In no time Peek- A-Boo has become a music and film magazine whose read figures continue to rise every day. Thanks to you, dear reader.
A dream , however, can never be big enough. We want to continue to grow and therefore we need you. Do you sometimes feel the need to write when reading our reviews? We offer you that opportunity, because Peek-A-Boo is looking for collaborators, people who like to write reviews, have their say on concerts or just want to interview their idols. There is only one condition: you have to have passion.
If you like to write about music, film, video games (yes, that too) or literature, do not hesitate and send us a test article at promo@peek-a-boo-magazine.be And who knows, you may be a Peek -A -Boo collaborator soon.
We can not guarantee that you will meet Dave Gahan or Scarlett Johansson, but as a collaborator you will have the opportunity to get promo material, to go to concerts, and of course your name will be mentioned on the Peek-A-Boo site. Interested? Do not hesitate and contact us immediately! The rest may be history!
Op korte tijd is Peek-A-Boo uitgegroeid tot een muziek- en filmmagazine waarvan de leescijfers iedere dag blijven stijgen. Dat hebben we uiteraard alleen maar aan jou, beste lezer, te danken.
Een droom kan echter nooit groot genoeg zijn, wij willen blijven groeien en daarom hebben we je nodig. Misschien heb je tijdens het lezen van onze schrijfsels ook zin om zelf in de pen te kruipen. Dat kan, wij zijn immers op zoek naar medewerkers. Mensen die graag recensies schrijven, hun zegje hebben over concerten of gewoon hun idolen willen interviewen, Peek-A-Boo biedt ze die kans. We stellen maar één voorwaarde: je moet passie hebben.
Wil je schrijven over muziek, film, videogames (ja, dat zoeken we ook) of literatuur, aarzel dan niet en stuur een proefartikel naar promo@peek-a-boo-magazine.be Dat mag in het Nederlands, het Engels of nog beter: gewoon in beide talen en wie weet maak jij binnenkort deel uit van het Peek-A-Boo-team.
We kunnen je niet beloven dat je bij Dave Gahan of Scarlett Johansson op de thee mag, wel heb je als medewerker volop de kans om promomateriaal te krijgen, als recensent naar concerten te gaan en natuurlijk prijkt jouw naam dan voortaan ook op Peek-A-Boo. Interesse? Aarzel dan niet en contacteer ons onmiddellijk, de rest wordt wellicht geschiedenis!
Having just finished a second run performing in Alexander Ekman’s A Midsummer Night’s Dream for The Royal Swedish Ballet, Anna von Hausswolff is gearing up for an extensive European tour with SWANS.
To set the mood, today we share a new video for the remarkable 11-minute doomscape opus ‘Come Wander With Me/Deliverance’, directed by Anna’s sister, Maria von Hausswolff.
Taken from 2015’s highly acclaimed album ‘The Miraculous’, ‘Come Wander With Me/Deliverance’ is a track of gargantuan scale & power. Originating as a cover of Jeff Alexander & Anthony Wilson’s track from The Twilight Zone; the song grew bigger with every live performance; eventually forming a second song around it; ‘Deliverance’. The result is a driving crusade of colossal scale.
Maria von Hausswolff gives the track even further weight with this new accompanying film, which she describes as: “An abstract dreamy tale about loneliness, about fighting against your own demons and about being strong; shot deep inside a Swedish forest.”
This year Anna von Hausswolff has already stunned audiences at a packed out Barbican for Nils Frahm’s Possibly Colliding, on tour with Refused and at St John on Bethnal Green for Convergence Festival. Now, she prepares for an extensive tour supporting SWANS across Europe, including two nights at London’s Islington Assembly Hall.
Anna’s latest album, The Miraculous (out now via City Slang), is an album steeped in history, mystery, magic and terror, drawing on tales & folklore from her homeland of Sweden, whilst making full use of the Acusticum Pipe Organ in Piteå, Northern Sweden, whose colossal sound – with 9000 pipes – swells heroically throughout. Yet, for the ferocious instrumentation, it is always Anna von Hausswolff’s incomparable voice that sits first and foremost, swooping around the organ & guitars to phenomenal effect.
Anna von Hausswolff live dates:
October
5 -Toulouse FR, Organ Festival
6 – Brussels BE, Oranjerie Botantique*
7 – Eindhoven NL, De Effenaar*
8 – Brighton UK, Concorde 2*
9 – Manchester UK, HMV Ritz*
11 – Glasgow UK, Oran Mor*
12 – Newcastle Upon Tyne UK, Northumbria University*
13 – London UK, Islington Assembly Hall*
14 – London UK, Islington Assembly Hall*
15 – Reims FR, La Cartonnerie*
17 – Hamburg DE, Kampnagel*
18 – Berlin DE, Huxleys Neue Welt*
19 – Prague CZ, Divaldo ARCHA Theatre*
21 – Budapest HU, A38 Ship*
22 – Vienna AT, Arena Big Hall*
23 – Graz AT, Orpheum Extra*
25 – Ljubljana SL, Kino Kiska Centre For Urban Culture*
26 – Zagreb HR, Lauba*
28 – Basel CH, Kaserne*
29 – Vevey CH, Rocking Chair*
30 – Bern CH, Reitschule Dachstock*
November
1 – Nantes FR, Le Grand Mix*
2 – Nimes FR, La Paloma*
4 – Torino, IT, C2C*
5 – Bologna IT, Teatro Auditorium Manzoni*
6 – Rome IT, Orion Live Club*
8 – Turcoing FR, Le Grand Mix*
9 – Paris FR, Le Trabendo*
10 – Cologne DE, Gebäude 9*
11 – Munich DE, Feierwerk*
12 – Wiesbaden DE, Kulturezentrum Schlachthof*
13 – Utrecht NL, Le Guess Who
Immersion, an instrumental electronic duo made up of Wire frontman Colin Newman and Malka Spigel (Minimal Compact), return with new album ‘Analogue Creatures Living On An Island’ set for release 25th November via swim~. The duo are sharing new single 'Fireflys' from the album online now.
