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| Ido Govrin - Erratum |
Interval Recordings IL09
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| Erratum takes as its point
of departure a conceptual juxtaposition of Marcel Duchamp's
Erratum Musicale and John Cage's museumcircle
to further reflect upon the concepts of error and failure in
art. Erratum comes in the form of a single
interdisciplinary multiple containing (in a clamshell box) a
custom-made 10" vinyl record* and a series of seven (7)
litho-prints**.
* A 15-minute-long music
composition, composed by the artist, is pressed on the
vinyl record via a unique erratic process of record
printing which experimentally guarantees the success (or
failure) of audio playback. Voice: Rebecca Gimmi, Daniella
Sanader, and an unrecognized 3rd person.
** Greyscale litho-prints
(11 x 15", Ogunigami Japanese paper, 36 g), which ghostly
expose specific stations throughout the Via Dolorosa
(in Jerusalem's old city), are made using a similar
printing technique.
Erratum is numbered
and signed, limited to one copy worldwide.
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| Adaya Godlevsky - Seam |
Interval Recordings IL08
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"Seam", Adaya Godlevsky's debut release
on Interval Recordings, marks yet another challenging
release of the label's ongoing musical output. Along its
13 chapters, Godlevsky uses her celtic harp and voice to
gently constitute seams; seams as boarder lines between
strumming and scratching a string, between tapping the
sound box and an arpeggio flow, between a classically
notated composition and improvised music derived from a
graphic score. The seam is always and already the boarder
line, presence in this release as a result of Godlevsky's
different artistic practices; performance, composition,
playing and singing.
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| Duprass - Galut (Diaspora) |
Interval Recordings IL07
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‘Galut (Diaspora)’ was created as a radio
drama. Nonetheless, it was originally exhibited as a sound
installation at ‘Barbur’ gallery in Jerusalem (Solo
Exhibition, March 3rd to March 31st 2011). The
installation, consisted of eight audio channels and text,
as well as a single painting hanged on the gallery’s wall,
has gone through another artistic mutation as presented to
you here; the piece was mixed down to stereo signal and
mastered to single CD format. Despite of that fact that
the exhibition catalog was printed only in Hebrew, we
formally publish the catalog together with this release
for the interest of listeners who cannot understand its
original language, both audibly and visually.
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| Kiki Keren-Huss - Mi/Me |
Interval Recordings IL06
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Mi/Me, Kiki Keren-Huss' debut release on
Interval Recordings, is a chamber opera for four singers,
six players and electronics. It somewhat came into being
about 18 years ago through an obscure image the composer
had had during a sleepless night. That image,
hallucinated, as a hyper-real desire and thought, draw a
woman confronting her man while another man, a-la Lewis
Carol's plot, getting taller and taller threatening to
perform a cannibalistic act upon her. The couple,
apparently, tries to escape... the seed had been sown.
The opera Mi/Me is a journey into the inner world of a
woman, following the many voices of her consciousness.
There is no linear narrative in Mi/Me. The four characters
and six players are playing, singing and moving on the
stage most of the time with no connection to one another.
They take part in dreamlike situations that dissipate like
soap bubbles.
Out of all these voices a complex multi-layered world
evolves. The world of Mi/Me.
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| Jennifer Walshe - Nature Data |
Interval Recordings IL05
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‘Why is the phoneme the most ‘ideal’ of
signs? Where does this complicity between sound and
ideality, or rather, between voice and ideality, come
from? When I speak, it belongs to the phenomenological
essence of this operation that I hear myself [je
m’entende] at the same time that I speak. The signifier,
animated by my breath and by the meaning-intention, is in
absolute proximity to me. The living act, the life-giving
act, the Lebendigkeit, which animates the body of the
signifier and transforms it into a meaningful expression,
the soul of language, seems not to separate itself from
itself, from its own self-presence.’ [J.Derrida, the Voice
That Keeps Silence, Speech and Phenomena]
Voice – Breath – Signifier; Walshe’s debut release on
Interval Recordings signifies the temporary hidden space,
the interval, just about to be revealed. ‘Nature Data’,
the album’s title, captures Walshe’s unique voice in the
field of sonic arts and performance; as a becoming-animal,
becoming-nature, her voice, breaths and all occurrences in
between, audible and not, signifies that data, as nature,
as presence.
