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Gewapend met zijn gitaar, zijn vermogen om via liedjes boeiende  verhalen te vertellen en een tanklading aan covers—welke hem, naar eigen zeggen, veilig houden in donkere tijden—speelt de sinner-songwriter zijn eerste volledige cover-show BLANKETS.
“Blankets zijn dekens, dekens zijn covers, covers zijn liedjes, liedjes houden je warm, blankets ook... cirkel rond, niet?”  -Jean, December 2018
BLANKETS ook in Uw huiskamer? Meer info vindt U >>>hier.

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gravedancing | NEW ITEMS IN THE STORE...

GRAVEDANCING is perhaps one of the darkest of all Jean's songs. It investigates life through a lens of unlimited possibilities, while the pressure of the rigid outside world, and the limitations of organised religion (in all of its forms) push the protagonist down.
Even though the base of the song is located in Zaanstad, through the bordered "small-minded" sonic landscape of INDUSTRIAL CITY IN THE CLOUDS as well as INDUSTRIAL CITY RMXS, the song has direct links with the Bayou just outside New Orleans. The protagonist is very much interested in the possibilities of what Voodoo can do and invests his education into a mild form of witchcraft.
This inspired the new collection, now presented in the shop, labelled "gravedancing,""gravedancing voodoo," and "gravedancing voodoo II".
With the main colours (very much like earlier collections) red, white and black, we offer an array of home-decoration items, as well as apparel, mugs, notebooks and tow…


The RMX album was released December 29, 2018

produced by Jean Koning and Eric Guez

live-mixing: Lorenzo Ursini for MME
analog mixing: Stephen Brey

Mastering: Denis Miller at M.D.B. Mastering Studio's, Brighton

original songs p/c 2013 Coffee&CheeseCake Records - used by kind permission.
all rights reserved

alternativeavant-gardebitpopelectronicaexperimental electronicglitchi.d.m.micropopsinner-songwriterLondon


On Surrender The Pink, !JP comes clean with the rock & roll that’s always driven them, from as far back as when singer Jean Koning stormed out of his rehearsal room at the conservatory.
Whereas 1994’s Anatomy Of Addiction and 2000’s Everybody Else’s Boy strove to extend Koning’ voice-and-guitar foundation into different areas — blues and dance — Surrender The Pink closes up shop and starts over with a live-band recording done by two men: Koning and Van Weely. A woolly jam dynamic pervades Pink, from the paisley metallicism that kicks off “Screw” to the grooving dream world of “Drifted.” Throughout the album, Koning and Van Weely throw themselves and their instrument of choice into bass-drum-guitar ensembles augmented by percussion loops and the occasional string section. In the past, all elements of the arrangements answered to Koning and his guitar; now, they replace that hierarchy with rock interaction. On Surrender The Pink, the two men are just some of several tenders of thei…