…–…–…–…–…–––…–~{~{~{{~[π[π[π[π[π[ππ[π][]]][][][

second excerpt from Fergus Kelly | Local Knowledge cd on Unfathomless.

this release is limited to 200 hand numbered copies and comes with an extra art card.

Local Knowledge

U44 | Fergus Kelly | Local Knowledge Part 4_excerpt

Robe rehearsal 181017

Fleshout002

Forthcoming on Akuphone (AKU1019)
🕐 Digital: October 11
🕙 Vinyl: November 21

Buy: akuphone.com/catalog/KqTlLEqLa6o#content

The prolific Kink Gong (aka Laurent Jeanneau) returns in a unique duet with one of the most prominent artists of the Chinese avantgardist scene Li Daiguo. Kink Gong and Li Daiguo first met in Chengdu (capital of Sichuan Province, China) while playing the same night at the Jahbar music venue. 

A few months later, as they become neighbors in Cai Cun, a village near the old town of Dali (Yunnan), Kink Gong begins recording Daiguo playing Pipa, Cello and Zheng. He then proceeded to deconstruct these recordings while adding voices that he mainly recorded in Yunnan Province. This fantastic combination of field recordings, experimental folk melodies and electronic treatment leads us to a fourth underground universe reminiscent of Jon Hassell's finest hours. 

Credits:
- Pipa, Cello, Zheng performed by LI DAIGUO and recorded by LAURENT JEANNEAU in Cai Cun Dali, Yunnan, China on 11/11/2011
- Voices recorded by LAURENT JEANNEAU in China and Laos 2006-2013. 
- Recomposed by KINK GONG in 2011-2018. 
- Cover: Yi embroidery, Yunnan, China
- Layout by Akuphone
- Mastered by J-P Bameulle

Format:
- Vinyl with download code
- Digital

Kink Gong & Li Daiguo : Dali China - LP Preview (AKU1019)

Each Morning of the World #04
South American Phonographic Mornings #03/20
Puerto Saavedra ~ South Chili
Lafken Kürüf  de Julie Rousse

~~~~~~~~~~~~~

The piece - Lafken Kürüf - has been composed from recordings taken in the south of Chile in 2015. Mixing various sounds of the wind and the ocean, as well as glimpses of voices, those emblematic sounds from my stay there are composed in a short piece transcribing the powerful sonic landscape that has accompany me during the three months spent in the Mapuche Lafkenche community of Traïtraïko Leufu. The noise of the wind on the rooftop of my house and the rumble from the Pacific Ocean close by kept me from sleeping at night as i would imagine it coming out from its bed, like in the Mapuche Lafkenche mythology.

~~~~~~~~~~~~~~

Crédits
de l’album South American PhoNographic Mornings
ce titre est sorti le 6 mai 2018
Credit photo : © Julie Rousse 2018

Lafken Kürüf

LAFKEN KÜRÜF

Moon And Mist (Naviarhaiku 338)

Splinters as a composition has a dream like quality, dark and enigmatic. Electronic noise colours the drone and bubbling soundscapes of a somewhere. Repeating musical phrases mix with recognisable sounds from life - a spoken utterance, a rumbling train. As a listener you drift with the current through misty scenes, on a journey down a river towards some marshland on the edge of an urban sprawl.

Made in response to an invitation from TACO! - an artist space in Thamesmead in South East London - Splinters documents Kate Carr’s relationship with that space, and the area of London it is located in. Over an 18 month period Kate kept a growing sonic diary of her journeys to the space from her home, her construction of work in the gallery, her wanderings around the green spaces and urban architecture, the coming and goings of visitors and the artistic material from other artists and musicians working at the space. This work is a sonic portrait of a time and a place, and the actions and events within it.


Splinters includes audio samples from concerts and exhibitions held at TACO! Featuring material from live sets by Liz Helman, Tom White, Rebecca Lennon, Pouya Ehsaei, Jonathan Higgins and Hannah Dargavel-Leafe, and audio material from the exhibitions Scratch! by George Barber, and Heavy View by Laura Yuile.

Mat Jenner, director, TACO!
--------------------------------------
Mastered by Simon Scott at SPS Mastering.
Design by Louise Mason.
A huge thanks to Liz Helman, Tom White, Rebecca Lennon, Pouya Ehsaei, Jonathan Higgins and Hannah Dargavel-Leafe for permission to use short excerpts of audio material from their wonderful live sets, and to George Barber and Laura Yuile for access to audio from their installations. 
Also massive thanks to Mat Jenner for inviting me to TACO in the first place!

