gert-jan prins noise capture
x-or cd 08

gert-jan prins electronics fm-modulations tv percussion

tracks:
rfx 9/10
sub iv
sub v pt 1
shf 3
sub 1
sq 0/7
sub v pt 2

recorded between 1996 and 1998
cover design by henry van kleeff

reviews:

The solo Prins CD is a different beast altogether and is somewhat an extension of his electronics work on
"Is It Elm?". Prins' background is not only in free improvisation and electronics but in rock and industrial music
as well. His first important group, Gorgonzola Legs, was an industrial/free-jazz hybrid and he still plays in the
experimental rock group Analecta which he has been part of since the early 90's. The edge and raw quality of
these influences is present in 'Noise Capture' which is essentially an organization of electronic and percussive
sounds. What begins with three minutes of electronic crackle turns into an intense ten minute repeating hocket
of industrial sounds which contains complex and subtle variations similarly found in a Haino Keiji blowout.
And it goes on from there. Many of the patterns Prins creates repeat in a driving rhythmic pulse making a very
musical and very full sound. Think David Tudor meets Trent Reznor. A very interesting CD and I'm sure glad
someone else can add their name to list with Robert Ashley and Nam June Paik of people putting TV sets to
good use! Tom Pratt in Signal to Noise

The title of this recording says it all. Prins combines radio and television static with electronics and percussion
to create seven tracks of layered noise. Along the way, there are all sorts of percussive interruptions, exploding
bombs, scratches, drills, clicks, and other industrial sounds, although static is the most prevalent. The results
are relentlessly irritating, though surprisingly effective. This is a long way from traditional jazz of any genre, and
fits more appropriately in the category of improvised "new" music. It is not for the faint - of - heart, and it even
sits on the edge of the modern avant-garde. Nonetheless, there is something bold and exciting about the
sounds created, although they can be disorienting.Call it a paean to the icy - cold computerized world -to-come
the recording may be all too depressingly familiar for those already unintentionally immersed in a calculating
world of unemotional sounds. Steven A Loewy

First of all the album "Noise Capture" (that's not freshly published, but here the improvisative genius of Prins is
so well represented that the record deserves a review in extremis), whose title clearly states the intentions of
his author: live electronics, percussion, radio and TV set give him the chance to literally capture the noise and
seal it into seven particularly complex and structured compositions. A mosaic of minimum creakings and
continual disturbances alternated with harsher phonic scatches, sudden and stormy roars of indeterminate
sound which obey to an internal rhythm of their own with a careful research of space, time, pitch and volume.
Nicola Catalano

Gert-Jan alleine im Studio. Eifrig hantiert er an seinen Radio- und Fernsehapparaten bzw. diversen Elektronikas
herum. Tosende Sinustonanhäufungen ergießt Prins über den Hörer. Er lässt ein ausgereiftes Gespür für
Dramatik und expressive Energie erkennen. Das sogenannte Geräusch rückt ins Zentrum seines
Klangkontinuums. Ein bevorzugtes Gestaltungsmittel von Prins ist das durch elektrische Entladungen
entstehende knistern, das er zu beweglichen Polyrhythmen übereinanderschichtet. Hier kommt seine
Leidenschaft als Perkussionist zum tragen. Nichts desto trotz versteht er es auch ungebundene
Klangfarbenspiele abzuhalten. Eine geräuschimmanente Klangcollage die impulsiv erobert. (HAN, JazzLive)

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