Friday 19 July 2024

OJP076 : SimsimBBQ / Bang A Gong

Cover art by KURO - pic by Kiki_Chiek

OJP076: SimsimBBQ / Bang A Gong

SimsimBBQ is probably the unique band from Tokyo that creates a mix of a pop version of Japanese traditional music,  Okinawan folk, oriental music, nursery rhymes from around the world, folk music  from various regions, the Beatles to Canterbury music, progressive rock to noise, and original songs made into pop! 

SimsimBBQ is a band with flowing, soothing or intense seven colors high-tone female vocals of seven colours and with all members having solid musicality skills (with no less than 2 permanent or guess members from Wananabani-en) to turn their original songs into a typical Japanese pop style.

About Junko's ethnic instruments:

Sanshin (Okinawan Shamisen): an Okinawan plucked instrument which consists of a snakeskin-covered body, neck and three strings.

Erhu: a Chinese two-stringed bowed musical instrument, more specifically a spike fiddle.

Junko Ohzeki: Vocal, Erhu, Sanshin
Age Yamazaki: Guitar, Chorus
Tadashi Kumada: Drums
Junichi Sakurai: Saxophone
Kyoko Irisawa: Accordion, Chorus
Guest musician :
Yuichi Onoue: Vocoder on track 3), Ribbon Controller on track 8

They have a physical cd:

All arranged by SimsimBBQ
Produced by Age Yamazaki and Yuichi Onoue
Recorded Mixed and Mastered by Yuichi Onoue
Kiki_Chiek : Photographer
Cover designed by KURO
Thanks to Hachi

Bang a gong:

Digital release on the 19th of July 2024.

Track listing:

1: Graceful Matryoshka
2: One-day Sunshine with Bluest Sky
3: Hotheaded
4: Yura Yura Puku Puku
5: Bang a Gong!
6: Hallelujah
7: Akomegahama Rhapsody
8: Creative Destruction of Fantasy
9: Cold Moon Nocturne

Itunes, Spotify, etc.:

And on Bandcamp:

Friday 12 July 2024

OLB004: Lastboss / DarkestOur4 - TheGuildofStCecilia


cover art by Lee Prescott and JT Tan

OLB004 : Lastboss / DarkestOur4 - TheGuildofStCecilia

For all info about this sumptuous series see OLB001. See also OLB002 and OLB003.

Digital release on the 12th of July 2024.

Track listing:

1: TheGuildofStCecilia
2: DormantProse
3: TheGuildofStCecilia2
4: ToTheVictorTheSpoils

Itunes, Spotify, etc.:

And on Bandcamp:

Friday 5 July 2024

OUI034-OJP077 : Kenji Ogino - Takayuki Kato - Daisuke Shindou - Hiroto Uezi / Improvisations


Cover art by A.L.

OUI034-OJP077 : Kenji Ogino - Takayuki Kato - Daisuke Shindou - Hiroto Uezi / Improvisations

The album was recorded live at a small bar in Nakano -Tokyo by a mix of musicians meeting for the first time and others that already played together in the past.

The result is 4 long tracks mixing the impulses and memories of each musician. Enjoy!

Sax : Kenji Ogino
Guitar : Takayuki Kato
Contrabass : Daisuke Shindou
Drums : Hiroto Uezi

Recorded at Nakano Pignose, Tokyo, Japan.

Kenji Ogino (Sax):
When a student, played in a big jazz band. In the 90tiess and 2000, mainly active in funky motown bands.
For the past ten years has been playing mostly beat jazz and improvisation.

Takayuki Kato (Guitar):
Started playing the guitar because he was interested listening to the jazz vinyls collection of his brother and became a professional musician at the age of 19.
After a wide range of activities such as disco bands at U.S. military camps and experiences of samba bands with Brazilians, he started his activities as a leader at the age of 28.
In addition to his own bands he has played with dozens bands, recorded solo and duo albums under his name and still perform with too many formations to name a few.
Playing also a lot overseas such as appearances at "Shibusa Shirazu Orchestra" at the world's largest rock festival 'Glaston Valley' in the United Kingdom and the Mers Jazz Festival.

Daisuke Shindou (Double bass):
Started with the guitar in his teens, and turned to electric bass when 18 years old.
Currently, as an electric & double bass instructor, he is active in a wide range of activities such as teaching young musicians, session work, band support, and jazz session hosts.

Hiroto Uezi (Drums):
Started to play professionally and intensively around 2000 and formed the club jazz band "LOOP SESSION" at a dance club in Aoyama, Tokyo. Worked in sessions, created music, and recorded with British musicians Jean-Paul "Bluey" Maunik (Incognito) and Mark de Clive-Lowe.
Provided songs for compilations such as "Blacktronic" on the I Milano cool d:vision label, and was featured on Gilles Perterson's radio program "BBC World Wide".
Since around 2010 he’s devoted to experimental music such as noise, ambience, and free jazz.
In recent years he released four albums for "Off" record label with Pulse Conversation and SPACE808 mainly based on improvisation.

Digital release on the 5th of July.

Track listing:

1: Deja vu 71Hz
2: Impulse 3
3: Reincarnation Jam
4: Mixed Impulses and Memories

Itunes, Spotify, etc.:

And on Bandcamp:

Friday 28 June 2024

OPV018 : Pierre Vervloesem / Lotta Boom Boom


Cover art by A.L., pic by Pierre Vervloesem

OPV018: Pierre Vervloesem / Lotta Boom Boom

Pierre says: "And now let's try with 2 drummers and 4 saxophones".

