Current vinyl album by keit, a never
After the CD bidimetoloves from 1996 and various subsequent limited CD and streaming releases, the vinyl album will be released in summer 2020 a never. Again "very fine, dense, filigree, present - cellar, knotty, regressive, stubborn, sysiphic, mysteriously depressed, highly charged - but must not come out of its skin" (Joachim Rüsenberg, author, musician) and yet also satyr-like liberating:
The unmistakable sound (beyond conventional genre assignments) by the Düsseldorf duo Klepsch and Grube; but this time more song-oriented, more consistent in the arrangements. The language, the singing ... to some extent gropes its way to the Dionysian origins of phonetic expression - to an onomatopoeic poetry, to something that cannot be known, but which can be experienced by everyone.
Each record comes with a lyrics booklet in DIN A 5 format.
Axel Grube: drums, electric bass, clavinet, vocals
Detlef Klepsch: e-guitar, a-guitar, banjo, vocals, harp, synthesizer, recorder
All compositions by Axel Grube and Detlef Klepsch
Recorded by keit in 2018-2019 at keit-Studio, Düsseldorf, Germany
Mastered by Kai Blankenberg, Skyline Tonfabrik, Düsseldorf, Germany
Scan + design: Detlef Klepsch
© 2020 / LC 57541
From now on here in the shop order.
The first album: bidimetoloves
All songs and compositions by Detlef Klepsch and Axel Grube.
First edition produced by Axel Grube, Düsseldorf, Germany. Published by -keit records in 1996
E - and acoustic guitar, banjo, harp, fuzz organ, percussion, vocal, electronic toy
E - and double bass, prepared piano, drums, percussion, vocal, clavinet
Karl Bruckmaier, Süddeutsche Zeitung, 1997
Harald Heusner, Superstar Magazine, 1998
Audio samples - bidimetoloves
keit is a musical project that was initiated by Axel Grube, owner of Onomato Verlag, and Detlef Klepsch, musician and artist, in Düsseldorf, Germany, in the early 90s. The first CD, produced by Axel Grube, was released in 1996 on its own label with the title "bidimetoloves".
The musical collaboration has been maintained over the years and has resulted in various limited edition releases.
Since the 90s, in the course of further musical development, “keit” has moved stylistically away from Captain Beefheart and developed more and more forms of expression of its own. The singing made up of fantasy texts, the tracks based on improvisations, the arranging editing on the computer and the breaking up of traditional pop and rock song structures are characteristic of this.
Axel Grube did an internship at Conny Plank, was co-owner of a recording studio, published an LP in the early 90s with the title “mentocome” in collaboration with Rainer Rabowski (author and founder of the cassette label “Klar 80”) and has been the owner since 1998 of the Onomato publishing house in Düsseldorf.
Detlef Klepsch received his master class certificate from Professor Nam June Paik at the Düsseldorf Art Academy, and has been working as a freelance musician and artist since then. During his studies and afterwards he participated in several actions of the performance group "minus delta t" and was involved as a guest guitarist in their LP production "Opera Death". Since 2019 he has been co-director of the Neue Kunstraum (NKR) in Düsseldorf .
Rainer Rabowski, Author, friend of the house wrote:
“The cheerful getting lost, the happy finding ...
Two musicians from the area - perhaps more from the periphery - the D'dorf indie / music & art scene…. operate: speed
Founded at the beginning of the 90's as a “happy science” project, the band took a lot of time to find their peculiar way of working on the form in processes of loosening and detaching from given structures:
It is the snapshot, chance and agility of clairvoyance, the improper, surprising, impulsive moment; it is the roughened, the living, instantaneously without certainty, the open, non-deducible, unthinkable valid moment that seeks to give itself the new context of its fleetingness: the intuitive moment - it is already the right one.
- And samples, selected patterns from them, in their widely ramified condensation (possibly again) result in starting points, arrangements of this inauthenticity. - 26, innumerable ... these moments that cannot be told in any other way are present here. "
“... and here comes keit: There are sequences of mostly short units of rhythms and riffs, and their disintegration, there are melodies, songs, brittle, awkward, ironic approaches and again taken apart, over several arcs of tension of songs, concentrated moments of strength and straightness fragility still held together. What is noticeable is the balance, the sure feeling for the economy of the setting: a composition made up of parts that were spontaneously created elsewhere, each of which, however, retains a balance, lightness and always the optimal minimum of the instrumentation, and it actually exists ( even if only from guitar, bass, percussion, “vocals”) from an immense variety of voices.
What is needed is the ability to differentiate. Here the pieces are called “eggotisters”, “stiebel” and “wud eled”. In this way one avoids ascriptions and of course does not escape them. (Already being an orphaned suffix points to a certain half, a basic stem of a generalizable of desemantizations and ambiguity. In a restraint, possibly evasion from the obligation (also the “singing voices” practice themselves in a crypto or remotely reminiscent of Dada spoken language (the but here has left its demonstrative character behind: each vocal sound serves the “feeling tone” of the song), the pieces seek - they also use structural elements of the rock song and their citations - to evade the fluency of their formal level (their “ Codes ”, a“ language ”which in its attempt at verbal formulation cannot do without numerous parentheses).
Corresponding to this is a striving for precise, momentarily happy, valid finding (improvisation); it is one on a kind of heterogeneous edge of the preliminary of echoes and sound, diverse, isolated and branched out in lyrisms and atonal and moments of chaos-concretions; There is an attempted unfinished thing, something of “meta” but without “discourse”, in his ensembles a moment of intelligibility in perhaps an old predilection or an attachment that want to go back beyond their level of knowledge: in the end it is actually a game again that tries to take their expressions in many signs in his operations, to forget something known in them, to regain a free space of the self-evident; there is something of the charm of the disparate, of fragments of incompatibility, which can suddenly soar to their highest notes, to the extent of their collapse with the context: unrecognizable enough small transformations, between-line interlinear versions ... and everything actually remains very simple.
And this strength, your momentary success, is then sometimes this weakness: the music, in a successful balance on its level, he / she also defines its own discipline - an open outcome, he predicts himself. So even when the questionable has, as it were, gone through their faculties, the certainties are found again, they now touch the carelessness of their comprehension, that and how every idea is already their different apprehension and do not extend far enough into what is actually not understood, to what any (advance) knowledge, everything desemantized always remains lost and actually becomes unspeakable. "
Short music and sound pieces
Some sound pieces and short pieces of music from von von's many years of work keit (Detlef Klepsch and Axel Grube) and mentocome (Rainer Rabowski and Axel Grube), which were used on some audio books from onomato Verlag.