Subbacultcha Belgium Nov/Dec 2021 by Subbacultcha

Unplugged November & December 2021

Soon at AB MON 15 NOV

A live recording by the

Marja Ahti Free

Thurston Moore Group

TUE 09 NOV

THU 25 NOV

Wanthanee

Priya Ragu

THU 11 NOV

TUE 30 NOV

TUE 02 NOV

MON 15 NOV Thurston Moore Group

Lydmor + Ruby Grace N∆BOU FRI 12 NOV

THU 09 DEC

Commander Spoon

Dans Dans presents 'Zink'

FRI 10 DEC

Robbing Millions WED 13 DEC

THU 25 NOV Priya Ragu

Dance of the Seven Veils Opera SAT 14 JAN 2022

Voetvolk presents:

Into the open MON 14 MAR 2022

info & tickets: abconcerts.be

Snail Mail

editor’s note p 9 Subbacultcha agenda p 16 Lisa Vereertbrugghen p 24 Victor De Roo p 32 Michiel Ceulers p 40 Sub_missions p 7

Editor’s note

UNPLUGGED In the virtual world, everything is amplified. Online, we are faced with so much more: more culture, more community, more choices. It is easy to have the world at our fingertips, louder, stronger, and somehow closer than ever before. But might this simplicity be too good to be true? Now we face the side effects of a virtual life: digital fatigue. And the doctor’s orders? Unplug. Unplug your headphones, go to a concert. Turn off your TV, go to the theater. Put down your tablet, pick up a book. But unplugging doesn’t end with in-person events and a lifted mask mandate. You know that. Because although you now go out to eat in a restaurant, and feel the air on your face, you feel held back, somehow still plugged into your former digital life. There is no manual on how to proceed, but isn’t that exciting! Now we have a chance to start anew, find new ways to communicate and connect with others by combining our refined technological understandings with necessary physical interaction. And maybe, adopting an acoustic mentality is just what we need to get started. words by Dlisah Lapidus Thank you Astrid, Dlisah, Julien, Jonas, Kasper-Jan, Victor, Jente, Andie, Chiara, Michiel, Megan, Paola, Anna, Seppe, Oshin, Eden, Alexandra, Tomas, Manon & Pascal Your editor-in-chief, Herlinde 7

ALL CONCERTS - BOTANIQUE.BE

Subbacultcha agenda

Music

Performance

01.11 Frankie + Ada Oda 12 & Buren – Spare Time Work Super Fourchette, Brussels 13.11 STUK , Leuven 02.11 SUWI + Patches 26.11 A pair of socks Kopergietery, Ghent Handelsbeurs (Democrazy), Ghent 27.11 Performance: KillJoy Quiz 04.11 The Cool Greenhouse + NTGent Minnemeers, Ghent Ada Oda KulturA (Gowiththeflow), Liège 10 & Lisa Vereertbrugghen – 05.11 Laat Open presents 11.12 Disquiet: sensational Overmono live Het Depot, Leuven aesthetics of a technokin Beursschouwburg, Brussels 06.11 Left Waves: Lucrecia Dalt + Milan W. Minard (Democrazy), Ghent

Expo

06.11 La Récré (fr) + Satchel Hart (be) + Eosine (be) + 27.08- Brussels Touch Naked Passion (be) Liège, KulturA 15.05 Fashion & Lace Museum, Brussels 11.11 Pink Siifu & Negro 6'! + 01.10 - Alexis Gautier – L’heure de NAH Het Bos, Antwerp 30.11 la Soupe M Leuven, Leuven 26.11 Butternut

Chinastraat, Ghent

30.11 MIKE

Botanique, Brussels

01.12 Clark

deSingel, Antwerp

08.10 - EURASIA − A Landscape of 23.01 Mutability M HKA, Antwerp 08.10 - David Hockney 23.01

Bozar, Brussels

02.12 It It Anita Charlatan (Democrazy), Ghent 01.11 - Fabrice Samyn + Rachel 04.12 4th Stream BOZAR, Brussels 31.12 Labastie + Aimé Mpane Brussels, KMSK

You can enjoy these events for free as a Subbacultcha member. Scan to discover our plans.

01.11 - Salon des Jeunes 31.12 MSK, Ghent 09.11 - La Vie Matérielle 13.03 Brussels, CENTRALE

CA M PAG N E B E E L D : CARM O DY G ROARKE

19.11 - OBSESSED! 21.11

27.11 Grafixx Day 2

DIVA, Antwerp De Studio, Antwerp

09.12 - La Vie Matérielle 13.03 CENTRALE, Brussels

Film 11.11 Midnight Traveler KASKcinema, Ghent 25.11 Sweat

De Cinema, Antwerp

04.12 KNAL! 360° Videos The Dome (Het Depot), Leuven 08.12 A Febre

KASKcinema, Ghent

MUBI As a Subbacultcha member, you can enjoy three months of MUBI entirely free. MUBI is a curated online cinema where you can discover the world’s greatest films.

