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9 CD with 9 composers of electroacoustic music who did work at INA-GRM.Ludger Brümmer, “Deconstructing Double District” (2011), “Xronos” (2002), “Glasharfe” (2006), “Spin” (2014).Philippe Leroux, “La guerre du faire” (1992), “M.É” (1998), “Objets trouvés… posés” (2009).Diego Losa, “Cronicas del tiempo” (2005), “Historias de dos mundos” (2007), “Sortie d’un rêve dans une nuit étrange très loin d’ici…” (2012), “Horizons ou le récit d’un voyageur” (2015).Mario Mary, “Signes émergents”v (2003), “2261” (2009), “Une bouffée d’air” (2006), “Portraits témoins” (1997).Luis Naon, “La sphère et la pierre” (1993-94), “Perspectives” (2004 – 2017), “Lascaux rbana” (2004).Ake Parmerud, “Les objets obscurs” (1991), “Renaissance” (1994), “Dreaming in darkness” (2005), “Electric birds” (2012).Elzbieta Sikora, “Axerouge V” (2011), “Chicago Al Fresco” (2009), “Flashback” (1968-1997), “Derrière son double” (1982-83).Kees Tazelaar, “Chatoyance” (2013), “Chroma” (2006), “Sternflüstern” (2003), “Sérénade” (2016).Hans Tutschku, “Extrémités lointaines” (1998), “Distance liquide” (2007), “Monochord” (2008), “Migration pétrée” (2001).
Aspen Edities is pleased to present Aerial, the third album of the experimental quartet Oker. Whereas their album debut Husene våre er museer (2018) and its follow-up Susurrus (2021) focused on collective and individual compositions, Aerial features two longform pieces of fully improvised music, sculpted from the recognizable acoustic sound palette that the quartet has developed across a decade of extensive touring. The titles, Aerial, Equinoctial Tide and Crepuscular Rays refer to meteorological and planetary phenomena, and in Oker’s interplay we hear light, wind, clouds, and tidal cycles transpire as shimmering, roaring, rubbing, coalescing and diverging environments of sound. The sonic stoicism and minimalism in their expression is challenged by frictioning micro-chaoses, combining to create calm, winding paths of musical detail and form. Echoing our planet and its meteorological reality, Aerial yields both consistency and perpetual change.
SONIC TRANSITS Electronic and Tape Music by Peruvian Composers (1964-1984) This compilation offers a first overview of the early works of electronic and tape music created by Peruvians between 1964 and 1984. This period marks a technical and aesthetic evolution that allows us to understand the development of electronic music in the Peruvian context, from an initially internationalist model to a more situaded one. The first phase occurs in the 1960s, when many composers migrated outside Peru in search of advanced training and access to knowledge and infrastructure that the academic music scene in Peru could not provide. During these specialization trips, Peruvian composers gained access to the languages of the international avant-garde of the post-war period. César Bolaños traveled to Argentina, to the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) at the Instituto Di Tella, where he produced an extensive body of work, including "Intensidad y Altura" (1964) for magnetic tape, the first electronic work produced in the CLAEM electronic music laboratory. Similarly, Edgar Valcárcel was a CLAEM fellow and also spent time at the Columbia-Princeton Electronic Music Center in New York, where he composed, among other works, "Invención" (1967) for magnetic tape. Enrique Pinilla also passed through there, composing "Prisma" (1967) for magnetic tape. Alejandro Núñez Allauca was another CLAEM fellow, where he composed "Gravitación Humana" (1970) for magnetic tape. However, several Peruvian composers faced the dilemma of how to continue these sonic explorations locally without relying solely on specialization trips to access the infrastructure of major international laboratories. Due to the inability to establish a laboratory for electronic music production in Peru during these early decades, given the weak institutional framework of the academic music circuit and the absence of budget allocations for the National Conservatory, it was rather private initiatives in recording studios that paved the way for the sustained production of experimental pieces with electronic setups and media, largely oriented towards the production of music for film and dance. This was accompanied by a notable interest in utilizing the sounds of native Peruvian instruments. This also marked a shift from an internationalist model of electroacoustic music towards an openness to other types of sonic experimentation. Composers such as Arturo Ruiz del Pozo, Luis David Aguilar, and Corina Bartra belong to this new period, which also marks the emergence of an initial scene of experimental music and free improvisation. Ruiz del Pozo pursued a Master's in Electronic and Film Music at the Royal College of Music in London, where he composed "Selvynas" (1978), part of his series "Composiciones Nativas," concrete music pieces based on native Peruvian instruments. Upon returning to Lima, he continued producing music for films using electronic sounds and setups. Luis David Aguilar also became involved in music for film and television, composing, among other works, "Hombres de viento" (1978), the soundtrack for José Antonio Portugal's film, which mixes native and Western instruments amplified and processed electronically. He would be one of the first to have a private recording studio. Corina Bartra, after being part of various improvisation ensembles alongside musicians such as Ruiz del Pozo and Aguilar, traveled to London where she took courses in composition and electronic music, composing the mixed work "Aves en vuelo al sur" for voice, instruments, and tape in a private studio. Sonic Transits: Electronic and Tape Music by Peruvian Composers (1964-1984) is part of the Essential Sounds Collection series produced by Buh Records for Centro del Sonido, a website set up as a digital archive of Peruvian experimental music and sound art. The compilation has been curated by Luis Alvarado and is published in a limited edition of 300 copies in double vinyl format. It includes extensive notes and visual documentation. Mastered by Alberto Cendra. Art and desig by Gonzalo de Montreuil.
