KORM PLASTICS release
Thurston Moore - Kapotte Muziek by...
CDEP (24 minutes)
Korm Plastics kp 3015
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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reviews
THURSTON MOORE - KAPOTTE MUZIEK BY.. (CD
by Korm Plastics)
Number 12 in a series of reworkings of Kapotte Muziek live recordings.
In the past composers like RLW, Tietchens, Illusion of Safety,
Leif Elggren, a.o. were invited by Kapotte Muziek to rework some
of their work. For number 12 Thurston Moore accepted the invitation.
So Kapotte Muziek delivered a recording from a concert that took
place on april 16th, 2002, at Flywheel, Easthampton. Thurston
Moore reworked it two years and a few months later, on a day in
june. The result is a 25 minute piece that is offered now by this
new Korm Plastics release.
It is not said that the Moore's reworking implies that one way
or the other the original sounds of Kapotte Muziek are on this
cdr. The invitation gives room to other possibilities as well.
The information of Korm Plastics suggests that Moore recreated
the concert "by removing the concert and replacing it by
its own playing, where the original recording serves as a score".
But let us turn from speculation to the actual music on this cd.
My overall impression is that it is a one take recording, that
sounds like a lo-fi live recording. This contributes to the charm
of this release. You can imagine Moore sitting in a room with
a guitar, piano and other devices around him, making his meta-music.
The noisy excursions end with a tonal and atmospheric piano piece
that brings some rest after a day of hard labour. After this epilogue,
what is left is the sound of a cassettedeck winding the tape,
and the breathing of Moore. Finding some sleep at last? Where
the original Kapotte Muziek tapes may have functioned as a score,
what Moore created sounds again as a score, this time of a movie
that tells the story of a day in the life of a man working alone
in his studio on Kapotte Muziek (DM).
Address: http://www.kormplastics.nl
(Vital Weekly 436)
Thurston Moore
Kapotte Muziek By Thurston Moore
(KORM PLASTICS)
Al voor de twaalfde keer laat Frans de Waard zijn Kapotte Muziek
herontdekken door bekende en minder bekende namen uit de avant-gardewereld.
Dit keer is het de beurt aan Thurston Moore, gitarist bij Sonic
Youth, maar dat wist u al. De klankbasis is de registratie van
een concert waarin Kapotte Muziek in ware Fluxus-stijl het uitpakken
van de objecten en het roffelen met plastieken zakken in de performance
opneemt. Moore herwerkt het concert tot vijfentwintig minuten
concrete geluiden en gemanipuleerde piano en gitaren. Af en toe
schrikken we op van verdwaalde beats, verknipte stemflarden, veldopnames
of een toeter. Al deze elementen worden bij elkaar gepuzzeld tot
een knap luisterspel dat uitdooft in subtiel vervormde onderlaagjes
en melancholische pianoklanken. (www.kormplastics.nl) (pv)
(Gonzo Circus 66)
THURSTON MOORE - KAPOTTE MUZIEK BY THURSTON
MOORE
(MCD Korm Plastics)
Sigla storica del post-industrial europeo generate da Frans de
Waard giusto un ventennio fa, Kapotte Muziek hanno affidato loro
vario material ad una serie di manipolatori, tra gli ultimi Fennesz,
Brinkmann, O'Rourke e, per l'appunto Thurston Moore, per una serie
di CD giunta al suo dodicesimo capitolo. Si sa che la fiacca routine
con Sonic Youth procura a Moore da tempo quasi più sbadigli
che soldi, e costui, sempre in cerca d'evasioni 'colti', si è
dunque prestato con entusiasmo al cimento di revisionare i frutti
di una performance di stampo 'concrete' dell'oggi trio olandese
svoltasi davanti a pochi intiminel 2002. Thurston ha aggiunto
un altro po' di rumori, armeggiato con loops, inietato feedback,
liberato sirene, lasciato gocciolasse qualche languida nota di
piano. Pregiudizi a parte, e fors'anche per la sua brevità,
il dischetto si fa ascoltare. (6/7)
(Paula Bertoni in Blow Up 79)
THURSTON MOORE Kapotte Muziek by... (Korm
Plastics, KP 3015, mCD): N° 12 dieser von Frans de Waard inszenierten
Serie bringt die Reworkingversion, die der Sonic Youth-Gitarrist
von einem im April 2002 in Easthampton, MA entstandenen Konzertmitschnitt
von Kapotte Muziek anfertigte. Da das Vorher unbekannt bleibt,
zählt allein, was Moore, seiner bruitistischen Ader folgend,
aus dem Material gemacht hat. Die Kakophonie, die immer wieder
abrupt zusticht, aufschrillt, zerrt, vexiert zwischen Gitarrenfeadbacknoise
und Keyboarddissonanzen als möglichen Quellen. Man kennt
diese harsche, aus Elek-trizität und Alteisen improvisierte
Antiästhetik tatsächlich von Liveattacken der Holländer.
Manchmal fühle ich mich an alte Möslang-Guhl-, Daniel
Menche- oder Haters-Attacken erinnert. Moore scheint diesen industrialen
Art-Brut-Krach und auch die Liveatmosphäre eher noch zu forcieren.
Permanent wird man vom haptischen Zugriff, den einschlagenden
Blitzen durchgeschüttelt oder von einer Sirene alarmiert.
Stille ist nicht existent. Selbst in den Atempausen hält
ein hohes Grundrauschen den ganzen Raum im Griff. Gegen Ende wird
ein verstimmtes Klavier angeschlagen, eine gespenstische Folge
verträumter Töne. Am Schluss bleibt lange noch das statische
Rauschen und ein schweres Schnaufen.
(Bad Lachemy 45)
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