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viewing 1 To 13 of 13 items
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CD
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KP 3022
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"The fourteenth installment in this series is a mini CD by Peter Rehberg. For his rework, Rehberg used the recordings of the very first Kapotte Muziek workshop (and concert) held in September 1997, as part of Staalplaat's 'Masterclass' event at the Korzo Theatre, in Den Haag. Rehberg moved away from the digital computer noise recently and for this work crafted together a beautiful, soft but outspoken piece of music. The piece lasts 17:30. Peter Rehberg (aka Pita) (b. 1968, London) is an author and performer of electronic audio works. He has collaborated with: General Magic, Jim O'Rourke, Christian Fennesz, Tina Frank, Tujiko Noriko, Kevin Drumm, Stephen O'Malley, Marcus Schmickler, Michaela Schwentner (aka Jade), Russell Haswell, Florian Hecker, Carlos Giffoni, Gert-Jan Prins, Mika Vainio, Zbigniew Karkowski, Z'ev, Rosy Parlane, Keith Rowe, Dennis Cooper, Gisele Vienne, SUNNO))) as well as being a member of MIMEO."
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CD/BOOK
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KP 3026
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"Bringing Audiotoop back home. That is what this book is about. Audiotoop is not 'just' a live event, held in a particular place at a given time. That's only one half of the story. The book is the other half. As much as Audiotoop is not a radioplay, it's not 'just' an event either. Audiotoop is like a biotop: it's an environment, completely packed with colours, sounds, people, and installations full of possibilities. That makes up the story that is brought to you. Right from the start, early 2005, Audiotoop is a live event with radioplays, closely-linked artforms and a CD/book. Early 2005 we invited various artists to present some form of radioplay, to be brought in a live context. How this is to be done, is up to the artists, but the visual element is to be reduced, not to be ignored. On a given night, we see for instance a table filled with turntables, children's toys, flutes, violin, drums, effects. Or the findings of a scrap yard. People dressed up like English teachers. For instance. All to make the illusive sounds to create a world around the story. One or more persons sitting behind and telling a story, because it's the story that matters. Sometimes the stories are illuminated by singing, drawings or simply a powerpoint presentation. To expand on the idea of stories, several installations were presented, such as the abstract band of Freek Lomme: 'bass, bass, drums, bass, guitar, bass.' Perhaps without the involvement of any living person, such as the mummified drums, complete with dancing nails and hair, as presented by Quinten Dierick. Extrapool becoming the biotop of Audiotoop when it all turned black and white, complete with noise and fluorescent paint. This book (17x19 cm) has 28 pages, printed in full color by Knust, of texts and collages by the various artists. The CD has eleven tracks by Jana & Bertin, Jan Schellink, The Bohman Brothers, Freek Lomme & Remco van Bladel, Quinten Dierick, Jorg Piringer & Elffriede, Jeroen Kuster, Lem & Lemoineau, Marten de Wind & Tamar Frank and Vernon & Burns. Texts in English, German and Dutch and sometimes even no text."
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BROM 011CD
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"Many years ago, Felix Kubin's uncle Walter Knoth was looking for a composer to musically illustrate some of his old-fashioned brilliant Schlager texts. Naturally, his first choice was his own nephew Felix -- but obviously this young guy did not have the versatile qualities to manage such a thing on his own. Walter placed some big advertisements in all the important German music mags. After a long period of auditioning Madonna-lookalikes, Wanna-be-Genesis-P-Orridges and Bearded Kraut Rock Acidheads, Dutch pop mogul Frans de Waard showed interest and decided to take the Rotterdam group Coolhaven into the boat -- an ecclectonoclast trio consisting of Dorn, Fregge and Guy Simons. This menage-á-quatre was supposed to record another top-selling album for de Waards Brombron series. Due to budget reasons the musicians were only given a period of one week to work on their songs in a dirty old studio in Rotterdam. Nevertheless, the hyperactive quartet managed to record about 18 hours of rough material which was finally melted down to 42 minutes of sheer brilliance. Under the influence of strange instruments, dusty corners and atmospheric pain, the recording resulted in a fruitful mixture of German Weirde Welle, Optagonism, conservative hiphop, Stockhausen schläger, no improv mixing and gabberpop."
