to Cry April 2019
Hadassah Emmerich The Great Ephemeral Skin
23.03 26.05 DONDERDAG – ZONDAG 13:00 – 18:00U DE GARAGE, ONDER DEN TOREN 12A, MECHELEN
s u b b a c u l t c h a e v e n t s in April Join at subbacultcha.be
music
24.04 Vessel + ssaliva + coucou chloe Botanique, Brussels
03.04 Hybrid Night: Otha
25.04 Subbacultcha at S.M.A.K.: Planningtorock, Benjamin Abel Meirhaeghe + BOLT RUIN 04.04 BRDCST BY NIGHT: Mumdance + Vodka Candy S.M.A.K., Ghent Beursschouwburg, Brussels 26.04 Deathstar MacGyver + Bront 05.04 BRDCST BY NIGHT: Aïsha + O’Grady + Vision 3D Devi Beursschouwburg, Brussels Antwerp Music City (Hotsjumenas x
Reflektor, Liège
05.04 DJ Skull C12 (Griessmuehle), Brussels
Belly Button Records), Antwerp
06.04 BRDCST BY NIGHT: Zuli Beursschouwburg, Brussels
26.04 David Numwami + Lomboy + Judith Kiddo Botanique, Brussels
06.04 Ear to the Ground #3
26.04 DJ Sprinkles
De Bijloke, Ghent
C12, Brussels
26.04 Merca Bae + Jonas Lion + Black Mamba Club Wit, Ghent
06.04 Hunee + Call Super C12, Brussels
Sweaty Palms: Suzanne Kraft 13.04 Attention Deficit Disorder + 27.04 Amigo Amigo, Ghent Henning Baer C12, Brussels 27.04 Spacetravel + Claro Intelecto 17.04 Louder Than Death + C12, Brussels Vintage Crop Het Bos, Antwerp 30.04 British Murder Boys 18.04 Louder Than Death C12, Brussels KulturA (Go With The Flow), Liège 18.04 Cocaine Piss + Peuk + Perro
De Centrale (Democrazy), Ghent
19.04 VOLTA X Lowkey Radio
Volta, Brussels
20.04 Listen! X Rebel Up
VK, Brussels
21.04 The Dandelion
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In De Ruimte (Purple Panda), Ghent
…→ ↓ ↓ ↓ ↓
All events are free for members.
↓
Night Shift
from dusk 'till dawn
04.05.2019 16:00→04:00 at De Studio, Antwerp tickets € 5
The stamp is clear and visible traces and marks are made the night shift is irreversible
GOUVERNEMENT.GENT
Naomi Kerkhove Christian Bakalov Mardulier & Deprez Nienke Baeckelandt Nikolas Lestaeghe Danceoke Ohne Francis Ode de Kort de zwarte zusters FRANKIE Domas van Wijk Emi Kodama Benjamin Abel Meirhaeghe Atelier Bildraum Stef Van Looveren Vincent Lynen Radio Roeien Met Riemen Menzo Kircz Oona Libens Tina Cake Line Bert Jacobs Ief Spincemaille Berk Duygen Charlotte Goesaert Brik Tu-Tok Joost Pauwaert Leon de Bruijne Max Meyer Bo Vloors Fairuz Kate Isobel Scott Dinero Chef Collective
DE STUDIO
↓↓ film 11.04 Escape from New York
Cinematek, Brussels
19.04 Climax 24.04 N.P.
Cinema Zuid, Antwerp Beursschouwburg, Brussels
25.04 Elephant Sitting Still KASKcinema, Ghent till
Messaline Raverdy - Derrière 07.04 les volets Argos, Brussels
theatre / dance 23.04 Rasp Your Soul
STUK, Leuven
26 + The Upside Down Man 27.04 Beursschouwburg, Brussels
expo
♥
till
Messaline Raverdy 07.04 Argos, Brussels till
Look at me 28.04
Argos, Brussels
01.04- MSK en S.M.A.K. Heen & 30.04 Terug MSK, Ghent
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bers. free for mem All events are .be ha tc ul ac bb Join at su
Editors Janelle Monáe Underworld Thom Yorke Tomorrow’s Modern Boxes Foals Vampire Weekend De Staat Balthazar dEUS plays The Ideal Crash Grace Jones Robyn The Roots Rosalía Skepta AURORA Beirut Cory Henry & The Funk Apostles David August Kamasi Washington Khruangbin Lewis Capaldi LP Mahalia MaribouState MattCorby ÓlafurArnalds ParquetCourts RYX SofiTukker Agar Agar Altin Gün Amber Arcades Benny Sings DâM-FunK (DJ-set) Donny Benét Ezra Collective Frank Carter & The Rattlesnakes George FitzGerald HENGE Jonathan Wilson Jordan Rakei Liniker e Os Caramelows Low Nona Orpheu The Wizard Rolling Blackouts Coastal Fever Sam Fender Sampa The Great Sho Madjozi slowthai SONS The Comet is Coming Tshegue Special Guest: Ronnie Flex & Deuxperience
5 – 7 juli 2019 Groene Heuvels Beuningen downtherabbithole.nl
intro
Fool to Cry Uh-oh. Better watch your back today. Somewhere between a banana peel and a whoopee cushion are the cruel intentions of a snarky friend, an untrustworthy colleague, an evil balding man. A sheen of unreality falls on easy prey – those who are too eager to believe fantasies, to be led into the surreal landscapes of possible outcomes – and all they may get for it is literal egg in the face. April is not what makes us fools, though. It is the most inescapable of conditions, however you look at it. As good old Willy once said, ‘The fool doth think he is wise, but the wise man knows himself a fool.’
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by
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tion was a c pr li b i u
Drukkerij GEWADRUPO bvba Hoge Mauw 130 B-2370 Arendonk 8
info@gewa.be +32 (0)14.67.86.69 8
content
subbacultcha events 11 – 23 Judith Kiddo 24 – 27 Zuli 28 – 33 Gan Gah 34 – 37 BOLT RUIN 38 – 41 artist 42 – 47 style 48 – 51 recent finds 53 – 57 film 59 we visit you 60 – 61 9
J.C. Maillard © Dave Kaufman
WO
17.04
Sofia Rei & J.C. Maillard
Ode to John Zorn DI
© Alexandre Lacombe
DO
25.04
Shai Maestro Trio Energieke jazz
Handelsbeurs Concertzaal
30.04
Eliza Rickman / The Colorist Orchestra & Howe Gelb
Kouter 29, 9000 Gent T ICK E T S Tickets Gent Sint Baafsplein 17 09 265 91 65 www.handelsbeurs.be
Baroque pop (USA) © Koen Keppens
DO
02.05
Zephyrus labelnight
LA PANIKA, BLACK FLOWER EN PALENQUE MATONGÉ ZA
18.05
ENDANGERED BLOOD, WILLIAM PARKER, DE KIFT COMBO Happening
vorm: Pascal Van Hoorebeke
muzikale tenniswedstrijd
17.05
© Dawid Laskowski
Liesa Van der Aa & One Trick Pony
VR
music Hybrid Night: Otha 3 Apr - Reflektor, Liège 20.00 - €8 - free for members Othalie Husøy’s Otha has been lauded by notable publications like Pitchfork and The Guardian for 2018 tracks ‘One of the Girls’ and ‘I’m on Top’. Based in Norway, typically known for its unpredictable dance electro acts, Otha entrances listeners with muted dance songs. Performing as a duo, Husøy’s project passes through Liège this April. Experience this act in an intimate setting before they fully emerge into the world.
