This is  the voice track to give instructions for the performance "orientation/dance" taking place on the 31/03/2021 at Place Porte Rouge / Marolles / Bruxelles

spoken-guide-track-for-orientationdance-marolles

Magnetismen #1

Burnt Friedman & Mohammad Reza Mortazavi YEK

Format: Vinyl 12″/download from Bandcamp https://yekfriedmanmortazavi.bandcamp.com/
mail order: https://mailorder.nonplace.de/vinyl/
release date: November 3rd 2017

A1 YEK 128-12
A2 YEK 64-11
B1 YEK 132-11
B2 YEK 122-12

What Mortazavi and Friedman have in common is their shared expertise in uneven, cyclical rhythms – the foundation of their trance-like art music, which is both subtle and ecstatic.

Through repetition and improvisation in the studio they create “numbers” – groove-based pieces played on a variety of drums (Mortazavi mainly plays the Tombak) mixed with electronics. Natural, i.e. given, motion patterns provide the musical backbone. This results in a precisely timed harmony between the electronic sounds and live grooves.

Thanks to the extreme acoustic range of the Tombak and his extravagant technique, Mortazavi merges perfectly with Burnt Friedman’s signature sound and repertoire, which seems to belong to no specific place or time.

A2 YEK 64 - 11

Composition, arrangement et mixage réalisé par Frigolity

Mon ego (démo)

Music for Cello and Humming is available at https://blankforms.org/publication/judith-hamann-music-for-cello-and-humming-cd/

For her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her CD, Music for Cello and Humming, features two pieces for cello and humming written specifically for Hamann by composers Sarah Hennies and Anthony Pateras alongside Hamann’s own “Humming Suite” and “Study for cello and humming.” Having arisen intuitively from Hamann’s investigations into shaking, just intonation, psychoacoustic phenomena, and the voice in relation to the femme presenting body in performance, humming here also references dislocation, or ventriloquism.  Although teetering on the edge of audibility, the intimate and vulnerable closed-mouth sounding enters into subtle interference with her cello, drifting into acoustical beating and bringing instability to otherwise more formal grid structures. The capacity for rupture of this volatile fragility reaches its apotheosis on Hennies’ “Loss,” a piece that deliberately instructs Hamann to hum beyond the limits of her voice range. Going against the grain of chamber music orthodoxy, the guaranteed failure set in motion by this instruction yields a generative sound of effort reminiscent of Xenakis’ storied desire for an instrumentalist to play with the sorrow of knowing they can’t do everything. With an arc suggestive of sudden life change, “Loss” casts queer epistemology onto composition, positioning failure, undoing, unbecoming, and transforming as alternative ways of knowing or being. Hennies’ signature composite merging of individual components here brings oral sounds that include breathing and coughing together with humming, cello, and sine waves. Like Glenn Gould’s 1982 Goldberg Variations or Pauline Oliveros’ Accordion and Voice, this timbral meeting of bodily utterances with consummate musicianship imbues Hamann’s humming work with a breakable, human strand, here as humbling as it is uncomfortable.

Music for Cello and Humming‘s sister release, Shaking Studies, is also available. Music for Cello and Humming is accompanied by an essay on both recordings by Nora Fulton.

Judith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged in a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada’s Duets, Graham Lambkin’s Community, Alvin Lucier’s Illuminated By The Moon, and Gossamers, with Rosalind Hall.

Judith Hamann - Humming Suite III - Harmonics Étude For One Cello And One Voice

"Column II" Composition immersive avec, les sonneries des cloches et des nappes sonores.

"Atessa" trio Composés par Sabri Meddeb aux instruments à cordes, piano et objets au violon Fujita et Sachiyo Honda aux percussions et objets.

Mixed, re-mastered and artwork by Sabri Meddeb at Studio Cinquième ciel

Atessa

Column I

Column II

'Blues Alif Lam Mim' is available at https://blankforms.org/publication/chorassan-time-court-mirage-blues-alif-lam-mim-2xlp/

Having already unearthed three collections of archival ‘70s recordings by Catherine Christer Hennix, Blank Forms continues our annual illumination of the visionary Swedish composer’s music by turning to more recent work with this first-time vinyl edition of Hennix’s “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis,” a 2014 piece first released as a CD in 2016.

The double album captures the April 22, 2014 premiere of Hennix's composition by the Chora(s)san Time-Court Mirage, her expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the blues’ origins in the eastern musical traditions of raga and makam, “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis” has its roots in Hennix’s 2013 realization of an “Illuminatory Sound Environment,” a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix’s own “The Electric Harpsichord.”

As Hennix explains in Other Matters, Blank Forms’ 2019 collection of her writings:

“Rag Infinity/Rag Cosmosis presents fragments of 'raga-like’ frequency constellations following distinct cycles and permuting their order, creating a simultaneity of ‘multi-universes.’ When two such ‘universes’ come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated—the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically ‘transfinite’ Poincaré cycles (cyclic returns to initial conditions).”

As with Hennix’s best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Upon its mesmerizing ebb and flow, the vocalists incant a devotional poem written in Arabic by Hennix and featuring quotations from the Quran. Also reproduced on the album’s gatefold jacket, Hennix’s reduction of the sacred text to its most elegant formulation invites the contemplator to bring their inner knowledge to the composition for use as a prompt for meditation. Yet the piece offers depth to even the most secular listener willing to immerse themselves in music brimming with such serene intensity.

Chora(s)san Time-Court Mirage - Blues Alif Lam Mim Side C

FR- "sélection d'archives", explore à travers l’art sonore les diverses techniques alternatives, tel que le field recording et le mélangent bruits concrets provenant d'objets improbables et d'instruments.

EN- "Archives sélection", explore through sound art the various alternative techniques, such as field recording and mixing concrete noises unlikely from objects and instruments.

Column II

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