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BROM 008CD
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"I primarily used cassette tapes and Giuseppe used a guitar, but we also both played synths and electronic doodads and microphones, and I made some tape recordings around the city that I brought back in to our improvisations. Our minds were open, and we experimented without deciding in advance what sort of album we might be making. We'd then take a long walk, go to the Nijmegen record shops (where Plurex records are still cheap!), have some lunch, maybe also a snack, and then start to edit out the good bits from the morning. We'd also add some effects and change some parts, use the recordings as source material in a small way. Then we'd return to the record shops to buy the records we hesitated on in the afternoon, have some dinner and relax. The next day, we'd wake up, have coffee, and do it again. Our pace of working and comfort matched quite well. For the final few days of the residency, we started to piece together our bits until they worked as compositions. Then we edited some more until the album emerged." --Howard Stelzer
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KP 3016
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Compilation with Asmus Tietchens, RLW, Merzbow, Freiband and John Watermann. "Over the course of his life John Watermann worked with almost every conceivable artistic medium. In many ways, he was the epitome of the 'total artist'; almost every element of his life being in some way his own artistic project. As a young man in his native Germany he worked as a photographer and documentary filmmaker, also etching, painting and writing. His experience as a youth in Germany in the Second World War influencing his work from then right through until his death. He first released his music in 1989 in the form of the album Warmth is the Fifth Room. Over the next 10 years he released numerous albums and contributed to a number of compilations, both under his own name as a solo artist, in collaboration with others (such as Merzbow) and under a number of pseudonyms (including Radio Mull, Spinal Machine and Total Disease). Sadly, on April 2nd 2002 John Watermann died suddenly of an infection resulting from his ongoing treatment for cancer. Having in the final year of his life returned to painting and writing (alongside a burgeoning interest in cooking), he still had vast plans for future projects. Among these unfulfilled projects were plans to collaborate with Frans de Waard on a new release. Although only preliminary discussions on the collaboration took place and Watermann never completed any work towards the project, Watermann's source material that was to be the basis of the work now serves as a basis for this tribute release. Despite his vast artistic output, Watermann has been known almost exclusively for his music and even then his work remains largely undiscovered, perhaps for no other reason than its sheer unavailability. In many ways Watermann could be considered a classic example of the artists' artist, his work influencing many far more prominent sonic alchemists. And perhaps then this release serves as a record of Watermann and his influence, documenting the respect he reserved from his peers and, hopefully, introducing his work to a new audience."
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CD
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BROM 007CD
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"The seventh release in the Brombron series. Two or more musicians become artists in residence in Extrapool, an arts initiative in Nijmegen, The Netherlands, with a fully- equipped sound recording studio. Natalie Bruys (Kodi) is foremost a visual artist who studied at De Rietveld Academie in Amsterdam, where she graduated with the production of a vinyl record of her own music. She then moved temporarily to Berlin where she continued to produce her unique blend of soundscaping, plunderphonica and techno. Lukas Simonis (aka Pausa) has his roots as an instrumentalist and musical 'activist' in the industrial music and noise rock of the eighties (Throbbing Gristle, the Residents, Pere Ubu, Sonic Youth and beyond). On In One Week And New Toys To Play Kodi & Pausa combine their totally different background of rock and techno, playing the studio's analogue synth collection (aka the new toys to play) but also guitar, banjo, rhythmbox and a touch of the city's sounds through their use of field recordings."
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KP 3021
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"Johannes Frisch has worked since the late 1970s as a performer, composer and improviser of contemporary music between experimental rock, free jazz and other open-minded styles. On his main instrument, the double bass, he has worked for more than three decades on an individual expressive language. Ralf Wehowsky founded the group P.D. (in 1981 renamed P16.D4) and the label Wahrnehmungen (in 1982 renamed Selektion). Tränende Würger is based on free improvisations by the Frisch/Wehowsky duo, reworked with electro-acoustic means. The compositional process did not intend to mask the nonlinear nature of the improvisations. Quite on the contrary, their organic character has been emphasized by crystal-clear sharpening of details. You'll find complex structures and dark atmospheres, not unlike those on some P16.D4, This Heat or Mnemonists releases, though absolutely rooted in the 21st century. Beauty and poisoning are not far from each other. Tränende Würger comes in a plastic bag, 15x15cm with the artwork on six separate sheets, dealing with poisonous plants."
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KP 3019
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"The thirteenth installment in this series is the first full- length CD split by Richard Chartier and Boca Raton. Their approaches to sound are similar, so it is a good idea to combine them on a split release. Boca Raton is an ongoing musical project started by Martijn Tellinga (1974, Amsterdam, Netherlands) in 1999. It hovers at the edges of synthesized and concrete-acoustic soundworlds. The abstraction, or rather reflection, of concrete sources through electronic synthesis and manipulation creates an alias in sound which shares the associative and narrative character of the everyday soundtrack that surrounds us. More than relying on melody, harmony and rhythm, these soundworks are constructed from the fundamental building blocks of music: texture, volume and time-elapse. A composition is made by arranging and re-arranging elements, magnifying their characteristics, outlining tendency and by emphasizing the intrinsic value of the material. As well as displaying an autonomously existing sonic object, these environments are as much a carrier for the compositional form and musical gesture."
