Kracq | Interview | ‘Circumvision’ – “Dutch prog mixed with avantgarde and electronics”

‘Circumvision’ is an obscure eclectic release from 1978 by Dutch prog band Kracq that originally formed from two bands. Twan van der Heijden, Cees Michielsen and Bert Vermijs were part of King’s Ransom and Jos Hustings was in Carmine Queen.

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‘Circumvision’ is a unique statement from this experimental band that wasn’t afraid to marry electronics with avant garde. ‘Circumvision’, the sole album by Kracq, is a typical case of atypical musical genius that emerges at the vanishing point where diverse musical backgrounds coalesce on a shared appreciation for the genre’s fetishized father-figures. This is a fine blend of organ-driven prog, with sufficient infusions of electronics and avant-garde, just enough to bar them from crossing over to the vast unknown. Overladen with mood swings that will suck your aura into magnetism of relentless decadence, as Husting’s vocals attempt to impose a manageable range of ups and downs amidst the underlying eccentric dialogue between Vermijs’ synths and van der Heijden’s rolling snappy bass-lines, ‘Circumvision’ is a gripping experience from start to finish.

PQR-Disques plusqueréel issued an original release in a different cartographic arrangement of an ever shifting force-field. To make this statement more palpable, ‘Circumvision’s’ new release is equipped with a slightly redesigned (and band-approved) lyrics sheet, and a bonus CD that is packed with soundboard recordings from one of the very few live shows that were performed by Kracq in 1978, as well as two previously unreleased songs that set the listener on the path for a wholly different sonic adventure into what might be described as kosmische acid folktronica.

The vinyl release consists of individually numbered copies (180 gr., with insert + bonus cd ‘Rare and Unreleased’). Strictly limited pressing of 300 copies

We are all very excited about the reissue of your 1978 album, ‘Circumvision’. Are you surprised that Disques Plusqueréel got in touch?

Yes, extremely surprised. In our daily life Kracq wasn’t very present anymore. But to be honest, it’s a very nice surprise as well.

What can you tell us about your musical background? When did you first get interested in music and what in particular influenced you to form Kracq?

Bert: Music was always there. Father was a singer in a Gregorian choir and a big mixed choir. Mother played the accordion. Older brothers played piano, guitar, and drums. There was always classical and pop music in the house. I’m mostly influenced by King Crimson.

Jos: I learned to play guitar when I was 16, had a few classical guitar lessons but was more interested in pop music. The Byrds, David Crosby in particular, later on the early Pink Floyd, Syd Barrett in particular, The Move, Soft Machine, Henry Cow, Caravan, Hatfield & the North, Silver Apples, Van der Graaf Generator, Richard Strauss, György Ligeti, Pierre Henry.

If I understand correctly Kracq was formed in 1977 by two different bands: King’s Ransom and Carmine Queen? Would you like to share some further words about both bands and are there any recordings left by King’s Ransom and Carmine Queen?

Jos: I formed the “band” Carmine Queen as a way of having others perform my musical projects. The name Carmine Queen was chosen with a hint to King Crimson, not because of the music, but because King Crimson hosted so many musicians. As Carmine Queen I wrote a lot of instrumental, sometimes experimental music and a lot of material that still hasn’t been published or performed.

Carmine Queen has a number of home-recordings and King’s Ransom left no recordings.

Would you like to elaborate on the formation of Kracq?

Jos: Before Kracq Twan played in a rock cover band and some jam sessions and there I met Cees. In 1977 Twan asked Bert to join with Cees to play together and they formed King’s Ransom. Around the same time Jos (aka Carmine Queen) was up to something new and placed an advertisement in OOR that he was looking for musicians. Bert came to visit and the try-out was love at first sight. After a few more than successful rehearsals and reassuringly well received live gigs, we decided to go for an album that was going to be published by the foundation Jos was involved with (Pop Promotion Foundation).

Did you have any lineup changes? How long were you together before recording your album?

Jos: About 6 months or so before the album, no change in line-up.

Did you play any gigs before the release of the album, and if so, what were some of the clubs and bands that you shared stages with?