In Osni the Flare, the second chapter of Tristan Allen's mythic trilogy, the composer, producer, and puppeteer follows a mortal’s transformation into deity through the discovery of fire. Recorded over four years using wordless vocals, organs, ocarinas, an arsenal of toy instruments, and intricate sound design, Osni the Flare unfolds the origins of flame and temporality across four acts. Weaving a creation myth that shifts between beauty, shadow, and wistful embers, Allen provides a portal to meticulously crafted, emotionally potent sound and story that echo through a fantastical realm.
Japan’s electroacoustic vanguard reconvene for their second album proper, once again shining light on previously unoccupied space somewhere between Arthur Russell and Autechre. It’s supremely moody, impossibly innovative business, folding Yuki Nakagawa's no-wave'd cello vamps into Koshiro Hino (aka YPY)'s brittle electroid syncopations, absolutely essential listening if you’re into SND, Pan Sonic, DNA, Suicide.'KAK' - what a title - is the next stage of KAKUHAN’s evolution, seemingly self-titled but hiding plenty of clues if you understand Japanese. "KAK" can evoke a number of different characteristics: edge or angularity, core, expansion, agitation or absence. The duo meditate and refract these guiding principles over nine tracks (and a bonus digital addendum) with their usual focus on the interplay between man and machine - something Hino's been exploring for many years with both his solo work as YPY, and with his pioneering band, goat (JP). Working with electronics (drum machines, samplers, oscillators) Hino infuses weightless rhythms with rare fluidity, as if tracing an algorithm trained on Milford Graves. His rubbery, bio-mechanical outbursts are formed into jagged, continuum-confusing trajectories - prismatic spaces where grime intersects footwork and jersey club, and drill corkscrews thru gagaku and Americana.Yuki Nakagawa's emphatic improvisations are just as mind-altering. While he holds back at first, accenting Hino's rapid-fire sequences with hollow, resonant scrapes and junked Downtown distortions, he eventually edges further towards centre stage. Featherlight cello squeals are elongated, imagining a decelerated hoedown, angling folk-y, ecstatic shapes while Hino responds with drum machine prangs. Soon, the duo skewer nervy baroque ornamentation with clockwork whirrs that trip over themselves, the insectoid rhythmic fractals gradually scuttling around a droning cello. By the end of the album, the duo have somehow completely switched roles; Hino's grey boxes now sounding as if they've been excavated from ancient ground, while Nakagawa's strings throb with cybernetic energy, beamed in from a far dimension.
On Natural Selection, Florian Hecker moves away from the unified conceptual frameworks of earlier projects like Synopsis Seriation and his collaboration with Mark Leckey, Hecker Leckey Sound Voice Chimera, in favour of a looser, more exploratory approach. The nine pieces here — some lasting under a minute, others stretching beyond thirty — form what Hecker calls a “constellation of pieces originating from related investigations.”
Each track reflects ongoing research into machine listening, automated sequencing, and synthetic cognition, extending from Hecker’s gallery works such as TEMPLEXTURES and RESYNTHESIZSERS. Though grounded in these complex ideas, the album remains accessible, revealing Hecker’s mischievous sense of sonic play.
