Review in Gonzo (circus)

September 9, 2018    esc.rec.61, esc.rec.62, Press, Sediment

Various Artists – Off Track
Jeroen Diepenmaat – 26032017 25062017 29102017 28012018
Review by Peter Vercauteren in Gonzo Circus magazine:

Tussen maart 2017 en januari 2018 organiseerde kunstenaar Jeroen Diepenmaat vier geluidswandelingen in het Nederlandse Keizersrande (Deventer). Met twee microfoons werden de omgevingsgeluiden opgezogen. Uitgesmeerd over vier cd’s van een twintigtal minuten, en bij elkaar gehouden in een kartonnen doosje, horen we niet zoveel verschil met de illustere straatgeluiden die onder een alias werden uitgebracht door Whitehouse (‘Bradford red Light District’, 1981) of The Haters (‘Walking To And From A Haters Performance’, 1986), ook al vertrekt Diepenmaat met mensvriendelijkere bedoelingen. Vooral het gedreun van verkeer bepaalt de sfeer, net als het typische ruisgeluid van een microfoon die wind vangt. Ook het gezelschap van Diepenmaat is merkbaar gelukkiger dan dat in de geciteerde voorbeelden: als we Nederlandse stemmen opvangen, lijken ze enthousiast, geïnteresseerd en vooral vrolijk lachend. Toch voelen we ons als (ahem) muziekliefhebber ook een beetje bekocht wanneer we met dit soort conceptuele releases kennis maken. En laat ons eerlijk zijn: de kans dat we ooit spontaan wandeling ‘28012018’ nog eens zullen opzetten is vrij klein. Gelukkig is er de bonusdownload ‘Off Track’: diverse artiesten plunderen op hun beurt de veldopnames van Diepenmaat om er nieuwe tracks mee te creëren. De variatie die daarbij tentoongespreid wordt valt ons beter in de smaak. Sommigen (BMB Con) versterken de ruis tot noise, terwijl bijvoorbeeld Gluid voor welgekomen melodieuze momenten (een gemanipuleerde stem) en zelfs beats zorgt. Dat Francisco López de natuur induikt, mag geen verrassing zijn, maar de opvallend luide (voor zijn doen tenminste) manier waarop hij dat doet, is dat zeker wel. Andere bekende namen als Machinefabriek of Staplerfahrer gebruiken loops, maar blijven teleurstellend dicht bij het origineel. Nlus werkt met beats, en levert de komische noot: het lijkt alsof de gesamplede wandelaars hun evenwicht dreigen te verliezen. Het hele pakket heeft zeker momenten van glorie, maar dat hier meer in zat blijft het overheersende gevoel. Buiten horen we hoe een BMW-motor het opneemt tegen de wind, een geagiteerde ekster, krekels, en spelende kinderen. We besluiten om het niet op te nemen. (pv)

Review in Vital Weekly

September 5, 2018    esc.rec.61, esc.rec.62, Press, Sediment

Various Artists – Off Track
Jeroen Diepenmaat – 26032017 25062017 29102017 28012018
Review by Howard D Stelzer in Vital Weekly:

This fascinating boxset is the end-product of four “sound walks” led by Jeroen Diepenmaat outside of Deventer, The Netherlands. Diepenmaat is known for his investigations of format and media, creating cut-up collaged flexi-discs and record objects, tape loops and manipulated cassette players. For this project, however, he took a fairly straightforward “acoustic ecology” approach as he led groups of listeners on four walks through Keirzersrande (one walk per season) with two directional microphones. Afterwards, he gave the participants a CD of what was recorded on the walk. The four CDs in this set collect all four documents of the sound walks. While the four CDs have a documentary quality to them, Diepenmaat invited artists to compose new work out of his collected field recordings and made those new pieces available as a download from the Esc. Records Bandcamp page, essentially producing a fifth CD to complement the four physical ones.

