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viewing 1 To 25 of 34 items
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ASH 12-3CD
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In 2000, The Wire wrote of Richard Chartier's work: "it's worth stretching the ears in search of Chartier's sequences of exquisitely sculpted sonic events, as gorgeous detail bodies forth out of the shadows," the same holds true today. Formed over the course of five years, Removed was a process of removal/erasure. Only trace elements appear from what was. Their interactions merely a ghost of a composition -- subtle echoes across the sound spectrum. A glacially paced progression of discreet relational sonic events and flows. Inspired in part by the rigorous line drawings of American visual artist Linn Meyers, whose 2011 untitled drawing graces the cover, Removed draws the listener in to follow patterns. Meyers often creates large scale on-site works that transform a space into durational installations of seemingly endless lines. Seen from a distance these lines appear as almost natural ripples in a wall surface, but deeper, upon closer inspection, the delicate echoes and fluctuations of the artist's hand arise from the density of details. Chartier's precise sound compositions work in a similar manner. Austere and shimmering, the two compositions on Removed beg for careful listening on headphones. Or let these two compositions play quietly amplified across your space. Either way, a physically captivating dimensional experience. Removed is a continuing reflection on major aesthetic elements of Chartier's artistic language as it has evolved through the years. This is Chartier's first new solo studio album since 2013's field recording exploration, Interior Field, and 2012's purely digital Recurrence, both released on Line. Richard Chartier is a Los Angeles based artist and is considered one of the key figures in the current of reductionist sound known as both "microsound" and Neo-Modernist.
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ASH 11-2LP
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Yoiking with the Winged Ones is a vinyl record with yoiks yoiked by Ánde Somby and recorded and mixed by Chris Watson. Yoiking is the ancient chanting practice of the Sámi people, the indigenous inhabitants of the Arctic area of Sápmi, today encompassing the far north of Europe. Yoiking's origins date from time immemorial -- legend has it that it was the fairies and elves of the Arctic lands who gave yoiks to the Sámi. Yoiking was an important element of the religious rituals in pre-Christian times and has survived Christianity, imperialism, and the confiscation of Sámi areas by Norway, Finland, Sweden, and Russia. Ánde Somby is deeply rooted in the yoik tradition. He comes from the eastern part of the north Sámi areas, with connections to the tundra tradition of the reindeer herders and the valley tradition of arctic farmers. His yoiking is quite technical as well as melodic; Somby is at once a traditional and innovative yoiker, with an expressive style on the borders of the human voice. Here, all three pieces on side A are his compositions. The album's title refers to the migratory birds that travel to the Arctic for their breeding season and break the Arctic silence with their singing and calling, while also referring to the sound that flies from the echoing mountains. The project draws inspiration from the fairies and elves who gave the yoiks to humans, tying the yoiks to the earth, and from the ongoing war against those fairies and elves; this war was waged in Norway by 19th-century national poet Henrik Wergeland in the song "Nisser og Dverge," and has continued by stripping the earth of its soul and giving free license to aggressive exploitation. The album is also inspired by the Greek myth of Narcissus and Echo, in which Echo is rejected by Narcissus but gains an eternal voice; here, Echo yoiks along together with the underground energies of the ancient practice. Recorded by world-famous sound artist and field recordist Chris Watson in Kvalnes, Lofoten, Norway, in mid-June 2014, while the arctic winds rested for a moment. Post-production by Chris Watson. A K Dolven took the photos for the project and was instrumental in developing the concept. Artwork and design by Philip Marshall. Thanks also to Tony Myatt. Yoiking with the Winged Ones was made possible by the generous support granted by Sámediggi - Sametinget.
