Photo by Ellie Nonemacher“It’s rare to find dream-pop that resolves with such assured optimism, in which you can sense experience shifting into its proper place… Kramies seems to have mastered the talent of simply breathing it into shape” – Misfit City

Dutch-American singer-songwriter Kramies has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens.

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September 2022

The stunning first full length for Hidden Shoal by the dream pop troubadour Kramies. Featuring collaborations with Jason Lytle, Patrick Carney (of The Black Keys) and Jerry Becker, the album represents Kramies most realised work to date.


Owl and The Crow

August 2022

“Owl and The Crow” is the brand-new single by Kramies. Taken from Kramies’ new LP due out 09/09/2022

Originally written while traveling through Ireland, then later recorded as an acoustic outtake, Kramies’ “Owl and The Crow” was captured on a late California night in Jerry Beckers Oakland Studio in one take. As time grew, as did “Owl and The Crow”, with layers and images captured from Kramies’ travels.


Days Of (feat Patrick Carney & Jason Lytle)

August 2021

“Days Of,” the first single off Kramies’ new self-titled EP, is the alluring and emotional centerpiece from this beautiful new constellation of songs. Produced by Patrick Carney of the Black Keys, “Days Of” also features Carney on drums and guitar as well as Jason Lytle of Grandaddy on synths and sounds

This union of talent between these beloved artists, as well as Kramies’s individual distinctive style and vocals, results in an example of finely honed craft. With lyrics reflecting on mortality and nostalgia set to flourishes of sonic creativity, “Days Of” sets the tone for what is to be Kramies’ most highly anticipated EP yet.


Of All The Places Been & Everything The End

October 2018

Created in collaboration with Jason Lytle (Grandaddy), Todd Tobias (Guided by Voices) and Jerry Becker (Train), Kramies’ epic new EP, Of All The Places Been & Everything The End, transports the listener through an enchanted forest of the imagination. Profoundly coloured by Kramies’ time staying at an ancient castle in Ireland, the music is steeped in fables, myths and eerie reflections, resulting in his most vividly realised release to date.

A prog and folk-influenced mini opus akin to Mercury Rev’s classic Deserter’s Songs, the EP covers more ground across its 23-minute run-time than many albums double its length. Given it was the site of the music’s gestation, it’s fitting that the eight-minute epic ‘Ireland’ is the EP’s swaying centrepiece. Single ‘Everything The End’ is an enchanting, unearthly tale of time and loss, coloured by melancholic optimism. And ‘The Hill Dweller’ brings the EP to a goosebump-raising conclusion with its sleigh bells and strings, as Kramies intones, “Now I’m home…”


I Wished I Missed You (Single)

October 2017

In the spring of 2017, Kramies travelled to Shankill Castle, Ireland where he started writing new songs for an upcoming album. While writing, he created a selection of B-side songs alongside songs for a new album. A few of these B-sides were demoed in this historic castle while using simple equipment to capture the ancient environment. Kramies’ new single “I Wish I Missed You” is one of these songs.

Into The Sparks (Single)

May 2016

A duet with French singer-songwriter Alma Forrer, ‘Into The Sparks’ is a gorgeous anti-gravity ballad. Kramies and Alma’s voices reverberate amidst open acoustic guitar chords, backed by aching synths. The release also includes a stripped back acoustic version of the single.

forêts antiques

October 2015

Recorded live on April 8th 2015 at The Grand Théâtre in Angers, France

On a spring evening in 2015, the setting sun cast deep shadows over The Grand Théâtre in Angers, France, where Kramies was due to play to a sold-out crowd. As the 700 ticket-holders took to their seats and the theatre dimmed to a single amber light, Kramies walked on stage to perform his haunting, romantic songs. This is a recording of that night.

forêts antiques is the new live EP by singer-songwriter Kramies, featuring recordings of tracks from his acclaimed EPs, plus a previously unreleased song.

The Fate That Never Favored Us

March 2015

Ahead of his forthcoming French tour, dream-pop troubadour Kramies has dropped another gorgeous track produced by Jason Lytle (Grandaddy). ‘The Fate That Never Favored Us’ is a lilting, swaying cosmic waltz, delicately built around melancholy acoustic guitar and eerie synths, through which Kramies weaves his languid vocals. As with so much of his music, Kramies delivers soundtracks to moments rather than mere songs.

