This is a terrific montage, absolutely magnificent!

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"

monotony, repetition, tenderness, capitalism, asphyxiation, refusal, difference and a longing for connection and empathy gush from this selection conceived in a small nook of Mexico City.

https://soundcloud.com/andreaanciragarcia
https://www.instagram.com/tumbalacasaediciones/ 
https://www.instagram.com/ohgrito/

mixtape contest

Mixtape Contest #32 not yet w/ aag

Martin Carter, 7 June 1927-13 December 1997

"Listening To The Land" by Martin Carter (Day 9)

Though existing strictly in its own distinct headspace, the emotive cry of “How Long” – burnished by celestial guitar filigree and plaintive falsetto harmonies yet with a refrain that snags in the memory – is likely to strike a chord with admirers of latter-day Scott Walker, James Blake and Ben Frost alike.

Pre-order

STIAN WESTERHUS - HOW LONG (RADIO MIX/EDIT)

EnCOUTnTErs - The Avian Speculative at Cafe Oto, July 25, 2018.
Also performing: Lee Patterson and Sharon Gal. 
Pic by Sonia Levy/SoundFjord
Recording: Hear and Now, BBC Radio 3.
July 25, 2018.

Set - EnCOUnTErs - Cafe Oto, July 25, 2018 - recording thanks to BBC Hear and Now Radio 3

Stin Treex Remixes:

limited usb stick edition (25 copies)
size : 4cm x 4cm
weight :5 grams

Files format : .wav / 48 000 hertz / 24 bits

01. Walcheck Synalegg remix 03'59''
remixed by Synalegg, April 2019
soundcloud.com/synalegg

02.XVIII Horla Subequatorial remix 07'54''
remixed by Horla, October 2018
soundcloud.com/horlanalogique

03.Solar Lattice Calum Gunn remix 04'42''
remix by Calum Gunn, May 2019
soundcloud.com/calumgunn

04.Backstop 08'08''
rewritten and produced by yvanko, July 2019

https://nebulo.bandcamp.com/album/stin-treex-remixes?fbclid=IwAR2quJgWuaZhEAhEQxDm5IKwOxW5foPJrc0DluAiDPKEpZWouB3vnLTfuV4

Nebulo - Backstop [yvanko rewritten version]

This year London has experienced several weekends of the hottest summer and that moved the Australian sound artist Kate Carr, whose practice is centred on articulating the relationship between people and place through sound, to point her microphone at the city. This volume is based on her recordings during a particularly hot long weekend in a corner of very busy intersection in London, where she resides now. In Heatwave, Carr is interested in both the serious and also the more prosaic aspects of soundscapes related to climate change. She investigated the throbbing summer music from her neighborhood, people’s efforts to keep cool, and the uneasiness which accompanies these everyday activities in this moment of environmental crisis. The way these pieces construct and compensate, with all the tangible sounds that fold into larger moods via multiple instruments, exemplifies her acumen in creating sonic stories that reflect our multi-layered experience of reality.

Humidity - from Heatwave out now via Hasana Editions

"My nostalgia is a struggle 
over a present which has tomorrow
by the balls." Mahmoud Darwish


Montaje de fragmentos, notas, ideas derivadas de la lectura de El futuro de la nostalgia de Svetlana Boym y La política cultural de las emociones de Sara Ahmed /// video disponible aquí: https://youtu.be/KxI6CFRxGhI 

Montage of fragments, notes, ideas based on The Future of Nostalgia by Svetlana Boym and The Cultural Politics of Emotions. /// Video available here: https://youtu.be/KxI6CFRxGhI

Voz - Voice : Angela Anderson Guerrero

Ambivalent Nostalgia

Kink Gong is back with his unique take and re-interpretation of the music he’s been recording and documenting for years in the South East Asian highlands.

