Jaune comme tes dents présente : SOUL FRIDAY VOL.40

*** PALMARES MMXI ***



Disma ‘Chasm Of Oceanus’ de leur premier album Towards The Megalith (2011)



Autres incomparables en leur genre, du plus foncé au plus pâle:


Autopsy ‘Macabre Eternal’
Bastard Priest ‘Ghouls Of The Endless Night’
Vastum ‘Carnal Law’


Aosoth ‘III’
Blut Aus Nord ‘777 – The Desanctification’ & ‘777 Sect(s)’
Honorables mentions aux Leviathan ‘True Traitor, True Whore’ et Craft ‘Void’ pour la sortie de nouveau matériel


Dark Castle ‘Surrender To All Life Beyond Form’
Herder ‘Herder’
Yob ‘Atma’


Skull Defekts ‘Peer Amid’
Uncle Acid & The Deadbeats ‘Blood Lust’
Wo Fat ‘Noche del Chupacabra’


Alexander Tucker ‘Dorwytch’
Earth ‘Angels of Darkness, Demons Of Light 1’
Six Organs of Admittance ‘Asleep on the Floodplain’

Jazz libre et nouvelle musique au Québec : Lancement de disque et projections

TENZIER et VIDÉOGRAPHE présentent :


JAZZ LIBRE ET NOUVELLE MUSIQUE AU QUÉBEC : LANCEMENT ET PROJECTIONS

Y’a du dehors dedans de PIERRE MONAT (n. & b., 22 min., 1973)
Ce soir on improvise : Nouvelle musique au Québec de RAYMOND GERVAIS & MICHEL DI TORRE (n. & b., 55 min. 50 sec., 1974)


Vendredi 20 janvier MMXII au Vidéographe (4550, rue Garnier, Montréal)
Réception : 19h00. Projections en présence des réalisateurs : 20h30
Entrée libre. Places limitées.


Ces projections accompagnent le lancement officiel d’un disque vinyle qui comprend quatre pièces inédites enregistrées par le QUATUOR DE JAZZ LIBRE DU QUÉBEC en 1973.


TNZR.org pour plus de renseignements

R.I.P., Rest in Pieces: A Portrait of Joe Coleman (1997) by ROBERT-ADRIAN PEJO

Cinéma des fêtes



R.I.P., Rest in Pieces: A Portrait of Joe Coleman
Robert-Adrian Pejo, Austria, 1997, 89 min


Consider this documentary nothing less than a love letter to the oddball, and to one in particular – artist JOE COLEMAN. The documentary focuses mainly on the many artistic endeavors of Mr. Coleman. Known in his early years as a provocative performance artist, Coleman was not a stranger to controversy. Drawn to the world of sideshows, Coleman took the idea of becoming a ‘geek’ to new levels – biting the heads off of live mice, wiring his body for explosives, and basically pushing people into a place where they had no choice but to confront his art. Since those early days Coleman has found other artistic pursuits to take up his time, and a better forum to let people see his demons. In moving from a performance artist to a painter, Coleman has found the perfect outlet for his view of the world. Creating paintings that are like the works of a madman, Coleman has taken his darker thoughts and view of the world and has created a nightmarish world of serial killers and the world that needs them.

Each painting is done with obsessive attention to detail, the viewer having to get almost inside the painting just to catch all of the messages and imagery hidden within. Coleman’s paintings are certainly not for everyone, as they deal with, as I stated before, the darker nature of humanity. Many feature killers or killed, his paintings as much tribute as damnation. His view that humans have created serial killers to thin the human herd playing a very strong role in much of his art’ …


Yuletide, Sol Invictus, Solstice d’hiver, la nuit la plus longue de l’année

Affaires courantes :


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‘Discipline which comes from yourself and not that which is dictated to you by another. We think there are a lot of people who like to be controlled, it’s a sort of need for them, they refuse all responsability, it’s a very serious lack of dignity. We want to order our lives, and when we see what a bloody mess 90% of people revel in, it encourages us in this view/way.’ – Douglas P.


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