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ASH 12-0LP
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freq_out has been a musical project since 2003, when Carl Michael von Hausswolff was invited to Copenhagen to invent and install a sound-art installation. He divided up the audible sonic register into 12 parts and asked 12 artists, musicians, composers, and architects to each accept one of the 12 parts and compose a sonic piece from it. The result became 12 compositions/artworks that were simultaneously played on 12 different sound systems in the art space of Charlottenborg, thus becoming one piece. Since then, freq_out has also been installed in Oslo, Berlin, Paris, Budapest, Chiang Mai, Kortrijk, Stockholm, Amsterdam, and Marrakesh. This LP contains the studio mix and a live recording of the first permanent installation of a freq_out piece called freq_out 1.2 ∞ SKANDION. At the time of this release, the work is up and running in the entrance garden at the Skandion Clinique -- a hospital for cancer treatment inaugurated in May 2015 -- in Uppsala, Sweden. It's accessible 24/7 and anyone that comes by the place can enjoy the work. The artists who contributed to the work are Jana Winderen, Maia Urstad, Christine Ödlund, Brandon LaBelle, JG Thirlwell, Petteri Nisunen, Tommi Grönlund, The Sons of God, Franz Pomassl, Anna Ceeh, Mike Harding, Finnbogi Pétursson, BJ Nilsen, Jacob Kirkegaard, PerMagnus Lindborg, and Carl Michael von Hausswolff.
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ASH 11-4CD
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"Couldn't sleep... arose to forage for sound. The hum of the fridge encouraged further investigation of hidden, domestic sounds; the fish tank, DVD player, a broken laptop... Dawn and morning light allowed more sound and the guitar, in its case, beckoned... From darkness to light..." Guitars: Guild 12-string D-125 and Vintage Guild six-string GF-25. Mics: induction coil pick up and hydrophones. Buddha Machine pre-recorded and mixed, then re-recorded at Holme Fen Posts using mobile speakers. Recording device: Edirol r-09. Radio: static between stations. Software: Max MSP (self-programmed), Supercollider, and Logic Pro. Simon Scott (b. 1971) is a British multi-instrumentalist based in Cambridge, UK. Insomni is his fourth album and his debut for Ash International and is published by Touch. His music is a fusion of digital signal manipulation combined with an aesthetic of compositional collaboration with environmental sounds and organic acoustic textures. He is inspired by his interests in sound ecology, music technology, the natural world, illustration, photography, composition, and sonic art. Below Sea Level, originally presented live in quadraphonic sound, was released on Touchline in March 2015, after 12k originally released the album in 2012. It explores the aesthetics of active listening, sound ecology, and the subjective distinction of compositional materials and sound timbres. Critically applauded for creating juxtapositions of analog and digital timbres, the man-made and natural-world sounds captured in his local sunken landscape of The Fens in East Anglia create a fusion of digital signal manipulation combined with organic acoustic textures. Since the late 1990s Scott's solo work has been featured in a variety of international films, sonic art exhibitions, dance productions, television productions, and digital multi-media projects. He has toured worldwide since 1988 and he is the drummer for UK band Slowdive, who worked with Brian Eno on 1993 Souvlaki album. His track "Für Betty" was included on the German label Kompakt's Pop Ambient 2014 compilation (KOMP 113CD). Scott is also a freelance composer and sound recordist for film and television; in 2015, he appeared on the BBC program Springwatch Unsprung recording aquatic wildlife and discussing his work with presenter Chris Packham. He has taught music technology and sound recording in Cambridgeshire and lectured at Cambridge University. In 2008 he established the Kesh Recordings label, releasing global artists' audio and visual projects. He has also collaborated on various projects with Taylor Deupree, Nils Frahm, Machinefabriek, The Sight Below, Isan, and James Blackshaw.
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ASH 11-1LP
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Based on the original score for the film I Am Here (2014), written and directed by Anders Morgenthaler, starring Kim Basinger, Jordan Prentice and Sebastian Schipper. Written and produced by Jóhann Jóhannsson and BJ Nilsen. This is the first collaboration between Jóhann Jóhannsson and BJ Nilsen -- very much a mix between their two worlds, you can hear both their signatures, and with the help of additional musicians, including Hildur Guðnadóttir on cello and the remarkable voices of Elfa Margrét Ingvadóttir and Guðmundur Vignir Karlsson, they together create a world of great beauty and mystery. Hildur Guðnadóttir (cello), Daniella Strasfogel (violin and viola), Elfa Margrét Ingvadóttir and Guðmundur Vignir Karlsson (vocals), Jóhann Jóhannsson (piano, guitar and electronics), BJ Nilsen (electronics). Recorded and mixed by Jóhann Jóhannsson and BJ Nilsen in Berlin, December 2013-January 2014. Mastered and cut by Jason at Transition August 20th, 2014.
