KAPOTTE MUZIEK / LICHT-UNG - 'Split' 10" (Punk Kein Rock)
Second in the split 10” series released by the German sound project Licht-Ung (on their own label Punk Kein Rock). Kapotte Muziek's side is a nice mixture of both quite, and noisy sounds - groans, crackles, clicks and silences. Quite obscure. While Licht-Ung's side (recorded under the guide of Seymour) is heavy droning tones, pure feedback and microphone noises. Very nice piece. Limited to just 276 copies with old-skool photocopied cover artwork and inserts.
UK 9£
Europe 11£
World 13£
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ORIGAMI REPLIKA / KAPOTTE MUZIEK - 'Metamusikk' CD (Ichor)
Dissections of directions abound, and this disc is well named: what do you do after music is out there? Try ripping its heart out. Live recordings by Lasse Marhaug (Jazzkammer) and Tore H Bøe (Origami Republika / Galaktika etc) torn apart, with no overdubs. The music ranges from dense, 'old school' noise to raw, fundamental noise. Kapotte Muziek, brings proceedings to a heady close - remixes, cut-ups and experiments. A great noisy assault on the senses!
UK 10.50£
Europe 11.50£
World 12.50£
QUANTITY
PETER REHBERG - 'Kapotte Muziek By Peter Rehberg' MCD (Korm Plastics)
The fourteenth installment in this series is a mini CD by Peter Rehberg (Pita / KTL). 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. Moving away from digital computer noise for this work, Rehberg crafted a beautifully soft but outspoken piece of music. Low rumbles at micro levels and moments of silence are interspersed with isolated throbs and shimmering mid-frequency drones. A total playing time of 17:30.
RICHARD CHARTIER / BOCA RATON - 'Kapotte Muziek By Richard Chartier / Boca Raton' CD (Korm Plastics)
The 13th installment in the "Kapotte Muziek by..." series. Chartier's piece takes original recordings of KM from a concert at Garage Festival, Stralsund (August 2004). A quiet, 20-minute low drone piece, with little change. More diversity and adventure comes in with the four tracks by Boca Raton (Martijn Tellinga), who reworks original recordings from a KM concert at Smart Space, Amsterdam (March 2003). Minimal ambient vs atmospheric microsounds, with gentle sensibilities of musique-concrete, electro-acoustics and suchlike.
After a decade, this record is Shifts’ probable farewell. Initiated by Frans de Waard (Kapotte Muziek, Freiband, Goem etc and label boss of Korm Plastics) for a ‘soft guitar’ record on Fourth Dimension label in 1995, the project has evolved to include many releases, all distinguished by their singular instrumentation (including two deviations from the guitar - Sonates and Interlude uses the piano, while One Piece for Cymbal has a single cymbal). 'Trees / Leaves' was made with a four-string Spanish guitar de Waard bought for 1 Euro on Koninginnedag (Dutch Queen’s Day) in 2004. Ltd x 200 copies in a heat-sealed sleeve.
UK 13£
Europe 15£
World 17£
QUANTITY
THURSTON MOORE - 'Kapotte Muziek By Thurston Moore' CD (Korm Plastics)
After attending a Kapotte Muziek concert in Easthampton, USA, Thurston Moore (Sonic Youth) was asked by KM (Frans De Waard, Roel Meelkop and Peter Duimelinks) to expand on the idea of that concert. For the 12th part in the series "Kapotte Muziek by..." Moore carried this out in a totally free setting of piano, guitar and small objects, creating the concerts by removing the concert and replacing it by his own playing, where the original recording serves as a score.
TOSHIYA TSUNODA - 'Kapotte Muziek By Toshiya Tsunoda' CD (Korm Plastics)
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'. 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. 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. He captures the depth of the landscape, the vital breathing of things.
