Kapotte Musiek & Lethe / Tsurumai ( CD int025 USA )

* tsurumai part 1
* tsurumai part 2
* tsurumai part 3
* tsurumai part 4
* tsurumai part 5
* tsurumai part 6
* tsurumai part 7

recorded by kuwayama kiyoharu (for Lethe),
roel meelkop, frans de waard, peter duimelinks (for Kapotte Musiek)
on 26th of july 2001 at KD Japon Tsurumai Nagoya JAPAN

recorded in the industrial city of nagoya, japan, "tsurumai" is an expansive album of rough electro-acoustic music. starting from a few small clicks, the music steadily grows outward, uneasily shifting and expanding. rude bumps interrupt narcotic drones, the telltale human hands of improvisation disappear into a mysterious group sound, acoustic and digital elements blur, vision fails, and time stopsc
frans de waard began his kapotte muziek (literally "broken music") project in nijmegen, the netherlands, in 1984, and went on to found the korm plastics label. as the name he gave to his solo studio experiments, kapotte muziek produced tapes and lps of harsh noise, drones, collages, and anything else that interested him, casting a large shadow over the 1980s international cassette-trading community. eventually, as he pursued his projects shifts (for guitar drones), goem (for rhythmic music) and freiband (computer music), km became the live improvising collaboration of de waard and like-minded dutch artists roel meelkop and peter duimelinks. the trio performs by amplifying objects found in and around whatever location they find themselves performing in.
in nagoya, km met up with kuwyama kiyoharu, aka lethe, an omnivorous multi-instrumentalist whose work typically takes advantage of some acoustic peculiarity of the space in which it is recorded. he is one half of kuwyama-kijima, a cello and violin duo whose albums have appeared on the trente oiseaux and alluvial labels. he has also collaborated with campbell kneale (birchville cat motel), masayoshi urabe, hideaki shimada (agencement), and runs the annual lethe-voice festival in nagoya.
"tsurumai" is kapotte muziek's second cd for intransitive, following int004 "the use of recycling" in 1998. lethe also appeared on the compilation int023 "intransitive twenty-three" 2cd.


„C„‚„…„„„p Kapotte Muziek „y„x„r„u„ƒ„„„~„p „ƒ„r„€„u„z „„‚„y„r„u„‚„w„u„~„~„€„ƒ„„„Ž„ „{ „}„~„€„s„€„{„‚„p„„„~„€„z „…„„„y„|„y„x„p„ˆ„y„y „„|„u„{„„„‚„€„~„~„€„s„€ „x„r„…„{„p („„. „~. recycled sound), „q„…„t„Ž „„„€ „„u„‚„u„|„y„r„p„„‹„y„u„ƒ„‘ „„…„|„Ž„ƒ„p„ˆ„y„y „y„|„y „u„t„r„p „ƒ„|„„Š„~„„u „Š„€„‚„€„‡„y, „„‚„u„‚„„r„p„u„}„„u „t„p„r„‘„‹„u„z „„„y„Š„y„~„€„z. „K„p„w„t„p„‘ „x„p„„y„ƒ„Ž, „€„ƒ„„„p„r„p„‘„ƒ„Ž „x„p„{„€„~„‰„u„~„~„€„z „‚„p„q„€„„„€„z, „}„€„w„u„„ „€„t„~„€„r„‚„u„}„u„~„~„€ „ƒ„|„…„w„y„„„Ž „y„ƒ„„„€„‰„~„y„{„€„} „t„|„‘ „t„p„|„Ž„~„u„z„Š„y„‡ „„‚„u„€„q„‚„p„x„r„p„~„y„z. Lethe - „„‚„€„u„{„„ „K„…„r„p„‘„}„p „K„y„z„€„‡„p„‚„…, „€„‚„s„p„~„y„x„p„„„€„‚„p „†„u„ƒ„„„y„r„p„|„‘ Lethe-Voice. „I„‡ „ƒ„€„r„}„u„ƒ„„„~„p„‘ „‚„p„q„€„„„p - „€„ƒ„„„€„‚„€„w„~„„u „}„p„~„y„„…„|„‘„ˆ„y„y „ƒ „Š„…„}„p„}„y „y „„€„}„u„‡„p„}„y, „€„„„‰„p„‘„~„~„„u „„€„„„„„{„y „x„p„ƒ„„„p„r„y„„„Ž „x„r„…„‰„p„„„Ž „r„ƒ„v, „‰„„„€ „„€„„p„t„v„„„ƒ„‘ „„€„t „‚„…„{„…. „P„€„ƒ„„„u„„u„~„~„€ „„€„t „‚„…„{„… „„€„„p„t„p„u„„„ƒ„‘ „r„ƒ„v „q„€„|„Ž„Š„u „y„ƒ„„„€„‰„~„y„{„€„r „x„r„…„{„p - „r „‡„€„t „y„t„…„„ „„€„|„u„r„„u „x„p„„y„ƒ„y, „y„}„„‚„€„r„y„x„p„ˆ„y„y „~„p „}„€„~„€„†„€„~„y„‰„u„ƒ„{„€„} „ƒ„y„~„„„u„x„p„„„€„‚„u, „{„p„{„y„u-„„„€ „„‚„€„ƒ„„„‚„p„~„~„„u „r„p„‚„y„p„ˆ„y„y „~„p „„„u„}„… „}„y„~„y„}„p„|„y„ƒ„„„y„‰„~„€„s„€ „„}„q„y„u„~„„„p. „O„‰„u„~„Ž „‚„p„x„~„€„ƒ„„„€„‚„€„~„~„‘„‘ „‚„p„q„€„„„p, „„€„ƒ„r„‘„‹„v„~„~„p„‘ „„p„}„‘„„„y „K„€„t„x„y „S„p„~„€ (MSBR).

Pan!c Research Lab

KAPOTTE MUZIEK & LETHE Tsurumai (Intransitive)
The muse behind Kapotte Muziek\another long-standing project of the many-faced Frans De Waard\is the fractal, the fragment, the sliver which subverts the whole. The music is one which has been diffracted into a multitude of atoms, bits of sound, pure information, which seeps out from silence and seeks to bedhop and reproduce itself to infinity. The work begins with expansive fields of silence. The close editing and sharp clipped lines from Kuwayama Kiyoharu, aka Lethe, are judiciously brought to bear upon this space, bringing out its mass, its tension, and its obscenity. The confines of this space is worked out by an appropriately restrictive sound palette, consisting of unconventional percussion instruments, modulated white noise, and high-pitched scrapes and screeches. The second track in particular utilizes minimal yet overwrought tape manipulation and echo to fashion a fittingly desolate and oppressive interiority. De Waard meanwhile stands on the outside looking in, deploying abrasive textures which haunt and toy with the internal stresses and slants of Kiyoharu. As the album ages, an increasing mobility shrinks this lethargic silence, and pieces take on a heated orbital velocity. Other boundary lines blur in the process: foreground and background all but evaporate, micro and macro forms find a certain reversibility, and the abstract and the figurative are entwined. Similarly, whereas Waard initially acted by providing a fascinating and complex backdrop to the narration sketched by Kiyoharu, he too is now incorporated, brought down on to the stage, and made to act. No longer about interaction and leering objectification, a pure concern for tones and cadence remains, tones which are sibilant, metallic and, in a word, gruesome. This latter chapter in the album is confrontational, though measured and sophisticated all the same. As the dive-bombing squeals and volcanic rumblings begin to escape from gravity, they pass beyond a certain threshold and implode, leaving only a residue of silence and hostility in their wake.

(MS) ei-mag