Lotta Boom Boom Pierre is the return of Pierre in a quartet format. Surrounded by some of the best Belgian musicians with whom he shared music already in various bands ( Bruno Vansina band, Flat Earth Society, Pierre Vervloesem Group...), he composed 9 tracks using 2 drummers and asking Bruno to play 4 saxes.

Pierre describes this album as a non-genre which is also a genre, with a twist of avant and post jazz, avant and post rock and the typical Vervloesem complex music.

So finale it's up to you to find your place in this Lotta Boom Boom!

Teun Verbruggen : left drums 
Elie Gouleme : right drums 
Bruno Vansina : all saxes 
PV : Bass, Guit, Keys 

Jean-Pierre Jonckheere : Mobile studio for drums 
all music PV except Ouragan by Romano Musumarra 
and Lotta Boom Boom Verbruggen/Gouleme/Vervloesem

Digital release on the 28th of June 2024.

Track listing:

1: Lotta Boom Boom
2: Mammuthus
3: Sweet Ants Marmalade
4: Dr. Wangabi's Birthday Party
5: Ouragan
6: The Taos Hum
7: Reverie In a Traffic Jam
8: Nimble Squirrel
9: Michabok Néné

Itunes, Spotify, etc.:

And on Bandcamp:



Friday 21 June 2024


Cover art by A.L., pic by Emanuel Van Mieghem

OUI035: Mojo Jojo / Another Day In The Life

Mojo Jojo is a Brussels-based quintet founded by Emanuel Van Mieghem that invites lyrical melodies driven by deeply rooted pulsations. Fluctuating between open soundscapes and driving grooves, the band always creates music that is unpredictable and adventurous for the listener. 

The members include Umberto Odone (drums), Roeland Celis (electric guitar, effects), Warre Van De Putte (tenor saxophone), Hyung Jin Ee (tenor saxophone, Ewi), and Emanuel Van Mieghem (double bass, composition). 

Mojo Jojo was awarded the 'Prix de la meilleure composition' at the Avignon Jazz Festival 2023.

Emanuel Van Mieghem: Double bass, Composer, Music Teacher 
Born in Brussels (Belgium) on January 6, 1994, Emanuel Van Mieghem started playing the bass at the age of 15. 
Emanuel pursued studies at the conservatory of Antwerp, where he was awarded the 'Oranjebeurs', an accolade for young talented musicians. 
Emanuel has become a highly in demand double bass player in the jazz and avant-garde music scene of Brussels. He collaborates with a new generation of talented musicians such as Roeland Celis, Umberto Odone, Diogo Alexandre, Hyiung Jin Ee, Nicolas Van Belle, Joseph Nowell, Gaspard Six, Stan Maris, Yarno Hoedemakers, and many more. 
He has also performed with established musicians such as Erik Vermeulen, Frans Van Isacker, Erik Bogaerts, Toine Thys, Daniel Stokart, Lieven Venken, and Free Desmyter. 
He has recorded 3 albums between 2020 and 2023 before the release of his Mojo Jojo one.

Warre Van De Putte: Tenor saxophone
Born in Ghent (Belgium) in 1996. He is a jazz saxophone player and teacher, with his roots in the hardbop language, but also influenced by avant garde and different types of music. In the last years Warre played in many countries like Spain, Japan, Great Britain, Germany and the Netherlands with bands as the likes of Ghent Youth Jazz Orchestra, Screens, Don Marsh V, Jake Walker, Bigband ’86, SHHT and others. In 2018, as a member of SCREENS, he won the Concours XL-Jazz competition on Brussels Jazz Weekend. In the same year they recorded the debut-EP “Low”.

Hyung-Jin Lee: Tenor saxophone
Born in 1998 in South Korea. Plays play Tenor, Alto, Soprano, Bass Clarinet and EWI. 
He played mainly in West Europe since 2014 and won a lot of rewards and prices from various places, conservatories and from the Maastricht Jazz Awards numerous times with different bands and projects.
He has also recorded with various bands.

Umberto Odone: Jazz Drummer, Composer, Music Teacher 
Born in Treviglio - Italy in 1993, Umberto Odone starts to play drums at 6 years old, playing pop, rock and funk styles in the following years and eventually transitioning into jazz. In 2011, at 18 years old, he was the first Italian drummer to get the Scuderie Capitani Drum Academy Diploma with the score of 30/30 cum laude, which marked the beginning of his professional career in music.
He moved to the Maastricht in 201, where he played live concerts with WDR Big Band trumpeter Rob Bruynen and he recorded music with the great Belgian trumpet player Carlo Nardozza. 
He moved to Belgium in september 2018. Since then Umberto has played with Fausto Beccalossi (Al di Meola), Rob Bruynen (WDR Big Band), Giulio Corini (Enrico Rava, John Abercrombie, ...), Stefano D’Anna (Ben Monder, Larry Grenadier, ...), Giovanni Falzone (Francesco Bearzatti, Massimo Colombo, ...), Carlo Morena (Kenny Wheeler, Paolo Fresu, ...), Tino Tracanna ( Franco D’ Andrea, Dave Liebman, ...), John Surman (Dave Holland , Jack Dejohnette, ...). He has different music projects between Italy and Belgium and he is working as a drum teacher in both countries. 

