Anne-F Jacques, Bardo Todol, Chemiefaserwerk // Floating Tape

Anne-F Jacques, Bardo Todol, Chemiefaserwerk // Floating Tape

¥1,540

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Anne-F Jacques from Canada, Bardo Todol from Argentina, and Chemie faserwerk from France have released a collaboration on the Chinese experimental label Zoom in Night.

Includes 2 songs of intense astringent sound scape. DL code included.

Zoomin'Night Other worksplease use this form. ///Click here to see more Zoomin'Night releases available at Tobira.

------------------------------

Artist statement by Zhu Wenbo, Nov, 2021, Beijing:

"Anne-F Jacques lives in Montreal, Québec. She started running crustacés tapes from 10 years ago, and in last year she stopped it and start a new label named presses précaires. I always love the sound she made, and we traded cassettes many We have not met each other though we have some common friends, and seems it might be difficult in the following a few years.

In the summer of 2021, we started talking about some possible collaborations. A collaboration between two tiny cassette label runners, I thought it could be an interesting idea. Then, I had the idea to invite two other cassette label runners friends to join this game For each release, two persons contribute sound materials, the third person make some arrangement and mix (only using these materials), and the final product is released on the fourth person's label. We change roles each time, so each person will act twice. And each person's work will not be published on their own label. And each person's work will not be published on their own label.

Anne-F suggested two friends. Pablo Picco is an Argentine musician who works under the name Bardo Todol, and has just started the label Bolinga Everest this year. I always imagine him as a passionate and mysterious father, living with his family in the campo faraway from any civilization (comment form Pablo: I live 50km away from a big city, not that far away from civilization!). And Christian Schiefner aka. Chemiefaserwerk, who has been running Falt for many years, actually we have traded cassettes before. He lives in France, but it seems he is from Berlin. So many people have released their stuff on Falt, including Pablo, Anne-F and myself. It is one of many secret links between us.

We spent days preparing, recording, mixing, asking for more materials, and thinking about a name for this project. One day, some old views came back to my mind.

When I was a teenager, mid-1990s, broken and loose tape could always be found in cities, even in the country. They were ripped on wire, on tree, or hidden in some corners. in the air. No one had any interest in knowing what was recorded on these tapes. Maybe English teaching or pirated pop songs, or private messages, sound diary, radio programs…

After 2000s, this view became rare and then disappeared. But now I think, “floating tape” can be a good name for our collaborations. Tapes is soft, dirty and inconspicuous, but in another imaginary, these dirty tapes could be resonator by wind , floating across the ocean, and reach to another un-met friend in an undetected way.

That is the whole story of “floating tape”. There will be four releases, sharing a same title but in different languages. The cassette you hold in your hand, released by Zoomin'Night, is the second one. -F Jacques and Bardo Todol and mixed by Chemiefaserwerk. In the coming months, another 2 cassettes will come out in some other corners of the world. Hope you enjoy. "

***

Anne-F Jacques: objects, motors, amplification
Bardo Todol: Rotating winco surface, mics, percussion, vinyls, tapes
Mixed by Chemiefa serwerk
Mastering by Anne-F Jacques
Art design by Liu Lu

Artist: Anne-F Jacques, Bardo Todol, Chemiefaserwerk

Label: Zoomin'Night

Anne-F Jacques from Canada, Bardo Todol from Argentina, and Chemie faserwerk from France have released a collaboration on the Chinese experimental label Zoom in Night.

Includes 2 songs of intense astringent sound scape. DL code included.

Zoomin'Night Other worksplease use this form. ///Click here to see more Zoomin'Night releases available at Tobira.