Discount Go shop at Paard Van Troje, Consouling, Art Paper Editions, Hunting and Collecting, Bison 4, Veals & Geeks, & Tipi Bookshop and receive a 10% member discount (online or instore).

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WAV WA V!

A live broadcast from de Bosbar every wednesday of this fall & winter. For more info and the program check

www.hetbos.be

www.wearevarious.com

Left Waves: Lucrecia Dalt + Milan W. 6 Nov - Ghent, Minard (Democrazy) Tonight kicks off an adventurous new series, LEFT WAVES, focusing on ambient, electronica and experimental music. The inaugural edition features Colombian experimental composer, vocalist and sound artist Lucrecia Dalt. A geologist by training, she voices geological and physical phenomena with an atmospheric sound field, rhythms and vocal phrasing. The result is something between contemporary and avant-garde electronica with a distinctive, otherworldly style. Also on the lineup is Milan W., who started as a young guitar god with bands like Mittland och Leo, Flying Horseman, Blackie & The Oohoos, The Tone Zones and Condor Gruppe. Eventually, he evolved into the punishing solo artist he is today: a multi-instrumental electronica expressionist who explores the boundaries of dance music. Class act.

MIKE 30 Nov - Brussels, Botanique Just 22 years old, MIKE has been one of the central figures in New York’s underground hip-hop scene since 2017. The rapper creates his 13

own style, both old school and experimental, and brings together influences from New Jersey, London and the Bronx (where he currently lives). His sound ranges from grime to rap, all influenced by King Krule, MF Doom and Earl Sweatshirt. Four years ago the MC released ‘May God bless your hustle’, a mixtape that propelled him to the forefront of the scene and which Pitchfork dubbed ‘Best New Album’. MIKE continues on his way, collaborates with Earl Sweatshirt, drops his album Tears Of Joy and cements his place in the rap underground. After ‘Weight Of The World’ is released in 2020, MIKE comes back with ‘Disco!’ in 2021, right in time for you to come to check it out in Brussels.

Clark 1 Dec - Antwerp, deSingel British musician and producer Clark explores neoclassical modes on his recent release Playground in a Lake, inspired by climate change. Across a career spanning nearly 20 years and ten albums with the Warp label, Clark has constantly shifted and evolved his sound. Shining throughout is a love of melody, surprise, detail, texture and exploration. Equally likely to melt your heart and face – often both at the same time.

KAAITHEATER 20 square sainctelette KAAISTUDIOS 81 rue notre-dame-du-sommeil 1000 BXL

KAAITHEATER & KAAISTUDIOS:

GET TO KNOW THEM AT

>>www.kaaitheater.be OUR SPRING PROGRAMME GOES ONLINE IN DECEMBER!

2 stages as destination for performance makers from the international arts scene.

IMAGE — GISÈLE VIENNE, L’ETANG

HOT SHOTS FROM ABROAD

Lisa Vereertbrugghen – Disquiet: sensational aesthetics of a technokin 10 + 11 Dec - Brussels, Beursschouwburg DISQUIET digs into the tendencies for disruption and dystopia that permeate through subgenres of hardcore techno like gabber, hardstyle, jungle and drum ’n’ bass, with a special focus on the latter. All these sounds are marked by an intensified bass and drum, a minimum speed of 160 BPM and a tendency for disruption of the flow. Focusing on these sonic ruptures, pauses and bursts, DISQUIET explores how they can inform and stimulate the body. Dancing hardcore is presented as a break from structure, looking for a disquieted elsewhere.

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15 15

Performance

Research on the dystopic side of hardcore techno

ghen

Lisa Vereertbrug

Brussels-based artist Lisa Vereertbrugghen builds her pieces based on influences from her childhood, hardcore techno and the complex relationship between body and sound. We met in her bright living room to talk about her creative process, her routine and, of course, her new performance, DISQUIET.

