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| HANKIL/NOID/SCHELLANDER AND OTHERS, LATA: TKACZ/MACIAGOWSKI, KURT LIEDWART out now! Ryu Hankil, Noid, Matija Schellander and others Foreign Correspondents MIKROTON CD 43 | 44 Featuring Ali Morimoto, Klaus Filip, Nikos Veliotis, Radu Malfatti, Kazuhisa Uchihashi, Syo Yoshihama, Takeshi Ishihara, Luciano Maggiore, Jin Sangtae, Lionel Marchetti, Quing Li, Weisi Li In 2013, Noid and Matija Schellander travelled from Vienna to East Asia to meet up with Ryu Hankil and other musicians from Japan, Hong Kong, China, South Korea and Europe.Carrying compositions, sound art pieces and workshop preparations in their luggage to be tested by changing social and artistic settings, by everyday tour life and to be used as starting points for debates in various forms. The first CD - "Tokyo Office" - is a trio of Noid, Schellander and their main collaborator on this tour: Ryu Hankil from Seoul. It was recorded in the Ftarri shop in Tokyo, an intimate setting, a perfect concert situation for close, concentrated listening. The result is a 44 minute set of unmusical musicality with sounds of typewriter, drums, double bass, cello, jing-hu and victorian synthesizer. The second CD - "Field Report" - is the travelogue of one month of concerts, field recordings, workshops, dinners, getting lost, missing planes, stretched and contracted gut strings in the temperature and humidity extremes from Okinawa to Beijing, collaborating with locals and other traveling musicians, exposing sometimes strict concepts to confusing listening situations from Seoul rooftops to Osaka market stands to Hong Kong industrial buildings. Snippets and cuts composed in chronological order to an immersive flow of changing spaces and societies, on the turning point between being in and out. Street date — 6 November, 2015 Lata: Piotr Tkacz / Maciej Maciągowski Lata W Amarancie MIKROTON DIGITAL MD 11 Maciej Maciągowski spring tank, synthesizer, objects Piotr Tkacz turntable, objects In the seventeenth century wall maps were created for the homes and offices of wealthy merchants and royalty and can be seen on the walls in several of the interior scenes painted by Johannes Vermeer (1632-1675). According to Schilder, "the Hondius map [of 1603] has to be seen as the starting-point of the large wall maps of the world with decorative borders." Although Hondius did little more than place small-scale maps from his Atlas Minor around the edges, he must be credited with introducing this decorative motif on world maps. In the competitive world of Dutch map publishing Blaeu outshone Hondius as an artistic mapmaker with his magnificent wall maps of 1605 to 1607. Hondius tried his best to counter Blaeu when he reissued his 1603 wall map in 1608 by using ornamental devices borrowed from Blaeu. From "Newly Discovered Hondius Map" By Paul E. Cohen & Robert T. Augustyn Street date — 6 November, 2015 Kurt Liedwart Archival Materials Volume 1 MIKROTON DIGITAL MD 12 Kurt Liedwart lloopp, ppooll, analog synthesizer, electronics, electromagnetic devices, percussion Archival Materials is a series of Kurt Liedwart's studio works which he's been doing already for many years since 2005. In Volume 1 you can find them having a lot in common with his early music from the 1990s with all the major influences from that time: ambient, clicks'n'cuts, glitch, organic music, styles which he deconstructed for his own way in music although you can find him still using similar elements from them. This deconstruction led him to finding his voice making the pieces in entirely his own way. He used different instruments for making these tracks and computer and electronics focused all the sound streams from deconstructed percussion, turntables, and plunderphonics into these tracks. Street date — 6 November, 2015 Kurt Liedwart Archival Materials Volume 2 MIKROTON DIGITAL MD 13 Kurt Liedwart lloopp, ppooll, electronics, electromagnetic devices, percussion Out of sheer need, I'm interested in a world of thoughts, actions, music and so forth, which reflects the cultural situation and is reflective. What's needed today is not faster, higher, stronger, louder - I want to know all about "the lull in the storm". The more we are aware of things the better. We can decide later if we "need" them or not, but look at all those people who are unaware of most of what's going on around them. Sure, it would be a curse if every little detail entered our brain and passed through the short-term memory gate and stayed in long-term-memory - then we really would have a lot to carry around with us! - but someone once said that we don't use more than 65% of our brain capacity, and I'm absolutely sure that most folk don't even use that. I assume that this is the underlying structure or meaning of the meditational aspect of certain human knowlege. What happens if we elevate the known into the realm of unknown, the unimportant into the realm of important? We sharpen the consciousness and I think we then are able to become aware of the acoustic environment surrounding the music - and: the music itself!! Radu Malfatti Street date — 6 November, 2015 write your comments about the article :: © 2015 Jazz News :: home page |