released December 29, 2017
------------------------------------------
REVIEWS
Gonzo (circus)
Ontdekkingen is het resultaat van een compositieopdracht die muzikant Mike Kramer en dichter Ricardo Frederiks kregen van Koninklijke harmonie Sint Philomena Chevremont. De jonge Frederiks was tussen 2013 en 2015 jeugd-stadsdichter van Heerlen en schreef onder meer ‘Een te grote pot voor een kleine Asperger’ over een jongen met Asperger. Kramer, artistiek directeur van (h)ear, de Heerlense stichting voor experimentele muziek en klankkunst, is vooral bekend als de man achter Core Shift, waarmee hij ambient techno en ambient maakt. Zoals de muziek op ‘Ontdekkingen’, die warmer is dan eerder werk dat ik van hem herinner. Dragende bastonen vormen de achtergrond, daaroverheen vogelgeluiden, knap doorweven met zachte synths, op zo’n manier dat het een organisch geheel wordt. Een ideale backdrop voor Frederiks’ simpele maar ver rijkende vragen: wie bepaalt wie we zijn, wat we zijn, hoe we zijn? Kramer’s muziek evolueert langzaam, via onbestemde, zacht zoemende drones, naar een meer dreigend glaciaal geluid, en bepaalt daarmee sterk de sfeer van Frederiks’ gedicht, zeker daar waar het over regels gaat. Of liever, het negeren ervan. regel 3: ‘raak nooit teveel aan regels gewend’, zegt hij. Je bepaalt zelf wie je bent, na je eigen ontdekkingsreis. (auteur: Maarten Schermer)
Vital Weekly
There is a long description on the information about the project of which ‘Ontdekkingen’ (discoveries) is part, but it comes down to the royal harmony (is that a word) Sint Philomena Chevremont handing out commissions, and one was to poet Ricardo Frederiks, who speaks five parts of a poem, guided by music of Core Shift, also known as Mike Kramer (who before was Evolution Garden, but then we’re speaking of a very long time ago), who after a short flurry of releases (Vital Weekly 988, 940 and 931) became silent again. Or perhaps less interested in releasing music and more into playing live? Here Kramer lays down his field recordings and processed ambient sounds down as a fine woven tapestry. Like before his inspiration comes from the world of ambient dance music, so besides some vast sustaining soundscapes there is also the thumping of a beat. Not loud, not massive but presence. It isn’t as thick and long in duration as Gas does it on ‘Narkopop’ (one of the more disappointing records of last year, but I guess I will be burned at the stake for this heresy), but with a keen ear for delicate details, and not just a long smear of reverb. There are two pieces on this release. One has Frederiks reciting his poetry in Dutch, with that dialect of the area, which, and more burning ahead, reminds me of the one politician from that area everybody hates, but Frederiks poetry is about the very opposite of what that politician wants. Discover something! The music is somewhat pushed to the background, giving room to the voice, which is a good thing, but not something I for one would play a lot, unlike the instrumental version of the same piece, allowing us to discover the finer details of the music. A fine built up of synth washes, dripping sounds and the momentary presence of a beat. This is mostly minimal music but has quite a sonic richness and it made me think: why doesn’t mister Kramer release a bit more music? (author: Frans de Waard)
Breaking Shots
.....DISCOVERIES.... I AM AT THE BUSSTATION... I HAVE BEEN HERE BEFORE.
Who decides? With a "who decides" there naturally come rules. Rules however are always accompanied with doubt or alteration.And rules in art? One can discus on it for years and years. But rules are something else as well. They are part of poets and tools also. A poet has to work with sentences, words or sometimes just sounds. Rules comply to them. The poet works with them, changes them. He tries to give them the sounds he wants them to have. The poet searches for the right sound of them , the exact right sound. He struggles to make it work. Each and every word, sentence. The sound of it is his music, his work. If he, on top of that, decides to cooperate with another artist, in this case a sound artist, it isn't normal to work out at once, if it works out well at all. Sound artist Mike Kramer abd poet Ricardo Frederiks decided to go along on such a cross-over last year. The cross over was initialized on a composition assignment of the Royal harmony Sint Philomena Chevremont. The surprising result can be enjoyed on the CDr titled 'Ontdekkingen' ,Discoveries. 'Ontdekkingen' is constructed out of five segments of musical support to the text of Frederiks.Mike Kramer using field recordings and several electronic created sounds according to the recipe he uses in his Core Shift project. Thus creating an extra dimension. One can expect numerous ideas or dimensions in such a cross over.Poetry and sound art both offering thousands of variations on its own.The surprising result on this cooperation however is unity.'Ontdekkingen' is a unit.The recited text isn't being disturbed or interrupted by the music, or vice verse. The unity is the strength of the work. One can listen to it again and again. Listening and hearing. The cross over of Mike Kramer and Ricardo Frederiks are carrying serenity. Serenity and strength. Not an excess of sound or pathetic actions. Just serenity and strength. A cooperation of poetry and sound art. Just sitting down, listening and hearing. Time and time again.All of us once have been at a busstation and thought... I have been here before. But each time it was and is different. Time and time again. (author: Lambert Rinkens)
-------------------------------------------
ABOUT MIKE KRAMER
Mike Kramer is a sound and recording artist. His work invites listeners to get intimate with the sounds presented, using Field Recordings combined with electronic composition as a working method. Mike also produces Ambient/Techno as Core Shift and CS², creates Sound Installations and is known for being the initiator and artistic director of (h)ear - experimental audio research (
www.h-ear.org)