Interview by Bruna Martins, photos shot in Brussels by Miguel Soll

Can you introduce yourself? My name is Lisa Vereertbrugghen. I’m a choreographer and dancer based in Brussels. Besides that, I also work as a dramaturg and I teach. How is your daily routine as a choreographer? I think my work always starts with music. So, my daily routine would be listening to techno music, digging into old techno archives, and experimenting with and creating new sound ideas and 18

pieces. When the process of creating a new piece starts, my sound collaborator Michael Langeder (who has his own electronic duo, Different Fountains) and I use some of those tracks as a starting point. I also write on a regular basis, text ideas for a new show or simply random writings. When a show is done, there’s a lot of travelling in my routine. On the other hand, when I’m creating, I like to work in Brussels. This place is very inspiring. I also

This kind of intimate relationship that I have with the dance is what I want to put on stage 19

I try to physically reach the audience with the sound 20

go on residencies abroad but, to be honest, I mostly try to stay here when creating something. I saw that you’ve been researching hardcore techno for a couple of years now. How did you become interested in the genre? I’ve been researching this genre for almost nine years now. The first piece that I made after school was a hardcore techno piece. My interest in the relationship between sound and movement has been present since I started my studies (my graduation piece in choreography was not a show but a CD), but the specificity of hardcore came to me when I was a child. My brother was really into hakken, the dance that is performed to gabber music. It was also very popular in Belgium, but in a softer way than in Holland. He started teaching me how to do it when I was 11 or 12 years old and it stayed with me. When I graduated in choreography, I realised that I wasn’t interested in the dance styles I’d learned 21

in school and I immediately went back to that kind of dance. You’ve also researched the speed of music and its relationship with the body… Hardcore music has a lot of definitions. I define it as a kind of electronic music that has a minimum of 150-160 BPM, high intensity and a lot of ruptures in the flow. The speed for me is essential because it forces you to move at a speed that is not your own. It’s too fast to think and too fast to worry about what you look like. It’s beyond the image. It goes into pure physicality. Was that the starting point for the creation of DISQUIET, your next performance? In DISQUIET specifically, I wanted to focus on an element of clubbing that I find essential: the dystopic side of clubbing, especially of hardcore techno. I think that there’s a lot of focus on the utopic side of clubbing – all of us together, a sense of community – which is obviously a very important

component of the whole clubbing scene. But there’s another side that’s also very present, especially in hardcore genres. There’s a destructive side to it, a dystopic side. In this piece, I wanted to focus on that. Do you go clubbing a lot? I don’t know what you mean by ‘a lot’ [Laughs]. I love to go dancing but I practice the dance not only by going clubbing but literally in my bedroom, in my house. I put on the music and I dance. This isn’t something that you can do only in the club, but also in your home. I guess the name DISQUIET means something. Can you tell us about it? What I find politically interesting about hardcore music is that it’s really activating. It touches your nervous system in a very intense way. 22

This activation shakes you up. This kind of activation is what I mean by disquiet. It gets you out of your ‘quiet zone’. Is there any special relationship with the audience in this performance? Usually, I like to have people

around me. Since this piece was made entirely during the lockdown, this was not possible and it was very weird for me. In this piece, as in all my other pieces, I really try to move the spectator. Even though in my former piece I literally moved the audience when I was performing, in this one I try to touch their bodies with the sound. The sound is created in a way that moves. I move speakers on stage to stimulate the audience’s direct feeling of it.

LISA VEREERTBRUGGHEN - DISQUIET: SENSATIONAL AESTHETICS OF A TECHNOKIN 10 + 11 DEC - BRUSSELS, BEURSSCHOUWBURG You can enjoy this event for free as a Subbacultcha member. Scan to discover more.

@lisa_vereertbrugghen

Music

Normally I just make songs or tracks and now I can get out of that box

Victor De Roo

In his home in Brussels, producer, musician, and former DJ (for now), Victor De Roo, draws from both the nature of the nearby woods and the cultural hub in the city. From his use of the Dutch language to his unique collaborations, Victor De Roo’s work is far from linear. We discussed his many projects, including an upcoming event at his residency at Het Depot.

Interview by Dlisah Lapidus, photos by Jente Waerzeggers

I think now my live sets are still different but it’s more in line with the music I put out. It’s more logical to do these live sets right now, but I don’t know how it will evolve. Maybe in two years, I’ll be DJing again. But for the moment, I can be honest, I just don’t feel it. Four years ago when I saw someone DJing, I had this instinct to join, but that is completely gone now. How do you manage all your projects and how do you put your personality into everything you do? I only make music, I can’t sing. That’s my biggest handicap as a musician because my life would be way easier if I could just sing, then I wouldn’t have to do all of these strange collaborations. But actually, it’s a blessing, because it forces me to work with different people, which I really love to do. In these collaborations, I make the music and then I work together with someone who is into poetry or who likes to sing. Really just anyone who is doing nice stuff which I think could be nicely combined with my music. As for

other the 80’s andas well y influences of It can have has to be contemporar styles, but it

