03.13.2014 8:00 p.m.
Lieven Martens Moana
Lieven Martens Moana is an artist/composer from Antwerp, who blends different traditions of
electronic music in an idiosyncratic universe. Building on the acquisitions of genres suc as musique
concrète, field-recording, tape composition, electronic synthesis, new age and contemporary noise, he
creates a unique mix of the historical avant-garde and poetic neo-romanticism. His work can be
regarded as sonic landscape paintings that reflect his search for spiritual beauty. An important nonmusical
influence of Martens Moana’s art stems from the many travels he undertook to the Azores and
Ever since the early 2000s Martens Moana is playing a key role in the field of Belgian experimental
music, not only as a musician, but also as a visual artist and editor. Using a variety of monikers, of
which ‘Dolphins into the Future’ is probably the most well-known, he worked hard on what became an
impressive oeuvre. In Belgium his LP’s are being released through KRAAK and Aguirre Records,
other work often sees the light of day through his own Cetacean Nation Editions imprint. For his visual
and video art Martens Moana has collaborated with a.o. Wietske Van Gils, Ada Van Hoorebeke, Joris
Martens and Manuel Padding. Wietske Van Gils, who is assisting Martens Moana’s recent work on the
visual side, was also invited to participate in the concerts in Mexico and the USA.
Martens Moana is often seen as belonging to an international network and genre which is referd to as
post-noise by specialized media. Other well-known exponents operating in this field are James Ferraro,
Ducktails and Oneohtrix Point Never. Internationally lauded record labels such as Not Not Fun,
Underwater Peoples, Release The Bats and Fonal released CD’s and LP’s by Martens Moana.
Furthermore, he has extensively toured in Europe and the USA.
Ghent residing Floris Vanhoof is an electronic musician and experimental cineast whose oeuvre is
strongly influenced by American minimalism (think of renowned composers such as Terry Riley, La
Monte Young, Tony Conrad, Philip Glass, Laurie Spiegel, Pauline Oliveros, Morton Subotnik …) and
by a contemporary experimental underground tradition. Vanhoof developed his music as a part of an
inclusive approach to his own art, in which he combines his films with electronic music. His music
combines modular synthesis with concrete sounds – so called found sound, analogous to objets trouvés
in visual art. His film work is experimental in the litteral sense of the word. He manipulates 16mm film
and interferes in the chemical processes of the actual film development. The core of Vanhoof’s oeuvre
is constructed around the idea of synethesia: visual ideas and concepts are transposed to music and vice
versa, to realize an esthetic experience of the whole.
Apart from various cassette and CD-R releases on Belgian and international underground labels,
Vanhoof released three widely acclaimed LP’s. Just like Lieven Martens Moana, Vanhoof belongs to
an international network of experimental musicians and film makers. Important realizations in 2013
include a split-album with acknowledged electronic musician Keith Fullerton Whitman on the French
Shelter Press label, concerts in Flagey, Museum van Elsene and two solo exhibitions in Belgium.
Vanhoof is also an active curator – in the past he was invited several times by the International Film
Festival Rotterdam and he is currently also programming a series called All Things are Connected,
shedding a light on the past and present of electronic music.
More info: http://endlesswebsite.blogspot.be/
Beyt al Tapes
Beyt al Tapes is the alias of Niels Latomme. Latomme is multi-faced artist, dividing his time being
producer, electronic composer, graphic designer, label boss and concert promoter. As a musician he
explored post punk and psychedelic territories in the bands Penguins Know Why and Sylvester Anfang
II. Recently he shifted his focus to more actively construct an oeuvre as an electronic musician.
Latomme’s body of work consists of tape compositions and sound poetry, influenced by futurism, early
electronics and poesia sonora. Characteristic for Latomme is the use of out-moded analog equipment
such as cassette and reel-to-reel players and analog synthesizers. He is consciously adopting the
language of this gear because of the specific relation it offers between sound and tactility.
Latomme’s cassette label, equally named Beyt al Tapes, releases limited run editions of experimental
musicians, a.o. Dennis Tyfus, Steve Marreyt, Floris Vanhoof, Cactus Truck and Bear Bones, Lay Low.
Beyt al Tapes editions are released as multiples, emphasizing the uniqueness of the object by using
screen printing techniques and unusual materials for its packaging.