48 CAMERAS


David COULTER
Jean-Pierre DEVRESSE
Pascal LACROIX
Calogero MAROTTA
Jean Marie MATHOUL
Sri Bernard PETIT
Pascale TEMPELS
(Accordion, Acoustic Guitars,
Bass Guitars, Berimbau, Cello,
Clackamore, Didgeridu, Electric
Guitars, Fretless Bass Guitar,
Glue Harp, Keyboards Loops,
Piano, Rins, Samples, Tapes, Tar,
Tibetan Bells, Voice & Whispers)

Jem FINER
(Hurdy Gurdy)
Michael GIRA
(Voice)
Andrey KOLOMYTZEV
(Soundscaping, Remix)
Agnes PONIZIL
(Voice)
Chris LONG
(Accordion)
Philippe POIRIER
(Guitars, Voice)
DJ Olive
(Remix)
Gérard MALANGA
(Voice)
Rodolphe BURGER
(Voice)

I Swear I Saw Garlic Growing Under My Father's Steps

01. Sometimes God Hides
02. Our Mangler
03. Bloodsucker
04. First Study For A Portrait Of Paul Francis Buck
05. Our Lady Of Sins
06. Here We Sailed & Here We Drowned
07. Les Lieux
08. I Swear I Saw Garlic Growing Under My Father's
. . .Steps
09. Asako's Notebook
10. Jesus Wept While A Mother Sobbed
11. Run Amok Run
12. This Is Almost A Happy Ending
13. Sometimes God Smiles

16 Euro including postage and packing

Listen to Track 4

48 CAMERAS is a project around a nucleus of Belgian musicians who, as they work on new material, invite musicians from all over the world and from different styles and backgrounds

Basically, most of the music is built around an ambience more than a written structure.
Working in this way, the guest musicians can fit in without being limited by a pre-defined style, and bring their personal approach, giving each other piece a prononced character and colour.

All the guests are prestigious. There is Gérard MALANGA whose artistic domain goes from photography to poetry.
He has worked with Andy WARHOL, and as "official" photographer has done portraits of Mick JAGGER, William BURROUGHS, Iggy POP, and many others.
There are also John FINEY and David COULTER, members of the POGUES.
David COULTER has worked with a great number of prestigious artists, and the same applies to all the other guests on this album.

If all these guests are on this album, it isn't just a coincidence; it is because basically, 48 CAMERAS proposes a musically receptive context and a rich and wide musical horizon.
Sometimes, a piece such as "First Study For A Portrait Of Paul Buck" might remind the listener of MASSIVE ATTACK, and some other pieces of THIRD EAR BAND or PORTISHEAD, maybe BJÖRK.
In this way, the pieces form a suite of events that move smoothly from one world to another.

The contrast between the pieces is makes this record a unique reference, close, but not the same as, current musical movements.

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