Time Exposed and...
/ Hommage à Hiroshi Sugimoto and La Monte Young (2021)
for bass flute, 2vibraphones, 2keyboards, electric guitar, string quartet and electronics

Performed on 31.10.2021 by Vertixe Sonora in Auditorio Martín Códax (Vigo, Spain)

Performance Video : https://youtu.be/hBE9Pd0_3Bc

Covid-19 and the climate change that we are experiencing right now are calling for major changes in our daily life, politics, and economic system, which have been formed for the last 200 to 300 years by a machine civilization, capitalism, and globalization.
This requires a big shift in the positive sensibility of the vertically upward energy that we have so far in our senses and fantasies.
In this piece, I tried to explore the possibility of horizontal time through Bergsonian duration time and phenomenal time in our nature rather than the typical and traditional developmental musical time. Also I tried to approach the possibility of our sense of artificial but continuous time in a affirmative way.
From this idea, the thoughts and works of Hiroshi Sugimoto and La Monte Young gave me huge inspiration. In particular, the word „Time Exposed” in the title of the work is one of Sugimoto's series of works, in which he shoots phenomena caused by pushing the camera's exposure time to the extreme by exceedingly long exposure times of the camera. The work produced in this way shows the transformed space that the photographed space already has but could not be seen. Similarly, La Monte Young transforms the space surrounding the music by choosing reduced sounds within an extremely long musical time.
With this concept, rhythm, the anthropologic material, and the timbre of instruments are crucial elements for this transformed space. The meeting of random and intentional rhythms in an accidental space, and the timbres of the instruments with specific connotations make this space not just as a simple abstract space but also a complex theatrical space. This artificial soundscape is my own dialectical exploration of the continuous of time.

Time Exposed and...

a song for osu! World Cup 2022
music & lyrics by II-L
vocal & artwork by amelie xoxo

これまでの人生で最高の曲ができました
リズムと歌詞に皮肉と称賛をたっぷり込めました
是非それらを読み解きながら曲を反芻してください


lyrics

故郷と同じ水の星に
黄金色の衛星が巡る
調査のために駆り出された
僕らが見た宇宙人は
気味の悪い本数の指で
キリの悪い数字を数えた

遠い昔を思い出す
ルールはかつて人類が作った
相当違いが生じてる
音楽だって特別なもので
ずっと頭を抱えてる
理解不能なビートに対して
きっとここの宇宙人は
理解可能と簡単に踊る
割り切れないグリッドのナンバー
興味がわいた未来感だった
3+2のグルーヴに乗った
素数の和の素数のリズム感は
指折りのカウントのナンバー
今日も抱いた違和感だった
5×2を10とした
宇宙人の素敵な数え方は…

II-L ft. amelie xoxo - THE EARTH

Bird Waltz No.1 (2015)

The rich overtone harmonies produced from subtly interlocked multiphonics dominate the trio klangNarbe (‘sound-scar’) for baritone saxophone, percussion and prepared piano (2014-15), a jagged soundscape whose topography is subject to constant erosion. The metallic timbres and noise spectra of a multi-coloured percussion section (frequently played with bows) are combined with multiphonics from the saxophone and the sounds of a prepared piano, which sometimes pro- duces 17-tone multiphonic clusters. The pianist also plays inside the instrument, producing sharp accents or glissandos with a hard plectrum or generating mi- crotonal cluster-surfaces with a double-bass bow. Here the tension between con- tinuum and event – between stationary surface and sharply etched crosshatching within multi-dimensional overlaps of sonic foregrounds and backgrounds – is typical of Khorkova’s music and assumes especially trenchant forms. The contrasts in the piece are its programme: ‘klangNarbe plays with the contradiction between contrasting compositional materials that are considered irreconcilable and yet are combined in the manner of a mosaic. I create bridges across the lines of frac- ture in this material, bridges visible as scars. The term sound-scars also applies to the work’s genesis, which extended over a very long period of time and was fraught with upheavals.’
The block-like events, separated by distinct gaps, give rise to violent outbursts and accentuations: harsh cluster hammerblows, drinking glasses scraped on thun- der-sheets, roaring glissandi as the saxophonist yells into the instrument. No scar without a previous wound...
Dirk Wieschollek

klangNarbe [2014-2015] for baritone saxophone, percussion and prepared piano

25th Sep. 18:30 at Quo Vadis in Vienna
Trio SUM
Subin Hwang - Violin
Kyubin Hwang - Cello
Yongbom Lee - Piano

2017 And Then There Was Nothing - vn-vc-pf -

2017.12.24 atm performance 1 @Ujeongguk
Arts Incubator

2017 Turbulence - pf with assistant -

Lee Sangwook - Bokeh (2007)
for guitar

Guitar - Kim Hyunkyu

Live, 2018.06.17. Seoul

Bokeh

Dec 23, 2018 - Seoul, White Wave Art Center
project ensemble morph
Hyowon Lee, Dami Lee, recorder
Yuyoung Jin, percussion
Sangwook Lee, piano
Euna Hwang, cembalo
Euna Oh, accordion
Chanhee Lim, electronics
Jieun Jun, conductor

Bokeh

Sangwook

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