Name: Interview with Debbie Jaffe 1991 by iulians
Duration: 39 min 18 s
Description: That exclusive interview was recorded in 1991 by Debbie Jaffe, aka Master/Slave Relationship, after the brilliant "Being Led Around By The Tongue" CD was released.

Rushes Recede, from Antiphonals. Out 10th September on limited edition vinyl & CD Pre-order now → https://latemusic.ffm.to/antiphonals

Rushes Recede

from KR093:  MimiCof - Distant Symphony
LP / tape / DL out on june 10th 2022

Distant Symphony

MIMICOF - Distant Symphony I (excerpt)

~ IIKKI 020 ~

music : Akhira Sano
photography : David Nissen
album : Shadow's Praise
durations : 37.40 mn (LP) / 43.31 mn (CD)
date : April 20th 2023

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All production by Akhira Sano

Mastered by Giuseppe Ielasi
Artwork by David Nissen
Design by Sprflxgrfzm

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edition :
vinyl: limited to 300 copies / marble (crystal, silver and white) LP / hand numbered  / pantone
cd: limited to 200 CD / hand numbered / pantone
book: limited to 500 copies hand numbered / embossed / selective UV varnish / hand stamped 

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pre-order : March 03rd, 2023 / official release : April 20th, 2023

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Links :
https://iikki.bandcamp.com/
https://www.iikki-books.com/
https://www.instagram.com/iikki_laaps/
https://linktr.ee/Akhira_Sano
https://www.davidnissenphoto.com/

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℗ & © 2 0 2 3 - I I K K I - I I K K I 0 2 0

Akhira Sano - Nakazu

Elephant from the album Yellow Bell 
released on Sonic Pieces 2015

Elephant

RASHAD BECKER - Traditional Music of Notional Species Vol II

Format: LP / Digital
Label: PAN
Cat.No: PAN 74
Release Date: 02 December 2016

p-a-n.org/

purchase:
site: http://bit.ly/2gTtKLE
bandcamp: http://bit.ly/2gTt1dJ

Rashad Becker's new full length album, 'Traditional Music of Notional Species Vol II', due for release next month on PAN is a newly developed continuation and exploration of work since his highly-acclaimed first 
volume.

Incorporating more instrumental-sounding components, the record moves through both fluid and dissonant sounds which take on different structural and sculptural challenges through carefully-layered compositions. 

Following 'Traditional Music of Notional Species Vol I', the new album expands in various elements, distorted and warped, focusing in on the tension and energy of synthesized sounds that appear to exist hauntingly physically.

Known for his unrivalled attention to sonic detail across his work, Becker's unique techniques and expressive manipulations of sound are laid bare in an exhilarating new form, stylistically distinctive and uncompromising. 

The album is mastered and cut by Rashad Becker at D&M, featuring artwork by Bill Kouligas.

traditional music of notional species vol.II

Rashad Becker - Dances VII (PAN 74)

Tomoko Sauvage, Japanese musician and artist active since mid 2000’s, investigates the sculpturality of sound and improvisation in relation to the environment. Mainly known for a musical / visual research about ‘natural synthesizer’ of her invention, composed with diverse fluid, bowls, ceramic, light and underwater amplification, Sauvage’s approach is attached to questions of alchemy, meditation and balance between hazard and mastery. 

•	Akio Suzuki - Ha Go Ro Mo    
	Odds and Ends [Hören]
•	Momus - Costume de Lapin
	Cagesan - I Love Machine [Beaubrun]
•	Fiona Lee Wing-shan - From Civic Square to City Hall
	DAY AFTER [Sound Pocket]
•	Native Instrument - Live Berlin Atonal - NK presents at OHM
	soundcloud https://soundcloud.com/native-instrument/live-atonal-2
•	Andrew Pekler - Theme From Tristes Tropiques / Avian Modulations / Life In The Canopy
	Tristes Tropiques [Faitiche]
•	Alice Coltrane - Altruvista
	A Monastic Trio [Impulse Records]
•	Terry Riley - Music for the gift (Part 3)
	Music For The Gift [Elision Fields]
•	Theo Parrish - Summer Time Is Here
	Parallel Dimensions [Sound Signature]
•	Y.M.O. - Happy End
	B.G.M. [Alfa]
•	Felicia Atkinson - Monstera Deliciosa
	Hand In Hand [Shelter Press]
•	Killer Whales
	Songs of the Whales and Dolphins [The Nature Company]
•	T.R. Mahalingam - Thulasi Vilva
	Ennadu Jootuno - Flute [Kosmik]
•	Emmanuel Allard - L'Art Noir 
	Nouvelles Upanishads Du Yoga [Baskaru]
•	Alvin Lucier - Music for Gamelan Instruments, Microphones, Amplifiers and Loudspeakers
	Theme [Lovely Music]
•	Akio Suzuki - Ha Go Ro Mo (replay)

I grew up with American-influenced Japanese pop music and classical piano training. Akiko Yano greatly influenced me to cultivate my passion for jazz. Also Tokyo in the 90's was multicultural and I was listening a lot to soul, funk, brazilian and "world" music… When I moved to Paris after studying jazz piano in New York, I started to study Indian music (Paris has some Indian musicians via Pondicherry). Through Alice Coltrane and Terry Riley, I became interested in Indian music and that lead to the birth of my electro-aquatic waterbowls instrument. When I played my instrument using water drops in Japan, people said that it sounded like suikinkutsu - a traditional sound decoration system in Japanese tea garden - ceramic vase buried under the fountain. It's like I made a round the world tour to find my own roots. 

