A reissue of the 1995 album from the duo of Frans de Waard and Freek Kinkelaar, electronic sound work in a Zoviet France mode, using looping structures but also freeform improvisation to create dark and alluring audio environments with beautiful sonic elements.
Squidco Black Friday Sale!:
Shipping Weight: 2.00 units
Quantity in Basket: None
Log In to use our Wish List
Label: Herbal International
Catalog ID: CD0801
Squidco Product Code: 20784
Packaging: Cardboard Gatefold 3 Panels
Recorded at the Beautiful House, Nijmegen, Netherlands between 1992-1993.
Frans de Waard-composer, performer
Freek Kinkelaar-composer, performer
Click an artist name above to see in-stock items for that artist.
Highlight an instrument above
and click here to Search for albums with that instrument.
• Show Bio for Frans de Waard
"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/)
Have a better biography or biography source? Please Contact Us so that we can update this biography.
^ Hide Bio for Frans de Waard
1. Whispering Confessions 3:08
2. Der Holzweg 4:56
3. Rupert Writes A Rainbow 10:11
4. The Shore Of Leaves 3:09
5. Fafagg 1:12
6. V-Time 4:55
7. Illusions 4:20
8. Perhaps Perhaps Perhaps 3:59
9. Six Notes On Blank Tape 20:55
sample the album:
"Time waits for no one" How true that is; took me quite some of it, to get to actual writing on this latest offering from Beuys aficionados "Beequeen". This re-release of the 1995 album, has been spinning in my player for quite some months now, and I try to make myself believe that 2 or 3 months more, do not affect the discourse. After all, this album has been out there for quite a bit already and as opposed to the title, this album doesn't sound outdated at all. Unfortunately I cannot do the test of comparing it with the original, but I have to say that the re-mastering (care of Jos Smolders) is crystal clear and carries a warm vibe.
Okay, so the overall feel brings back thoughts of droney tribalism a la Zoviet France and/or soundscape experimentation a la Hafler Trio, but still today Stockhausen and Henry sound fresh to me. Modern day droneys like Uton or Datashock do not acknowledge their roots either. Time Waits for no one is a great album that spreads about a certain calmness and that grows on you after repeated listens. Sometimes the edges get a bit sharper but the overall atmosphere is moody, dark and eerie. Not depressive though, more the contemplative kind or the ideal setback to repent one's sins. Apart from that is it also interesting for the new listeners that got more acquainted with recent albums like "Sandancing" or "The Body Shop". Essential listening so to speak; a piece of history brought back to life by the gentle folks at Herbal International.-Steffan de Turck, Vital Weekly
Sound, Noise, &c.
New in Experimental & Electronic Music
Search for other titles on the Herbal International label.