Dutch duo Beequeen (Frans De Waard and Freek Kinkelaar) dabbled in droning compositions inspired by Brian Eno's ambient music, Klaus Schultz' cosmic music, Throbbing Gristle's industrial music and the Velvet Undeground's hypnotic psychedelia.
They debuted with several cassettes before the tentative
Der Holzweg (Anomalous, 1993 - Tantric Harmonies, 2007)
Time Waits For No One (Staalplaat, 1994), that already contained an ambitious work, the 21-minute Six Notes On Blank Tape.
Sugarbush (Raum, 1995) was an odd cover album.
Aughton - The Patient Books (1996 - Beta-lactam Ring, 2004)
Their most austere recordings were perhaps
Music For The Head Ballet (Isomorphic, 1996) and
Ownliness (Infraction, 2002) added cello and flute.
A Touch Of Brimstone (Korm Plastics, 2002) collected old material.
Gund (Plinky Plonk, 2003) collects unreleased tracks.
A Touch of Brimstone (Korm Plastics, 2003) collects unreleased tracks from 1989 to 1995.
They turned to songwriting on albums such as
The Bodyshop (Important, 2005) and
Sandancing (Important Records, 2008).
Frans De Waard was also active as Kapotte Muziek, that released many recordings.
The four-disc box-set (Not) Lost (Audiobot) is an anthology.
Freiband, another project of Frans De Waard, wed the aesthetic of glitch-music
and the praxis of John Oswald's "plunderphonics" on
Microbes (Ritornell, 2001) and
Homeward (Bottrop-Boy, 2002).
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