music streaming + downloads via: http://knalpot.bandcamp.com/

Over the past eleven years Knalpot's Gerri Jäger, Raphael Vanoli and Sandor Caron have become a strong working trio. They belong to the most uncompromising electronic rock acts of this day and have performed extensively all over Europe, Russia and Brazil including many major festivals. They have collaborated with Manu Delago and Graduale Nobili (Björk), Rabih Beaini (Morphosis), Eirikur Olafsson (Sigur Rós, mùm), Jozef Dumoulin (Keiji Heino), Fred Frith (John Zorn, Mike Patton), Aardvarck (Rednose District) and Ensemble Klang.

Knalpot took a two year sabbatical to develop a completely new set. The album “Dierendag” (release on october 3rd through SHHPUMA/Clean Feed) marks a new beginning and shows that the band surpassed itself with an even more massive and unique sounddesign and singular approach: Drone-zone walls fluently morph into a pop song, big-time distorted drums mingle with sweet Bach-like guitar, otherworldly blown guitars are layered with processed drums and synths. The new tracks are more danceable while Knalpot trademarks like vivid energy, stumblegrooves and their omnipresent sense of joy, freshness and freedom remain.

Gerri Jäger: drums, synths, electronics
Raphael Vanoli: guitar, electronics, bass-synth
Sandor Caron: sounddesign

KNALPOT has played on festivals like SKIF St. Petersburg (RU), Eurosonic Groningen (NL), NuMusic and 12Points Stavanger (NO), NorthSeaJazz Rotterdam (NL), Exit Novi Sad (SER), Lowlands Biddinghuizen (NL), La Fabrika São Paulo (BRA), ADE Amsterdam (NL), Elevate Graz (AT), Rewire and State X New Forms The Hague (NL), Satta Outside Šventoji (LT) and ARCO Madrid (E) a.o.



"No computer was used during the making of this music" (Juha Van 't Zelfde (non-fiction)

Gerri Jäger and Raphael Vanoli have a deep love for tractors. They are in awe with its movement, stuttering heavily when pulling up, barely able to drive a straight line, and with its roaring noise when shifting gears, speeding the vehicle into a faster rhythm, murmuring away on the horizon.

Gerri and Raphael met at the conservatory in Amsterdam in 2006 and have since then been playing experimental music in various constellations in the formal circles around Zaal 100 and the Bimhuis, two of the cities most important venues for this music. One thing was missing however: they wanted to rock. Play loud, derailing music: enter Knalpot.

Knalpot is an improvising rock band Gerri and Raphi formed in 2007, and the closest to a tribute to a tractor as a band can be. In Knalpot, Gerri Jäger (Innsbruck, 1979) is the spirited drummer with a seductive late and laid-back touch. Using his whole body to attack the instrument he has the composure of a cheetah, as if your were watching him in slowmotion on a hi-speed camera on National Geographic. He is the spokesman on stage, interluding the songs with words of enthusiasm and appreciation. Raphael Vanoli (Freiburg, 1978) is the thoughtful guitarist and patient architect of boutique effect pedals (his collection is impressive, and his mastery astounding). The pedals form a landscape of creative possibilities, and seeing them being played by this towering man is worth the ticket price alone.

When you listen to Jäger and Vanoli talk about music – something they enjoy doing with zeal – there are many artists that keep showing up on the radar: Aardvarck, the time defying Peter Pan of the Amsterdam electronic music scene who reinterprets genres in real-time; Chris Clark, the studio starchitect whose music sounds larger than life; Fennesz, the improvising guitarist whose arrangements are beautiful in the smallest dimension; Dimlite, the playful producer whose music can make you laugh, etc. Most of the vanguard musicians of the past 50 years pop up on the iPod during the many hours spent travelling to gigs. Then when you hear Knalpot play on stage, you start to discover all these influences: the dubbed out rhythms of Aardvarck, the hyperbolic size of the sound of Clark, the electronic improvisations by Fennesz, the humour of Dimlite, etc. It is all there, and much more than that. Except for one thing: a computer.

The band that listens to almost any kind of computer music one can imagine, refuses to use one itself. Not for political reasons nor out of fear of the machine but for the challenge and the pleasure of figuring out another way to create this carefully sculpted engineering aesthetic of the studio, the computer and the software by using tangible instruments and objects. By listening endlessly to the modulations and distortions of sounds, to the strategies and effects that are employed by fellow musicians, they figure out a roadmap for their own approach. The result is both physical and visible. 


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