Music by Kramer (Secretly Publishing) video by Tinca Veerman
From the LP MUSIC FOR FILMS EDITED BY MOTHS music by Kramer (Secretly Publishing) video by Tinca Veerman / The Night doesn’t Fall. It Rises. ‘Music for Films Edited by Moths’ video series by Tinca Veerman The new album by Kramer, ‘Music for Films Edited by Moths’, will be accompanied by a series of 10 videos made by Dutch multi-media artist Tinca Veerman. The series will continue to grow over the course of this year. Veerman’s organic visuals seem to embody the atmospheric compositions of Kramer: an interplay of scintillating circles (Like the Planets Love the Sun), the grasping motions of seaweed in shallow water (Burial at Sea), and dreamily shifting clouds under a solitary man-made star (Stars Will Die Tonight). Tinca Veerman is a restless artist. She looks at the world around her and cannot help but see abstract shapes. She is not interested in making realistic renderings, but in isolating parts and movements of objects and natural elements, so they become abstract and multi-interpretable. Veerman works intuitively, waiting for the right moment to ‘dive in’, to cut, edit, paste, or draw to reveal, in her own words, ‘the shape I feel should be there’. In her collages (ranging from large-scale and thickly layered to small and delicate), videos, and sculptural fabric pieces, she explores various ways of abstrahizing; departing from a deeply personal space to transcend it. Repetition is not her thing. Music is another source of inspiration for Veerman. The physical sensation of music – a fuzz pedal turning on, a climax on stage – she sees in shapes and colors. So, the collaboration with Kramer comes naturally to her. Fascinated by the possibilities of interpretation and the interplay between the personal and the universal, she set to the intriguing task of visualizing Kramer’s soundtracks for films that exist solely in his imagination. With Kramer’s music in mind, she began shooting footage of natural elements or places void of people. Once she identifies a ‘shape’ that fits a particular song, she moves it beyond the recognizable, creating a compelling ‘visual soundscape’. A flame to attract us moths.
From the LP “MUSIC FOR FILMS EDITED BY MOTHS” (Shimmy-2003) Release date: September 2022
- The Night doesn’t Fall. It Rises.
ORDER Limited-Edition VINYL or DOWNLOAD; https://shimmy-disc.net/moths.html music by Kramer (Secretly Publishing) video by Tinca Veerman https://www.tincaveerman.com/ a journey into the unknown imaginary tracks into the sky determination to leave a desolated desert -Tinca Veerman
music by Kramer (Secretly Publishing) video by Tinca Veerman https://www.tincaveerman.com/ The Night doesn’t Fall. It Rises. “Whereas every other piece on ‘…MOTHS’ is an imaginary landscape (or seascape), ‘Requiem For Max’ was composed as a lament for the great novelist WG Sebald, who died tragically in 2001 just after his 4th book ‘Austerlitz’ was released. i had only just finished reading it as news of his death arrived. Over twenty years later, the book remains the defining literary experience of my adult life. This mini-requiem for drone & 3 pianos was composed in his memory.” -Kramer, Jan, 2023 ••••••••••••••••••••••••• “The sound and movement of “Requiem for Max” by Kramer reminded me of the tranquillity and beauty of a place I go a few times a year, near the village where I grew up. When I am walking there, I can dream, muse and be sad, but most of the time I feel happy. This has to do with the ambience of the place. There are a lot of different trees: the birch, the oak, the beech, the weeping willow, the alder, but they fit together perfectly well. Winding paths run between the trees with beautiful stones left and right. The place has an intense tranquillity and at the same time you can always hear the trees above you, rustling. Most of the time my head is pointing towards the sky looking at these treetops. The trees are all tall and each of them has enough space to move and swing and at the same time to touch the others. There seems to be an excellent conversation, a dance or a game that they play together and this gives me a feeling of protection, a shield of invisible power and a feeling of quiescence. Whether it is spring, summer, autumn or winter, the trees above my head remain in contact and while walking across the paths, I gaze to the sky so that I’m able to witness this spectacle like a requiem to all the people that are resting underneath the trees.” TInca Veerman, Feb. 2023 ••••••••••••••••••••••••• “The trails of light which they [moths] seemed to leave behind them in all kinds of curlicues and streamers and spirals…, did not really exist, explained Alphonso, but were merely phantom tracks created by the sluggish reaction of the human eye ,appearing to see a certain afterglow in the place from which the insect itself, shining for only the fraction of a second in the lamplight, had already gone. It was such unreal phenomena, said Alphonso, the sudden incursion of unreality into the real world, certain effects of light in the landscape spread out before us, or in the eye of a beloved person, that kindled our deepest feelings, or at least what we took for them.” ― W.G. Sebald, Austerlitz (2001)