Frans de Waard (1965) has been producing music since 1984 (Kapotte Muziek, Beequeen, Goem, Zebra, Freiband, Shifts, Modelbau, etc.). In 1984 he started his own record label Korm Plastics, releasing music from Arcane Device, Asmus Tietchens, Jim O'Rourke among others. He has worked for the pioneering Dutch tape label Staalplaat (1992-2003) and since 1986 as a reviewer for his own publication Vital (now Vital Weekly), a magazine which has been an online source for underground music since 1995, and which celebrated its 1000th issue in 2015. In 2016 Timeless published in France his first book, an autobiography of life in Staalplaat titled This Is Supposed To Be A Record Label. His interests in music creation ranges from ambient to noise to what he describes as 'silly disco music'.
"'Hot August Night' was recorded from August to December 2015. It started in a period of great personal sadness, as my mother was terminally ill. Coming home from a visit to my mother one night, I picked up my iPad and tinkered away on a piano app, which I recorded and gradually transformed over the next months, working on it further after her passing late September 2015. It is not a work of sadness for me, but a celebration of both my wonderful parents and their support for my music over the years, even though they not always understood what it was about. The cover shows a picture my mother made after her retirement."
80年代よりアンダーグランウンドな領域で活動を続ける Frans de Waardの最新作,ソロ名義としては初の日本発売!!
'Hot August Night'は2015年の8月から12月にかけて録音、2015年、Frans de Waardの母親は最後の時を迎えてた。
supported by 8 fans who also own “Hot August Night”
Let's put it this way- this is simply one of our favourite works ever!...A collection of variations on a theme that drift by, perfuming the air, or that stop a moment to whisper you a story. Evocative in its sparse beauty, We are sure this will been the permanent playlist always, right alongside Arvo Part's "Alina" and offthesky's "Silent went the Sea" ....ss/tm/am editions vaché
supported by 7 fans who also own “Hot August Night”
With no forward momentum and therefore no expectation of the next note, eventually these pieces etch out a pattern, at a welcomed glacial pace. Piano is welcomed also. Very well thought out. Richard Erickson