The Folklore Sessions

May 2014

The Folklore Sessions is the free new EP by dream-pop singer-songwriter Kramies, featuring acoustic versions of songs from his two acclaimed Hidden Shoal EPs The European and The Wooden Heart, plus the beautiful piano talents of Grant Wilson (from Syfy’s Ghost Hunters). While his previous EPs mined a wonderfully rich seam of atmospheric yet epic songcraft, The Folklore Sessions demonstrates that Kramies’ songwriting is just as stunning without the undeniable production talents of Jason Lytle (Grandaddy) and Todd Tobias (Guided By Voices, Robert Pollard, Circus Devils). With just his voice and acoustic guitar, plus languid piano backing by Grant Wilson (of Ghost Hunters TV show fame), these stripped-back versions of The European’s ‘Antiquarian Days’, The Wooden Heart’s title track and ‘Sea Otter Cottage’ are given vivid new life through Kramies’ genuinely affecting performances.

The Wooden Heart

October 2013

The Wooden Heart is the luscious and expansive new EP from Colorado-based dream-pop artist Kramies. The EP features the production and instrumental talents of Jason Lytle of Grandaddy fame, along with the inimitable production and additional instrumentation of Robert Pollard co-conspirator Todd Tobias. The Wooden Heart mines a wonderfully rich seam of atmospheric yet epic songcraft that Kramies has made his own. From the throbbing ambient introduction of ‘The Beginning’ through to the delicate folk of ‘The Ending’, Kramies’ new EP covers vast emotional and musical terrain during its 23-minute run-time. The title track’s windswept grandeur is married to an emotional directness that demands your attention and doesn’t let go, ‘Sea Otter Cottage’ sways and swoons with an almost unbearable poignancy, and ‘Clocks Were All Broken’ both alludes to and embodies this music’s timeless appeal. In addition to Todd Tobias’s production (on ‘The Beginning’, ‘The Wooden Heart’, ‘Upon The Northern Isles’ and ‘The Ending’), The Wooden Heart EP also features the production and instrumental talents of Jason Lytle of Grandaddy fame (on ‘Sea Otter Cottage’ and ‘Clocks Were All Broken’). Rounded out by the beautiful artwork of French photographer Jérôme Sevrette, The Wooden Heart EP is a lovingly constructed work of art.

The European

November 2011

Produced by Todd Tobias (Guided By Voices, Robert Pollard, Circus Devils), The European sets Kramies’ gorgeous voice and acoustic guitar within a glowing tableau, epic in scope yet delicate in detail. The EP fades into view with ‘Intro’, a simple cyclical pattern of guitar, piano and vocals gradually subsumed by drones and distortion. This leads into the majestic, glacial sway of the title track, guaranteed to make the hairs on the back of your neck stand on end. Then, ‘Inventors’ is the album’s dark, shadowy heart, a ballad of subtle intensity. Single ‘Coal Miners Executive Club’ is an emotionally resonant vortex of swooning pop built around an absolutely heartbreaking chord progression on synthesizer, carried skyward as layers and layers of instruments build and build. And the closing ‘Antiquarian Days’ is a fitting fade towards a sepia horizon, burbling loops and chiming guitars accompanying Kramies’ gentle lament.


Dutch-American singer-songwriter Kramies Windt began writing songs at the age of 14 after buying his first synth, acoustic guitar and four-track cassette recorder at an estate sale in his home town of Cleveland, Ohio. Even though he was never really exposed to any music other than old Dutch Christmas records his family had lying around when he was a kid, their haunting sound would shape the direction of his future songwriting.

Kramies started forming and playing in bands around the age of 16, and by the age of 19, the bands he formed became based around the songs he was writing. The bands took on many forms, playing the underground music scene from Ohio to Chicago. Come the late ’90s, Kramies developed his own sound, based around old-world imagery of cobblestone streets, old trains and castles, and romantic, poetic moments. Kramies and his band went on to open for Spiritualized, Grandaddy, Yo La Tengo, Calexico, Stereolab, Dirty Three and Red House Painters.

