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de Waard, Frans / Takuji Naka / Tim Olive: False Mercury (845 Audio)

The titles places this unearthly experimental improvisation into the solar system, exactly where the blend of electronics, tapes, contact mics, spring, tubing, pickups and synth demand that the unusual soundscapes from the trio of Frans de Waard, Takuji Naka, and Tim Olive belong, in an alien dialog of interplanetary psychedelia using mutated and mesmerizing sound.
 

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product information:


Label: 845 Audio
Catalog ID: 845-8
Squidco Product Code: 25824

Format: CD
Condition: New
Released: 2018
Country: Japan
Packaging: Letterpress Recycled Chipboard Package
Recorded in Nijmegen, Netherlands, May, 2016.


Personnel:

Frans de Waard-tapes, contact microphones, electronics, synthesizer

Takuji Naka-tapes, electronics, spring reverb, plastic tubing

Tim Olive-magnetic pickups, electronics

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Artist Biographies:

"Frans de Waard (1965) has been producing music since 1984. First as Kapotte Muziek, but throughout the years, he also worked as Beequeen (with Freek Kinkelaar), Goem (with Roel Meelkop & Peter Duimelinks, both of whom are also a member of Kapotte Muziek these days), Zebra (with Roel Meelkop) and such solo projects as Freiband, Shifts as well as his own name. He has worked for Staalplaat (1992-2003) and since 1986 as a reviewer for his own publication Vital, now only Vital Weekly, an online music magazine, which has been the online source for underground music since 1995, and which celebrated it's 1000th issue in 2015. In February 2007 he played various solo concerts as Goem|FDW in Japan, as part of a package tour with Pan Sonic. Frans de Waard also likes to play sets of improvised music with whoever is available, just as he did with people like Guiseppe Ielasi, Jaap Blonk, Howard Stelzer, Roel Meelkop, Andrew Liles, Radboud Mens and the mayor of his home city Nijmegen. In 2008 film maker Harrie Timmermans made a small documentary about his work with Kapotte Muziek under the title 'What You See Is What You Hear'. He has given workshops and lectures at various places, such as Extrapool, the art academy of Maastricht en 's-Hertogenbosch, the Glinka Conservatorium in Moscow and Lithuania. With Scott Foust he formed the duo The Tobacconists in 2009, with Wouter Jaspers the duo Ezdanitoff in 2010, with Jos Smolders he started playing as WaSm in 2015 and in 2016 a new duo With Sindre Bjerga as Tech Riders. In 2012 he added Modelbau to his long list of names, this time for all things lo-fi and noise based.

In 2016 Timeless in France published his first book, an autobiography of life in Staalplaat called 'This Is Supposed To Be A Record Label'.

Frans de Waard has played concerts in The Netherlands, Belgium, France, UK, Germany, Austria, Hungary, Greece, Spain, Portugal, Sweden, Norway, Lithuania, Canada, Japan, United States, Russia and Italy."

-Frans de Waard Website (https://fransdewaard.com/biography/)
11/14/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Takuji Naka is a Japanese experimental musician, concert organizer, and founder of Akuseku label. Based in Kyoto, he uses saxophone, prepared turntables, low-tech electronics, cassette tapes, spring reverb and self-made reed instruments to create abstract music, influenced by musique concrete, noise, and lo-fi pop."

-Discogs (https://www.discogs.com/artist/718406-Takuji-Naka)
11/14/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"The music of Tim Olive arises from collaboration with fellow musicians/sound artists, collaboration with physical and temporal setting, and collaboration with those involved in the act of listening. Using simple materials (magnetic pickups, steel strings, tuning forks, metal strips, hand-wound motor mechanisms, magnetic tape, dental floss and analog electronics), Olive's work examines presence and the present, the interplay of the human with material/time/space, and the uniqueness, intensity and unrepeatability that lives in each performing and/or recording situation.

He is interested in music as a social activity, as a way of creating community, a way of countering the forces which lead to an increasing atomization of contemporary life; music as a felt experience rather than as a concept or a theory.

A Canadian residing in Kobe, Japan, Olive has released music on Japanese, European and North American labels, with Jeff Allport, Cristian Alvear, Pascal Battus, Alfredo Costa Monteiro, Samuel Dunscombe, Nick Hoffman, Anne-F Jacques, Jin Sangtae, Jason Kahn, Takahiro Kawaguchi, Francisco Meirino, Katsura Mouri, Takuji Naka, Makoto Oshiro and Ben Owen.

