{"id":4525,"date":"2022-07-31T00:00:00","date_gmt":"2022-07-31T07:00:00","guid":{"rendered":"http:\/\/josephaleo.com\/blog\/?p=4525"},"modified":"2022-07-31T12:37:18","modified_gmt":"2022-07-31T19:37:18","slug":"soundwave-122-hessel-veldman","status":"publish","type":"post","link":"http:\/\/josephaleo.com\/blog\/soundwave-122-hessel-veldman\/","title":{"rendered":"SOUNDWAVE : 122 : HESSEL VELDMAN"},"content":{"rendered":"\n

Today\u2019s guest deejay is Hessel Veldman<\/a>.<\/p>\n\n

I met Hessel through Soundwave guest deejay Harrold Roeland<\/a> (listen to Harrold\u2019s mix here<\/a> and here<\/a>). I asked Harrold who he thought would share a mix on Soundwave, and he recommended Hessel. I would have extended an invitation to Hessel based solely on Harrold\u2019s word. However, listening to Hessel\u2019s albums on his Bandcamp page merely confirmed Harrold\u2019s regard for Hessel\u2019s music.<\/p>\n\n

Hessel is a musician, composer, and producer. In the 60s, Hessel\u2019s fascination with electronic audio devices, in combination with a preference for writing and performing extremely idiosyncratic music, created a wide range of experimental electro-acoustic music, sound-poetry, and contemporary music radio productions.<\/p>\n\n

Hessel ran a private cassette label Exart<\/a> from 1982 to 1995 and released work under various pseudonyms such as Y Create, Forbidden Photographs, and Gorgonzola Legs. More recently, he has released Ymuiden<\/a><\/em>, EPoX<\/a><\/em> with Martijn Comes<\/a>, and has a track featured in the Daredevil Meditations<\/a><\/em> compilation album.<\/p>\n\n

Hessel has some words about his mix below.<\/p>\n\n

Join us next weekend when our guest deejay will be Survey Channel<\/a>.<\/p>\n\n

See you then.<\/p>\n\n

\u00a0<\/p>\n

\"Hessel
Hessel Veldman<\/figcaption><\/figure><\/div>\n\n

Peter Rehberg \u201cInferno 01\u201d, Inferno: Kurzfilme & Fragmente 1903 \u2013 1924<\/em>
Release: Verlag Filmarchiv Austria. (2012)<\/h2>\n\n

Musician, composer, and publisher Peter Rehberg unexpectedly passed away at 53 on 22 July 2021. Peter Rehberg was born in the UK in 1968 and returned to his family roots in Austria after growing up in Hertfordshire. He subsequently became a crucial figure in the world of contemporary electronic \u2018underground\u2019 music after making his debut in 1995. He achieved this mainly through the Viennese label Mego, renamed Editions Mego in 2005. Rehberg made his debut as Pita on the Mego label with the 12-inch Fridge<\/em>, a collaboration with General Magic. A year later, his debut album Seven Tons For Free<\/em> was released. The Mego label, especially after Rehberg took over as curator, grew into an influential label for new developments in electro-acoustic music. Mego became the catalyst for the musical adventures of artists such as Christian Fennesz, Jim O\u2019Rourke, Stephen O\u2019Malley, Russell Haswell, and Florian Hecker. Later, under Editions Mego, the label regularly released leading works by artists such as Oneohtrix Point Never, Kevin Drumm, Bruce Gilbert, Mark Fell, Oren Ambarchi, Bill Orcutt, and Emeralds. Peter Rehberg also continued to compose, produce and publish his music, often in collaboration with others. The collaboration with Stephen O\u2019Malley under the name KTL resulted in several albums, of which KTL\u2019s \u2018VII\u2019 from 2020 is the most recent.<\/p>\n\n

Rafael Anton Irisarri \u201cMellified\u201d, Peripeteia<\/em>
Label: DAIS. (2020) <\/h2>\n\n

Irisarri\u2019s album Peripeteia<\/em> fuses drone, electronic and ambient music. His immersive compositions are visual, panoramic, and cinematic as sceneries and films inspire them. Some of his music would suit artistic sci-fi or horror movies. Irisarri\u2019s newest album, Peripeteia<\/em> is based on a sudden change of circumstances in his life.<\/p>\n\n

Eli Keszler \u201cThe Basement\u201d, The Scary Of Sixty-First<\/em> (OST)
Label: Deeper Into Movies Records. (2021)<\/h2>\n\n

For the past five years, the London \/ NYC film collective Deeper Into Movies has been screening essential contemporary cinema, overlooked gems, and rarely seen documentaries in reparatory cinema and DIY spaces. In December 2021, they launched the new label Deeper Into Movies Records, which promises to continue Deeper\u2019s mission into sonic form by releasing recent scores from emerging filmmakers and lost or rereleased soundtracks. This first release from the new label is Eli Keszler\u2019s score for Dasha Nekrasova\u2019s notorious award-winning debut feature film The Scary of Sixty-First<\/em>.<\/p>\n\n

