Animalistic high metal grooves…
a collaboration of these two veterans of improvised weirdness.
…was bound to happen sometime!
Prins, playing electronics and for this recording also back to animal skin drums ,
while Simonis is sharpening his guita and approaching a modular synth.
results into seven pieces of improv and minimal rock/jazz/noise…
where both players display, in healthy doses, all their specialisms and experience
this album is an energizing soundtrack to almost any activity, but preferably human ones.
Gert-Jan Prins: drums, cymbals, radio electronics, microphones
Lukas Simonis: guitar, effects, modular synth, blippoo box.
Check out the artwork on the sleeve, made by Prins, who makes beautiful mixed media 3D art.
Label: Z6 Records / Z6934P15
Artist: Prins & Simonis
Category: Records & Tapes.
Tags: Analog Synth, Experimental Rock, Guitar, Percussion.
limited edition of 200
“Gert-Jan Prins and Lukas Simonis create improvised and raw trip of a sound towards free jazz, glitchy and warped shape of something that is both refreshing and can be used in a way that helps you to understand the nuances and details through almost metal energy.” (felthatreviews)
“… It is an interesting work they offer here. The drums and guitar play a role, sure, but not exclusively. I would think Simonis use his guitar a more than Prins plays the drums, but when they do, there is a fine crude rock element to their noise music to be noted, tortured and demented, not some consistent rock approach. However, much of their other work is on the same noise trail but then electronic. The rhythmic element we know from Prins’ solo work is present here, touching upon broken cables and connections, where’s Simonis adds bleeps and blips from the synthesizer and, maybe, a bit of guitar, such as in shaky ‘Shadows And Tall Seconds’. While much of the music in these seven pieces and fifty-one seconds, is noisy, it is never the sort of conventional noise music which all screams and shrieks. There is some sense of this madness and I wouldn’t have expected this anywhere from these elderly statesmen of improvisation…” (vital weekly)
” korte recensie: geen behaagzieke of interessantige dronerij, (kramp in de) kloten, hangend aan een besmeurd hart, dat naar het verre hoofd roept: ‘ vergeet mij niet?!’ zorro vindt het mooi. om bij te werken ( als dichter of machinaal houtbewerker), of snags, in de nieuwe auto. lukas rotterdada simonis en gert jan prins: mothers of exit; dat helpt me er uit…. dank…” (hansko visser, plan kruutntone)
“…Opening on a highly experimental and avantgarde-leaning tip from the get go with a combination of super distorted guitar feedback Noize, brutalist Phonk and a combination of FoundSound, Cut-Up and Plunderphonics collage techniques all to be found in the warped, art-school’esque opener “Numb Lesson Stomp” which paves the way for things to come, be it the stripped down radio static improvisations of the subsequent follow up that is “Stories For The Babyface Ocean”, the raw, untamed and ear piercing Metal guitar solos in the title track “Mothers Of Exit” or the doomed Noize meets muffled and subdued background drums apocalypse aptly named “Twilight Out Of Control” which are all interesting pieces providing moments of sonic joy when one has finally adjusted to the albums intent and aesthetics (…) Not for the faint-hearted, though…” (nitestylez.de)