I loved the coincidence that made this playlist filled with singing birds - either accidentally recorded ones, synthesizers sounding like them or sampled sounds of a domestic bird (named Cagesan). Also Mahalingam's flute is my favorite bird mimicry...

More text / info - please visit >

Electronic Explorations - 483

Tomoko Sauvage

Tomoko Sauvage - 483 - Electronic Explorations

Excerpt from a release with Longform Editions. Listen/purchase the full track here https://longformeditions.bandcamp.com/track/immaterial

// 
Earlier this year I spent a two-month period on residency in Hong Kong. I was instantly drawn to the colour and vibrancy of the city, as well as to certain materials and objects that kept reappearing on my explorations.

Billowy, gauzy construction cloth that covered spiny bamboo scaffolding, the devastatingly-inviting colourful-sheen of single-use plastics, discarded durian husks, the deep blue night-time sky made hazy/dreamy/luminous from neon lighting, lush and vibrant green foliage…

I was thinking about the small variations in the repetition of these materials, as well as the repetition of certain images and sounds.

The phasing on/off flash of orange construction lights lining long stretches of road; the rhythmic phasing of multiple pedestrian crossing beeps heard simultaneously. the overhead circling of the kites (seabirds) in the sky; the below-water circling of plastic bags in the harbour.

For a little while now I’ve been cultivating an obsession with the relationships between sound, material/object and texture. How feeling can inform listening, how listening is feeling, and how this felt-listening can alter our perception of things as we are taught to ‘know’ them. For me listening is acknowledging the intrinsic connections between our surroundings and ourselves.

If we acknowledge the vibrancy and resonance of everyday objects how might this change our actions and thinking around them.

"My hunch is that the image of dead or thoroughly instrumentalised matter feeds human hubris and our earth-destroying fantasies of conquest and consumption. It does so by preventing us from detecting (seeing, hearing, smelling, tasting, feeling) a fuller range of the nonhuman powers circulating around and within human bodies." Jane Bennett in Vibrant Matter

It occurred to me, whilst writing this and listening back, that not only are materials amplified in Immaterial but certain sounds appear almost material in themselves, such as the squeak of shoes on basketball courts, and the droplets of rain on foliage. These sounds seem not to belong to shoe or court, rain or leaf, but are formed in the entwining to become a thing in themselves. It is this connectedness through sound that I am fascinated with. Through sound unequal forms can be connected: mic distortion disguises itself as crinkling plastic bags that blends into the crackling sound of shrimp underwater.

Sound waves traverse through our bodies and our surroundings, forming knots and vibrations and connections and confusions. In sound material blends with the immaterial and new imaginaries can be made, for me this is a way out.

Immaterial was composed in parallel to these thoughts.
Like silky-soft milky tea tasted alongside a crispy-sweet pineapple bun.
//

All sounds heard on Immaterial (excepting one recording of clarinet) were recorded in Hong Kong between April and June 2019.
Composed, performed, recorded and mixed by Alexandra Spence
Additional percussion by Karen Yu
Mastered by A.F. Jones at Laminal Audio

Immaterial excerpt

The music of Naarm/Melbourne composer Lisa Lerkenfeldt channels a unique wavelength of foreboding, interstitial electronics, incorporating strategies of musique concrete threaded with veiled currents of melody and hypnosis. Recent recordings for Vienna Press, Longform Editions and Aught Void have demonstrated different depths of process and finesse but her latest, Collagen, captures perhaps the most complete and complex manifestation of her craft to date.

Drawing on a disciplined palette of peach wood combs, contact microphones, piano, strings, and feedback, the album moves in low, looming arcs, ascending to strange purgatories of opaque atmosphere. Lerkenfeldt cites a core aspiration to “elevate the everyday,” transforming common objects into otherworldly sound sources, which colors Collagen with a beguiling tactility, like vibrations traced in sand. The tracks shift in frequency and feeling, alternately heady and bodily, acoustic and synthetic, isolated states of static, light, and undertow skirting the outer rings of ambient, noise, and modern composition.

Although each piece exists in its own rare air the composite panorama they present is striking in its sweep and subtlety. Lerkenfeldt's muse seems one of evasion as much as evocation, navigating negative spaces for their subliminal whispers of dread or beauty. It's an aesthetic both ascetic and exploratory, minimalist mirages of resonance, texture, and gravity skewed through the pensive glow of room tone.

But Lerkenfeldt is too versatile an artist for purist restraint, which Collagen demonstrates dramatically in its closing cut, “Champagne Smoke.” A quivering bowed eulogy ebbs under a flickering film of distortion, slowly swelling in sorrow until suddenly the screech goes silent, revealing a murmuring phantom haze hidden beneath the strings, like a specter lost in an abandoned house.

14 Gestures associated with this album will be performed in experimental film and online viewing room of graphic notation at 14gestures.com from 29th July to 29th October, 2020.

Collagen releases on Shelter Press in LP / DL format on August 21, 2020. LP mastered and cut by Kassian Troyer at D+M, designed by Bartolomé Sanson with art by Lisa Lerkenfeldt, housed in reverse-board inner and outersleeve, including a 16 pages limited edition score book.

LISA LERKENFELDT 'The Weight Of History'

_ph011 Jordan Christoff - Плаващ

That exclusive interview was recorded in 1991 by Debbie Jaffe, aka Master/Slave Relationship, after the brilliant "Being Led Around By The Tongue" CD was released.

Interview with Debbie Jaffe 1991

iulians

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