Roeland Celis: Electric guitar, effects 
Born in 1993, grew up in a musical family. His parents, both classically trained musicians, sent him to music school when he was 8 years old. There he discovered a passion for the guitar, improvisation, and all sorts of musical styles and genres. Afterwards Roeland continued his musical education and in 2016 he got to study in New York at the Aaron Copland School of Music.
During these years Roeland met numerous musicians, which lead to playing in several bands. He’s a sideman in HAST, Lennert Baerts’ Clocks & Clouds, Jelle Van Giel’s Close Distance, NABOU, Muriel Urquidi’s Ode, and he played as a featured soloist with the Brussels Jazz Orchestra. As a leader, he released the debut album of his trio “Celestial Planes” in 2022 and in 2023 his sextet, Ping O.D. album. This formation, featuring alto player John O’ Gallagher, combines elements from the rich jazz tradition with heavier guitar genres like progressive metal as well as math rock.

Digital release on the 21st of June 2024.

Track listing:

1: Ouverture
2: Cascade
3: Dragon Fly Pt 1
4: Glee
5: Dragon Fly Pt 1
6: Another Day In The Life
7: Mercurial
8: Richard

Itunes, Spotify, etc.:

And on Bandcamp:

Friday 14 June 2024

ODG190 : Abyss of the Senses / An Anthropology of Hell


Cover art by Alexis Sgouridis

 ODG190: Abyss of the Senses / An Anthropology of Hell

Abyss of the Senses was founded in 2023 and is composed of Fred Minner (vocals, guitar)(see also ODG149, OUI010 and OUI014) John Menoud (analogue synthesizer) and Sam Jakubec (drums). 

Their music mingles structured improvisation, doom/death metal, no wave, free jazz and dark ambient. They recorded their debut album An Anthropology of Hell in August 2023 during a 3 day residency at the AMR in Geneva Switzerland ) with Stéphan Mauclaire. The album was mixed and mastered in September 2023 by Nick Foglia in Turin, Italy.

The album consists of a 57 minute piece in 4 parts. The first part “ Satan’s F all and D iscovery of Hell ”
uses an excerpt from the first chapter of John Mil ton’s “Paradise Lost.” The second part “ William Blake ’s Journey in Hell uses various excerpts from William Blake’s “Marriage of Heaven and Hell” and in particular the “Proverbs of Hell The third part William Blake’s Ascension to Earth is purely
inst rumental. The fourth part “ Earth’s Answer ” uses William Blake ’s eponymous poem taken from the “Songs of Innocence and Experience.”

An Anthropology of Hell is therefore a concept album that includes a narrative that begins with Satan’s fall and discovery of Hell. Once Hell is constituted, William Blake visits the place and being interested in the moral life of its inhabitants, collects their proverbs. Blake travels back to Earth to present his finding s to human beings. Thi s new knowledge being spread out, Earth is freed from religious moral oppression.

“As I was walking among the fires of Hell, delighted with the enjoyments of Genius, which to Angels look like torment and insanity. I collected some of their Proverbs, thinking that as the sayings used in a nation, mark its character, so the Proverbs of Hell, shew the nature of infernal wisdom better than any description of buildings or garments.” (William Blake, Proverbs of Hell in The Marriage of Heaven and Hell)

All music by Abyss of the Senses.
Structure of the piece and poems’ selection by Fred Minner.
Poems taken from “Paradise Lost” of John Milton, “The Marriage of Heaven and Hell” of William Blake, and “Songs of Innocence and Experience” of William Blake.
Recorded by Stéphan Mauclaire at the AMR in Geneva, Switzerland. Mixed and mastered by Nick Foglia in Turin, Italy.
Produced by Fred Minner.

Biography of the musicians:

Fred Minner (born in 1978) is a composer and multi-instrumentalist (bass, soprano saxophone, guitar, and vocals) active for more than 20 years in various experimental, metal, improvisation, and jazz bands. He’s based in Zurich (Switzerland). “Abyss of the Senses” is his newest project. He co-leads the experimental dark/doom jazz duo “Mademoiselle Plume Rouge”, who released 2 albums: “Junkie Movie Music” in 2021 on the Belgian label “Off”, and “Horror Politics” in 2022 on the Italian label “Signora Ward Records”. He was the frontman of the jazzy art-rock quartet “Poppins” (active between 2002 and 2009): their debut album was self-released in 2008 and re-released by “Off” in 2023. He also co-leads the Hadaly Quartet (psychedelic free improvisation, album to be released in December 2023 by “Off”). Since 2010, he’s an active member of the “Insub Meta Orchestra” (improvisation, minimalism, reductionism), with which he recorded 3 albums. He toured in Europe (Switzerland, France, Germany, Hungary, Czech Republic). He collaborates or has collaborated with freddie Murphy (Father Murphy), Anton Ponomarev, Stéphane Povitch Augsburger, Antoine Läng, Stefan Kägi.

John Menoud (born in 1976) is a composer, guitarist, saxophonist, multi-wind instrumentalist, keyboardist, and electronic musician based in Geneva (Switzerland). A prolific musician with heteroclite musical tastes (classical music, improvisation, free-jazz, death metal, exotica, rock, surf), he’s active in a dozen of bands beyond classifications including “Giallo Oscuro”, “Flok Nazor” or “Space Age Sunset”. As a composer, he creates electro-acoustic music and composes for classical contemporary ensembles, dance companies, the theater, and the cinema. His own compositions appeared on several albums, and he released about 18 records with different bands, working with labels like Thödol records, Mauula records and Insub records. He’s a founding member of the “Vortex Ensemble” (contemporary music). He used to play with “Poppins”, “Les Legroup” and “Imperial Tiger Orchestra”, with which he toured in Europe, East Africa and Japan. He collaborates or has collaborated with Laurent Bruttin, Julien Israelian, Anne Gillot, Gregor Vidic, Antoine Läng, Claude Tabarini, Antoine Françoise, Benoît Moreau, Nadan Rojnic, Pierre Omer, Daniel Zea or Nelson Schaer.