Opening with the brief surge of f92ex0.03, the record soon plunges into Syn 21845 8 J15 Q12, a piece co-written with computational auditory analyst Vincent Lostanlen, where forward and backward time collide in a dizzying auditory illusion. Elsewhere, Hecker converts analysis tools into sound generators (m syn 260e 2402), manipulates reverb algorithms into dense, mechanical textures (Layer), and hints at rhythmic cohesion on the warped, dubwise m syn bold heuristic driver.
The closing piece, M 35/36, distils Hecker’s fascinations into a 35-minute blur of evolving tones, spectral phantoms and xenharmonic colour. Natural Selection is among his most engaging works to date — rigorous yet unexpectedly playful, cerebral yet vividly alive.
Sofia Jernberg was born in Ethiopia and grew up in Vietnam and Sweden, a background that feeds directly into a practice defined by flexibility, range and curiosity. Trained in jazz and composition, she has worked across jazz, free improvisation and contemporary art, collaborating with figures such as Stefan Schneider and Mats Gustafsson, and appearing in stage and screen projects including Matthew Barney, Erna Ómarsdóttir and Valdimar Jóhannsson’s ‘Union of the North’. Voice serves as a focused entry point to her work: a solo document that treats the human voice as a full-spectrum instrument. Across the album, Jernberg explores non-verbal vocalisation, split tones, distortion, toneless singing and multiphonics, all produced without electronic effects. The results range from clipped, percussive pops and rasping noise to dense, phased tones that feel closer to wind instruments or analogue synthesis than conventional singing. At its core are the multiphonic pieces, where Jernberg layers pitches into unstable, spiralling forms that blur the line between human and machine. Elsewhere, single-note studies, quivering drones and bubbling textures test the physical limits of sound production. Unsettling, precise and deeply absorbing, Voice presents a veteran improviser redefining what solo vocal music can be.
Athens-based percussionist and sound artist Yorgos Stavridis makes a stark, physical debut for Heat Crimes with Solo Percussion, a set of one-take improvisations that approach percussion as a field of friction between body, objects, space, and sound. Working with membranes, metals, found objects and feedback systems, Stavridis foregrounds timbre, texture and spatial presence, collapsing distinctions between instrument, environment and recording apparatus. Microphones and speakers are treated as unstable instruments in their own right, introducing opaqueness, resistance, and feedback into the performative chain. Scrapes, low-end pressure, brittle metallic chatter, and sudden bursts of resonance emerge through close bodily engagement with surfaces and materials, each piece documenting a specific configuration of objects, gestures, and acoustic conditions. Performed and recorded live, Solo Percussion captures sound in its most contingent state; situational, physical and irreducibly present. Eschewing narrative, pulse or formal development, the record sits squarely in Heat Crimes’ lineage of process-led, uncompromising sonic research, where listening becomes an active, tactile act and sound itself is the primary event.Eschewing narrative, pulse or formal development, the work reframes listening as a tactile encounter, foregrounding sound as contingent material rather than structured musical form.
To truly listen is not a passive gesture but a radical, embodied act of attention. Christina Vantzou’s The Reintegration of the Ear offers a slower presence: one rooted in care, intimacy, and reflection. An act beneath language. Through this reintegration, the ear becomes a quiet form of resistance.
Composed by the Greek-American composer between 2023 and 2025 after being commissioned by INA GRM as a multi-channel acousmatic work, The Reintegration of the Ear unfolds as a durational electroacoustic suite, meticulously arranged by Vantzou and performed with Irene Kurka (voice), John Also Bennett (flutes, synthesizers), Roman Hiele (double bass), and Oliver Coates (cello). Rather than a formal structure, the composition unfolds through intuition led by breath, resonance and subtle intelligence. What emerges is an acoustic ecology: an ongoing negotiation between perception and expression. An ethical act that reorients us toward the elemental.
Paired with "Observations, edits, a cure for restlessness", a companion suite of domestic fragments and temporal drift, the album unfolds as a dialogue between the inward persistence of what is felt and the outward pull of what remains unresolved. A continuum that traces the porous boundaries between the intimate and the infinite. Through electronics, field recordings, and acoustic instrumentation, Vantzou maps atmospheres charged with psychic and temporal residue. "Observations, edits, a cure for restlessness" unfolds as a precisely sequenced constellation of sonic impressions gathered across nearly a decade, where the real and the imagined bleed into one another, like the mutable moods of places where time folds, drifts and reassembles itself.