I have not yet been to the part of the Netherlands where these walks took place, so I came to this sonic experience with no more information than what came out of my speakers. With good headphones on, there is a persistent sense of space across these discs. The content is quotidian: the cries of birds, the low rumble of cars (with their telltale doppler signature), passing airplanes, occasional wind blast, moving water, and people coughing, talking and laughing. Diepenmaat makes no attempt to disguise the sources or force any composerly drama on his material, which over the course of each disc has the effect for me of observing an environment along with him, perhaps walking in the group and looking/listening over his shoulder. My favorite tracks were the most abstract ones; on the second disc, the fourth track seems to capture a motor spinning or some repetitive, manmade sound whose source isn’t so readily recognizable. I also enjoyed the third disc, which contains the most static pieces of the set, with vast expanses of empty space and not a lot happening. All six of the tracks are quite similar in content and density, making it most suitable as ambience to blend in with a listener’s environment. The fourth disc begins with a fantastic jolt of technology, as the artist’s recorder seems to be cutting in and out. After two tracks that are similar to disc 3, the final piece of the set finds something like metal being shifted around a workspace, bashing together with a force and colour absent from what came previously. Again, the fizzle of Diepenmaat’s recorder makes his authorial presence felt.

The four discs of the set have a rawness to them, which I assume is what was intended. Diepenmaat’s decision to give his sounds over to composers, then, is interesting. It takes him out of the “acoustic ecology” zone, allowing a diverse bunch of people from different backgrounds to take the sound walks farther afield. Again, my favorite tracks are the ones that took them the farthest. People like Michael Ridge, Staplerfahrer, podL and BMB Con. are relatively conservative with the material, keeping intact the general sound-world of wind, birds, and passing cars while lightly imposing their own structures. Teleferick, on the other hand, somehow came up with a lovely little lullaby for acoustic bass and cello (and perhaps other things I don’t recognize), though its relationship to the source is obscure. Gluid (aka Bram van den Oever) similarly strays far from the idyllic landscape with operatic wordless vocals and upbeat ambient pulse. Francisco Lopez brings a dramatic edge (as he does), distilling low tones and metallic percussion into a foreground shriek. Similarly bold is Machinefabriek’s take, which pulls tonal hum out of the white-noise. Nlus somehow finds thundering beats and vocal tics amid Diepenmaat’s blank landscapes, transforming the walk through nature into woofer-shaking dance tune. Vehikel also finds a heavy beat among the field recordings (perhaps from the final track of the fourth disc?), a slow pummel augmented by shearing-metal filigree. Les Horribles Travailleurs are somewhere in the middle, preserving the sound walks’ elements while teasing out drones and tonal events. (HS)

Various Artists – Off Track

June 21, 2018    esc.rec.62, Releases, Sediment

Title: Off Track
Artist: Various Artists
Available formats: Download
Catalog#: esc.rec.62, sediment.7
Download (includes bonus album!) & listen via Bandcamp

This release is also available via many other download and streaming channels, like Spotify, iTunes, etc. Check this Spotify playlist for many more Esc.rec. releases on Spotify.

As a bonus (only via Bandcamp) this download includes a download of the original recordings of the four soundwalks conducted by Jeroen Diepenmaat, which were used as source material for this compilation and were released as a limited 4CD box.

Tracklisting

01 BMB con. – Situatie A12 (3.52)
02 Les Horribles Travailleurs – Keizersrande 1 (3.19)
03 Teleferick – Untitled (4.48)
04 podL – Momentenmengsel (7.17)
05 francisco lópez – untitled#361 (14.01)
06 Les Horribles Travailleurs – Keizersrande 2 (ft. Anja Kreysing) (7.14)
07 Michael Ridge – Rough Sound Walk Loops (6.10)
08 Machinefabriek – Rafelrande (5.44)
09 Nlus – Whether it is a walk in the… (6.10)
10 Les Horribles Travailleurs – Keizersrande 3 (4.20)
11 Gluid – Inbetween (5.28)
12 Vehikel – Unquantized Electric Fence (3.20)
13 Les Horribles Travailleurs – Keizersrande 4 (ft. Anja Kreysing) (3.38)
14 Staplerfahrer – Keizersrande (Four Track Trail Mix) (7.25)

Credits

Thanks to all artists involved!
Original field recordings source material: Jeroen Diepenmaat
Photography cover: Martin Knaapen
This is a project by Jeroen Diepenmaat, Kunstenlab, Foundation Keizersrande, Esc.rec. and De Perifeer.

Press release

During the past year, four soundwalks took place at Keizersrande, a beautiful area just outside Deventer (NL), under the inspiring guidance of sound artist Jeroen Diepenmaat. At various locations a composition was created based on sounds from the landscape, collected with two directional microphones.