Come 2004, Kramies decided to focus on writing and recording in the studio, and began working with producer and engineer Todd Tobias (Guided By Voices, Robert Pollard) and guitarist David Paolucci. Working with Todd and David, Kramies released two albums to critical acclaim: Golden Like A New Thing (ACM, 2008) and Castle of Ghosts (ACM, 2010).

In 2010 Kramies began writing the songs for his first Hidden Shoal release, The European EP, in his coat closet in Colorado. The songs were demoed on four-track, painting a vivid sonic picture of the direction the release would take, drawing on the haunting old-world imagery he loved so much as a kid. The demos were sent to David Paolucci to start working on guitar parts in Ohio. Kramies then toured Ireland, playing really old pubs and small concert halls, which brought new ideas and layers to the songs. The European EP was recorded in June and July 2011 with Todd Tobias, with prominent, swirling guitar work from Dave Paolucci.



More News


  • Kramies ‘Ohio I’ll Be Fine’ Reviewed at Atwood Magazine

    “I had the honor of premiering Kramies’ debut album last weekafter covering his music on and off for the past six years – and truth be told, I’m not done talking about it. The phrase “hauntingly beautiful” comes to mind when describing the self-titled Kramies, a stunning record that blends fantasy and reality into a lush, raw, and ethereal dream-folk triumph. Listeners are sure to find their own favorite moments of catchy music and deep meaning, and for me the indisputable highlight is Kramies‘ fourth track, “Ohio I’ll Be Fine,” a heartfelt acoustic ballad featuring Jerry Becker and Jim Bogios.

    The closest thing the folk singer/songwriter has come to “emo” music in all the time that I’ve known him, “Ohio I’ll Be Fine” is an achingly bittersweet, happy/sad reckoning with Kramies’ past and present home state of Ohio. “I grew up in Ohio, I got sober and left, my life changed and grew into what it is now,” he explains. “What’s so ironic is I just moved back after almost two decades away. I don’t know how long it will last, but I’m here in it and I’m really happy for now. Without giving to much away, I’ll say this is more of a positive so-long song than sad: It’s my ‘goodbye/hello again‘ song to Ohio memories.”

    Atwood Magazine

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  • Kramies Self-Titled Album Reviewed at Vents Magazine

    “Kramies’ self-titled full-length release is a bit of a departure for this virtual staple of the modern dreamy indie pop world. Kramies has enjoyed well-deserved attention for his collaborations with Band of Horses’ Tyler Ramsey and Jason Lytle of Granddaddy, but several EP releases as well. Lytle and another guest, The Black Keys’ Patrick Carney, are prominent during on of the album’s singles, the opener “Days Of”.

    Kramies dredges a lot of the songwriting for this album out of a place of melancholy, if not outright despair. There’s a Robyn Hitchcock-like quality surrounding Kramies’ voice during the opener. Yes, we call this dreamy indie pop, but there’s a narrow spectrum of influences exerting a hold over Kramies’ songwriting – especially this one. There’s synth-pop swelling in the background, an orchestral bent, and even a smattering of Americana poking its way through the mix.

    “Horses to Maine” continues in the same musical vein but Kramies dials up the heartache clearer than ever. Attentive listeners will latch onto the rewarded flashes of specific imagery layered throughout the lyrics of these songs and how these moments often successfully illuminate the entire piece for listeners. “Hotel in LA” is one of the earliest tracks Kramies composed for the album and certainly isn’t buoyant fare.

    It will touch all but the hardest hearts, however, as there’s nothing faked or false about the desolation and loneliness rife throughout this track. The dreamy indie pop sound that Kramies has thus far built his catalog on is an ideal vehicle for songs such as this, gloom coloring the tracks like tinsel, but never quite dragging them into the mire. Kramies’ songs, instead, seem to float above it all, distraught, but never undone.

    The acoustic guitar and other instruments in “You’d Be the Fall” are far more tethered to earth than the vocal. Kramies’ voice sounds as if it is wafting out of a fog, soothing in some ways, but seemingly disembodied and haunting. The remainder of the song follows the album’s established approach thus far, but yet it hits a different place within. It’s one of the strengths behind his work that Kramies accomplishes that, time after time.