Time here is embodied, a porous medium through which perception drifts and reforms, stretches, contracts, and suspends itself, blurring the boundary between presence and impermanence. Within this fluid temporality, intuition replaces structure; sound becomes a site of renewal rather than arrival. Each resonance carries the trace of what has passed and what is yet to unfold, an ever-shifting threshold where listening becomes a form of existence and time reveals itself as both instrument and witness.
The two side-long pieces are presented alongside digital renderings by the Belgian visual artist Eva L’Hoest, a longtime collaborator, extending this sensorial language into image. Her surreal images, containing fragments of Greek iconography - a sphinx in a coffee cup, votive ears, arrangements of laurel leaves - mirror Vantzou’s sonic landscapes in texture and tone. In Vantzou’s work, sound becomes a portal to states of perception where time bends and consciousness softens. The Reintegration of the Ear listens not only to the world but through it — a quiet, expansive meditation on presence, transformation and the invisible architectures of relation.
The Reintegration of the Ear will be released by Editions Basilic on February 20th, 2026 as an edition of 300 LPs with printed inner sleeves.
Text: Melis Özek
The road is a wrinkled timeline. Uncanny flatness conceals unfolding textures, transparent layers and open tabs. The truck cuts the landscape, tracing the road with a line of mad logic that composites time, space, thought. On “Le Camion de Marguerite Duras,” French duo Jean-Marie Mercimek have returned with a road movie for the blind. Composed and recorded by Marion Molle and Ronan Riou over six years across France and Belgium, this unlikely distillation of microtonal MIDI composition, French B.O., and post-punk chansons brazenly expands the duos’ penchant for lowkey narrative spectacle.
Across “Le Camion,” sounds form a theatrical screen. Our ears are the curtains drawn wide and listening with a look that pans across the shot. No title cards, they cut straight to action. The truck is a camera, zooming and framing the tracks as scenes. Songwriting and sound design blur in a tangle of delicate economy. The balance of mutant music-boxes and dewy miniatures recalls otherworldly hits from Gareth Williams’ Flaming Tunes, Residents, and catchier corners of the Lovely Music catalog. Strange, sure, but this flick is never quite a cartoon. Molle and Riou’s vocals dilate into a cast of very human characters. Voices sing borrowed texts like untrained actors (playing themselves, in fact) stepping into the frame once before disappearing forever. And when they’re gone, you miss them. But here in the truck, it all comes back again under the cyclic spell of repose in perpetual motion. Turn up the radio and appuyez sur le champignon.
'Barons Court' is the debut full length album by Canadian electroacoustic composer Sarah Davachi, following short run releases on Important Records’ Cassauna imprint and Full Spectrum. Trained at Mills College, Davachi’s work marries an academic approach to synthesis and live instrumentation with a preternatural attunement to timbre, pacing, and atmosphere. While the record employs a number of vintage and legendary synthesizers, including Buchla’s 200 and Music Easel, an EMS Synthi, and Sequential Circuits' Prophet 5, Davachi’s approach to her craft here is much more in line with the longform textural minimalism of Eliane Radigue than it is with the hyper-dense modular pyrotechnics of the majority of her synthesist contemporaries. Three of the album’s five compositions feature acoustic instrumentation (cello, flute, harmonium, oboe, and viola, played by Davachi and others) which is situated alongside a battery of keyboards and synths and emphasizes the composerly aspect of her work. “heliotrope” slowly billows into being with a low, keeling drone that is gradually married to an assortment of sympathetic, aurally complex sounds to yield a rich fantasia of beat frequencies and overtones. Later, “wood green” opens almost inaudibly, with lovely eddies of subtly modulating synth clouds evolving effortlessly into something much larger, as comforting and familiar as it is expansive. In an era in which the synthesizer inarguably dominates the topography of experimental music, Davachi’s work stands alone - distinctive, patient, and beautiful.
