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 stopsc
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.
Reviews
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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
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