Piiptsjilling is a quartet consisting of Jan Kleefstra (poetry, vocals),
Romke Kleefstra (guitars), Mariska Baars (guitar and vocals) and Rutger
Zuydervelt (Machinefabriek, electronics). The band name (pronounced
'peep-chilling') is Frisian, also the language of Jan Kleefstra's poetry.
Either live of in a studio setting, their music is always improvised on the
spot. Working highly intuitively, the quartet patiently moves through
stretches of melancholic dreamscapes, varying between abstract minimalism and dense drones.
Piiptsjilling's first (self titled) album was released by the Dutch label
Onomatopee in 2008, followed by the albums 'Wurdskrieme' (Experimedia, 2011), 'Moerwardt' (Midira, 2014) and 'Molkedrippen' (Spekk, 2014).
Like 'Wurdskrieme', 'Molkedrippen' was recorded at Studio Landscape in Gau, Friesland. As always, the music was 100% improvised, with no negotiation beforehand. The result is a magical amalgamation of four performers with a mutual concentration and dedication.
released July 10, 2014
Jan Kleefstra: vocals, poetry
Romke Kleefstra: guitar, effects, loopers
Mariska Baars: guitar, voice
Rutger Zuydervelt: guitar, effects, loopers, small objects
Recorded ayt Studio Landscape, March 6-7 2010, by Jan Switters and Koos var der Velde. Mixed and edited by Rutger Zuydervelt, April-May 2010. Mastered by Zengyo.
Bewitching cello "looper" mixed like Ed Alleyne-Johnson did in early nineties but not on New Age way. Here it is as closer to J.S. Bach and his Cello Suite than Ed Alleyne. But the method is similar.
A very relaxing performance brings ears to nirvana by sounding rich harmonics from her instrument.
Siting quiet on a sofa savoring these sumptuous melodies taking my mind out of daily customs. This is what I feel while I'm listening to this album. Emmanuel Codden
This is a fascinating aural travelogue that really piques the imagination and engages strong sensory perceptions for me; bringing the 'inward journey' to life.
Koner brings an amazing (and surprising) range of emotions to the fore...there are so many stories being told here and more is unravelled with each listen...
I find myself unwittingly drawn back to these pieces time and again, trying to 'fill in the gaps' and enhance his aural scenarios (or "Sonic Cartography", as Koner calls it) with my own imagination.You can dwell in one location or submit to the ever-moving diaspora...
A truly absorbing and engrossing experience. John Cratchley