vendredi 30 octobre 2020

EC SPLIT 20

 


EC SPLIT 20

Anton Mobin & Harold Schellinx

an Electronic Cottage release now available here:

https://halmcgee.bandcamp.com/album/ec-split-20

You can also find it at the EC Index page at Bandcamp:
https://electroniccottage.bandcamp.com/indexpage

« Principe d'Intersection » 

These 24 'lullabies for a sick world' were composed and recorded (in the months August, September and October) of this so dramatic year 2020 by Anton Mobin and Harold Schellinx. They were made in pairs, using what they call the 'intersection principle', a working method that resulted in these 2 x 12 highly personal compositions, all in the respective authors very own style, that, however, pairwise have a 'melodic' overlap -their intersection- and the exact same duration. 

Think of these intersections as the spines of a species of two-winged creatures, where each wing corresponds to one of the two corresponding pieces. But as the creature may flap and fold its wings, there is, as a consequence a third dimension: you may collapse each pair into a third one, the mix or union of the two ... 

For more information see the pdf file that comes with the digital download, or visit  harsmedia.com/SoundBlog/Archief/00858.php





Our pairing by initiator and curator Hal McGee for the production of a 2 x 30 minutes sound work as part of the Electronic Cottage ‘Split’ project was an unexpected but very nice surprise. We know each other well, and—as partakers in the small Parisian under-world of cassetteurs and electroacoustic improvisors—have had the pleasure of performing and recording together on many occasions over the past fifteen years or so.

And even though the idea of the EC-Splits prohibits sonic and musical collaboration in the usual sense of producing a joint work, it was clear from the start that both of us wanted very much the eventual result to be a dual and/or complementary expression emanating from some basic, unifying idea. The same story, but told in two different ways. 

It also was clear from the very start that if there were to be a story, if the music was about something other than itself, that other could be no other than related to our personal living and experience (in Dutch: be-leving) of these utterly weird and dystopian times. 

It also went without saying that each of us was to hear the other’s version and way of telling the story only at the very end, with all composing, recording and mixing finished and done. These constraints and desires almost instantly led us to formulate a simple idea and rule for our collaboration.

We baptised it « principe d’intersection » — the intersection principle. intersection double helix

Here is how it worked.

We composed and recorded the Split in an alternating chain. Anton did his first, then I did my first. I then did my second, after which Anton did his second. Then Anton did his third, and me my third… and so on, descending like along the double helix of a musical DNA ... And on each level, the one of us who’s turn it was to do the first piece of that level, would forward his piece’s—we called it—melodic track to the other, who then would start composing and recording hispiece for that level taking into account precisely this code from the other's piece. Without, however, using the received track literally as part of the recording. In practice that meant: importing the track as part of the multitrack for a piece, but muting it—or at the very least almost all of it—in the mix.

This then are the intersections in which our individual pieces overlap, and which therefore—pairwise—have the exact same duration (which basically is that of their intersection)...

You can see each of the intersections as the spine of a two-winged creature, where each wing corresponds to one of the two pieces. But as the creature may flap and fold its wings, there is as a consequence a third dimension: you may collapse each pair into a third one, the mix or union of the two...

We did not beforehand agree on any particular limits for the duration of the pieces in each of the ‘levels’, but quite naturally these turned out to stay within the time-bounds of, say, the average popsong: the shortest is 1’32”, the longest 3’36”, and in the end we had 24 of them: 2 x 12.

Anton started our working chain. He sent Harold a first intersection on August 12th, and we continued the realisation of our Split consistently and with near clockwise regularity. Harold sent Anton the twelfth and final intersection on October 21st. We finished work on the audio part the weekend of October 24th, little more than a week before the project’s ultimate deadline.

As to the instruments and other means used in the composition and recording of the pieces, there were no restrictions other than the practical one, being that all was done with what each of us had available at his home. 
Anton’s compositions make use of all of the instrumental vocabulary that he disposed of in his studio at home in Orléans, and I, apart from the piano and Korg MS20, on this particular occasion also dusted off guitars, vintage organ, toy piano...

split collage


The pieces in Anton’s strand of our ‘double helix’ together form a highly dynamic collage of music and sounds, angular, spiky, and full of surprises, in an atmosphere that is unmistakably pandemic, with whirling corona-infected absurdist grooves that continue to emanate from his rich palette of provoking, challenging as well as amusing and at times headache-provoking sonic (ánd rhythmic) processes. The twelve compositions also feature members of his family, speaking, singing, screaming, and playing the beatbox, piano, guitar or, quite notably, a jumping rope. It gives his work a touch of a juvenile sense of humour that nicely transcribes the situation of these months of living-all-together through a global pandemic.

