Kendra Steiner Editions

October 31, 2014

haunting new album from MATT KREFTING, “Recitals” (KSE #266)

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matt recitals

MATT KREFTING

“RECITALS” (CDR album, KSE #266)

issued November 2014

$8 US postpaid / $11 elsewhere postpaid

payment via paypal to DJANGO5722(at)YAHOO(dot)COM

We’re honored to be releasing a second album from cutting-edge musical renaissance man MATT KREFTING, whose previous KSE album “Sweet Days of Discipline” was widely praised and widely enjoyed. Matt is well-known in the underground for his pioneering work with SON OF EARTH, and he’s also released widely different but equally fascinating albums on such essential labels as KYE and CHOCOLATE MONK. Although record stores might be tempted to put Krefting releases in the noise/drone/bricolage/musique concrete stack (if, indeed, there IS such a stack), there is always a purity of sound, an elegance, and a kind of going back to antiquated roots in his music….hmmm, is there such a thing as rococo post-modernism?

There is always a deep conceptual base to Matt’s albums, although it’s often felt and sensed rather than explicitly stated. With RECITALS, Mr. Krefting has chosen to investigate the world of amateur music recitals, the kind of thing perhaps best exemplified by nephew Jimmy’s fourth grade performance of a Chopin piece at the elementary school talent show. There is an authenticity to such a performance, a raw rickety beauty that today’s jaded ironists often fail to catch, a fumbling yet hyper-real sincerity, and a unique quality to both the environment in which the performance takes place and the function of the audience of family members, family friends, and schoolteachers. As Matt describes it, “they are coached and prodded, then are subject to a bizarre mixture of unrealistic scrutiny and unconditional appreciation that ceases entirely to exist once they reach adulthood….There is such an amazing tension in the sweaty-palmed fumbling of the parent’s hands against the microphone of the video camera as they film their young one offering up the fruits of their labor….RECITALS is a teasing apart of these hopes and fears.”

The source material comes from a combination of found recital material, original music of Matt’s creation and commissioned material, but the pedigree of the tree matters little when the master carpenter fashions the wood into an Art Deco cabinet in his workshop, and we are in the hands of a master craftsman with Mr. Krefting.

I know, from keeping in touch with Matt over the months of this album’s creation, that a lot of thought and a lot of time-consuming re-fashioning and editing and tweaking went on after the basic album was completed, but Matt labored over the handiwork until the gongs resonated at just the right frequency, so to speak.

And the programming of the album is brilliant, again clearly the result of a lot of thought. The first two tracks (of nine total) ground us in a somewhat known reality, but beginning with track three, we are taken off the main highway, in the dark, on unlit back-country roads in an unknown territory. I dare anyone to predict where this album is headed, once it starts to kick in. Krefting is the captain of this sound-ship, and he’s taking us on a kind of magical mystery voyage into waters not found on any map. Truly, this is a HAUNTING album, an album of great beauty, a work that is sweet-and-sour, a work that has a delicious sense of melancholy. I don’t think it’s like anything else around. The world is a more interesting place because Matt Krefting is an artist working in it…and using chunks FROM IT in the creation of his work.

Also, there aren’t a hell of a lot of people around who can simultaneously be a featured artist in the Mimaroglu Music experimental music catalog AND  sing you a deep and heartfelt version of a George Jones song in a way that can break your heart…MK is one of a kind, and we at KSE are proud to offer you this haunting and unique creation, RECITALS.

Don’t delay in getting your copy, as it’s an edition of 133 copies….

$8 US postpaid / $11 elsewhere postpaid

payment via paypal to DJANGO5722(at)YAHOO(dot)COM     please mention “Krefting” or KSE #266 w/ your order and also provide your mailing address (which Paypal sometimes fails to….thanks)

MATT photo-19

photo: Jaime Pagana

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OTHER   KSE  CDR’s  NOW AVAILABLE: 

full-sized CDR’s ($8.00 each, ppd. in US—outside US $11 )

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2014:

KSE #291 (CDR),  MARCUS M. RUBIO, “Cities Sinking Down”

KSE #286 (CDR ), FOSSILS, “The Cardigan Hour” (limited to 48 copies, a co-release w/ Middle James Co.)