Sam Jakubec (born in 1989) is a prolific drummer based in Geneva (Switzerland). He’s active in different bands (metal, jazz, improvisation, ska, and experimental music), and he also composes and plays solo pieces. He’s the drummer of the band “Stortregn” (technical black/death metal) who appeared on stage at the Wacken Open Air 2015, the biggest metal festival in Europe. The band released their fifth album on the well-known American label “The Artisan Era”; their sixth album is going to be released in October 2023. He also used to play in the band “Hypocras” (folk metal) from 2006 to 2016, with which he toured several times in Japan. He has already released more than 20 albums that appeared on labels like The Artisan Era, Non Serviam Records, Black Lion, Great Dane, VDE-Gallo and Urgence Disk. He toured in Europe (England, France, Germany, Denmark, Austria, Spain, Portugal, Slovakia), North America (Canada) and in Japan. Stylistically very versatile, some of his main influences are Bill Stewart, Tony Williams, Merlin Sutter or Daniel Erlandsson. He collaborated or has collaborated with Johan Smith, Michel Wintsch, Moncef Genoud, Nicolas Lambert, Tommy Vetterli, Drop, Vladimir Cochet, David Weber, Michel Bastet, Xavier Dromard, Serge Morattel, Manu Gesseney, Cédric Gysler, Jean-Yves Poupin, Vic Pitts, Ian Gordon-Lennox, and Mátyás Szandai.

Digital release on the 14th of June 2024.

Track listing:

1: Satan's Fall and Discovery of Hell
2: William Blake's Journey in Hell
3: William Blake's Ascension to Earth
4: Earth's Answer

Itunes, Spotify, etc.:

And on Bandcamp:


(John Milton – Paradise Lost – Book 1 – Discourse of Satan) “Is this the region, this the soil, the clime,”

Said then the lost Archangel, “this the seat
that we must change for Heaven, this mournful gloom For that celestial light? Be it so, since he
Who now is sovereign can dispose and bid
What shall be right: furthest from him is best
Whom reason hath equalled, force hath made supreme Above his equals. Farewell, happy fields,
where joy for ever dwells! Hail, horrors! hail,
Infernal world! and thou, profoundest Hell,
Receive thy new possessor, one who brings
A mind not to be changed by place or time.
The mind is its own place, and in itself
Can make a Heaven of Hell, a Hell of Heaven.
What matter where, if I be still the same,
And what I should be, all but less than he
Whom thunder hath made greater? Here at least
We shall be free; th’ Almighty hath not built
Here for his envy, will not drive us hence:
Here we may reign secure; and, in my choice,
to reign is worth ambition, though in Hell:
Better to reign in Hell than serve in Heaven.”


(William Blake - The Marriage of Heaven and Hell)

As I was walking among the fires of hell, delighted with the enjoyments of Genius, which to Angels look like torment and insanity. I collected some of their Proverbs, thinking that as the sayings used in a nation, mark its character, so the Proverbs of Hell, shew the nature of infernal wisdom better than any description of buildings or garments.

When I came home, on the abyss of the five senses, where a flat sided steep frowns over the present world, I saw a mighty Devil folded in black clouds, hovering on the sides of the rock, with corroding fires he wrote the following sentence now perceived by the minds of men, and read by them on earth: "How do you know but ev’ry Bird that cuts the airy way, is an immense world of delight, clos’d by your senses five?"

Proverbs of Hell:


In seed-time learn, in harvest teach, in winter enjoy.

Drive your cart and your plow over the bones of the dead.

The road of excess leads to the palace of wisdom.

Prudence is a rich ugly old maid courted by Incapacity.

He who desires but acts not, breeds pestilence.

The cut worm forgives the plow.

Dip him in the river who loves water.

A fool sees not the same tree that a wise man sees.

He whose face gives no light, shall never become a star.

Shall never become a star.

Eternity is in love with the productions of time.

The busy bee has no time for sorrow.

The hours of folly are measured by the clock, but of wisdom: no clock can measure.

All wholesome food is caught without a net or a trap.

Bring out number, weight, and measure in a year of dearth.

No bird soars too high if he soars with his own wings

A dead body revenges not injuries.

The most sublime act is to set another before you.

If the fool would persist in his folly he would become wise.

Folly is the cloak of knavery. Shame is Pride’s cloak.

Prisons are built with stones of Law, Brothels with bricks of Religion.

The pride of the peacock is the glory of God.

The lust of the goat is the bounty of God.

The wrath of the lion is the wisdom of God.

The nakedness of woman is the work of God.

Excess of sorrow laughs. Excess of joy weeps.

The roaring of lions, the howling of wolves, the raging of the stormy sea, and the destructive sword are portions of Eternity too great for the eye of man.

The fox condemns the trap, not himself. Joys impregnate, Sorrows bring forth.

Let man wear the fell of the lion, woman the fleece of the sheep.

The bird a nest, the spider a web, man friendship.

The selfish smiling fool and the sullen frowning fool shall be both thought wise that they may be a rod.

What is now proved was once, only imagined.

The rat, the mouse, the fox, the rabbet; watch the roots, the lion, the tiger, the horse, the elephant, watch the fruits.

