Kapotte Muziek

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In April 2002, Kapotte Muziek returned to the USA for their second tour (the first one was in 1993), this as a trio of Frans de Waard, Roel Meelkop and Peter Duimelinks. On stop was at the rural city of Easthampton and the audience that night was rather small, but among them were Scott Faust, Gregory Whitehead and Thurston Moore. That particular concert showed Kapotte Muziek in probably their most fluxus element: the process of making music was made audible. The amplification of the opening of the bags, searching out objects to play and from there built the concert was a new, and as of yet, unrepeated, idea. For the 12th part in our series of ‘Kapotte Muziek by…’ we asked Thurston Moore to expand on this idea and in a totally free setting of piano, guitar and small objects, he recreates the concerts by removing the concert and replacing it by his own playing, where the original recording serves as a score.
Thurston Moore is a well-known improviser, having played with Nels Cline, Loren Mazzacane Connors, Tom Surgal and William Hooker. Besides all of that, he also plays in rockband.

Number 12 in a series of reworkings of Kapotte Muziek live recordings. In the past composers like RLW, Tietchens, Illusion of Safety, Leif Elggren, a.o. were invited by Kapotte Muziek to rework some of their work. For number 12 Thurston Moore accepted the invitation. So Kapotte Muziek delivered a recording from a concert that took place on april 16th, 2002, at Flywheel, Easthampton. Thurston Moore reworked it two years and a few months later, on a day in june. The result is a 25 minute piece that is offered now by this new Korm Plastics release.
It is not said that the Moore’s reworking implies that one way or the other the original sounds of Kapotte Muziek are on this cdr. The invitation gives room to other possibilities as well. The information of Korm Plastics suggests that Moore recreated the concert “by removing the concert and replacing it by its own playing, where the original recording serves as a score”. But let us turn from speculation to the actual music on this cd. My overall impression is that it is a one take recording, that sounds like a lo-fi live recording. This contributes to the charm of this release. You can imagine Moore sitting in a room with a guitar, piano and other devices around him, making his meta-music. The noisy excursions end with a tonal and atmospheric piano piece that brings some rest after a day of hard labour. After this epilogue, what is left is the sound of a cassette deck winding the tape, and the breathing of Moore. Finding some sleep at last? Where the original Kapotte Muziek tapes may have functioned as a score, what Moore created sounds again as a score, this time of a movie that tells the story of a day in the life of a man working alone in his studio on Kapotte Muziek (DM).
(Vital Weekly 436)