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.
Ihre Suche lieferte keine passenden Ergebnisse.
“ […] These charming and understated field recordings convey a sense of peace and mystery, which is the exact opposite of what we might expect to find in these densely-populated parts of Asia such as Hong Kong, Seoul, Osaka, and Tokyo. Viewed through Noid’s audio snapshots, it’s as though the people, buildings and traffic have all been reduced by 75%, and the locations feel like some pre-war innocent paradise of birds, flowers, and contented spirits. The same sense of peace emerges from the extremely quiet improvised music on offer. It’s centred, tranquil. Hankil and Schellander are here again as the core members of this ad-hoc grouping, but also guest appearances – including notable Wandelweiser player Radu Malfatti, the guitarist Kazuhisa Ucihashi, Syo Yoshihama with a laptop, and Jin Sangtae. Most of the music is slow, unobtrusive, and with few notes; not only that, but it’s recorded in such a way that the acoustics feel very diffuse, and it’s hard to separate the sound of the instruments from the sound of the locale where it’s taking place. In this way, all of Field Report becomes of apiece, the edges blurred between music and sound art. This is most clearly demonstrated with the various instances of “street music”, where the musicians blend in with events, people and sounds out in the open; one track documents Noid and Schellander “playing air horns while walking away from Mullae Art Center”, while another piece from the same Dotolimpic Festival treats us to the sound of an entire orchestra performing on the “Victorian Synthesizer”, involving participants in a workshop. The results – less than 90 seconds of strange scraping sounds – are not quite as spectacular as that build-up may lead you to think, but what is more relevant here is the event itself, a spontaneous outbreak of sound and activity, a tiny wonder. […]”
[Ed Pinsent, thesoundprojector]
" […] Disc two is a sonic avalanche of performers, environments and conversations the original threesome encountered while travelling and performing throughout Europe and Asia. Horns, laptops, toys, synthesizers, contrabass, more synthesizers and electronics mix with subway doors, "acoustic traffic light," café ambiance, "machine drones in the staircase of the (Hong Kong) CIA building," jing-hu players in a Beijing park, and so on. […]"
[Dave Madden, squid's ear]
" […] Beste Voraussetzungen für richtig abgedrehten Scheiß. Die erzeugte Musik bewegt sich am unteren Limit der Identifikationsgrenze. Stille, Säuseln, Stille, Tippen und Klappern, die große Beiläufigkeit, all ears on ein Geräusch. Das beglückende Zusammenfallen von Intuitionen und einander befeuernde Sounds. Immer wieder. Bricht eine dichte Minute an, fühlt man sich alleine vom Scheppern der Saiten tief ergriffen. Kunst kann so gut sein. […]"