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We Don't Rock

by Wild Wild Ambient Boys

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Between 2009 and 2013 Wild Wild Ambient Boys secretly recorded their debut album "We Do not Rock". The music on this album can best be described as Xerox Euphoria. Important influences are porcelain flamingos, Microsoft Office, David Hamilton and memories of horses in the late 60s.

Wild Wild Ambient Boys are:

Hidde van Schie (strings, vocals)
Visual artist and musician Hidde van Schie (Rotterdam, 1978) graduated in 2001 from the Willem de Kooning Academie in Rotterdam. Since than his artworks were shown in exhibitions in galleries, musea and artfairs in e.g. The Netherlands, Belgium, France, Italy, Germany and Switzerland. Recent veneus include Laurent Godin Gallery in Paris, Ausstellungsraum Klingental in Basel, Boijmans van Beuningen in Rotterdam and Jaap Sleper Gallery in Utrecht. Besides his own artistic practice van Schie is active as curator/programmer for festivals and exhibitions
and he initiates his own cultural projects in the fields of music and art.

Between 2008 and 2010 van Schie was teaching painting at the fine arts department of the Willem de Kooning Academie. And between 2007 and 2013 van Schie was a member of the Rotterdam based artist-initiative Foundation B.a.d. In 2011 van Schie co-curated Festival De Wereld van Witte de With. He founded The Marble Heart Club, a cooperation between 7 Rotterdam music groups for Oerol Festival 2012. Recently he released his debut-album as a singer-songwriter: The Mirror & The Razorblade / Dusty Diamond Eyes.


Jeroen S. Rozendaal (electronics)
Musician, writer and filmmaker. Since the early 90s he played in various bands: Room 101, De Vogels, The New Earth Group, The Minor Details en Hond & Wolf. As a producer and a director he was involved in e.g. documentaries about the poëts and writers Frans Vogel, Rien Vroegindeweij, Remco Campert en Bart Chabot. Recently he produced the film ‘Toegetakeld door de liefde’, the debut of Ari Deelder with a soundtrack by New Cool Collective.

Rozendaal contributed to the scores of various documentaries and films like Brainstorm (2001), Cheese! (2001), Building for Brussels (2010) Interzone (2011), Rotterdam 2040 (2013) and many short animation films. He founded websiteofthemoon.com, an audio archive of tracks from various Rotterdam (underground) musicians.

From the late eighties to the early nineties, Rozendaal produced various cassette releases with ambient and harsh noise collages. A rework of this material will be released on vinyl in the future. Recently Esc.rec. released his first solo LP ‘At My Feet In The Ground’.



Review by Alex Spalding in Yeah I Know It Sucks:


… No? Good, because We Don’t Rock is the next album up for review. It’s from an artsy, Devo-esque Rotterdam-based group called the Wild Wild Ambient Boys, and while I can’t assure you without having yet listened to it, I think I’m safe in assuming that it isn’t going to rock. So, no worries grouchsters.

The album, according to the press release I dug around for, was inspired by porcelain flamingos, Microsoft Office, David Hamilton and memories of horses in the late 60s!

If you’ve got your speakers set to a reasonable volume (if it’s too quiet, you’re too young!!!), it’s time to dip our toes into the NotRock genre!

This album begins with ‘Indoor Archeology’ and for maybe just a second you’re thinking it’s gonna rock, but it’s just your imagination and it doesn’t happen. Instead, we hear footsteps and a creeping ambiance of indeterminable motivation and mood. Then there are some laughs and clippy noises…

… oh, and then it’s time for ‘White Limousine / Scarface Interior Design’. Chopped and randomized drum elements come in, and there are some really lovely guitarmonics and maybe some harp happening in the mix, glimmering sweetly in our ears like a soft dew upon a field of pixies. I’m really feeling the Microsoft Office influence here, especially Excel. I could spreadsheet to this all day. Wah-warped synth sounds thrum with deep bass.

In a game of Rock, Paper, Scissors, these guys chose paper and won, smothering the rock in an impenetrable layer of wood pulp and glue. Then there was ‘Sweet Oblivion And A Soft Headache Singing’, which is even more blissful than the last piece, with whispery electronic flourishes above a soft filtered electro micro-groove and warm guitar. Notes ring out and are sustained, we hardly notice the beautiful silences in our quiet vale under the willow tree.

