"Lining Out" is taken from a form of hymnody practiced to this day as Gaelic Psalm singing by the Free Churches on the Outer Hebrides off the west coast of Scotland, interpreted by Swiss improviser Jason Kahn in percussion and voice of uniquely uninhibited & unpredictable utterance and song juxtaposing superb expression and dexterity on drums, cymbals, bells and percussion.
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Label: Hiddenbell Records
Catalog ID: 011
Squidco Product Code: 29379
Recorded in Zurich, Switzerland on January 13th, 2018, by Jason Kahn.
Jason Kahn-voice, drums
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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. Lining 20:09
1. Out 19:30
sample the album:
"After many years spent probing the edges of tranceful resonance, Jason Kahn's more recent releases - starting from 2015's Songline - have introduced us to a man progressively willing to disclose his undressed interiority via recordings that use uninhibited vocalization as a primary means. Lining Out is a vinyl album for voice and drum set whose brutal truthfulness might scare those who prefer the insincerely assuaging traits of self-exploration.
Whatever the acoustic source Kahn selects to merge his utterances with, he persuades a responsive listener about the near-perfection of that coupling, where "perfection" translates as a snapshot of a human being who is getting closer to the quaking bowels of aliveness. The drums are mostly played with the hands, the softened tone of the skins resounding quite intensely. When the choice is made to employ the jangling/rattling characteristics of other percussive constituents, there's no particular distress.
What's really remarkable is Kahn's awareness and managing of the pulsating parallelisms defining one's residual vitality. This is rather uncommon in a world that privileges pre-digested banality to "facilitate" a so-called equality. Ordinary students of perpetual nonsense cannot translate the simultaneousness of, say, heartbeat, breathing and walking as a polyrhythm. However, the brain of a committed improviser is capable of catching intrinsic connections by instinct, without an actual need of sharing the revelations with egos that will inevitably diminish their value by way of intellectual inanity. The explanation is the event, every additional word simply increasing the mental disorder of someone not destined to understand in the first place.
The voice itself - the original instrument, as Joan LaBarbara would have it - scavenges across expressive grounds that have more to do with piercing holes in one's guts than commonly intended timbral research. Kahn is definitely not looking for refinement, keeping himself as distant from postcard shamanism and polished vacuity as possible. We discern the "vocal cords-to-skull" vibrational transitions while establishing a silent communion with the artist; the urgency of an atavic despair demanding to be expelled from within is clearly sensed. The arrogant hollowness of an inexpressive intellect ultimately destroyed, the meaningful link is at last visible for the stronger."-Massimo Ricci, Touching Extremes
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