Your Spotify says, ‘Controversial ex-DJ and producer’ We used to know you as a DJ, but now you are more well known for your live performances, what has this change been like for you? That is a translation from Dutch, so it’s not that I’m trying to be controversial it is more questioning, is he a DJ? Is he a musician? Or a producer? What is his thing actually? I used to DJ a lot, the last four or five years. But I pretty much stopped doing that, just because I wasn’t feeling it anymore. After the lockdown, I kind of fell off with it and started focusing more on producing my own music, and I guess I just didn’t get back up on my horse. Last Summer I did a bunch of live shows and concerts in Belgium, mostly in Brussels, some in Ghent or Antwerp. When DJed, I was already doing projects, but my output as a DJ and my output as a musician was day and night and had practically nothing to do with each other.

studying journalism. So I’m actually really interested in texts and words and the Dutch language especially. But I don’t feel like doing it with my own music. Maybe it’s too much. I like to focus on the music side and I think it is nice to do the sort of joint venture, like I do the music and you do the text.

My output as a DJ and my output as a musician was day and night and had practically nothing to do with each other

putting my personality into my music, People often say that there is a sort of melancholic atmosphere, around or in my music, which is definitely the case. But I’m not necessarily in search of it, it’s more a result than my intention. I just make music, the same way I cook. I don’t use a cookbook with all the steps written out and I never took lessons on producing or making music. I just try to make something here and there, add stuff and experiment. I use a lot of trial and error. I also have a ‘sort-of’ band called De Nooit Moede. And we make what we call pseudo rock because it’s rock-ish, but not rock at all. We are not used to making rock music, we are used to making electronic music. So we are basically making rock music with the techniques and the tools we usually use to make our electronic music. Do you write lyrics, even though you don’t sing? Yeah, with the band I wrote the lyrics of two songs. I read and I write a lot. I am 28

Why did you choose to make music in dutch? Do you see yourself part of a Dutch-speaking music scene? There is a big Dutch singing scene, and we are definitely not part of that, we are more in the underground. Compared to other Dutch musicians, I do definitely feel somewhat like the black sheep. It is more of a logical choice to sing in Dutch. I don’t feel like singing in English, although a lot of Belgian bands do that, because everybody can understand it. For us though, that was a no-go, because we really wanted to talk and sing about our lives

of rock muThat’s lot g. n si ’t sic, like Nirvana n ca I c, si and all the clasI only make mu icap as a musician sics. And then I my big gest hand got into hip hop. and what we are doing and also include the small nuances, which can be hard to do in English. Your music feels somewhat 80s inspired, is that one of your influences? I am aware of the 80’s influences in my music, they are definitely there, but I also try to be careful with it because I don’t want to make music that sounds like it’s from the 80s or a copy of music made then. I’m not sure if I am succeeding, but I am really trying to make music that has a circle of influence, including IDM influences, and Kleinkunst, the Dutch country music from Belgium. I try to put all those kinds of genres together, so it can have influences of the 80’s and other styles, but it has to be contemporary as well. Well then, what music has influenced you? I was always into music. Before I was 15, I listened to a 29

For two or three years, I think I might have only listened to J Dilla. He was a big, big influence and an eye-opener. I just like the way he makes music. But then when I was 18, I really got into new wave and all these experimental western music, and also the avant-garde scene in Belgium. When I used to DJ, I would find new music all the time, and I was always searching for music in the record stores in Brussels. It was nice to see both sides of it. I wasn’t only looking for music to play radio shows, but I was also looking for music that would inspire me to make music. And that also traveled over, so when I played DJ sets, I could only play music that truly inspired me as well. Now I’m not really DJ-ing anymore and I’m not discovering as much music. I’m just not doing that stuff right now. But it will definitely take over again. One day.

What are you working on at Het Depot? What resources do they have to offer? I started my residency a year ago, and was super grateful for the opportunity to join their residency program, because my studio had actually just gotten broken into, and I was in search of a new place. I have played there a few times and have some really big things coming up with them which I am looking forward to. You are doing a video for KNAL, what can we expect from this project? This video is going to be a 15 minute audio visual performance for a dome, so it will be projected in 3D with 3D audio as well. I am working with Lewi Moors, who will be doing the visuals and I am making the music. It’s going to be a really cool way to sort of soundscape electronic experiments. This will actually be the first time that I’m doing something like this. Normally I just make songs or tracks and now I can get out of that box.

People often say that th melancholic atmosphere,ere is a sort of my music, which is defin around or in itely the case

31 KNAL! 360° VIDEOS: FATIMA AL QADIRI & TRANSFORMA / VICTOR DE ROO & LEWI MOORS 4 DEC - LEUVEN, THE DOME (HET DEPOT) LAAT OPEN PRESENTS OVERMONO LIVE 5 DEC - LEUVEN, HET DEPOT You can enjoy this event for free as a Subbacultcha member. Scan to discover more.