Whilst both Colin Newman and Malka Spigel have been busy with several other projects and collaborations over the years, they have returned to their critically acclaimed project to dazzle listeners with a new collection of magnetic electronic instrumentals. New track 'Fireflys' is a
Immersion’s new album of seductive instrumentals takes in a wide range of moods and energies. Their music is a kind of Electro-Kosmishe - the sound of the 21st century, which nonetheless draws inspiration from German pioneers such as Cluster and Popol Vuh. And, like those groups, Immersion can create a world which is simultaneously devotional and sensual.
Combining the considerable talents of Malka Spigel of Minimal Compact and Colin Newman of Wire, Immersion is a true collaboration, with no delineation between who plays or does what. “We don’t have fixed roles in Immersion.” Says Spigel. Newman concurs. “You can’t really tell who plays what.”
Between 1994 and 1999, Immersion released three critically acclaimed albums of expansive instrumental electronica. Music which encom- passed the meditative and the hallucinatory. They also garnered remixes by some of the biggest names in electronic music. And then? Then, they faded from view...
Cut to a mere 17 years later, and a new Immersion album glides into earshot. Their sound is unmistakable. And yet, clearly the duo have evolved. Immersion has returned a different beast. The pulsing and sliding analogue synths are still present and correct. Indeed, the stately and plaintive Mechanical Creatures , with its constantly evolving web of analogue synth throbs, could easily find a home on Fripp and Eno’s classic Evening Star album. But there are also several sonic advancements from Immersion’s previous recordings.
The most noticeable differences are the introduction of guitars into the mix and an increased sense of urgency to their compositions. This means, Analogue Creatures Living On An Island cannot be classified as ambient music. Although it does have its contemplative moments - such as the gently unfolding Slow Light - the majority of the album is powered by a strong sense of motion. Nanocluster is a tense and insistent composition. Coming over like the score to some futuristic spy film, it demonstrates Immersion’s skill at creating miniature sound worlds alive with detail. Meanwhile, the urgent forward propulsion of Organic Cities weaves in shades of prime era Tangerine Dream - and may well be the album’s highlight. The fact the album has been largely constructed using analogue instrumentation rather than digital, definitely gives it a warmth and depth which sets it apart.
During Immersion’s 17 years hiatus, Spigel and Newman have been far from idle. Spigel has released acclaimed solo albums, exhibited her distinctive photography and performed sell out shows with a reformed Minimal Compact. Newman meanwhile, has helmed the revitalised Wire through a series of stunning gigs and poll topping albums. Besides which, the pair collaborated with Max Franken and Robin Rimbaud (aka Scanner) as Githead, purveyors of skewed art-pop. And yet, despite all these outlets for their creativity, they decided the time was right to reactivate Immersion. “It felt like the right moment for us to do something with synths again.” Says Newman. “We had the urge to create instrumental, free-flowing music, which didn’t depend on any kind of verse/chorus/middle eight format. Music that could also be propulsive without resorting to any kind of obvious drumming”
And it’s true the album exhibits a very organic flow. Another contributory factor could well be the duo’s relocation from London to Brighton. “We live 10 minutes away from the sea,” says Spigel. “We walk by it almost every day. It’s different every time we see it, even every hour. We’ve definitely been inspired by the light and the sound.” This influence is perhaps heard most strongly on Spinner, the sonic equivalent of a bright spray of light radiating across a seascape.
‘Analogue Creatures Living On An Island’ is the point where Immersion emerge from being one of the UK electronica scene’s best kept secrets, and gain the recognition they so richly deserve.
For those who prefer vinyl, the album is available spread across two 10” singles Analogue Creatures and Living On An Island respectively.
Covenant announce new album „The Blinding Dark“ to be released November 4th, 2016
“We live in dark, confusing times and COVENANT wrote an album about how that makes us feel. In a world that has stopped making sense, we need to learn how to see in the dark and “The Blinding Dark” is a triumphant embrace of the strengths and resilience of the soul. It’s the dystopian, unforgiving music of the reflective shadows we all carry within us, but often lack the courage to take a good look at. It’s implosive instead of explosive, fuelled by cold fury rather than a roaring fire, as beautiful as a collapsed star.” (Joakim Montelius)
„The Blinding Dark“, COVENANTs 9th studio album to be released November 4th, 2016, is exciting not only because of its compelling title, but also since it shows a remarkable development in style, something that COVENANT decidedly wanted to do with this record – and not least thanks to the subject matter they address. The Swedish/German outfit has perhaps just delivered their artistically most ambitious album yet.
The world is no field of flowers, and everyone makes the experiences at least once in a lifetime, that where the light exists, there is also darkness.
Leszek "Morph" Trzaska (vocals, guitar, compositions) was a singer and bassist in many metal / hard rock projects since year 2000 and he created Dark Side Eons in 2012. Together with Kate "Moonskin" Trzaska (synthesizer / programming), which joined the band in 2014, the two musicians started to play their first shows already in the same year.
The debut album, which was created between 2014 and 2016 contains 12 energetic songs, that transport the feeing to take a journey though endless depths of human soul, through the universe and the wholeness of a life. Every song tells it’s own story and the multifacetedness of the whole album are not at least the result of the various influences of Minimal, Dark Wave, Gothic Rock and Post Punk, that give DARK SIDE EONS their unique sound.
