Moving Furniture Records

Movement is the first album by Orphax & Kenneth Kirschner. Together they present a beautiful ambient work.

Movement is released as CD mastered by Jos Smolders at EARLabs in artwork by Rutger Zuydervelt & Sietse van Erve

Orphax & Kenneth Kirschner – Movement

The first time I encountered the music of Kenneth Kirschner must have been in 2002 or 2003, when the label 12k had an online series of releases under the name “term.” Since then, I have been following Kenneth’s music and collecting various of his CD releases, as well as downloading many of his works directly from his website or from various netlabels. After doing a couple of remixes of his work, one of which was released as part of “Imperfect Forms: The Music of Kenneth Kirschner,” an expansive multimedia project about his work from Tokafi, the thought of working with him always stayed in the back of my mind. After releasing my 7″ Piano Music in 2019, I decided to email Kenneth to propose a collaboration. And here we are.

“Movement” is a work based on various piano sketches by Kenneth, which I edited, added synthesizer and organ, and mixed. We chose the title “Movement” for this work with the idea that the music is continuously moving and never really stands still. It is also a reference to classical music, where a composition can be built up from different movements. Our work has something similar, and consists of 5 different movements coming from multiple piano sketches (often combined).

– Sietse van Erve / Orphax, March 24, 2024


Vital Weekly, Frans de Waard

As much as I heard of Orphax’s music, music by Kenneth Kirschner a lot less. The last time might very well be in Vital Weekly 989, almost ten years ago. In my little (non-existent) book of information, I have Kisrchner down as a composer of ambient music, with the piano as his favourite instrument, among others, such as drinking glasses and electronics. Combining this with the drones produced by Sietse van Erve, also known as Orphax, is a great idea. Combinations of piano and electronics are a tested idea, going back to Harold Budd and Brian Eno. Still, in that case, the electronics coloured the piano playing, whereas here, we have two independent sources playing together. Orphax worked with piano sounds before, and in 2019, he approached Kirschner for collaboration. He received various piano sketches, adding a synthesiser and organ. The movement in the title is a reference to keep the music in motion without ever coming to a grinding halt. It’s also a reference to various movements within the piece, which lasts over 32 minutes, The first 15 minutes sound as one would expect such a collaboration to sound. Delicate shifting electronic sounds, buried piano tones, slow and only occasionally rising to the foreground. Sometimes, one recognises phrases; sometimes, they remain isolated tones. After about minute 16, the piano comes to the foreground, and it becomes clear that we have the sketches untreated and the electronics reduced. This section sounded more like modern classical music, something Orphax enjoys (he recently performed with the Maze Ensemble, much to the enjoyment of mainstream press – good for him!) as a musician and label boss, but I am less impressed. What follows shows more of these phrases, looped and again with the electronic parts a bit covered up; the loop we hear remains too much of a loop, effectively removing the mystery of the music. Some of the magic of the first 15 minutes returns only in the final minutes. Next time, a face-to-face recording? There are some powerful ideas here, and also a few misses, but that’s part of the game, I think of working together. Why not more pieces is another (minor) mystery. (FdW)
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Kenneth Kirschner

Kenneth Kirschner is a composer of experimental music, working at the intersection of avant-garde classical composition and contemporary electronic music. His work is characterized by a close integration of acoustic and electronic sound sources; a strong focus on harmony, pattern, and long-form development; and experimentation with techniques such as chance procedures, indeterminacy, and microtonality within a digital context.
An advocate of open source music, Kirschner releases all of his work freely online through his website,, which represents a complete archive of all his published music from the 1980s to present; his work has also been released by record labels such as Sub Rosa, 12k, Greyfade, Line, Leerraum, and Room40, among others. He performs internationally, and has created sound art and multimedia installations for a variety of gallery, museum, and public art contexts. Kirschner’s recent projects have included “From the Machine”, an ongoing series on the Greyfade label exploring algorithmic approaches to the composition of acoustic chamber music; “Variant”, a series of interactive audiovisual apps and installations created in collaboration with visualist Joshue Ott; and “Imperfect Forms: The Music of Kenneth Kirschner”, a multimedia retrospective consisting of essays, interviews, and artistic contributions from over two dozen journalists, musicians, and visual artists from around the world. Kirschner was a 2015 artist in residence at Eyebeam, a 2016 artist in residence in Times Square, and a 2019 New York Foundation for the Arts Fellow in Music/Sound. He lives and works in Brooklyn, NY, USA.


Amsterdam-based musician and trained drummer Sietse van Erve (Orphax) was introduced to electronic music in the early nineties. After playing around with tracker software for a couple of years, he eventually recorded his first more serious attempts at music with beats and melodies in 1998, though he soon lost interest in both of these. He started researching new sounds and new ways of working – always with an organic touch, and often incorporating sounds that would be regarded by others as errors or mistakes (considering that life isn’t without errors either). During this search, he found his way into drone and microtonal music. As a result, in his most recent work, time, and spatiality become more important factors. The goal of the music is for the listener to lose the sense of time and place. Live, this is combined with room for improvisation. This way of working typically results in an organic form of drone and minimal music.

He has over 50 releases as downloads, CDRs, tapes, CDs, and vinyl on various labels, as well as self-released online since he started working on music. This includes collaborations with Machinefabriek and Martijn Comes. Further, he has contributed to many remix projects, including work for Kenneth Kirschner, Sontag Shogun, Martijn Comes, TVO and Chris Dooks, among others. In the past, he has shared the stage with various musicians, including Martijn Comes, Jos Smolders, Frans de Waard (Modelbau), Zeno van den Broek, TVO, BJ Nilsen, Philip Jeck, Yann Novak, Sarah Davachi and Scanner.

Besides making music, Sietse van Erve runs Moving Furniture Records and has curated concerts at home, at Amsterdam institute STEIM, De Ruimte, OCCII and more.