BRDCST BY NIGHT: Mumdance 4 Apr - Beursschouwburg, Brussels 23.00 - free for members UK sound designer, producer and DJ, Mumdance, has collaborated with brands like Nike and created custom presets for Roland’s TR-909 and TR-303 machines. With a career that kicked off around 2006, Mumdance (finally) received notoriety in FACT, Mixmag and Resident Advisor, among others,
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in 2013. His precision and adaptability places his work among the top names in the electronic music scene. Members only get free access to this show at Beursschouwburg, not to the rest of the BRDCST program that day.
BRDCST BY NIGHT: Aïsha Devi 5 Apr - Beursschouwburg, Brussels 23.00 - free for members Also known as Kate Wax, Aïsha Devi activates healing through her sound process. Emerging in 2013 as co-founder of rebellious Danish label Danse Noire, Devi’s work is as defiant as it as spiritual. Influenced by trance, rave beats and R&B, she shows how chaos is a therapeutic experience. Catch tracks from Devi’s 2015 debut, Of Matter and Spirit, at this mind-altering performance. Members only get free access to this show at Beursschouwburg, not to the rest of the BRDCST program that day.
DJ Skull 5 Apr - C12 (Griessmuehle), Brussels 23.00 - €10 free for members before 01.00 C12 reiterates its collaboration with Berlin club Griessmuehle to the delight of all inexhaustible party-lovers out here.
All events are free for members.
The night will be hosted by Chicago pioneer DJ Skull, whose last EP, Powered Funk, has been released on Bass Culture. Oscillating between soulful house music and oldschool hard techno, his unique sound and live shows have been revered and acclaimed for 30 years now.
BRDCST BY NIGHT: Zuli
Ear to the Ground #3 6 Apr - De Bijloke, Ghent 15.00 - €18 - free for members Ear To The Ground festival manages to be both thrifty and generous, quick and intense, meticulously supervised and adventurous. In a single day, 32 concerts and performances will take place in the various halls, rooms and gardens of the Bijloke music centre. The undefinable programme of the day ranges from concerts inside a hot-air balloon to a modern opera for 15-metre long robotic lyre. Intrigued yet?
Hunee + Call Super 6 Apr - Beursschouwburg, Brussels 23.00 - free for members For this edition, BRDCST asked Nadah El Shazly to curate an evening with some of the most notable tastemakers of ‘Caïro’s New Wave’, as described by The Wire magazine. Zuli’s music breathes Egypt, from cut-up mourning chants to mangled verses of Egyptian MCs. The result is rock-hard industrial hip hop, which builds bridges between the universes of Aphex Twin and Death Grips. Members only get free access to this show at Beursschouwburg, not to the rest of the BRDCST program that day.
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6 Apr - C12, Brussels 23.00 - €10 free for members before 01.00 Hunee and Call Super are two fresh and experimental DJs transforming house music into something more. While the former draws influence from African percussion as well as disco or technooriented tracks, the latter injects more experimental tones into his sets, playing with genre boundaries and creating unprecedented atmospheres. The combination of their two idiosyncratic styles can only result in an unforgettable evening.
All events are free for mem bers.
Attention Deficit Disorder + Henning Baer 13 Apr - C12, Brussels 23.00 - €10 free for members before 01.00 Attention Deficit Disorder is the live act comprising Dasha Rush and AnD, based on improvised live techno where they explore the connection between themselves and the machine. AnD started gaining popularity in 2011 thanks to their stripped-back techno and analogue production ethics, while Rush is known to experiment with techno, electro and synthesized sounds to produce her own dark and emotional sound. Attention Deficit Disorder promises to deliver a live act with raw emotions where the audience can experience new energy and sonic exploration together.
Louder Than Death + Vintage Crop 17 Apr - Het Bos, Antwerp 20.00 - €16 - free for members King Khan’s latest punk rock group, Louder Than Death, brings Sean Wood from The Spits to Antwerp’s Het Bos. Supporting, Australia’s Vintage Crop
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come with their own sarcastic style. If you’re into raw, energetic rock, this is your night. There’ll be weird, extraterrestrial sounds throughout both performances. Be prepared to move and shake.
Louder Than Death
18 Apr - KulturA (Go With The Flow), Liège 20.00 - €12 - free for members
Cocaine Piss + Peuk + Perro 18 Apr - De Centrale (Democrazy), Ghent 19.30 - €15 - free for members Cocaine Piss is starting to become a familiar name to punk-lovers. With music that has a strong dose of aggression as well as humour, they’ll set De Centrale on fire. Supporting act will be Peuk with some sludge pop, and Perro, who’ll supply punk with tropical vibes. If you’re looking for a night filled with punk, this is it!
18.04
SALOLI / ANNELIES MONSERÉ Melancholic, multi-instrumental little works of art offering intimate delight
26.04 MIET WARLOP ‘FRUITS OF LABOR’ record release / BRIK TU-TOK soundtrack / experimental / performance / CÉLINE GILLAIN 11.05
ZWERM / FRED FRITH A unique double bill of experimental and intriguing improvised guitar music
Choreographer Natalia Pieczuro and Colin H. Van Eeckhout (Amenra) meet in this post-metal dance performance
18.05 COLIN H. VAN EECKHOUT (AMENRA) INVITES OLIVIER DE SAGAZAN / FÄR / SKEMER / BLISS SIGNAL / ?ALOS
&
B E Y O N D
NATALIA PIECZURO FT. COLIN H. VAN EECKHOUT (AMENRA) ‘THIS KIND OF BIRD FLIES BACKWARDS’
A M E N
17.05
Dark, atmospheric evening brimming with electronica, ambient, drone, noise & doom
& A M E N
Amenra will make the hairs on your neck stand on end all night with their powerful post-metal
B E Y O N D
19.05 AMENRA / PAN DAIJING / BODY OF REVERBS
25.05 AMENRA / BEYOND THE SPOKEN / TONI KANWA ADIKUSUMAH ‘UIT HANDEN GEVEN’ Burning ritual with live music by Amenra for all Ghent’s unacknowledged loss
06.06 DEAN BLUNT / MICA LEVI ‘INNA’ Stunning and mysterious opera written and directed by Dean Blunt and with music by Mica Levi
uit.be info & tickets: voor
VOLTA X Lowkey Radio ft. Peet + 70BBISTE + Tsugi + K4
futuristic bass music, will play live, followed by Susobrino, a young and promising artist drawing influence from his Bolivian roots. Gan Gah’s DJ set will close the evening with bewitching beats straight from Agadir.
