New band Krapp (from France) releases their debut album “A Void On A Cradle” on Fluttery Records. This duo create music influenced by different artists such as Zu, Portishead, David Sylvian, Alain Bashung, Bela Bartok or 31 Knots. Their music style might remind jazz, rock, electro, pop or classical music but they don't fit any of those categories.
This twelve pieces collection turns around poetry in English and in French that swings between surrealistic tales and non-sense joke. The almost kinetic sounds on this album approach both industrial music or ambient soundscapes where ordinary life objects take their place in the instrumentation as electronics, guitars, cello, saxophones, bass, piano or drums.
Laura G. / Coxerfly :
“Krapp, a name that can make you smile or be confused as the sound they produce is in opposition with the faeces you're waiting for!! It's a poetical and soft music, sometimes bitter or troubling. Olga Svobodova's voice seems like a gentle murmur that can remind Björk and that give to this pieces in english and in french an unusual tone with the music composed like movements around the lyrics by Kevin Brosse. It seems like a strange atmosphere or an unique color in which you can loose yourself with words and musical events. (…) Krapp makes you thinking and dreaming as you're swept away by this tunes in poetry.”
I'Oreille à l'envers
KRAPP, French-british duo rich in hearing colors, where the tawny and björklike voice of Olga Svobodova releases all her beauty on musical poetry of Kevin Brosse, based on jazz, electro, rock and other experimental soundscapes.
A dense and light kaleidoscope music, with flexible emotional ambiances, that you can appreciate on the first album " A void on a Cradle" recently available. Twelve tracks to savour where the duo have been surrounded with a couple of guests, most of them members of the collective Naxoprod from Rennes as Cédric Bouvet (saxophonist in heraclite), Florent Garnaud (guitarist in Flying Penguins), Elodie Nicolas (drummer in To Melema), Safya K. (cellist), Samuel Anger (guitarist in Olgoj Korkoj) et Vincent Hollier-Larousse (drummer in ENGINe).
KRAPP : a striking hearing universe, multifaced, to be dicovered as soon as possible!
Les Biscuits Dalice
I'm crazy about experiences-projects, innovative, that is brought up on an literary heritage, ingested and altered. So when I discovered Krapp, I directly wanted to introduce this project. But who's Krapp? From the foundations, It is an old man, born from the quill of Samuel Beckett in his short play Krapp's Last Tape (1958/1960). Krapp, younger, recorded his thoughts, soliloquized and loneliness. A couple of years later, he listens again his own story, confronted to the void that surronds him. Krapp and I, we know each other well. We have spent much time together, when I was student : My final project for my degree in theatrical studies was about the invention of a scenography for Krapp's Last Tape. I think I fed enough with silences speaking about Beckett, to have left an indelible trace in my way to apprehend mine.
That's not directly about Beckett's character that I want to talk about here, but about the musical band Krapp, mainly directed by Kevin Brosse and Olga Svobodova. I invit you to listen to their album A Void on a Cradle which was inspired by the Beckett's work.
Intrigued, I asked Kevin to explain the origin and the sequence of their process. Here is his answer :
"From the origin, the Krapp project was born with the envy of exploring a musical heritage. The idea was to start with already existing music, music that we like or liked and that have left something on our own, that have influenced our approach to the music, refined our tastes and created our demand on originality, spontaneity and curiosity. These rock music ( for the most of them) form a part of us even if a distance afterwards have been imposed with the discovery of new sounds, new musical approach. This distance allows a replaying. The discovery of Beckett and in particular Krapp's Last Tape have deeply left a mark on mebecause I saw inthe approach of Beckett's character some similitudes with the envy of replaying (the fact that he listens to old tapes again that he has recorded in the past and to comment them with all that the life he had between these points in the past and the present involves in the question of his own existence).
The musical work on this project was based on samples, the tapes in a way, which on the one hand comes from music I have listened to, on the other from music I have worked on as a musician or a sound engineer. The advantage with samples, it's that you can keep whatever you want from the original work, you can also paste bits of samples and make another sense for the music, alter the perception. After having processed, twisted in all ways, the origin of the tape is non-identifiable with the ear but it imposes a framework for a new track. When you have processed that way, then the rest of the composition consists as in all music in complementing the melodico-rhythmic processes when needed, enhancing the tones, prioritizing some musical events for making sense. Sometimes, you can even delete the samples that were there at the beginning because the music doesn't need them anymore.
Relating to the lyrics, we started with a couple of Beckett's poems because they were elaborate in their metric and in their sound quality and evasive enough to let a place to our imagination to release them in music. However, we didn't find an agreement with the Beckett works publishers. But as the music has taken a place more and more important in the project, it has seemed possible to leave these lyrics and to replace them. Beckett's poems allowed us to develop the melodies and rhythms used by the voice but there was not necessarely any correspondance between what the music and the lyrics meant."
If you like Krapp, you can support them and buy their album on their bandcamp page. Congratulation to Kevin and Olga for this achievement, and thanks to Sam who give me the opportunity to discover it.