This Mixtape is a compilation of tracks produced by the participates of the 'Take it from the bird - creating music inspired by the Superb Lyrebird' workshop I lead for Unthinking / Unlearning - an online laboratory and residency, a part of the Year of Germany in Russia 2020/21 and collaboration between Klammklang label, Sound Studies and Sonic Arts (M.A.) at the Universität der Künste Berlin and Sound Art and Sound Studies (M.A.) at HSE Art and Design School, Moscow.

‘The Superb Lyrebird’ is an Australian Native bird, which is capable of mimicking natural and synthetic sounds from its natural environment — Participants created their own music sampling biorhythms and timbres from an animal sound open-access archive.

Track list:
Alexandra Kopelyan - In a Bittern Voice
Isa sO.any - Myai
Alexey Berezhnoy - Flat ES Ecosystem
Anton Anishchanka - Bear Habitat
Ira Afanaseva - Dogs in the yard
Lera Elagina - Kozhuhovo Birds
Masha Alexandrova - Fin 
Ystalost Dimecres - Untitled.

Take it from the bird - creating music inspired by the Superb lyrebird U/U workshop mix tape

🌚 New Release: AK'CHAMEL - A Mournful Kingdom Of Sand (LP/DL)
=> https://bit.ly/3FXWVMF

The cabalistic duo Ak’chamel strikes again with a second record called A Mournful Kingdom of Sand. Following the publicly and critically acclaimed The Totemist (AKU1023) released in 2020, this album sucks the listener into another esoteric journey which - according to the band - is a perfect soundtrack for the desertification of our world.

Ak’chamel perform in mystifying outfits with mostly indigenous and homemade instruments. They often play in unusual locations like laundromats and dilapidated buildings, being thrown out by security guards on several occasions. They have garnered journalistic acclaim and received dubious threats by inebriated hipsters. Talk about high praise!

Limited 12'' vinyl printed on reverse cardboard including printed inner (500 only)

AK'CHAMEL: A Mournful Kingdom Of Sand - The Great Saharan-Chihuahuan Assimilation

OTOROKU is proud to release one of the most engaging and beguiling Late Junction live sessions we’ve ever heard - the one off first meeting between Korean multi-instrumentalist Park Jiha and writer and performer Roy Claire Potter.

Park Jiha plays the saenghwang, a Korean mouth organ which she blows in long multiphonics to set pace for Potter’s words. Together they unfurl a scene slowly in front of you, rich and focused, shifting your field of vision and drawing you in, elsewhere. It’s impossible not to follow, not to look for where they point. When the piri sounds for a flooded town on the B side, the water flows between your own feet; Potter’s words a sometimes frightening hörspiel in scouse. 

Though the details are fine, the space each artist gives one another and their instruments, their language, is given to the listener in turn. A careful melody picks out a route for words with no fixed meaning, a body with no fixed direction, and we are invited to listen and see a kind of music made visible in its inference. A truly very special record we are very proud to share.

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Influenced by linguistics and performance theory, Roy Claire Potter makes performance, text, drawing, installation and film, and often collaborates with musicians and sound artists to make audio for music festivals and radio. Across the wide range of their practice, Roy tells stories built from fragmented, intense images that depict moving bodies or domestic scenes and architectural settings. Roy’s interest in subtext and narrative sequencing is felt in the way they use fast-paced talking or reading speeds, and restricted or partial views of space. Complicated social or group dynamics and the aftermath of violent events are common themes in Roy’s work and are usually treated with a dark, sometimes wilful humour.

Park Jiha creates exploratory music rooted in traditional Korean instrumental performance. To this session she brings three instruments: a Korean hammered dulcimer called a yanggeum, a saenghwang which is an instrument made of 24 slender bamboo pipes attached to a bowl and played like a harmonica and a double-reed bamboo flute called a piri, which sounds similar to an oboe.

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Park Jiha / yanggeum, saenghwang, piri

Roy Claire Potter / voice

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Recorded and mixed on: 30 January 2020 by Rob Winter, Pete Smith and Andy Rushton at Maida Vale Studios, London for “Late Junction - Roy Claire Potter and Park Jiha in session”. Produced by Rebecca Gaskell, Katie Callin and Alannah Chance at Reduced Listening for BBC Radio 3. Originally broadcast on Friday 28th February 2020, apart from Track 4 which aired on Late Junction the 21st February 2020. 

Mastered by Katie Tavini. Original artwork: “Three Boys” by Claire Cansick. Liner notes by Frances Morgan.

Available as 320k MP3 or 24bit FLAC

 

 

LP version arrives in a gatefold LP. Both CD and LP include a written response to the record by Frances Morgan.

ROKU029 - Park Jiha & Roy Claire Potter "Saenghwang For The Milky Boys"

Shebang

https://open.spotify.com/album/2OTLE3PaLyNQvmYL17rYG1

Hitori

🌚 New Release: FUJI-YUKI - One Butoh (LP/DL)
=> https://bit.ly/3V3C0fQ

Akuphone is proud to present Fuji Yuki’s latest masterpiece, "One Butoh". A musical immersion into the most exciting avant-garde dance style of the past century. Created in Japan in the 1960s by Tatsumi Hijikata, butō is the "dance of the obscure body". It broke with the traditions of classical Noh and Kabuki Theater, which, at the time, seemed outdated in the national context. Nourished by a European artistic avant-garde, butō stands out as a mirror of the socio-political turmoil of a post-World War II Japan. One Butoh resonates as a perfect acoustic introduction to this subversive art and propels the listener deep into his own soul.