Every season, a small audience could join the sound hunt. And after their walk they received the recordings of the landscape directly on CD. These CDs are now released in a very limited edition, issued as a 4 cd-box to make them available for fans who could not take part in the sound walks.

But that is not all! In addition to this physical box, a digital compilation is released simultaneously, with work by eleven artists who have used the recordings of the soundwalks as source material. This compilation is entitled ‘Off Track’.

Due to the varied processing of artists such as Francisco López, Machinefabriek, Les Horribles Travailleurs, Gluid, Michael Ridge, podL, Staplerfahrer, Teleferick, Vehikel, Nlus and BMB con., the original field recordings have gained a rich depth.

Working methods range from the use of various tape loops to various degrees of electronic manipulation and using the sound of an electric fence as an unstable metronome. From adding and layering new sounds and sources to staying really close to the original recordings. The end result is a broad variety of captivating tracks which all in their own way mirror different parts of the recorded sound walks.

The release is officially presented on June 21st, with live performances by Machinefabriek and Les Horribles Travailleurs, in De Perifeer and Kunstenlab.

Reviews

Check some reviews of this release overhere.

Jeroen Diepenmaat – 26032017 25062017 29102017 28012018

   esc.rec.61, Releases, Sediment




Title: 26032017 25062017 29102017 28012018
Artist: Jeroen Diepenmaat
Available formats: Limited edition 4CD box in combination with ‘Off Track’ download (catalog# esc.rec.62)
Catalog#: esc.rec.61 (+ esc.rec.62), sediment.7
Order & download via Bandcamp

This release is NOT available via other download and streaming channels, just Bandcamp. This 4CD box is also the source material for the tracks on the Off Track compilation, which is automatically included in this purchase as a download.

Credits

Recordings: Jeroen Diepenmaat
Design: Jeroen Diepenmaat & Harco Rutgers
This is a project by Jeroen Diepenmaat, Kunstenlab, Foundation Keizersrande, Esc.rec. and De Perifeer.

Press release

During the past year, four soundwalks took place at Keizersrande, a beautiful area just outside Deventer (NL), under the inspiring guidance of sound artist Jeroen Diepenmaat. At various locations a composition was created based on sounds from the landscape, collected with two directional microphones.

Every season, a small audience could join the sound hunt. And after their walk they received the recordings of the landscape directly on CD. These CDs are now released in a very limited edition, issued as a 4 cd-box to make them available for fans who could not take part in the sound walks.

But that is not all! In addition to this physical box, a digital compilation is released simultaneously, with work by eleven artists who have used the recordings of the soundwalks as source material. This compilation is entitled ‘Off Track’.

Due to the varied processing of artists such as Francisco López, Machinefabriek, Les Horribles Travailleurs, Gluid, Michael Ridge, podL, Staplerfahrer, Teleferick, Vehikel, Nlus and BMB con., the original field recordings have gained a rich depth.

Working methods range from the use of various tape loops to various degrees of electronic manipulation and using the sound of an electric fence as an unstable metronome. From adding and layering new sounds and sources to staying really close to the original recordings. The end result is a broad variety of captivating tracks which all in their own way mirror different parts of the recorded sound walks.

The release is officially presented on June 21st, with live performances by Machinefabriek and Les Horribles Travailleurs, in De Perifeer and Kunstenlab.

Jeroen Diepenmaat is a visual artist with a predilection for sound. In his work, consisting of drawings, sculptures, installations and performances, he explores the cutting edge between image and sound and the transition from one to the other.

Jeroen Diepenmaat’s work was shown a.o. in Museum voor Moderne Kunst in Arnhem (NL), Martha Museum in Herford (D), La Casa Encendida in Madrid (SP), Institute of Contemporary Art in Boston (USA), Montevideo – Dutch Institute for Media Art in Amsterdam (NL), Extrapool in Nijmegen (NL), Serralves in Porto (P), Boijmans van Beuningen in Rotterdam (NL).

Reviews

Check some reviews of this release overhere.

Two reviews in A Closer Listen

February 11, 2018    esc.rec.56, esc.rec.59, Press, Sediment

Jeroen Diepenmaat – Tak
Eli Gras – Grass Velvet
Review by Richard Allen in A Closer Listen:

If you enjoy creative presentations, look no further than the esc.rec. label, whose latest releases are as unique as they come ~ physical editions that speak of permanence and impermanence, while providing reminders of the enduring appeal of touch. Granted, one limited edition has sold out and the other costs €1900, but that in no way diminishes their power.