Several of Harold’s pieces feature vocal recordings that recount stories within the story. There is a preacher woman reading from the bible to the vast emptiness that surrounds her on the Place d’Italie, someone’s softly singing on the subway, a man remembers himself, speaking on a tape found in London many decades ago, and Harold’s extremely drowsy self tries to capture, on his cellphone’s dictaphone, the essence of a pandemic dream in which a masked man sitting in the corridor of a deserted building instructs him to take the path that’s to his right. These make for some of the steady strokes, lifelines in a brittle grid of music built from fleeting melodies, random notes and wavering chords played on many different instruments, in all sorts of ways. From the flute that tries to copy the blackbird that during the days of the Parisian lockdown for many, many weeks continued to come loudly sing early mornings in his backyard, via fuzzed electric guitars, the acoustic one that someone sometime one day left behind in his home, the piano, an electric organ, a viola, saxophone, real and software synths, on to parts played and recorded on a Switch game console, with the instruments that can be had in Nintendo’s Animal Crossing video game, one of this pandemic’s big capitalist-escapist hits.

trans collage


Bits of Harold’s piano playing originally were improvised and recorded around and along to the clapping, clanking, shouting and banging at the daily corona-ritual that also in his neighbourhood people performed on their balconies and in opened-up windows for a couple of minutes every evening starting at eight, from the first to the last day of the French corona lockdown, when this practice came to a sudden end. His twelve pieces start ánd end with a recording of a such ritual.

Together these 24 pieces (the number, indeed, is significant) are our modest offering, a gift of music from and for a sick world.

Orléans-Paris, October 25th 2020




Anton Mobin-side

>>intersection<<

side-Harold Schellinx

Bonjour ! .1
Supersupercon .2
Looka Ma What ? .3
Faked Echo .4
Approchez ! .5
Ropamuffin .6
A Sweet Smell of Shit .7
Non! c’est beau .8
On recommence! .9
Conform .10
Onlyno .11
C’est fini ! .12

[ A — horns ]
[ H — prepared piano ]
[ A — electric guitar ]
[ H — flute ]
[ A — electric guitar ]
[ H — acoustic guitar ]
[ A — piano ]
[ H — 8 bit ]
[ A —noises, piano, guitar ]
[ H — toy piano ]
[ A — bass ]
[ H — uP-ACNH bells ]

1. Bonjour !
2. Methodology
3. Seigneur Eternelle
4. Backbird
5. Man met een Mondkapje
6. Alles Lijkt op Iets Anders
7. In those Days
8. Spectrum
9. Pression des Marchés
10. MicaHellSon
11. Doors Shut
12. You Know



" VOL. #1" with Andrew Sharpley

 


"VOL. #1"
Andrew Sharpley & Anton Mobin
C53 limited edition on STEEP GLOSS
digital on Test Recordings


Andrew Sharpley : computer, mix

Anton Mobin : prepared chamber

middleeightrecordings.bandcamp.com


For some years now, I wanted to make an album using the macro/HD sounds of ASMR videos, which seemed like an obvious source material for a kind of semi-improvised Musique Concrète or sound-collage, but after several false starts, I could never really find a way in until a chance meeting with Anton Mobin led to this collaboration. 
The close-focus tactile quality of Anton's sounds, and the clarity of detail, gestural precision and openness of his playing seemed like a good retort to the hermetic audio-fetishism of the ASMR videos, and opened a door for me to an easy, natural way of working, like a kind of 'audio-essay' or 'drawing with sound', a half-way house between the musical and the visual. It seems like an interesting place to be. 
- A.S, 08.09.2020 





samedi 10 octobre 2020

Le Désordre en Live [AABA#22]



LE DÉSORDRE EN LIVE [AABA#22]

Middle Eight Recordings, 2020 
AABA#22 / Archive "Live" Série 
physical copies tba 