Fuji-Yuki is a Japanese vocalist who uses her voice like an instrument. With special vocal techniques, glossolalia and electronic pedals, she creates a wide variety of sounds. Inspired by the spirits of Buddhism and Shintoism, she creatively transforms her vocals into an ambient drone or prayers resonating in a church-like space. Her live performances are always different, depending on the place and space they take place in. She is also known as the vocalist of the experimental band Sarry.

Limited 12'' vinyl printed on reverse cardboard + 28-page A5 portfolio (500 only)

Credits:

FUJI-YUKI: Voice oriental ritual implements
Performed and Composed by FUJI-YUKI
Produced by 821 and FUJI-YUKI
Recorded and mastered at LM Studio Osaka & Studio Dew9
Mixed & arranged by 821
Calligraphy by FUJI-YUKI
Photos by Sachio Hata

One Butoh

Buy/Support

FUJI-YUKI: One Butoh - Scene 2

The interactions of these three musicians are effortless, and is the result of both remote and physically-collaborative engagements. Starting with percussion tracks laid down by Louis Wall, Damon Smith soon improvised upright bass over these tracks, and NNN Cook added such layers as synthesizer, electric organ, and saxophone. All members contributed deftly to edits and arrangements, and notably Fred Tompkins, a past Elvin Jones collaborator, played flute on “Spectre of Los” and the title cut of the album.

That this album exists so organically despite the variety of instruments and recording sessions used, is not only a testament to the musicians’ prowess, but also to the current hyper-ability of long distance music creation.

NTR076 - Damon Smith - Louis Wall - NNN Cook - Fire Point - [Meld]

original music, Native American style double flute

Shades of Green

Ben Vida
Reducing The Tempo To Zero
SHELTER PRESS / SP108

Recorded 2016-2019 New York
Mastering: Stephan Mathieu
Artwork: Xavier Antin

The theme of time is unavoidable when approaching Ben Vida’s Reducing the Tempo to Zero, his latest endeavour with Shelter Press. A singe work, pushing the bounds of Digital and Analog Synthesis, which stretches to just over 4 hours in length, its realization is the product of years of effort - the process of recording and editing extending across the period between 2015 and 2019, offering momentary conclusion to an arc of ideas and practice which which first appeared on Damaged Particulates, issued in 2016.

RTTTZ is a temporal nesting doll - a meditation, conceived by Vida as a part of a daily practice which embarked upon sustained periods of focused creation and listening. While the product of a deeply personal, inward journey, similar to iconic efforts by composers like Dennis Johnson, La Monte Young, Morton Feldman, and Éliane Radigue, it strives to unravel the standards and expectations applied to musical and experiential time, taking the relation to sonic phenomena into an almost transcendental realm. Immersive in scale and endurance, through a deep and radical sensitivity to material and structural hybridity, Vida’s return to the durational drone based forms - first explored as a member of Town and Country during the mid-90s - drives the ear toward the solace found through developmental and intimate relationships with the fleeting, granular, and discrete, transmogrifying smallest detail into a monumental event.

Despite being the “complete” RTTTZ document, made concrete by the process of recording, this 4+ hour iteration carries the shifting ghosts of other beings and times. It represent only one of many possible, existing beside a free standing phonetic, text-based score, and a near infinite number of evolutionary, live variations - instrumental and vocal versions, as well as those which spring from the combination of instrumental and vocal ensembles of varying sizes, each time of different length, changing and taking on new dimensions determined by the its performers. In a sense, each version is simultaneously free-standing and finished, while capable of reconfiguration and being made anew - a mirror for its shifting passage through the ear, which triggers multiple, concurrent images of other times and existence of itself.

While the duration, structure, and relatively of RTTTZ focuses attention toward the internality of what it is, like all great art, they are simply a means to an end. The crucial themes lay with the cumulative effect of their sum - the power of phenomena and highly individualized experience. It is an organized, sonorous space which is to be occupied and within which to get lost, shifting the ownership, whether embarked upon actively or passively - both as valid and rewarding as the next - to the listener alone, sculpting a subjective expanse which denying concise location and, in so doing, undermines the presumption of the capacity to be the same thing twice.

Overwhelmingly beautiful in its oscillating harmonics and punctuation of pulsing texture and tone, each stage of its evolution moving at a glacial pace, represents a monumental achievement from Vida within the broad landscape of experimental and avant-garde sound. Reducing the Tempo to Zero was mastered by Stephan Mathieu, and is released by Shelter Press in both digital and limited USB card editions.

Reducing The Tempo To Zero

BEN VIDA 'Reducing The Tempo To Zero' (EXTRACT)

Zero Income Dub

snf10 : reizen "works, 2020" extract

Everything in between label founded in 2015 by @Cheb-Gero

Read more: akuphone.com/about/#content

FUJI-YUKI: One Butoh - Scene 2

Ａｋｕｐｈｏｎｅ

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