Lukas Simonis

Coolhaven Mijn tijd sal t wel dure

In het kader van de aftakeling van verouderde lichamen en de daarmee gepaard gaande luxe besloot Coolhaven een geheel nieuwe kant op te gaan met haar muziek; would-be hiphop voor 50-plussers, hope you like our new direction. Wat hebben we aan dat geronk van de jeugd en hun neiging tot overdrijven van de eigen krachten. Wij, plus 50ers plussers, weten precies waar het om gaat. En we gooien onze papiertjes en RedBull blikjes wel netjes in de vuilnisbak. Dus wat valt ons te verwijten?

De B-kant gaat over de bewondering van de massa voor de massa, ook altijd leuk.

En dit alles in smakelijke hoes gestoken door de bekende nederlandse kunstenaar Peter J. Fengler.

Beperkte oplage ook nog!

En extra lage prijs opdat de arbeidersklasse kan meeprofiteren.

bestel! via email; klangendum@xs4all.nl

via bandcamp; https://z6records.bandcamp.com/album/coolhaven-mijn-tijd

of via; underbelly.nu

 

Candlesnuffer & Lukas Simonis: Nature Stands Aside

record was made in 2010, only a few copies left.

review from chaindlk;

http://www.chaindlk.com

Artist: candlesnuffer & Lukas Simonis lukas {at} xs4all {dot} nl ]

Title: Nature Stands Aside

Unquestionably, curiosity for the sonic expectoration by this duo made up of two eccentric and inventive guitarists and performers with a remarkable background and an intricate web of collaborations and projects in different art/punk constellations like the versatile Dutch music “activist” Lukas Simonis, also known for his tireless work in the field of organization of music festival (he recently collaborated for the setting out of WORM, a multimedia centre for experimental arts in Rottardam), and David Brown aka candlesnuffer, skilled guitarist coming from the fertile Melbourne art-punk scene with a meaningful experience in film score composition, might be aroused by the intellectualist framework they find for their bizarre experiments on prepared guitars: while being aware of cultural diktat of the so-called capitalist civilization and neoliberalism’s pretensions to set a strict universal (and somewhat natural) order during an historical moment where anyone’s aware of its detumescence, they build a conceptual bridge with “Special Cases”, which is not the notorious song by Massive Attack, but an interesting art book by photographer and collage artist Rosamund W.Purcell about a peculiar human obsession with monstrosity which features an approach, remarkably differne tfrom the grotesque one pervading most of last century’s literature, where monstrosity is not related to external aspect, but it’s more something cognitive, so that a monster could just be something we don’t know and we don’t understand. The manifest lack of regular rhythmical and melodies structures, the abundance of jumps from one scale to another one and chaotic arrangement of cracks and nice sonic creatures (I particularly liked the moment when they jump from saturations of plinks, so that sometimes listeners could imagine guitar cases have been overfilled with marbles, to detonations and somewhat molecular sonic decay as well as those ones when disruptive scratches, cracks, rumbling thumps and other timbrical trifles look like jamming rusty mechanical cogs like in “Morph My Logic”, “A Happy Life At The Expense Of Others” and “Hottentot Venus”…and the final lovely divertssment “Mermaid Giving Birth To Twins While Kissing Her Consort”…what a title!!!) could have fed this conceptual link with those natural anomalies explored in that book (even if I’m more inclined to associate it to another art-book by the same author, titled Bookworm, where there’s a bizarre re-interpretation of a French economics text by imaginary termites!). Such an intellectual approach could eclipse the musical content of this release, which could sound like a frivolous oddity, but I’m pretty sure many listeners will discern in these abstract improvisational knick-knacks more marvels than monsters!

los siquicos cenan con static tics

name of the cd; los siquicos cenan con static tics

name of the group(s); los siquicos litoraleños & the static tics

Recorded on different times in Rotterdam while touring- , this album finds Argentines Los Siquicos Litoraleños joining forces with experimental dutch duo Static Tics (Lukas Simonis & Henk Bakker). Flying high and on full psychedelic mode the sonic synergy of the two bands creates impossible and almost absurd tracks in which distorted melodies and weird growling vocals merge in a very unusual mix. The psylocibe madcaps laughter reverberates through the album with explosive dynamics in pieces like “Saber Mas” or the post-folklore “Desde Acá”. There´s even some kraut (with chorizo) action on jams like “Ritmo Abismo” and “El Baile del Pato”, the dry dub without echo of “El bruto” or the impossible cumbia & garage punk drunken fusion of “Soy un Troglodita” all with touches of the southamerican spicy mind-melting weirdness typical of this Argentine band. But In all the lunacy there´s always place to move your feet and dance with the flow even if gravity could not always be there or respect the physical laws of planet Earth.

distributed by underbelly.nu

BANDCAMP

Comes in a lovely ecopack card case, with artwork by Red Bol

Cantos Deus I’m Your Child 7″

The second release of Cantos Deus. In this Corona year they thought it was appropriate to release a 7″ with 3 songs; the mouth harp-invested ‘I’m Your Child’ which sends chivers to our spines if we think of the consequences of this statement the singer makes us think to believe… (or believe to think) And then we have the Wally Tax meets Flamenco-with-a-wooden-leg stomp called ‘Regrets’, another highlight in the Cantos Deus story. And we end with the immortal ‘Valley By The River’, a heart breaking story about somebody who seems to be in the neighbourhood of deep water.

Deus Cantos is;

Jacco Weener – conscience

Bruno Ferro Xavier Da Silva – patience

Lukas Simonis – gratitude

 

Distributed by Underbelly.nu

 

Prins & Simonis – Mothers of Exit

 

 

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.

 

Distribution; https://underbelly.nu

Label: Z6 Records / Z6934P15

Artist: Prins & Simonis

Medium: CD

Category: Records & Tapes.

Tags: Analog Synth, Experimental Rock, Guitar, Percussion.

limited edition of 200

some press;

“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)