The Dandelion
19 Apr - Volta, Brussels 20.00 - €8 - free for members Volta is quickly becoming a cultural hotspot we simply cannot do without. For this evening they team up with Lowkey Radio to bring you some promising acts hailing from Brussels. Any serious hip-hop head already knows Peet for his amazing work with Le 77 and Zwangere Guy, while young promiseful Tsugi’s bass-driven productions are also noteworthy, and have already turned heads in the scene.
Listen! X Rebel Up ft. AMMAR 808 + Susobrino + Gan Gah 20 Apr - VK, Brussels 20.30 - €6 - free for members Listen! festival has teamed up with Rebel Up for an incredible event where Belgiumbased artists from different cultures join forces to set the dancefloor on fire. AMMAR 808, Tunisian sensation mixing traditional Middle-Eastern singing with
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21 Apr - In De Ruimte (Purple Panda), Ghent 20.00 - €10 - free for members Spring is in the air, and so little by little a longing for those hazy summer days is growing. Embrace those feelings with a soothing soundtrack comprising the hypnotising beats and trippy rhythms of The Dandelion. They’ve already managed to convince Aussie colleagues King Gizzard and the Lizard Wizard, joining their Gizzfest. Now they’re ready to brighten Ghent with the psychedelic rock of their new album, Old Ways and New Habits of The Dandelion. Expect soft fuzzy guitars, trance-like vocals and lots of good vibes.
embers. ee for m fr re a ts All even
Vessel + ssaliva Subbacultcha at + coucou chloe S.M.A.K. ft. Planningtorock + Benjamin Abel Meirhaeghe + BOLT RUIN + Vodka Candy 25 Apr - S.M.A.K., Ghent 20.00 - €8 - free for members
24 Apr - Botanique, Brussels 19.30 - €20 - free for members Vessel’s music is a trip. At times bombastic, but sometimes frail and soft, his last album, Queen of Golden Dogs, showcases his unmatched ability to merge the orchestra with electronics. Belgian pride ssaliva will be gracing the stage as well. His profound but club-oriented soundscapes show his unique sense for textures, which has seen him released on Ekster and Slagwerk.
All ev ents a re fre e
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Back by popular demand! Planningtorock has been blasting out left-field dance gems since 2006 and has shown her ability to combine pop-oriented music with a political message. Next we have Benjamin Abel Meirhaeghe, performer and contratenor, who confronts his demons on stage in a combination of classical and contemporary arts. Also performing is Bolt Ruin, who paints beautiful landscapes with his brooding tunes and is celebrating his first release. The Vodka Candy girls, seven young female Ghent-based painters, join forces with a spatial intervention.
Deathstar MacGyver + Bront + O’Grady + Vision 3D
for m embe rs.
26 Apr - Antwerp Music City (Hotsjumenas x Belly Button Records), Antwerp 20.00 - €5 - free for members
Deathstar MacGyver consists of Samuel D’Hoore and a digital garageband drummer, which produces a mixture of bedroom pop with certain punk influences. Also performing is Bront, a band with a fresh garage pop sound that’ll get you moving in no time. In the same spirit, O’Grady will perform some garage punk with influences from all over the place, and Vision 3D will play clean, French garage punk. If you want to discover some new punk, look no further!
David Numwami+ Lomboy + Judith Kiddo
soul. The same nostalgia can be heard in Judith Kiddo’s songs, where warm synths are topped by sensual vocals.
DJ Sprinkles 26 Apr - C12, Brussels 23.00 - €10 free for members before 01.00 DJ Sprinkles has been a leading figure and an important thinker for deep house music. He claims that club music grew out of a struggle against homophobia, transgender rejection and racism. This struggle makes the music inherently political – but his music isn’t just an intellectual exercise; his set will certainly please any house fanatic.
Merca Bae + Jonas Lion + Black Mamba 26 Apr - Club Wit, Ghent 23.00 - €10 - free for members
26 Apr - Botanique, Brussels 19.30 - €16 - free for members David Numwami earned his stripes after touring with Charlotte Gainsbourg as her guitarist. In the meantime he has been reinventing chanson with his project Le Colisée and as David Numwami. Selfacclaimed globetrotter Lomboy plays lounge and indie music with a nostalgic
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Merca Bae is one of the leading figures in the underground reggaeton scene. He blends his Latin rhythms with fat dancehall grooves and modern trap sounds. His dark, hyper-artificial textures blend perfectly in the current of contemporary urban music. Jonas Lion and Black Mamba, two of Belgium’s finest DJs, will play some irresistible grooves to keep the vibe going afterwards.
gerard leysen hoc fecit
Sweaty Palms: Suzanne Kraft
the infamous Panorama Bar and Club into orbit. Joined by dub-oriented techno / house DJ Claro Intelecto, Brussels’ subterranean C12 will be pushed to new limits. This event is sure to take you into the stratosphere, if you let it.
British Murder Boys 27 Apr - Amigo Amigo, Ghent 23.00 - €8 free for members before 01.00 After moving to the Netherlands from the US, Suzanne Kraft quickly became a Dekmantel and Rush Hour affiliate. His ambient-meets-house productions drift on an easy-going summer groove, reminiscent of Gaussian Curve. On this first Sweaty Palms night he will be sharing the bill with local DJs Konna, Fred Nasen and S.C.O.
Spacetravel + Claro Intelecto
30 Apr - C12, Brussels 23.00 - €10 free for members before 01.00 After disbanding in 2014, Regis and Sturgeon are back with new material called Fire In The Still Air. When the two of them take the stage, anarchy and devastation quickly rule. British Murder Boys is the result, which should be experienced live rather than listened to at home.
27 Apr - C12, Brussels 23.00 - €10 free for members before 01.00 Obsessed with intergalactic beats, Berlinbased Italian DJ/producer Spacetravel makes futuristic sounds, blasting clubs like
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e free nts ar e v e ll A
rs. embe for m
film Escape from New York
bodies bounce off of each other in beautiful and horrific ways. Noé’s latest movie slips from smooth one-shot sequences snaking around the dancers to a disorienting hellish dreamscape after someone slips LSD into the sangria bowl.
N.P. 24 Apr - Beursschouwburg, Brussels 20.30 - €9 - free for members
11 Apr - Cinematek, Brussels 19.00 - €4 - free for members In the remote future of 1997 (hee-hee), the world has deliquesced into a dystopian nightmare. Snake Plissken (Kurt Russell) – an ex-special forces war hero/ burglar/badass with a costume that looks like a lazy choice for an impromptu Halloween party – is promised freedom if he can rescue the president and find a cassette tape containing information regarding nuclear fission within 24 hours. Simple.
