Lawrence Le Doux presents Fan Club Orchestra - Paul Vakana
À propos
Release | Une des figures importantes de l'underground belge
Lawrence Le Doux's improvisational band Fan Club Orchestra (FCO) re-turns with first album in 11 years via 12th Isle. FCO is composed of Lawrence Le Doux, Ann Appermans on guitar and bass, and Zéphyr Zijlstra on trumpet.
Fan Club Orchestra (FCO) has its roots in collaborative performances and recordings that began taking place in the late nineties in Brussels. These continued into the second decade of the new millennium around Belgium and neighbouring countries. At a time when large contemporary arts spaces were less professionalised, less obedient to funding and attendance numbers, and still tuned to their founding DIY impulses, FCO were able to nurtu-re their nebulous cast of players with their unconventional ensemble of instruments to their own ends.
The apparent informality of their performances,mixed with the sheer spectacle of their unfolding, transplanted the experimentalism of New York’s downtown scene of the 1960s—think La MonteYoung—into the cracked consumer electronics period of new media art at the turn of the century.
Contacts et médias
Retrouvez ici l'inventaire des plateformes sur lesquelles l'organisation est active
À propos
Release | Une des figures importantes de l'underground belge
Lawrence Le Doux's improvisational band Fan Club Orchestra (FCO) re-turns with first album in 11 years via 12th Isle. FCO is composed of Lawrence Le Doux, Ann Appermans on guitar and bass, and Zéphyr Zijlstra on trumpet.
Fan Club Orchestra (FCO) has its roots in collaborative performances and recordings that began taking place in the late nineties in Brussels. These continued into the second decade of the new millennium around Belgium and neighbouring countries. At a time when large contemporary arts spaces were less professionalised, less obedient to funding and attendance numbers, and still tuned to their founding DIY impulses, FCO were able to nurtu-re their nebulous cast of players with their unconventional ensemble of instruments to their own ends.
The apparent informality of their performances,mixed with the sheer spectacle of their unfolding, transplanted the experimentalism of New York’s downtown scene of the 1960s—think La MonteYoung—into the cracked consumer electronics period of new media art at the turn of the century.
Contacts et médias
Retrouvez ici l'inventaire des plateformes sur lesquelles l'organisation est active