Jeroen Diepenmaat‘s Tak is the (much) longer release: 8 hours as opposed to 5 minutes, although a tidy 4-hour version is available for the masses. The original edition was a USB stick embedded in a branch, a reflection of the manner of recording. These are classic slabs of vinyl played by wooden styluses, leading to degradation and lull. One of the joys of the recording for this reviewer is seeing the various speeds (16, 33, 45 and 78 rpm), which were included on my childhood record player, the upper and lower settings absent from most modern equipment. Deuter, Greek folk music, the Polish Nightingales and the Mormon Tabernacle Choir are subject to this process, which produces a strangely beautiful byproduct.

The original sources are clearest at the opening of each piece, some of which stretch over the one-hour mark. Over time, the music becomes masked, giving way to flutter and rub. The Greek folk piece takes on the somnambulant effect of a slowly moving train. One detects the recession of foreground elements and the ascension of background elements, as well as new sounds produced by abrasion. The lone 78 rpm piece is the shortest of the set, but demonstrates the swiftest movement as musical melodies become percussive melodies due to the combination of velocity and wood. Counter-themes emerge at the two-and-a-half minute mark and continue to unfold for the remainder of the track. In contrast, the 16 rpm choir piece sounds like a field recording of turtles making their way over granite slabs. The longer one listens, the more one experiences the ghost melody in the background, advancing and retreating like a fog.

While Tak blurs the line between instrument and song, Eli Gras‘ Grass Velvet contains both. The project exists as a single constructed “floating bridge harp”, constructed with materials including a salad bowl, sink filter and iron wire. If you’re thinking, “I could do this at home,” go ahead, we challenge you! The release also includes a 12? record (cut by Diepenmaat) comprised solely of sounds from this instrument. The harp has already appeared in concert, but if you buy it, the artist won’t be able to use it anymore ~ part of the reasoning behind the price.

While listening to the presentation, I’m imagining how I might use such a device. The contact mike is already included, but a second contact mike in tandem with other instruments might make for some curious echoes. The sounds produced are akin to thumb pianos, prepared pianos, rain sticks and whistles. On its own, the track sounds magical, but the length helps; in a longer format, the harp might be used to transform ambient pieces into experimental or to add texture to soundscapes. Only in the closing seconds does it sound like a harp. If you want to buy this piece, it’s free; but if you want to hear more of these unique sounds, there’s only one way to do so. The gap between the two underlines the difference between the digital and the physical. Once gone, these sounds will be gone forever, fading like the abraded grooves of Tak, present only in the memory and the imagination.

(Richard Allen)

Jeroen Diepenmaat – Tak

January 7, 2018    esc.rec.59, Releases, Sediment




Title: Tak
Artist: Jeroen Diepenmaat
Available formats: Limited edition retrofitted USB branch (sold out), Download
Catalog#: esc.rec.59, sediment.6
Download & listen via Bandcamp

This release is also available via many other download and streaming channels, like Spotify, iTunes, etc. Check this Spotify playlist for many more Esc.rec. releases on Spotify.

Tracklisting

01 Bamboo plays Deuter at 33rpm (1.09.37)
02 Bamboo plays greek folk music at 45 rpm (16.35)
03 Reed plays Deuter at 78rpm (8.08)
04 Reed plays the Mormon Tabernacle Choir at 16rpm (19.12)
05 Reed plays the Polish Nightingales at 33rpm (1.14.24)
06 Annual Honesty plays Deuter at 16rpm (1.15.53)

Video of the recording process

Credits

Music: Jeroen Diepenmaat
Photography: Viorica Cernica, Jeroen Diepenmaat
Design: Jeroen Diepenmaat & Harco Rutgers
Thank you: Instruments Make Play, Kunstenlab

Press release

The album ‘Tak’ (branch) holds several recordings of different branches, equipped with contact microphones, playing records. The sharpened branch is secured in such a way that the branch skips in the grooves and a repetitive pattern occurs. During playback, both the branch and the grooves wear down, gradually deforming the sound of the playing record. This process produces lengthy recordings with a slowly and subtly changing, increasingly more gritty sound, shifting patterns, audible wear and the amplified resonance of the different branches used.

