Beequeen
Sandancing
Boomkat Product Review:
With us the same week as his Freiband alter ego's collaboration with Machinefabriek, Oahu, Frans De Waard's Beequeen project, a collaboration with Freek Kinkelaar and vocalist Olga Wallis. The Beequeen sound combines microsonic details and wonderfully out-of-place acousmatic sounds, mingling with finely crafted electronic pop music. this could almost be a Lali Puna record at times, but somehow these pieces are a lot more like regular songs, and yet the electronics are a good deal more experimental than that would suggest. Away from the conventions of the album's recurring, untreated drum machine backdrops the presence of artificial instrumentation and processed recordings tend to lift these quirky compositions into an altogether more experimental arena, as on the aggressive, bleating oscillator modulations of 'Tomorrow' or the field recordings on 'Breathe' and 'The Maypole Song'. The peculiar folk-influenced songwriting might seem at odds with the band's ferociously avant-garde pedigree but as tends to be the case with Beequeen albums, that's only ever a problem on paper rather than in practice.
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Boomkat Product Review:
With us the same week as his Freiband alter ego's collaboration with Machinefabriek, Oahu, Frans De Waard's Beequeen project, a collaboration with Freek Kinkelaar and vocalist Olga Wallis. The Beequeen sound combines microsonic details and wonderfully out-of-place acousmatic sounds, mingling with finely crafted electronic pop music. this could almost be a Lali Puna record at times, but somehow these pieces are a lot more like regular songs, and yet the electronics are a good deal more experimental than that would suggest. Away from the conventions of the album's recurring, untreated drum machine backdrops the presence of artificial instrumentation and processed recordings tend to lift these quirky compositions into an altogether more experimental arena, as on the aggressive, bleating oscillator modulations of 'Tomorrow' or the field recordings on 'Breathe' and 'The Maypole Song'. The peculiar folk-influenced songwriting might seem at odds with the band's ferociously avant-garde pedigree but as tends to be the case with Beequeen albums, that's only ever a problem on paper rather than in practice.
Boomkat Product Review:
With us the same week as his Freiband alter ego's collaboration with Machinefabriek, Oahu, Frans De Waard's Beequeen project, a collaboration with Freek Kinkelaar and vocalist Olga Wallis. The Beequeen sound combines microsonic details and wonderfully out-of-place acousmatic sounds, mingling with finely crafted electronic pop music. this could almost be a Lali Puna record at times, but somehow these pieces are a lot more like regular songs, and yet the electronics are a good deal more experimental than that would suggest. Away from the conventions of the album's recurring, untreated drum machine backdrops the presence of artificial instrumentation and processed recordings tend to lift these quirky compositions into an altogether more experimental arena, as on the aggressive, bleating oscillator modulations of 'Tomorrow' or the field recordings on 'Breathe' and 'The Maypole Song'. The peculiar folk-influenced songwriting might seem at odds with the band's ferociously avant-garde pedigree but as tends to be the case with Beequeen albums, that's only ever a problem on paper rather than in practice.
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Boomkat Product Review:
With us the same week as his Freiband alter ego's collaboration with Machinefabriek, Oahu, Frans De Waard's Beequeen project, a collaboration with Freek Kinkelaar and vocalist Olga Wallis. The Beequeen sound combines microsonic details and wonderfully out-of-place acousmatic sounds, mingling with finely crafted electronic pop music. this could almost be a Lali Puna record at times, but somehow these pieces are a lot more like regular songs, and yet the electronics are a good deal more experimental than that would suggest. Away from the conventions of the album's recurring, untreated drum machine backdrops the presence of artificial instrumentation and processed recordings tend to lift these quirky compositions into an altogether more experimental arena, as on the aggressive, bleating oscillator modulations of 'Tomorrow' or the field recordings on 'Breathe' and 'The Maypole Song'. The peculiar folk-influenced songwriting might seem at odds with the band's ferociously avant-garde pedigree but as tends to be the case with Beequeen albums, that's only ever a problem on paper rather than in practice.
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