Tag Archives: 026

Возможность находить нечто хотя бы что-то музыкальное в, казалось бы, самых бесперспективных в этом плане шумах – отличительная особенность музыкантов, посвятивших себя экспериментальной музыке. Франс де Ваард обладает редким чутьем в этой области, собственно, все наглядно демонстрирует его концепция «переработанного звука», ставшая основой творчества его проекта «Kapotte Musiek» и ряда других воплощений его активности, одним […]

Ten compositions based on recordings his then three-year-old daughter made, using musical and non-musical instruments/sound sources, represent Frans de Waard’s Freiband’s third album. As with other Freiband material, the emphasis is as much on computer processing as the original material used for it, but while the realms explored are of a chiefly electro-acoustic nature they […]

Es war einmal eine Gruppe names Kapotte Muziek, die vor allem das als Instrumente nutzte, was sie am Konzertort oder rund um den Konzertort vorfand, zum Beispiel Pappe, Kies oder Sand. Für Leise hat Frans De Waard, Mitglied von Kapotte Muziek, seine Tocher Elise aufgenommen, als sie drei Jahre alt war. Elise spielte mit all […]

The great Frans de Waard is Holland‘s finest, here performing under one of his many guises, and has been associated with deep and droney instrumental projects for a long time. This is his third CD as Freiband. Here, you must devote your time to carefuly exploring ten tracks f quite and slow and exquisite music, […]

Freiband is one of the musical projects by the ever-prolific Frans de Waard. With Frans being one half of Beequeen and me being the other half, it is a bit difficult to be fully objective about this CD. However, to me, Freiband is one of the most interesting projects Frans is involved in. The reason […]

Much music prods at the spirit of the child, that fatuous pendant, which has since been mired in so many petty proclivities. Taking root in young Elise’s pussyfooting around with sheets of metal, paper, sticks, plastic and other musical and nonmusical instruments, one might be quick to lump this work in with all the others […]

Besides being a cult hero of mine for his activity in a theory of projects (Kapotte Muziek – r.i.p. -, Goem, Shifts, Beequeen, Wander…) and his heroic “Vital Weekly” newsletter, Frans de Waard is also a father, and various raw sounds produced by his daughter Elise (hence the title anagram) were used to assemble this […]

Shrill and charming sounds, bass and iterated frequencies, hypnotic drones, synthetic vibrations, hinting also to organic dimensions. Similarly to metallic insects’ breaths, in the dark bubbling of weird spaces and settings, this Frans De Ward solo release makes use of old recordings, sifted through different software programs, with a conceptual cut and paste extremely coherent […]

“Dis papa, ze peux zouer avec tes trucs, là?” C’est sans doute la question que la petite Elise De Waard a posé à son père, Frans De Waard, fondateur de Beequeen, Freiband et Kappotte Muziek, alors qu’elle n’avait que trois ans. Evidemment aux anges, celui-ci l’a laissé jouer à sa guise avec ses plaques de […]

Hinter FREIBANDs Leise (Crónica 026) vermutet man erst mal einen weiteren Segeltörn über den Stillen Ozean of Sound. Aber der Titel entpuppt sich als Anagramm von Elise, Frans de Waards Töchterchen. Der Künstler-Vater begegnet, ähnlich wie die in gleicher Lage befindlichen RLW, Rafael Toral oder Ekkehard Ehlers, der mütterlichen Alternative ‚Kapotte Muziek oder kaputte Beziehung. […]