Just as all life can be traced back to one defining moment – the Big Bang – there is one event in Malvin Moskalez’s life that completely changed the path of his career. Seventeen years ago, a motorbike ride ended in a dramatic accident in which Moskalez lost a lower leg. In a flash, everything was different. Ever since that day, Moskalez has been trying to come to terms with that painful event. Music has offered a vehicle for this process. Gradually, Moskalez gets a grip on his new life. He rediscovers his love for guitar, singing and songwriting. He spends his time refining his songs, playing them first for friends and family, and later in living rooms and small bars. For a while, Moskalez continues making plans and moving intimate audiences with his performances. Enter Steven De Bruyn. The two get talking and De Bruyn proposes to produce Moskalez’ debut together with Brussels studio wizard Géraldine Cappaert. The result is a beautiful DIY collaboration, a cross-pollination between two musicians who find connection in the same musical experience: deeply emotional songs informed by a no-frills approach: pure and unadulterated, yet warm and personal. Moskalez christens his album ‘For the beauty kept inside’, which could just as well be read as ‘nothing is what it seems’.  
 
 
Malvin Moskalez is the nom de plume of Nico Goethals (Ghent, 1973). Behind this stage name lies a touching, personal story: “My grandmother, Malvina Tweckhuizen, ran a pub in Ghent. It was a people’s pub, whose patrons would come for a chat, a glass of the good stuff and a bit of fun. This high-spirited environment was in stark contrast to the life of my maternal grandmother, Tatiana Moskalez, a Russian-Ukrainian who, following two world wars, ended up in Belgium with a hard life behind her. The duality of pleasure and pain is something I also live with. The name Malvin Moskalez is a tribute to my roots, to two women without whom I would not be here today.”

In a fashion similar to a painter using a brush, jazz musician Steven De bruyn creates fantastic and elaborate images with his harmonica. This Belgian musician follows his musical passion, and he goes far beyond the mainstream.

https://machine-elf.hotglue.me/

@Jcdecaux1
@cabbage-ego-death

Use Knife is the exciting result of the raw synergy between Iraqi vocalist and percussionist Saif Al-Qaissy—who fled war-torn Iraq—and Belgian musicians Kwinten Mordijck and Stef Heeren, known for their passion for analog synths and organic wind instrumentation. 

The band tell a necessary tale of freedom, responsibility and the gulf between the Eastern and Western mindset. Even the instrumentation itself reflects this constant friction; intuitively muddling distorted industrial textures and jerky EBM pulses with brittle Iraqi rhythms and tonalities, Use Knife devise their own distinct harmony against the dissonant global backdrop. 

Debut album 'The Shedding of Skin' (2022) received critical acclaim by The Quietus, Mixmag and Knack Focus, a.o.. They played at festivals such as Le Guess Who?, Sonic City, Videodroom, Grauzone, Botanique, Worm, Wrong Fest, Roadburn, Suoni Per Il Populo, Wave-Gotik-Treffen and We Are Open a.o.

Additionally, ‘Peace Carnival’ was released on Morphine Records —a 10” remix EP featuring tracks from the debut album reinterpreted by Muqata’a مقاطعة, Zoë Mc Pherson, and Rabih Beaini.

Their new album ‘État Coupable’ (March 2025) is mixed by Jerusalem in My Heart's Radwan Ghazi Moumneh, who also created the contrasting ambient 2nd part of the title track, while New York based engineer Heba Kadry (Ryuichi Sakamoto, Nicolás Jaar) handles the mastering. Nihiloxica’s drummer Spooky-J, also laid down a post punk beat on first single ‘Freedom, Asshole’.

Youniss Ahamad crafted Use Knife’s distinct visual language, evoking rawness through direct and distorted imagery, and developed scenography and visuals that truly enhance their live show, creating “an all-embracing vortex that allows those experiencing it to plunge, headfirst, into a hypnotic state that veers between a dreamlike trance and a sensual workout.” (The Quietus)

Their radio show ‘Feeding The Gentry’ airs monthly on Palestinian Radio Alhara.

exploring the overlooked and underheard through located sound, film and photography

Jez riley French (b. 1965)

based in East Yorkshire, Jez has been at the forefront of developments in creative field recording and approaches to the act and art of listening for many years.  Alongside performances, exhibitions, installations, he lectures and runs workshops around the world and his range of JrF specialist microphones have become widely used by recordists, sound artists, musicians and cultural organisations and have had a significant influence on the development of sound culture in recent years.

In recent years he has been working extensively on recordings of surfaces, spaces  and situations and developing the concept of photographic scores. Jrf is particularly associated with the development of extended recording techniques, including the recording of structural vibrations, contact microphone recording, ultrasonics, infrasonics, internal electronic signals and recordings made with hydrophones.

Amongst his key recent works are pieces capturing the sound of the dolomites dissolving, ants consuming fallen fruit, the Tate Modern building vibrating, the infrasound of domestic spaces around the world, glaciers melting in Iceland and the tonal resonances of natural and human objects placed in the landscape.

JrF lectures in a guest capacity at various educational institutions including RCA, Goldsmiths, Leeds Beckett, Newcastle University, Lincoln University and Hull University.

jezrileyfrench.co.uk

Steven De bruyn &amp; Jasper Hautekiet is following

Steven De bruyn & Jasper Hautekiet is following