Climax 19 Apr - Cinema Zuid, Antwerp 18.00 - €5 - free for members Shot in 15 days in a school near Paris, Climax consists of a frenzied Ninetiesish dance party phantasmagoria where
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This silent film is set during a summer in Japan, where four people discover how one book they’re all fascinated by, unites them. The film dissects the young characters’ complex web of relationships and reflects on how a translation relates to the original, how fiction relates to reality, and the often incestuous nature of their interactions. Lisa Spilliaert grew up in Japan and Belgium, which explains why the personal dialogue between these two is a common thread in her work.
Elephant Sitting Still 25 Apr - KASKcinema, Ghent 20.30 - €5 - free for members In northern China, four distraught protagonists share a fascination for a mythical pachyderm that is said to spend every day sitting in plain view and complete indifference, ignoring
All events are free for members.
everything that’s happening in the world around it. The suicide of the 29-year-old filmmaker, Hu Bo, shortly after finishing his debut casts a long shadow over this immensely melancholic movie.
Messaline Raverdy Derrière les volets
Until 7 Apr - Argos, Brussels 11.00-18.00 - €6 - free for members A young aspiring filmmaker tries to enter her grandfather’s old coffee factory, but the doors stay closed so she moves into her grandmother’s house to delve into her family’s mythology. Derrière les volets, Messaline Raverdy’s first film, is a poetic reverie about memory, the invisible and oblivion, a questioning on the transformation of the female body, transmission and time.
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theatre / dance Rasp Your Soul 23 Apr - STUK, Leuven 20.30 - €10 - free for members Greek choreographer Kat Válastur is one of the most exciting in the Berlin dance scene. Her meditations on the notion of movement have become a red thread throughout her work, ever since she asked herself the question: ‘What is left to be danced?’ For this production she reaches for her ancient Greek roots and its mythology to answer contemporary questions. Members need to buy a ticket with an online code. Mail us at memberships@subbacultcha.be to receive it.
The Upside Down Man (The Son Of The Road) 26 + 27 Apr - Beursschouwburg, Brussels 20.30 - €14 - free for members Tunisian performer and dancer Mohamed Toukabri presents his first solo work. This intimate solo dance performance moves back and forth between two cultures and two traditions,
DEMOCRAZY MUZIEKCLUB GENT 03.04
FADED: BEXEY
03.04
THE GERMANS + GAMEBOYZ II MEN
04.04
LE BUTCHERETTES + PONYKAMP
07.04
JOHN J PRESLEY
11.04
IAN CLEMENT + LYENN
17.04
BIG NEXT: MALENA ZAVALA + WOVOKA GENTLE
17.04
LEFTO & RED BULL ELEKTROPEDIA PRESENT: THE GASLAMP KILLER, UP HIGH COLLECTIVE
18.04
BIG NEXT: MIKE KROL + BLACK LEATHER JACKET
18.04
COCAINE PISS + PEUK, PERRO
19.04
BIG NEXT: LOWLY
20.04
BIG NEXT: INTERNATIONAL TEACHERS OF POP
23.04
NOVASTAR + NANA ADJOA
CHARLATAN DE CENTRALE CHARLATAN BAR MIRWAAR MINARD TREFPUNT VOORUIT
TREFPUNT CONCERTZAAL DE CENTRALE TREFPUNT TREFPUNT
HANDELSBEURS CONCERTZAAL
24.04
BLOW 3.0 + MOLTEN PENGUIN
26.04
ORA THE MOLECULE
28.04
DOK START: SUPAFLY COLLECTIVE PRESENTS SHAY D
30.04
JUNIORE
01.05
BENJAMIN FRANCIS LEFTWICH + ROSIE CARNEY
02.05
ADRIAN YOUNGE + ALI SHAHEED MUHAMMAD (A TRIBE CALLED QUEST): THE MIDNIGHT HOUR TOUR
VOORUIT
09.05
CONSOULING PRESENTS: SNAILKING, PSYCHONAUT, IRON PIKE
DOKBOX
VOORUIT TREFPUNT DOK
BAR MIRWAAR DOK
09.05
NOAH VANDEN ABEELE
10.05
MR. SCRUFF: ALL NIGHT LONG
VOORUIT
11.05
MILD ORANGE + R.O X KONOBA
DOKBOX
13.05
MANDOLIN ORANGE
14.05
TINY LEGS TIM + JULIEN FIRMIN
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DEMOCRAZY.BE
CLUB TELEX
DOK HANDELSBEURS
and between artistic disciplines and the languages of dance. ‘The Upside Down Man’ bridges Tunis and Brussels with break dance and ballet. Toukabri chose an autobiographical approach to emphasise the uniqueness of each and every one, and the many stories one can be.
about the people depicted in front of and behind the camera.
MSK en S.M.A.K. Heen & Terug
expo Messaline Raverdy Until 7 Apr - Argos, Brussels 11.00-18.00 - €6 - free for members Follow the story of an apprentice filmmaker who settles at her grandmother’s in Messaline Ravery’s Derrière les Volets (Behind the Shutters). The film, experienced as a fantastical dream, questions the transformation of the female body. Subtitled in English, this SIC-developed film was awarded Best Film at 2018’s L’Acharnière Festival and Olhar Film Festival.
Look at me
1-30 Apr - MSK, Ghent 09.30-17.30 - €8 - free for members MSK is an important partner of S.M.A.K. in their exhibition Highlights for a future. The collection (1). In the MSK en S.M.A.K. Heen & Terug, works from S.M.A.K. return to their original location of installation in MSK. Three key works will be on show at MSK from 16 March to 29 September : The Aeromodeller by Panamarenko, Wirtschaftswerte by Beuys and Le Décor et son double by Daniël Buren.
Until 28 Apr - Argos, Brussels 11.00-18.00 - €6 - free for members In this exhibition, the alternation of photos and audiovisual installations sets a dialogue between different kinds of portraiture, styles and time periods, but at the same time it tells us something
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All events are free for members. Join at subbacultcha.be
music
Judith Kiddo With only a handful of concerts behind her and zero songs released, good luck meandering the web trying to find out about Judith Kiddo. Curiosity got the better of us and we sent out a team of determined local correspondents to learn more about the sensual voice behind the pop-synth demo tape we found in our inbox. We arranged a hangout on a Saturday morning at Place du Jeu de Balle in the Marolles, the old workingclass neighbourhood of Brussels where Kiddo lives. As the flea market was wrapping up and last-minute bargains were being made, we sat down for coffee and chatted about her new life as a musician to the roars of the road sweepers getting the marketplace ready to become a parking space again.