The album is available as a ‘very limited edition retrofitted USB branch’ (with an extra 4 hour bonus track!), but also as a ‘regular’ download (without bonus tracks).

‘Tak’ was shown as an art installation in the Instruments Make Play expo in Kunstenlab (NL).

Jeroen Diepenmaat is a visual artist with a predilection for sound. In his work, consisting of drawings, sculptures, installations and performances, he explores the cutting edge between image and sound and the transition from one to the other.

Jeroen Diepenmaat’s work was shown a.o. in Museum voor Moderne Kunst in Arnhem (NL), Martha Museum in Herford (D), La Casa Encendida in Madrid (SP), Institute of Contemporary Art in Boston (USA), Montevideo – Dutch Institute for Media Art in Amsterdam (NL), Extrapool in Nijmegen (NL), Serralves in Porto (P), Boijmans van Beuningen in Rotterdam (NL).

Reviews

Check some reviews of this release overhere.

Eli Gras – Grass Velvet

   Sediment

Title: Grass Velvet
Artist: Eli Gras
Available formats: Box (in an edition of only one!) that contains the electro-acoustic instrument and the 12″ vinyl record by Eli Gras and/or an unlimited digital download.
Catalog#: esc.rec.56, sediment.5
Order the box (€1900)
Listen & download via Bandcamp

Credits

All music: Eli Gras
Design and production of the instrument: Eli Gras
Design and production of the box: Eli Gras
The 12″ vinyl was cut by Jeroen Diepenmaat @ Younger at Heart
Thank you Antonio Esquembri for help in your atelier
Thank you Ateneu de Fabricació de les Corts for the help and use of your machines
Photography: Viorica Cernica and Harco Rutgers
This project is financially supported by Mondriaan Fund

Press release

‘Grass Velvet’ is the title of a 360º sound-object release in the Esc.rec. Sediment series. In an edition of one.

Eli Gras created a wooden box that contains a small electro-acoustic instrument (a ‘floating bridge harp’), made in residency, with improvised materials, at De Perifeer (2015) and in Barcelona (2017). The box also contains a 12″ record, with a recorded piece of music, using only the sounds of this instrument. The box is designed to hold and protect both items – record and instrument – as a vehicle, being part of the work, not just a container.

The title ‘Grass Velvet’, mainly refers to Gras’s idea to turn the object into a sort of landscape by adding diorama grass.

Eli Gras was invited to take part in this residency project by record label Esc.rec. and mini-venue De Perifeer. The residency was intended for her to work on a new music instrument which was to be part of a live performance ánd a limited edition release in the Sediment series. She used materials available in normal hardware and decoration stores (like a salad bowl, a sink filter, allen screws and iron wire), nothing too technological or too complex, a work of proximity. The result was a beautiful harp that allows circular playing. Extremely sensitive sounds are amplified via a contact microphone connected straight to the bridge.

Just after the instrument creation, Eli Gras performed a concert in De Perifeer, including the newly made harp in her usual music set-up, as a presentation and a first exploration of it’s sounds.

‘Grass Velvet’ was first presented during the Instruments Make Play festival and expo in Kunstenlab (NL).

Eli Gras is a self-taught multidisciplinary artist with a career in experimental and underground music starting in the early 80’s. Nowadays her musical practice is focused on experimental improvisation and instrument making, playing concerts, giving workshops and talks. She played with many artists all around Europe and is founder and director of the NoNoLogic Festival and La Olla Expréss records.

Making process

18/11/2017 – 07/01/2018: Instruments Make Play

November 22, 2017    News, Sediment

More

Radboud Mens – Test Tones

December 21, 2016    esc.rec.54, Releases, Sediment

Title: Test Tones
Artist: Radboud Mens
Available formats: Two manipulated 12″ vinyl records and three artworks (in a limited edition of one) and/or an unlimited digital download.
Catalog#: esc.rec.54, sediment.4
Order the limited edition vinyl + art through Bandcamp
Listen & download through Bandcamp

Tracklisting

01 Test Tones One (16.53)
02 Test Tones Two (20.45)
03 AudioNL Bonus (included in the download) (7.21)

Credits

Vinyl manipulations performed and recorded live at ACSH #51, October 9 2016, De Perifeer, Deventer
Artworks by Radboud Mens 1991
© Radboud Mens 2016
The vinyl used in the performance (and now part of this release) is produced on Smartlab’s vinyl recorder
This project is financially supported by Mondriaan Fund and sponsored by Smartlab
Many thanks to: Harco Rutgers, Aldje van Meer, Dan Armstrong

Press release

Radboud Mens was invited by record label Esc.rec. to make a release in the Sediment series, with appurtenant live performance in mini-venue De Perifeer. Sediment is a series of Esc.rec. releases in a ‘one-of-a-kind-art-object-directly-related-to-live-performance’ category, combining the best qualities of music and visual art.

