(CMR - CMR27) CD $14.25

Thirty-eight minutes of immersive sound and fractured electronics by Richard Francis (modular synthesizer, computer), Jason Kahn (analog synthesizer, radio, mixing board) and Bruce Russell (analog electronics), recorded live at Dunedin Public Art Gallery in New Zealand. Russell’s analog system cleaves a path through Francis’s thick cloud of dusty field recordings and swirling standing waves; Kahn’s chaotic feedback system of synthesizer and radio spikes and sputters, like a dying bird in the midst of some caustic low pressure front moving slowly across the horizon.



(Monotype - MONO032) CD $12.75

Duo performances by two outbound percussionists (with Kahn on synthesizer also) from Switzerland 2009 recorded by Kahn, composited into their final versions here by Z’ev. Not surprisingly, the heavy processing transcends the inherent rhythmic quality of percussion and settles instead on their complex sonic qualities. “Lausanne” layers metallic noises with delicate grains running through a hollow wooden body; dark clouds gather, undefined sounds appear, a soft metallic hum becomes for a moment the sole audible component, underlying drum tremors rise to the surface. “Zürich” goes through light and dark phases, and rather bare moments where only drone-like electronics and processed drum noises create an impenetrable vacuum.


Vanishing Point

(23five - 23five015) CD $12.00 (Out-of-stock)

American sound-artist Jason Kahn is exacting when it comes to the principles of noise. His application in composition is not that of Merzbow or Masonna, with teeth-gnashing explosions of distortion, feedback, and volume; rather, Kahn's psychoacoustic techniques employ the specific frequencies of white, pink, brown, and blue noise in works that reflect the ideals of minimalism. These are sounds that regularly occur through the constant vibration of machinery; and Kahn is more than happy to appropriate such events through field recording. He also generates complementary noises through systems that involve the rattling architecture of a drum kit and an analog synthesizer. For all of the phenomenological studies and stoic mesmerism attributed to much of Kahn's catalogue, Vanishing Point is a subtle and hypnotic elegy for rattling metals, timbral vibration, gossamer static, hissing field recordings, and those aforementioned colored noises.