Getting down to the atomic, elementary nature of his work, electroacoustic explorer Jason Kahn dedicates each side of this double LP release to his interests in percussion, electronics, environmental recording and voice, constructing unique compositions that reveal the strong and recognizable methodology that drives him in his work.
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Catalog ID: Editions 005
Squidco Product Code: 23856
Format: 2 LPs
Packaging: Double LP in Hand Painted Sleeves
Composed in Zurich, Switzerland from January 2014 to April 2016
Jason Kahn-voice, field recordings, percussion, electronics
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• Show Bio for Jason Kahn
" is a musician, artist and writer. He was born 1960 in New York and grew up in Los Angeles. He re-located to Europe in 1990 and is currently based in Zürich.
As an electronic musician, vocalist and drummer Kahn collaborates regularly with many musicians, both in improvised settings and in the context of graphical scores which he composes for specific groups.
Kahn has exhibited his installations in museums, galleries, art spaces and public sites internationally. These works focus on the idea of space: the conceptual and physical juncture points, its production and dissolution, and our relation to it as a political, social and environmental medium.
Kahn's other activities include sound pieces for radio, film, dance and theater. He has also designed numerous CD, LP and cassette covers. As a writer, his work has appeared in books, magazines and as liner notes to many audio publications.
Performing regularly around the world, Kahn has given concerts throughout Europe, North and South America, Australia, China, Egypt, Hong Kong, India, Indonesia, Israel, Japan, Korea, Lebanon, Malaysia, Mexico, New Zealand, Russia, Singapore, Taiwan, Turkey and South Africa.
In 2011 Kahn started the Editions imprint to publish his own recordings and writings."-Jason Kahn Website (http://www.jasonkahn.net/biography/index.html)
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1. Electronics 18:32
1. Voice 17:59
1. Percussion 17:59
1. Environment 18:00
sample the album:
"In the field of philosophy monads are often referred to as the elementary particles which combine to create a substance. In the context of this double LP, the title refers to the constituent facets of my musical activity: namely, percussion, electronics, environmental recording and voice. What ties these different pursuits together is my particular approach to composition. No matter what sound material I work with, the outcome - at least to my ears - reflects a certain compositional methodology and approach to working with sound in general. I thought it would be interesting to place these four sound groups together as distinct compositions, not only as a means of focusing on the compositional similarities but as a challenge to myself."-Jason Kahn, liner notes
"Over the years I reviewed a lot of music by Jason Kahn. I lost count, but easily twenty or so releases. Quite a lot he did was in collaboration with others, as Kahn is an improviser pur-sang, and not much of that was solo work. I have seen credits for instrument slowly change; drums and percussion, later on with the addition of synthesizer, but again later on synthesizer solo, voice and field recordings. This double LP is a showcase of four interests, and each has it's own side. Electronics, voice, percussion and environment are these four and for each side he uses many recordings in order to create a sound collage per side. These compositions he does on the computer and shows how he likes to do his studio recordings, which essentially these are as he may use recordings from concerts and installations, it is a construction. Perhaps that is a side of Kahn, which we don't get a lot, the studio constructions. Much of the work I reviewed from him is recorded in concert and here we have another side of him. Using multiple recordings Kahn manages to create a very full sound, with many tiny sound events happening all around. In each of these pieces he moves between the carefully chosen minor details, solo and building towards the major layers, with everything going on at the same time. Sometimes it all blurred for me, which I enjoyed very much. Do I hear at this moment the 'percussion' side? Why does it sound like voices? Or environment? The same thing seemed to be happening with the voice sounding electronics, environment sounding voices, or the simple presence of drums in 'Environment'. But then sometimes, yes, these are voices, a modular synth set-up or his kids singing. Kahn's power in composing shines through here; its minimal music with maximal effect and perhaps maximal input to create a minimal output; and vice versa. All of it is a sum that makes up: the work of Jason Kahn. If you never heard of him, then this might be a good introduction."-FdW, Vital Weekly
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