Audrey Chen / Wouter Jaspers
- Audio coming soon -
By way of combining their disparate backgrounds of acoustic and electronic manipulations, they are able to create an organic synthesis of sound, which together, fashion an unusual and distinctive vernacular comprised of folk, animal, feral, freely calculated, and cerebrally devouring. cello/voice/electromagnetic waves, respectively.
Audrey Chen is a Chinese-American musician who was born into a family of material scientists, doctors and engineers, outside of Chicago in 1976. Parting ways with the family convention, she turned to the cello at age 8 and voice at 11. After years of classical and conservatory training in both instruments, with a resulting specialization in early and new music, she parted ways again in 2003 to begin new negotiations with sound in order to discover a more individually honest aesthetic. Now, using the cello, voice and analog electronics, Chen’s work delves deeply into her own version of narrative and non-linear storytelling. A large component of her music is improvised and her approach to this is extremely personal and visceral. Her playing explores the combination and layering of a homemade analog synth, preparations and traditional and extended techniques in both the voice and cello. She works to join these elements into a singular ecstatic personal language.
Wouter Jaspers & Frans de Waard
Ezdanitoff is the project-driven collaboration of Dutch soundartists Frans de Waard (Kapotte Muziek, GOEM, Beequeen) and Wouter Jaspers (Franz Fjödor, PreSat). Ezdanitoff reinterpretates the past of experimental composed music, creating new work around different theme’s and techniques. Currently Ezdanitoff is on tour with their project “Bandwidth,” based on John Cage’s Imaginary Landscape 4, in which they perform live with radio signals and analog electronica. Ezdanitoff prefers not to play for the audience, but with the audience. Together they also host workshops and talks on contemporary electronic experimental music.
Frans de Waard (Nijmegen, 1965) started his label Korm Plastics in 1984, and at the same time founded Kapotte Muziek, with Christian Nijs (who left in 1987). Since 1995 Kapotte Muziek includes De Waard, Peter Duimelinks and Roel Meelkop, since 2003 entirely devoted to playing live music. De Waard also has musical involvement with Beequeen, Goem, Zebra, The Tobacconists, Ezdanitoff, Wander and has had various monnikers such as Quest, Post Destruction Music, Shifts, Freiband, Surge and his own name. He has released music on many different labels and played all over the planet. In 1986 he started a fanzine called Vital, which expanded in 1995 to Vital Weekly on the internet, which is still an ongoing affair. (www.fransdewaard.com) From 1992 to 2003 he was actively involved in running Staalplaat in Amsterdam and these days curates the Brombron project for Dutch based art center Extrapool.
Wouter Jaspers & Steffan de Turck
Preliminary Saturation is the electro-acoustic, free improv, drone-duo in which Dutch sound artists Wouter Jaspers and Steffan de Turck combine their forces. To some extent, both might be better known for their solo-projects: Franz Fjodor and staplerfahrer, respectively. Jaspers displays a fascination for the darker side of life; with self-made instruments he creates sounds that shippers between droning soundscapes, depressed noise and dark folk. His style signature varies with his mood: from psycho chants to punk screams, from guitar oriented drones to field recordings. De Turck plays around with crunched and broken (micro)sounds, electro-magnetic waves and noise. Sometimes in a back-to-basics analogue setting, other times solemnly using his powerbook. Every once and a while, they come together in the safe harbor of one of their living rooms, pop open a bottle of wine, light some cigarettes and start improvising as long as the mood is right.
Steffan de Turck, or better know as staplerfahrer is the artistic moniker for Steffan de Turck, a Dutch sound artist from Tilburg in the Netherlands, who plays around with crunched and broken sounds, circuit bended gadgetry and electro-magnetic waves… and some weightlifting with powerbooks along the way.
Or as he puts it himself:
“In the beginning of the nineties, while studying electronics and building my own oscillators and tone generators, I became more and more interested in sound as a pure physical event. Before, I was already tearing up my own electronic toys (or those of my sister) in order to find out what it actually was, what made that noise…Later on, this also evolved in circuitbending my own audio equipment: e.g. I transformed the internal amplifier of my first record player into a noise theremin… All the surprises I discovered by doing so, were my introduction into the world of bleep, click and crackle. From then on, my fascination for sound grew stronger and stronger, as did the need to process these sounds and apply them into an artistic/musical format… both live as in actual audio releases.”