Milkwood June 2021 Playlist

live / dj

video: 
https://www.youtube.com/watch?v=dHcKVUBZdEw&t=3585s
recorded at Humboldthain Club, 04.03.21

Tracklist:

Steven Brown - 42nd Street (1983)
Andreas Reihse - Johnny Hairo (2011)
Toulouse Low Trax - Raut (2017)
Die Form - Autolyse (1984)
Klaus Schulze, Michael Shrieve - Transfer Station Blue (1984)
Big Bong - My Brother Death (1989)
Eat Static - Up Periscope (2008)
Härte 10 - Weit fort (1985)
Mamukata - Tantawina (1995)
Moebius, Conny Plank, Mayo Thompson - Taras Bulba (1998)
Tolouse Low Trax - Dawn Is Temporal (2020)
Corruption House - No Doctor No (1989)
Moskwa TV - Powerstation (1988)
Rheinzand - Blind (2019)
Stauros To Okema - 33 (2008)
Stauros To Okema - L'or, Oeil de Midas (2008)
Tri Atma, Gyan Nishabda - Microcosmos (1982)
Atom TM - Ich bin eine Maschine (2013)
Mick Wills - Guerra Della Danza (2009)
Time Modem - Werkzeug eines fernen Willens (1991)
Electronic - Dissapointed [12' remix] (1992)

Jeronimo at Capsule Berlin

YT: https://www.youtube.com/watch?v=1QmHR6oARLE&t=122s

Heads Radio 0085 Chroma Heads

19.00-20.15 – Kampfmann
20.15-20.45 – Jeronimo *Live
20.45-22.00 – Melizards

**Important information** – Entry into Sameheads will only be permitted with a proof of vaccination, recent recovery, or a negative test result within the past 24 hours.www.sameheads.com/headsradiowww.sameheads.com

TUNE IN HERE:https://www.sameheads.com/headsradio

Jeronimo *Live - Heads Radio 0085 - 27.10.2021 - @ Sameheads

Silencing of the reefs forject in collaboration with TBA21 Academy. Recorded in Greenland, Belize, Dominican republic 2007, 2012 and 2013.

freeze to melt

midday afterhour - ostapotheke, Leipzig 29.09.2018

acid rave afterhour at ostapotheke, Leipzig 29.09.2018

live recording from my night drive at @zmarfestival

Jeronimo @ ZMAR#2 live dj cut

Jeronimo *Live - Voyage - 23.05.2019 - @ Sameheads

Brin - Alone Jazz On Safari

MIKI YUI, Aperio!, LP
Release date - Sept 25th 2020
Catalogue nr. - HG2007
Format - Vinyl/digital

hallowground.bandcamp.com

Tracklist:
1) Listening (oneness) 10:03 
2) Dancing (swamp) 04:00 
3) Chanting (afar) 03:57 
4) Dreaming (now) 05:25
5) Rhyming (colours) 02:58
6) Breathing (buds) 04:10
7) Babbling (mono) 04:45

Credits:
Music and Mix Miki Yui at MY Studio Düsseldorf
Mastering Giuseppe Ielasi
Drawing Excerpt Miki Yui 
Cover Design Ruth Stofer

///
The title of Miki Yui’s seventh solo album “Aperio!” is derived from the latin origin of April, "aperire" meaning “to open” or “to reveal”. Hinting at the way her music unveils another reality which is hidden beneath the surface. The title also reflects the aperiodic character of the music, its irregularity. Like a magic word to reveal the mysterious cosmos, each song opens up another intimate world of wonders.

