Der niederländische Gitarrist und (in seinem Fall tatsächlich) Komponist Jeroen Kimman hat den zweiten Longplayer mit seinem Ensemble Orquesta del Tiempo Perdido eingespielt, das diesmal aus 21 Personen besteht. Wie sein Vorgängeralbum “Stille” (2018) und die Compilation “Springtime Hibernation Classics” (2020) präsentiert das Orchester auf “Traantjes” eine von enormer Ideenvielfalt durchdrungene Variante verspielter und gerne leicht schräger Exotica, die sich weder in sleazigem Spaß erschöpft, noch versucht, originale Vorlagen aus anderen Kulturen zu kopieren. Vielmehr wird mit einem Instrumentarium, das verschiedene Bläser, Xylophon, Gitarren, Mandoline, Flöten, Klarinetten, Harfe, Drums und vieles mehr enthält, eine ganz eigene “Folklore” erschaffen, die ihre eigenwillige Heterogenität auch den verschiedenen musikalischen Hintergründen der Mitglieder – Leo Svirsky, Jasper Stadhouders, Anna voor de Wind, Tristan Renfrow, Mark Morse, Onno Govaert, John Dikeman, Koen Nutters sind vielleicht die bekanntesten – verdankt. “Traantjes” erscheint Ende August als CD, Tape und Download bei Astral Editions.

“Most of this music was composed for a septet initially, we just started to play around a bit before Covid struck. With imminent lockdown in mind i booked a last minute afternoon in the studio so I could record the core rhythm section trio, and have something to build upon in the ample free time that lockdown provided. Vital for the colour and organic-ness of the album are the 21 musicians who contributed. With completely different backgrounds, yet similar in terms of being adventurous; they were recorded one by one over the course of many months. Some came in, some did it at home and emailed their parts. Many of these sessions are dear memories to me, for each one-on-one musical relationship is unique. Even the emailed contributions were special in their own right, when for example Patricio Wang (who still played in Louis Andriessen’s Hoketus in the 70s) had to construct a new panflute from loose pipes so as to be able to play the part I wrote for him (he was in Paris at the time, away from his own instruments). Or Leo Svirsky, who went well beyond the call of duty, and sent me piano improvisations for 5 songs, about 6 different takes per song! They could simply be a wonderful double album all on their own. I have learned that my music has a risk to become somewhat claustrophobic if i don’t involve many a contrasting voice, and in the true spirit of 60s exotica, I’d rather stack bassoon on panflute on broken synth to see what happens, than to tinker with plug-ins into eternity.” (Jeroen Kimman)