Lost In The Considerations 
By URBAN OBSERVATIONAL STUDIES
迷失文化重層

Lost In Consideration

Poetry of the Street -DJ set

Mini album based upon the Bristol Hum phenomenon.
Korg Volcas, Moog Theremini and guitar.
All compositions and art by peter wessell.

The Humming part one

Combines the sound of a squeaky door hinge (https://freesound.org/s/119724/) and tearing paper (https://freesound.org/s/67786/)

Image credit: https://commons.wikimedia.org/wiki/File:Microstructure_of_a_stainless_steel_A961.jpg

Study For Steel And Paper

Extract from 'Image Langage' (SP140)
Out June, 24th 2022 on 2xLPs, CD, digital download.

Order: https://feliciaatkinson.bandcamp.com/album/image-langage

—
Opening the window, I look at the light, it connects me to something more vast.

Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to Image Langage: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises?—to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.

At times listening to Image Langage is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in “The Lake is Speaking,” a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. “I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars.” At other times, listening to Image Langage is more like being in a theater, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On “Pieces of Sylvia,” a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that Image Langage is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and language and narratives, a kind of deliberate, dimensional world-building in sound.

Image Langage is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channeling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.

Image Language is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.

— Thea Ballard, 02.2022

FELICIA ATKINSON 'The Lake Is Speaking' (SP140)

河童と Full moon ..　Kappa and Full moon
満月の夜は寝られないので、まるで川から海にでてきてしまったカッパにになった気分で海を眺めているんだよ（Full moon ..）

can't sleep on a full moon night?  just looking at the sea as if we were a kappa who has just stepped out of the river into the sea (Full moon ..)

Eugene Yoshi Nukumori's Album

Eel And Full Moon

裏路地の黄色い老舗音楽店、雨上がりの道はキラキラ。午後の予定はK11ゴールデンマイルで合流低層階屋上でキャンプ

Old Fox Music Shop

Rainy Window in D

Midnight Dishwashing

Bird and Wave in D

Night Rain

Rainy Window

Clouds on Oysters

Firefly and Washlette God

Performed by Kyle Bolan
Art by Kyle Bolan

The World Concludes

Books Dream #2 URBAN OBSERVATIONAL STUDIES

SOBAUDON by URBAN OBSERVATIONAL STUDIES

eRecords is a digital record series created by Whitelabrecs, to run alongside our physical releases. These editions aim to transform the digital format into something that can be experienced in a similar way to a listener’s interaction with a real, white label vinyl record. Each edition includes a special PDF scrapbook including polaroids and liner notes.

We do not publish details about the concepts or production methods of a release, so that the liner notes and content in each scrapbook will give you the background of each edition in the series.

catalog: eR022
artist: SON & nukumori eugene
release title: poetry of the city #1
runtime: 37:02
location: hong kong & japan

Produced by Nukumori Eugene
Mastered by James Edward Armstrong
Field Recordings : Skmtt, TKO800 
Cover art by Nukumori Eugene
Booklet art and design by Harry Towell

Poetry Of The City #1

eR022 SON & Nukumori Eugene - Birds In The Botanical Street

Omiya, Saitama City, (JP)
28/01/2024, 11:30 a.m.

A cold winter sunday morning, opening the window of our home studio in the city of Omiya, Japan. We can see our balcony terrace, Japanese pine tree in the garden and the music room of the city’s high school just next to our place.

We don't know how long this tradition has been going on, the sounds of high school brass bands echo through the street everyday and accompany some moments of our daily life in this neighborhood for around 60 years at least. The sounds of brass celebrate our ordinary life and add some pinch of dramatic or cinematic senses in our daily life.　


Microphones : Rode NTG-5 + ZOOM XYH-6 
Recorder : ZOOM H6

Omiya, Saitama City, (JP)  28/01/2024, 11:30 a.m.

Live Session #1 SOM / Eugene Nx (test mix

Congrats to the 10th Anniversary of Naviar ! and  Thanks for the inspirations from the Naviar Haiku Fest. I have re - started to make new track from last week .. and now come to this place again for naviarhaiku530 - a kind of tribute track for the 10th anniversary of Naviar's long journey :) from us  haha

This is the inspired track from the poem of spring rain by kobayashi issa - an another experimental hypnotic new track mixed with the humbled profound Taiko drums from the live -mix at Naviar Haiku Fest in Tokyo 2024

taking it easy
the mouse sleeps too...
spring rain

Haiku by: Kobayashi Issa

Spring Rain 春雨 - naviarhaiku530

Home of sweet home-made diy slow music, sound and art collective by Nukumori Eugene

"edition 1/f" and "A TALE OF OUR CITIES"  are the sound & art collectives founded in Hong Kong and now based in Saitama, Japan,  highlighted the sounds and arts placed between the nature and city's folklore - deconstructive city street culture and urban suburbia - The project is often related to the urban observation research project ~ Research and Practice of Alternative Art Space / Micro-Art Space   

featured projects :  Strange Ordinary Necessities不思議な日用品 / Urban Observational Studies 都市観察学会 / Skmtt /  / HONG KONG SUBURBIA / 3am / Soundscape Saitama 100 / さいたま百景の音風景  Nukumori Eugene / ﾇｸﾓﾘ ﾕｰｼﾞﾝ (Hong Kong - Japan Base Sound Artist, Art Researcher and  Architect)

1/f

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