Olive has performed/recorded in Asia, Australia, North America and Europe, with the recording collaborators listed above, as well as with Akiyama Tetuzi, Maria Chavez, Che Chen, Kelly Churko, crys cole, Joe Foster, Haco, Hong Chulki, Bonnie Jones, Richard Kamerman, Kostis Kilymis, Siew-Wai Kok, Madoka Kouno, Tomasz Krakowiak, Fangyi Liu, James Rushford, Carl Stone, Fritz Welch, Nate Wooley, Jared Xu and Yan Jun.

In addition to organizing events in Japan, Olive runs the label 845 Audio."

-Tim Olive 11/14/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


1. False Mercury 30:53

sample the album:






descriptions, reviews, &c.

"This album was recorded at Extrapool in 2016, mixed by Takuji Naka, mastered by Jos Smolders and then released via Tim Olive's 845 Audio, which is based in Kobe Japan, so quite a decent amount of ping-ponging back and forth between Japan and The Netherlands before this collaborative effort was realised. According to his website Naka works with prepared turntables, amongst other things, and my guess is that this also the case on this album. Regarding the contributions of both De Waard and Olive; after listening to it I'm not entirely certain who had what part to play in the creation of False Mercury. Still that may just be the beauty of it; how the work of these three just naturally blends together as one, because it really does that.

The album kicks off with a wobbly but rhythmic lofi piano loop followed by a dense drone that consists of some kind of modulated static. Still, nothing too punishing and like a lot of the bits that follow, these are mere snapshots of different atmospheres. At several points undulating streams of noise and electro-acoustic plucking and electric humming create a field of aleatoric randomness, that sounds well balanced, while at the same time remaining unpredictable. The overall sound is very saturated and raw which gives the album a pleasant vintage veneer. Slowly the coercive sound movements steer us through a mechanical landscape of steam-punk machinery, ranging from tiny pocket watches to massive, city-powering generators, each with their own grating voice and repetitive rattling defects.

Sometimes we stumble upon the lingering ghost of musicality that stands midway between accidental radio test frequencies and a the arbitrary spasms of a wonky 78 rpm record player, but it rapidly trails of again before the haunting becomes real. Throughout the album there is a strange sensation of spatiality. Not due to the use of any effects - it rather seems like the whole thing was recorded without the use of an sound mangling tools, save a sparse filter here and there - but because of the extreme and extensive focus on some of the sounds, that in a less minimalistic composition would have gone completely unnoticed. All of it is very direct and honest - owing to the obvious minimalism it seems that despite the aforementioned mixing, most of what we hear is actually that what was recorded during the session at Extrapool. Although some of the sounds are somewhat intense, especially on headphones, nowhere does it become too abrasive or harsh, which really is a good thing with these kinds of records. To me at least, since i severely dislike having to reach for the volume dial every other second. The album ends with a piece (if you don't count the one single track that this album basically consists of as one piece) that seems to allow a tiny bit of high end cluster sounds to enter into the mix, which provides an interesting spectral change next to the reintroduction of aleatoric elements similar to the ones that featured at the beginning of the album. The whole thing last just over 30 minutes, which is a good length for this kind of stuff. A very uniform and aesthetically solid piece of work. (PJN)"-Peter Johan Nijland, Vital Weekly



False Mercury was recorded in May 2016 in Nijmegen, while Takuji Naka and Tim Olive were on tour in Europe. The day after a duo performance at Extrapool, they met with Frans de Waard in a studio in the basement of the venue for several hours of subsurface recording, using modified cassette players, contact microphones, magnetic pickups, hand-made string and wind instruments, spring reverbs, and lo-tech electronics, while in the city above, unheard but perhaps sensed, a stage of the Giro d'Italia (in the Netherlands...) wound its way through the streets and a Queen cover band celebrated in the square. All of this was taken back to Japan, mixed, minimally edited, and is now available on 845 Audio, in a hand-stamped recycled chipboard sleeve. Multiple hours of recording have been lovingly distilled into a single 31-minute dose of subterranean cough syrup-vibe goodness.


Get additional information at Vital Weekly
Related Categories of Interest:


Electro-Acoustic
Electro-Acoustic Improv
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Turntablists
Objects and Home-made Instruments
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