KSE #289 (CDR) A. J. KAUFMANN, “Stoned Gypsy Wanderer”

KSE #285 (CDR) SMOKEY EMERY (aka Daniel Hipolito), “Live At The Hideout Theatre”       

KSE #288 (CDR, spoken-word poetry), BILL SHUTE, “Worried Men and Wooden Soldiers: Bill Shute reads selected 2013-2014 poems,”  produced by Marcus Rubio

KSE #275 (CDR), ALFRED 23 HARTH, “China Collection”

KSE #281 (CDR), FOSSILS, “Wooly Bully” (a co-release with Middle James Co., only 20 copies available from KSE)

KSE #279 (CDR), ERNESTO DIAZ-INFANTE, “Wistful Entrance, Wistful Exit”

KSE #274 (CDR), MASSIMO MAGEE/TIM GREEN/MAX FOWLER-ROY, “Relentless Communion”

KSE #257 (CDR),  ALFRED 23 HARTH, “Micro-Saxo-Phone, Edition  IV.”

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and coming  later in 2014 (not available yet)….

mid-late DEC:     KSE #284 (CDR), BRENT FARISS, “Folk Song For 27 Oboes”

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note: earlier KSE releases from MATT KREFTING (all out of print now):

KSE #259, THE PRINCESS OF KNIGHT AVENUE (poetry chapbook)

KSE #220, SWEET DAYS OF DISCIPLINE (CDR album)

KSE #272, POLYMORPHOUS URBAN: POEMS FOR LOU REED (poetry chapbook, includes poems by MK, Jim D. Deuchars, Michael Layne Heath, Luis Cuauhtemoc Berriozabal, A. J. Kaufmann)

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as always, thank you for your support of independent arts collectives such as KSE…and of unclassifiable original artists such as MATT KREFTING…

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March 24, 2014

now available, POLYMORPHOUS URBAN: POEMS FOR LOU REED (KSE #272)

“There was violence in Lou Reed’s music that made the tender moments ring true, just as there was tenderness that made the violence all the more stunning.” — Matt Krefting

“Lou Reed was simultaneously way too smart for rock n’ roll and dumb enough to believe in its redemptive power.”–Brad Kohler

$7 postpaid in US / $8 postpaid elsewhere………..payment via paypal to   DJANGO5722(at)YAHOO(dot)COM

lou

now available…KSE #272 (poetry chapbook)…POLYMORPHOUS URBAN: POEMS FOR LOU REED.

LUIS CUAUHTEMOC BERRIOZABAL…JIM D. DEUCHARS….MICHAEL LAYNE HEATH….                                                                                                                                                    A.J. KAUFMANN….MATT KREFTING

Lou Reed. He was still alienating people in the last months of his life. People were walking out on his (brilliant) Metal Machine Trio shows because there were no “songs.” And do we even need to mention the polarizing LULU album or his head-scratching praise of Kanye West’s YEEZUS. In the local newspaper here, on the event of his passing, the musicians who’d opened for him or fans who’d tried to talk with him described with pride his telling them to “f*ck off,” with the same doe-eyed love in their tone as if they were a elderly lady who’d once been given a scarf by Elvis at a 1972 concert in Murfreesboro.

Reed’s work was life-changing for many listeners, no matter when they got onboard the train. I was too young to have heard or heard of the Velvets during their active years. I picked up 1969 LIVE while in high school and immediately had the sense that THIS IS HOW ROCK N ROLL OUGHT TO BE PLAYED. I then went back and found WHITE LIGHT WHITE HEAT, and as I’d already heard Anthony Braxton and Albert Ayler, when I heard Lou’s guitar solo on “I Heard Her Call My Name,” it all came together…and at the same time it all came apart. And I’ve never been the same…

I’m  old enough to remember reading Lester Bangs’s articles on Lou back while they were being published in CREEM, and like many teenagers, I got caught up in that long-running feud–whatever the reality behind it, it helped Lester’s visibility, it helped Lou’s visibility, and it sold copies of CREEM. I stayed with Lou over the years, and to his credit, he continued taking chances until the end. Lou Reed albums were not run past a focus group before release. They were not test-marketed. I think that one thing we all admired about him even when we did not like or enjoy particular albums was that he truly did not care at all what anyone thought of his work. All of us who labor in obscurity doing work that’s outside the norm, and also outside the alternative norm, can point to Lou as a man who never did what was expected and who liberated us from the model of allowing gatekeepers (or “underground” gatekeepers) to affect our work.

Reed opened doors…not out of politeness toward those following him, but because the door was in the way so he kicked it down without a thought. He needed room to breathe…down came the wall, in came the light…

As KSE is a press-label with a commitment to both cutting-edge contemporary poetry and contemporary music, the core of us here starting talking about what to do to celebrate Lou Reed’s life and work before the sun set on the day he died. Jim Deuchars suggested a poetry chapbook, and within a day I’d invited A. J. Kaufmann and Matt Krefting and Michael Layne Heath (all both musicians and poets…hmmm, do I sense a pattern here?) to come up with work that somehow was inspired by Lou Reed. The next day, my friend and longtime KSE poet Luis Cuauhtemoc Berriozabal sent me a poem he’d written about Lou in the past and thought I’d appreciate in the time of Lou’s passing. I knew that beautiful poem had to open any KSE collection….I asked Fossils co-conspirator David Payne, whose watercolor artwork I’ve long admired, to create new Reed-inspired work to grace the cover.