LE DÉSORDRE 
Ruelgo (aka Le Syndicat) : Interfaces digitales, microphone, tapes 
Anton Mobin : Chambre préparée, endless tapes 

DU KRASH ET DU SANG - KrashNoz VIII 
Élaboratoir, Rennes, 6 Juillet 2019 
Enregistré par Thomas Fernier (aka Chevo Légé) et Mathias 
Pas d'édit / dé-noizé et masterisé par Ruelgo 

Big Up & Merci aux Krash Boyz ; Waldo, Nat, IsAAAc, Toto, Thomas, Mathias, Groin... 

krashboyz.org 
chevolege.bandcamp.com


Ce document a pour nous un goût et une odeur bien particulière. Nous avons souhaitez le mettre en ligne en hommage à la team rennaise des Krash Boyz, maîtres d'oeuvre des célèbres KrashNoz. 

En effet, en 2011, Le Syndicat (à l'époque MMX en trio) et Anton Mobin sont programmé séparément, sur deux scènes différentes, à la KrashNoz VI. La connexion est faite et 8 ans après cette première rencontre les deux artistes se présentent en duo pour le KrashNoz VIII. 
C'est aussi le dernier concert en public du Désordre avant le confinement 2020. Et quel public !!! 
Cette archive a le goût du sang et l'odeur du krash !!! 


<iframe style="border: 0; width: 350px; height: 470px;" src="https://bandcamp.com/EmbeddedPlayer/album=1600481591/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" seamless><a href="https://middleeightrecordings.bandcamp.com/album/le-d-sordre-en-live-aaba-22">Le Désordre en Live [AABA#22] by Le Syndicat &amp; Anton Mobin</a></iframe>

----------- 

LE SYNDICAT  
www.discogs.com/fr/artist/76952-Le-Syndicat 
le-syndicat-mmx.bandcamp.com 


Le Syndicat est un label et une association d'artistes fondé en 1982, à Paris. Dans les années 80, le label LE SYNDICAT produisait des cassettes audio. Le label a édité en dehors de sa propre production sonore, des artistes comme Merzbow, Controlled Bleeding, Dog As Master, Pacific 231... 
Le Syndicat a continué a produire de la musique lorsque son label a cessé ses activités en 1988 en étant édité par d'autres labels à travers le monde. Il existe aujourd'hui, une cinquantaine de réalisations officielles du groupe sous forme de CD's, Vinyles et cassettes. Ruelgo, le seul membre fondateur du Syndicat encore en activité a collaboré au fil du temps avec de nombreux autres musiciens pour de la production musicale en studio et des actions en concert. Entre 2010 et 2012, la version live du Syndicat, Le Syndicat MMX, composée de 3 membres, s'est produite 12 fois à travers l'Europe pendant que la version studio du groupe était éditée par le label Rotorelief en France. Depuis 2014, la version live du groupe, composée de Saphi et Ruelgo a joué une dizaine de fois en concert et à été édité par le label Aussaat sous la forme d'un compact disc et d'un vinyle enregistré en live. Depuis 2012, Ruelgo et l'artiste Anton Mobin ont formé un duo de musique improvisée se nommant « Le Désordre ». 

----------- 

Dernière sortie en cassette pour LE DÉSORDRE sur Middle Eight Recordings :  middleeightrecordings.bandcamp.com/album/le-d-sordre-aaba-14 
 


Flyer par Groin


mardi 7 juillet 2020

ANCIENT LIGHTS on Fort Fruit Evil



ANCIENT LIGHTS
by Ingrid Plum, Graham Dunning & Anton Mobin
Released on Fort Fruit Evil
60 copies / SOLD OUT



Recorded at Sound Savers, Homerton, London on 6th July 2018. 


Ingrid Plum: voice, percussion, walkman, electronics. 
Anton Mobin: prepared chamber. 
Graham Dunning: turntable, dubplates, spring reverbs, objects.




About Ingrid Plum 
Originally from Denmark, Ingrid Plum uses her voice with extended technique, improvisation, field recordings and electronics, to create layered soundscapes, spoken word and songs. Described by The Guardian as “gorgeously atmospheric vocal techniques woven around field recordings & electronics” she has performed and exhibited installation art internationally since 2002, creating work that combines sound art, contemporary classical and folk music. Incorporating her research into folk traditions with field recordings and studying directly with Meredith Monk her recent performances have been described as “succinct and nourishing... a luxuriant space between almost excessive precision and looser improvisation" by The Wire. 