@victorderoo

Art

I can poke at changes in meaning as I create new work

Michiel Ceulers

There is a lot to discover in the work of Michiel Ceulers. The Brussels-based artist and painter has an archive of 15 years to look back on, a sliver of which will be shown at his next solo exhibition at De Garage later this year. As he prepares for it, Michiel gives us a tour of his workspace, where we stumble upon two pieces featuring a canary, a familiar figure in his recent paintings.

Interview by Paola Verhaert, photos by Anna Van Durme

which is good because this allowed me the space to do my work without having to justify it. In a similar sense, I found it interesting to return to banal representations during the lockdown.  What attracts you to the figure of the canary? It’s pretty banal, isn’t it? I used the figure of the canary first during my studies and started working with it again during the lockdown. There were moments when everything could be going great, and suddenly a tiny, ominous voice in the back of your head caused alert. As far as our cultural lives during the lockdown, it felt as if we threw a blanket over the canary in the coal mine in an effort to shut it up. While I was studying at the KASK, there was a lot of conversation about how the images of current political and social affairs informed the subject matter of a painting. Railing against this, I decided to pursue the idea of banality and explore abstraction. I considered abstraction to be politically dead at the time, 34

Your last solo exhibition was in Los Angeles and was titled Scissor Valley People. What was the idea behind it? For this exhibition, I invited friends who acted as my conversation partners during the lockdown to contribute work to the exhibition. The works displayed in the exhibition were not directly inspired by these conversations, but definitely acted as the backdrop for the creation of the works. I displayed quite a few works featuring mirrors, which is a reflection of my perception of the city of Los Angeles and the idea of the facade. Because of the sheer fact that you always

have to travel by car in this city, you always know exactly where your final destination is. This means that the buildings you pass don’t advertise themselves to pedestrians like they do in Europe and as a result, you almost never know what’s around the corner wherever you are. Los Angeles is a city where you are almost always isolated.

I noticed that the way you title some of your work is quite tongue-in-cheek. What role does titling play in your work? When you’re exhibiting, people will usually give your works 35

I found it interesting to return to banal representations during the lockdown I also started printing vinyl texts and placing them on top of the work, almost as a parody of the museum context. This brings the focus back to the frame itself a nickname, like ‘the green with the red balls.’ Because this happens anyway, I find it interesting to provide people with a point of reference. The way I title works is a reflection of my own logic. My last exhibition in Brussels was titled ‘A Condom over a Zeppelin,’ which is a reference to the show Absolutely Fabulous. For that exhibition, which was like a time capsule, I was inspired by images I saw of some people walking around with gloves on or even bottles on their heads during the early days of the pandemic. The titles of my work are also starting

to come more into their own, which is interesting. For some exhibitions, I’ll make cardboard name cards for the titles that will hang next to the work, but lately, I also started printing vinyl texts and placing them on top of the work, almost as a parody of the museum context. This brings the focus back to the frame itself.

Can you tell me more about the catalogue you are working on now? I’m working on a catalogue that looks back on the last 15 years of my career as I prepare an exhibition about the same topic at De Garage in Mechelen. The exhibition will feature a combination of my older and more recent work. I’ve been working on this for a while, and it’s been a fascinating exercise to talk about the exhibition with other people and see it written about for 38

the catalogue. The title of the exhibition is a reference to a song by Jacques Brel, ‘Comment tuer l’amant de sa femme quand on a été élevé comme moi dans la tradition.’ It touches on a number of themes that I wanted to explore, such as the idea of painting as the ‘grande dame’ of the arts, but also that of patricide and tradition, and questions related to the renewal of the art of painting. Across your catalogue, it feels like you allow past and future paintings to inspire and be seeds of each other. I like to play with the idea of repositioning older work through the creation of something new. Ultimately, I hold the cards and can poke at changes in meaning as I create new work.

MICHIEL CEULERS - COMMENT TUER L’AMANT DE SA FEMME. QUAND ON A ÉTÉ ÉLEVÉ COMME MOI DANS LA TRADITION 11 DEC UNTIL 20 FEB - DE GARAGE, MECHELEN hofvanbusleyden.be @michielceulers

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SEPPE VANCRAYWINKEL

Age 23 Zodiac sign Aries Instagram @seppevancraywinkel Location Brussels Subbacultcha member since 2021

