Martijn Comes
Manifest Exodus
200 copies on black vinyl. As a composer Martijn Comes has a special interest in timbral music and various musical traditions, with an emphasis on the electro-acoustic history. His works for the carillon were performed live at festivals like Le Guess Who and Rewire. He also released several solo-albums and collaborated with a wide range of contemporary artists like Frans de Waard, Lukas Simonis, Nicoleta Chatzopoulou and Hessel Veldman, with whom he co-produced the album EPoX, published by Bedo…
Equal Weights
*200 copies limited edition* "On Equal Weights, Dutch sound artists Frans de Waard and Martijn Comes are tightening the bond of their collaboration without ever actually responding to each other. This paradox was made possible by a remarkable creative process: First, de Waard created two empty containers – acoustic canvases of a predefined length – and added his own sonic brushstrokes to them. Then, he sent them to Comes, who finished the “paintings” by filling in the blanks. What could have tur…
Regering
With the album 'Regering' (dutch for ‘Government’) the duo Martijn Comes and Lukas Simonis release their first record together.
Various Weights
In sound art, concepts often take precedence over the actual music. Here, there were none. For their first collaboration, Frans de Waard and Martijn Comes decided on a strikingly simple approach: Each artist compiled a pool of sounds for the other to use as a point of departure. Comes worked with various analog synth- and field recordings by de Waard (including, among others, a Korg MS20 and Koma Field FX). The latter was sent a processed stylophone recording, a sample loop as well as recordings…
Crystalline Tragedies / The Procession - Distant Motionless Shore
For this collective release, Martijn Comes and Giulio Aldinucci neither worked in the same studio together, nor did they share and exchange materials. The two pieces on this LP were composed privately and without any sonic input of the other. And yet, it is far more than just a 'split'. Both pieces were loosely based on a pair of opposites first proposed by Nietzsche: The moral codex of society, as represented by the Christian church. And the realisation that only by surrendering completely to e…
Interrogation Of The Crystalline Sublime
"I hear atmospheres, sound shapes, gestural narratives, spectral trajectories, stochastic rhythms and phasic space when I encounter an environment rich in sonic phenomena. But in order to be open to this meta-sensory information, I must first get my ears out of the way. I don't listen with my ears but with an inner sensory apparatus, what Goethe called "organs of perception," that I have developed over the years. Once opened to this world sound becomes something very different—it's as if one cou…