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Bas van Huizen * Wouter Veldhuis




Is there such a thing as Single Word Poetry? I guess there is, though Bas van Huizen may be the only one writing them. (*)
And he is using his one word poems as track and album titles: Huichelfluit, Geestontschemer, Verstijversei, Torrewolk… Each of those are words that do not exist at all yet convey a range of emotions from the meaning of its parts. It will not be understood by non-dutch speakers, and they are also untranslatable as they are inexplicable.
I could try to translate the album title to something like Nonsensemumbler, but it immediately loses its strength. Oh well, you get the idea.


Kulverzuchter is Bas Van Huizen‘s third album on the Moving Furniture label, after Kluwekracht and Waanzintraan, and it’s his tenth full album since 2008.
Compared to the two earlier releases, Kulverzuchter is quite a step away from the noise approach on those albums, while still clearly recognisable in style: ‘the textures are toned down and the sound less layered – keeping things subtle and implicit resulting in plenty of vaguely shifting moods”. Yet still he creates soundworlds ‘exploring contrasts and contradictions’ …. music that is as enigmatic as its titles.

Be sure to check out the video too for a taste of Van Huizen‘s otherworldly absurdism.

(*) – About one word poems: I only found a few online references to one word poetry. And only very few examples, such as this one from David R. Slavitt (1935):


So, based on my short (and unscientific) Google research on the subject, I dare to say that Bas van Huizen has taken this poetic genre to a whole different level!

Wouter Veldhuis


As far as I know, Wouter Veldhuis has released four albums since 2008: Satuuma (now also on Bandcamp), The Endless Now and Blue Forest (both on Organic Industries), and, recently, The Center Of The Story.
With its 74 minutes (for twelve tracks), it has the length of a full CD, but there is no physical edition available: the album is only available as a digital edition on various platforms like iTunes, Amazon, Spotify, and Bandcamp.

Veldhuis presents his music without any further introduction, so the only information we have are the track titles. Most of the tracks are relatively short atmospheric sketches, ranging from about two to seven minutes, with the exception of the closing track There May Be No Center (Oops – spoiler alert!) which unfolds in 15 minutes.

There’s no information about the instruments and setup he used either.. and in fact there’s no need to know about that because the music speaks for itself.
Veldhuis paints with simple but effective strokes – spacey synth sounds creating calm, floating, atmospheric ‘classic’ ambient.

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Bas van Huizen, Orphax, Chihei Hatakeyama, Dirk Serries


You only need one short look at the (A5-sized) cover to know that you’re in for something different. The title is – as usual for Van Huizen‘s releases – untranslatable: a nonexistent dutch word which could mean something like ‘entangled force’.

‘Van Huizen searches for music that can speak for itself’.
And so it does – but once you watched the fantastic teaser video (check below) there’s no escaping the striking surrealistic images conjured by this combination of sound and images!

Kluwekracht is created from voice, guitars and singing bowls – but the resulting power ambient is never far from noise and may not be anything like what you would expect from this combination!

Dream Sequence

For this short 3″ EP-release – the first of a series ‘with a dreamy touch’ – Orphax (Sietse van Erve) used a 40 year old Digisizer DIY synth to create the basic drone material.
‘A weird machine that has a high random factor and many errors’.
The result is a nice meandering, adventurous – yet dreamy – drone piece with enough variation to keep your attention for its full 21 minutes length.

Five Dreams

Once you’ve heard a few of his releases, you’ll immediately recognise the soothing sounds of Chihei Hatakeyama.
The calm, slow and peaceful meditations on Five Dreams are no exception.

Inspired by Ten Nights of Dreams‘ by Soseki Natsume, which were each set in different time periods, Hatakeyma presents his interpretations of five dreams, each one from a different month.
The basic sound files were recorded in 2008 using an electric guitar, but Hatakeyama took all the time he needed to edit them until they were ready to be released.

Storm of Silence

The Glacial Movements releases are all related to winter, and cold desolate icy landscapes.  So is this collaboration of Chihei Hatakeyama with Belgian ambient music veteran Dirk Serries:

“My work with Chihei is one for the winter. Amidst the icy landscapes, the isolation and the desolate space. When nature becomes almost super linear, less expressive in colour but with equal strength and severity. […] Chihei’s approach to my sources were different, more isolated, perhaps colder and distant. Almost like something you witnessed in the distance on the horizon, something less concrete and hard to define.”

A perfect description of the seasonal ‘isolationism’ in these recordings, but at the same time I never really feel any ‘coldness’… I feel nothing but ‘warmth’ when listening to this music.
Not the kind of tropical, festive summer heat of course, but the kind of warmth you feel when you decide the weather’s too bad to to go out an so you stay at your comfortably heated home to surrender to the dark and sleepy winter days.
So: perfect winter music indeed.

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