Orquestra del Tiempo Perdido - Stille (Shhpuma Records 2018)




1. scenario
2. blue train
3. strol
4. shawty
5. zen in tummy
6. cross
7. hillyrock II: fricchettone
8. jive mandolin
9. a merlefriend solid
10. poseidon
11. hills for seamus

Tristan Renfrow: drums on 1, 5 & 7, drumrolls on 4
Leo Svirsky: accordeon on 3 & 7
Michael Moore: clarinet on 1 & 4, alto sax on 11
Anna voor de Wind: clarinet on 10 & 11, bass clarinet on 10
Koen Kaptijn: trombone on 1 & 4
Mark Morse: lapsteel guitar on 5 & 10, screw on 4
Seamus Cater: concertina & bass harmonica on 11
Sjeng Schupp: double bass on 2 & 11
Michiel van Dijk: tenor sax and flute on 1
Jeroen Kimman: all other instruments

recorded, mixed and produced by Jeroen Kimman
mastered by Sandor Caron
executive production by Travassos for Trem Azul
design and artwork by Travassos
all compositions by Jeroen Kimman

with support from the Performing Arts Funds NL, De Ruimte/Amsterdam, Sandor Caron, Mark Morse, Sjeng Schupp, Floris van Bergeijk.



'That Kimman is something else. He makes his own music, which really doesn't sound like anything but himself. His musical universe is located about 7 miles outside the known stratosphere, where life turns out to be remarkably agreeable. 
The music in all its uplifting originality simply defies description. 
HET PAROOL/Erik Voermans (NL)

Orquesta del Tiempo Perdido is a somewhat high-sounding, slightly nostalgic, somewhat provocative name, behind which lies the visionary mind of Jeroen Kimman, one of the most original musicians on the Dutch scene.
He composes, breaks up, assembles, shatters, cuts, recreates an infinite number of styles to obtain a meta-genre of unquestionable impact and communicative power.
But Stille is much more than a simple, bizarre collage, it is a unique musical universe, inventive, unconventional, supported by a strong sense of melody, where the surprises flap in a continuous stream and, icing on the cake, recorded in a superb way.
ALLABOUTJAZZ/Vincenzo Roggero (IT)

'Stille is an amalgam of styles, seemingly merged in an intuitive fashion. It's bizar, groundbreaking, overflowing with texture and especially diverse. Surprise reigns throughout the album.'
JAZZNU/Rinus van der Heijden (NL)

'I'm personally blown away by Orquestra Del Tiempo Perdido, a very creative album with great contributors joining multi-instrumentalist Jeroen Kimman.
The album really fits neatly in with other Clean Feed albums, having a distinctive jazz and orchestrated flavor with a modern edge.'
SQUIDSEAR/Phil Zampino (USA)

'Stille is an utterly original album, chock-full with playful musicality and a special knack for melody and rhythm. The musical content is vast and yet maintains accessibility throughout, in an uplifting and unique way. Wonderful record.'

'This bizarre yet immaculately orchestrated session from Jeroen Kimman’s Orquesta del Tiempo Perdido is one of the most intriguing things I’ve heard all year. In that way a Rube Goldberg contraption requires a clockwork precision to effect its insane series of events across an obstacle course of randomized components, so, too, is this inconceivable assortment of instrumentation and influences.
This is what is sounds like when creativity is allowed to roam wild and free.'

'What would have happened if Nino Rota meets Sun Ra, John Zorn, Moondog and Kszysztof Komeda? Perhaps something like Orquestra Del Tiempo Perdido would come to existence.
It's a world full of musical ideas, playfullness, micro scenarios, beautiful dreamy melodies, sensual exotica, tasty vaudeville, surprising plot twists, electroacoustic flavours.. a true cornucopia.
it's certain that the effect of their work magnetize with postmodern freedom and the amount of musical ideas.'
MULTIKULTI/Witek Leśniak (PL)

'One senses all kinds of influences pass by in this amusing universe created by Kimman and his team. Easy listening, much Americana, and more is touched upon. But they play in original and enjoyable way with these idioms. Resulting in pleasantly weird music. It is one continuous demonstration of playful madness yet accessible music also, albeit rhythmically complex and with many unusual twists. And it is not just weirdness that they produce. All influences are melted into something of their own. A bizarre and overwhelming musical world. Impressive.' 
VITAL WEEKLY/Dolf Mulder (NL) 

'Jeroen Kimman's music genuinely does sound unlike anything else. I don't know what it is, but it draws me in.'

'The points of reference are deftly approached on their own terms, and recontextualised in impossible composites.  Kimman has produced the sound world of the album in microscopic detail, taking the instruments further into deranged sonic territories. Despite the scope of the record, there is a unity to the music that owes more to the film soundtracks of Ennio Morricone and Nino Rota, and the virtuosic experimentalism of early studio pioneers such as The Three Suns, Les Baxter and Martin Denny, than to other contemporary attempts at eclecticism. The result may seem bizarre but it’s a work of genius.'
Rui Eduardo Paes (PT)

'Stille excels in peculiar 'songs' that combine playfulness with bizarre instrumentations and rhythmical caltrops. A lot of the tracks have hummable melodies, without ever following a trite plot. Above all the album sounds like the work of an utterly unique musical voice, from who we undoubtfully are going to hear much more.
The big question that arises from this recording project is whether it could ever be performed on stage? In that case Kimman would be a high contender to play festivals such as Transition, Le Guess Who? and Lowlands.'
JAZZFLITS/Herman te Loo (NL)

'A kaleidoscopic work that unifies diverse worlds. A hodge podge of styles, with a strong feel for pace. What ties it all together? Kimman's creativity and playfullness: no piece is the same and still they all manage to sound Kimman-esque. A big achievement.'

'The album starts with a thema that sounds like children's music, like it could accompany a cartoon. After this initial surprise one starts to realize that from here on forward all will be surprising. Going through many different registers, sometimes it could be pure folkmusic, other times it's almost cabaret music, the soundtrack for a carousel (or roller coaster), and at other times it sounds more experimental and approaches the avant-garde. Without focusing on a single point, it challenges the listener, his prejudices and his preconceptions.
In terms of diversity, creativity and aesthetic originality, this music escapes easy cataloging, and will make it difficult for the owner of the record store to distribute the discs behind the usual style tags. It has been a long time since there was such a stylistic rebellion.'
BODYSPACE/Nuno Catarino (PT)