Tell us, what do you do in life? I’m finishing off my student life with one last year doing an educational master’s degree in Sint-Lukas Brussels. Besides that, I’ve got three upcoming shows and I’m working on my first book! What do you like best about your place? Last year, I moved into an apartment in this old building in Brussels together with my girlfriend. We kind of went in hibernation mode during the pandemic which was actually really nice. The apartment offered us enough space to each do our own thing throughout the day. Also, it has some really big windows with bench-like window sills, where we would sit together for coffee breaks or to end the day with a glass of wine. And every time one of us gets excited about an idea or whatever, we’re like: ‘Come sit with me at the window and I will tell you all about it’. What kind of music are you listening to at the moment? It may be a bit of a cliché answer but I honestly listen to all sorts of music, so I can’t really give you a specific answer. I was brought up in a musical home, so I think that made me appreciate every genre. But to name one, my father 42

once gave me Andreas Vollenweider’s album ‘Caverna Magica’ and it remains one of my all-time favorites. Any guilty pleasures? Riding my bike through the fields of Hoegaarden, giving it all I’ve got, while blasting Katy Perry through my headphones. If you could be famous, what kind of celebrity would you be? The one with an Aston Martin db4 GT Zagato, a Jaguar XK120, a Maserati I A6 GC-53 Berlinetta PininFarina, a Lamborghini Countach LP5000 QV, a Land Rover Defender and of course a Lada Niva in his garage, but actually still no driver’s license… Who do you wanna give credits to? Only the best boy band in Belgium: Cassecouilles!

OSHIN ALBRECHT

Age 34 Zodiac sign Sagittarius Instagram @oshin-albrecht @burencollective Location Ghent Subbacultcha member since 2020

Tell us, what do you do in life? I am a visual artist and performance maker. I used to collect a lot of remnants of objects and imagine new futures and narratives for them in installations, video’s and prints. Nowadays I mainly play and work together with Melissa Mabesoone in the collective called ‘buren’. Together we create rather surreal worlds in which every element or thing can transform into something else. We mix and match (his/ her and our own) stories into new ones while highlighting certain social issues, human and non-human relations. To do so, we use text, music, light, many objects and our bodies. I always thought of myself as a solo artist, but things turned out quite differently! Recently I collaborated on SUN-SET, a performance by Ezra Veldhuis and Bosse Provoost, and I have a slumbering curatorial/programming practice. I programmed for Jong Werk and created a separate program with more experimental work at Theater Aan Zee in Ostend. During the first lockdown, I started creating projects in the house where I live in Ghent with everyone living in the building, under the name of this play. Elien Ronse came up with The Broken Heart Hotel where we hosted people with broken hearts for one night. With Roger 44

Fähndrich, Marijke De Roover and Geert Belpaeme we played broken love songs in broken English in The Broken Heart Band. This year I started teaching at LUCA School of Arts in Ghent in the Mixed Media department. What kind of music are you listening to at the moment? In the aftermath of recording buren’s COMPUTER_SONG, I started looking into the history of computer-made music, the first computer voice, the evolution of sequencing and editing software. I started listening to a lot of composers who were pioneers in electronic music such as Daphne Oram, Laurie Spiegel, Delia Derbyshire, Eliane Radigue, Suzanne Ciani, and many more. It is interesting to hear all the different approaches and styles that emerged from each individual composer, their specific artistic relation with the computer, but also the difficulties they faced being a woman in a highly male-dominated environment. What’s the first record you bought? My father used to be a New Wave musician and has a great taste in music, so we had a quite large music collection at home that me and my sister loved to listen to. If we bought records, it would be ‘family’ records. We didn’t consider them as personal belongings. I think that one of the first records I bought when I left the house was a Sun Ra record. India was my favorite track. What’s your favourite pastime? Swimming in the sea. Any guilty pleasures? Biting my nails.

vr 05.11

Laat Open presents Overmono

zo 07.11

Freddie Konings

ma 08.11

It It Anita

do 11.11

Asa Moto

ma 15.11 di 16.11

live

Depot Café presents Heisa (gratis) De Jeugd van Tegenwoordig + Kleine Crack

wo 17.11

Tessa Dixson + Ivori Moss

do 25.11

De Beren Gieren + Mattias De Craene

ma 29.11

Depot Café presents Patches (gratis)

za 04.12

Mick Jenkins + Planet Giza

ma 06.12

Brutus

wo 08.12

Equal Idiots

di 21.12

Sylvie Kreusch ... & many more tickets & info hetdepot.be

EDEN DE WIT

Age 23 Zodiac sign Libra Instagram @edendewit Location Ghent Subbacultcha member since August 2021

Tell us, what do you do in life? After studying music and digital storytelling for five years in total, I am trying to find a balance between working and creating music without any pressure. I started my own podcast on the link between art and activism called ’the bridges we’ve made’, in which I take the listener along in my research for my next album on how I can use my voice as a songwriter and artist to bring across an activist message. What do you like best about your place? I live in a lovely house in the most cozy street of Ghent, if I do say so myself. There’s nothing I love more than the sound of the rain on the windows of my attic room at night, while I’m quietly jamming on my acoustic guitar. Who do you wanna give credits to? I would love to highlight my lovely and talented friend Lotte and her band Patches. I am very honoured to do backing vocals for her, which is always one of my happiest moments, being on stage with her. She has so much more in store, so definitely someone to keep an eye on.