------------------------------

Artist statement by Zhu Wenbo, Nov, 2021, Beijing:

Artist: Anne-F Jacques, Bardo Todol, Chemiefaserwerk

Label: Zoomin'Night

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Gradually, I gathered a collection of 100 modulated voice recordings that were sealed on 50 cassette players. In June, these cassette players were set in my solo exhibition \"100 Shits\"(一百天的訴辯) staged at Hallucination in Kaohsiung. It allowed the audience to select how they would like the tapes to play.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe exhibition also included a musical work entitled \"A Cappella,\" which features two tracks. Side A is a combination of 100 overlapped vocal recordings, while Side B is a live recording from the exhibition.\u003c\/em\u003e\u003cem\u003e\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e++ \u003c\/p\u003e\n\u003cp\u003eInterview with Zhu Wembo:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eZhu Wenbo: Fangyi Liu introduced me to your work. 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Could you walk us through what your thought process was?\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHuang Shan: When I’m busy working away at something by myself, I often say things to myself, or make random meaningless sounds. Once when I was tidying up for an exhibition in the performance space at Hallucination, the strong reverberation in there gave me the idea to have my voice transmitted throughout the room.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAs for the recording process, as far as I’m concerned, I was just making music. All the sounds that I made and recorded were sounds that I could use to make a sample pack of myself, which I then experimented with, combining different ‘samples’ together to see what they sounded like. I was really happy to be invited to do this release, because it was another chance to mix them into something different.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eZhu Wenbo: What was your recording process like? What equipment did you use, did you record directly to tape? Even if each time it was only for 30 minutes, wasn’t it a bit of an ordeal to record non-stop for a hundred days? I wonder whether, over the course of those hundred days, your thoughts about the project changed at all?\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHuang Shan: For raw vocals I recorded directly into the cassette recorder, and for more detailed sounds and effects I went through a microphone. It depended on what I wanted to record that day, which wasn’t based on any particularly deep considerations. Even though a hundred days sounds like a long time, each day the recording was just a small amount of time that was fun and easy to get done.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAbout halfway through the project, I was getting a bit greedy playing with too many effects pedals and it started to sound like the music was going somewhere I didn’t want it to. I discarded some of those recordings and from then on I limited myself to just using EQ and pitch modulation.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eZhu Wenbo: Let’s talk about the exhibition. The B-side of A cappella is a recording of yourself operating the cassette players that you did in Hallucination before the opening of the exhibition. Later, when the audience was taking part, what was it like? How did the exhibition compare with your expectations?\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHuang Shan: Apart from when I was there to see two other performances, after the opening I was rarely inside the exhibition because I didn’t want to intrude, and also because I felt a bit awkward. Anyway, I would basically divide the audience into two: there were those who out of curiosity turned on the odd cassette player here and there, and then a few ‘big eaters’ who turned on all 50 all at once. There were also some people who didn’t know how to operate a tape recorder, it’s technology from a bygone era after all, so they just took a few photos and then left. I didn’t have any specific expectations, so I was pleasantly surprised by the way things unfolded.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eZhu Wenbo: On the inside leaf of the case there is a photo of the 50 cassette players. Did you buy them specifically for this project? Seems like it would have cost a fair bit! After the month-long exhibition ended, what did you do with the tapes and the cassette players?\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHuang Shan: I bought them specially for the project, because I wanted recorders that were conveniently sized and easy to use. I found an out-of-production model, and eventually through all kinds of channels I managed to scrape together enough of them. For me, the overall expense was pretty high, but it was manageable because I bought them gradually over the duration of the project. Since the exhibition ended, I haven’t sold a single one, so they’re all being stored at home.