Biologic Music by Heerlens Percussie Ensemble

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REVIEWS

"The drummers succeed in creating a kind of polyrhythmic supernatural club music." (TOP 50 Reissues of 2020) - HHV MAG

"Best reissue albums 2020" - SERENDEEPITY

"Stomping, stamping mid-tempo tribal grooves that pull on pentatonics, prog, fusion, and Ghanaian tradition. Diskant-Like overdriven scream contests that also recall the music found on Ramuntcho Matta's Écoute… It's the big bass drum – keeping time – that kinda defines their sound. In places its boom's a ringer for an 808. Back To Factory in particular could be an outtake from Bill Laswell`s mid-80s New Africa sessions. Celluloid-esque electro-voodoo." - BAN BAN TON TON

"There's lots of space for methodical but beautifully crafted buildups and tribal patterns to dance to" - JAZZ REVELATIONS

"Hot Mule continue to impress on their noble quest to resurrect obscure and note-worthy worldwide sounds. Here they deliver journeys into percussive virtuosity." - THE COSMIC TIGER

"Paris based label Hot Mule is giving this one-of-a-kind masterpiece its well-deserved repress. The music qualifies as percussion jazz overall, revealing minimal, African and groovy experiments on a peculiar atmosphere, with exquisite and fine details all over the songs. Audio restauration was very well taken care of as well and the sound is simply superb." - THE ATTIC MAG

"Marimbas, bells, vibraphones, balafons, the range of instruments used to record this album (in two days back in 1986) is insane, intriguing. A record like no other." - PHONOGRAPHE CORP

"Incredible 1986 percussion album combining the infuences of Steve Reich, jazz, african and brazilian music." - BIG WAX RECORDS

"The perfect blend of minimal percussion and fusion jazz with heavy 80s drum sounds. Some are spiritual and some are really funky, but all tracks are amazing." - KAY SUZUKI (TIME CAPSULE)

"Percussive UFO from 1986, between percussion, proto house, disco rhythms and synth production.” - LISTEN RECORD STORE

"If you ever need a record to simply just take you away, then this one is certainly one to firmly consider. It's music for the new age, for the here and now, and might just be this years best reissue in the process. Timeless." - ENDLESSGROOVES

"I came across 'Biologic Music' at the world's largest record fair in Utrech and it is one of those records that proves the adage that you should always judge a record by its cover... and the instrumentation listed on the back. I stood there staring at this album that had what appeared to be an electron microscope picture of an insect on the front - it didn't look like any of the other records I was looking for - and then turned it over and saw the list of instruments: marimbas, balafon, drums, shekere, electronic drums... I knew it was going to be good. But when I got it home and listened to it I couldn't quite believe how great it was: The hypnotic rhythms on the record swaggered in a way that sounded like nothing else. There was a fantastic sense of space in the arrangements and the music sounded (and still sounds) totally contemporary despite being recorded in the mid 80s. I knew right away this album was something special. I can't remember when I made an edit of it - these tracks don't need any alteration to sound at home in a contemporary club - but at that time I was making loads of edits and tracks really quickly, enjoying the possibility afforded by the transition to digital DJing which meant that I could work on something in the afternoon and play it that night. Whatever the particulars of when or where I made the edit, there's no mystery as to why I chose this record to work with. This music still possesses an instantaneous, timeless atmosphere about it that's evident from the moment the needle touches the record." - DAN SNAITH (CARIBOU / DAPHNI)

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1973, in the south of the Netherlands, the city of Heerlen and its surroundings nurtured a strong musical heritage and culture. A number of young musicians were developing their skills in one of the many music schools established in a 30 km radius. This new blood would join fanfares, symphonic orchestras, choirs, and later have a strong influence on dutch pop and jazz music..

Founded by Jelmo “Pio” Piovesana, teacher and key musical figure in the region of south Limburg, Heerlens Percussie Ensemble had some of the most inventive musicians of their generation in its ranks. Having gained valuable experience and new musical perspectives in conservatories and workshops with all time greats like Steve Reich, Bob Becker, Nippy Noya or Han Bennink, Jelmo’s alumni would eventually emancipate themselves from their mentor’s traditional approach to percussive music.

Recorded in a school over two days, 1986’s Biologic Music sees masters of their craft exploring uncharted territories using vibraphones, bells, marimbas, electronic drums, balafons and tibetan prayer wheels, amongst others.

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