Sounds like stuff from a big noise off practice session some of my pals had at this bit, class!

"Memory Rot" is a virtual process piece that achieves harmonic layering by even-ordered speed radios. Form is determined by time, which can be visualized -- as typical in Western understandings of musical form -- on a vertical axis: harmony shifts on a glacial scale as the various tracks resolve themselves over a predetermined period. 

The result is the effect of melting or "rotting" away which occurs at a slow and primarily felt (as opposed to overtly heard) rate as the layering between the simultaneously playing audio glacially shifts.

The jazz-inspired electric keyboard palette is treated with ambient procedures so as to intertwine two temporally and functionally akin genres so often considered to be culturally considered distinct. 

Roll up time & burn slow. 

A 2013 GATE Production. 
Composed and produced by Kara-Lis Coverdale in Montreal, Quebec. 

Kara-Lis Coverdale - Memory Rot

Golden Apples of the Sun

Time Lapse

Sonar

JAMES K
"ELEKTRA (Scream Through the Eyes of a Statue)"
CD in jewel case w OBI strip
Edition of 250
Release 19.01.2024

“Why is female sound bad to hear?” - Anne Carson

ELEKTRA (Scream Through the Eyes of a Statue), is a multimedia performance broadly conceptualizing the female voice as an “X-ray to the bones of sound.” It was commissioned by Issue Project Room and performed April 26th, 2018 in Brooklyn, New York.  Taking poet, essayist, and Classics professor Anne Carson’s translation of Sophocles’ tragic play Elektra as a point of departure, James K monstrously externalizes the inner sonic world of female vocalization through a scored collaborative framework interpreting each of Elektra’s “screams” in the Greek tragedy.

The piece develops unique methods of screaming through musical and non-musical objects -- performed through manipulated text, videos, and live contributions from James K (voice, electronics, violin, video) Brooklyn-based musician Eve Essex (alto saxophone, various winds and electronics), electronic producer and performer Dylan Shir (electronics), composer and cellist Leila Bordreuil (cello), and poet/artist Eli V Manuscript (textual alchemy, projections).

Within this collaborative framework, James K scores “the scream” to express the various relations between hysteria and the “gender of sound” -- a blurred and overlapping feminine sound defined by its fragmentation and resistance to scripted narrative. Elektra’s presence is emblematic of a radical alienation that occurs as a standing discrepancy to tragic convention. Amongst society, she is the anti-dialogue, a symbol of protest.

‘my cries are wings, they pierce the cage’

Elektra’s vocalizations pierce through language, revealing a shattered interior of multifaceted reflections constructed against habitual linguistic or vocal expression. In tragic convention, such habitual vocalization takes the shape of the often terse, patriarchal voice of the Greek philosopher -- a didactic, conceptual container in opposition to the expressive “becoming” of Elektra’s cries that riot against fixity. As a tragic character, Elektra is radical and alien for Sophocles and his audience -- an ever-present conviction that demonstrates how female shame has constructed a life-size funeral urn around her.

Through translating a text within layers of translations, a fragmentation of the firsthand into traces, James K mirrors Elektra’s deconstruction of reality into siren shards, offering an experiencing of female sign language as a means of sabotage to the world of normal utterances. By sliding on the edge of convention to sharply abandoning rational speech and sonic construction, K’s piece aims to embody Elektra’s strained and stretching screams, as cuts against the glass; her sabotage bound within the blanket loop. In response to rigid vocalization and fixed sonic understandings, ELEKTRA (Scream Through the Eyes of a Statue) takes the scream as an unruly, emotive sonic experience projecting outwards into objects and audience: to the very bones of sound.

This is a live recording of its single performance. Recorded by Bob Bellerue at Issue Project Room in Brooklyn, NY. Mixed by James K. Mastered by Jack Callahan. Performed by James K, Eve Essex, Via App, and Leila Bordreuil. Conceived and scored by James K for four players, and written in collaborative improvisation with the performers. Textual alchemy by Eli V Manuscript. Design and layout by Nicola Tirabasso and James K.

JAMES K - ELEKTRA (iDEAL225 CD excerpt)

Do you believe in aliens? Punk rhythms, synths, guitars and lyrics to shake the powers that be! These are just some of the ingredients that make up the second release from this NYC bad kid.

More Blood here : https://nottebrigante.bandcamp.com/album/more-blood

Blood

Sniz Banquette - More Blood (A3)

Underwater Nocturne

Seven Waves

Sailing Away

From album 'TRACED', Pattern 04, Sonic Pieces, 2017

Traced

Post Human

Leslie Winer - Flove (1993)

... here's a quite nice-sounding (recorded directly from the mixing desk) transcription of a live mix-collage assemblage of selected early Hugh Tracey recordings presented in the outdoor courtyard of the Musée du Quai Branly on July 1st, 2012 as part of the Siestes Electroniques @ Paris series ...

links:
http://www.ru.ac.za/ilam/
http://www.les-siestes-electroniques.com/Les-Siestes-Paris,1527?lang=en
http://www.quaibranly.fr/fr/enseignement/la-mediatheque.html

Hugh Tracey Mix-Collage @ Musée du Quai Branly, July 1st, 2012

Keith Fullerton Whitman

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