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ASH 9.5CD
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Christian Fennesz's score of the film AUN: The Beginning And The End Of All Things -- a 100 min., 35mm feature drama written/directed by the Austrian artist/filmmaker, Edgar Honetschläger. It is an Austrian/Japanese co-production realized by Edoko Institute, Vienna and Ribo Ltd., Tokyo in cooperation with KGP Vienna. AUN was supported by the Austrian Film Institute, the Vienna Film Fund, the ORF (Austrian TV), the province of Upper Austria, the City of Tokyo, Tochigi Province, Shizuoka province, Yamanashi province. AUN: The Beginning And The End Of All Things tells the story of mankind's quest for the future, his desire to create the tomorrow, his fear of and loathing for the apocalypse. It spins the Faustian theme twice and lays bare open the inexhaustible Judea/Christian believe in progress, which by the 21st century has taken over the entire world and has succeeded in maneuvering the globe into a situation that can't be solved by means of economics and science anymore. Enlightenment's merits have taken the West's ability to sense what is not to be seen, what is only to be felt. Beliefs are so much more than religion, than monotheistic concepts. Souls and spirits exist not only in film. Denial and neglect of eternal laws lead to extinction -- of the individual and the entire human race. AUN invents rituals as well as mythologies and worships the creator of it all -- nature -- by playfully laying out its dichotomy with human culture. The film equals mankind's beauty with nature by announcing that "everything mankind creates is nature." Sadly, the hubris ends and gives the audience the chance to heartily weep for the world. Director's statement: "AUN: The Beginning And The End Of All Things follows the strings of thoughts the late Claude Lévi-Strauss revealed in his anthropological essays throughout the 20th century, as well as those of Japan's unique Shintoism, whose millions of gods inhabit and preserve nature. The film focuses on the dichotomy of man/nature and envisions a future world where life will be nothing but sensual. It contains references to Brazilian writer Clarice Lispector, Italian anthropologist Fosco Maraini and the Japanese writer Yoko Tawada."
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ASH 8.9CD
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Joachim Nordwall is deeply interested in the power of sound, and how sound can create certain states of mind, but also the other way around; how certain states of mind can create sound. Since his teens in the late '80s, growing up in the remote, crude southeast Sweden, he has experimented with something he prefers to call "Psychic Broadcasting" rather than composition, at first in the still almost-active analog synth drone duo Alvars Orkester. Nordwall went on to play in various experimental music projects and spent time in Paris and London. Back in Sweden, he formed iDEAL Recordings in 1998 and joined the sweaty avant-punk rock group Kid Commando the year after, touring like mad, eventually hitting rock-bottom in 2005. After the death of KC, he formed the ritual rock/drone band The Skull Defekts, which has kept him busy ever since (recently releasing records on Chicago-based Thrill Jockey Records). In 2006, his first solo album was released under his The Idealist moniker. A few years in the making, the album offered was a deep study of Nordwall's interior life, during a time when everything was pitch-black inside. Today, Joachim Nordwall is very active curating his iDEAL label and organization for festivals, concert series and sound art exhibitions. He is also the chairman of the legendary Stockholm venue for experimental stage art, Fylkingen. Nordwall is a man that lives and breathes sound. A few years have passed and Ignition is here, Joachim Nordwall's second solo album. Recorded under brighter circumstances but still with many shadows present. Ignition is on one hand a solid, highly electronic trip, on the other hand, a very sensitive, analog and warm drone symphony. Ignition was released (and is still available) on cassette in 2010, thus asserting the primacy of the analog format. Received and recorded by Joachim Nordwall at Morgan Avenue (Brooklyn), Lampo (Chicago), iDEAL (Gothenburg), EMS (Stockholm) 2006-2010. Technical specifications: RITM-2, iDEALIST DRONE MACHINE, LITTLE BLACK BOY, GLAMOUR BOX, KORG MS-20, iDEALIST NOISE MACHINE, MacBook Pro (various software) and various effects. Analog sound sources, sometimes processed digitally.
