Side D (17.16):
1. Shimogama (1.57), 2. Rains (1.35), 3. Underground (1.55), 4. Above (1.43), 5. Coffee Shop (1.43), 6. Announcement (1.25), 7. Night Out (2.19), 8. Sword Fight (1.40), 9. Casting Wish (2.11)
Noema is a collection of 37 short pieces composed from source material I recorded in and around Kyoto during a three-month stay there with my family in 2012.
The over-arching theme of the record is the idea of exploring social space through everyday sound--and especially in the case of Kyoto, not just focusing on what we've come to know the city for (temples, shrines, etc.--though some of these are in there as well).
The pieces also deal with the idea of memory, much as the famous "episode of the madeline" in Marcel Proust's Remembrance of Things Past, in which the taste of the madeline dipped in tea triggers a flood of involuntary memories. For me, many of the sounds used in these pieces work the same way.
The word noema is often used in philosophical discourse to describe the object of thought--and in the case of this record, the sounds themselves and the structures they contribute to in the production of social space.
Price including post to Europe: 25.00 euros
Price including post to rest of the world: 30.00 euros
Jason Kahn / Tim Olive
Jason Kahn: electronics
Tim Olive: pickups, electronics
Recorded in Kyoto, Osaka 2012
Recorded in the autumn of 2012 in Japan, “Two Sunrise” is a document of the first meetings of Jason Kahn and Tim Olive. Tracks One to Three were recorded in a studio session in Kyoto on September 27; Track Four was recorded at a live performance in Osaka on October 6. These four untitled pieces are eventful and intricately structured with a distinct developmental momentum. Chosen from several hours of recordings, minimally edited and sequenced for maximum impact, “Two Sunrise” highlights both the melding and divergence of Kahn’s analog electronics and Olive’s one-string magnetic pickup device, shaping an active, thoughtful and somehow organic real-time electronic music. Mixed and mastered by Jason Kahn.