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist : Huang Shan\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLabel : Zoomin' Night\u003c\/span\u003e\u003c\/p\u003e","published_at":"2023-10-14T08:08:35+09:00","created_at":"2023-10-14T08:08:35+09:00","vendor":"Tobira Records","type":"","tags":["drone","monooto","new","noise","sound poetry","tape","Zoomin’ night"],"price":178000,"price_min":178000,"price_max":178000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":44634470318330,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Huang Shan \/\/ A cappella TAPE","public_title":null,"options":["Default Title"],"price":178000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/a0330417767_16.jpg?v=1697238526","\/\/tobirarecords.com\/cdn\/shop\/files\/0032297773_10.jpg?v=1697238528","\/\/tobirarecords.com\/cdn\/shop\/files\/0032297776_10.jpg?v=1697238530","\/\/tobirarecords.com\/cdn\/shop\/files\/0032297777_10.jpg?v=1697238532","\/\/tobirarecords.com\/cdn\/shop\/files\/0032297790_10.jpg?v=1697238534"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0330417767_16.jpg?v=1697238526","options":["Title"],"media":[{"alt":null,"id":32556710789370,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0330417767_16.jpg?v=1697238526"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0330417767_16.jpg?v=1697238526","width":700},{"alt":null,"id":32556710854906,"position":2,"preview_image":{"aspect_ratio":0.75,"height":1200,"width":900,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0032297773_10.jpg?v=1697238528"},"aspect_ratio":0.75,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0032297773_10.jpg?v=1697238528","width":900},{"alt":null,"id":32556710887674,"position":3,"preview_image":{"aspect_ratio":0.75,"height":1200,"width":900,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0032297776_10.jpg?v=1697238530"},"aspect_ratio":0.75,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0032297776_10.jpg?v=1697238530","width":900},{"alt":null,"id":32556710920442,"position":4,"preview_image":{"aspect_ratio":0.75,"height":1200,"width":900,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0032297777_10.jpg?v=1697238532"},"aspect_ratio":0.75,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0032297777_10.jpg?v=1697238532","width":900},{"alt":null,"id":32556710953210,"position":5,"preview_image":{"aspect_ratio":1.289,"height":931,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0032297790_10.jpg?v=1697238534"},"aspect_ratio":1.289,"height":931,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0032297790_10.jpg?v=1697238534","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e台湾・高雄の実験音楽家Huang Shanが、2023年5月に中国・北京の実験レーベルZoomin' Nightから20本限定でリリースしたカセットです。\u003c\/p\u003e\n\u003cp\u003e100日間、毎日30分録音した音声日記をインスタレーション作品100 Shitsのライブ録音です。A面にはそれらの100の音素材を重ねた物音ノイズ作品を収録。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e以下、作家本人による解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"2022年から、私はそれらの重層的で、濃密で、乾いていて、言葉を超えた事柄を、音声日記という形で処理し始めた。徐々に、私は50台のカセットプレーヤーに封印された100の変調された声の録音を集めた。6月、高雄のHallucinationで開催された個展「100 Shits」（一百天的訴辯）では、これらのカセットプレーヤーをセットした。この展覧会では、観客がテープの再生方法を選ぶことができた。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e展覧会では、2つのトラックを収録した『A Cappella』と題された音楽作品も展示された。A面は100のボーカル録音を重ねたもので、B面は展示会でのライブ録音である。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1752901004\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eZoomin' Nightその他作品は\u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/zoni\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/zoni\"\u003ehere\u003c\/a\u003e\u003cspan\u003e to see more Zoomin' Night releases available at Tobira.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-----------------------------------\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIncludes DL code.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist statement by Huang Shan:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003eBeginning in 2022, I started to process those layered, dense, dry, and beyond-words matters in the form of a voice diary. Gradually, I gathered a collection of 100 modulated voice recordings that were sealed on 50 cassette players. In June, these cassette players were set in my solo exhibition \"100 Shits\"(一百天的訴辯) staged at Hallucination in Kaohsiung. It allowed the audience to select how they would like the tapes to play.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe exhibition also included a musical work entitled \"A Cappella,\" which features two tracks. Side A is a combination of 100 overlapped vocal recordings, while Side B is a live recording from the exhibition.\u003c\/em\u003e\u003cem\u003e\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e++ \u003c\/p\u003e\n\u003cp\u003eInterview with Zhu Wembo:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eZhu Wenbo: Fangyi Liu introduced me to your work. I gather that you don’t have a background in music (including experimental music), nor do you have much of a history with art. Anyway, would you like to tell everyone a little about yourself?