An object book (with CD) featuring 29 concert reviews from the Parisian noise and experimental music scene in 2011 and 2012. It provides insights into a dynamic, radical, and deeply communal music scene. The reviews are accompanied by a selection of 22 unpublished photographs taken by the artist Steeve Bauras during the same period. Additionally, there is an experimental sound piece by DJ Fusiller created from concert recordings compiled by the author. Period flyers are randomly inserted throughout the book.
Angels in America,
Astral Social Club,
C'est aussi chouette que les noms de chats,
Decapited Hed + DJ Téléphone sans fil,
Laurent Di Biase,
Jean-Philippe Gomez & Guillaume Gargaud,
Je suis le petit chevalier
José and the Buttsluggers,
Miho & Erik Minkkinen
& Andy Bolus,
Noir Boy George,
Marc Sens & Mike Ladd,
Shit & Shine,
Zaraz Wam Zagram,
DJ Fusiller is a 100% random overlap and approximate narration DJ project. Born in 2015 from a programming misunderstanding during an anniversary party, its only public appearance was met with mixed reactions from a partially complicated audience. The project was put on hold for several years but was eventually revived in 2020 under the impetus of Editions Gravats. Since then, it has released several cassettes (Editions Gravats, Tanzprocesz) and digital releases (Terror Core, Ouïe Dire, DJ Fails).
Steeve Bauras (lives and works in Paris) has embarked on numerous journeys where his encounters and experiences within underground artistic scenes in Europe, Latin America, and Africa have informed his work. Through his work, the artist questions memory and territorial links to make visible the power of artistic creation on our conception of reality. His work has been exhibited at BISO 2023 in Burkina Faso, the Fiminco Foundation in Paris (2021), and as part of the Jeu de Paume Lab project (2021). He was selected for the Rencontres Photographiques d'Arles (2019), exhibited in Cologne (2020), at the Lagos Biennale in Nigeria (2019), Les Filles du Calvaire gallery in Paris (2018), the Havana Biennale (2016), Rencontres de la Photographie de Bamako (2015), and SAVVY Contemporary in Berlin (2013)
Sarah Benhaïm, after teaching art theory and graphic design history in art schools, is currently an associate professor in musicology at the University of Tours (ICD). She specializes in the history and sociology of popular music. Her doctoral thesis in social sciences, defended at EHESS in 2018, focused on noise music and DIY (Do it Yourself). Through ethnographic research conducted in Paris, including field observations, interviews, and analysis of musical material, her work explores experimental practices (instrumental play, DIY fabrication, listening behaviors) as well as discourses and representations related to underground music. Following the release of an issue of the Transposition journal dedicated to musical flops, co-edited with Lambert Dousson, she is currently working on wild lutherie and DIY instrumentations. A member of the free-noise trio DMZ, she collaborated with the Tanzprocesz label to create the Live Series, a series of cassettes based on her concert recording archives. She is a member of the editorial board of the journal Transposition, musique et sciences sociales and a member of the IASPM (International Association for the Study of Popular Music). She also serves on the Music Expert Committee of the DRAC Île-de-France and organizes experimental music concerts.