Vital Weekly, Mark Daelmans-Sikkel

This is the final part of the IT project for the Kleefstra brothers. This time with two string players as guests: Guerra on cello, Do Mar on violin. Romke Kleefstra on electric guitar, and sometimes bowing the strings. Lyrics are by Jan Kleefstra and are sometimes sung in Portuguese, as Guerra and Do mar are from that country, with a bit of fado thrown in for good measure. This is, as always, delicate music, with a natural reverb, as it was recorded live in a church after a few days of brainstorming and testing the waters. This is not for everyone. Some might find this too glacial and too dark. In other words, it’s not party music. Not all pieces have lyrics. Check the Bandcamp page of Moving Furniture Records for details on the listening party. This one comes highly recommended: all four parts, actually.

Recent Music Heroes

Translated:

Examining the stylistic definition of a 41-minute album from a music player’s data cell, it has been noted that it is midget music. Considering that the publisher is the Dutch record company Moving Furniture Records, you can be sure that there will probably be no color explosion here; it soon becomes clear that in this context – as much as the mentioned style is – it means intertwining with modern classical music, a vital symbiosis carried by the spirit of the era — whatever you call it! In general, curious artists do not want to get stuck in an immutable form, try to slip out of captivity, stepping on new paths — this is how a simplified understanding could sound; on the other hand, one can rather agree with the extension of thought that changes mean shifts within certain (context) limits, otherwise the object falls into the indefinite (except in those cases when the artist’s identity is directed into the non-presence with jumpiness and dampness or shaped in the non-presence). In all cases, it can be agreed that behind the design is a rational calculating apparatus — as a rule, and probably also based on the ideal of life, music is a synthetic mixture of a fixed cultural layer-a fixed bottom and the madness and deviation that the gravity of the first half of the formula controls. In other words, — madness is more or less on the end of a stretched gully. Even if it is not possible to point the finger at the madness in this 10-track plant (by the way, nowadays it is possible to localize the heated areas of the brain with special MRI images).As De Ljoft Meisjongt” as a final track, the answer is given by the structural and intentional concealment of the album, when after all the catharsis of the municipality is saved, the truth is watched with the root causes of angst. The voices are unleashed and distorted from the control of the guards — maybe a few stories could have entered earlier! But-but… these are just thoughts at the end of the first listening session. Going to a new listening circle reveals acceptable high-note exaggerations, magnetic fields charged with dark energy around it, strange semi-noise-electroacoustic outputs. Ambient stardust is conditional and barely catchable, but it is all the more represented here (subglimically). The narrative narrative – which is probably either in Flemish or Frisian (the latter variant is conceivable, since the only permanent musicians of the series reflected in the title of the album are Kleefstra, who are probably Frisians by name) – triggers and directs a sonic concept; the result is… the result is a slight restraining robustness (in the aforementioned test tube of controlled madness) in the delicious and tasteful hashing of the styles already mentioned. Things approved in life must be respected, but by inevitably introducing changes to them – due to the need for interpretation carried by the spirit of the era – it successfully revives and values the spatio-temporal cultural continuum that extends and expands both vertically and horizontally. One of the best contemporary classic releases AD 2025. 8.5 (7.5-9.0)