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Interview by Julien Van de Casteele Photos by Lauren Lizinde, shot in Brussels
Hi Judith! How are you? J: Good. I’m kinda getting out of bed. I’m feeling very happy because I have a lot of things going at the moment, with this band especially. Yeah, I saw that you guys just confirmed a gig in Paris. Going international already! J: Yep, it’s just before the Bota one. It’s organised by Fortune Collective. I’m busy translating some of the songs into French for this francophone competition, we’re finalising the songs for the first EP and preparing our very first music video. You have some songs in French and others in English? Why not stick to one language? J: It’s really about the emotions that I want to convey. I feel like certain themes work better with one or the other. Before I started composing my own songs, I was singing other people’s songs and more often in English. I started when I was about six, singing all the time everywhere, getting on my mom’s nerves in the car, on the way to school. Since then, singing in English has become an integral part of me. And it’s just a fun language to play with. I don’t want to have to choose one. At least not today… Why did you only start to make music now, and not back when you were six? J: I studied theatre and until I
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‘I want to keep this fragility and rawness but find more recreation’ graduated, making music wasn’t on my mind. I was really focused on auditioning and casting – which I’m still doing, actually. But then during my downtimes, I started composing my own music just to keep myself busy. Gradually, with the help of Lucien (Robbing Millions), we reworked some of the songs, improving the production, re-recording some bits with better equipment. Today we’re ready to release an EP. How’s the musician life? Too early to judge? J: A little, because I’ve only done five concerts [Laughs]. It’s nice and refreshing, ’cause the pressure is not as high as with theatre. Even though I love it, it’s not always easy having to go through thousands of castings where everyone finds you great but ends up hiring someone better known or whatever. With music, you
own legitimacy, things will probably get more funky. Also, I love when theatre meets sound. Kate Bush’s The Tour of Life, for example, moves me to tears. So I might want to put on a bigger show someday. But I’m happy with the present state of things, me singing with four amazing guys in the back [Laughs]. Have you had any regrets lately? J: Sometimes I regret not believing in myself more, it would make things easier – and especially faster. I’m not saying that it’s my case, but in general, if you have something great in your hands but you don’t believe in it, you can easily destruct it by yourself.
get to come with a final product which is yours, and no one can really do anything to it. With your background and experience in acting, do you still feel challenged, performance-wise, with this project? J: Yes, definitely. It’s totally different. I’m still relatively shy with the band. Singing is so direct and intimate. At the moment, I’m being very careful and simple. I want to keep this fragility and rawness but find more recreation. As I go through concerts and stop questioning my
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David Numwami + Lomboy + Judith Kiddo 26 Apr - Botanique, Brussels free for members
music
Zuli Egyptian producer Ahmed El Ghazoly, also known as ZULI, caught our attention as a boundary-crushing force after being a go-to producer for local rappers. He’s in town to perform at BRDCST as part of Cairo’s New Wave programme curated by Nadah El Shazly, but don’t be mistaken: El Ghazoly isn’t solely defined by his identity. Though he dislikes the socio-political situation back home, he remains in Cairo because it’s cheap and allows him to make a living from his music. Knowing he was around, we couldn’t resist showing him around Brussels, right after his DJ set at The Word Radio. So we took him – willingly or not – and hopped on Tram 51 for a trip through town and a chat.
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Interview by Hannes Rooms Photos by Catherine Lemblé, shot in Brussels
H: Grime, dubstep, jungle, garage: I hear UK influences in your sound. Z: All my influences come from the internet and, before that, from MTV. I tend not to think too much about these things. I just use whatever sounds I’m drawn to. I wasn’t even aware how UK my music was before people started telling me. I’m not sure if I even listen to that much UK stuff in particular, I think it’s more American trap these days. Growing up in London until my tenth birthday definitely had an impact on me, but not musically. I was too young. H: In a press release you stated: ‘I might have more in common with an Indian accountant in New Delhi than with another Egyptian musician.’ Z: Grouping musicians together is not as easy as people make it look. Just because two musicians live in the same city doesn’t necessarily mean they have anything in common. If you were to look through an unbiased lens, you’d see very different individuals. I do understand where it comes from and that there are no ill intentions, but I feel this is something I need to point out. In the press and in conversations amongst musicians, the story is often valued more than the real situation. H: What does urban culture mean to you? Z: I don’t wanna be boring, but again, it isn’t something I think
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about. I always liked trap music because of the sound. It has less to do with its socio-economic background but more to do with the rhythms and grooves. I understand why these labels are used, but it’s literally the music for me. H: You also produce trap beats for local rappers. Who should we google? Z: The only one you can find online is Abusive. None of the work with the other rappers has been released yet. The plan was to do a
mixtape with all of them, but since I lost my files I’m back to square one. Discovering a new generation of rappers inspires me. H: You sample them in your work as ZULI. Are those lines
carefully chosen? Z: I use a lot of rap vocals from these sessions, but also acapellas I find online. I don’t look at the meaning of the lyrics; I just use flows I like.
‘All my influences come from the internet and, before that, from MTV’
‘The story is often valued more than the real 32 situation’
H: What makes you sad? Z: I’m very emo, man. Everything can make me sad. How emo is that answer from one to emo? H: Very emo… Z: There’s a difference between being sad and being disappointed about something unfortunate. I’m often disappointed about, for example, the situation in Cairo. H: How disappointed were you when your equipment was recently stolen on tour? Z: I took a train from Paris to Poitiers and fell asleep like an idiot. I woke up when we arrived and my laptop, interface and headphones were gone. Then a GoFundMe was organised for me which reached the target in just three days. Psychologically, that really lifted me. The kindness and support in the scene is just overwhelming. Now that I think about it, I get emotional. H: Thanks for the ride. Please remember to check out.
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BRDCST BY NIGHT: Zuli 6 Apr - Beursschouwburg, Brussels free for members
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music
Gan Gah You might already be familiar with Moroccan-born, Brussels-based producer Gan Gah, who was on our list of artists to watch last year. Freshly back from a journey in his homeland, the young producer just released his third EP, Habibitronics, on Lowup Records, the label where he unleashed his first two promising efforts. Blending Eastern and African rhythms with electronic beats, he carefully picks his influences from the most traditional sounds. The result is a fresh new fusion between modern and ancient, where the future meets the past. Each one of his sets and live shows are a moment that symbolises the place where two different worlds effortlessly collide and create a unified product.
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Interview by Matias Calderon Photos by Yaqine Hamzaoui, shot in Brussels
M: You seem to travel a lot. How does that influence your music, your sets and live shows? Y: My sets are influenced by what I bring back in my suitcase. It’s full of different sounds that I try to reinvent. My sound has recently been strongly influenced by traditional sounds that I try my hardest to make electronic-friendly. My biggest challenge is to bring that tradition to Europe and make it a sound that everyone is able to recognise. I try not to focus much on one specific country. I just came back from Morocco, which is influenced a lot by Arabic sounds. I try to mix that energy with sounds coming from other parts of the world, even to the sounds that people here in Europe are used to listening to. M: You just released Habibitronics. How does it relate to your previous material? Y: I can feel a real bridge between the second EP, Chaâbitronics, and this one. I kept the same raï and reggada energy but pushed the limit to a crazier place, more festive. For this specific EP, I also managed to incorporate a huge debke rhythm from Palestine and Lebanon. I’ve been working on these sounds for quite some time and it felt like the right moment to finish it as I discovered a style called Maalaya dance, which is played
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by pearl diving fishermen during ceremonies. This particular Arab Afro rhythm can be very sensual, with a touch of funk, pushing it to a cathartic place. M: How has your sound evolved since the first EP? Y: Now, for instance, I really try harder to create a story, where each song stands on its own. I can feel that each track has its own energy, its own story, but merges perfectly with what came before, and what comes next. I was looking for a perfect balance between something that can be played in the clubs and something more traditional.