    Very deliberate writing opens “Flowers from the Orphan” and the minor key piano underlying the arrangement hints at the song’s darker depths. Introducing female vocals contrasting Kramies’ is an excellent decision that has the same effect as the additions to the preceding track – it’s very much in keeping with the album’s material, but components such as this help it stand out more.

    “4:44am” ends the album appropriately. It is more spartan than its seven predecessors though Kramies and his acoustic guitar never disappoint. Melodies on this release are invariably sketched out but the lyrics aren’t, and many listeners will come away from the self-titled effort pegging this as among its best lyrics. Let’s hope the personal issues bogging down Kramies’ life are put to bed now, and he keeps producing engaging material like this because, while it may sail under the radar, it’s one of 2022 best releases.”

    Jennifer Munoz, Vents Magazine

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  • Kramies Self-Titled Album Reviewed at Americana UK

    “Dutch-American singer-songwriter Kramies has created an exceptional debut album of lavish dreamy folk.

    Ohio-raised musician and songwriter Kramies Windt grew up in the Cleveland suburb of Fairview Park and began his career in the ’80s and ’90s playing in local bands (Summer and Channel are two he started) before venturing out as a solo artist. He relocated to Colorado in the early ’00s around the time he also made the significant decision to embrace sobriety.

    Windt has released several well-received EP’s of his signature intimate indie folk (bordering on psychedelic folk) by way of dreampop. Unsurprisingly his 2018 EP ‘Of All The Places Been And Everything The End’ was written in an 18th century Irish castle, a foretaste of the magical realism on his extraordinary self-titled album.

    Magical realism as a literary genre genuinely  applies to Kramies’ music, with authors like Los Angeles’ Francesca Lia Block writing about the same dark undercurrent of the city as his quickly composed song‘Hotel in LA’: “The day we hang up / All your photos / In that shitty hotel in LA / California where you grew tired / Probably from the pills you use to take / A little every day.” The drums sound like ocean waves crashing on the shore.

    If the album cover looks like a Waldorf children’s book of northern European folktales, then these songs are modern fairytales in the vein of the original Grimm/Andersen ones, not the sanitized Disney versions. Putting aside the topics of addiction, breakups, abandonment, and loss of identity, all formed like the shadowy scenes of an Ingmar Bergman film, the songs themselves sound oddly light and whimsical.

    Horses to Maine‘ is tastefully maximalist, with flourishes like brass building on each other into a lush sound. The Robyn Hitchcock-like 4:44‘ does the same, until its floating, transcendent ending that would have fit in with the first flush of English ’60s psych folk. On the ’70s-inspired ‘Ohio I’ll Be Fine,’ which Rufus Wainwright should cover someday, Kramies adopts a hurting yet defiantly dismissive attitude.

    Kramies describes ‘Owl and the Crow’ as one of the album’s most meaningful songs:

    “For one of the first times in my life I recognize instantly where the story and emotion from this song comes from. I rarely remember anything that isn’t emotionally heightened; if something doesn’t carry bits of historic emotional imagery then I don’t really care about it or remember it. This song has stayed with me.”

    The unnamed town Kramies “stumbled around,” where ‘It’s hard to stick around’ possibly refers to Cleveland. It could also be Denver, L.A., Paris, or any other city about which he has mixed feelings. But his hometown has a long-standing, intimidating musical heritage: Bobby Womack, Tracy Chapman, Pere Ubu, Trent Reznor, and Screamin’ Jay Hawkins for a start. This album goes far to argue that Kramies may well be included among the Rust Belt city’s great songwriters.”

    –  Americana UK

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  • Kramies Self-Titled Album Reviewed in At The Barrier

    “American singer-songwriter Kramies has a career spanning almost fifteen years with a long string of releases that have earned him the title of the dream-pop troubadour.’ The new album sees Kramies grow even more comfortable with his own unique way of working as he calls on an impressive array of special guests that includes Patrick Carney (The Black Keys), Jason Lytle (Grandaddy), Tyler Ramsey (Band Of Horses), Jerry Becker (Train), and Jim Bogis (Counting Crows/Stevie Nicks).