Then, all of a sudden, it rocks. Just kidding. ‘Porcelain Pink Flamengo’ marries the target of its infatuation admirably, at first sounding like a stagnant pool. A massive bass bumps in periodically, followed by what almost sounded like a tiny sample of a Jarre sequence from Oxygène. I’m imagining a flock of porcelain flamingos as acoustic guitar enters the mix. It’s joined by a second, creating odd, seductive chords, as alien spaceship noises threaten to abduct us to the skies.

Since we can’t rock, we’ll just roll. We will gently roll down a hill in a meadow filled with daisies, while horses from the 1960s traipse and frolic around us with slight anatomical difficulty. ’7/8 Just Wild’ is folksy and spaciously minimal. Very pretty atmosphere. Upright bass, a wind instrument, occasional expansions of the space of the mix, ride cymbals. Some might say this rocks, if only just a tiny bit, but those people would be fools. This is just groovy. By this point in the album I’m feeling really like… I had no idea the record would sound anything like this. It’s really nice. Very chill. I love the sudden pads. It’s kind of like that feeling when you’re lost in thought or daydreaming and then become self-aware and kind of shaken out of it, like if someone interrupts to ask you a meaningless question, like if you’re alright or whatever. Space leads enter! Very nice… reminds me of maybe a Moog Satellite.

‘Girls Against Sci-fi’ brings in an organ, some fuzzy distorted rhythmic sounds that are far away and hard to make out. This is definitely… ugh, and I hate to use the word… quirky. I mean, it is, very… and in a great way. Is there a such thing as pizzicato dings? Because, I think I heard something like that. This is like finding an extra-terrestrial pig digging through your refrigerator and throwing assorted foods that would never work together into a blender and then mixing it all up and drinking it and then noticing you and being like, “Want to watch tv?” Then… the sound profile changes, as you grab your keys and get into your car to go find a slice of pizza.

‘David Hamilton’s Sisters’ is dark, majestic acoustic work with sci-fi theremin sounds. It’s really so nice! I think I love this track most… probably why it’s so hard for me to write any more than this last line right here.

A pied piper blows through a distorted wind in a vacuum on ‘Drowning In A Sea Of Nu’, which then unfolds into a strangely provocative bit of melodic ambient folk, like a pilgrimage in a blue forest covered in raspberries, in which dwell elves in paisley mythril and probably some other strange creatures who’ve arrived on spaceships. This would be perfect for a magickal mood mixtape for coven rituals or something, or maybe just some good old-fashioned tantric sex.

We rocking yet? Of course not! And now, we come to ‘Double Female Connector’, a sensual song for an rca input, perhaps? It’s pretty, just like really this whole album has been so far. Then, a dark, distorted thud, some heavy guitar… shit, man, it sounds like it’s gonna rock… what do we do!? I guess… it’s not really, it just keeps sounding like it’s about to… reverse-electric guitar leads… lots of crackles, inducing a very ticklish feeling, as acoustic harmonies float in.

‘The Usual Effects Part.2? is pretty nice, lots of floating string brushes echoing into a chamber. I’m loving the subtle, electronic flute sounds.

Vocals? Hmm… that’s new. Odd, for just the second-to-last piece! It’s titled ‘Fake Diamond Tears’ and has dual vocal harmonies, a click-clock metronome, light piano. It’s strange, because it sounds almost like American accented vocals!

Last, we come to a piece titled ‘Memories Of White Horses In The 70s’ and right now I can tell you that I am dismayed, because the press release specifically cited memories of horses (colour undisclosed) in the 60s as a major influence here, and yet now we’re talking about these white horses from the 70s, it’s like, what the fuck man!? I don’t know how I’m supposed to take this, I feel like I’ve gotta completely change gears, start all over again as far as how I approach this work. Especially because, this entire time, I’ve been imagining yellowed slides depicting paint horses being walked through a pastoral setting by a naked hippie, and now I’m just seeing… a technicolor Burt Reynolds on a white horse in a magazine ad for Marlboro cigarettes or something, it’s just a total deal breaker. This is so Rotterdam, playing with your head like that. A real sucker punch at the end. Anyway, it still sounds nice. Acoustic guitars run and run with urgency carrying us harried passengers through glades at sunrise. Then, we halt, as a synthesizer squeals and neighs.