The cistern contains: the fountain overflows.

One thought fills immensity.

Always be ready to speak your mind, and a base man will avoid you.

Everything possible to be believed is an image of truth.

The eagle never lost so much time as when he submitted to learn of the crow.

The fox provides for himself, but God provides for the lion.

Think in the morning, Act in the noon, Eat in the evening, Sleep in the night.

He who has suffered you to impose on him knows you.

As the plow follows words, so God rewards prayers.

The tigers of wrath are wiser than the horses of instruction.

Expect poison from the standing water.

You never know what is enough unless you know what is more than enough.

Listen to the fool’s reproach; it is a kingly title! A kingly title!

The eyes of fire, the nostrils of air, the mouth of water, the beard of earth.

The weak in courage is strong in cunning.

The apple tree never asks the beech how he shall grow, nor the lion the horse how he shall take his prey.

The thankful receiver bears a plentiful harvest.

If others had not been foolish we should have been so.

The soul of sweet delight can never be defiled.

When thou seest an Eagle, thou seest a portion of Genius, lift up thy head!

As the caterpillar chooses the fairest leaves to lay her eggs on, so the priest lays his curse on the fairest joys.

To create a little flower is the labour of ages.

Damn braces. Bless relaxes.

The best wine is the oldest. The best water the newest.

Prayers plow not! Praises reap not! Joys laugh not! Sorrows weep not!
The head Sublime, the heart Pathos, the genitals Beauty, the hands and feet Proportion.
As the air to a bird, or the sea to a fish, so is contempt to the contemptible.
The crow wished everything was black; the owl that everything was white.
Exuberance is Beauty.
If the lion was advised by the fox, he would be cunning.
Improvement makes straight roads, but the crooked roads without Improvement are roads of Genius. Sooner murder an infant in its cradle than nurse unacted desires.
Where man is not, nature is barren.
Truth can never be told so as to be understood, and not to be believed.
Enough! or Too much.

The ancient Poets animated all sensible objects with Gods or Geniuses, calling them by the names and adorning them with properties of woods, rivers, mountains, lakes, cities, nations, and whatever their enlarged and numerous senses could perceive. And particularly they studied the Genius of each city and country, placing it under its mental deity. Till a system was formed, which some took advantage of and enslaved the vulgar by attempting to realize or abstract the mental deities from their objects. Thus began Priesthood.

Choosing forms of worship from poetic tales. And at length the pronounced that the Gods had ordered such things. Thus men forgot that all deities reside in the human breast.



(William Blake - Earth's Answer in Songs of Innocence and Experience)

Earth raised up her head,
From the darkness dread & drear.
Her light fled:
Stony dread!
And her locks covered with grey despair.

Prisoned on watery shore

Starry Jealousy does keep my den Cold and hoar
Weeping o'er
I hear the Father of the ancient men

Selfish father of men
Cruel, jealous, selfish fear
Can delight
Chained in night
The virgins of youth and morning bear.

Does spring hide its joy
When buds and blossoms grow? Does the sower?
Sow by night?
Or the plowman in darkness plow?

Break this heavy chain,
That does freeze my bones around Selfish! vain!
Eternal bane!
That free Love with bondage bound.

Tuesday 11 June 2024

OUW021 : Céline Lory / Illlimited album


Cover art by A.L. - pics by Céline Lory

OUW021 : Céline Lory / Illlimited

'Illlimited album' brings together opus 1 'Crever sans fin', and opus 2 'Roue-limite'. 'Illlimited album' is the result of DIY recordings during the year 2023/2024 while I suffered from fibromyalgia. Thumbing its nose at illness and at the equally sick world which erases women over forty-five while heading straight for its destruction, 'Illlimited album' is also an authorization to wander, to ignore the struggles and to necessarily and precisely love nature. sound material.

About the first opus Céline says:

" 'Crever sans fin' brings together texts and songs that I wrote some time ago (M-moi, crever) with others that are very recent (Hommage à l’homme, Cookie).

Between these, there are solo piano interludes. These are little improvisations, or rather little games, fun that I have always practiced since I started playing this instrument. They are what they are: just the tactile and sonic pleasure of the piano. The emotion of the vibration, the velvety touch. Nothing more. Nothing less.

This EP was designed between October and December 2023.
It is entirely DIY (in other words, homemade)
It was completely designed by myself.
This EP is the first opus. A second will follow 'Roue-limite' as quickly as possible, as long as life (me, us) allows it."

About opus 2, she tells us:

“Roue-limite was recorded entirely DIY between March and April 2024. The mixing and mastering is also DIY. 

It is mainly composed of three musical pieces surrounded by a textual improvisation (Roue-limite) and a bass improvisation.
The improvised text, Roue-limite, was not transcribed for obvious reasons."

Céline Lory: musical composition and text, instrumental and vocal interpretations, recording and mixing.

'Illlimited album'' regroupe l’opus 1 'Crever sans fin', et l’opus 2 'Roue-limite'. 'Illlimited album' est le fruit d’enregistrements DIY durant l’année 2023/2024 alors que je souffrais de fibromyalgie. Pied de nez à la maladie et au monde tout aussi malade qui efface les femmes de plus de quarante cinq ans tout en allant droit à sa destruction, 'Illlimited album' est aussi une autorisation à divaguer, à faire fi des combats et à nécessairement et justement aimer la matière sonore.