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12"
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ASH 010.1EP
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Four new tracks from Purity Supreme, a collaboration between French musician, composer and producer Christophe Van Huffel and American writer, musician and composer Leslie Winer. Always Already was recorded in France at Studio7Love in May 2011. Leslie Winer's '90s album Witch, released under the artist name ©, is a genuine lost classic, pioneering many of the sounds that have followed. Christophe Van Huffel, ex-guitarist of Tanger, has recently produced legendary French singer, Christophe.
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ASH 9.1CS
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Ash International presents a cassette-only release of 2008 live tracks from Swedish sound recordist BJ Nilsen. BJ Nilsen was born in 1975 and he has been active with experimental music for over 20 years. For the past 10 years, he has been releasing albums on Touch, and making music and doing sound design for documentary film, television and commercials. He is focused on field recordings and on the sound of nature and its effect on humans and the perception of time and space as experienced through sound, often electronically treated. Nilsen has collaborated with artists such as Chris Watson, Hildur Gudnadóttir, Philip Jeck and Stilluppsteypa, amongst others. Illustration by Sav X, entitled Dead Flowerz 1 (first in a series of 6).
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ASH 8.9CS
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Sweden's Joachim Nordwall runs iDEAL Recordings and is a member of The Skull Defekts. Received and recorded in Brooklyn, Chicago, Gothenberg and Stockholm between 2006 and 2010. Equipment used: analog synthesizers, effects and computer. This cassette was mastered by BJNilsen and edited by Philip Marshall. Program repeats on both sides. Limited edition of 500 copies only.
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ASH 8.8CD
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Ash International presents a live recorded performance by Thomas Ankersmit in Utrecht from late in 2007. Live In Utrecht is his first official CD album release. Thomas Ankersmit is a 30 year-old saxophonist, electronic musician and installation artist born and raised in the Netherlands and now primarily based in Berlin who combines abstract, intensely-focused saxophone playing with hyper-kinetic analog synth and computer improvisation. He also creates installation pieces that use sound, infrasound and "modifications to the acoustic characters of spaces" that disrupt the viewer/listener's perception of the exhibition space and their presence within it. He frequently works together with New York minimalist Phill Niblock and Sicilian electroacoustic improviser Valerio Tricoli, and as well as other collaborators, mostly for live performances, including Tony Conrad, Maryanne Amacher, Jim O'Rourke, Kevin Drumm and Borbetomagus. Thomas Ankersmit: Serge analog modular synthesizer, computer, alto saxophone. Pre-recorded saxophone and reel-to-reel parts composed by Valerio Tricoli, with source material by Ankersmit.
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ASH 8.7LP
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Vinyl release. On November 19, 2009, there took part at Café Oto, London, the first-ever "The Night Of The Long Worms" -- a label night held by the cassette label, The Tapeworm. Presented here is a track each by Tapeworm artists Meltaot (UK artist/musician/broadcaster Sharon Gal and artist/writer/musician SavX aka Savage Pencil aka Edwin Pouncey) and mystery group Souls On Board (featuring Bruce Gilbert). Meltaot features Savage Pencil on electric guitar scree/cymbal and Sharon Gal thrumming a bass guitar while she produces some serious guttural horror. Souls On Board provide some black-hearted electronic throb/drone/pulse with a "Pirates Mix" by Bruce Gilbert. Comes with a Meltaot sticker.
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ASH 7.8EP
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This 7" is the fourth in a series of vinyl acoustic versions for the National Anthems of Elgaland-Vargaland. These recordings were regally made during the unofficial inauguration of the KREV Ministry of Bankrupt Shopping Malls in Porto, Portugal, on October 10, 2008, in the presence of the KREV Ambassadors Michael Harding and Heitor Alvelos. Genuflections to the Future Places digital media festival, University of Porto Masters in Image Design, and the University of Texas at Austin and Transmedia Brussels.