\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHuang Shan: While I was attending university, some friends and I would do little things at home, just messing around. At that time, the experimental music community in Kaohsiung was really small, naturally everybody got to know each other through mutual introductions. We would hang out at Fangyi’s house, or places like Zigong and Doupi where we had little jam sessions. There were also a few performances in small venues. Most of the time, we just happened to run into each other and then for fun we would play music together.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eZhu Wenbo: 100 Shits is a pretty crazy project — I was actually kind of stunned when I first heard about it. Every day for a hundred days you recorded 30 minutes of voice material, out of which you made 50 unique tape recordings. Then for the exhibition you loaded them into 50 cassette players which were distributed in a room. Audience members were then free to interact with them as they pleased.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHow did you come up with this project? Have you done such a long, Sisyphean undertaking before? Could you walk us through what your thought process was?\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHuang Shan: When I’m busy working away at something by myself, I often say things to myself, or make random meaningless sounds. Once when I was tidying up for an exhibition in the performance space at Hallucination, the strong reverberation in there gave me the idea to have my voice transmitted throughout the room.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAs for the recording process, as far as I’m concerned, I was just making music. All the sounds that I made and recorded were sounds that I could use to make a sample pack of myself, which I then experimented with, combining different ‘samples’ together to see what they sounded like. I was really happy to be invited to do this release, because it was another chance to mix them into something different.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eZhu Wenbo: What was your recording process like? What equipment did you use, did you record directly to tape? Even if each time it was only for 30 minutes, wasn’t it a bit of an ordeal to record non-stop for a hundred days? I wonder whether, over the course of those hundred days, your thoughts about the project changed at all?\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHuang Shan: For raw vocals I recorded directly into the cassette recorder, and for more detailed sounds and effects I went through a microphone. It depended on what I wanted to record that day, which wasn’t based on any particularly deep considerations. Even though a hundred days sounds like a long time, each day the recording was just a small amount of time that was fun and easy to get done.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAbout halfway through the project, I was getting a bit greedy playing with too many effects pedals and it started to sound like the music was going somewhere I didn’t want it to. I discarded some of those recordings and from then on I limited myself to just using EQ and pitch modulation.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eZhu Wenbo: Let’s talk about the exhibition. The B-side of A cappella is a recording of yourself operating the cassette players that you did in Hallucination before the opening of the exhibition. Later, when the audience was taking part, what was it like? How did the exhibition compare with your expectations?\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHuang Shan: Apart from when I was there to see two other performances, after the opening I was rarely inside the exhibition because I didn’t want to intrude, and also because I felt a bit awkward. Anyway, I would basically divide the audience into two: there were those who out of curiosity turned on the odd cassette player here and there, and then a few ‘big eaters’ who turned on all 50 all at once. There were also some people who didn’t know how to operate a tape recorder, it’s technology from a bygone era after all, so they just took a few photos and then left. I didn’t have any specific expectations, so I was pleasantly surprised by the way things unfolded.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eZhu Wenbo: On the inside leaf of the case there is a photo of the 50 cassette players. Did you buy them specifically for this project? Seems like it would have cost a fair bit! After the month-long exhibition ended, what did you do with the tapes and the cassette players?\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHuang Shan: I bought them specially for the project, because I wanted recorders that were conveniently sized and easy to use. I found an out-of-production model, and eventually through all kinds of channels I managed to scrape together enough of them. For me, the overall expense was pretty high, but it was manageable because I bought them gradually over the duration of the project. Since the exhibition ended, I haven’t sold a single one, so they’re all being stored at home.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist : Huang Shan\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLabel : Zoomin' Night\u003c\/span\u003e\u003c\/p\u003e"}