    What’s more impressive is how they all fit onto and in between eight tracks and provide some sort of identity continuity to the eight alternative and dreamy folk style that make up the album. Not straying too far from the comfort zone of the signature dreamy lyrical landscapes he has become known for, Kramies explains how:

    “The songs seem to all come from different time periods, the production is all unique to each piece, the songs were created in all sorts of strange ways and the lyrics are emotionally in different spaces — yet it all came together and all makes sense. It’s just like a scrapbook of photos: some pictures are old, some are faded and some are detailed, but in the end, just holding the book brings a feeling of personal history that’s been all wrapped up.”

    Stories of death and addiction and a healthy shot of nostalgia sit amidst untold chapters from his own story to date. Emotionally charged for sure, wringing out every drop of emotion and angst with engaging melodies and glimmering dream-pop themes that take us back to moments and feelings lost somewhere in time. Opening piece, Days Of sets the tone with an increasing intensity, followed by a stark and distant Horses To Maine, the latter erring towards a languid and musing ambience, bizarrely bringing to mind some Roger Waters stylings including an unexpected profanity, although the glittering tuned percussion might be a step too far for Rog. Not too long though before the cresencendo creeps up in a familiar fashion.

    The creation of vast soundscapes vies for the attention with the intimate, the up-close and personal. The shift of perspective from Shitty Hotel In LA to Ohio I’ll Be Fine a classic example, until the latter is enhanced by a grand string part that provides the swell of an uplifting moment. It concludes what would be the old side one yet the flow continues its passage into the second half as You’d Be The Fall drifts and breaks in gentle waves, leading into a sequence where the mood is fully epitomised by the song and title 4.44am. It’s music that’s made for that time of day.

    To say that Kramies highlights the attention to detail and the fragility that you get with anything by Tim Bowness and the understated songwriting quality of Nick Drake is compliment enough for a classy and beautifully crafted album.”

    –  At The Barrier

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  • Kramies ‘Owl and The Crow’ Reviewed at Why Now

    “Written whilst travelling through Ireland, and subsequently recorded in one take in California, this acoustic song soaks up all the wistfulness of such a journey. The second half is, dare I say, reminiscent of Damien Rice at his emotive best. ‘Owl and The Crow’ is the second taster (after ‘Hotel in LA’) of Kramies’ self-titled LP, arriving on 9 September.”

    Why Now

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  • Kramies ‘Hotel in LA’ Review in Various Small Flames

    “With a brand of folk-inflected dream pop willing to combine history with folklore and myth, Kramies has made a name across several acclaimed EPs, but this September sees the release of a self-titled debut full-length on Hidden Shoal. Featuring Todd Tobias (Guided By Voices), Patrick Carney (The Black Keys), Jason Lytle (Grandaddy) and Tyler Ramsey (Band of Horses), the record offers a layered, ethereal sound which challenges the distinction between real and dreams when contemplating the past. Which is something single ‘Hotel in LA’ captures perfectly. “It kind of follows that timeline of my life where there was a beautiful blur between the lines of what was real and what was nostalgia in the making,” he explains. A space in which experiences are processed into memories, and all the emotional significance attached.”

    Various Small Flames

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  • Kramies ‘Hotel in LA’ Reviewed at Give It A Spin

    Kramies is a US-based singer/songwriter with lots of experience and music on his back. Having already released the critically acclaimed EP “The Wooden Heart” as well as “Of All The Places Been & Everything The End” produced by Jason Lytle (Grandaddy), Todd Tobias (Guided by Voices), Jerry Becker (Train), Kramies has worked and performed with artists like Calexico, Spiritualized and many others.

    In one of his latest efforts in 2021, Kramies teamed up with Patrick Carney (The Black Keys) to produce “Days of,” which reached the Top 10 as a radio single. 2022 found Kramies with two songs hitting the TOP 10 on college radio. Currently, Kramies is working on his highly anticipated LP, to be released in September 2022.

