From 'sterea schēmata' LP (available for download here) https://vybbtuan.bandcamp.com/album/sterea-sch-mata

Made with a combination of AM radio and pithkiavlia, kuisi (colombian gaita), saxophone, and other flutes and horns.

A (8) (extract)

10 DRAFTING AN ESCAPE PLAN

the mono version of my composition for 20-channel sound system of the acousmonium concert that took place at istanbul technical university, may 2015.

Phase

Taken from the Otoroku LP 'Yurt Yeri' (ROKU014) 

https://www.cafeoto.co.uk/shop/category/oto-roku-releases/

Born in Tbilisi, Nargilə Mehtiyeva aka Aşıq Nargilə has been playing saz (long-neck lute) and singing since the age of 15. Fluent in Azerbaijani, Georgian, and Russian, Nargilə represents the cosmopolitan heritage of old Tbilisi, a city once known as a meeting point for multilingual aşıq bards who would travel through the region serving as conduits for news, ideas, music and culture. Nargilə is currently the only female aşıq living and performing in the ethnic Azeri region of Georgia, and has been teaching the art to new generations.

This is a recording of Aşıq Nargilə's first concert in the UK. Recorded live at Cafe Oto on the 18th October 2014 by James Dunn. The pieces performed are named after the traditional saz aşıq havası (melodies) they are based on. Lyrics are taken from destan epics, regional poetry and Nargile’s own lyrics to match the rhyming patterns of these melodies. Yanıq Kerem (1) and Ruhani (7) are both instrumental pieces which depict their own stories without words.  Ay Ceyranım (5) is a popular song performed at weddings across Azerbaijan.

Aşıq Nargilə Mehtiyeva: Saz (long-necked lute) and Söz (vocals)



Asiq Nargile - Yurt Yeri

Errant musician singin and playing clarinet in Irakleion, Crete. 

Errant Musician in Irakleio, Crete



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What I Thought Were Faces

A multichannel sonic environment that explores a sense of place through listening, ritual and the condition of darkness. 

Presented as part of solo exhibition and series of events at Point Centre for Contemporary Art in Nicosia Cyprus (31 October - 29 November 2014).

Duration: 145 minutes (loop)

'Experiencing this work involves a process of being oriented and of disorienting. Where is the horizon? Can its existence be stipulated in relation tao some sort of centre? To this latter question, 'The blind ear' seems to allow us to answer both yes and no. In navigating this space, one may possibly pulled, by the ear, towards a centre - the 'sweet spot' that is the Holy Grail of audiophiles. Here, standing (or sitting) still allows one to be constituted as disembodied acoustic subject. This quasi-Oedipal gesture can be thought of as 'blinding' one's bodily ear. More importantly, however, there are also other trajectories to be followed in the spaces of this work, ones that resist various pulls towards centres or subjectifications.' - Andreas Vrahimis

A (8) (extract)

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