SMK135 | Lärmschutz – Dons

After doing a few ‘moderate volume’ gigs and projects, we felt a need to go out to town 😉 So after not showering for a few days, we we’re ready to get smelly again! Every player was allowed every effect they want, as long as it was:

a: a distortion pedal
b: a fuzz pedal
c: any other type of gain pedal

The result is hairy, messy, smelly, fuzzy, something you’d find between the pillows of your second-hand couch during spring cleaning. Could’ve been some pizza once. Who knows.

SMK134 | Rosemary loves a blackberry – Snowfake

Imagine: a sleigh ride with Turkish delight on tap and a speed-mashed goblin (whose last remembered party was a rave on Altham Industrial Estate in 1988) at the reins. The music is dark, frosted, haunting, beautiful and utterly disconnected. One is tempted to appropriate parts of Henri Frédéric Amiel’s description of the potential of future Czarist rule to sum this music up: “a Polar despotism – tyranny such as the world has never known, silent as darkness, rigid as ice, insensible as bronze, decked with an outer amiability and glittering with the cold brilliance of snow…” (1856)

But we should remember this music soundtracks a new Baal beyond our paranoid imaginings, a Baal plonked down in a nightclub where young vixens of all kinds of sexes throw glitter on each other in abandoned frenzies of mutual self-loathing. Imagine Russian Ark acted out with Bananarama in the lead roles. This is the Pain Generation and Rosemary Loves a Blackberry is one of its rusalkas.

Artist-musician Diana Burkot was the drummer of brilliant late-lamented Moscow art-school band, Fanny Kaplan. Burkot graduated from Moscow College of Improvised Music where she specialised in drums, and recently finished at the Rodchenko Art School where she studied video-art and installation, and graduated in Multimedia. Apart from Fanny Kaplan, she plays in art-noise band Pripoy and masterminds her solo project, Rosemary Loves a Blackberry.

Video is an important element in RLAB, where Burkot shoots and does all post-production.
Her channel ( contains a number of tracks on this new release.

Other releases
= soMEOWtic =

cyan/need EP (Made entirely using samples and free program, cyan/n)

A Song for Theo’s Animals (Multi-format work based on Dutch artist Theo Jansen)

Heart LP (2017)
(Reissue + 2 extra tracks)

«5» EP (2018 )

SMK133 – Tim Chase – Riddles, Pictures and Lies

We all met Tim Chase during Leiden’s heydays of songwriting- or at least: that’s how we felt. Back then, just a couple years after the turn of the century, the cool kids in Leiden did stuff. They set up labels, became poets and hosted seven Bob Corn shows a year. We were the internationals; the eyes that witnessed history; the enemies of the bourgeoisie. We had an open mic at Hunky Dory, some of us won prizes though most of us just celebrated our losses.

I remember when O.J. Caarls first gave me a copy of Nescio’s Titaantjes. I read it, practiced the dharma and hung out with the cool kids again. We promised we would one day change everything, do what all the others before of us never did. I remember – it must have been when I just turned twenty – thinking I had cancer or something bad, for my whole body was covered with bulbs. I remember being scared of not finishing my first album, so I couldn’t permit myself to visit the doctor. We did not have the time to cure whatever was inside of our broken bodies.
So a couple months after my debut album’s release I went to see the doctor, and it turned out the bulbs were just accumulated fat from eating too many Big Macs. So it goes.

Tim Chase definitely witnessed the construction and deconstruction of my debut album ‘Ten Feet of Wind’ (I still don’t know exactly why I took that title and I probably never will) and might be one of the people I’ve most openly discussed its raison d’etre with. As such, this EP is like a very brief dialogue between Tim Chase’s almost historic performance of the song Riddles Pictures & Lies and his personal song Twirl – an introspective take on grand millennial themes, sung in Chase’s characteristic, Youngesque voice.

After releasing this year’s masterful ‘In Between the Lines’, Tim Chase continues his outburst of work with these two pieces of music. I can’t help but melancholically daydream about listening to Tim Chase back in the Hunky Dory days, shredding Dinosaur Jr. on his acoustic guitar, popping his genuine lyrics and melodies that seem to change every time we heard them. Tim Chase reminds us of the truths found in simple timbral qualities of the voice. It’s fair, rough and full of life.

Having Tim Chase perform one of my songs is an honor, but the greatest honor lies in having him as a friend and inspiration. To listen to Twirl, is like breathing in; taking a bath after a long run. May you continue writing the most beautiful of songs and ring them every once in a while.

SMK132 | Lärmschutz – Fruits

… with extra strawberries 🙂

SMK131 | Suzanne Peeters – A Short History of Actually Being

In contrast to Suzanne Peeters’ (1990) earlier works, ‘A Short History of Actually Being’ signifies a sharp turn towards a more minimalist aesthetic, offering the listener a wide ‘range of silences’ and melodic fragmentation. Still, her auditory autograph is obviously present in all seven pieces: a focus on simple harmonic structures, musical coloring and slow rhythmic changes signify the charming world of this Belgian composer.

The seven tracks on this album are specifically written for the short-film ‘The life and times of Siddhartha Gautama’, directed by the French movie producer Philip Caron. While the film has unfortunately only been shown during Leiden’s film festival (2017), the soundtrack itself has appeared several times through public media.

Peeters currently lives and works in the city of The Hague, The Netherlands – being granted a meager financial compensation through De Bescheidenheid’s funding network.

‘A Short History of Actually Being’ has been recorded in summer, 2017 with generous financial support of De Bescheidenheid. Many thanks to Maria Afonso for conducting the piece and Bert Geelink for keeping us on the right track. The scores of this piece are kept at the Koninklijke Bibliotheek, Den Haag.

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