About Graham Dunning
Graham Dunning [b. 1981] is self-taught as an artist and musician having studied neither discipline academically. His live work explores sound as texture, timbre and something tactile, drawing on bedroom production, tinkering and recycling found objects. He also creates visual work, video and installations drawing on these themes.
Much of the work evolves through experimentation with different processes: considering the methods by which sounds become music; process as a continuum encompassing both improvisational and procedural methods; and testing analogous processes across different media.

Graham has performed solo and in ensembles across the UK, Europe and Canada, and exhibited in the UK, Europe, New Zealand and USA. He teaches Experimental Sound Art at the Mary Ward Centre in London and also gives various independent workshops. He has released through Entr’acte, Seagrave, Tombed Visions and more.


Notes from the label :

This is the first recording by the trio of UK-born, Denmark-based Ingrid Plum, France's Anton Mobin, and Londoner Graham Dunning, consisting of concise tabletop improv pieces utilising electronics, field recordings, vocals, and various unspecified objects. 

The title, which can be seen under the windows of some London buildings, refers to a 19th century law guaranteeing unobstructed natural light. Recorded in that city, the music feels situated there, evoking understated mystery, benevolent grittiness, and the fragile quietness that can occasionally occur in a densely populated area. 




Review on "Noise Not Music" by Jack Davidson


I’ve often discussed the marked difference between directly recorded and reverb- filled, space-utilizing tabletop improvisation, and how artists’ work can fall into either category (or both). Like Dylan Burchett’s bread, the piece which most recently engendered this discussion, Ancient Lights seems to possess elements both internal and external, with a spectacular intensity that could only from these three mad sound-scientists at their eclectically equipped laboratory surfaces. Each participant is a formidable force in their own right: Ingrid Plumaccomplished improviser and performer, lends choice contributions from objects, Walkman, and utterance; Anton Mobin, master of his singular, lushly intimate style of théâtre d’objets, amplifies and broadcasts miniature percussive events from his prepared chamber; and Graham Dunning, dedicated sound artist and educator, bewilders (as usual) with his virtuosic extended turntable techniques. This well- controlled mess of machinery takes a while to emerge from the recording which begins “Frame Makers,” which one might think captures the sound of audience members and the surrounding locale during the music’s recording—but all ofAncient Lights was documented in the controlled studio environment of Sound Savers in Hackney. This is just one of many instances in which field recordings and other disparate intrusions are used to play around with physical space in its communicative form, when a somber, wordless croon or distant clunk greases the already precarious surfaces of churning cogs and rotating plates.





SOUNDS AND LOOKS LIKE LIFE


Electronic Cottage Project during June 2020
https://www.electroniccottage.org/hal-mcgee/sounds-and-looks-like-life 


Sounds and Looks Like Life 
Electronic Cottage Project 
an international community audio assemblage 
consisting of sounds of daily life 
recorded during the month of June 2020 
experimental audio folk art for the 21st Century 

Audio files contributed by the SaLLL project participants were mixed by random chance procedures in an audio assemblage along with sounds from the video clips from the Sounds and Looks Like Life movie, which you can view here —  youtu.be/ZRJSVdJ9noc 
There is an option for High Definition playback. Be sure to select it! 

Sounds and Looks Like Life project participants are: 
{AN} EeL (Canada), Aaron Abrams, Al Margolis, Andrew Dalio, Anton Mobin (France), Austin Rich, Bert Vanden Berghe (The Netherlands), Bill Northcott (Canada), Bret Hart, Charles Rice Goff III, Charlie Kramer, Chris Phinney, Colette Parisa, Crank Sturgeon, D. Petri, David Nadeau (Canada), Dylan Houser, Francesco Aprile (Italy), Hal Harmon, Hal McGee, Harold Schellinx (France), Jay Peele, Jeremiah Paddock, Joey Patrickt, Jonas Juuso (Sweden), Juan Angel Italiano (Uruguay), Judith Pauly-Bender (Germany), Justin Moore, K.R. Seward, Leslie Singer, Lezet (Serbia), Lumen K, Maozifan (Taiwan), Max Eastman, Michael Ridge (England), Mike Cosma, Neda Mehrjoo (Iran), Niniji Chen (Taiwan), osvaldo cibils (Spain), Patrizio Pica (Italy), Phillip Klampe, Rafael González (Spain), Seiei Jack (Japan), Tim Jones (Wales), Will Soderberg.
No country stated = USA.