Jos: We just played 3 or 4 gigs. No stage sharing with other bands. We were scheduled however to perform with Saga and Sam Samshuijzen at a festival, but in the end the organisation had to cancel us because of lack of time

The album was released by Unidentified Artists Productions. What’s the story behind this micro label that also released Persephony, Sustain and Saga.

Jos: The label of course had a name with a wink to United Artists (which the owners of UAP did not regard united at all), to make the statement that also unknown musicians could release an album and have full control of it. The label was set up by the Pop Promotion Foundation which stood for giving artists a fair share and ownership of rights.

How many copies were pressed?

Jos: 500.

The music on ‘Circumvision’ is very complex and diverse. Where did you record it and how did the recording session look?

Jos: Subtitle of my contribution was “necessity in vain”. That’s why. We recorded about 80 hours in Xilovox studio using 2 2-track Studer’s. First the basic tracks. A few weeks later overdubs with a lot a new ideas. We had a very patient engineer and a lot of cutting in tapes and all, except for ‘Keep Control Of What I Am’ which was recorded in one take. And we are still very proud of that!

The keyboard part is extremely complex, what influenced it?

Bert: King Crimson, Soft Machine, Emerson Lake and Palmer.

Would you say there’s a certain concept behind it?

Bert: No. Just going wild. I was in love.

Who did the cover artwork and what does it represent?

Jos: It was a photograph by Gijs Moonenof a painting by Frans Miltenburg (after listening to the music). It seems to represent the all seeing eye?

Circumvision’s new release is equipped with a slightly redesigned lyrics sheet, and a bonus CD that is packed with soundboard recordings from one of the very few live shows that were performed by Kracq in 1978, as well as two previously unreleased songs that set the listener on the path for a wholly different sonic adventure into what might be described as kosmische acid folktronica. Would you like to tell us more about the lyrics? What’s the story behind those live recordings?

Jos: We made them with a simple tape recorder, never intended to be used for publishing. I remember having made a digital copy of the tapes but in the end there were a few digital distortions. When the idea rose to have them published we managed to find the original tapes but it was too late to use them for the bonus CD. Still, they have been digitalized again and are now most certainly ready for publishing.

And please share some further words about two previously unreleased songs…

Jos: Personally, I like the songs taken from our improvisation sessions of Bert, me and Charlot Rutten, a vocal artist. The three of us took the stage during a jam session and it was such a wonderful experience both for us and the audience that we decided to do a long session (if I remember correctly it was two weeks including a second improvisation on the first one). To me this was the ultimate way of making music.

When did the band stop and what was the main reason for it?

Jos: The main reason for us to stop was Cees leaving for England and not being able to find a replacement. Which is merely proof of how the chemistry between the four of us worked.

Was anyone involved in the music after Kracq?

Bert: I played keyboards in a few cover bands. Composed songs and underscore for theatre, ballet, film and TV. I played clarinet and founded a wind ensemble. Currently I play the accordion.

Jos: Spiral Motion Project and currently Carmine Queen again.

Cees: Designers, Motel Bokassa, currently no activities.

Twan: a lot of bands, currently Viper 3.0.

Would you like to comment on your playing technique? Give us some insights on developing your technique.

Bert: My playing technique is mostly based on a few years of music school and a lot of self-education.

Twan: Inspired by bass players like John Entwistle, Geddy Lee, Chris Squire, John WettoN, Tony Levin, Scott Thunes et cetera.

Jos: Mine was hard practice to keep up with Bert, what more can I say. It cost me a few nights and a marriage.

Looking back, what was the highlight of your time in the band?

Jos: The rehearsals we had during a 4 day stay in a bungalow prior to the recording sessions. We had a wonderful time improvising, rehearsing, making long walks and having quality time.

Bert: The recording of ‘Keep Control Of What I Am’.

Twan: Making the album as well the performances

What currently occupies your life?

Jos: As far as music is concerned I started to re-invent my old songs and works by publishing and performing them with 21st century Carmine Queen. Socially I am trying to keep in touch with all my children and grandchildren. I live in a complex of apartments where we share our lives more than neighbours usually do. And I am desperately trying to finish my novel.

Bert: Playing accordion. Being all-round theatre-technician. Preparing for pensionado.

Twan: Playing bass in Viper 3.0.

Klemen Breznikar

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