A limited edition of 2023 cassettes released by Huang Shan, an experimental musician from Kaohsiung, Taiwan, from the experimental label Zoomin' Night in Beijing, China in May 5. This is a live recording of the installation work 20 Shits, which is a voice diary recorded for 100 minutes every day for 30 days. Side A contains a noise piece that is a layered version of those 100 sound materials. DL code included.Below is an explanation by the author himself. "Starting in 100, I began processing those multi-layered, dense, dry, indescribable matters in the form of an audio diary. Gradually, I was sealed away in 2022 cassette players. In June, he set up a cassette player for his solo exhibition ``50 Shits'' at Hallucination in Kaohsiung.At this exhibition, viewers were able to choose how they wanted to play the tape.Also on display at the exhibition was a musical work titled ``A Cappella'', which included two tracks. Side A is a stack of 100 vocal recordings, and side B is a live recording from an exhibition. " Zoomin' Night Click here for other works /// Click here to see more...

¥1,780

Quickview {"id":7925916860666,"title":"Kirill Shirokov, Ilia Belorukov \/\/ June '21 TAPE","handle":"kirill-shirokov-ilia-belorukov-june-21-tape","description":"\u003cp\u003eロシア・サンクトペテルブルクの実験音楽家Kirill ShirokovとIlia Belorukovのライブ音源カセットです。\u003c\/p\u003e\n\u003cp\u003e1時間以上のエレクトロアコースティック作品です。DLコード付属。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2223601826\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cspan\u003eZoomin' Nightその他作品は\u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/zoni\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/zoni\"\u003ehere\u003c\/a\u003e\u003cspan\u003e to see more Zoomin' Night releases available at Tobira.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-----------------------------------\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIncludes DL code.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eIlia Belorukov – zither, alto fluteophone, objects\u003cbr\u003eKirill Shirokov – melodica, children's glockenspiel, objects, field recordings, electronics\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist statement by \u003cmeta charset=\"utf-8\"\u003eKirill and Ilia:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003e\"The score for June '21 was made in early summer of 2021, in a dialogical process of close live collaboration. Everything we talked about — music, time, politics, and place — was treated as a kind of material with the possibility of being brought into the piece. We didn’t aim to use sound to express such concepts directly, but rather created music with attention to the circumstances: when it was written, where, to whom and by whom it would be played.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThere was a mutual understanding that we were about to make music between the determined, scored, and the unexpected, improvised: the unexpected both for listeners and for us. Our concept was to actively explore the space together with the audience, trying to reach the effect of co-presence, and the ‘in-between’ of the chamber. The listeners' role was important to us. In a careful, imperceptible dialogue, many risky points of play were made possible with the attentiveness present in the space. We played at the New Stage of Alexandrinsky Theater in St. Petersburg — a large institution that was interesting to try and shake from within, by creating the conditions for more experimental sonic explorations. The black box space was chosen because of the silence that allowed us to concentrate our energy precisely in the ways we intended.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWe chose to limit the dynamic range to the quiet, which is reflected in the instrumentation. The zither was not Ilia’s main instrument, so he approached the challenge with joy. The objects used on the strings and the body of the instrument made the experience even more playful, at times with no knowledge of what sounds would be produced next. Fluteophone is more familiar to Ilia because of its similarities with the saxophone. It was chosen to contribute with a more classical sound in the selected sections of the performance. Kirill decided to play the material where every sound — tonal, noise, instrumental and electronic — was regarded as separate and independent. This made certain sections consisting of discrete chains of sonic events.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe composition and performance were prepared over seven weeks: from initial thoughts about the concert, to writing the score and setting the instrumentation. The 65-minute long cassette is an edited recording of the live performance, with many rebalanced and recomposed details made afterwards. It is hard to say whether the score we wrote, the walks we took together, or the post-performance minutiae were of more significance for the album. This version is produced for home listening, whilst also attempting to create the feeling of the unexpected that we experienced live.