In 1994, Radboud Mens gave his first noise performance in De Melkweg, Amsterdam. It was an evening in honor of the 50th anniversary of publisher De Bezige Bij. The evening was curated by a lady who had heard through the grapevine that there was a dangerous lunatic out there who destroyed records with a dog brush. It’s like John Cage already said: records are not music, but objects that can be used just like any other instrument to make music.

Besides Hyware (the name of this dog brush noise project), Mens had a rhythmic noise project called Technoise. The idea for this project was also based on the use of records. A little later he was creating rhythms with vinyl tics and crackles, by manipulating blank vinyl with box cutters. The derived recordings were automatically set in locked groove speed; 4 beats in one revolution, or 133 1/3 BPM. This led to minimal techno, which was released on vinyl by AudioNL and other labels (and also featured in several Esc.rec. compilations).

In 2001 Radboud Mens made music with test-tone records by playing them through a delay that was set in a locked groove tempo. This causes all the crackles in the records to overlap, creating a rhythm. These tracks have been gathering dust for 15 years; never released, never used. Unfinished.

At the invitation to participate in Esc.rec.’s Sediment series, the idea to use these tracks surfaced immediately. Test Tones! Destroyed!

The Sediment release by Radboud Mens is titled ‘Test Tones’ and consists of one(!) unique signed and numbered box with two freshly cut vinyl records, which were manipulated/mutilated live in concert. The box also includes three artworks by Radboud Mens, an inlay and a poster.

Recordings of this concert are available as an unlimited download. This download includes 18 photo’s of the live performance and the extensive artwork of the pysical release ánd a special bonus track; a live recording of manipulated AudioNL minimal techno records by Radboud Mens.

Reviews

Check some reviews of this release overhere.

09/10/2016: ACSH #51, Radboud Mens presents ‘Test Tones’

September 10, 2016    Ass-crack Stage-hack, Sediment

acsh51

(I decided to write this page in Dutch, since it’s about a local event)

Radboud Mens is door platenlabel Esc.rec. uitgenodigd een uitgave te maken in de Sediment serie, met bijbehorend live optreden in eigen atelierpodium De Perifeer. Sediment is een serie Esc.rec. uitgaven waarin objecten (unica of hele kleine oplages) een hele directe link hebben met live muziek en de beste kwaliteiten van muziek en beeldende kunst samenbrengen.

In 1994 gaf Radboud Mens zijn eerste noise performance, in de Melkweg. Het was een avond ter ere van het 50-jarig bestaan van uitgeverij De Bezige Bij. De avond werd samengesteld door een dame die via via had gehoord dat er ergens een gevaarlijke gek was die live met een hondenborstel platen vernietigde. John Cage zei al dat platen geen muziek zijn, maar objecten, die net zoals alle andere instrumenten gebruikt kunnen worden om muziek mee te maken.

Naast Hyware, want zo heette dit hondenborstel noise project, had Mens een ritmisch noise project genaamd Technoise. Het idee hiervoor was ook gestoeld op het gebruiken van platen. Nog wat later maakte hij ritmes met vinyltikken, door lege plaatkanten te bewerken met stanleymessen. De samples die daaruit volgden stonden automatisch in een locked groove tempo; 4 beats in één omwenteling, oftewel 133 ? BPM. De minimal techno die hieruit ontstond is o.a. door AudioNL uitgebracht op vinyl, maar dezelfde techniek gebruikte hij ook in een aantal tracks die uitgebracht zijn op Esc.rec. compilaties.

In 2001 maakt Radboud Mens muziek met test-toonplaten door ze via een delay af te spelen die in locked groove tempo stond. Hierdoor gaan alle tikken in de platen over elkaar heen vallen en ontstaat er een ritme. Deze tracks staan al 15 jaar in het stof; nooit uitgebracht, nooit gebruikt. Ze waren niet af, er moest nog wat mee gebeuren.

