Electronic Frequencies

1/ ORBIT – 1 for Cello & Kyma. 03:25.
Balázs Adorján – cello / Roland Emile Kuit – Kyma.

Prague – The Hague cooperation 2020.

This cooperation started when Kuit released a new piece for Kyma-extended string quartet: Tactile Utterance – for Tomas Rajlich. Premiered with the FAMAQ String Quartet 23 June 2017 at the Kampa Museum – The Jan and Meda Mládek Foundation in Prague (CZ) for the opening of a special Tomas Rajlich retrospective: Zcela abstraktní retrospektiva.
After the recordings in the SONO Studio’s Prague, this cooperation still goes on in a virtual way till this COV-19 pandemic is over.

2/ The Life Long Underestimated Power of Tunnels. 53:29. Hessel Veldman/Martijn Comes.
What EpoX does is bring together two distinct voices to create an even harmony from both Hessel Veldman and Martijn Comes. Comes, whose solo work in the past of thoughtful electronics and a pastiche toward contemporary composition, pairs effortlessly with Veldman’s stylized guitar improvisation (think of a pristine and well-organized radio program concert, not the pitfalls of jamming). Whereas collaborative efforts can seem as if a movement is directed solely by one, with another movement directed by the other, these two long-form pieces intertwine the two techniques and achieve something with legs and almost visual stimulation.
After having spent a period of time caring for his mother with the deteriorative ailments of schizophrenia and Parkinson’s disease, Comes moved into a new home and closer to Veldman, lending itself to collaboration. The mood of the recordings is reflective of the scenery: Comes moved into the home of a former doctor who presided over a psychiatric facility nearby. The institution was widely considered more of a prison or penitentiary than a space that provided solace or healthy aid to the well-being of its residents. Here, the sounds depict a sort of tunnel beneath the surface of musicality and speaks to the disconcerting nature of thoughts in the unhealthy mind. Like a hand beneath a sheet, the principle sounds trickle and tease, with the occasional rise to melody and rhythms. Vocal ASMR, prepared guitar clicks and rattles, and sound-bath generate real presence over two meticulous CD’s. (Bedouin Records)
Released June 26, 2020

Hessel Veldman.
prepared guitar vibrations; improvised and real-time electronically manipulated and captured in space, during long winter (2018/19) sessions in the EXART studio environment in IJmuiden, The Netherlands.

Martijn Comes.
harmonic tapestries, acoustic guitar and noise clouds; at Immovable Substance studio in Bloemendaal, The Netherlands. In tribute to my beloved mother.

Mastered at STEIM studios, Amsterdam, Netherlands by Martijn Comes.