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e++ \u003c\/p\u003e\n\u003cp\u003eArtist bios:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eIlia Belorukov is a musician from Saint Petersburg, Russia. He works in the directions of improvised, noise and electroacoustic music. He’s widely collaborating with local and foreign musicians and performers. Ilia practices an experimental approach of sound extraction on alto saxophone, using modular synthesizer and other instruments. His works were released on such labels as Clean Feed, SOFA, Moving Furniture, Astral Spirits, Notice Recordings, Raw Tonk, Mikroton and many others. Also he is a founder of Intonema label and was one of curators of Spina!Rec label. Organizer of events in Saint Petersburg and Russia, was co-organizer of the Teni Zvuka and Spina!Fest festivals. He writes reviews for Jazzist and notes about music as musicworm in Telegram channel.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eMusician, composer, performer, poet and independent curator Kirill Shirokov focuses mostly on longform situations and pieces with silences, movements, field recordings, melodies, noises, interdisciplinary connections. Often based on the hearing\/listening attentivity. While working with composed, improvised, performative, stage music, he is observing close attention to the extensions of momentical. Performers of his music are La Gol, Alter Ego, The Same, Leo Svirsky, N'Caged, Eva-Maria Houben, MCME, Dante Boon, Vacuum Quartet, Germaine Sijstermans, Koen Nutters and other musicians with wide range of personal focusings.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eIn collaborations Kirill is exploring sound\/time relations and pure sonic experience with a diapason of settings on different musical fields, as well as with visual and performance artists, literators, theatre\/film directors.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWorks were released on the Steep Gloss, Edition Wandelweiser, SUPERPANG and other labels.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003ePerformer of compositions by Antoine Beuger, Laurence Crace, Jürg Frey, Alvin Lucier, Johan Lindvall to name a few. Previously curator of the DianaPlaysPerception ensemble and Silent Music Consort.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eKirill's also active as lecturer, mainly thematizing the experience of perception, teacher-practicer for music\/sound, and independent researcher exploring contemporary artists' experiences as well as historical motives.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist : Kirill Shirokov, Ilia Belorukov\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLabel : Zoomin' Night\u003c\/span\u003e\u003c\/p\u003e","published_at":"2023-02-26T13:52:51+09:00","created_at":"2023-02-26T11:29:24+09:00","vendor":"Tobira Records","type":"","tags":["drone","monooto","tape","Zoomin’ night"],"price":158000,"price_min":158000,"price_max":158000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":44025610862842,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Kirill Shirokov, Ilia Belorukov \/\/ June '21 TAPE","public_title":null,"options":["Default Title"],"price":158000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ki1_5392cfa6-7b2b-4a58-965f-b4f682bebd8c.jpg?v=1677378566","\/\/tobirarecords.com\/cdn\/shop\/products\/ki2_18ad8f59-b9d9-491b-ab97-8a463fdc19c6.jpg?v=1677378566"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ki1_5392cfa6-7b2b-4a58-965f-b4f682bebd8c.jpg?v=1677378566","options":["Title"],"media":[{"alt":null,"id":31588536877306,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ki1_5392cfa6-7b2b-4a58-965f-b4f682bebd8c.jpg?v=1677378566"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ki1_5392cfa6-7b2b-4a58-965f-b4f682bebd8c.jpg?v=1677378566","width":700},{"alt":null,"id":31588536910074,"position":2,"preview_image":{"aspect_ratio":0.75,"height":1200,"width":900,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ki2_18ad8f59-b9d9-491b-ab97-8a463fdc19c6.jpg?v=1677378566"},"aspect_ratio":0.75,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ki2_18ad8f59-b9d9-491b-ab97-8a463fdc19c6.jpg?v=1677378566","width":900}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eロシア・サンクトペテルブルクの実験音楽家Kirill ShirokovとIlia Belorukovのライブ音源カセットです。\u003c\/p\u003e\n\u003cp\u003e1時間以上のエレクトロアコースティック作品です。DLコード付属。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2223601826\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cspan\u003eZoomin' Nightその他作品は\u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/zoni\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e\/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/zoni\"\u003ehere\u003c\/a\u003e\u003cspan\u003e to see more Zoomin' Night releases available at Tobira.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-----------------------------------\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIncludes DL code.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eIlia Belorukov – zither, alto fluteophone, objects\u003cbr\u003eKirill Shirokov – melodica, children's glockenspiel, objects, field recordings, electronics\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist statement by \u003cmeta charset=\"utf-8\"\u003eKirill and Ilia:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003e\"The score for June '21 was made in early summer of 2021, in a dialogical process of close live collaboration. Everything we talked about — music, time, politics, and place — was treated as a kind of material with the possibility of being brought into the piece. We didn’t aim to use sound to express such concepts directly, but rather created music with attention to the circumstances: when it was written, where, to whom and by whom it would be played.