Very nice to hear something like this! Very different… because, when I think of Rotterdam, for years the immediate effect for me was to hear those hoovers blasting away over some distorted 4/4 Gabba House beat at 200 bpms. Now… I can think of the Wild Wild Ambient Boys, and their hardline stance about not rocking, and very pretty music. And, really, in 2014… that’s worth it.

It’s really a great album that you should explore. I had originally hesitated hearing it, due to thinking it would probably be a long, minimal ambient work by two art school grads, but no… it’s worth delving into for real. Very emotional stuff, and it’s clear in listening that they put a lot of work into the sound and production.


Review by André Gomes in Bodyspace:
Parece fácil, mas não é.

We Don’t Rock é um daqueles discos tão transparentes que se topa logo tudo com o título escolhido. Os holandeses Hidde van Schie e Jeroen S. Rozendaal não rockam de facto neste disco; no máximo, folkam ou electronicam ou ambientam. Não necessariamente por esta ordem, mas tudo junto. Eles chamam-lhe Xerox Euphoria e não devem andar muito longe da verdade. A exaltação neste disco é um lugar estranho.

Dizer que não se passa nada neste disco é o melhor elogio que lhe pode ser feito. Mas é também uma grande mentira. Com uma lupa, microscopicamente, We Don’t Rock tem todo o conjunto de pequenas criaturas a nascer no subsolo, timidamente, quase com medo de ver a luz. A beleza de We Don’t Rock esconde-se constantemente. Encontrá-la é um trabalho a tempo inteiro. Mas um trabalho altamente recompensador.

A espinha dorsal é a música electrónica ambiental mas o que nasce daí é tudo e mais alguma coisa. Pequenas canções que nunca chegam a sê-lo, uma variedade de instrumentos guitarras (acústicas e eléctricas) ao serviço da melodia e micro-ideias exploradas sem grandes propósitos nem objectivos. Um disco simples, irremediavelmente bonito e sem ser insosso. Parece fácil, mas não é.


Review by James Catchpole in A Closer Listen:
We Don’t Rock is just what ambient music could truly be if it dared to stretch its wings – mellow, without ever being saccharine, and innovative without straying too far into the left field. Presently, the ambient music scene isn’t what you would call wild, nor does it aspire to be. You won’t see ambient music in the ring, slugging it out with rock n’ roll. Emotionally, though, ambient music can frequently eclipse the brutal power chord and the failed stage jump.

Innovative in its sound, We Don’t Rock is loose ambient. Instrumental compositions take precedence over slow burning atmospherics. Surprisingly, staccato rhythms and electronic layers push their way into the sound, but perhaps even more surprisingly the music manages to paint a pretty paradise without any kind of a drone in sight. You won’t find the routine running stream of water that leads the way not only to the forest, but to ambient predictability, and with it the chiming chorus of birdsong.

For an ambient release, We Don’t Rock inverts the genre, weaving in sounds that would otherwise not only be considered an afterthought, but dismissed and excluded altogether. Throbbing bass notes point the way to a guitar-led refuge and blocks of beats crumble against the smash of the sea. Still, We Don’t Rock sounds like ambient music. There are calming moments, imbued with the clean, wet notes of a guitar submerged in constant reverb, and peaceful, sung moments that reaffirm the belief that ambient music can, if it tries, be found in all shapes and sizes.

Wild Wild Ambient Boys (Hidde van Schie and Jeroen S. Rozendaal) have a bright, playful and innocent sound that’s soft in the center. Think Labradford or Pan American, but with some electronic tweaking and you’re not too far away. The thumping, galactic “Girls Against Sci-Fi” is a close encounter with said electronica, but it still, somehow, stays ambient. The soft, shimmering haze of “David Hamilton’s Sisters” is lovely in its heat, but then comes “Drowning In A Sea Of Nu”, which flips the atmosphere, placing it upon a cool, placid lake. The elemental shift is just one transformation on an album that never fails to surprise. Indeed, “The Usual Effects Part 2?, while incredibly pretty, could be the duo’s retaliation at the state of the genre and its reliance on ‘pretty sound’. Just when does pretty sound make for calming music? Does ambient music have to be calming? Striking questions that are hard to answer, but ones which must be addressed if the ambient genre is to stay the course and stay refreshed.