„All my work emerges from my physical experience, the inspiration often comes much later though, after the experience is digested and almost forgotten, then it crystallises and becomes a source for my music.“

It is indeed no accident that the first track of „Aperio!“ is entitled
„Listening (oneness)“: it vibrates for ten full minutes with and within us. It reflects the art of Miki Yui coming into existence. The Düsseldorf based Japanese artist approaches the world around her from a sensual perspective rather than in an analytic-logical way, still both paradigms of art production manifest their influence on the process.
Miki Yui says: „In my music, I play the game of turning the abstract into concrete and vice versa.“

This is obvious in all of the compositions on „Aperio!“. Her music combines otherworldly and dream world experiences, creating environments of multiple atmospheres, both warm and inviting but at times irritatingly cold and airless. They stimulate all kinds of feelings in us: astonishment, sadness, yearning, wondering, and hope.
For her it does not matter where the elements of her cobweb originate: from field recordings to abstract and artificial creations to electroacoustic sounds. She remarks, “revealing the source would only limit the imagination of the listeners. My sounds exist to trigger their own imagination“

Miki Yui is born in Tokyo, based in Düsseldorf. Crossing the boundary of music and fine art, she is known for her unique minimalistic and organic approach towards music since 1999 exploring the grey zone of our perception and imagination.
Since 2008, parallel to her own work, she is in charge of the Klaus Dinger Archive, who was her partner.

- Text by Thomas Venker

MIKI YUI - Dreaming (now)(HG2007)

TR095 - Nemeton / Rafael Anton Irisarri - '...spin into nothingness'

Track from:
Simon Whetham "Forced to Repeat Myself" CD

“When performing with a limited set of resources, through choices in materials to work with and the constraints of being nomadic, there can be a tendency to repeat actions and scenes that 'work', even when improvising and having to respond to each new situation in a unique way.”

One characteristic aspect of the touring experience that is not discussed often enough is the dilemma of repetition. Not repetition as a mechanism of the work itself, but as a tedious consequence of being obligated to perform night after night in quick succession. Generating a completely unique performance for each stop, even with the assistance of improvisation,  is a laborious undertaking that consumes too much time and sanity, while adhering to a rigid set of rules leaves one open to both burnout and diminishing returns. Is there a way to split the difference so that both performer and audience are always engaged to the highest standard?

“I set these constraints on myself. The need to produce something (at least a little) different in each event of a tour was fierce, especially when traveling with other musicians.”

Explicitly within the title itself of his latest CD, Forced To Repeat Myself, UK sound artist and composer Simon Whetham tackles these questions with both a sly wit and sincere inquisitiveness. The tracks, all collected from recordings documenting a 2018 tour, utilize analogous source material and means of execution.  Whetham paid particular attention to the contour and character of each venue when deciding how to best put the pieces together, offering a customization that subverts pure deja vu for a sharp observance of the unfamiliar.

“In each situation objects and materials unique to the space were incorporated into the performance setup and structure, generating sounds or resonating with them. And yet I could hear similar scenes, movements, even spaces. This repetition determined the dynamic of the composition, working with it and against it.”

By the very nature of their disseminating sparseness, the tracks of Forced To Repeat Myself demand from the listener an attentiveness fixed on nuance and variation. The amplified cracks and static of ethereal currents and anonymous electronics infer the works of others who’ve made it their mission to attune our attention toward sounds outside our natural perception, including Christina Kubisch’s electrical walks, Toshimaru Nakamura’s no-input mixer excursions, and Jason Zeh’s experiments with blank tapes and the mechanizations of his cassette players. Whetham’s shaping of the album’s source material to highlight certain exclusivities of each live performance emphasizes how the inherent dynamics of time and chance guide his self-imposed constraints into pathbreaking spectrums. 

“The title references a phrase many of us will have heard in our formative years, ’Why do you force me to repeat myself?’ I have no answer to this question. I never forced anyone to do anything. But with this work, I did.”

One inherent paradox of Forced To Repeat Myself is that each listen naturally manifests a distinct, individual experience. The way sounds are received and processed in one instance to the next each forget their own entryway into transcribing meaning from this abstraction. And Whetham is keenly aware of this as the sounds of Forced To Repeat Myself find consistent, unique ways to perpetuate themselves, ensuring any repetition to be delicately understated.