2025 repress, gatefold sleeve, gold pantone print, incl. hot foil stamping. Edition of 500 ** After more than two decades, one of experimental noise music's most uncompromising statements returns to vinyl. Mego presents the long-awaited reissue of Kevin Drumm's Sheer Hellish Miasma, first released on CD in 2002 on the original Mego label. This 2LP edition marks the return of a landmark album that has remained a ferocious document of Drumm at his most inventive and unrelenting. The history of Sheer Hellish Miasma is one of resilience to the twists of underground trends that have come and gone since its initial release. Where lesser works have faded into obscurity or been absorbed by the zeitgeist, Drumm's vision has only grown more singular and essential with time. This is not music that seeks to comfort or accommodate - it is an artifact of eternal power that demands confrontation on its own uncompromising terms. Using guitar, tape manipulation, microphones, pedals, analog synthesizers, and subtle computer processing, Sheer Hellish Miasma constructs an overwhelming sonic architecture. This is an album that exists at the intersection of brutal physicality and meticulous composition - a careful orchestration of storming feedback, fractured textures, and unrelenting energy that reveals Drumm's mastery of extreme electronic sound. The album offers a singular vision positioned at the outermost edges of sound art, where conventional musical structures dissolve into pure sonic phenomenon. Each element - from the carefully manipulated guitar feedback to the processed analog textures - contributes to a cohesive statement that transcends the sum of its abrasive parts. For seasoned noise veterans, Sheer Hellish Miasma offers a bracing soundscape filled with exquisitely abrasive textures and hidden details that reward deep, repeated listening. In an increasingly homogenized world of abstract electronic noise, Drumm's work maintains a distinct voice that refuses easy categorization or imitation. For the uninitiated, Drumm's journey through the noisy underworld represents something more challenging - a confrontation with sound pushed to its absolute limits. This is music likely to inspire fear, or in the most optimistic case, a fearful admiration for the composer's uncompromising vision. Sheer Hellish Miasma stands as an abstract noise classic precisely because it refuses the comfortable compromises that allow underground music to be easily absorbed by mainstream culture. This 2LP reissue presents the work in its full, unmediated power - an artifact that has lost none of its capacity to challenge, disturb, and ultimately transform the listener's relationship to sound itself. In an era of endless digital reproduction, the return of Sheer Hellish Miasma to vinyl represents more than mere nostalgia. This is music that demands physical presence, that requires the listener to commit to its durational extremes, and that rewards those willing to submit to its particular form of sonic discipline.
Unfolding is Jessica Moss’s most meditative and plaintive solo album, and perhaps the first in the Montréal violinist/composer’s decade-spanning discography that could properly be called ambient. The ex-Silver Mt Zion member and Black Ox Orkestar co-founder draws from post-classical, drone, minimalism, industrial/metal, power electronics, Klezmer and other folkways: this is not abstract ambient music. Layers of violin melody, electroacoustic processing, intermittent voice, and percussion from The Necks drummer Tony Buck, yield deeply emotive genre-defying compositions, guided by a spirit of searching and summoning that unfolds in a prevailing atmosphere of incantation and mournful restraint. Working closely with producer Radwan Ghazi Moumneh (Jerusalem In My Heart), Moss notes "Unfolding was made slowly, over the last 12 months, the second full year of genocide in Palestine, in direct response to our collective witnessing, our collective grief, as a portal to collective mourning, as a searchlight through our internal weather systems, seeking one another out in the dark." The inseparability of the personal and political has wrung ever tighter for Moss these past two years, as for so many. She’s co-organized and played several benefit shows as a core member of the Montréal chapter of Musicians For Palestine, and she released the solo album For UNRWA in spring 2024 (garnering over 800 supporters and raising thousands of dollars). Moss’s music was already moving towards heightened fragility and deep listening, becoming increasingly durational and ceremonial. Despite the plummeting financial viability of touring, her devotion to holding space, conjuring entanglement, and connecting with intimate live audiences has become her creative lodestar, especially following lockdown. With her solo praxis shaped by committing to and communing in these rooms, recent political and personal upheavals have only intensified her ritualistic, reparative musical processes. The two longform tracks on Side One of Unfolding embody this sensibility. "Washing Machine" weaves layers of string drone and filigree, gently noised by distortion pedals and amplification, with indecipherably blown-out spoken voice intermittently enveloping the mix as fragmentary palimpsests of shrouded recitation and ineffable feeling. The piece traces its origins to a phone recording of a European laundry machine, captured by Moss as she sat next to it, heartbroken on the bathroom floor, finding solace by humming a melody along to the mechanical harmonics of the washer working through its cycles. Album centerpiece "One, Now" begins as a delicate invocation, with bass pulse, chimes and bells, plucked strings, and doleful lead violin lines influenced by Jewish and Arabic modes. Ambient noise, field recordings, and wordless vocals are added to the brew, as violin melodies layer and coalesce towards a mesmerizing dronescape: a semi-improvised living composition further vitalized by Tony Buck’s paintbrush drumming throughout, and Moumneh’s "yell into the void" at the end.. Side Two is a work in four parts titled "no one / no where / no one is free / until all are free" that moves through ambient noise, elegiac post-classical strings, and distorted harmonic drones, towards a denouement of liturgical organ, ritual bell, and shimmering electronic tracers that set the stage for the album’s closing song: the devastating choral composition "until all are free", a secular hymn comprised of Jessica’s multi-tracked vocals (but which she looks forward to singing with others in concert). Unfolding is dedicated to "a free Palestine in our lifetime." Thanks for listening.
