A ‘first-take’ made on a rainy day. First in a new series of studies (‘#onetakestudy’) that folows on from the #lockdownminiature series, and on parallel tracks to #spliceimprov.
I’m not 100% sure this improvisation holds focus entirely for its duration, and it could do, for my taste as a listener, with more contrast, but it meanders in a pleasing way. A kind of reverie on an overcast day. Enjoy.
As the looper becomes more a part of my sound, I begin to again question the disconnect between gesture—visible, weighty—and the auditory. As I watch myself in play (in video playback), I find myself alienated from the experience. [Read the rest…]
See the pinned comment to read my thoughts about this piece, and what I think doesn’t work about it.
What happens to interaction when gesture and context are removed by distance? Han-earl Park and Carina Khorkhordina each perform their compositions for solo improviser and video projection. Building on their work developed before (and during) ‘all-our-lockdowns,’ SPLICE is a playful, noisy exploration of the oblique fictions of here and now, and then and there.
It’s an unusual situation for me, as an improviser, whose work depends on a certain kind of immediacy of response—of audience feedback—to present a work for the first time ‘for real’ after having lived with it for this long. ‘Nervously excited’ doesn’t even begin to describe how I’m feeling. Please, please join me next week on this moment of discovery.
The music on this album transports me to scenes from retro-scifi stories to those of present-day mass transit. It is, to my ears, the sounds of junction crossings, signals from space, and mysterious telegraphy; sometimes evoking impressions of walking by streams under footbridges, at others, of rushing through Manhattan Chinatown. Recorded live at Cafe OTO during the trio’s first meeting, we knew then that we had something special.
I think the sounds and the performances on this disc are all ’round captivating, gripping and fascinating, and the production work, exceptional. Take the journey with us: I’m super proud of the music, and I am thrilled to finally share this with you!
Get ready for the latest release of challenging and imaginative music from Ramble Records with Juno 3, the debut album from the trio of Han-earl Park, Lara Jones and Pat Thomas. Recorded by Shaun Crook live at Cafe OTO, London, and mixed (refracted and rephrased) by Han-earl Park, the album is a particle sim of sounds which spelunks from derelict urban ravines to cybernetic rainforests, while catching auditory glimpses of crashing robotic waves, and strange telegraphic messages from space.
Nautiloid capsule tumbles
across field lines.
An impracticably agile,
graceful derailment.
Juno 3 is Han-earl Park (guitar), Lara Jones (saxophone and electronics) and Pat Thomas (electronics). The eponymous album document the first meeting—interactive, relational—by this trio as it takes a journey: launching from the familiar of the Hackney club space into future imagined By Others. We coax it into our space.
Motion and motifs. (Switching gears, shedding engines.) Modes of transport change from first principles: future-past transit networks give way to bioengineered surfboards.
Bodies collide, unwind, and we’re up again. Reaching crossings; navigating junctions.
Intermodal is the only game we know. Networks (and bodies and vessels) weave, twist, cross then interweave, intertwist and intercross. (We, nocturnal monstrous shapes, turn and return to the deep.)
And, as the album comes to a close (thump’n’snap—bodies unwind), we find ourselves awakened back in the familiar club space. Or: half familiar. The same chairs, the same tables, the same staff. But not the same chair, not the same table, not the same staff.
Orbital Dusk I (6:04), Orbital Dusk II (4:20), Orbital Dusk III (2:29), Orbital Dusk IV (6:03), Diel Vertical Migration I (6:31), Diel Vertical Migration II (4:38), Diel Vertical Migration III (4:33), Diel Vertical Migration IV (7:36), Metastability (7:24). Total duration: 49:36.
Recorded live March 20, 2022, Cafe OTO, London.
Recorded by Shaun Crook.
Mixed by Han-earl Park. Mastered by Chris Sharkey.
Art by Han-earl Park. Design by Atharwa Deshingkar.
Thanks to Richard Barrett, Heather Frasch and Richard Scott; to Fielding Hope and everyone at Cafe OTO, Laura Cole and everyone at Fusebox, Wesley Stephenson of Jazz North East, and Peter O’Doherty of Northern Lights Project. Shoutouts to Corey Mwamba, Graeme Wilson, rit. and Una Lee. The performance was presented with funding from the Berlin Senate Department for Culture and Europe.
Was passiert mit Interaktion, wenn Geste und Kontext aufgrund von Distanz nicht mehr vorhanden sind? Han-earl Park und Carina Khorkhordina stellen jeweils ihre Kompositionen für Solo-Improvisatoren und Videoprojektion vor. Aufbauend auf ihrer Arbeit, die sie vor (und während) der “all-our-lockdowns” entwickelt haben, ist SPLICE eine spielerische, lautstarke Erkundung schräger Fiktionen im ‘Hier und Jetzt’ und des ‘Dann und Dorthin.’