    Hotel in LA, originally named “Sh*tty Hotel in LA” is one of Kramies’ fond memories, made with a person the artist used to care about and led to create this beautiful track. It’s actually one of the most beautiful stories I’ve read, and as I write this down, I feel moved. Maybe the song playing in the background is also messing with my head, but I definitely got the feels.

    little backstory about how the song was conceived. Having a travelling lifestyle, Kramies kept lots of memorabilia, photos and letters from his travels in the past.
    One of these was a letter that a significant other wrote to him. In this letter, there was a paragraph where they joked about how they had to make a hotel that was falling apart in California into something lovely. To do that, they hung photos over the cracked walls, eventually filling them with more than a thousand frames. Imagine having a memory like this and reading about it a few years later. It hits hard but has a soft touch to it. As the artist mentions, the letter and lyrics came to him when he was at the height of his drug addiction before coming clean.

    I don’t know if the drugs helped create this beautiful piece of art or if it’s just Kramies’ talent, but all I can say is I can listen to this non-stop. Knowing the back story, I paint pictures with my mind, trying to picture the sh*tty hotel, filled with all kinds of different frames and photos.

    The song has a unique vibe and moves you even without reading all of the above.
    I’m looking forward to Kramies’ new LP and hope you are too.”

    – Give It A Spin

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  • Kramies ‘Of All The Places Been’ Reviewed at Fuzzy Logic

    “There’s a bunch of videos out there. Some of them are good. Some of them are a cut above. I like to think my picks for Video of The Day are a cut (or two) above.

    The last day of the year is a heavy kind of day. It’s a time when many folks think of the entirety of the year, and think about regrets of both the last year and in general. It’s not all gloom, though, as December 31 also represents the start of the beginning. Disappointment mingles with expectation on the day the curtain falls on the year, and I think this Kramies song captures that unique interplay of live wire emotions to perfection. “Of All The Places Been” is a haunted, haunting crawl through memories and into the great unknown of things to come.

    The song’s video is sheer perfection, peppered with ghosts and representing the weighted memories of the song beautifully. Listening to this makes for a heck of a way to wrap up the year, not to mention kicking off the new year.”

    Fuzzy Logic

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  • Kramies “Of All The Places Been & Everything The End” Reviewed at Liverpool Sound & Vision

    “Of all you have seen within your life time, how much of them do you truly remember, is everything that you think you witnessed, every eye-capturing moment, something you observed, or is it the product of the emotions of what you felt running through your veins at the time; not everything you perceive to be real is true, not all the ins you have placed in a map and the images of them in your mind’s eye are everything they could have possibly been.

    Of All The Places Been & Everything The End is the sign that acknowledges this phenomenon, the nostalgia captured by Kramies in the six strong song E.P. is one of determination, a reflection of the picturesque feeling in which the places seen and the exquisite race towards the end of all we understand, is forthcoming and a remembrance of all that we might believe about a particular city, town or building visited. It is a tale steeped in the attitude of the Progressive, whilst being one of heart narrated by the curiously contemplative and melancholic.

    Of All The Places Been & Everything The End doesn’t set out to be a crucial expose of the use of landscapes and human topiary within the epic like journey into imagination, and yet through the combination of Kramies own style and the three producers used, the overriding effect is about management, of how we are shaped by our experiences, and those we sometimes think we have encountered.

    Through the songs The Woods, The Storm & The Tale, Of All The Places Been, Ireland, The Writings, Everything The End and the E.P.s single The Hill Dweller, the sense of balance is achieved in between the unearthly, almost ethereal lyric and added orchestration by David Goodheim, Jason Lytle, Todd Tobias and Jerry Becker, a release of magic takes place, the music sways as if performing a dance of its own creation, guided in ways that the listener can only dream of seeing but has to settle for the idea that it resembles a place you had thought you had seen before and realising it is far from what you remember, that the alleyways and pull of the people’s lives are far more interesting now that what they ever were.

    A set of songs that captures the melancholy of human existence and raises it up to be praised and enjoyed.”

     Liverpool Sound & Vision

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  • Kramies “Of all the Places Been & Everything the End” Reviewed at A Decouvrir Absolument

    [Translated via Google. Read the original here.]

    “Note from the one who writes

    Kramies, do not be surprised at how I write or where my writings go, since the time, you know my vagaries and other meanders. My crazy head often goes on paths lost but has the gift of falling back on its paws (a salute to your cat), everything may seem fogged, but you know me, I do not know how to write the cold and the opaque materials, but if writing the invisible and the emotion of their lights, this criticism is not one, it is a journey in the hollow of your disc, others will weave more formal criticisms, applied, me, while listening to you I do not know how to fly.


