We need your help – please
For this rare solo audio release, multi-disciplinary artist Phoebe Collings-James lays out, overlaps and tangles a curious and often contradictory selection of material over a bed of slowly tumbling electronics. Like picking up someone's phone and briefly eavesdropping on their photos, diary notes, recordings & what they've been watching or listening to ‘Can You Move Towards Yourself Without Flinching?' renders an aural tapestry with a bracing question .
Like her compelling collaborative work 'Sound as Weapon, Sounds 4 Survival' with SERAFINE1369, Phoebe's placement and arrangement of audio is masterful in its sleight of hand, inviting numerous interpretations, without losing its ability to beguile.
In a diary entry for 2019 I found this question which I struggle to answer. I creep toward it, in a wish to catch a glimpse of myself - without hesitation. If I do catch it, to find an unbearable balm, a suckling connection of love without dread - what would I hear?
I invited friends to answer the question with their own sounds. They did so in myriad ways, all of which were woven into the piece. For my production i work in a collaging style, using sound libraries, adhoc recordings from my daily journeys, alongside live recording with musicians and poets.
When sharing the track this week, I encouraged it to be listened to while laying down, comfortable. Ideally on good speakers or headphones. Allowing the scene to unfold into the space like an elaborate, sonic pop-up book.
Phoebe Collings-James - music, arrangement & cover artwork
Contributors (& Cameos): Ain Bailey, percussion. Rox Devlin Horton, drums. Sandeep Salter, song. Serefina 1369, lyrics. Zezi Ifore, lyrics. Secrets & Lies. Beau. Lancaut echo. Naeem Dxvis. Mario. Lynette Nylander. Adam Bainbridge.
Phoebe Collings-James – Can You Move Towards Yourself Without Flinching?
New duo from ex-CalArts electronic composer Carl Stone and minimalist musician Miki Yui. Subtle, slight and spooky, the pair deploy the tiniest sounds to create soundscapes at the edge of perception. Less cut and glitched than Stone's solo work, Realistic Monk's sound seems to hardly be moving at first, only to shift underfoot and reveal delicate oscillations and MSP mappings. In time, narrative builds in ways similar to that of James Rushford and crys cole, and eerie vocal lines akin to a nomadic Ghedalia Tazartes loop and shudder in the periphery.
Carl Stone / MAX/MSP, microphone
Miki Yui / sampler, solar-oscillator
1. 5.3.17 - 55:17
Recorded on Suday 5th March by Simon Holliday. Mixed by Shaun Crook. Mastered by Shaun Crook and Carl Stone. Photograph by A.C.Baur.
Realistic Monk (Carl Stone & Miki Yui) – 5.3.17
Li Yilei treats us to an 8 part polymorphic sonic journey. Slipping in and out of genre categorisations, 'Specimen' offers a snapshot of a young artist bursting with ideas, thoughts and feelings: an aural documentation reflecting the various conditions of being.
Secondary reading of 'Specimen':
Li Yilei – Specimen
The is a pre-order. Releases 6th November.
Pat Thomas is one of the most extraordinary pianists of our time. In a first time duo with saxophonist Matana Roberts, the lyricism of his distinctly dexterous and curious approach to the piano paints pathways for Robert’s poignantly vocal saxophone. Together the two speak; locked grooves and neat switchbacks on the keys form dialogue with long deliberate lines on the alto, punctuated by Roberts’ ecstatic vocalisations.
The trio of improvised pieces which make up the record’s first side are rich phrases, pitched at each end of the piano and stretched and pulled by Pat. His simple, repetitive cycles yield space and colour for Robert’s song, then let sounds build to a flourish; an armed run on the keys and some wonderfully soft landings.
The second side, a whole part in itself, goes deeper - hammered armfuls of piano and torn top breath blasting from Roberts fall in a flutter of delicate keystrokes. Call and response halves collide in a wonderful thunder before finding the edge of another line to hang onto. There is a remarkable sense of purpose, precision and restraint at play, as well as a peaceful milieu, which no doubt stems from the two players' fierce individual intelligence, creativity and curiosity.
The record arrives housed in a screen printed Kraftboard sleeve, die cut to reveal photographs taken by Dawid Laskowski and Fabio Luguro. Mastered by Giuessepe Ielesi who also mastered Pat Thomas’ The Elephant Clock of Al Jazari, we pressed this on 180g black vinyl. You can’t press a work called ‘The Truth’ on much less, can you?
Pat Thomas / piano
Matana Roberts / saxophone
Recorded by James Dunn live at Cafe OTO on the 8th December 2018. Mixed by James Dunn and mastered by Guiseppe Ielasi. Photographs by Dawid Laskowski and Fabio Lugaro. Design and layout by Maja Larrson.
The Truth – Matana Roberts & Pat Thomas
“‘Poems for play’ collects thirty-six scores composed for the Jesuit Monastery and its surrounding environment, in the town of Ano Syros on the island of Syros, Greece. ‘Poems for play’ pays homage to the specificity of time and place, with a titular nod to the duality of meaning: 'to enjoy oneself by interacting with one's surroundings', vs ‘the realisation of creative form through the choreography of social poetics, and the mechanics of body/building as instrument.”‘Poems for play’ is a FSC certified 46-page A5 publication, on perfect bound Indigo Arcoprint stock, in a signed/numbered edition of 100 copies.
Áine O'Dwyer – Poems for Play
If there's anything the 2020 lock-down has been missing it's been the Twitter commentary of experimental music's own enfant-terrible WANDA GROUP/LJ/PRESSURE CARCASS. His mischief, caustic call-outs and hilarity embossed in capital might have drifted away, but we're delighted that he's spent some instead documenting 127 beguiling (!!) tracks of musical verite, recorded over August on his phone in Huddersfield.
Where do we start with this one.... perhaps the most honest and stripped-back collection of musique concrete there's ever been? Where autuers of the genre mostly mould delicately selected audio fragments to piece together a narrative, LJ instead just turns on his phone whenever he feels appropriate and shares the moment with us untouched. It's sound-art; songs with his daughter MTP; sounds of work and play; sounds of doing nothing; the sound of life uncovered and rendered unvarnished in its all its banality, hilarity, sadness & beauty. In his own words:
"IT FEATURES SOUNDS OF HUDDERSFIELD, THE BREWERY AND WHATEVER FUCKING ELSE IS INSIDE THAT LOT. DRUMS, BANJOS, SINKS AND TAPS AND A BATH AND LOADS OF STUPID FUCKING CARS THAT DRIVE TOO FAST UP OUR ROAD. DRUMS AND RADIO FREQUENCIES FROM THE CAR AND OTHER POINTLESS SHIT."
PRESSURE CARCASS – YEAST QUEEN