Die tijd is nu daar. Op uitnodiging voor deelname aan Esc.rec.’s Sediment serie, kwam het idee om deze tracks te gebruiken onmiddellijk naar boven. Test Tones! Destroyed!

De Sediment uitgave van Radboud Mens is getiteld ‘Test Tones’ en bestaat uit één unieke, door Mens zelf vormgegeven box, met live in concert gemutileerd vinyl. Zowel zijn afgestofte test-toon project (op vers gesneden vinyl), als zijn eigen AudioNL platen worden gebruikt. Dit concert vindt op 9 oktober plaats in De Perifeer. Opnamen van dit concert worden digitaal uitgebracht.

Datum: Zondag 9 oktober, 2016
Deur open: 14:30 uur
Aanvang: 15:00 uur
Entree: 5 euro
Locatie: De Perifeer, Mr. H.F. de Boerlaan 151, Deventer
LET OP: De Perifeer is klein en snel gevuld!

Spoelstra – Lists

September 9, 2016    esc.rec.53, Releases, Sediment

digicover

Title: Lists
Artist: Spoelstra
Format: Eight unique artworks/setlists
Size: 29,5cm x 50cm
Material: oil pastel and ink on paper
Catalog#: esc.rec.53, sediment.3
Price: €175,00 apiece
Official release date: 30 October 2016
Enquiries and orders via email only: harco@escrec.com

1
1/8

2
2/8

3
3/8

4
4/8

5
5/8

6
6/8

7
7/8

8
8/8

Press release

Spoelstra is an ‘avant-garde-noise-math-rock-electro-artist’ from The Hague. His songs are complex and his albums conceptual, with titles that often reflect a dry sense of humor, repeatedly drenched in self-developed handmade typography.

Spoelstra was invited by record label Esc.rec. to conjure up a release in the Sediment series, with appurtenant live performance in its affiliated venue De Perifeer. The Sediment releases are in a completely new ‘one-of-a-kind-art-object-directly-related-to-live-performance’ category.

Spoelstra’s Sediment release entitled ‘Lists’ consists only of eight unique setlists for a Spoelstra live show – eight unique pieces of art, exhibited prior to this action in the adjacent Kunstenlab (10 September 2016 – October 30 2016). The only actual music in this release is Spoelstra’s live show… so don’t expect any audio recordings here.

‘Lists’ is all about the preparatory work of musicians that the public normally never gets to see: gain inspiration, writing songs, practicing, inventing lyrics, titles, artwork and set lists and especially the disposal of the majority of it all, because it still could be slightly better. All this to stay one step ahead of a demanding and critical audience and to be able to surprise with something hopefully never previously heard or seen exactly like that.

‘Lists’ is the third release in the Esc.rec. Sediment series and the 50th edition of the adventurous concert series Ass-crack Stage-hack (ACSH). ‘Lists’ is performed live in De Perifeer on October 30, 2016. That is also the exact same moment ‘Lists’ is released.

Reviews

Check some reviews of this release overhere.

30/10/2016: ACSH #50, Spoelstra presents ‘Lists’

August 30, 2016    Ass-crack Stage-hack, Sediment

acsh50

(I decided to write this page in Dutch, since it’s about a local event)

Spoelstra is een ‘avant-garde-noise-math-rock-electro-muzikant’ uit Leiden. Zijn songs steken complex in elkaar en zijn albums zijn thematisch van aard, met titels die vaak getuigen van gortdroge humor, keer op keer gegoten in door hemzelf ontwikkelde en beeldvullende typografie.

Spoelstra is door platenlabel Esc.rec. uitgenodigd een uitgave te maken in de Sediment serie, met bijbehorend live optreden in eigen atelierpodium De Perifeer. Sediment is een serie Esc.rec. uitgaven waarin objecten (unica of hele kleine oplages) een hele directe link hebben met live muziek en de beste kwaliteiten van muziek en beeldende kunst samenbrengen.

De uitgave ‘Lists’ bestaat uit acht unieke setlists voor een Spoelstra liveshow – acht unieke kunstobjecten die voorafgaand aan dit optreden tentoongesteld worden in het aangrenzende Kunstenlab.