    I use ink, I always use ink and paper with Kramies, as if I had to prepare a ritual, I never do it directly on the screen, no, I preserve the poetry of calligraphy, the scale of a page and even the sound of the pen on the sheet, I allow myself erasures, I allow myself the margins. A ritual, an intimate ritual between my words and me where the songs of the singer-singer play to upset the text, to animate the thought, something impossible on a keyboard (may be still a Pleyel), but flourishing, empirical, on the notebooks. I use ink, since it is dream material, to emerge multitudes of images, often I sleep my soul in a landscape that he paints, somewhere where he takes me, a wind flush with Irish soil, a golden ship of colonial empire, a wedding banquet, a journey of looks. I use the ink drawn from the veins, the most intimate of me, beyond flesh and bone, travel without time or earth, closed eyes and open visions. Kramies is an upside-down Charon, which takes you to the shore of births, which brings you back to life in all its truth, imagination and purity, the jubilation that was thought to be omitted, the thrill that it was thought smooth, eyes wide when they discover a passion. I use ink on several small blocks of notes, and everyone brings his magic on this magician, it is sometimes messy, the dream is it ordered?


    I was listening to his record, when I fell asleep, awake, I was kidnapped years of me, pen in hand, one day in Paris, I was 36, I think, still fresh Fine Arts, I was taken hostage by an illumination, beauty. There are not always clear reasons for these errors produced by his ethereal music, I will logically find myself in a plain of the green Erin to name Celtic deities, both ocean and rock, whose shiny and pale beauty Irish people who were happy, although dark, would have made me fall in love with them, but in these melodies there is art without law, sensuousness without norms and rules, the free lightness of the mind, its malleability to flow from aKramies “” Reviewed at color has a sound, a flavor has a name, there is this magic of unreal, of dreamlike that only lands when it touches the bank of the heart, there is confinement in us, in our experiences, which progressively divide the surpluses and reach the matter of pleasure, like a fountain of youth in our emotions, a return to the moment when, without knowing it, we were dazzled. Strangely, I went somewhere else, almost the opposite, without knowing at the beginning why, but I also remember having sometimes had the image of the “Castle of the Pyrenees” of Magritte while listening to Simon And Garfunkel, this world is too much large to provide only one image per hymn.

    “Of all the places i’ve been & Everything the end”