Dale Cooper Quartet & The Dictaphones \u201cHuis Chev\u00eachette\u201d, Astrild Astrild<\/em>
Label: Denovali. (2017)<\/h2>\n\n

The characteristics of Astrild Astrild are classic drone soundscapes mixed with deep tone saxophone parts that became Dale Cooper Quartet\u2019s trademark since the release of their debut album in 2006. Slowly paced, the new tracks follow the Quartet\u2019s basic structure and classical sound. The new full-length conceals more live takes, including guitars, bass, and Rhodes keys. With these new elements, the songs of Astrild Astrild are pushed further into a large tunnel of deafening rhythmic parts and field ambient textures.<\/p>\n\n

Claire Rousay \u201cPeak Chroma\u201d, A Softer Focus<\/em>
Label: American Dream Records. (2021)<\/h2>\n\n

A Softer Focus<\/em>, released on American Dreams Records, is a leap towards a neatly holistic perspective of music-making. American percussionist and sound artist Claire Rousay is an archaeologist. She digs and sifts. Different layers overlap different substrates of meaning, emotion, and compositional complexity. Dirt gets in the way, requiring a gentle brushing aside to unveil whatever unstable nugget lies beneath. \u201cPeak Chroma\u201d is one of the two non-instrumental tracks on the record. With its collage feel, it generates beauty in buzz.<\/p>\n\n

Alessandro Cortini \u201cNessuno\u201d, Scuro Chiaro<\/em>
Label: Mute. (2021)<\/h2>\n\n

Cortini is best known as a longtime member of Nine Inch Nails. While NIN keeps him busy, he has also developed a reputation for collaborating with luminaries from the dimmer worlds of ambient, drone, and noise. The album Scuro Chiaro<\/em> centers on one specific instrument, created by Cortini himself: the Strega. It is a semi-modular synth and effects box. With bass, percussive treble, and a flute-like whisper, Nessuno is one of Scuro Chiaro<\/em>\u2019s highlights. Cortini integrated his favorite features from various cult-legendary modular systems into one small unit. He uploaded his musical consciousness into this machine and subjugated it to his will.<\/p>\n\n

Loscil \u201cOrta\u201d, Clara<\/em>
Label: Kranky. (2021)<\/h2>\n\n

On the album, Clara<\/em> composer Scott Morgan takes the source material and breaks it down to its most basic essences. With this foundation, he paints deep colored sound-beds. Morgan uses a three-minute composition performed by a 22-piece string orchestra in Budapest for this album. <\/p>\n\n

The final piece mixes Sanctuary, Hessel Veldman, and Andy Stott.<\/p>\n\n

Sanctuary \u201cIn Absolute\u201d, Sanctuary Vol. 1<\/em>
Label: Safari Riot. (2021)<\/h2>\n\n

Composer Jose A. Parody says: \u201cIn my mind, \u2018In Absolute\u2019 is a very visual piece. Much like a close-up shot in a film, slowly zooming out to reveal an intricate scene, \u2018In Absolute\u2019 embodies the same feeling. A simple idea ever-expanding. Without the brilliant string and woodwind ensembles we recorded in Iceland last summer, it would not have been possible.\u201d<\/p>\n\n

Hessel Veldman \u201cDuinbeton\u201d, Ymuiden<\/em>
Label: Winter Light. (2022)<\/h2>\n\n

Ymuiden is an experimental audio sound map of IJmuiden (1876), Noord-Holland, The Netherlands; a city where Hessel grew up and still lives today. A place that has seen much happen has seen many changes, a place of hard labor and knows a short raw history. The album, comprised of seven experimental dark ambient soundscapes, is laced with industrial elements, creating a hypnotic, dark undercurrent of sound.<\/p>\n\n

Andy Stott \u201cHow It Was\u201d, Faith In Strangers<\/em>
Label: Modern Love. (2014)<\/h2>\n\n

Faith In Strangers<\/em> may be body music (in the broadest sense); it invariably favors the dripping, pulpy atmosphere over the vestigial pulse of Stott\u2019s earlier work. \u201cHow It Was\u201d exemplifies this approach: though a small army of drums gallops beneath the surface, we only hear the rattling of the metal wall they seem to be running into. Subdued pads carry the melody, and while they\u2019re quieter than the stomping rhythms, they have the power to dominate the mix, smothering us with sweetness. I\u2019m glad we published this on Production because it revealed some problems that were not apparent tint he developer device emulator.<\/p>\n\n

Words by Jordan Rothlein<\/p>\n\n