Two pieces recorded in the Kustraum Walchetrum in Zurich, using a mixing board, contact microphone, radio and electro magnetic conductor, recording the resulting work with several microphones and line input to reflect direct and spacial aspects of the sound.
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Label: Banned Production
Catalog ID: bp182
Squidco Product Code: 18832
Packaging: Cassette tape, not sealed.
Recorded April 21st, 2011, in the Kaustraum Walcheturm in Zurich, Switzerland by Jason Kahn.
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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. SIDE A Walcheturm 14:36
2. SIDE B Walcheturm 14:48
descriptions, reviews, &c.
"Two pieces recorded in the Kustraum Walchetrum in Zurich, using a mixing board, contact microphone, radio and electro magnetic conductor, recording the resulting work with several microphones and line input to reflect direct and spacial aspects of the sound.
"These two pieces were recorded in the Kustraum Walchetrum here in Zurich. This is an art space run by a friend of mine. The main room where I made these recordings is pretty large and very resonant.
I made these two pieces with mixing board, contact microphone, radio and electro magnetic conductor. I recorded the piece with one set of stereo microphones placed further back in the room, one microphone in front of the speaker and one line recording, thus giving me the immediacy of a direct recording with the resonance of the space, which is what I was mainly interested in exploring with these two pieces."-Jason Kahn.
"This installation takes its title from the form the work eventually took with speakers installed around the perimeter of the Kunstraum Walcheturm in Zürich.
I wanted to create a reference to the space outside the Walcheturm by re-projecting its own sound environment back in on itself through a system of piezo microphones, steel wires and speakers suspended from the façade of the building.
I attached a piezo microphone to a length of steel wire spanning the faces of the front and side of the building. The steel wire picked up vibrations in the environment from wind, rain, people walking by, the occasional loud sounds from traffic. The piezo microphone, attached to the wire, routed these vibrations to a stereo amplifier which in turn sent the signal back to the speakers hanging from the building.
The result was a self-generating system of the sound environment circling back in on itself. It was difficult in the beginning to find just the right level of amplification in order to avoid feedback but also to have enough amplification to make the projected sounds audible just beyond the perimiter of the building.
My idea was to create a kind of sonic shadow thrown back on the building and a field of sound only audible to people walking by the Walcheturm. At certain times of the day the installation was clearly audible; at others it became subsumed in the louder ambient sound levels of the city. The piece ran for one month, every day from 9 a.m. until 9 p.m."-Jason Kahn Website.