À propos de 'Crever sans fin' Céline nous dit:

" 'Crever sans fin' regroupe des textes et des chansons que j’ai écrites il y a déjà un certain temps (M-moi, crever) avec d’autres très récentes (Hommage à l’homme, Cookie). 

Entre celles-ci, il y a des intermèdes piano solo. Ce sont des petites improvisations, ou plutôt des petits jeux, des amusements que j’ai toujours pratiqués depuis que j’ai commencé cet instrument. Ils sont ce qu’ils sont : juste le plaisir tactile et sonore du piano. L’émotion de la vibration, le velouté des touches. Rien de plus. Rien de moins. 

Cet EP a été conçu entre octobre et décembre 2023. 
Il est entièrement DIY (autrement dit, fait maison) 
Il a été entièrement conçu par moi-même. 
Cet EP est le premier opus. Un deuxième suivra « Roue-Limite » - le plus vite possible, tant que la vie (me, nous) le permet."

À propos de l'opus 2, elle nous dit:

"Roue-limite a été entièrement enregistré DIY entre mars et avril 2024. Le mixage et mastering est également DIY. 

Il se compose principalement de trois pièces musicales entourées d’une impro textuelle (Roue-limite) et d’une impro à la basse.

Le texte improvisé , Roue-limite, n’a pas été retranscrit pour des raisons évidentes."

Drawing by Thierry Bouüaert

Céline Lory: composition musicale et texte, interprétations instrumentales et vocales, enregistrement et mixage.

Digital release on the 11th of June 2024.

Track listing:

1: Hommage à l'homme - Instrumental / Crever sans fin - Illlimited version
2: Intermède 1 / Crever sans fin - Illlimited version
3: Hommage à l'homme / Crever sans fin - Illlimited version
4: Intermède 2 / Crever sans fin - Illlimited version
5: Cookie / Crever sans fin - Illlimited version
6: Intermède 3 / Crever sans fin - Illlimited version
7: M-moi / Crever sans fin - Illlimited version
8: Crever / Crever sans fin - Illlimited version
9: Intermède 4 / Crever sans fin - Illlimited version
10: M-moi - Instrumental / Crever sans fin - Illlimited version
11: Crever - Instrumental / Crever sans fin - Illlimited version
12: Intermède 5 / Crever sans fin - Illlimited version

13: Roue-limite / Roue-limite - Illlimited version
14: Poudre / Roue-limite - Illlimited version
15: Roue-limite - interlude 1 / Roue-limite - Illlimited version
16: Invisible / Roue-limite - Illlimited version
17: Roue-limite - interlude 2 / Roue-limite - Illlimited version
18: Loving / Roue-limite - Illlimited version
19: Roue-limite - interlude 3 / Roue-limite - Illlimited version
20: Roue-limite - interlude 4 / Roue-limite - Illlimited version
21: Poudre électronique / Roue-limite - Illlimited version
22: Poudre électronique funky - bonus / Roue-limite - Illlimited version
23: Roue-limite - interlude 5 / Roue-limite - Illlimited version
24: Impro sur Roue-limite - bonus / Roue-limite - Illlimited version




Crever , enfin. Crever au petit matin vide. Crever sans raison. Crever en toutes saisons. Crever pour un oui pour un non. Crever comme une libération. Crever debout crever assis crever couché mais crever. Crever aux yeux de tous. Crever comme pas deux. Crever comme bonne continuation. Crever pas un peu mais complètement. Crever comme une liquidation. Crever partout où c’est possible. Crever à tort ou à raison. Crever comme un divorce. Crever comme une séparation. Crever ici et ailleurs. Crever sans quartier. Crever à perdre la raison. Crever sans pli. Crever comme nous aimons. Crever sans maladie sans suture sans cicatrice. Crever sans effusion. Crever de la tête aux pieds. Crever jusqu’au bout des doigts. Crever comme un voyage. Crever comme une destination. Crever le cœur crever la bouche crever comme une fermeture. Crever comme une faillite. Crever comme une OPA. Crever comme une opération. Crever comme un opéra. Crever comme un scherzo. Crever comme un blues. Crever comme une obstination. Crever 12312. Crever comme 5 et 5 font dix. Crever en douce. Crever par en-dessous. Crever. Crever. Crever enfin. Crever sans attendre. Crever sans attention. Crever sans attente. Crever rouge crever vert crever loin. Crever rose. Crever partout où c’est possible de crever. Crever comme une crevaison. Crever comme un repas. Crever comme une messe. Crever sans honte. Crever en plein bonheur . Crever , enfin. Crever comme une leçon. Crever comme un devoir. Crever comme une interdiction. Mais crever, enfin. Crever enfin crever comme une condamnation. Crever comme un trou noir crever comme on ferme un tiroir. Crever 5 sur 5. Crever bien reçu. Crever par tous les temps. Crever enfant. Crever comme une éducation. Crever sans pendaison. Crever comme bonbon. Crever tomate crever légume crever citron. Crever haut comme un pendule. Crever loin dans ton cœur. Crever anonyme crever en haut de la cime. Crever quand même. Crever toujours . Crever jusqu’au bout. Crever bientôt là tout de suite. Crever comme désirer. Crever comme se saouler. Crever comme se serrer. Crever comme marcher . Crever comme une rencontre. Crever comme une musique. Crever comme génération. Crever grand crever très haut crever immense crever infini. Crever Krever k k krever. Krever comme un rhume comme une fièvre. Crever comme on tire la chasse d’eau . Crever comme on passe à la casserole. Crever comme une oraison. Crever sous terre. Crever comme on se noie. Crever à l’intérieur crever à l’extérieur crever le monde crever comme ça crève les yeux crever comme une piqûre. Crever comme une hospitalisation. Crever comme une fuite. Crever par-dessus dessous. Crever une impossible rêve. Crever comme une profession. Crever comme un abandon. Crever comme on entre dans les ordres. Crever comme une plaidoirie. Crever avant tout. Crever avant tout le monde. Crever prem’s ! Crever la grande histoire. Crever la petite histoire. Crever le soir. Crever le matin. Crever au lait. Crever mousseux. Crever rouge crever blanc. Crever une fois par jour. Crever à dose homéopathique. Crever à dose chimiothérapeutique . Crever médicaments. Crever de sécheresse. Crever d’allégresse. Crever folie. Crever cancer. Crever non létal. Crever au fond sans fin.

