Nguyễn Baly is a Vietnamese-German diasporic sound artist who works and lives in Berlin. Baly combines performance, experimental music and post-colonialism in her work. Since 2010 Baly has been working at the intersection of sound and performing arts. Together with Tara Transitory as Nguyễn + Transitory, they work primarily with modular synthesizers, attempting to approach sound, synthesis, noise, rhythm, and performance from a less colonial angle. Looking into how frequencies, the physicality of producing sounds and its incidental vibrations relate to cognitive memories, stored emotions and catharsis. They have performed internationally at Siam Museum Bangkok, Lava Film Festival Kraków, Museum of Modern Art Warsaw and SAVVY Contemporay Berlin amongst others. Their most recent work »Bird Bird, Touch Touch, Sing Sing«, an immersive site-specific installative sound performance, was presented at CTM Festival 2019 (Berlin), Serralves Museum (Porto), Ultima 2019 (Oslo), WORM (Rotterdam), Submerge Festival 2019 (Bristol), HeK (Basel) and PACT Zollverein (Essen) amongst others.

“Chia’s artistic identity is one that defies the artificial borders and boundaries of the modern nation state.  Going beyond the notion of the individual simply as a constituent of a nation and its projected cultural identity, (s)he bypasses the need for mass appeal or approval and instead subscribes to the independent nature that characterises folk – the resistance to a canon.” – June Yap, The WIRE

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Tara Transitory aka One Man Nation makes work which some consider art, some consider music. and some consider trash. Clearly, it never quite fits into neatly demarcated categories. She is trans, nomadic, and an explorer at the intersections of gender, noise, and ritual through sound, performance, and collective trance.

Tara fluctuates between Berlin (Germany) and Chiang Mai (Thailand) where she directs the performance space e x t a n t a t i o n.  Artistically, she works together with Nguyễn Baly as Nguyễn+Transitory on trying to approach sound, synthesis, noise, rhythm, and performance from a less colonial angle as well as trying to empirically learn more of the various Southeast Asian+diaspora queer existences and histories with a hopefully non-academic perspective.  Concurrently, she is working on International //gender|o|noise\\ Underground, a collection of video documents made of ephemeral public interventions done in collaboration with other trans* women such as Jenny Quỳnh Phương, Nguyễn Thiện Phúc and Kandy Zyanide (สุกุล ดงน้อย).

Tara performs solo as One Man Nation, with Nguyễn Baly as Nguyễn+Transitory, with Truna as { 23 Shadows of Amnesia } and with Pierre Bastien as Mecanation.  An extensive collaborator, her past collaborators include Kakushin Nishihara, Chaiwat Prumprajum, Tzu Ni, Shian Law, Thanisa Fah, Bambu Wukir and Iman Jimbot (The Future Sounds Of Folk).  Tara has performed internationally at CTM (Berlin), donaufestival (Krems), Gaite Lyrique (Paris), Guggenheim Museum (Bilbao), Tokyo Performing Arts Meeting (Yokohama), Museum of Contemporary Art (Taipei) and Wienerfestwochen (Vienna) among many others.

Welcome to the ARCHIVE OF INDIAN MUSIC (AIM) – the repository of gramophone recordings of India!
AIM seeks to digitize and preserve for posterity the valuable slices of India’s cultural history and musical heritage. The Archive is a custodian of these treasures and makes these available for all through its different dissemination arms. 
Come, join us in this fascinating exploration of an era that has gone by, listen to some of the best voices and the most divine instruments of this country cutting across various genres- Hindustani classical, Carnatic classical, Theatre, Early cinema, Folk and the rest! 


Ecstatic Computation 

Bookings: hg@outer-agency.com

“Beautiful and surreal… pop music from the future”
JOHN PEEL, BBC (on the Fish Ep in 2003)

“One of the year’s most disturbingly beautiful creations”
RESIDENT ADVISOR (on Barefoot Wanderer in 2010)

“Besser als Massive Attack”
DIE TAGESZEITUNG (on Barefoot Wanderer in 2010)

“Jahcoozi ist die Art von polyglotter Band ….. wilde Klänge auf die mächtigen Bass-Säulen, auf die ihre Musik sich stützt. Wie ein Wanderer, der nach dem Ende der Welt ohne Schuhe zwischen den Klangresten umhertänzelt. Schön.”
DER SPIEGEL (on Barefoot Wanderer in 2010)

“…visceral, gritty sounding, danceable dancehall riddims, glitch-hop, and experimental techno rub up against each other like long-lost pals ..”
PITCHFORK (on Barefoot Wanderer in 2010)

“2075. Earth. The metropol club scene will sound like this…”
GROOVEMINE (on Barefoot Wanderer in 2010)

“…extraterrestrial bass thumping in the heart of the Jamaican urban landscape, Jahcoozi brings out the best in aspects that Massive Attack and Leftfield built up …….“Lost In The Bass” and “Barefoot Dub” is the best modern day dub prowess since Massive Attack’s Blue Lines”
ZAPTOWN Magazine (on Barefoot Wanderer in 2010)

“…music that moves your body, lyrics that stimulate your cerebral cortex …… as effective with the aural mystique and hypnosis perpetuated by Lee “Scratch” Perry and Massive Attack’s Mezzanine as making audiences lose their minds on the dance floor.”
URB Mag (on Barefoot Wanderer in 2010)

“atmospheric, digital dubstep all with a sound that encompasses techno, hip-hop, bassline and grime, held together by Sasha’s sharp and smoky lyrical excursions”
CLASH MAGAZINE, UK (on Barefoot Wanderer in 2010)

“a glorious product of indefinable genre creations”
URB-NET (on Barefoot Wanderer in 2010)

“The aural equivalent of a Quentin Tarentino film, the listener is lost within its swirling maelstrom of electronic gadgetry & infectious riddims…”
FOXY DIGITALIS (on Blitz n Ass in 2007)

“… their acerbic wit and cultural observation is still as sharp as on Pure Breed Mongrel. ‘Takin’ Your Street’ is the only dirty beat track that links gentrification with skinny jeans cutting off blood supply to your feet!”
FLY GLOBAL MUSIC (on Blitz n Ass in 2007)

“It would make sense to call Jahcoozi’s stuff Grime for Björk fans…. this might please both fans of Aphex Twin and Roots Manuva.”
XLR8R, US (on Pure Breed Mongrel in 2005)

“2005 has brought us a no more focused piece of hip hop satire than Asian Bride Magazine with it’a sing-along Hymen, Hymen better in tact.”
MOJO Magazine, UK (on Pure Breed Mongrel in 2005)

“The band sculpts “illectronic” bliss out of grimy shuffle rhythms, deep and detuned bass lines, and bombastic swaths of vocal attitude”
RESONANCE MAGAZINE, USA (on Pure Breed Mongrel in 2005)

“On the stage, Jahcoozi’s British-Sri Lankan “lioness”, singer / rapper / lyricist booty dancer turns heads with smartly sarcastic lyrics about stereotypes, sex and psychedelics on cult classics like “Fish” and “Black Barbie” while the mightily-dreadlocked Israeli multi-instrumentalist Oren Gerlitz strides the stage providing deep basslines while Robot chops up his razor sharp dancehall-electro in a way reminiscent of friend and fellow “BLN’” icon Modeselektor”
MIXMAG, UK (on Pure Breed Mongrel in 2005)

“One of the most progressive albums of the last few years.”
MUSIKEXPRESS, DE (on Pure Breed Mongrel in 2005)

“Homemade Surrealism”
WIRE MAGAZINE (on a Jahcoozi live show at Marke B in 2003)


www.jahcoozi.com

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