Recollection V-VI marks the third in a planned series of 7” releases, each built from Glonti’s expanding archive of Soviet-era recordings.
During the Soviet era, art often had to align with propaganda, seemingly fostering a symbiotic relationship between the state and its people. Consequently, in the realm of “Social Realism,” most forms of artistic experimentation were strongly discouraged and even punishable. With few exceptions, 20th-century Georgian classical/chamber music remained quite conservative; however, when faced with dysfunctional cultural phenomena, there will always be gaps in societal walls through which oppressed cultures can carry their historical heritage and unique paradigms.
In 2018, Glonti started collecting LPs of Soviet-era Georgian composers at Tbilisi’s “Dry Bridge” flea market.The records mostly consisted of classical and chamber music released on Melodiya, the singular, state owned record label of the USSR. It was through this process that the idea of Recollection was born, as Glonti aimed to create an album that would utilize samples from his growing collection.
The artwork by Dmytro Nikolaienko of Day Night reflects the generic qualities of Soviet-era cover art.
“At the end of 2024 I was invited by Hanna Girma at Serpentine Galleries to write a piece of music for the first issue of their publication "Serpentine Reader" - a collection of texts from various authors on the theme of circulation.
I was immediately drawn to Hana Pera Aoake’s essay on listening to a river - there was a line that especially resonated with me about how rivers and other waterways in Hana's native Aotearoa are "conceptualised as both or either atua (gods) or living ancestors, who have their own life force and spiritual strength". In Japan, water is also deeply instilled in our culture as a sacred source - as one example, we cleanse ourselves with water at the entrance of a shrine, to purify the body and mind.
The composition is made of three studies relating to the three sections of a river, weaving together synthesizer soundscapes and field recordings from various sources of water between Yugawara, Kyoto and Osaka - starting with the upper section, the waterfall, travelling down to the middle, broader section where it slows in pace, and finally the lower section where the river eventually meets the sea.
Each study is in 3/4 time broken up into 9 cycles of 9 bars, and the set of three studies musically runs 12 minutes in total. The pace of each study relates to the velocity of the water in each section of the river - the first study incorporates different synth motifs, and the second and third are made of recycled material from the first.” - Hinako Omori
'All My Circles Run' is the fourth full length release by Montreal-based electroacoustic composer Sarah Davachi and her second outing for Students of Decay. In a move which may surprise followers of her previous output, the five compositions on this record eschew synthesizer entirely, each focusing on a different instrument, including strings, voice, organ and piano. What remains consistent however is the striking attention to detail and commitment to investigating tonal possibility that characterizes all of her work. The sinewy “For Strings” opens the album, with keening overtones stretching out in all directions to form a mass of slow moving, radiant sound. “For Voice” charts an even more celestial course, as wordless vocals ebb and flow to awe-inspiring effect. The stunning, melancholic “For Piano” closes the record and is something of a high watermark in Davachi’s oeuvre to date, with plaintive piano figures nestled atop a shimmering string drone to create a richly emotive, reverent atmosphere. Ultimately, 'All My Circles Run' is a confident step forward from an exciting artist whose compositional and aesthetic tendencies steer her steadfastly towards both the subjunctive and the sublime.
"For A Fleeting Moment" is the result of the dialogue between the Swiss photographer Simone Kappeler and the Japanese musician Tomotsugu Nakamura initiated by IIKKI, between March 2023 and May 2024.
the complete project works in two physical imprints:
a book and a disc (vinyl/cd)
it should be experienced in different ways :
the book read alone
the disc listened to alone
the book and the disc read and listened to together.
