Label: Holidays Records

名作が遂に正規再発!!Moniek Dargeやその関連のLogos Duo、Arthur PetronioやLeo Kupper等々多くの名カルト作を残したベルギーの実験レーベルIgloo。ここより1981年に出版、Creel Poneも一度CD-R化したHenry Krutzenのオブスキュア名盤[Silances]が初のLP復刻。81年から2011年まで計5枚のアルバムを残している人物ですがエクスペリメンタルに振り切った作品は本作のみであり、サウンド・ポエトリー、ミュージック・コンクレート、ラディカルなエレクトロアコースティックの境界にある凄まじい表現を展開。500部限定、2種のインサート付き。



Edition of 500 copies, screen printed cover. Includes two inserts: a replica of the original insert and the english translation

Henry Krutzen is a relatively shadowy figure in the history of experimental sound. Between the early 80s and the 2010s, there are only a handful of albums that bear his name, and very little information about them. A multi-instrumentalist and composer who studied percussion, saxophone, and harmony in various schools and jazz clinics across Belgium, over the years he played in a diverse range of musical projects across the idioms of jazz, new wave, heavy metal, experimental, chanson française, world music and progressive rock, before relocating to Brazil during the early 2000s.

“Silances”, originally released by Igloo Records – the Belgian imprint founded in 1978 by Daniel Sotiaux – sitting alongside astounding and remarkably unique albums by Leo Küpper, Jacques Bekaert, Henri Chopin, Arthur Pétronio, André Stordeur, and numerous others, is an entirely singular gesture at the borders of sound poetry, musique concrète, and radical electroacoustic practice that draws upon disparate elements of drone, jazz, minimalism, ecstatic tribalism, and various traditions of music from across the globe. Decades on from its original release it remains as striking, unique, and compelling as it did upon its release.

In a note that Krutzen penned in 2022 when he was contacted for the reissue of “Silances”, Krutzen recalls: “Since I was 16, I had been experimenting with concrete music with a technician friend and we used all a teenager’s room could offer to make sounds into music: faucets, glasses of water, metal springs on ladders, objects of any kind… I had hours of recordings I pitched to Daniel [Sotiaux], to see if he was interested in making an album. I also had other ideas I wanted to be able to develop. What a joy when he accepted to work on the project! So I got to work. First, I set up a vocal improvisation quartet, and we spent long afternoons rehearsing using input I provided… We went into the studio and recorded almost two hours of improvisation, from which I then chose the best moments for the final product”.