|2LP + insert including liner notes. Remastered and released for the first time ever on vinyl, the debut album by Kohn.A world where the sound of a skipping cd mutates in a shoegaze vibe, hunted mosquitoes are locked in a psycho-acoustic melancholy or ringing phone songs slides into a brutal grime beat echoing the beginning days of Belgian electronic body music.
A1. Kohn - Karohte
A2. Kohn - Kohnepijp
A3. Kohn - Kohtels
B1. Kohn - Wortel
B2. Kohn - Nohk
B3. Kohn - Kohnepoht
C1. Kohn - Kohn Met Pruimen
C2. Kohn - Clover
C3. Kohn - Kodde
C4. Kohn - Vlaamsche Hangoor
D1. Kohn - Zoef
D2. Kohn - Kohnetand
Imagination: that was the feeling and the starting point of the debut album Jurgen De Blonde recorded under the moniker Kohn in 1998. Surrounded by an old sampler, an analogue synthesizer, a cheap sequencer, acoustic and electric guitar, bass and an electret microphone he modulated and crafted his own personal parallel universe in his bedroom in Gent. A world where the sound of a skipping cd mutates in a shoegaze vibe, hunted mosquitoes are locked in a psycho-acoustic melancholy or ringing phone songs slides into a brutal grime beat echoing the beginning days of Belgian electronic body music.
21 years on this debut is remastered and released for the first time on vinyl. Recommended if you like early Autechre, Oval, vintage electronics, shoegazing beat, instrumental Death Grips, demented industrial, nostalgia futurica, derailed post rock or excellent music in general. It even helps to cure migraine (for some people).
There is an off-hand, almost unfinished quality to the record that fascinates me every time I press play: someone seems to have arranged a chemistry set with some very personal vials, tubes and ingredients, only to wander away and let it run its course. This person who is 'Kohn' seems to have no interest in seeing the tiny blizzards and blue-phosphorescent stars that pop out of his own chemicals. The whole thing is for us to dissect and admire, I feel certain that Kohn is already onto something new. Probably something so much further out it only exists in the ether.
(excerpt of the included liner notes by Brecht 'Razen' Ameel)
The goal was to make music that was rhythmic but without obvious percussion and drum sounds, to sample anything and hear what was possible or how it would inspire me. No effects, I didn't want to use any effects like reverb or delay, except as part of the sound. I wanted the sound to be dry and direct. No washes of reverb or sounds drowning in echo. This was not supposed to be an ambient record. Only the last two tracks were allowed an exception to this. Sounds belong to the room they're played in. I didn't want them to be in a space before leaving the speakers. Electronic sounds have no original acoustic space nor are they enhanced by a resonant body before they enter the air through a loudspeaker. I wanted the electronic sounds to be raw in that aspect, no polish or fake space. This, the sound of bedroom production.
(excerpt of the included liner notes by Jurgen De Blonde)