We Don’t Rock manages to be diverse while keeping its ambient identity intact. “Double Female Connector” comes very close to the aforementioned power chord, which would surely be an ambient first. No doubt there’s just enough room for a new name to be given to the music Wild Wild Ambient Boys have created, but who cares about labels? Music has the right to be whatever she wants to be. Call it whatever you like – the labels don’t really count for much. Anything is possible with music. And labels aside, the duo have given ambient music a new direction to walk in, down what could have been a one way street.


Review in Daans Muziek Blog:
We Don't Rock. De titel van het debuutalbum van Wild Wild Ambient Boys zegt het al: rocken doet dit duo - bestaande uit Hidde van Schie en Jeroen S. Rozendaal - niet. De twee plaatsen hun eigen muziek het liefst in het zelf verzonnen genre "Xerox Euphoria". En als de groep dan echt in een hokje geplaatst moet worden zijn de gezamenlijke inspiratiebronnen keramieken flamingo's, Microsoft Office en David Hamilton ook het vermelden waard. Wablief? Eén ding mag duidelijk wezen: aan creativiteit heeft Wild Wild Ambient Boys geen gebrek.

Van Schie en Rozendaal hebben afwijkende achtergronden maar schreven in de periode tussen 2009 en 2013 samen een filmische ambient-plaat zoals die in de jaren '80 en '90 ook gemaakt werden. Jeroen S. Rozendaal (filmmaker, schrijver en muzikant) zorgde voor de ambient-achtige elektronica die als een soort deken om de nummers op We Don't Rock heen is geslagen. Hidde Van Schie (kunstenaar en muzikant) voegde daar details in de vorm van snaarinstrumenten en enkele vocalen aan toe. Hoewel deze vocalen beperkt zijn gebleven tot 'Fake Diamond Tears', een nummer dat qua sfeer wat doet denken aan Van Schies uitstekende solo-dubbelaar als singer-songwriter, The Mirror & The Razorblade / Dusty Diamond Eyes. Liefhebbers van het gevoelige luisterliedje zijn bij Wild Wild Ambient Boys in ieder geval aan het verkeerde adres. Het experiment staat op We Don't Rock centraal.

Dat experiment vertaalt zich in twee verschillende soorten composities. Enerzijds heb je onheilspellende en bijna angstaanjagende stukken zoals het griezelige 'Porcelain Pink Flamengo' en het mysterieuze 'White Limousine / Scarface'. Anderzijds zijn daar gemoedelijke en sfeervolle stukken die bij vlagen Aphex Twin of Boards Of Canada in herinnering roepen, zoals bijvoorbeeld 'Double Female Connector', 'David Hamilton's Sister' en het mooie 'Sweet Oblivion And The Soft Headache Singing'. Het is gelaagde en filmische muziek met soms wat doorschijnende stemsamples, een verdwaalde hondenblaf of een krakende deur. Soms is de muziek ronduit vaag, soms onbegrijpelijk maar vaker sfeer- en smaakvol. Zoals wel vaker met een experiment: het kan vriezen en het kan dooien. Op We Don't Rock is het experiment over het algemeen geslaagd.


Review by Weerthof in his Endlist Schmendlist:
The label Esc.rec., and more precisely the man behind the curtains Harco Rutgers, is one of my big heroes of 2013. But next to taking the risk of putting up with me, Esc.rec. had a LOT of great releases this year. To pick my favorite: We don’t rock. Seemingly serene, meek and laidback. It could be this is Hidde van Schie and Jeroen S. Rozendaal’s solution to- and salvation from the loudness war. Quiet is the new loud. And the more silent you become, the more you hear. And when you actually listen, you can hear more is going on in this record than on a Christmas day at Disneyland. Soundscapes and fieldrecordings fluently glide into very solid pop-songs, and surprises lurk at every corner. A very well rounded album, both as a statement ánd as a good listen-adventure that planted quite some seeds in my mind.