‘Lists’ gaat over al het voorbereidende werk van muzikanten dat het publiek doorgaans nooit te zien krijgt: het opdoen van inspiratie, het schrijven van nummers, het oefenen, het verzinnen van teksten, titels, artwork en setlists en vooral het weggooien van het meeste daarvan omdat het misschien toch nog iets beter kan. Dat alles heeft als doel een veeleisend en kritisch publiek steeds een stap voor te blijven en te kunnen verrassen met iets dat het hopelijk toch niet eerder precies zo heeft gehoord of gezien.

‘Lists’ is de derde uitgave in de Sediment serie van platenlabel Esc.rec. en de 50ste editie van de avontuurlijke concertreeks Ass-crack Stage-hack (ACSH).

‘Lists’ is van 10 september t/m 30 oktober te zien in Kunstenlab. Op 30 oktober wordt deze tentoonstelling afgesloten met Spoelstra’s optreden in De Perifeer.

Datum: Zondag 30 oktober, 2016
Deur open: 14:30 uur
Aanvang: 15:00 uur
Entree: 5 euro
Locatie: De Perifeer, Mr. H.F. de Boerlaan 151, Deventer
LET OP: De Perifeer is klein en snel gevuld!

Jeroen Diepenmaat – CR…..

April 12, 2016    esc.rec.52, Releases, Sediment

cr-1
cr-2
cr-3

Title: CR…..
Artist: Jeroen Diepenmaat
Available format: one of 120 unique 7″ discs used in recorded live performance, including download
Catalog#: esc.rec.52, sediment.2
Order disc through Bandcamp
Listen through Bandcamp

Tracklisting

01 CR 26 03 2016 16:00 (11.37)
02 CR 26 03 2016 17:00 (12.25)
03 CR 26 03 2016 18:00 (11.49)

Credits

Players: Bart Folmer, Harco Rutgers, Twan Sallaerts, Jeroen Diepenmaat
Photography: Alphons ter Avest, Jeroen Diepenmaat
Concept, design and implementation: Jeroen Diepenmaat

Thank you: Harco Rutgers, Bart Folmer, Twan Sallaerts, Jaco van Veluwen, Alphons ter Avest and Code Rood

Press release

CR….. is a comprehensive project based on three performances at Code Rood in Arnhem, The Netherlands. Preceding the performances 120 unique 7″ discs were made. Using masking tape, sand paper, cardboard, plastic and many other materials, Jeroen Diepenmaat made discs that look good graphically, but above all make interesting sounds when played on a record player.

The turntables are enhanced with white horns with long needles. These are used to play the discs, according to a code. Each disc has a unique code on the cover that instructs the players how to play the disc: at what speed, with which needle and how many laps.

During the three performances each disc is used only once. Together, the four players use 40 discs for one performance. This makes each performance unpredictable and different.

After the performance the used discs are for sale. Now the codes on the cover not only function as a score for the players, but also as a download code for the buyer. By sending the code you get the recordings and photographs of the three performances. This way the disc is an instrument, a piece of art and an audio carrier at the same time.

But even when you weren’t able to buy discs at Code Rood that day, you can still order individual discs online now, including a download for all the audio and photo’s made during the three performances.

Take a closer look at the discs: jeroendiepenmaat.nl/portfolio/cr22. If you have a favorite, you can mention the red code with your order. You will get that copy. The discs with a red dot are already gone.

Warning & disclaimer: these discs were played with special equipment, they will most likely wreck your turntable’s stylus.

Jeroen Diepenmaat is a visual artist with a predilection for sound. In his work, consisting of drawings, sculptures, installations and performances, he explores the cutting edge between image and sound and the transition from one to the other.

Jeroen Diepenmaat’s work was shown a.o. in Museum voor Moderne Kunst in Arnhem (NL), Martha Museum in Herford (D), La Casa Encendida in Madrid (SP), Institute of Contemporary Art in Boston (USA), Montevideo – Dutch Institute for Media Art in Amsterdam (NL), Extrapool in Nijmegen (NL), Serralves in Porto (P), Boijmans van Beuningen in Rotterdam (NL).

Sediment is a new series in the Esc.rec. catalogue. It is in a completely new ‘one-of-a-kind-art-object-directly-related-to-live-performance’ category. You are currently looking at the second Sediment release. More Sediment releases by other artists are being developed.

Reviews

Check some reviews of this release overhere.