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThere was a mutual understanding that we were about to make music between the determined, scored, and the unexpected, improvised: the unexpected both for listeners and for us. Our concept was to actively explore the space together with the audience, trying to reach the effect of co-presence, and the ‘in-between’ of the chamber. The listeners' role was important to us. In a careful, imperceptible dialogue, many risky points of play were made possible with the attentiveness present in the space. We played at the New Stage of Alexandrinsky Theater in St. Petersburg — a large institution that was interesting to try and shake from within, by creating the conditions for more experimental sonic explorations. The black box space was chosen because of the silence that allowed us to concentrate our energy precisely in the ways we intended.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWe chose to limit the dynamic range to the quiet, which is reflected in the instrumentation. The zither was not Ilia’s main instrument, so he approached the challenge with joy. The objects used on the strings and the body of the instrument made the experience even more playful, at times with no knowledge of what sounds would be produced next. Fluteophone is more familiar to Ilia because of its similarities with the saxophone. It was chosen to contribute with a more classical sound in the selected sections of the performance. Kirill decided to play the material where every sound — tonal, noise, instrumental and electronic — was regarded as separate and independent. This made certain sections consisting of discrete chains of sonic events.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe composition and performance were prepared over seven weeks: from initial thoughts about the concert, to writing the score and setting the instrumentation. The 65-minute long cassette is an edited recording of the live performance, with many rebalanced and recomposed details made afterwards. It is hard to say whether the score we wrote, the walks we took together, or the post-performance minutiae were of more significance for the album. This version is produced for home listening, whilst also attempting to create the feeling of the unexpected that we experienced live.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e++ \u003c\/p\u003e\n\u003cp\u003eArtist bios:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eIlia Belorukov is a musician from Saint Petersburg, Russia. He works in the directions of improvised, noise and electroacoustic music. He’s widely collaborating with local and foreign musicians and performers. Ilia practices an experimental approach of sound extraction on alto saxophone, using modular synthesizer and other instruments. His works were released on such labels as Clean Feed, SOFA, Moving Furniture, Astral Spirits, Notice Recordings, Raw Tonk, Mikroton and many others. Also he is a founder of Intonema label and was one of curators of Spina!Rec label. Organizer of events in Saint Petersburg and Russia, was co-organizer of the Teni Zvuka and Spina!Fest festivals. He writes reviews for Jazzist and notes about music as musicworm in Telegram channel.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eMusician, composer, performer, poet and independent curator Kirill Shirokov focuses mostly on longform situations and pieces with silences, movements, field recordings, melodies, noises, interdisciplinary connections. Often based on the hearing\/listening attentivity. While working with composed, improvised, performative, stage music, he is observing close attention to the extensions of momentical. Performers of his music are La Gol, Alter Ego, The Same, Leo Svirsky, N'Caged, Eva-Maria Houben, MCME, Dante Boon, Vacuum Quartet, Germaine Sijstermans, Koen Nutters and other musicians with wide range of personal focusings.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eIn collaborations Kirill is exploring sound\/time relations and pure sonic experience with a diapason of settings on different musical fields, as well as with visual and performance artists, literators, theatre\/film directors.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWorks were released on the Steep Gloss, Edition Wandelweiser, SUPERPANG and other labels.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003ePerformer of compositions by Antoine Beuger, Laurence Crace, Jürg Frey, Alvin Lucier, Johan Lindvall to name a few. Previously curator of the DianaPlaysPerception ensemble and Silent Music Consort.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eKirill's also active as lecturer, mainly thematizing the experience of perception, teacher-practicer for music\/sound, and independent researcher exploring contemporary artists' experiences as well as historical motives.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist : Kirill Shirokov, Ilia Belorukov\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLabel : Zoomin' Night\u003c\/span\u003e\u003c\/p\u003e"}