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ASH 8.1CS
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Cassette only, in an edition of 500 copies. Second edition, with alternate inlay. Recorded by Norwegian sound recordist, Jana Winderen, who also provided the illustration. Winderen writes that The Noisiest Guys On The Planet is "an ongoing investigation into the use and production of sound by decapods." The decapods or Decapoda ("ten-footed") are an order of crustaceans within the class Malacostraca, including many familiar groups, such as crayfish, crabs, lobsters, prawns and shrimp. Most decapods are scavengers. As their name implies, all decapods have ten legs; these are the last five of the eight pairs of thoracic appendages characteristic of crustaceans. The front three pairs function as mouthparts and are generally referred to as maxillipeds, the remainder being pereiopods. In many decapods, however, one pair of legs has enlarged pincers; the claws are called chelae, so those legs may be called chelipeds. Jana Winderen researches the hidden depths of the sea with the latest technology; her work reveals the complexity and strangeness of the unseen world beneath. The audio topography of the oceans and the depth of glacier crevasses are brought to the surface. She is occupied with finding sound from its hidden source, like blind field recording.
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ASH 7.6EP
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This is the third in a series of vinyl acoustic versions of the National Anthems of Elgaland-Vargaland. See also the mariachi and the klezmer/Afrobeat versions, both issued in 2007 via Ash International. Kampen Skoles Musikkorps consists of around 24 musicians aged from 9 to 16. It was founded in 1906 and is the third oldest school marching band in Norway. Recorded on March 12, 2008 at Kampen Skole in Oslo. The "KREV Underwater National Anthem" was recorded under MS Reichenau on the occasion of the Annexation of the Bodensee (Lake Constance) including Überlinger See, Zeller See, Gnadensee, Untersee and the Insel Mainau (Island of Mainau), formerly a part of Switzerland, Austria, Germany, by the Kingdoms of Elgaland-Vargaland on May 28, 2008. Recorded using Dolphin Ear hydrophones and a Nagra Ares P-11 flash recorder while The Emmishofer Brass Band and The Diessenhofen Yodelling Choir performed.
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ASH 7.4EP
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These recordings were regally made on October 21, 2006, Haus der Kulturen der Welt, Berlin at the opening of the Elgaland-Vargaland Embassy for Germany in the presence of the Kings, Michael I and Leif I, Consul Hans Ulrich Obrist (who made the inauguration speech) and the KREV Ambassador, Bernd M. Scherer. This 7" is the second in a series of vinyl acoustic versions of the National Anthems of Elgaland-Vargaland. "Kabukabu" is explosive Afro-beat, while "Klezmer Chidesch" is pure, heart-moving Klezmer.
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ASH 7.2EP
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...National Anthem #2. These recordings were made during the inauguration of The Embassy of The Kingdoms of Elgaland-Vargaland in Mexico City on August 30, 2002, in the presence of the KREV Ambassador Magalí Arriola and invited guests at Colima 244, Colonia Roma, Mexico City. This is the 2nd in the series of National Anthems released by Ash International, following The National Anthem of Elgaland-Vargaland No. 1 (1996), and the first in a series of limited edition vinyl releases (including the klezmer version, the marching band version) to follow in 2007 and 2008.
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ASH 7.1CD
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Subtitled: Field Recordings from Tibet. Geir Jenssen is a Norwegian composer and performer, best known for his work as Biosphere, who has released five albums on Touch over the last ten years. In the early 1990s, Jenssen was a pioneer of so-called "ambient techno," but since then, he has refined his sound into something more magnetic and enduring. These recordings were made by Jenssen while climbing "Cho Oyu" in Tibet in September and October 2001. Cho Oyu is the sixth highest mountain in the world at 8201 meters, situated in the Himalayas near Mount Everest, on the Tibetan/Nepalese border. This album may be regarded as the soundtrack to the film of this journey, also containing some of the source material for the most recent Biosphere album, Dropsonde. The Cho Oyu climb, with six climbers and one sherpa, was made from Kathmandu into Tibet, taking two weeks to reach Base Camp in staged intervals so as to avoid altitude sickness. Each track represents one such stage in the journey, from base to base to summit, absorbing the only sounds possible on the trip to the mountain and all the way up. "Tingri: The Last Truck" captures the sounds of trucks zooming past livestock, horses and carts, pigs and yaks, overtaken by vehicles blasting their horns, on the last inhabited area before the mountain. Wind, yak bells and ambient sound provide the material for "Chinese Base Camp: Near A Stone Shelter," while "Nangpa La: Birds Feeding On Biscuits" was Jenssen's attempt to get a clean, unprocessed recording of mountain birds by baiting them with food. "Camp 3: Neighbours on Oxygen" was made when the wind picked up and ferocious hail hit the tents. One group chose to wear oxygen masks and could easily be heard from Jenssen's tent, where he made this recording. Cho Oyu 8201M is a document of a difficult journey told in sound: of random hillside transistor radio music, pilot chatter from planes over the Himalayas via shortwave frequency, and of absolute cold and ambient, still silence.
