Although my description may raise the suspicion that this is too experimental to be audible, "Dworr Buun" certainly falls into the category of "real" music. The beats are multifarious but stay in the 4/4 techno region, like in "Hoe Tarr", or sometimes a bit jazzy, as in the final track "Dongstra". This creates somewhat catchy songs, and if the lyrics were in a more convenient language, you'd certainly sing along after a while. The production is clear, and because of that all the electronic effects are easy to hear. Still the album has a really organic and natural feeling because of the use of vocal samples and the recitations of the poems.
"Dworr Buun" is a strange, but excellent work of experimental electronic music.
The verbal work of Jaap Blonk is both impressive and fascinating.
musique[machine]
The texts are included, all scan and rhyme perfectly and they evidently mean something to Blonk, who declaims them with gothick Jabberwockian intensity. Rob Daenen and Theo Bodewes both use their samplers to great effect, and Bodewes also conributes some hard-driving percussion. Strip away the wacky lyrics and some of the wilder samples, and this is basically an indie rock cabaret album, and a very entertaining one at that.
Signal to Noise
As perhaps to be expected, the results are free of identifiable genre, with a sometimes rock beat intertwining with electronic manipulation and a seemingly clear and articulate recital of words. Blonk’s verbal gymnastics are always imbued with a majesty that belies the words. Here, the warped manipulations and rock-drenched rhythms are suited to Blonk’s twisted sounds that surprise and even shock. One of the vocalist’s most radical exploits, this one is unlikely to reach a large audience, but it should satisfy many of Blonk’s existing admirers (although some may object to the rap/rock repetition), and even attract new fans. The words may not be understandable,
but the music and lyrical quality of Blonk’s voice are a compelling mixture.
All Music Guide to Jazz (Steven A. Loewy)
Each textual skeleton is fleshed out into densely textured song form. Syllables initiate rhythms and blend or clash with plundered instrumental snippets. Blonk wheezes out the words, or assumes an air of arch declamatory seriousness. Ground into particles or subjected to technological transformations, it soars, crashes, growls, squeaks and gyrates around Bodewes's crisp pulse. Some tracks inject rock's directness into complex trio interactions, comparable with expansive rock outfits such as Chris Cutler's Cassiber.
On BRAAXTAAL's previous album, Speechlos (Kontrans), Blonk stuck to the naked voice.
But the sample-enriched Dworr Buun is a more enticing key to the sound poetry portal.
The Wire
Blonk’s often absurd or comical lyrics have turned to sound poetry. The listener loses very little in the process, except for the illustrative dimension of
the music on the previous albums. Now, the limping avant-pop tunes simply
make no sense. Blonk stretches his voice in inhuman ways, from demented
crooner (the hilarious “Dongstra”) to animal beast. Dworr Buun is
harder to listen to, it requires a bigger effort mainly because the music
has become more serious. Even after a few spins the listener attached to
Speechlos will miss the impact of “Ach” or the playfulness of
“Électrique” and “Rational.” Still, this CD has a lot to offer and
expands BRAAXTAAL’s post-modernist pop esthetic. Since most pop songs
have no real meaning anyway...
All Music Guide to Jazz (François Couture)
Although I know Jaap for a long time, I saw him perform
live only very recently. Shame on me of course. I was blown away
by the sheer concentration, timing and the addition of live sampling
of his voice. It was a techno set, produced by voice only. Here of
course things are a little bit more complicated. A complex web of
rhythms, electronics and layered voices. Sometimes resulting even in
a crossover between techno and rock, such as in 'Hoe Tarr'. Sometimes
even symphonic with a more pathetic recitation of texts, but always
in for a surprise. Braaxtaal gets therefore much more closer to music
(you don't have to call it, if the term...) than the more
experimental solo works or improvised collaborations with others.
A more then excellent production.
Vital Weekly
Onderlands, de imaginaire taal van Jaap Blonk, zweeft ergens tussen Deens, Nederlands en Fries. Blonks taaltje werkt nieuwsgierigmakend, en gedijt prettig tussen de ritmische elektronica van de groep BRAAXTAAL. Want BRAAXTAAL kent een helder evenwicht. De samples en weirde zang gaan alle kanten op, anderzijds blijven de composities herkenbaar, met bezwerende basloopjes of modernklassieke klankkleuren. De drumcomputer fungeert als houvast, maar saai wordt het nooit.
Fake Magazine
Blonk suggereert met de science fiction-achtige muziek en zijn articulatie van het Onderlands wel allerlei emoties die veel aan de fantasie van de luisteraar overlaten. De groep zorgt er ook voor dat er grote variatie is in de muzikale vormen. Omdat ook de instrumentatie weinig houvast biedt qua referenties, maar wel emotionele stimulansen schept, is 'Dworr Buun' als een avontuurlijk abstract hoorspel.
Jazz Nu
Hoewel de plaat van Blonk, Theo Bodewes en Rob Daenen bol staat van de elektronica, zou je dit maar tot op zekere hoogte elektronische muziek kunnen noemen. Er zijn volop menselijke elementen aanwezig, die het geheel levend, spannend en meeslepend maken. De musici laten de apparatuur voor zich werken, de techniek neemt nooit de overhand. Op Dworr Buun staat nooitgehoorde en fantasierijke muziek die geen moment verveelt.
Het Parool
Blonks Stimme erschallt wie eine Art dadaistischer Darth Vader aus den oftmals frei improvisierten, surrealen Soundscapes, elektronischen Klanggewittern und digitalen Hustenanfällen. Zum Schuss wandert man noch in eine Art LSD-Land der Schlümpfe mit einer schunkeligen Melodie, in die sich Zerstörende Klangästhetik einmischt. Die Musik von BRAAXTAAL bleibt immer verwirrend, vereinnahmend, unkalkulierbar, unerforschtes Terrain auslotend. Und das ist nicht das Schlechteste.
Jazzthetik
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Kontrans 448
Recorded by Jurre Wieman at Edgetip Studio, Arnhem, Netherlands, July 23-25, 2001
Mixed by Chris Weeda at Studio Le Roy, Amsterdam, Netherlands
Mastered by Hans Strikkers at Mediatrack, Amsterdam, Netherlands
Produced by Jaap Blonk
Designed by Karin Meijlink
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Rob Daenen
Theo Bodewes
sampler
drums, sampler
Koekela Dast
Zood Vooiig
Glag
Riekeleu Vuisma
Hoe Tarr
Glag
Glag
Dworr Buun
Glag
Dongstra
Zood Vooiig
Glag
Riekeleu Vuisma
Hoe Tarr
Glag
Glag
Dworr Buun
Glag
Dongstra
6:19
8:25
1:38
10:12
7:30
0:40
0:59
11:19
0:37
5:48
8:25
1:38
10:12
7:30
0:40
0:59
11:19
0:37
5:48