‘Many people think that Gan Gah is a white Belgian guy’ M: There’s a lot of varied influences in your sounds. How do you find new inspirations? Y: Personally, there’s nothing better than vinyl. There are a lot of vinyls that catalogue the musical history of a country quite well. I have more vinyls than I can count, from Tunis to Iraq, from Egypt to Morocco. I spend a lot of time listening and trying to understand the sounds and rhythms that a culture can produce. I concentrate essentially on the beats to get an understanding of how their music work. After that point, I’m able to fuse them with what I know and believe can create a perfect marriage. M: Where do you fit in the Belgian electronic scene? Y: Many people think that Gan Gah is a white Belgian guy playing music, and they’re always surprised to discover that I’m a Moroccan immigrant. I grew up with a rich palette of different sounds and influences and sometimes I was missing that energy in the clubs. Belgium
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is the centre of the best techno music! There are so many people making amazing techno music that since the beginning I tried not only to do something different, but also to bring to it that energy that I was missing. I try to deliver something less linear that will speak to people from the Middle East and the African continent, but also open the ears to the European audience. But to be honest, it was first a selfish move: I’m doing it because there are sounds that I don’t hear anywhere else, and I want to shine a light on them.
Listen! X Rebel Up ft. AMMAR 808 + Susobrino + Gan Gah 20 Apr - VK, Brussels free for members
music
bolt ruin BOLT RUIN, aka Brecht Linden, fuses the energy of hardcore punk with the delicacy of classical music. His bio leads us along destructive signal paths, collapsing sound sources, pillars of dense compositions, layers of grainy textures, deteriorated tape loops and warped vocals. BOLT RUIN’s self-titled debut will be released on 29 March through Consouling Sounds’ electronic imprint, Circuits. In April, he’s supporting Planningtorock at S.M.AK. And that’ll be just the start…
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Interview by Noor Al-Bender Photos by Herlinde Raeman, shot in Ghent
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N: How are you feeling about the release of your debut? B: Both nervous and excited at the same time. It’s a strange feeling to let go of something you’ve intensively worked on for so long and put it out there for people to experience. But it also feels good to know that it’s done and that I can focus on writing new music. I also can’t wait to bring live adaptations of the record to the stage.
N: How would you describe the music you make? B: I’d rather present the music as it is and let the listener decide how to label it. But if I have to give it a go, I’d say ‘dark electronic music that fuses the energy of hardcore punk with the delicacy of classical music’. Pulsating, atmospheric, textured, threatening, cinematic are descriptions that people often bring up.
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N: What jump-started your interest in making music? B: Although I’m from a small town in north-east Belgium (HechtelEksel), there’s a rich history of local DIY collectives and bands that grabbed my attention early on. When I was ten, an older cousin handed me a bootlegged punk rock cassette and an aged guitar. I was immediately hooked. It was the high days of Tony Hawk’s Pro Skater and Thrasher magazine. During my teens, I gradually shifted towards more experimental terrains of hardcore punk, instrumental rock and power electronics. When I went to study in Antwerp later on, the vivid underground of breakcore raves and squat noise shows opened a whole new sonic world for me again. All those distant echoes of influences blended into the sound of BOLT RUIN. H: Where does your inspiration come from? B: For a musician I’m very visually driven, I often take a physical place as inspiration. The stretched-out forests of my hometown or the abandoned warehouse I look out on from my studio window. If you try to imagine that small elements like the cracked bark or chipped paint are all particles of audio, how would this whole scenery translate into sound? How would that composition progress if people intervened and a narrative unfolded in these places? These sorts of thoughts drive the
sound-designing phase and push it towards a song structure. Besides those, I’m also fascinated by the failure of machines. In my music I often amplify unwanted artifacts like humming speakers, bleeding microphones, glitching circuits, generation loss and clipped audio. I have a lo-fi delay pedal that sometimes picks up French radio in certain spots of my room. I love it! Another personal favourite piece of gear is a tape recorder with a wobbling irregular speed that I got for two euros at a thrift store. The chewed up guitar lines on ‘Tshred’, the last track of my album, are all fabricated by that beautifully horrible device.
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N: What music do you listen to? B: It goes in waves. When I’m wrapping up my own tracks I tend to not listen to much else, as it distracts from my focus and raises doubts. Checking out the new Tim Hecker album when I was finishing my own was a terrible idea [Laughs]. In the early stages of songwriting I’m more open to let myself be inspired by other music. Lately I’ve been discovering interesting stuff like Scandinavian Star, Astrid Sonne and Ausschuss. On heavy rotation right now are the latest by Yusuf and Ben Frost’s back catalogue. N: Can you tell us more about the artwork for your album? B: I collaborated with a photographer, Pieter-Jan Minnebo, and a tattoo artist, Bleck. We wanted to make an album cover that was very dark and harsh, but delicate at the same time. So we decided to tattoo the recurring symbol in my work, and display it in a very cinematic way. We took special lamps for movie sets, and used analogue photography that’s also used in films, to amplify the cinematic aspect of the music. The recurring symbol in my projects is the inside of a cylinder lock. It symbolises a feeling of security, yet it’s still very fragile. A thin line between security and danger. It’s an everyday object, yet nobody recognises it. Subbacultcha at S.M.A.K.: Planningtorock, Benjamin Abel Meirhaeghe, BOLT RUIN, Vodka Candy 25 Apr - S.M.A.K., Ghent free for members
artist
Mohamed Toukabri
Mohamed Toukabri’s life could easily be the plot for a cheesy dance movie. Growing up in Tunis, he would secretly skip school to go breakdancing. Now, he’s working with such luminaries as Sidi Larbi Cherkaoui and Anne Teresa De Keersmaeker, and is currently performing his first solo piece, The Upside Down Man. It’s a happy ending all right, but Mohamed is still writing new and exciting chapters to his story.