Conceived, produced, directed, stipulated, assembled and constructed by Hal McGee, employing random chance and automatistic procedures.

The original Sounds and Looks Like Life project page, including project guidelines and stipulations, can be found here:
www.electroniccottage.org/hal-mcgee/sounds-and-looks-like-life

The 170-minute SaLLL audio assemblage has been divided into six parts for the listener's convenience.

The Sounds and Looks Like Life project is BIG and LENGTHY, almost three hours. It will take a long time to enjoy and discover in all of its fullness and richness. Please take your time and enjoy it. There is no rush. The movie and audio album will give all of us much to enjoy and savor for many months and years to come.

Sounds and Looks Like Life is a one of a kind, singular, collaborative community art project. It is joyous and strange and funny and sad and chaotic and puzzling and imperfect and a little bit noisy. It is filled with LIFE. It is difficult in some ways, and not necessarily "politically correct". We are living in odd times and SaLLL is a reflection of these odd and challenging times. In my opinion the best art encourages us to be empathetic, patient, loving, courageous, and joyous.

The spirits of dada, fluxus, cassette culture, mail art, and experimentalism can be found fully alive and breathing within Sounds and Looks Like Life. It is not easily digestible in just a few seconds or minutes. Spend time with it and get to know it and love it for the many things that it is.

Share Sounds and Looks Like Life with your friends and associates, but please be aware that some images and sounds might not be suitable for children or workplaces.



mercredi 4 mars 2020

Recording session at Sunny Side Inc.



Recording at Sunny Side Inc. in Brussels on 16th February, 2020
Martina Verhoeven, piano & objects
Anton Mobin, prepared chamber

Thanks to Disk Serries at New wave Of Jazz !

TEMPORAL FIELDS & DELOCALISED RECORDINGS

TEMPORAL FIELDS & DELOCALISED RECORDINGS [AABA#15]

par Hopek Quirin, Anton Mobin, Ayato, Julien Chamla, Gabriel Lemaire, Monobloc, Cisco C., Rome



Middle Eight Recordings, H.A.K. Lo-Fi Record, Tünel Records, 2019
AABA#15 / HAK266 / TR05
LP gatefold, 200 copies

Compositions concept ideated by Hopek Quirin.
Project initiated by Anton Mobin and realized from 24 to 29 September 2017 at La Ferme Ta Gueule, in Olivet, France.
Recordings from the cellar to the attic, passing by the field and Ayato's studio by Jérôme Florenville (mobile studio M3I), Anton Mobin (fixed studio, Nagra, cassette) and Hopek Quirin (h4, microcassette).
Mixing by Anton Mobin and mastering by Kris Limbach at e19 studios, Berlin, in May 2018.




Hopek Quirin : bass, diktaphone, percussions, field recordings
Anton Mobin : prepared chamber, spring web, autonomous object, wall of springs, cymbals, field recordings
Ayato : guitar, charango, drums machine, cassettes
Cisco c. : cello, synths
Monobloc Sound Fidelity : sampler, microphones and electroacoustic devices
Gabriel Lemaire : clarinet, alto and baritone saxophones
Julien Chamla : drums, percussions
Rome : voice








ORDER >>> https://middleeightrecordings.bandcamp.com/album/temporal-fields-delocalised-recordings-aaba-15


LINKS 


Hopek Quirin :
extraskeletonsunday.bandcamp.com
soundcloud.com/hopek
www.discogs.com/fr/artist/1030304-Hopek-Quirin

Anton Mobin :
antonmobin.blogspot.fr
sczrs.bandcamp.com
h.a.k.free.fr

Ayato :
ayato-sn1984.blogspot.fr
miroir-fumant.bandcamp.com
h.a.k.free.fr

Rome :
miroir-fumant.bandcamp.com
soundcloud.com/miroir-fumant
tezcatlipocamiroirfumant.blogspot.fr

Cisco c. :
www.tunel.fr
sczrs.bandcamp.com

Monobloc Sound Fidelity :
www.tunel.fr
sczrs.bandcamp.com

Gabriel Lemaire :
www.gabriel-lemaire.fr
www.tricollectif.fr/gabriel-lemaire

Julien Chamla :
www.discogs.com/fr/artist/3197395-Julien-Chamlawww.collectifcoax.com

Kris Limbach :
krislimbach.com
studio :  e19studios.com
festival / label :  emittermicro.com 
  

crédits

-------

Artwork by Hopek Quirin / lay out by Anton Mobin & Ayato.
Produced by the musicians and released on H.A.K. Lo-Fi Record - Tünel Records - Middle Eight Recordings, 2019

LE DÉSORDRE on tape !

