Elsewhere #8 - Sylvain Chauveau (FR) and Emilie Levienaise-Farrouch (FR)

Wed 13/12/2017 - 20:15 Tickets
Music, Pop & Rock

Ticket prices

€ 10 (presale) - € 12 (doors)

or order them at 30CC ticket phone
Emilie Levienaise-Farrouch

French composer Emilie Levienaise-Farrouch studied classical piano in her childhood. In her works she is inspired by classical composers such as Mozart, Bach and Beethoven. In London, where she is currently residing, she also picked up ‘new’ influences like Björk, Alva Noto + Ryuichi Sakamoto, Andy Stott and Clint Mansell. The last couple of years she wrote several award-winning soundtracks for short movies and documentaries.

With her actual debut ‘Like water through the sand’ in 2015 she added herself to the impressive list of artists like Max Richter, Jóhann Jóhannsson , Hauschka and Dustin O’Halloran. This record contains piano music and string quartets, as well as electronics; it ranges from chamber music to minimal and neoclassical with subtle nuances.


  • "8/10 No one made anything nearly as beautiful as this in 2015." normanrecords.com
Sylvain Chauveau

Minimal compositions for acoustic instruments, electronics and voice. That’s the essence of many of Sylvain Chauveau’s marvellous records. They have been published on ‘undergroud’ record labels like FatCat, Type and Brocoli. Chauveau is also well-known for his collaborations in On (with Steve Hess), O (with Joël Merah & Stéphane Garin) and Arca (with Joan Cambon).

In august 2017, he released ‘Post-Everything’ which contains more song-based material. The album is the third and final part of a trilogy in which Chauveau deconstructs the format of the pop song. Belgian artist Chantal Acda also collaborated with him on this new record.


19.00 hours – guided tour: for reservation send an email to erfgoedcel@leuven.be

20.15 hours – concert


  • Chauveau has a peculiarly French knack of locating the seeds of enigma in ostensibly insignificant and incidental details. His music is sparing, unassuming and accordingly effective'. (Julian Cowley, The Wire )
  • "Toe-dipping in the paradigms of rock & pop music while being further removed from genre norms” - (Pitchfork)
  • "Eliminating any sound deemed unnecessary to convey the essential emotion" - (The Washington Post)

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