Interview by Yente Vaneerdewegh Photos by Sasha Vernaeve, shot in Brussels
Y: Your solo performance is called The Upside Down Man. What does it mean? M: Some time ago I was visiting my parents in Tunis, and after a few days I told my mother I wanted to go back ‘home’. It was the first time I referred to Brussels as my home, and suddenly there was this shift of contexts and references. Before that I had never considered myself to be an immigrant; I was never occupied with asking questions about identity and integration. But now I found myself in a crisis of belonging, stuck between two spaces. People tend to perceive stories of immigration
in a sad, dramatic way. So in my solo I want to show the constructive side, because my identity is built up from all these experiences. Even my dancing is a mix of multiple worlds and influences. Y: Do you consider your performance to be a political statement? M: Yes and no. While it obviously touches on larger themes and topics, it’s always from a highly personal perspective. No one else can tell my story, nobody else sees the world through my eyes. I like that idea, because it gives every individual his own place on this planet. But I do
believe that even when you’re talking about yourself, you’re also talking about other people. That’s essentially how our identities are composed: we build ourselves up through others and the input we receive from them. I like to think of it as ‘poetically political’. Y: Anything else you’re working on at the moment? M: I just got back from Tunis, where I was invited to develop a project for the new City of Culture. It’s called Dance(R), and it’s my first professional commission as a choreographer. I’m guiding a group of eight dancers in a series of performances that question what it means to be a dancer in today’s society. The idea is to invite the audience to the intimate space of the performers, and show everything that comes before the dancers eventually enter the stage. The premiere in Tunis is scheduled for September, but it will also be part of December Dance in Bruges on 06/12. Y: What does it mean to be a dancer for you personally? M: What I love about dance is that it’s so incredibly personal, but at the same time a universal language that has the ability to connect people. Forme, it’s the perfect tool to express whatever feelings, ideas or images I have in mind.
Y: Where does your love for dance come from? M: My first real encounter with dancing took place on my way back from school in Tunis. There was a group of people outside the train station spinning on their heads, surrounded by spectators. I wasn’t exactly impressed; rather, it felt like something familiar. From that moment I started skipping classes to learn breakdancing, and I’ve been dancing ever since. But I think my passion stems from my parents, who were crazy about disco dancing. My mother is a housewife, my father a tailor. But I think
they are artists in the way they look at things. As a matter of fact, it was also my mother’s dream to become a dancer. Y: So now you’re living your mother’s dream? M: In a way, yes. But I’m currently also working on a duet together with her, planned for spring 2020. The title is The power (of) the fragile, and it’s an exploration of how these two concepts are inherently connected. My mother sacrificed her youth and aspirations for me to become the person I am today. So I’m very excited that now I get to offer her the stage to fulfil her dream after all. She’s really my most important source of inspiration. I would even dare to say that we are each other’s muse.
The Upside Down Man (The Son Of The Road) 26 + 27 Apr - Beursschouwburg, Brussels free for members
style
GROTESK 20192020
Photography and Collection by Ines Bodlovic for GROTESK
recent finds
by Noor Al-Bender
Louisa Gagliardi Side Effects of Satisfaction Rodolphe Janssen Until 4 May Free entrance rodolphejanssen.com
For her second exhibition at Rodolphe Janssen, the young Swiss artist Louisa Gagliardi presents compositions that are made up of household utensils and genderless figures which are depicted resting, lying, sleeping or kneeling. Either their backs are turned, or they look at the viewer with a determined stare. They represent the idea of a different story that lives and works on the surface of the domestic imagination, and reflect on the constant desire to linger in another, possibly better place. The way Gagliardi plays with transparent, reflective and shiny surfaces, determines how we view the object and expresses human nature.
DJ YUNG VAMP soundcloud.com/djyungvampire13
Once you’ve heard this young DJ from Brussels, you’ll never forget his style. Every track starts off with a signature soundbite, and the overall vibe of his work is something that hasn’t been heard before. Hip hop songs that have been transformed into a more mellow version with low-pitched vocals, slower beats, deeper bass and a more lo-fi feel is something you need in your playlists. You know it’s good when Joji listed him as one of his favourite artists. Flaunting his eccentric style on Instagram adds even more of a presence to his already unique music, and makes him that much more unforgettable. With over 74 tracks on Soundcloud, DJ YUNG VAMP isn’t sitting still and is elevating his style with every new upload.
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Pascale Marthine Tayou, Me as my Mama, fotoprint, 2019.© Pascale Marthine Tayou. By Courtesy of the Galleria Continua
muze e. b e
©kaat flamey
PA S C A LE MA RTHI NE TAY O U TO RN A DO
6.4— 1.9.2019
recent finds
by Hann es Room s
Kelman Duran ‘they are afraid of her’ kelmanduran.bandcamp.com
LA’s Kelman Duran might just be the best deconstructor of Afro-Caribbean club music. His critically acclaimed debut album, 1804 Kids, carefully unravelled the reggaeton and dancehall of his resident DJ sets at Rail Up into sluggish dembow and storytelling ambient. On ‘they are afraid of her’, Duran drifts even further away from the club and drags you along to the after-after. Like, the moment when you can’t figure out if you’re sleeping or awake and you only recognise some reverb-ed, repetitive vocals from the tracks being played by DJ aux in the background. That one friend dwells on this theory of his/hers/theirs but seemingly never reaches a conclusion. You’re confused about whether to feel sad or satisfied. Your body is exhausted and for a second you wonder if you’re paralysed but reassuringly your blood still flows sensibly through your veins. It’s post-club music at its finest.
Paraíso - Rave Tuga Vol. I discosparaiso.com
After releasing New Visions by Violet earlier this year, house label Paraíso launches a new project called Rave Tuga (slang for Portuguese Rave). Paraíso claims the heritage of Lisbon’s thriving acid house scene during the Nineties when labels like Kaos and Question of Time introduced a proper rave culture. ‘By pointing in the direction of the future while openly referencing some of Portugal’s dance music pioneers, this compilation opens a dialogue about the newness and excitement that currently proliferates in its local scene coming from all generations by joining some of its different voices.’ The B-side contains sleek productions from veterans like Model 9000, who previously released on Question of Time, while on the A-side Lisbon’s next-gen house producers Violet ‘BB’, Sheri Vari ‘Buy That!’ and Pedro ‘Can You Hear Me’ have created the most exciting tracks. All artists cohabit the underground of a place someone once called ‘a paradise called Portugal’ – and rightfully so. The proceeds of the Rave Tuga tape go to organisations fostering equality.
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4 MEI CULTUURCENTRUM MECHELEN MEER INFO CULTUURCENTRUMMECHELEN.BE
recent finds
sberg by Loïs Rijger
Bokoedro & Tobi Checker
soundcloud.com/bokoeduif
This recommendation is about a pigeon. An angelic voice spoke to us. Damn. It was Bokoedro, aka Polodro, aka flyest pigeon of the future. This Noord-side representative has come from the future (2k35) to tell us something in the form of ‘future jazz’, fulfilling the beautifully composed beats of Tobi Checker in an era where producers should be getting more credit for their work. So let’s start with this trappin’ Chopin. His sounds are diverse, calming yet exciting. We can’t wait to hear what he’s been working on in Berlin with Elijah Waters, after he blessed us with his work on the ‘I cried when my dog died’ demos. So ignore the sign that says you’re not allowed to feed the pigeons; let these souljahs earn some bread.