More info at www.discrepant.net

Zomia VOL.1

Kink Gong - KHMU MIAO QIANG (from Zomia VOl.1 LP)

NOITANAISII
© san. Pisko Aunola
© säv. Pisko Aunola, Juhana Ahtiainen, Milja Laakso
© sov. Pisko Aunola, Juhana Ahtiainen, Milja Laakso, Timo Vasara, Samu Hakala

Mä kävin tapaa shamaanii, se kysy mitäs sinä
mä sanoin et’ on vaikeeta joskus olla minä

Se katsoi mua ja otti rumpunsa esiin
siitä sitten sukeltelin syvempiin vesiin
alko soida päässä lause hiljanen ja ujo 
Sä oot ite noita, sä oot sitä jo
Sä oot ite noita, sä oot sitä jo

Noita naisii noitanaisii
Noita naisii noitanaisii

Mä kävin papin puheilla, se kysy mikä vaivaa
Sanoin jotain tarvis löytää, syvemmältä kaivaa

Se kysy ootko varma että etsit jotta löydät
vai haluutko vaan pitää kaikki vaihtoehdot pöydäl
Löytää paikan jossa etsiä paremmin
löytää paikan jossa etsiä paremmin

Mä mietin miks mul on tää tarve jatkuvasti kysyy
mut se on yhtä tärkeetä ku hengissä on pysyy
mä oon varmaan se, joka ikuisesti pohtii
toiset menee rohkeammin totuuttansa kohti

Onneks nykyään on helpompaa etsijänä olla
satoi vuosii sitten oltas oltu roviolla 

Noita naisii noitanaisii
Noita naisii noitanaisii

Mä hengittelen jatkuvasti henkisiä juttui
Ja sit kun alkaa päiväni olla loppuun jo kaluttui
niin vielä on yksi sana taskussa mun farkun
voit kirjoittaa sen kanteen mun hauta-arkun

Noita naisii noitanaisii
Noita naisii noitanaisii

Noitanaisii

ÄLÄ KOITA KOTONA

© san. Pisko Aunola
© säv. Pisko Aunola & Juhana Ahtiainen
© sov. Pisko Aunola, Juhana Ahtiainen, Milja Laakso, Timo Vasara, Samu Hakala

Älä koskaan koita tätä kotona
jotkut jutut liian vaarallista kokea
kaikilla on jossain piste sokea
älä koskaan koita tätä kotona

Miks teet biisei nii mollivoittosii
no mä katoin kun niiden selät loittoni
silti vedettiin aamunkoittoon siis
lopuks toivon: vie mut hoitoon pliis

Mollista saa biisin tarttuvan
mut tietty pelkään et tän taudin tartutan
sit mä katon sen varttuvan
ja lopuks täst maailmasta katoan

Älä koskaan koita tätä kotona
jotkut jutut liian vaarallista kokea
kaikilla on jossain piste sokea
älä koskaan koita tätä kotona

Ootko nähny viime aikoin’ lentounii
istunu sohvalla kattomassa vanhoi valokuvii 
tuntenu jostain menneistä takautumii
piirrelly kuulakärkikynäl ihoon kuvii

Kaverit soitti sulle suljetulle
kysy onks winonarydermainen olo tullu mulle
lähetettiin bestikselle kukkii ku sil oli häät
et sitä päässy sillon näkee mut nyt sä kaiken näät

Vanhat hyvät jutut jostain muistuttaa
uutta toivoo suhun ruiskuttaa
korvaan juttui uusii alkaa kuiskuttaa
ja lopuks annetaan kaiken olla vaan

En mä pelkää enää näitä tartuttaa
mikä ei tapa, se saldoo kartuttaa
lopuks toivon ettei jää harmittaa
jotain sanomatta jääny aina vaa

Älä koskaan koita tätä kotona
jotkut jutut liian vaarallista kokea
kaikilla on jossain piste sokea
älä koskaan koita tätä kotona

Älä koskaan koita tätä kotona..

Jotkut jutut liian vaarallista kokea..

Älä koita kotona

Non-transparent, noisy and inaccurate recordings and sounds

Ambivalent Nostalgia

aag

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sonic structures and silent stretches

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