Sindre Bjerga // Jan Ken Pon CDR

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A work released by Sindre Bjerga, who is familiar in the noise area, from Tokyo Kirigirisu in a limited edition of 40 copies. Includes a 30-minute soundscape.

Jan Ken Pon by Sindre Bjerga

Rock Paper Scissors was recorded at Too Nice, the 2016 Japan Tour Takamatsu performance. The atmosphere of Bjerga's electro-acoustic songs is mixed with tape and voice recorder drones, creating a confusing nostalgic world.

Sindre Bierga has been making psychedelic experimental drone music for XNUMX years.In addition to his performances in Europe, he has also performed in Argentina, Russia, Ukraine and South Korea, and toured twice in Japan.To date, we have released over XNUMX records from labels around the world. -Label commentary

Rock Paper Scissors, (Jan Ken Pon), was recorded on tour in Japan in 2016 at TooNice in Takamatsu. It is the whole performance and features Bjerga in an electroacoustic sniff'n scratch mode, sometimes drenched in his trademark longform isolationist fields of blankness and dungeon tape drone meditation as well as mangled dictaphone splurge and generally confused nostalgia.

Sindre Bjerga has been creating his experimental psychedelic drone and collage based music for over 20 years and has been performing a lot in Europe as well as Argentina, Russia, Ukraine and South Korea and twice in Japan. He has released around 300 records over the years. (solo and with other collaborators) on labels all over the world.

artist: Sindre Bjerga

label: kirigirisu

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A work released by Sindre Bjerga, who is familiar in the noise area, from Tokyo Kirigirisu in a limited edition of 40 copies. Includes a 30-minute soundscape.

Jan Ken Pon by Sindre Bjerga

artist: Sindre Bjerga

label: kirigirisu

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Myers during mixdown, recorded in the Gencave NYC 1989, mixed at Arcane Device Studio NYC 1990.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginally issued in 1990 by Direction Music\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e~\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReview by Frans de Waard, Vital Weekly 1220:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cem\u003eI am not entirely sure, but I don't think I reviewed 'Endogeny' when it first came out on Direction Music in 1990. Hearing the music I am not even sure I heard it, even when being in contact with the label at that time. I surely heard Gen Ken Montgomery's music by then and was always fascinated by that, his connection to Conrad Schnitzler and his Generator space in New York, which was a venue doubling as a shop (or vice versa) for weird\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cem\u003e music.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe pieces here are for various instruments that were mixed. 'Gattertor' on the first side has \"amplified drum skin, brass pipes, violin, answering machine \u0026amp; synthesizer\" and which was played in concert and later mixed. It has all the markings on Gen Ken Montgomery, using mechanical sounds, tape-loops and synthesizer to provide a more ongoing mix of sounds, set against the more impromptu playing of the violin or voice treatments. The piece is divided into sections where one instrument is the dominant sounds, be it bell sounds in the beginning, scraping the violin, the machines and the synthesizer drone towards the end.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e'Father Demo Swears' on the other side is a recording of \"processed electronics, violin, voice with additional live recordings made outside the window of D. Myers during mix down\" and is a more continuous action of scraping the violin in front of the open window while in the background various degrees of sound effects are applied, mostly delay. This is a form of direct music that shows the influence of Conrad Schnitzler, I think. This is unconventional music, certain brutality in playing the instruments and right at the moment, direct action. A nice revived document, hopefully, to be followed by more of that.\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e~\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eReview by Jacob An Kittenplan, Cassette Gods:\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"\u003cem\u003eA true Deep Listening masterpiece! Organic-mechanical vs modular synthesis, brilliant blends of electro-acoustic massage, musique concréte cycles, harvested transmissions from other realms, \u0026amp; abused instrumental interplay. Meandering delay. All morphing frequently and with absolutely unwavering tonal cohesiveness. Restrainedly flirts with harsh noise wall musculature without ever needing to fully lay down that card. All this cut to tape three-plus decades ago and resurrected for your pleasures-in-discombobulation. 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