Iheomy Zezuri
@iheomyzezuri
Iheomy Zezuri is a diamond from Rotterdam, who still needs to be discovered by the masses. This underdog designer, stylist, singer, songwriter and visual artist really is everything and has it all. She recently presented her voice to the world on her first song, ‘6th sense’, with Franklean, a beautiful song that brings that summer love feeling. Her lyrics combine Dutch and English which proves that she can master the art of everything, adding sauce, fierceness and purity to every word and beat she touches, opening up our sixth sense and bringing us overdue good times. The future is bright with her in the spotlight, and we’re here for it.
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13.04.2019
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by Stoffel Debuysere,
one of the programmers of Courtisane Festival
film
There’s a quote I like by Raúl Ruiz, a filmmaker who has a prominent place in the programme of Courtisane Festival 2019: ‘In true travel what matters are the magical accidents, the discoveries, the inexplicable wonders and the wasted time.’ I guess the search for such moments of ‘true travel’ is what keeps us ongoing in our endeavours. In preparation for this festival, I was lucky enough to experience some of these magical moments, in particular while working on a programme we’re dedicating to manifestations of African-American independent filmmaking that have emerged from the East Coast of the US. Most – if not all – of the films in this programme have been largely invisible for decades. Some of the most striking discoveries we made are works by filmmakers whose careers were regrettably short-lived. I’m thinking of Fronza Woods’s sensitive portrayals of everyday struggle and resolve, in particular Fannie’s Film (1979), which portrays the working day of 65-year-old Fannie Drayton, a cleaning woman for a professional dance studio. I also have in mind Edward Owens’ strikingly beautiful films of heartbreak, queer desire, and his own family, including Remembrance: A Portrait Study (1967), a filmic portrait of the artist’s mother and her friends. Despite limited resources and distribution, these filmmakers were able to develop a distinct style to give visibility to lives that are so often ignored, while apprehending them in their absolute singularity. The bewilderment of discovering the tremendous force immanent to these and so many other films is precisely why we are keen to share them with you.
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Courtisane Festival 3-7 Apr - Ghent courtisane.be
we visit you
Tell us, what do you do in life? L: I spend my time studying Art & Culture Mediation; expanding my playlists on Spotify; photographing everything around me; sitting on the train from Ghent to Antwerp and Antwerp to Ghent; changing hobbies on a daily basis; loving my friends; taking care of my plants and myself; and a lot of dog sitting. Livin’ la vida loca. What do you like best about your place? L: That it’s on the highest floor with a lot of windows. I enjoy watching the sky and being apart from everything that happens on the surface. What kind of music are you listening to at the moment? L: A bit of everything but indie is my absolute favourite genre. At the moment I’m more into music with a bit of a spacey touch. Inner Wave and Sports Coach are my recommendations. And Klaus Johann Grobe, a Swiss duo that sing in German and have some funky tunes.
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Name Lisa Alemán Arévalo Age 21 Zodiac sign Pisces Instagram @lisaalemanarevalo Subbacultcha member since February 2017
What’s the first record you bought? L: I remember begging my parents on vacation in Spain for the Summer Jam compilation album with songs like ‘Bailando’ by Paradisio. What’s your favourite pastime? L: Lying in bed with my boyfriend drinking some strong Belgian beers. Or heading somewhere in the evening sun just knowing it will be fun. Any guilty pleasures? L: I watch a lot of ASMR – autonomous sensory meridian response – videos. Especially the ones where they brush ‘my’ hair or do ‘my’ make-up. It makes me feel like a princess. Tell us your worst/best joke. L: Joke Schauvliege. Have you experienced any regrets recently? L: No, life is treating me well lately. Which future Subbacultcha show are you looking forward to? L: The Dandelion at In De Ruimte Ghent on 21 April.
Photo by Miles Fischler shot in Antwerp
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FRONT COVER Judith Kiddo shot by Lauren Lizinde EDITORS IN CHIEF Herlinde Raeman & Kasper-Jan Raeman MAGAZINE EDITORS Julien Van de Casteele & Isaline Raes COPY EDITOR Megan Roberts DESIGN Chloé D’hauwe ADVERTISING & PARTNERSHIPS kasper-jan@subbacultcha.be PRINTER Drukkerij GEWADRUPO, Arendonk, Belgium CONTRIBUTING WRITERS Gabriela González, Isaline Raes, Julien Van de Casteele, Hannes Rooms, Anais Violet Van Eldere, Laura Ramos, Nicolas Baudoin, LauraAndréa Callewaert, Eléonore Kenis, Wannes Dewit, Jacob McPherson, Loïs Rijgersberg, Yente Vaneerdewegh, Pieter-Paul Mortier, Mathias Calderon & Noor Al-Bender
PARTNERS Toneelhuis, Reflektor, Beursschouwburg, C12, AB, de Bijloke, Griessmuehle, Het Bos, KulturA, Go With The Flow, Democrazy, VOLTA, Listen!, VK, In De Ruimte, Purple Panda, Botanique, S.M.A.K., Antwerp Music City, Hotsjumenas x Belly Button Records, Club Wit, Amigo Amigo, Cinematek, Cinema Zuid, KaskCinema, Argos, STUK, MSK, GEWADRUPO, Antwerp Symphony Orchestra, Vooruit, CC Mechelen, Mu.Zee, De Studio, Handelsbeurs, Bozar, KVS, deSingel, Down The Rabbit Hole & C-Mine A heartfelt thank you to all our distributors, interns & volunteers. OFFICE Subbacultcha Belgium, Dendermondsesteenweg 80A, 9000 Ghent, Belgium EDITORIAL magazine@subbacultcha.be MEMBERSHIPS memberships@subbacultcha.be
CONTRIBUTING PHOTOGRAPHERS Sasha Vernaeve, Ines Bodlovic, Herlinde Raeman, Catherine Lemblé, Yaqine Hamzaoui, Miles Fischler & Lauren Lizinde CONTRIBUTING ARTIST Mohamed Toukabri
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At the heart of Subbacultcha you’ll find our membership. Members get access to the best concerts and events for just €8 a month. With our community we’re supporting emerging music and art in Belgium and beyond. subbacultcha.be
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BERNARD VAN ORLEY BRUSSELS AND THE RENAISSANCE
R&S RECORDS
PIERRE
PRINTS IN THE AGE OF BRUEGEL
WWW.BOZAR.BE/BOZARNIGHT
ANOUK DE CLERCQ W/ VESSEL & HELGA DAVIS AUDIO-VISUAL INSTALLATION
& MORE
CLUBCONCERT MC Stefaan Degand | DJ Buscemi
Tickets €13/€19 Do 09.05.2019 – 21:00 Koningin Elisabethzaal Tijdens de Clubconcerten gooit Antwerp Symphony de klassieke concertregels overboord. Je maakt kennis met een groots meesterwerk en ontdekt de waanzinnige muzikale skills van onze solisten. MC Stefaan Degand praat alles op geheel eigen wijze aan elkaar. Na afloop is er een loungy afterparty met DJ Buscemi.
Info & tickets op www.antwerpso.be