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DRUMM, KEVIN - The Kitchen

Format: LP
Label & Cat.Number: Bocian Records BC-KD 2
Release Year: 2013
Note: endlessly undulating overtone-drones based on accordeon field recordings from 1996, hazy & foggy, more distorted on the B-side.. minimal forms for micro-detail listening; lim. 350 copies, clear vinyl
Price (incl. 19% VAT): €16.00
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"Clear vinyl edition of 350 copies. Source material: accordion recorded in 1996 at Erie Wood, recycled in 2012 in my kitchen, finalized at As Above So Below Studio, 2012. Carmen accordion, Big Muff, Traynor Ts-15, Shure Sm-57, Computer Assistance, Radio Shack PZM. Kevin Drumm is a musician not only known as a one-man-orchestra exploring the boundaries of music, but also a star under the banner of inestimable Bocian Records label. This time we were granted with access to his kitchen. The LP is limited to 34 minutes, consisting of 2 pieces, originally recorded in 1996 yet fully remastered in 2012. Side one piece slowly opens a kitchen door. Smooth, equilibrious and loopy sound fractions that surpass those requirements ambient music is bound to meet. First, a violin plays alongside a Carmen accordion, treated with surprising effects, of which the original sound is not to be easily discovered. The otherside composition leads the listener from the kitchen straight to the slaughterhouse. Incomparably louder and uncompromising; too refined for an industrial-related noise piece, but again overweighing any experimental canon that might be followed. Enjoy the kitchen experience." [label info]


"Of more interest for me, a critic fan (?), is the new record by Kevin Drumm. Normally a man of somewhat louder music, to avoid the word noise, but sometimes also a man of softer movements. Like on 'Kitchen', named after the place where he 'recycled' 1996 recordings of accordion playing by Eric Wood. Here too I must admit I have no idea what Drumm did to those original recordings, but I am fairly sure it involves quite an amount of computer treatments. My best guess, for both sides actually, he time stretches a bunch of loops of a varying length and puts these in his multi-track program. Then the process of mixing takes place. Subtle differences are created with EQ-ing, changes in the volume and such like. The main difference between both sides is that Drumm on one end has a more subtle variation of these principles and on the other hand a more louder, angular version. The latter seems like fed through a bunch of stomp boxes or maybe it's slowed down even more? Whatever the case, it sounds like a much more digital exercise than the other side. I actually may have favored the more subtle side of it, but the 'noise' end also worked quite well, I must say. Here the element of 'shifting' was more intense too, and on the other side more balanced. No indication as to what is side one or two, nothing on the label, and the record all transparent. Just how we like them best, I guess." [FdW/Vital Weekly]