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ASH 6.9CD
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This is a release of analog sound experiments from old Sweden circa 1987-2006 from electronic drone/noise masters Joachim Nordwall (ex-Kid Commando) and Jan Svensson. Alvars Orkester was formed in 1987 in Johannishus, a small village in the southeast of Sweden by a group of young boys interested in the mysteries of psychic sickness, mental institutions, the industrial music culture and the power of sound. During the first years, Alvars was very active within the independent cassette culture scene, releasing their stuff on small labels in Italy, Portugal, USA etc. AO was always very closely connected to the electronic noise and their self-run industrial label Börft Records, but their work soon drifted from the industrialism inspired by Test Dept, TG, SPK and Z'ev to an atmospheric, psychedelic and more ambient version of noise. In 1994, Nordwall left the label and Sweden (to return to the country forming the iDEAL Organisation) and Svensson continued by focusing on bent acid house and psychedelic dance stuff. For years, AO remained silent with a few short exceptions, but in April 2005, Nordwall and Svensson recorded the Interference album for Ash International. Colored by Svensson's increasing paranoia sickness and the tension between the two that has been there since their youth, they put down the mysteries of psychic broadcasting and manipulation on tape. Interference consists of analog drones, interspersed with hardcore electronics, hair-raising voices and spine-chilling ambience.
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ASH PARCCD1
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Originally issued in 1999, this is the third edition of this much sought-after CD, which has been unavailable since 2002. The Parapsychic Acoustic Research Cooperative [PARC], in association with Ash International, is proud to present the first-ever fully comprehensive investigation into the paranormal phenomenon of EVP, otherwise known as Electronic Voice Phenomenon. Without a doubt, EVP falls into the category of the paranormal alongside other unexplained mysteries such as Ufology, life after death and poltergeist activity. The listener is guided through a collection of strange and mysterious voices that have appeared without explanation onto the tapes of EVP researchers. Included with the CD is a 12-page booklet containing commissioned articles which cover the conflicting views surrounding the phenomena. Actual voice samples are reproduced here such as: polyglot voices, Public Service Broadcasting, interruptions across the airwaves, singing voices, instant response voices, and the extraordinary alien voices. The CD also includes a commentary by the artist Leif Elggren (in English), and recordings of the work of Raymond Cass, England's leading EVP researcher and an original member of the Fortean Group, as well as the Latvian EVP researcher, Dr. Konstanin Raudive. This CD release seeks to present the evidence; are the voices extraterrestrial, paranormal evidence of our telepathic powers, or an elaborate hoax perpetrated by sinister and powerful groups to mislead us from their true aims? Ghostly, disembodied voices crackle through the airwaves surrounded by a haze of electronic mist. This recording not only peaks the curiosity of paranormal-buffs, but will appeal to any fan of electroacoustic sound experimentation, spoken word, and short-wave radio random noise. For further information go to: http://parc.web.fm
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ASH 6.8CD
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Freq_out is a sound installation of twelve individual audio works which are presented as a single piece. Each artist is assigned a frequency range with which to work. This process is carried out in situ, each using a workstation consisting of a mixing desk and a PA system. All the resulting compositions are then amplified together in the space to create a sound installation or performance. The project reveals how space-specific certain frequencies can be, but also how other sounds can be separated from their source and "thrown" around the space. The final mix not only reveals the innate properties of the frequencies, but also the possibilities when they are combined. The second freq_out CD after Ash 5.8 (2004) features the usual suspects; curated and conducted by Carl Michael von Hausswolff, freq_out 2 was recorded and performed for Ultima the Oslo Music Festival 2004, by: BJ Nilsen, J. G. Thirlwell, Jacob Kirkegaard, Jana Winderen, Maia Urstad, Kent Tankred, Finnbogi Pétursson, Per Magnus Lindborg, Brandon LaBelle, Franz Pommasl, Mike Harding and Tommi Grönlund & Petteri Nisunen. The recording was made by NOTAM, mixed by BJ Nilsen at The Embassy and mastered by Denis Blackham at Skye Mastering. Much more "ambient" than the spiky, threatening sonic conflict of the first freq_out CD, this second piece is evocative of an utterly still landscape.