LE DÉSORDRE [AABA#14]

par Anton Mobin & Le Syndicat



Middle Eight Recordings, 2019
AABA#14 / 50 copies

Enregistré à la Ferme Ta Gueule, Olivet, Fr, le 28 & 29 novembre 2018.
Mixage par Anton Mobin

Anton Mobin : chambre préparée, endless tape
Ruelgo : interfaces digitales, microphone, tapes

LE SYNDICAT
www.discogs.com/fr/artist/76952-Le-Syndicat
le-syndicat-mmx.bandcamp.com




Le Syndicat est un label et une association d'artistes fondé en 1982, à Paris. Dans les années 80, le label LE SYNDICAT produisait des cassettes audio. Le label a édité en dehors de sa propre production sonore, des artistes comme Merzbow, Controlled Bleeding, Dog As Master, Pacific 231... 
Le Syndicat a continué a produire de la musique lorsque son label a cessé ses activités en 1988 en étant édité par d'autres labels à travers le monde. Il existe aujourd'hui, une cinquantaine de réalisations officielles du groupe sous forme de CD's, Vinyles et cassettes. Ruelgo, le seul membre fondateur du Syndicat encore en activité a collaboré au fil du temps avec de nombreux autres musiciens pour de la production musicale en studio et des actions en concert. Entre 2010 et 2012, la version live du Syndicat, Le Syndicat MMX, composée de 3 membres, s'est produite 12 fois à travers l'Europe pendant que la version studio du groupe était éditée par le label Rotorelief en France. Depuis 2014, la version live du groupe, composée de Saphi et Ruelgo a joué une dizaine de fois en concert et à été édité par le label Aussaat sous la forme d'un compact disc et d'un vinyle enregistré en live. Depuis 2012, Ruelgo et l'artiste Anton Mobin ont formé un duo de musique improvisée se nommant «  Le Désordre  ».  

crédits



lundi 10 février 2020

BLOEM in BXL !

Tuesday, 18 February 2020 from 20:00 @ Tropicana BXL

BLOEM vs ORYNX :
Instant music / sound art / performance

Anton Mobin joue des Prepared Chambers : soit des boîtes en bois amplifiées et faites maison dans lesquelles il a inséré ressorts, lamelles, fils de fers etc créant ainsi un univers sonique sensible, bruissant, sonique . Avec le saxophone sopranino pointilliste en exploration continue de JJ Duerinckx a/k/a Maurice Charles Jj , ils forment le duo BLOEM. Celui-ci se retrouve après 7 ans et sera confronté aux vocalisations extra sensorielles d’ORYNX a/k/a Jean-Michel Van Schouwburg

BLOEM :
https://soundcloud.com/duerinckx-jj/fleur-maitresse-by-bloem-live
ANTON MOBIN :
http://antonmobin.blogspot.com/
MAURICE CHARLES JJ :
https://soundcloud.com/mutation-by-mcjj
https://astateofmutation.bandcamp.com/releases
ORYNX :
https://orynx.bandcamp.com/album/orynx-2


_______________________


cg :
free improvisation & avant-garde jazz

cg: is a fresh new album recorded by Audrey Lauro (saxophone), Sylvain Haenen (guitar), Frans Van Isacker (saxophone) and Quentin Stokart (guitare). All the music of their album is based on free improvisation and avant-garde jazz. Interesteing investigations mixed with fresh evocative ideas, radical decisions, modern expressions and gorgeos ornaments contain the main base of musical pattern. The musicians combine together different streams and styles - European and American avant-garde jazz abd its main tendencies are gently brought together and mixed up with extended playing techniques, sonoristic experiments and special effects.



_______________________

Portes à 20H concerts à 21H
Entrées : prix libre