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Tomotsugu Nakamura is a musician and graphic designer residing in Tokyo, Japan. His primary artistic practice is to compose music with some fragments of minimal acoustic and electronic tones and some field recordings. In Concert, he he has played with various genre of musicians and his works have been released by Kaico, Audiobulb Records, and more recently by the French label LAAPS.
After studying photography, music, drawing in a Fines Arts school, David Nissen changed direction to get involved in cinema where he works there as director of photography for feature films or advertising, without ever forget about photography. French photographer David Nissen takes us on an atmospheric journey through fog, rain and fading lights. Explaining that he enjoys being in a contemplative state, he says he enjoys walking, driving, listening to music, which inspires him a lot. He is looking for a strong, powerful light, an atmosphere that can tell a story, which will be an invitation to travel through his images. With a background in cinema, it makes sense for him to approach photography like a director in search of the perfect location… the result is broody, sublime, as well as cinematic. His shoots in France and abroad are opportunities to exercise his photographer's eye, to make such personal and intimate series of photos during solitary wanderings in places that each have their own story to tell or to invent. The rare human beings who appear take on the appearance of movie characters whose enigmatic thoughts we would like to know...the visual strength of certain places or architectures, under singular light atmospheres, takes the visitor into a fiction in which he himself becomes an actor is an exchange of glances. Also photographing through impurities or raindrops, his search for materiality gives a thickness that we encounter in painting, his approach to photography is deliberately pictorial and emotional.
For him, cinematography and photography are two passions that merge and feed off each other: Write a story with Light.
« If cinema and photography have a marked tendency to intersect, it is because there are affinities and contrasts between them that bind them by nature. The photographic image being consubstantial with the cinematographic image, there are relations of opposition at the level of the modes of existence of their images for a spectator: on the one hand the animated images, in sequence, projected, temporalized... other, the single fixed image, printed, not temporalized. As a result, everyone can try to approach the other, cinema proves the experience of photographic fixity with the freeze frame, while photography experiences the experience of cinematographic sequentiality with the representation of movement with the effects of shake or spinning in his photos.
A brief historical and technical reminder makes it possible to establish that the similarities are due to the fact that photography is the fundamental material element at the base of cinema: the cinematographic photogram is by nature a photographic image. With the photo, the spectator generally has a close relationship, which allows him to enter into a relationship with it by sight and touch: the photograph is an image that the spectator can hold in his hands to look at it, he is somehow physically "attached" to the image. This attachment is physical, allowed by the small size. With the cinema, the spectator has a relationship of relative remoteness and comes into contact with him by sight and hearing. This distancing, this physical detachment, this border between the viewer and the film that the large format facilitates, the viewer's gaze "plunges" into the image. For the photo, this place is above all a private, intimate, enlightened environment in which it has an assigned place, arranged, collected, hung... the viewer does not really have to move, he can freely choose the moment of reading and manipulate the photo, the viewer has a certain hold over the photo. For the film, the place is often a public space, specially designed and dark, the spectator must move, "we are going to the cinema" take his place and a seated position, motionless, passive. The moment of reading is programmed, the viewer has no control over the film. » David Nissen
The visionary Walter Maioli (Futuro Antico, Aktuala) and the eccentric electronic musician John Zandijik first met in 1984 when they both gravitated toward the experimental Sound Reporters collective, participating in the release of Ethnoelectronics (1986). Shortly afterward, the two met at Zandijik's studio in Rotterdam, where they completed their journey of exploration to the edge of the Universe in just three nights. The recordings were made only after 3 a.m., when psychic energy is at its peak, and inspiration belongs solely to the realm of dreams. It was a ritual of long galactic fluctuation, where the mystical sound of the flute was filtered and expanded by the Aureal system, a device capable of breaking it down into cascades of aureal harmonies. Through its extemporaneous approach, the music transforms perceptions of ancient pyramids or tropical forests into phosphorescent nebulae, luminous fountain openings, and unprecedented planetary interstices—interstellar portals leading to new archetypal-ancestral visions. It feels like sailing through colored orbits in the red gases of Jupiter and Mars, lost and dissolved forever in the engines and gears of the most secret cosmos. Between Pink Floyd-esque psychedelic flashes and Tangerine Dream-inspired sidereal architectures, Maioli and Zandijik reveal the most phantasmagoric and unknown side of Sound Reporters.