Author Topic: De wonderful Waard of music  (Read 5846 times)


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De wonderful Waard of music
« on: July 06, 2008, 07:49:48 AM »
frankly, i'd rather discuss the merits of his numerous sound projects (beequeen, kapotte muziek, freiband, goem, etc.), but, of course, that's (throbbing) gristle for a whole other thread entirely...

Good idea.

I miss Beequeen.  I know they're still around, but the version we have now is a more experimental pop version than the haunting, scraping engaging drone version of yesterday.   I received their latest "sandancing" a few weeks back, gave it a couple of spins, and then shelved it.  Maybe I'll come back to it at some point. 

I recently (finally) picked up "aughton - the patient books" LP on BLRR.  These were older (93-95) Beequeen drone works, that I found much more compelling.  Same goes for the recent reissue of "time waits for no one" on the Malaysian label Herbal.



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Re: De wonderful Waard of music
« Reply #1 on: July 06, 2008, 09:21:35 AM »

Yes, I feel as though I miss good old Beequeen too, though I really only heard one release, which was a reissue on good old Infraction. Happened to cover it in a mini-profile a couple of years ago, when I sprach Zara-thusly:

“...Music For the Head Ballet is a reissue of a 1996 limited edition release by Beequeen. First impression is of a fairly simplistic solipsistic set of distant organ drones, endlessly drawn out. But deeper listening brings insights. Beginning from a liminal whisper, a certain density emerges as tone-mass begins to coalesce, the drones revealing their variegation and complexity. This Dutch duo extend four wedges of thick, immersive textures whose superficial invariance invites a deeper archaeology, revealing a wealth of timbral detail in their gauzy, diaphanous, fuzzy entrails. Sometimes ominous, sometimes almost blithe and breezy, then melodic, melancholic, then atonal, anhedonic—enter and excavate...” (   

« Last Edit: July 06, 2008, 09:24:29 AM by Undershadow »

darren bergstein

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Re: De wonderful Waard of music
« Reply #2 on: July 06, 2008, 07:26:29 PM »
ah, gentlemen, good of you to chime in...

beequeen - completely agree with you, jason. when frans first launched this project he seemed to engender a more distinct 'accessibility' that separated it from his other work, but beequeen still remained fairly strange, at least until the most recent release on important, where for some reason fdw decided to get 'song-incorporated.' suffice to say, it's the one beequeen i don't feel compelled to get; rather to indulge in 'der holzweg' or 'time waits for no one' (never much got into any beequeen on vinyl, just the cds). i also feel that of all his projects, beequeen's blending of more adjunct rock, jazz, even folky tropes has brought a wider audience to his work (or at least this particular project) but it's not my fave of his aliases/works; decent, and always interesting, but not as texturally provocative as the others (save, of course, your reissuing of 'music for the head ballet', which is excellent).

freiband, goem: here's where fdw presses my aural buttons - his work under these nom de plumes continues to fascinate. goem to some degree presaged the 'clicks n' cuts' phenomenon, which fdw reworked into the sampling/oversampling/resampling collages that he maxed out in freiband. goem recently released 'robbed' on the italian small voices label, but it's actually sans fdw - goem has now become a concern of all its itinerant members when they want to unveil it in some capacity (still a superb disc, btw). all the freiband works tantalize and work the ears nicely, flexing between minimal blipscapes and weird sampler mutations; i believe freiband work is created wholly from 'known' samples but warped beyond recognition into prismatic new shapes. overall, arresting stuff.

kapotte muziek: which, like his other aliases, has countless recordings spread out over every media format imaginable and across a breadth of labels, has always been one of his more 'out-there' creations. it's been a trio, but is now solely fdw, making music/sounds from found objects, detritus, audio trash, ad infinitum. some of it is raggedly experimental, never really materializing into anything as tangible as lateral 'beats' (although rhythmic elements certainly are present), often broken/jagged soundsc(r)apes of rough digitals.

i also dig his shifts work, where he messes with guitars/processing and produces more or less similar drones/results to freiband/kp - not one of his more prolific disguises, but cool enough.

whew...guess now i gotta go back and reinvestigate all this stuff...what *hath* i wrought?!? :)

Ben Fleury-Steiner

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Re: De wonderful Waard of music
« Reply #3 on: July 07, 2008, 08:32:06 AM »
am a big fan of goem - listening to their seventh disc, abri, as I write - way, way more than a "clicks and cuts" disc - love the subtle looping and building tensions...good stuff that sounds fresh 7 years later...