PLANETARIUM MUSIC FESTIVAL MET ÓLAFUR ARNALDS, WILLIAM BASINSKI, HYDROGEN SEA, ACTRESS, STOCKHAUSEN & MEER

AT THE DOME

[MARTELARENPLEIN LEUVEN]

25.11 > 5.12.2021

BEKIJK HET HELE PROGRAMMA KNALFESTIVAL.BE OP

@rikkisiebens

ALEXANDRA FRASER

Age 36 Zodiac sign Cancer Instagram @alexandra-fraser-art Location Ghent Subbacultcha member since this summer

Tell us, what do you do in life? I make things (art and mess). I read and write. What do you like best about your place? Bubble baths What kind of music are you listening to at the moment? 90’s drum and bass when I’m feeling hectic and Fip radio when I’m not. What’s the first record you bought? I remember relentlessly listening to Roots Manuva’s Brand New Second Hand on bootleg cassette tape. What’s your favourite pastime? Art demands all of my time. I also recently started tattooing myself. Any guilty pleasures? I’m guilt free, but full of pleasures. If you could be famous, what kind of celebrity would you be? I’d hope my work can speak for me whilst I stay in anonymous bliss. Have you experienced any regrets recently? No, I wouldn’t change a thing, even the things that make me cringe.

22.10.21 20.03.22

RICHARD LONG

Who do you wanna give credits to? Those working hard with me on upcoming exhibitions: bang.expo at Archipel and a later show for To Be Antwerp at Kavka.

FESTIV

LATIN AMERICA PRESENTS A POWERFUL

SELECTION OF PERFORMANCES IN BRUSSELS

22 — 28.11.2021 | WWW.PROXIMAMENTE.BE

TOMAS SERRIEN

Age 29 Zodiac sign Aquarius Instagram @tserrien Location Antwerp Subbacultcha member since this year

Tell us, what do you do in life? I work mainly as a musician, writer and teacher. At the moment we are preparing releases on PIAS Recordings with my bands Disorientations and Bat Eyes. Very excited about it! I had a busy period lately with a massive creative output. I made a podcast for Consouling in Ghent, worked as a dramaturg for an experimental music theatre and made a lot of music. The coming period I will work on my new book about music philosophy so I am mentally preparing to be alone a lot in my writing room. I am happy to start playing more gigs with my bands and looking forward to making some noise and decompressing from the fucked up covid year. I need it. What do you like best about your place? Antwerp is a city full of underground music venues and nice art houses. There is always something exciting to discover. What kind of music are you listening to at the moment? Lots of stuff. At the moment I mainly listen to contemporary noise, kraut, post punk, 53

IDM and dark ambient but also to more ‘mainstream’ singer-songwriters and to the music from radio programs like Duyster. I am really a music lover who is trying to listen with an open and curious attitude. The past two years I became very interested in what I call ‘borderline music’. For me, this is music that questions the definitions of what is often viewed as ‘normal music’ by investigating certain qualities of sound. Some examples you really have to check out are: Qebrus, Maso Yamazaki, Stefan Prins, Ryoji Ikeda, Steve Roden and Primitive Man. I’m also listening to a lot of non-western music as research for my new book. The music cultures in Micronesia are really interesting, damn! What’s your favourite pastime? Hugging cats, reading, listening to music, watching weird movies, going out and endlessly talking with friends. I try to go to concerts as much as possible. I also like to eat a lot. Life without food and art would be very boring. Any guilty pleasures? I think ‘guilty pleasures’ is really a stupid term. Lately I was totally into the Spanish teenage series ‘Elite’. It was so awful that it became very relaxing. Oh and there are moments when I really understand people who like Bring Me The Horizon, Taylor Swift or Post Malone. I really think the whole discussion about the existence of ‘a good musical taste’ is very boring. There are much more interesting things to say about music and sound.

4 Stream Festival th

4 Dec.’21 at Bozar

Halaqat Impro Session KRANKk Guillaume Vierset

MANON DE BRUYN

Age 21 Zodiac sign Libra Instagram @manon.debruyn Subbacultcha member since June

Tell us, what do you do in life? Currently I’m in my 3rd year of printmaking at the academy of Antwerp. What do you like best about your place? Always having warm and interesting people around while I am sketching or making an artwork. What kind of music are you listening to at the moment? I listen to a lot of different styles of music, but this week the song that is constantly on repeat is all good things (come to an end) by Nelly Furtado. (I cycle faster with this song in my ears) What’s the first record you bought? Probably, AM by Arctic Monkeys. It’s the only record I can fall asleep with. What’s your favorite pastime? Reading books and going to museums in different cities to broaden my world a little and have enough background while creating artworks. Any guilty pleasures? Drinking too much ‘koffietjes’ and having too much patience with knitting my first sweater. If you could be famous, what kind of celebrity would you be? Maybe someone like Picasso. Different times, having all these legends around and so much room for making art. Who do you wanna give credits to? The people that support me for who I am and who have pushed me further in the things that I want to reach :—) 57

