Kintsugi Empire, the brainchild of Pieter Holkenborg, known for his roles in bands like Atlanta and Geishas Of Doom, unveils his latest musical endeavor with the album ‘Shun.’

Released on Lay Bare Recordings/Sound Of Niche, ‘Shun’ is a captivating fusion of multi-instrumental talent and thoughtful songwriting. Embarking on a sonic journey through themes of resilience and introspection, ‘Shun’ offers listeners a poignant exploration of human experiences. Each track is a tapestry of emotions, woven together with intricate melodies and evocative lyrics.

Holkenborg’s musical prowess shines through on every track, showcasing his versatility as a songwriter and performer. From soul-stirring ballads to energetic anthems, ‘Shun’ delivers a diverse range of musical landscapes, inviting listeners to immerse themselves fully in the sonic narrative.

Backed by the dynamic rhythms of Daan Wopereis on drums and the resonant basslines of Sebas van Olst, the live performances of ‘Shun’ promise an electrifying experience for audiences.

“Shun is my small ode and an unsolicited word of encouragement to everyone who is feeling lost”

Tell us about your alter ego, “Kintsugi Empire,” and the exciting upcoming release of ‘Shun’.

Pieter Holkenborg: The creation of ‘Shun’ started during corona. Music is my outlet, and my social life takes place almost entirely in band vans, halls, backstage areas, rehearsal rooms, studios, etc. And with corona, it all came to an abrupt halt. I found it a frustrating and confusing time. “If I can’t do all this anymore, what can I do? And who the hell am I without it?” I wondered.

That whole time seemed endless, and my thoughts drifted more and more to the past and to moments when the world was not in that stranglehold. The advantage of making music is that you regularly come into contact with unusual people with a different view of the world, and you develop a completely different view of nightlife. You are then in a somewhat different atmosphere than, for example, at the coffee machine at 8:30 am with a colleague, so sometimes something crazy comes your way, so to speak. I wrote down a number of such encounters in text, then wrote music for them, and ultimately rewrote the stories into song lyrics. Since I couldn’t go into the studio with a band due to the corona restrictions, I played most of the instruments myself.

When the record was finally finished, I sent all the music to Désirée Hanssen of Lay Bare Recordings/Sound Of Niche. There aren’t many people in the music world who are open to something like that, but with her, I knew I was in the right place. Fortunately, she was very enthusiastic, and she is doing a great job with the release. ‘Shun’ appears on vinyl in combination with super cool photos by photographer Maaike Ronhaar. She took a suitable photo for each song, really beautiful. Jop Luberti has designed very special artwork, and all this together makes it a real collector’s item for diehard music freaks.

Now that an album is coming, a live band is also worthwhile, and together with my mates Daan Wopereis (Temple Fang/Geishas Of Doom) and Sebas van Olst (Atlanta/Typhoon), I have – as far as I am concerned – a very strong trio together. That’s why I no longer wanted to release ‘Shun’ under my own name, and that became ‘Kintsugi Empire.’ Kintsugi is a Japanese art form in which broken ceramics are restored with gold, silver, or platinum. The idea behind this is that you do not brush away fractures to invisibility but rather accentuate them to show the imperfection. I thought that fit well with the idea behind the music.

Could you tell us about the inspiration behind the ‘Shun’ album?

The common theme of ‘Shun’ revolves around various encounters with individuals who have, consciously or not, chosen a life on the margins of society. Conversations during these encounters ranged from intense and open-hearted to dark, incomprehensible, and sometimes (tragi)comic. I often contemplate the idea that not much needs to happen in a person’s life to lose control over existence. In the past, I have found myself at such a point. When I meet people who have lost control of their lives, there is a bizarre combination of recognition, curiosity, compassion, and voyeurism that prompts me to initiate a conversation. Although I’m generally not interested in “small talk,” I am rarely disappointed during such encounters. ‘Shun’ is my small ode and an unsolicited word of encouragement to everyone who is feeling lost, wandering the world or their mind, and to everyone forging their own path, regardless of the destination.

<a href="https://kintsugiempire.bandcamp.com/album/shun">SHUN by KINTSUGI EMPIRE</a>

What is your typical creative process when composing music solo? How would you compare it when working in your other bands?

When it comes to songwriting, my process is usually the same, regardless of whether it is solo work or a song for a band I play in. I work old-fashioned: acoustic guitar, a pen, and a piece of paper. I don’t have a home studio, so I don’t record anything. I just keep messing around with my guitar and the words until I’m satisfied. Then I play it in the practice room to the other musicians. But most of the songwriting actually happens in my head. The basic idea of a song keeps going through my head, and over time more and more elements are added. A bass line, certain drum fills, a harmony, etc. In the case of ‘Shun’, my head was really full of all kinds of music, different parts, and ideas, because I was on my own this time. When I finished recording, I remember being completely blurry. My head was clear again, I think.

Did you collaborate with any other artists or musicians on this album? If so, how did these collaborations influence the final product?

Yes, a few. Patrick Tilon, better known as Rudeboy from Urban Dance Squad and Junkie XL, among others, sings on the song ‘Charlatans’. Actually, it’s a kind of duet, but a very strange and loud one. He also wrote the great lyrics for the verses and suggested using this title. Patrick is truly a phenomenon. He’s got it all. I feel like a blessed person to have him as a good friend in my life and as a musical source of support.

John Jansen (Derek Trucks/Ilse de Lange, among others) plays pedal steel on ‘Memories Of A Guardian Hitchhiker’. It’s such a damn difficult instrument to play, I can’t play it at all. I didn’t know John yet, but Sebastiaan van Bijlevelt (technician and producer Galloway Recording Studio) recommended him. I am extremely happy with what John has played.

But actually Sebastiaan is the main person I have worked with. He is very direct. Some people find that difficult, but I love it. He helped me enormously in making decisions. In addition, he is a fantastic producer and a creative weirdo. So it couldn’t be better.

Can you walk us through the creation of the tracks from the album?

That’s not easy to get back. Like I said, most of it happens in my head, after I’ve built a foundation on the acoustic guitar. While daydreaming, I slowly but surely put together a song and eventually an album. I think it’s better that no one gets to know what I think and dream about, so let’s leave it at that regarding this question haha.

Is there a particular track on the album that holds special significance to you? If so, why?

The simplest answer would be: all numbers, of course! And that is true, but ‘Ghost Of A Ghost’ is, for me personally, the most intense song. I’m never going to play it live either. I wrote it, recorded it, and that’s it. I hardly ever listen to my own music, but I would personally skip this song anyway. The text, in particular, is very personal and literal; normally, I’m not that into that, and I prefer to keep it a bit more vague, but not this time. The music demanded it. Everyone can decide for themselves what it is about. The song may have a different meaning for me than for someone else. I don’t want to fill that in for someone else.

What’s next for you now? Are you planning to play any gigs?

Absolutely! The first performances are now planned, and I am really looking forward to them. It’s really cool to play these songs live with Daan and Sebas. The choice for a trio was conscious. I hope to evoke the atmosphere of Jimi Hendrix meets The Wipers, but in our own way, of course. The past rehearsals – as far as I’m concerned – promise a lot of good things. I also play in Geishas Of Doom, Atlanta, and Hilltop Howlers, and I am also releasing albums with those bands this year, and I play quite a lot. They are completely different bands than Kintsugi Empire, and I also have a completely different role in those bands. I look for that variety as a musician. As Mike Watt once succinctly put it: “I think fucking genre is for squarejohns.”

Klemen Breznikar

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