All Across the Universe finds Jason Kahn moving his practice deeper into the realm of spatial and temporal listening. Built from a field-recording residency in Tainan, Taiwan, in September 2023, the raw acoustic imprint of the city's ambient hums, human voices, traffic rhythms and architectural resonances form the foundational material. Over the following year in Zurich Kahn works these recordings — widely stretching, layering, re-contextualising them — so that the result is neither pure documentary nor mere abstraction but a hybrid: a composition of listening-sculpture, where the city, the body and the instrument blur.

In this work, sound becomes a map of place and memory: you hear the hint of footsteps, the murmur of conversation, the metallic ring of a distant object, but always folded into a larger frame of spacing and shifting. The gesture is subtle yet persistent — spaces breathe, silence pulses, field-sources loop and decay, and a feeling of translation emerges: Taiwan's sonic fabric filtered through the tools, time and sensibility of an improviser-composer working in Europe. What might at first appear as ambient drift reveals itself as intense attentiveness to micro-detail: the interplay between natural acoustic phenomena and their mediated incarnations.

Listeners accustomed to Kahn's more overtly gestural work (voice, percussion, electronics) will find here a tempering of gesture and an expansion of listening. This isn't about affective outburst; it's about immersion, about the gathering of seemingly incidental sounds into a horizon of reflection. Yet there remains tension: the under-surface of "place" holds traces of unsettledness — what is recorded, what is composed, what is "real" and what is rendered. In this sense All Across the Universe stands as a quietly radical work — demanding patience and rewardingly open in its architecture of sound.