4 dec 10 dec

The Calicos

+ Shorty Jetson and the Lefthands

Mauro Pawlowski

Tin Fingers + Le Sud

Meskerem Mees DE WARANDE TURNHOUT www.warande.be

met dank aan onze sponsors

19 nov

CLUB KUUB

6 nov

+ Tangled Horns

CLUB KUUB

23 okt

IN DE KUUB Fleddy Melculy

PASCAL JANSSEN

Age 28 Zodiac sign Aquarius Instagram @pascaljanssen Location Ghent Subbacultcha member since this summer

Tell us, what do you do in life? As a visual artist I mainly do painting and graphic design. My paintings are inspired by the aesthetics of contemporary subcultures that I like to explore. In these subcultures I like to network with musicians, because my niche as a graphic designer is album design. My work mainly consists of surreal digital collages I create with Photoshop, but I would like to work with 3D programs in the future. What do you like best about your place? I’m really in my element in Ghent. There is a lot of subculture in this city, which drew me to move here. I would like to explore it a little more now after these isolated years. What kind of music are you listening to at the moment? I listen to all kinds of genres, but indie and dream pop are closest to my heart. I am 59

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FRUITS

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KRIETJUR

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DEEDEE ENTITY

DJ ASSOLINA

listening to Jakob Ogowa right now. And also a lot of ‘slowed + reverb’ versions of songs for some reason, they really soothe my anxiety. What’s the first record you bought? Wavves - King of The Beach, 2010. What’s your favourite pastime? Discovering new music. Any guilty pleasures? I sometimes play RS3 out of nostalgia. If you could be famous, what kind of celebrity would you be? Paul Rudd. Have you experienced any regrets recently? I don’t have time for that anymore really. Which future Subbacultcha event are you looking forward to? I would love to go see Benny Sings at the Trix in Antwerp this month. Who do you wanna give credits to? My mom.

COVER Vicor De Roo shot by Jente Waerzeggers

EDITOR IN CHIEF / CONTENT MANAGER Herlinde Raeman

THANKS TO Paard Van Troje, Music Mania, Shelter, La Fille d'O, Consouling Sounds, Mood Recyclestore, Warrecords, Panoply, Riot Vintage, Crevette Records, Tipi Bookshop, Balades Sonores, Art Paper Editions, Riot Vintage, Panoply, Hunting and Collecting, Bison 4, Veals & Geeks, KIOSK Radio & Bilbo

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OFFICE

INTERN Dlisah Lapidus COPY EDITOR Megan Roberts DESIGN Chloé D’hauwe PRINTER zwartopwit – duurzaam drukwerk PARTNERS Democrazy, KulturA, Gowiththeflow, Butternut, Botanique, deSingel, NTGent, Beursschouwburg, Koninklijke Musea van Schone Kunsten België, DIVA, CENTRALE for contemporary art, M Leuven, Bozar, CC Mechelen; MHKA; Design Museum Gent, STUK, NTGent, Fashion & Lace Museum, Botanique, Het Depot, De Warande, Fritz Kola, Trix, Het Bos, Europalia, To Be Antwerp, Kaaitheater, Mechelse Musea, AB, Mubi, Fotoshop Gent, Artists United, Paypro Services, Easypost, Mori Film Lab & zwartopwit duurzaam drukwerk DISTRIBUTION You’ll find our issues every two months in several local stores also offering member discounts, other pickup points supplied by our distributors, and in the mailboxes of our members. Find an overview at subbacultcha.be.

EDITOR IN CHIEF / SALES MANAGER Kasper-Jan Raeman (kasper-jan@subbacultcha.be) COMMUNITY MANAGER / EDITOR Astrid Stubbe DIGITAL MARKETING Jonas Mergan ONLINE COPY EDITOR Gabriela González EDITORIAL magazine@subbacultcha.be MEMBERSHIPS help.subbacultcha.be Subbacultcha Belgium, Dendermondsesteenweg 80A, 9000 Ghent, Belgium Subbacultcha.be

OBSESSED! Jewellery festival Antwerp 19 - 20 - 21 November 2021

Workshops Guided tours Artist talks And many more Full programme - Visit www.divaantwerp.be

26.11 27.11 28.11

ART ROUTE 2021 www.tobeantwerp.com