Ecriture automatique, 4 décembre 2022


I just wanna be a cookie Sorry babies I just wanna be a cookie Today  Take off my spiritual conscience Pluck my arms and legs Just to be a cookie That Someone eats slowly with tenderness Sorry babies Our fights go right Our consciousness tastes bright But I just wanna be a cookie Tonight Without a life to lead straight Without a death far away Just to be a cookie That Someone eats slowly with tenderness Sorry babies I just wanted to be a cookie tonight I just wanted to be a cookie for once I’ve just been a cookie Cookie – écriture octobre 2022





























M-moi, écriture 2019

Lettre aux hommes que je ne désirais pas

(témoignage d’une femme blanche cis-genre hétérosexuelle de 46 ans en 2023)


  1. J’ai conscience de ne pas faire œuvre d’originalité, de nouveauté ou de découvertes dans les prochaines lignes mais elles sont, avant tout, un écrit spontané issu d’un besoin égoÏste de sortir une colère, une profonde déception et une prise de conscience interne (parfois ça arrive très tard même pour des personnes qui réfléchissent à longueur de journée…). Ensuite, il me semble que le témoignage d’une femme ne soit pas encore « de trop » dans un monde qui, en 2023, est encore en état de sidération par rapport à ce que vivent les femmes, sidération qui est la seule l’explication à l’inertie quasi-totale contre laquelleil faudra lutter sans cesse.
  2. Je me rends compte en me relisant que je parle indifféremment du désir sexuel que celui d’une rencontre plus large. Je ne juge ni l’un ni l’autre et n’ai pas envie de devoir à tout moment préciser – tous les désirs se valent quand il sont vécus dans le respect de soi et d’autrui. Et c’est bien là que le bât blesse : y a-t-il un désir masculin qui puisse en même temps être dans le respect de la femme qui est en face de lui ? 
  3. Tout au long de ce texte, à son premier jet, je n’arrêtais pas de spécifier qu’il y a des exceptions chez les hommes dans les comportements décrits. C’est une évidence. A la relecture, j’en ai eu marre de prendre toutes ces précautions oratoires, je les ai donc enlevées. Ecrire « la plupart des hommes » est suffisant pour signifier que « pas tous ». Les précautions oratoires à outrance marquent encore un conditionnement d’excuse dès qu’une femme ose dire une vérité. Comme l’écrit Virginie Despentes : « Je ne m’excuse de rien ».
  4. Je parle dans ces lignes à partir de mon point de vue, celui d’une femme blanche de 46 ans, un peu précarisée, qui vit seule avec sa fille – j’espère de tout cœur que bon nombre de plus ou moins jeunes que moi ne s’y retrouveront pas

Dans la plupart des relations intimes que j’ai eues jusqu’ici avec des hommes, je n’en avais pas envie. 

Voilà une phrase qui a sonné en moi en ce jour et qui résonne encore.

La question que je me pose aujourd’hui après bien des mésaventures, des blessures, des déceptions, est : pourquoi ai-je accepté ? Pourquoi ai-je dit oui ? Ou plutôt, pourquoi n’ai-je pas dit non (et même hurlé un non ! ) ? 

Peut-être y a-t-il un événement fondateur, peut-être pas. 

Il y a l’expérience d’être un objet de désir dès la prime adolescence – et donc possiblement aussi un objet de rejet.

Des professeurs qui tripotent. D’autres qui deviennent agressifs. Des amis de la famille qui disent « vouloir faire mon éducation ». Des réactions haineuses de femmes proches. 

Et moi qui ne comprends pas la vacuité et la monstruosité de ce qu’on me présente, ne comprenant que le langage de l’amour (oui, j’étais très très très romantique) et le voyant partout où il n’y avait que la langue de l’abus, de la perversité et de la duplicité. La langue des porcs. La langue des dominants en quelque sorte. 

Il y a aussi cette amitié qui s’est terminée brutalement parce que j’avais refusé de coucher avec lui. Attention ce n’était pas le remake belge de « Quand Harry rencontre Sally » ! C’était juste qu’il voulait coucher avec moi, pas avoir une relation amoureuse avec moi ! Une amitié de dix années terminée, plus jamais eu de nouvelles, silence assourdissant pour la jeune adulte que j’étais. Alors je me suis posée la question de mon refus. J’y reviendrai plus tard. 

