Kreng: The record is not dedicated to the people who are dead, it’s a record for the living

February 23, 2015

Pepijn Caudron’s Kreng project started as a strictly sample-based project, working with sounds from various sources: free-jazz, first generation electronics, improvisation, classical modernism, vintage ethno musical, field recordings etc. The project mutated into a cinematic, theatrical device that has been used by various film and theater directors. He scored more that 30 theatre- & dance productions, most of them produced by the Belgian theatre company Abattoir Fermé. Kreng’s peculiar world of sound also drew attention in other media. The Norwegian record label Miasmah (currently operating out of Berlin) approached him to release music from his soundtracks for theatre. This resulted in the critically acclaimed album ‘L’Autopsie Phénoménale de Dieu‘ (2009), followed by ‘Grimoire‘ (2011), which earned him a reputation as one of the leading figures in the world of modern-classical-electronic composition. It was about time for a new batch of haunting sounds, although the circumstances around the genesis of ‘The Summoner‘ could not have been more harrowing: it