Henry Andersen is a Brussels-based visual artist and composer. Trained as a minimal and reductionist composer under the wings of Peter Ablinger, he moved from music into visual art, writing and sound performances.

His debut vinyl (KRAAK, 2017) is a recording of the longrunning piece ‘Stanzas’ or ‘the Law of the Good Neighbour’. On each side, a pair of his friends reads simultaneously from a list of words. The list is an unfinished result of a word game Andersen has been playing for several years. Stanzas… seems to be a precise text-sound composition, a liquid and elegant piece of concrete poetry that reveals the individual qualities of the voices and their interpersonal relation.

But what sounds like a hardcore conceptual and idealist composition has a lot more to it. Being an heir to a playful and prosaic Cagean and Ashleyan tradition, the list of words is a score that acts as a field for an infinite amount of possibilities.

Andersen documents some of these many possible outcomes, expressing an urge to be a human body in space, interrelated with others. The composer reveals on the record another face of conceptualism: as a material, personal and truly moving beauty.

Köhn is the moniker of Jürgen De Blonde, that is as such a moniker for Ed Nolbed. De Blonde debuted 20 years ago on KRAAK with the pivotal album Köhn 1 and explores since then freely unkown and known territories of electronic music in all it’s possible forms and appearances. For Köhn the art of electronic music is a playfield where kraut, Kosmise Muzik, Electro-Acoustic avant-garde, straith forward technoise, field recording, minimalist music, new age are having fun, wielded together with a heightened pop sensibility into a beautiful universe.

He just released his 7th album up to date, Kreis Plön. It documents and envisions 20 years of exploring. It’s an album that is about a fusion of the past and the future, of separation and reconfiguration, of mourning and rejoicing, of noise and peace. Kreis Plön is about geolocation. It’s about probable fiction and looking for bits of different puzzles that fit together. An exercise in linear and perpendicular coherence devoid of any objective logic.

In the middle of the album an artist is envisioning his place in the Now, questioning how or when he got there, as he links memories to imaginary places, and real places to imaginary histories. Kreis Plön stands as such a masterpiece that bluntly envisions the future of electronic music.