Pourquoi avoir eu du mal à affirmer mon refus par la suite ? Pourquoi avoir eu des relations non désirées ? D’abord sans doute parce que mon désir depuis le départ a toujours été relégué  à la fonction de paysage de fond très secondaire. Que savais-je, moi, pauvre fille (la pauvre fille dont parle Mona Chollet par exemple) de mon désir ? De ce que je voulais « VRAIMENT ». Ca touche un point essentiel de l’être humain, si j’ose  dire, psychanalytique, parce qu’en effet, QUI connaît réellement son désir, QUI se connaît, QUI sait circonscrire son désir ? Personne. Le désir est une chose qui n’a que des contours flous et notre « JE » est tout aussi fluctuant. Il n’en reste pas moins que le désir d’une femme est selon la société de cette époque et je pense encore en grande partie actuellement, partie négligeable – non explorée et une brèche dans laquelle s’engouffrent un certain nombre d’hommes insistants, voire harcelants sinon agresseurs.

La réelle conscience de cette non-prise en compte, je l’ai eue en devenant maman, parce qu’à ce moment-là, notre désir est littéralement jeté aux oubliettes. On est conditionnées et responsabilisées pour répondre aux besoins et aux désirs de son enfant : le fossé devient incontournable. 

Mes décisions radicales de libération (nda : ma fille va très bien) n’ont pourtant pas suffi.

Tout en luttant dans mes textes, en musique, sur scène, pour affirmer une liberté (d’être femme, de désirer, de vivre comme je le voulais, …), j’ai continué à dire oui (je corrige : à ne pas dire non ! .. Ce lapsus est révélateur que dans ma tête encore, une culpabilité de ne pas avoir pu dire non me fait penser que j’ai dit oui…) quand je n’en avais pas envie.

Certains de ces hommes sont devenus un temps des amis. Et c’est souvent à l’épreuve de l’amitié que la nécessité d’accepter sous peine d’être envoyée en enfer est apparue. Pour résumer, à partir du moment où j’arrivais à exprimer mes limites, sans le savoir, j’étais sur la liste d’attente de leur vengeance – Oh ! Bien inconsciente parfois ! Ils sont tellement certains et assurés de leur bienveillance à notre égard …

Je me souviens ainsi d’un ami longtemps « amoureux » (attention, amoureux s’entend un désir d’intimité, parfois rien de plus ! Il faut comprendre le langage des hommes…). Alors que nous nous baladons ensemble et que je vis une rupture amoureuse douloureuse, il me lance : « Oui, tu deviens vieille et moche ». C’était les seuls mots de soutien qu’il avait trouvés au fond de son désir pour moi. 

Pourquoi donc dire oui à ces hommes qui, une fois leur désir assouvi, ou pas , allaient me faire endurer leur déloyauté ? 

Pourquoi continuer comme cela jusqu’à ce que ce que ce soit mon corps qui, un jour, il y a quelques années, se révolte et dise clairement : ça suffit ! (Et je ne l’ai même pas entendu tout de suite). 

Pourquoi ne pas radicalement dire non.

Alors que la déloyauté des hommes à l’égard d’une femme n’est égale qu’à leur désir. La déloyauté des hommes envers une femme est proportionnelle à la loyauté qu’il se portent entre eux (ça a été écrit, redit, maintes fois mais comme par un effet de sidération, nous n’arrivons toujours pas à en prendre pleinement conscience).

Chez eux, la loyauté ne joue pas dans la même cour que le désir. Elle en est même absolument interdite d’accès. La loyauté que les hommes hétérosexuels se portent n’a d’égale que leur peur de l’homosexualité. Ils s’aiment. Tellement. Ils s’aiment et s’aiment eux-mêmes. Ils sont loyaux car toute déloyauté pourrait être vue comme un désir caché. 

A nous, les femmes, une telle loyauté nous est difficilement accessible ( ça a aussi été dit et écrit maintes fois) : notre présence dans cette société dépend d’eux. Eux au désir desquels on doit se soumettre sous peine d’invisibilisation et de haine. Dire non à un homme en 2023, c’est encore et toujours signer son arrêt de mort – physique ou virtuel. 

Pourquoi accepter ? 

Je ne pense pas être tombée de la dernière pluie, ça fait longtemps que je milite dans mes actes artistiques pour une liberté des femmes et donc de moi-même. 

Sans doute il y a une difficulté à renoncer aux relations humaines parce qu’on n’arrive pas à faire entendre son (non) désir. 

La plupart des hommes hétérosexuels répondent encore au cadre donné par la société patriarcale, basée sur le patriarche donc : celui dans lequel celui-ci avait droit de vie ou de mort sur les membres de sa cellule familiale. Aujourd’hui, certes, l’autorité n’est plus de cet ordre mais rester sagement dans ce cadre donne accès à la respectabilité, à la vie sociale. A moins de faire partie d’une communauté, d’un groupe d’ami·es, c’est encore le schéma qui s’impose et c’est contre ce schéma que je me suis insurgée à la fin de ma trentaine – à mes risques et périls. « Sans bite et sans un balle » comme je l’ai écrit dans une première chanson – c’est en gros ce qu’on m’a dit quand j’ai annoncé ma séparation avec le père de mon enfant (on va tou·tes bien merci). Cet « autodécadrage » m’a valu une mise à l’écart de toutes – je dis bien toutes – les relations que nous entretenions. Le prix était cher à payer mais je le referais pour une chose simple : je ne pouvais pas faire autrement si je voulais continuer à me sentir bien, en accord avec moi-même. 

Le cadre imposé réduit souvent la femme de la cellule familiale à … pas grand-chose. Il suffit que l’homme prenne un peu de place pour que l’on soit refourguée à « la femme  de », sans odeur ni couleur. 

Ensuite, je me suis réveillée par rapport à mon désir profond.