Review by Peter in Mousique:
Wild Wild Ambient Boys is het samenwerkingsproject van Hidde van Schie en Jeroen S. Rozendaal (o.a. The Minor Details). We Don’t Rock kun je omschrijven als electro-akoustische muziek. Jeroen zorgt voor de ambientachtige electronica, Hidde is verantwoordelijk voor snarenspel en vocalen (al wordt er weinig echt gezongen op dit album). De (electrische) gitaren van Hidde zorgen ervoor dat het geheel af en toe zelfs wat naar postrock neigt. Flarden Notwist, Boards Of Canada, een vleugje Godspeed en een snufje David Sylvian kun je terughoren, maar WWAB heeft toch vooral een eigen en uniek geluid. Een minimalistisch geluid, dat wel, het is geen easy listening. Maar We Don’t Rock is een echt groeialbum, dat bij de meesten niet na slechts een luisterbeurt zal beklijven.

Dat hun muziek niet in een hokje lijkt te passen geven ze zelf ook op humoristische wijze aan in hun beschrijving van hun geluid: “xerox euphoria, belangrijke invloeden zijn keramieken flamingo’s, Microsoft Office, David Hamilton en herinneringen aan paarden in de late jaren `60.” De heren hebben ruim de tijd genomen voor dit album: de tracks werden over een periode van 4 jaar opgenomen. En toch klinkt WDR niet als een amalgaam van allerhande experimenten, maar eerder als een mysterieuze en filmische trip die je met groot gemak meevoert naar andere werelden. Luistertip: koptelefoon.


Review by jonasdewaele for Belgian Music:
De titel van We Don’t Rock liegt er niet om, conventionele rocknummers moet je hier niet op zoeken. Het duo Hidde Van Schie en Jeroen S. Rozendaal alias Wild Wild Ambient Boys experimenteert met abstracte elektronica, en dat resulteert in een ontspannende luistertrip, die soms echter te schetsmatig aandoet. Af en toe horen we flarden Aphex Twin en Boards of Canada voorbij fladderen, maar de muziek op We Don’t Rock is in het algemeen nog een stukje minimaler. Zeker bij een eerste luisterbeurt is het mogelijk dat de nummers nog langs je heen glijden, maar hoe vaker je dit luistert hoe meer je beseft dat het ‘less is more’-principe hier van toepassing is. En nadat de plaat een tijdje in je cd-speler gelogeerd heeft, vallen ook de details je beter op. De sporadische field recordings en strings zorgen weldegelijk voor meerwaarde. Enig minpuntje is dat het de nummers wat ontbreekt aan een zekere spanningsboog, de elektronica is soms wat te vrijblijvend en slaagt er niet altijd in om je te prikkelen.

Desalniettemin is dit wel een intrigerend schijfje muziek waarin het leuk verdwalen is. Tip: luister dit in je bed via je koptelefoon net voor het slapengaan. Deze cd is immers op zijn best wanneer je je in een halve slaaptoestand bevindt.


Review by FdW in Vital Weekly:
Many of the releases on Esc.rec are on CDR or download form, but here's one on a pro-pressed CD. So Esc.rec either has a lot of confidence in this band or someone sponsored this big time. Behind Wild Wild Ambient Boys we find a duo of Hidde van Schie and Jeroen S. Rozendaal. The latter is a musician, writer and film maker. He's been a member of such bands as Room 101, De Vogels, The New Earth Group, The Minor Details and Hond & Wolf, none of which I heard about before. He also produces music for (Dutch) movies and has a bunch of solo records. MR reviewed his 'At My Feet In The Ground…' LP in Vital Weekly. He's responsible for the electronics here and teams up with Hidde van Schie, who gets the credit for strings and vocals. He's a musician and visual artist, organizer of events and recently released a singer-song writer album. Their 'important influences are porcelain flamingos, Microsoft Office, David Hamilton and memories of horses in the late 60s', we are told in the press release. It's a fine yet strange album. It's for instance not easy not to think of ambient music here, but it's not very standard ambient, defying all things drone like for instance. But the rather pleasant tinkling of guitars, field recordings, fine crackles and throughout a highly melodic touch runs through this record. There are also pieces with rhythm, such as 'White Limousine/Scarface Interior Design', chopped up and wild indeed, but also the more introspective kind in 'Sweet Oblivion And A Soft Headache Singing'. A varied album of moods and textures. The only easy thing I could compare it with is The Books. It has that same playful style, cut up vocals, a near pop sensitivity combined with a fine sense of abstract moods. The references, as far as I can judge, is just a nice line to sell this, but the music doesn't need that, I should think. It's quite powerful and strong as it is.


