Looking through different windows [part 3]

Piano Explorations [33]

A 13.30 minute collage of the album "Travel In Peace" that i recorded in 2019 as a requiem for my soulbrother J.Derwort. 

At 11.30 min you can hear his last flute ever recorded. I call this piece "Last Breath". It was a sunny day in january 2019 at his house in Santa Fe, where he moved december 2018. I put out a comfortable chair with a blanket in the winter sun. And a small table, a cup of tea and his first ever made bamboo flute. He said: thank you but i can not play anymore. After 30 minutes he still picked up the flute and played for a few seconds, that i recorded on my telephone. He said: it's no good at all, but still it's oke, i know you will put your magic to it later. He borrowed me this flute that he made at the Kallikatsou early eighties to record more myself. It was a kind of farwell. A month later he died. Of course i was there too and his best friends.
. 
You can download the original album (2 x 21 minute) here:
https://astralindustries.bandcamp.com/album/ai-18-travel-in-peace
The vinyl was sold out shortly after the release. They now sell copies up to Є 200 on Discogs, which is of course crazy.  I hope Astral will do a repress soon. 

Here are a few of the reviews:

Fred Mikardo-Greaves for Norman Records:
‘Travel In Peace’. Sound advice. Our own Ant rather delightfully described Chi Factory’s ‘Travel In Peace’ as a ‘mind lozenge’, and this latest set is certainly a balm for the soul in extraordinary times. The two side-long meditations here are sonically rather amorphous - aquatic drone, fourth-world soundscapes, spiritual incantations and far-out flurries of field recording can all be found across the course of the LP. Jon Hassell, Alice Coltrane, Sun Ra and ‘Tower Of Meaning’-mode Arthur Russell keep watch over both band and listener throughout. ‘Travel In Peace’, and leave refreshed.

Juno Records:
"Following the death of his one-time Chi Factory partner J.Derwort in February 2019, Hanyo van Oosterom went back to Patmos, the magical island where they once recorded their most famous works, armed with some of the artefacts and hand-built instruments they'd collected together. While there, he made the field recordings and musical sketches that form the backbone of "Travel In Peace", Oosterom's emotional final album as Chi Factory. Poignant, atmospheric, melancholic, dreamy and otherworldly with a genuine sense of time and place (you can almost smell the surrounding flora and fauna), the album's two lengthy tracks - collages of interlinked sketches and recurring musical motifs - are fittingly fantastic. As curtain calls go, we can think of few better".

Here's an interview with "A Vague New World" from 2019. It's all about the story behind CHI, The Chi Factory and Son Of Chi:
https://vaguenewworld.substack.com/p/in-conversation-hanyo-van-oosterom

And a video collage on Youtube:
https://www.youtube.com/watch?v=6scnruYei0Q

Travel In Peace Collage

A moment of your time please [137]

12Jul24

My naviarhaiku549 track
https://naviarlab.tumblr.com/post/755616725796634624/naviarhaiku549-the-cloud-mountain
:D

the cloud mountain [naviarhaiku549]

An extended / remix that incorporates elements from several tracks on the new lp "The Day 1982 Contaminated 1971", to be released by the Helen Scarsdale Agency on October 30.

Noice, Coak, And Pre-1982 Occurrences

From the forthcoming digital album release "Objects of Dissociation Volume 1", this selection is a recent live-in-the-studio rendition of a track recorded for the "Revisionist History" CD (2016).

iBlue (Lithic Version 12 - 17)

filmscapes

Fragments 1

The Palace of Justice - Дворец Правосудия

Security cone, fluo light, hidden illustration, flowers, sound (Stereo, 6 min) / Illustration : Marina Gafurova / Sound : Mélia Roger 
QWAS exhibition ZHdK - December 2018

I live in front of the future Polizei and Justizzentrum of Zurich. I moved this summer and since this time, the sounds of the cranes rhythm my days. Since the beginning of winter, the bright light inside this empty building draw a large shadow in my room. The shadow of fear, the shadow of instability, the shadow of security and safety. Have you ever felt unsafe ?

That’s the question I asked to Marina, who lives with her two sons in Almaty, Kazakhstan. 

Have you ever felt insecure ? 

Marina sends me pictures of the grill which protect everyone windows. But in the streets, the pavement is full of holes, cause people are stealing the metal rolls that cover the canalisations. 
Last summer, a famous ice skater, Denis Ten, was murdered because he tried to stop two guys stealing his car’s mirrors. This drama affected all the country. 

The sounds you are hearing were taken in Zurich, at the closet place of the construction site of this future Palace of Justice you can come. They resonate in an ice-skate room. You can hear Marina’s boys laughing. They are safe at home. 

In the security cone, you can whisper your own misdeeds. But if you look inside, you will see one of Marina’s sketches of one street in Almaty.

QWAS - installation soundtrack

in recent years, the turkish drone-pop composer ekin fil (born ekin üzeltüzenci) has been refining her talents in the realm of the film score. since her first recordings that were published by root strata and students of decay, she has always exhibited a preternatural ability to express the saddest of emotions through sound. once channeled through the lens of a gauzy shoegazing smear of guitars and voice, she has peeling away layers of her ephemeral songs to reveal their emotional core. that compositional process that works so well for her award winning film scores informs the soft-focus tenebrous pieces of her 2020 album coda. 

it’s true that any number of these pieces on this album could announce the finale to an emotionally draining movie, but ekin sculpts the entire album as a whole, dissolving one perfectly tempered piano motif, an impressionist ambient plume or a sibilant vocal melody into another. just at the threshold of perception, she occasionally invokes cascades of distant noise that easily can be interpreted as the ominous premonitions for natural disasters - incoming storms, earthquakes, or tidal waves. this subtle disquiet amidst the introspective melancholy furthers the emotional weightiness of coda.

her somber, blissful compositions have considerable gravity of their own in the constellation of grouper, felicia atkinson, and harold budd.

Coda

Ekin Fil // On Sand

(FR) D'abord pensée comme une installation sonore dans l'espace, THE VOICE IS VOICES met en scène une voix organique et son clone numérique (vocal deep fake). Entre les voix, se crée un espace de doute et d'ambiguïté sur la véracité de la parole. La voix de synthèse a été réalisée à partir d’un corpus vocal de plusieurs heures d’enregistrements qui ont permis de générer des phrases en synthèse ‘text-to-speech’. Ainsi, chaque phrase artificielle a été écrite, puis lue par une machine. La voix organique devient le miroir de son clone et brouille les pistes de l'identité de la voix. Vous écoutez une version binaurale de l'œuvre.

Ce projet a été réalisé en collaboration avec l'ENS Louis-Lumière (Paris), l'Ircam (Paris) et l'ICST (Zurich).
(EN) Firstly created as a sound installation in space, THE VOICE IS VOICES is a place of doubt between an organic voice and its vocal deep fake. The artificial voice has been constructed from a vocal corpus of many hours of recordings, and each word is generated completely by the machine, via text-to-speech synthesis. The organic voice becomes the miroir of its clone and blurs the boundaries of the vocal identity. You are listening to a binaural version of the work. 

This project has been made with ENS Louis-Lumière (Paris), in collaboration with Ircam (Paris) and the ICST (Zurich).

The voice is voices - AFROPIXEL#8 - KER THIOSSANE

Sound artist, Musician, Lo-fi film maker...

Fragments 1

Ancient Monkey Skull