Detritus Clouds from Splinters out Sept 3

Loop 34 (Bucles)

Handstitched* update: pre-order 25 October ->  

https://handstitched.bandcamp.com/album/paragraphs

https://vimeo.com/460924638

Emba  – “Paragraphs” is released in two limited editions, a digipak version, limited to 50 copies and a handmade edition, limited to 20 copies. Both editions come with artwork by Genoveva Kachurkova.

Emba is a collaborative project between Tim Diagram, UK and Mathieu Lamontagne who is based in Quebec, Canada.

Thanks for listening x

Emba - Paragraphs [Sampl3r]

O.V.
https://soundcloud.com/senmove/notime-funktion
https://soundcloud.com/senmove

Senmove - Notime Funktion (Senglar Rmx)

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.

Forced to Repeat Myself

Forced to repeat Myself

Simon Whetham "08-11"

Unfathomless is a thematic series focusing on phonographies reflecting the spirit of a specific place crowded with memories, its aura & resonances...


Published so far :
U71 juan josé calarco - poleas
U70 philippe neau - étang donné
U69 Masayuki Imanishi - insects are
U68 Clinton Watkins - Raaswater
U67 simon whetham - dry
U66 philip sulidae - Vandemonian Verplaatsing
U65 Ludovic Medery - Les pierres sèches
U64 nicola di croce - 47AD
U63 Thibault Jehanne - Farol
U62 Vanessa Rossetto - self-care
U61 grisha shakhnes - being there
U60 Leo Okagawa - something veiled
U59 Banks Bailey - Mountains and Waters
U58 René Aquarius - Woodland Sigil
U57 Jared Sagar - Tombland
U56 brb>voicecoil - reclaim
U55 A.F. Jones - Bourdon du Kinzie
U54 Bruno Duplant & David Vélez - our seasons reverse
U53 - Jérémie Mathes - In[Core]Wat[t]
U52 - Frédéric Nogray - Ondureñas
U51 - Mathieu Ruhlmann & Joda Clément - Sound Diary of Quiet Pedestrians
U50 - Jeph Jerman - Imbrication
U49 - Yiorgis Sakellariou - in Aulis
U48 - Philip Sulidae - Ramshead
U47 - Banks Bailey - The Pool
U46 - Haptic - ten years under the earth
U45 - Ludovic Medery - eMERgences
U44 - Fergus Kelly - Local Knowledge
U43 - João Castro Pinto - Suntria - imaginal sonotopes
U42 - Jared Sagar - Holme
U41 - Sala - scare me not
U40 - Rihards Bražinskis & Raitis Upens - Aldaris
U39 - Stéphane Marin - Invisible(s) Archipelago(s) 1 – Serendib rhythms
U38 - Five Elements Music - lokrum patterns
U37 - Kassel Jaeger - Onden  隱佃
U36 - Andrea Borghi - Fuochi Rituali di San Giuseppe
U35 - Vanessa Rossetto - The way you make me feel
U34 - Flavien Gillié - Nonante-neuf fragments harenois
U33 - David Vélez & Bruno Duplant - Moyens Fantômes
U32 - artificial memory trace - hypnotikon (australOpus 2)
U31 - Jérémie Mathes - Fallow Memory
U30 - Osvaldo Coluccino - Parallelo
U29 - Michael Trommer - night swimmer
U28 - Nicolas Perret & Silvia Ploner - Nýey
U27 - Jay-Dea Lopez - The Australian Gothic
U26 - Claudio Parodi - Prima del terzo
U25 - Manrico Montero - Sisal
U24 - Yiorgis Sakellariou - Klaipeda
U23 - Frédéric Nogray - Merua
U22 - Loren Chasse - Characters at the Water Margin
U21 - darius ciuta - ld2i(3)
U20 - artificial memory trace - garig gunak barlu
(australOpus 1)
U19 - philip sulidae - History of Violence
U18 - Tarab - strata
U17 - David Vélez /Simon Whetham - Yoi
U16 - Kassel Jaeger - Rituel de la Mort du Soleil
U15 - Jérémie Mathes - Efequén
U14 - Yann Novak - Paradise & Winchester
U13 - Bruno Duplant - Quelques usines fantômes 
U12 - Chris Whitehead - Ravenscar (not yet released, but imminent !)
U11 - Five Elements Music - Rishikesh
U10 - David Velez - Sonido Descompuesto
U09 - Joda Clément - The Narrows
U08 - James McDougall & Hiroki Sasajima - Injya
U07 - simon whetham - Mall Muzak
U06 - Juan José Calarco - aguatierra
U05 - revenant - zeltini
U04 - Kassel Jaeger - lignes d'erre & randons
U03 - Nicholas Szczepanik & Juan José Calarco - Lack Affix
U02 - Luigi Turra & Christopher McFall - Tactile.surface
U01 - mathieu ruhlmann - tsukubai

U44 | Fergus Kelly | Local Knowledge Part 4_excerpt

Unfathomless

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