Initially self-released digitally earlier this year, Ruben Kotkampʼs debut album ‘fall/winter 19ʼ20ʼ showcased the Netherlands based artists prowess at crafting a musical world entirely his own, enveloped by a fabric of electronic blips, glitches and clamour. Yet under this soundscape of synthetic networks lies a poignant human component that underpins the inherent moving quality of the work, which when viewed in its entirety comes across as a meditation on the digital ages continually intersecting framework between man and machine, voice and sound, body and fabric.

For this expanded issue, Vaknar presents the original album in physical format for the first time, while including two new pieces that further expand upon themes found in the original work, such as a new composition by Ruben Kotkamp, which interlaces some of the albums components into a 12 minute barrage of static noise and modulated voice experiments.

Additionally the expanded album includes a rework by Belgian composer Mathieu Serruys, who likewise reworks various components from the album and moulds them into a 9 minute long, heavily tape processed soundscape of clattering hiss, droning horns and tempered voices, ending the album on a final swan song of deteriorating machinery and human impermanence.

Initially self-released digitally earlier this year, Ruben Kotkampʼs debut album ‘fall/winter 19ʼ20ʼ showcased the Netherlands based artists prowess at crafting a musical world entirely his own, enveloped by a fabric of electronic blips, glitches and clamour. Yet under this soundscape of synthetic networks lies a poignant human component that underpins the inherent moving quality of the work, which when viewed in its entirety comes across as a meditation on the digital ages continually intersecting framework between man and machine, voice and sound, body and fabric.

For this expanded issue, Vaknar presents the original album in physical format for the first time, while including two new pieces that further expand upon themes found in the original work, such as a new composition by Ruben Kotkamp, which interlaces some of the albums components into a 12 minute barrage of static noise and modulated voice experiments.

Additionally the expanded album includes a rework by Belgian composer Mathieu Serruys, who likewise reworks various components from the album and moulds them into a 9 minute long, heavily tape processed soundscape of clattering hiss, droning horns and tempered voices, ending the album on a final swan song of deteriorating machinery and human impermanence.