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ASH 3.6CD
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Originally released in 1997. "Part 1 of the three-part series (followed by Scatter and Decay) with electronic music from around the world. This part is from Japan and is based on sounds recorded of the planet Earth. -1, obtained by pressing play and then rewind when you insert the CD, is a heavily compressed recording of an earthquake; other tracks are of moving stones and other vital signs of earthlife." Artists: Hatohan, Utah Kawasaki, MSBR, AUBE, Koji Marutani, Akira Yamamichi, Toru Yamanaka, Tamaru, tak++.
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ASH 6.1CD
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...Ubiquitous Eternal Live. "Ubiquitous Eternal Live is the second chapter of Autodigest's A Compressed History of Everything Ever Recorded series. Volume 1, from 2003, proposed an aural illustration of current syndromes in digital compression which abandon fidelity, subtlety and complexity in favour of speed, efficiency and endless storage capabilities. Volume 2, now released, approaches the History of Recorded Sound under a considerably different perspective: it brings together all the audiences ever recorded and has them share one hour of hysterical, progressively apocalyptic applause. This is presented as less of an archive and more of a critical eye loaded with a few conceptual cards as foundations, from Debord to Baudrillard, from Harvey to Adorno. The aim of Autodigest's statements is to illustrate the collapse of music as we know it -- codified, copied, digitized, burned, compressed, freely and readily available, all of this at a time when we can download music much faster than we can listen to it, all of this at a time when a soda drink offers one hundred million songs for free. Ultimately the song remains the same, but our relationship with it has changed beyond recognition and redemption. Just try to imagine what a concert would mean to an audience before sound could be recorded...yes, we've come a long way, baby -- and maybe, just maybe, deserve to end up with those one hundred million songs in our pocket. The choice, it seems, is pretty much down to the cute colour, pattern or ringtone of the week."
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ASH 3.5CD
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1997 release. "This is the second of a triptych, which was commenced by Chiky(u)u (The Japanese Compilation) and completed with Decay (The European Compilation)." Artists: Kevin Drumm, John Hudak, Earth, Jim O'Rourke, Daniel Menche. 1997 release.
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ASH 5.8CD
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With pieces by: Finnbogi Pétursson, Franz Pommasl, BJ Nilsen, Jacob Kirkegaard, Mike Harding, Kent Tankred, J. G. Thirlwell, PerMagnus Lindborg, Jana Winderen, Hans Sydow, Brandon LaBelle, Petteri Nisunen/Tommi Grönlund, & an ensemble piece arranged by BJ Nilsen [Hazard]. "What: A sound installation consisting of 12 individual audio works which are presented as a single piece. Where: Any large self-contained space will work. The first event took place at Charlottenborg Exhibition Hall, Copenhagen, Denmark, in June 2003. Who: Encouraged by disturbances, Swedish artist and curator C M von Hausswolff assembled a collection of 13 artists representing the elite of international sound art. The group consists of sound artists, architects, composers, producers, sculptors, mathematicians and visual artists. The installation was part of a larger event taking place at the Royal Danish Theatre and Charlottenborg in Copenhagen. How: Each player is assigned a frequency range to work with. This process is carried out in situ, each player using a workstation consisting of mixing desk and PA system. All the resulting sounds are then mixed together in the space provided to create a sound installation. Why: The project reveals how space-specific certain frequencies can be, but also how other sounds can be separated from their source and 'thrown' around the space. It also shows how sound 'fits' (or not) into the space provided by exploring the complexities of frequencies and their inter-action. The final mix not only reveals the innate properties of the frequency ranges, but also the possibilities when they are combined. The result is a lively and accessible sound-filled space which can be approached either as a traditional installation, or as a theme park of sound -- fun for all the family and serious students alike."
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