Mother & Masskultur 4; U.S. GIRLS (US), Ignatz (Be) & Sheldon Siegel (Be)


U.S. GIRLS (US, Siltbreeze)

Like fellow DIY ingenues Sally Strobelight and Inca Ore, U.S. Girls’ approach is deceptively ethereal and delightfully haunting; lithe, lysergic gamma rays of keyboard murk beamed over percussive bonk sort
of resemble Diamanda Galás reinterpreting Suicide’s Red Star. And dig that cover of Bruce Springsteen’s “Prove It All Night,” done in such an effortless, barbital lush you’d swear the air was filled with


George Herriman created Ignatz in 1910. It was a vicious mouse in the comic Krazy Kat. Ignatz’ favourite occupation was throwing bricks at Krazy Kats head, who thought it was a love declaration from the mouse. The Brussels based artist Bram Devens uses Ignatz as his alter-ego for his own pile of bricks. Acoustic songs wrapped with effects and driven by improvisation and spontaneousness.

Sheldon Siegel

There are young, arrogant artists who think they will conquer the world from their studios in Belgium with their neo-realistic paintings and their hipster indie rock bands and matching uniforms. There are also other kinds of artists who translate the contemporary nihilistic climate to sharp pastiche and absurdist drawings. In that scene old patron saints are violated shamelessly by means of free improv. Gino Coomans (cello, music box), Erik Heestermans (drums, percussion) and Gerard Herman (sax, vocals, tapes) got together in the suburbs of Antwerp. With a shared love for free jazz and an aversion for taboos the trio explores the possibilities of combined action. They avoid the easy trap of maximum instrument volumes, and instead they reticently seek for a universe in which each musician can take their part at any point, or leave it to another. It is because of that particular attitude that Sheldon Siegel comes to amazingly honest instant compositions. Probably one of the most adventurous Belgian improv groups of the new decennium.

/ Mother & Masskultur


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