Review by Jan Willem Broek in Caleidoscoop:
De fijne, gratis te downloaden compilatie Flakes van eind 2010, gezamenlijk uitgebracht door de avontuurlijke klasse labels Esc.rec en Lomechanik, start met het duo Wild Wild Ambient Boys. Dit is het werk van muzikant en schilder Hidde van Schie (The 21st Century) en muzikant, filmmaker en schrijver Jeroen S. Rozendaal (Room 101, De Vogels, The New Earth Group, The Minor Details, Hond & Wolf). Ze geven hiermee een uitstekend visitekaartje af, waarmee ze op rustieke en mysterieuze wijze ergens tussen Arca, The Notwist en Tied+Tickled Trio uitkomen. Daarna blijft een vervolg uit. We verschijnen er eerder dit jaar nog een dubbel cd van Hidde van Schie met ingetogen singer-songwritermuziek en een 12” van Rozendaal vol innovatieve elektronica.

In het geniep zijn ze echter gewoon doorgegaan met muziek maken, hetgeen nu de cd We Don’t Rock als resultaat heeft, uitgebracht op het grensverleggende Esc.rec. Hidde van Schie (snaarinstrumenten, zang) en Jeroen Rozendaal (elektronica) brengen 12 nummers, die je grofweg onder ambient kunt scharen. Wild kan je ze absoluut niet noemen, ook al gebeurt er op subtiele wijze onder de oppervlakte ontzettend veel. Dat ze niet rocken, is ook deels bezijden de waarheid, want de gitaren laten dikwijls een rockgeluid horen en ook de structuur van de muziek neigt wel eens richting de postrock. Toch, eerlijk is eerlijk, wordt dat vooral ingezet om hun ambientachtige klanklandschappen sfeer en vorm te geven. De muziek is tot de verbeelding sprekend, filmisch en kunstzinnig ingekleurd, waarbij de andere expertises van de heren in doorschemeren. Je hoort een fraaie kruisbestuiving van ambient, veldopnames, gitaargetokkel, gortdroge microbeats, fluisterende IDM en allerhande geraffineerde elektronica. Ook al wordt de rode draad gevormd door een experimenteel ambientgeluid, de bijgeluiden en atmosferen verraden een zekere voorliefde voor andere muziek uit de jaren 80 en begin jaren 90. Je hoort ver op de achtergrond echo’s uit het verleden die verwijzen naar Virgin Prunes, Labradford, David Sylvian en Dif Juz, zonder dat dit ook ooit maar echt helemaal past. Daarvoor zijn ze gewoonweg te eigenzinnig. Hun instrumentale muziek, enkele stemsamples en spaarzame zang daargelaten, weet al die elementen te incorporeren tot één ingetogen en enerverende sound die ze zelf als Xerox Euphoria bestempelen. Naast de genoemde associaties moet je verder denken aan Eklin, Salt Supply, The Boats, Arca, Netherworld, loscil en Kammerflimmer Kollektief. Het geheel is mysterieus, meeslepend en van een magische schoonheid. Om op rustige wijze wild, wild enthousiast van te worden. Een heuse kandidaat voor de jaarlijst!


released November 20, 2013

Hidde van Schie - strings, vocals
Jeroen S. Rozendaal - electronics

Roel van Tour - more strings on 5 & 7
Rufus Ketting - percussion on 8

recorded between 2007 and 2010 at StudioRev
mastered at Studio Sante Boutique by Ed Fonckeltoff

cover photo 'Landscape' by Roel van Tour
photo 'Wild Wild Ambient Boys' by Nick Helderman
Mathijs Labadie advising on lamps & lights
additional outfit design by Iñiy Sanchez
all of the above art either directed or selected by Rufus Ketting
Thanks to The Gun Club & The Office For Nonfiction Storytelling


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Esc.rec. is a small, critically acclaimed record label for adventurous music, founded in 2004 by Harco Rutgers in Deventer, NL.

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