    Room Italy, Denon Wing, first floor, room 711, (also named Room of the Mona Lisa) In August 2006, it is here that you just deposited me at the first chords, at the precise moment of the marvelous, at the dawn of your disk. There is a shaggy crowd chaotically aligned whose varying heights describe mountain ranges on the red ocher wall, the Japanese touch despite their traditions and phobias the bodies of Europeans, it is a mass of cameras and cameras. first laptops, the flashes make storms on the small surrounding frames. It is a golem of back, frozen of the look on the smile of the Gioconda, in a silence almost violent, inconvenient, who waltzes slowly, caught in a traffic jam of sheep, the blinkers fixed at the corners of the frame of the Mona which seems to each cliché more minute, this is the cruel reality, this pardonable stupidity to have eyes in this space for the cold enigma of commissures, I can probably put on this image thousands of songs of washed varieties , or even the white noise, a feedback. Kramies is elsewhere. I turn my back, in front of the work of Leonardo, is placed the immense and imposing “Wedding of Cana” of Veronese, shimmering, splashing, but that nobody looks, disdain of the Mona Lisa, stupidity of the world, me, I have just drowned in it, between the guests at the wedding, without being welcome or repudiated, just brought me Kramies. My soul is frozen on this hand that arises behind the shoulder of the flute player, in the shadow of the luthiers, in the middle of everything, in the shadow of the light of Christ, hand that breaks the whiteness of the tablecloth , who really has a body, which widens like a sun, that’s it, the moment Kramies, this little detail in the shadow that defines the world, these little strokes of brushes that alone, divert the Real to the dream, the transition to beautiful and loving dimensions, this is the beautiful reality, the one that has no definition. Kramies is the hypnotic detail, which attracts to us the impalpable happiness of infinite possibilities, the super power of all power. Kramies, it’s these five fingers apart from everything, without proper space or time, an almost unconscious detail that spells the world, that catches your eye and all that lives behind, a micro world where the possibilities are effect dominoes, soft borders, malleable like a childish legend, and all that surrounds each of these phalanxes is a universe as useless as it is unbelievable. At Kramies, I gave him the name of mage, troubadour, names of rivers and ether, I defined it as the intimate part of dreams and as the universality of dreams, I give him from now on the state solid of beauty, the gaseous state of art. It does not matter which sixty or so characters in the scene (though I’ll let the luthiers and this flutist to at least connect my fickle ideas about it), and most importantly, no matter the Mona Lisa, imports this crowd that unknowingly , adulating something else, is already part of his only presence of the songs of our singer, since each of those who will listen to this record will have a scene to tell, a story lived in another way, in the aura of Kramies, imports this hand, the unforgettable world where lives Kramies. It is the other side of the Mona Lisa, the hidden face of the idol, this grand, boundless Biblical painting as it feeds on dreams, it is the magnitude of a masterpiece as much as the detail of five fingers, in other words, the other universe, that of hidden, intimate poetry, inside us. The interior is a comfort zone that we color according to the need, nothing to us, this secret garden, this vital space of one, where we allow birth and non-existence by need of being well, the search for happiness, even if outside the clashes, here, inside, we pretend, but we smile (better than Mona Lisa, this said), we painted the walls as we like them, often transparent from within and opaque from the outside, it was furnished with our cradles and unmade beds, family tables, and a record player where our singer soothes our doubts of infinite possibilities, erasing the why with why not, here psalms, here hymns, here love letters. With each disc, it defies a little more the gravities and the matters, it offers impalpables armors and castles without fixed residences, natural medicines that one wants to believe, and too bad if it lies, one is well in, he distills alcohol from rattling and ropes to blind our realities, of course, but does not one need more and more unreal? Kramies is an invitation to shut your eyes, to give up weightlessness, to remove flesh and bones, to touch the very essence of us, this hand on the white tablecloth, the only importance that exists-resists, Kramies paints the soul, with a deep sound, with a volatile word, with a light yet powerful guitar, stunning our return to the true world, keeping us flying, above the wounds. Kramies is the detail of a rustle of leaves in the tree, there, close to this Irish castle where he has just found yet another breath on his guitar. He opens the doors of other universes, but remains impassive, the minute detail on his large canvas, a brown hand detached on the tablecloth of the wedding. Of course it will be necessary to speak about these songs, one to one, something that I leave to professionals better endowed than me, who will be to you to say that the slow rhythm is also rhythm of walk half-funereal, half bellicose, rhythm imposed by its guitars who bend their strings like a heartbeat, each time pushing a little more on the melody, that one feels the Irish patina for the cold in the depths, and then that it took a step further, side by Jason Lytle, to the pinnacle of dream-folk, or so many other labels for an artist who deserves them all and more, the clever use of keyboards in the background, fantastic and whimsical backgrounds, the voice technique of shaking sentences that reinforce the feeling of walking, me, I stayed on a detail, like this hand decades ago in Paris, a detail of weight, Kramies, simply, makes me believe in the divine, has the eternal youth, the dream on earth as in heaven, in my interior, art.


    You see, Kramies, once again I wandered as one drifts, from Paris to Ireland, from a hand of a Veronese painting to a branch of an Irish castle, it’s so hard to stay real to your listening, it is so difficult to have your feet on the ground, we even take pleasure to return to our realities with your images, we feel invincible souls, I told you in private l love that propels your music, since love is pleasure, the step forward you make with each new sound gift, this diaphragmatic uprising that I discovered by discovering your sparks, and the happiness of freezing your soul with everything that moves. This hand of the “Marriage of Cana” had yet to do with you, but the magic is to know you everywhere, as a new emotion, without name yet, without legal definition, tell you that every little detail can lock up your magic, along with life, and this, my friend, is art.”

    A Decouvrir Absolument

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Kramies’ music is  available for licensing (master & sync cleared) through Hidden Shoal. Please contact us with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.