Name: March She'll Be in the Forest of American Larch (w/ Wilhelm Matthies) by Yasuo Akai in Travelogue 2001-2011
Duration: 17 min 10 s
Description: I thank to Wilhelm Matthies for his sending his inspiring improvisation by his own DIY instrument called kokeka to me.

Pure abstract beauty in its somber meditation...

A wonderful atmosphere you created here, perfect for a sountrack :)

April 17, 2011--At this moment I'm thinking of making a limited-edition physical objects including these 7 tracks of electro-acoustic music I've made since 2002 to present. Though I like what I've made, I admit that if the album consists of only these tracks it'll be too depressive for my taste. So I'm planning to add some more brighter tracks in order to balance. I'll keep you updated on this project.
(Update, May 9, 2011)I added "March She'll Be in the Forest of American Larch," an electroacoustic piece based on Wilhelm Matthies's improvisation.
(Update, July 9, 2015) The title is changed from "Drafting an album" to "Travelogue 2001-2011."

Travelogue 2001-2011

Drone

I thank to Wilhelm Matthies for his sending his inspiring improvisation by his own DIY instrument called kokeka to me.

March She'll Be in the Forest of American Larch (w/ Wilhelm Matthies)

Lyrics:

I’m burning wick to fingertip with sage
from my shaky-shakin hands
Millie, what have you done to me,
my friend?

I’m tossin’ turnin’ in an open grave
coined-tongued with whatever I can save,
carrying hauntings of a brand-new age—
Millie, can’t you see I slide
planchettes with my wake?

Catch me walking with the ghosts again
Must be on that double dose, depends
Roman chamomile all down the throat, lift hands
In Michigan, the lakes all darken
Blackbirds flocking to and fro, sevens
Roots drag marsh over the floor, levelin’
Millie, can’t you stop them? You slow no omens
like exhaling, it never ends

I’m coughing up elderberry on the stage
like your sacrificial lamb
Millie, hypnotize pain away, I beg

I’m whisper-hissing notes on every slate
that I scribe and toss into the hungry waves
carrying itchings for a familiar ache
Millie, can’t you see I made a walking stick out of my stake?

Catch me walking with the ghosts again
Must be on that double dose, depends
Roman chamomile all down the throat, lift hands
In Michigan, the lakes all darken
Blackbirds flocking to and fro, sevens
Roots drag marsh over the floor, levelin’
Millie, can’t you stop them? You slow no omens
like exhaling, it never ends

Three redwing blackbirds outside my window
two fish heads at my door
What be this omen, I’ll never know
Millie, warm the kettle once more

Three redwing blackbirds outside my window
Two fish heads at my door
One kettle bubbling atop rusted stove but
Millie, warm the kettle once
Millie, warm the kettle once
Milly could you so please be 
a kind old dearie just for me
and warm the kettle’s tea once more?

Catch me walking with the ghosts again
Must be on that double dose, depends
Roman chamomile all down the throat, lift hands
In Michigan, the lakes all darken
Blackbirds flocking to and fro, sevens
Roots drag marsh over the floor, levelin’
Millie, can’t you stop them? You slow no omens
like exhaling, it never ends

Millie, Warm the Kettle

@ttuttle: drumset, percussion, xylophone, misc
doug: bass, zither, bulbul tarang, percussion, strings, harmonium, misc

poopy pup

“The country is becoming a site of extremes...”

In this week's TANK podcast, Mohsen Mostafavi discusses his new book Sharing Tokyo, an erudite collection of essays on Tokyo as a shared architectural space.

Mohsen Mostafavi on Sharing Tokyo

Richard Seymour responds to the arguments of Jonathan Freedland and other liberal Zionists who, despite the marginalisation of the liberal Zionist tradition within Israel itself, continue to produce talking points for supporters of Israel and the Western media in their coverage of Israel-Palestine.

Excerpt - Richard Seymour on liberal Zionist apologetics

Israeli officials keep openly saying again and again that the plan for Gaza is ethnic cleansing, yet the western political/media class adamantly insists on continuing to frame Israel's actions in Gaza solely as a war against Hamas. Hamas isn't the target, it's the excuse.

Reading by Tim Foley.

The Goal Is Ethnic Cleansing, Not Defeating Hamas

Gaza's Delia Arts Center was a hub for musicians and community before it was destroyed by occupying Israeli forces. Ayman, now sheltering in Rafah, talks about the space and the current realities on the ground. Courtesy Delia Arts Foundation.

Ayman speaks on Delia Arts Center in Gaza, sheltering in Rafah

And this just says so much about the nature of this "democracy" - a word which literally means "rule by the people". If the people were actually in charge, there would be some option available to them to end the worst thing happening in the world right now. But the people are not in charge. When it comes to matters of the most importance, they never get a vote.

Reading by Tim Foley.

If You Can't Even Elect A Candidate Who'll End A Genocide, How Real Is Your "Democracy"?

Zionism, and the project of ethnic cleansing and colonial settlement in historic Palestine, is often rightly compared to other projects of European colonialism. But in a recent essay for Parapraxis, my guest Jake Romm argues that Zionism not only has been influenced by the European imperial project, but that it has also been massively shaped by anti-semitism, and that in its recapitulation of anti-semitic stereotypes, and even anti-semitic practice, it makes sense to view Zionism as a species of anti-semitism itself. 

We talked about how Jake came to this view via Max Horkheimer and Theodor Adorno's The Dialectic of Enlightenment, why he thinks Zionism has always been bent on the destruction of the Palestinian people and could never be content with merely exploiting Palestinian labour. And we also talked about the extreme machismo of Israeli society, and how October 7th was experienced as an emasculating event. Finally, we talked about Israel's likely turn to a permanent occupation of Gaza - and the possibility of the creation of new Israeli settlements in the territory.

Zionism as a form of anti-semitism w/ Jake Romm

Along the Hillside

Winter Sketch

In 2003 in Kortrijk, Belgium, I met a duo called Lucky Kitchen (Alejandra Salinas and Aeron Bergman) who made lyrical music from field recordings. They were staying there to perform at Happy New Ears Festival. I asked them to help me to make a humble video, which would be titled "we don't tell nuances" based on my field recording of Zagreb, Croatia, in 2001. This is the audio part of the video. They also processed my 'Waterbirds' for this. 
http://www.luckykitchen.com/



we don't tell nuances audio (w/Lucky Kitchen...please see the track video)

2002 distorted accordion, radio, delay, KORG D-9

The Weather Is Not Too Bad

kyouto around1995years field recorded and made the tone of  the piano of ouki highschool and the tone which walks along a hallway１９９５あたり.京都鴨き高校のグランドピアノや　廊下歩く音やらをもとにつくりました。

Faint Memory

私とピアノ

(Releases)
Flogging an Un-dead Horse (CD-R) 
http://irregular.sanpal.co.jp/?p=4305
Diderot's Clock Man (Electronic Musik, 2011, Attribution-Noncommercial-No Derivative Works 3.0)
http://www.archive.org/details/DiderotsClockManem136
Classwar Karaoke 0017 Survey (Classwar Karaoke 2012, compilation)
http://freemusicarchive.org/music/Classwar_Karaoke/0017_survey/
(Writings)
Fill Up the Square, Square the Circle
http://independent.academia.edu/YasuoAkai/Papers/806031/Fill_Up_the_Square_Square_the_Circle

March She'll Be in the Forest of American Larch (w/ Wilhelm Matthies)

Yasuo Akai

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