우연히 지나가다 들었는데 개쩌네요

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Soundscape, asmr project 2....https://soundcloud.com/00in/asmr-idm
inspired by drone music, horror game ambience

Ventilator

produced by jhl and @emoteria
mix & master by @emoteria
moral support @emoteria
powerwasher @emoteria
everyone follow @emoteria what a fuckin good cunt

ciara, missy elliott - 1 2 step (jhl+emoteria remix)

Artist: Memeshift
Album: Echoes
Format: Digital / Tape
Cat.No: CHI048
Master: Justin Randel
Artwork: Dhomas Kampretz Yudhistira
Design: Saphy Vong, Morgan Sully
Release Date: 19 April 2022

Echoes, Chinabot’s first release with Morgan Sully of Memeshift, takes us from Borneo to Berlin, collapsing decades and continents through electronic experimentation and personal recordings. Through the process, he asks if it is possible to reconfigure a cohesive sense of home from the diverse elements of a diasporic experience.

Echoes’ fifth track, Balikpapan, takes its name from one of Sully’s first homes, a city on the eastern coast of Borneo that Sully fled with his family as a six-year-old in 1986. When his American father couldn't pay the bribe asked by corrupt local officials to validate their exit visas, his family hired a smuggler to ferry them by sampan from Batam Island across the Strait of Singapore. Under the cover of darkness, after the gunboats passed, they found themselves on a secluded beach in Malaysia, the first leg of a journey that took young Sully to many homes between Hawaii and (eventually) Southern California.

Balikpapan was started shortly before returning to the city, some 35 years after he left, and features a field recording of insects from a mangrove swamp near his former school. Pulsing with humid, clicking beats, and laced with haunting synths, Balikpapan transports us into the physical environment, as well conjuring an emotional landscape filled with a complicated nostalgia.

The journey through time and memory is revisited in Sad Sunda, which samples a cassette of ‘pop sunda’, a form of popular music that blends western pop and traditional instrumentation from Java, that his mother brought with the family to Hawaii when they fled Borneo. Composed on an Elektron Octatrack over three decades later, Sully cut the samples into small snippets and randomly resequenced them. The percussion is from Roland CR-78 samples and drum loops pitched down and resampled in the Octatrack; through the frenetic club beats, we hear his current life in Berlin, where he now lives, bleeds into the music of his past.

His migratory experience is apparent in Sully’s music influences, which he names as “Sundanese gamelan, the Beach Boys, pop melayu and eventually punk, industrial, and noise before utterly relinquishing to the music of clandestine raves of Southern California in the late 90s.” For Echoes, Sully synthesises all these through his DIY electronic lens, finding both a sense of playfulness and a melancholia. “Echoes is an attempt at recollecting a hybrid sonic language, an unattainable and elusive ‘home’,” Sully says.

The album ends with a trip to his mother’s actual home. The churning, meditative Mom_s Kettle was recorded in his mother’s California apartment in 2021, as she was recovering from an anti-Asian hate attack that hospitalized her, part of a wave of violence that had become a second, shadow pandemic throughout the United States during the Covid pandemic.

The track relies on deeply personal, diaristic textures. “The sound of my mom's kettle which starts off the track, was recorded on my iPhone while I searched for talismans to bring to my mom in the hospital,” says Sully. “The pointillist melodies came later in Berlin from a recording session with my friend, while the granulated percussion originates from heavily compressed recordings of the recorder shuffling in my bag.” In a final personal touch, the colours of his mother’s hand-made dayak Borneo beadwork inform the Echoes album cover, embodying the spirit of the record – a creative force that blossoms despite aggression and displacement.

Echoes

Memeshift - mom_s kettle

Memeshift -  Thesis Work

Memeshift - Arkaoda Kebyar

Memeshift - Clue

First solo release from vocalist, movement artist and composer Elaine Mitchener, whose work encompasses improvisation, contemporary music theatre and performance art. Solo Throat draws on the work of African-American and African-Caribbean poets Kamau Brathwaite, Aimé Césaire, Una Marson and N. H. Pritchard as source material for twelve new vocal compositions
Elaine Mitchener is a veteran of vocal expression in the global Black Avant Garde, traversing free improvisation, cross-disciplinary music theatre and contemporary composition with clarity and joy. Most recently, Mitchener has been improvising and composing with the written word as source material - challenging classical ensembles with her piece (“the/e so/ou/nd be/t/ween”), and commissioning composers Matana Roberts, Jason Yarde and George Lewis to respond to the work of Sylvia Wynter (“On Being Human as Praxis”, Donaueschinger Musiktage, 2020). Her performance of Umbra poet N.H Pritchard’s text FR/OG at OTO in 2021 was a revelation - a solo vocal recasting of the powerful visual-material form that Pritchard uses to disrupt semantic ‘sense’.

Building on this performance, Solo Throat takes the work of Pritchard alongside poets Edward Kamau Brathwaite, Aimé Césaire and Una Marson as its source material. Its compositions are a loose translation - a carrying from text to voice which holds multiplicity and celebrates the transformative power of literary possibility. Surrendered to the spacing and repetition of consonants and vowels, Michener’s exceptional phonetic freedom gives rise to a sensuous experience which intensifies the roles of rhythm, timbre and breath in expressing meaning.

Solo Throat comes together as much through difference as similarity. Mitchener’s own solo improvisations sit alongside the work of Brathwaite, Césaire, Marson and Pritchard, forming a constellation of unlikely alignments which make no aesthetic conclusion. Instead, Solo Throat is a site of encounter, an irreducibly plural de-composition of words into a heterogeneous assemblage of sounds and impulses, emphasising what Anthony Reed calls, “the play on and the surplus of margins of lyrical translation to resituate other pathways of expression”. Just as the poets cited use white space to complicate our act of reading, so Mitchener utilises silence and multiphonics to complicate the act of voicing and the way we listen.

Solo Throat

ROKU036 - Elaine Mitchener - "stretchedwoundspeaks" from Solo Throat

Rinse FM Podcast

7ip7o3 with Dayoung - 24 April 2024

JK FLESH is the 383rd guest of our original Hate Podcast series with all new and unreleased JK FLESH material.

Download available after 10.000 listens.

Follow #JKFlesh here:
https://soundcloud.com/jk-flesh
https://www.instagram.com/justinkbroadrick/
https://twitter.com/jkbroadrick
https://www.facebook.com/jkflesh/

HATE Podcast

HATE Podcast 383

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JK FLESH - HATE Podcast 383

Free improvising drummer and visual artist Terry Day talks us through his archives, selecting cuts from his extensive performance history going back to 1965 to the present.

Performers includes in the archive include: Mike Figgis, Pat Thomas, John Edwards, Evan Parker, Hannah Marshall, Satoko Fukuda, Eunjung Kim, Steve Beresford, Peter Urpeth, Neil Charles, Adrian Northover, Dawid Frydryk, Ansuman Biswas, John Russell, Davey Payne, Charlie Hart, John Butcher, Alison Blunt, David Leahy, Beibei Wang, George Khan, Maartje ten Hoorn, Sylvia Hallett, Sue Ferrar, J.F Pauvros, Katie Perks, Jerry Hunt and Tony Hymas.

Thanks to Terry Day, Blanca Regina, Pierre Bouvier Patron & Steve Beresford.

Ventilator

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