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| Ido Govrin - Moraine |
Interval Recordings IL04
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‘Moraine’ by Ido Govrin is composed of
exquisite sound qualities consisting of restrained
gestures of simultaneous assembling and disassembling
processes, slow though diligent creation holds a promise
for total collapse, destruction, and as such, fills the
listener with sweet sadness and longing. The album’s name,
‘Moraine’, indicates the working process but not just
that. Moraine is a geological phenomenon created when the
bedrock underneath is scoured and crushed by the movement
and extreme pressure of a glacier eventually to the size
of dust grains. It is being transported beneath the
glacier’s infrastructure as a thick stratum of solid
substance and creates various forms throughout the
plateau. In ‘Moraine’, Ido Govrin investigates the micro
level of sound process where vast amount of sound partials
are being generated and manipulated; blocs of sonic
substance creates morphed sound strata. Continuous forms
and entities of sound collide into each other, crushed and
woven into one another; the acoustic gale seems to briefly
appear as a spatial object, dwelling in space. Promptly
afterwards, the stratification and deterritorialization
continues simultaneously. The six electro-acoustic pieces
exhibited in ‘Moraine’ were partly created by the
analysis-re-synthesis process of acoustic instruments
(Cello and Violin) and partly by a pure computer generated
process of sound.
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| Mem1 - +1 |
Interval Recordings IL03
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‘… unlike trees or their roots, the
rhizome connects any point to any other point, and its
traits are not necessarily linked to traits of the same
nature; it brings into play very different regimes of
signs, and even non-sign states. The rhizome is reducible
neither to the one not the multiple. It is not the One
that becomes Two or even directly three,
four, five…’ [Deleuze & Guattari (1980): A Thousand
Plateaus]
+1 , Interval Recordings' second release by Los
Angeles-based electroacoustic duo Mem1 (Mark + Laura
Cetilia), introduces listeners to a series of
collaborations between the duo and nine guest artists: Jan
Jelinek, Ido Govrin, Area C, RS-232, Frank Bretschneider,
Kadet Kuhne, Jen Boyd, Jeremy Drake, and Steve Roden.
Whether the collaborations took place in an old cabin by
the lake, on a hot and hazy day in a painter's studio, or
floating through the infinite void of virtual space, the
resulting works act as transportive vessels.
Removing us from our surroundings, they
deliver us to a place that cannot exist in our
daily lives, a transformative space in which impossible
realities collide and time ceases to exist. Comprised of
lush tapestries, fuzzy dissonances, echoed rhythms and
waves of electronic wash, +1 is
electroacoustic chamber music for the twenty-first
century.
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| Various Artists - Nothing Works
As Planned |
Interval Recordings IL02
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This double CD presents diverse
approaches to the phrase ‘nothing works as planned' by
nine composers and sound artists. Each and every one of
them captures a singular moment which was compiled
together to create an esthetic sonic statement of reason
and beauty.
‘Nothing works as planned' is comprised of live recordings
of concerts in Tel Aviv and New York. The double CD is a
documentation of a series, entitled “Nothing Works as
planned”, which held at the above mentioned cities and was
premiered at the Tel Aviv Biennale of New Music hosted by
the Tel Aviv Museum of Art. The premier took place in a
large suite of galleries that was between exhibitions and
therefore void of art work. The high ceilings, long
reverberation and departure from conventional concert
seating made for a cathedral-like setting and proved to be
an ideal site for the concert of works featuring
electronics, small ensembles and large video projections.
The series continued with a concert at the Issue Project
Room in Brooklyn, New York. IPR is located in a circular
tower that was once a silo situated on the Gowanus Canal .
Again, the unconventional setting and the unique
acoustical space made an ideal venue for the performance
of experimental music.
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| Mem1 - Alexipharmaca |
Interval Recordings IL01
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Alexipharmaca, Mem1’s second
full-length album, is a collection of
improvised works that capture the allure of the forbidden
and dangerous, and the modern fascination with things
ancient and shrouded in mystery.
The album’s title is taken from a set of poems written by
Nicander of
Colophon, a Greek pharmacologist (fl. 197-130 B.C.E.),
whose text
deals with plant and animal poisons and their antidotes.
Mem1’s music intoxicates with its rich textures and lavish
soundscapes, but — like a beautiful yet deadly flower —
something ominous inevitably lurks beneath the surface.
While toxic substances can bring elation and seemingly
endless bliss, they can be lethal in large doses.
Alexipharmaca provides the opportunity to experience this
sublime demise through the saturation of aural splendor.
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| Amnon Wolman - Sustains |
Interval Recordings IL00
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'Sustains' is an hypnotic journey to
Mr. Wolman's musical personality, a journey into sound and
silence, thoughts and feelings, mixed together in a unique
way… and the journey sustains, fades in and out of a dream
like state where the music is no longer only define notes
and sound structures – it is a whole living form.
'Sustains' contains sound pieces, samples and original
sound synthesis structures which has a strong sense of
orchestral and classical music being digitally processed,
experimental drones in form of dark matter, sound of the
inner life of machines, instruments, and humans, creating
gentle fragments of existence to produce a coherent
creation of fine art. Music at its most pure moments as a
form of art where there's no need for images or expressive
symbols to generate a process… yet the music, on top of
being a musical inspiration per se, creates musical
moments as cinematic as an avant-garde film.
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