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KP 3015
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"In April 2002, Kapotte Muziek returned to the USA for their second tour (the first one was in 1993), this as a trio of Frans de Waard, Roel Meelkop and Peter Duimelinks. On stop was at the rural city of Easthampton and the audience that night was rather small, but among them were Scott Faust, Gregory Whitehead and Thurston Moore. That particular concert showed Kapotte Muziek in probably their most fluxus element: the process of making music was made audible. The amplification of the opening of the bags, searching out objects to play and from there built the concert was a new, and as of yet, unrepeated, idea. For the 12th part in our series of Kapotte Muziek by... we asked Thurston Moore to expand on this idea and in a totally free setting of piano, guitar and small objects, he recreates the concerts by removing the concert and replacing it by his own playing, where the original recording serves as a score. Thurston Moore is a well-known improviser, having played with Nels Cline, Loren Mazzacane Connors, Tom Surgal and William Hooker. Besides all of that, he also plays in rockband."
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KP 3014
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"This is in many ways a break with tradition. Normally Toshiya Tsunoda writes detailed descriptions of what he does per piece, but in this case it is just said he reworks an old cassette by Kapotte Muziek, called 4 stukken. This is the second break: up until now musicians involved in this series used live recordings, but Tsunoda is the first to use a studio recording by Kapotte Muziek. Like the cassette there are four parts, corresponding with the original release and they are reworked in the best Tsunoda tradition, involving field recordings and strange and unusual on-site recordings. The sound work of Japanese artist Toshiya Tsunoda represents a radical rethinking of the concept of field recordings. Rather than being documental or naturalistic, his pieces appear as unique music compositions concerned with the relation between space and cognition, rendering the vibration of objects audible, revealing the hidden beauty in each sonic detail. With the meticulously scientific approach of a cataloguist, Tsunoda captures the depth of the landscape, the vital breathing of things." Last copies.
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KP 3012
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Original recordings from a Kapotte Muziek concert from August 1996, reworked by Stephan Mathieu. "With my rework for the Dutch band Kapotte Muziek, this concept topped itself out. I spent eight months processing raw material, resulting in the usual several gigabytes. When it was about time for me to finish the piece I returned to my files to edit them down in ProTools (Mac OS9). I re-listened to everything, made some adjustments, and then rebooted in OSX to work in Soundhack. After a little while my machine crashed, hard -- so hard that all I could do to restart it was to take out the batteries. When I finally rebooted in OSX it did nothing else but play this music for 30 minutes, a medley of my Kapotte Muziek material, finished by the computer itself. Kapotte Muziek, ironically enough, translates as 'damaged music'."
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KP 3011
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"A Touch of Brimstone features many unreleased recordings from 1989 to 1995, as well as a one cut from the now long-deleted Scala Destillans LP. This release comes with a 32-page booklet, with many exclusive flyers from concerts and hilarious, never before seen, photographs of the band and a fully updated discography. Many of the previous releases by Beequeen are no longer available and this collection fills a gap in many ways: the gap in the collection of truly devoted fans and newcomers alike, who wish to take a look in the past. Beequeen explores the depths of mind music in their own blend of electronics, drones and unique use of samples."
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CD
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KP 3009
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"Exactly two years after the disaster with Russian submarine Koersk, the album It's Good To Be On A Well Run Ship by Dutch group Smalts is released. It's dedicated to those who died and in support of the those left behind. Musically Smalts move between Harry Partch, John Lee Hooker, Brian Eno, Residents, Minny Pops, Heiner Goebbels, Terry Riley and Lee Perry, as a soundtrack to a film by Serjey Paradzjanov. It has been quiet for Smalts in the last twenty years. The band was formed in 1982, right after the release of the Minny Pops album 'Sparks In A Dark Room'. Minny Pops members Wim Dekker and Pieter Mulder work together on instrumental music, at first to be the basis of new Minny Pops songs, but soon it became clear they worked on their own sound. The two musicians become a quartet, together with drummer Rubin Oates and Minny Pops soundman Zip Boterbloem. In this line up they still exist. Currently Smalts is recording classical minimal music compositions by people as Terry Riley and a pure intonation piece inspired by Harry Partch."
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