We’ve assembled our KSE poetry A-Team for this one…brand-new, white-hot poems inspired by Lou Reed from

LUIS  CUAUHTEMOC BERRIZOBAL (Los Angeles)

JIM D. DEUCHARS  (Pittsburgh)

MICHAEL LAYNE HEATH (San Francisco)

A. J. KAUFMANN (Poznan, Poland)

and MATT KREFTING (Western Massachusetts).

With cover art by DAVID PAYNE (Hamilton, Ontario). Edited and compiled by yours truly, Bill Shute

 

As with Lou Reed’s work, the experimental and the lyrical are intertwined here in these poems, the abrasive and the tender…

Limited hand-assembled edition of 125 copies, and more than half are already gone SO ACT NOW…

LOU REED COVER

now available…KSE #272 (poetry chapbook)…POLYMORPHOUS URBAN: POEMS FOR LOU REED.

LUIS CUAUHTEMOC BERRIOZABAL…JIM D. DEUCHARS….MICHAEL LAYNE HEATH….                                                                                                                                                                          A.J. KAUFMANN….MATT KREFTING

$7 postpaid in US / $8 postpaid elsewhere………..payment via paypal to   DJANGO5722(at)YAHOO(dot)COM

 

January 3, 2014

last call for KSE 2013 releases…very few remaining on most…

KSE has a strong release schedule of both music and poetry lined up for 2014 beginning in February with our EGG, EGGS album, but until then, we still have some great 2013 items available in limited quantity–no wholesale on any of these. About a dozen other 2013 releases are sold out and/or have been deleted from the catalog in the last week (Forbes Graham, Unmoor, Bill Shute & Marcus Rubio, Venison Whirled, etc.). Here’s what you can still get if you act fast:

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CHAPBOOKS/CDR’s  NOW AVAILABLE: 

full-sized CDR’s ($8.00 each, ppd. in US—outside US $11 )

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

tom creandjin pcw everafter r6fossilsA23H  4ERNESTO LIVE ALBUM .    .

KSE #240 (CDR) SPRILLS OF ORE (Eva Kelly), “Time Mirrors”

SPRILLS OF ORE

 

 

 

 

 

 

 

 

 

KSE #260 (CDR) TOM CREAN, “Wired Love” (solo guitar and banjo explorations)

KSE #255 (CDR), ERNESTO DIAZ-INFANTE/LISA CAMERON/LEE DOCKERY, “Live At the KSE 6th ANNIVERSARY CONCERT”

KSE #257 (CDR),  ALFRED 23 HARTH, “Micro-Saxo-Phone, Edition  IV.”

KSE #254 (cdr), DJIN AQUARIAN/SIR PLASTIC CRIMEWAVE & THE EVERAFTER, Live in San Francisco 10/2011

KSE #239, (CDR) FOSSILS, “Bells and Gulls” 

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SPECIAL EDITION POETRY CHAPBOOKS from Lambkin and Krefting ($7 each US postpaid…or $8 each postpaid outside US)—VERY LIMITED STOCK ON THESE TWO

KSE #258, GRAHAM LAMBKIN, “SLIMERS VERB”

graham cover

KSE #259, MATT KREFTING, “THE PRINCESS OF KNIGHT AVENUE”

dusk with carol

OTHER poetry chapbooks ($6 each, ppd. in the US, $7 elsewhere…):

KSE #265 (art-and-poetry chapbook), BILL SHUTE, ‘The Language of Construction”

KSE #263 (poetry chapbook), BILL SHUTE, “Worried Men and Wooden Soldiers”

KSE #250 (poetry chapbook), DOUG DRAIME, “Dusk With Carol” (cover art by Wyatt Doyle)

KSE #249 (poetry chapbook) A. J. KAUFMANN, “Hosannah Honeypots” (Sound Library Series, Volume 72)

KSE #236 (poetry chapbook)  JIM  D.  DEUCHARS, “Thelonious Fakebook”  (Sound Library Series, Volume 71)

KSE #261 (art-and-poetry chapbook), DANIEL HIPOLITO & BILL SHUTE, “Meditations on a One-Way Trail”

KSE #249 (poetry chapbook), A.J. KAUFMANN, “Hosannah Honeypots” (Sound Library Series, Volume 72)

HOSANNAH, cover

KSE #256 (poetry chapbook), BILL SHUTE, “Led Along”

Thelonious

MEDITATIONS...

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led along

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