What happens to interaction when gesture and context are removed by distance? Han-earl Park and Carina Khorkhordina each perform their compositions for solo improviser and video projection. Building on their work developed before (and during) ‘all-our-lockdowns,’ SPLICE is a playful, noisy exploration of the oblique fictions of here and now, and then and there.
Improviser, guitarist and constructor Han-earl Park (박한얼) has been crossing borders and performing fuzzily idiomatic, on occasion experimental, always traditional, open improvised musics for twenty years. He has performed in clubs, theaters, art galleries, concert halls, and (ad-hoc) alternative spaces across Europe, Korea and the USA.
Park is the mastermind behind ensembles including Eris 136199 with Catherine Sikora and Nick Didkovsky; Juno 3 with Lara Jones and Pat Thomas; and Sirene 1009 with Dominic Lash, Mark Sanders and rit.; and has a duo with Richard Barrett. He is the constructor of the machine improviser io 0.0.1 beta++, and instigator of Metis 9, a playbook of improvisative tactics. He has performed with Wadada Leo Smith, Paul Dunmall, Evan Parker, Lol Coxhill, Pauline Oliveros, Josh Sinton, Louise Dam Eckardt Jensen, Gino Robair, Tim Perkis, Andrew Drury and Franziska Schroeder.
His ensembles have appeared at festivals including Jazz em Agosto (Lisbon), Freedom of the City (London), Brilliant Corners (Belfast), ISIM (New York), dialogues festival (Edinburgh) and Sonic Acts (Amsterdam). His recordings have been released by labels including NEWJAiM, SLAM Productions and DUNS Limited Edition. Park taught improvisation at University College Cork, and founded and curated Stet Lab, a space for improvised music in Cork.
Carina Khorkhordina is a trumpet player, photographer and an interdisciplinary artsit living in Berlin since 2014. Aside from developing her music on the trumpet and playing concerts she is working on a series of site-specific performances in the public space of Berlin in collaboration with different musicians, presented as short films and bringing together her interest in urban space, sonic possibilities of the trumpet, field recordings and video documentation.
She has been performing in the context of improvised and experimental music since 2017. The active groups include the duo with Eric Bauer, Slurge (with Eric Bauer, Burkhard Beins, Wolfgang Seidel), Klub Demboh, the duo with Axel Dörner and the trio with Eric Bauer and Lena Czerniawska, as well as a variety of ongoing collaborations.
Between 2016 and 2020 she was a student of various photography programs at FotoDepartament Institute in St. Petersburg, Russia.
Juno 3 by Han-earl Park, Lara Jones and Pat Thomas will be released by Ramble Records in September 2023! As I said to Chris Sharkey, the mastering engineer, this album exists somewhere “between an audio play and a soundtrack album, as if Bernie Worrell had been tasked to create a score for a Douglas Adams produced radio adaptation of Space: 1999.” More soon!
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There’s this balancing act between your body and the mechanics of elastic collisions, and Newtonian physics, and all those things, and you’re creating music from balancing these things out…. [Watch to the rest…]
The word I use sometimes is ‘interface.’ So if you start thinking about creativity as this thing that happens between surfaces, that’s interesting in a way that the idea of the single auteur is much less interesting…. And as an artist you can do interesting things by kind of shifting you position within that boundary. [Watch to the rest…]
Funded by Berlin Senate Department for Culture and Europe.
“Once I have those parameters, I can reconfigure the body and the instrument so it kind of runs itself….
“The word I use sometimes is ‘interface.’ So if you start thinking about creativity as this thing that happens between surfaces, that’s interesting in a way that the idea of the single auteur is much less interesting…. And as an artist you can do interesting things by kind of shifting you position within that boundary.” [Listen to the rest…]
Han-earl Park is also performing with rit. and Una Lee, in Dublin (24), Letterkenny (25), Derry (26) and Belfast (27). See the performance diary for details.
Funded by Berlin Senate Department for Culture and Europe.
Of Life, Recombinant is unlike anything I’ve done before, and the music goes to some strange and unexpected places (are those sounds of a networked biome, or the echos of, and through, an urban maze?). The album is a single improvisative suite that takes the guitar, and the solo form, as the starting point to fabricate a composition in the studio. The piece is the result of over a year of work, and I’m so very much looking forward to finally sharing this music with you!
https://soundcloud.com/hanearlpark/mix-engineer-works
Wondering what mixing strategy could possibly work for your recording of noisy, pretty, gentle and disorderly peculiar music? Hit me up if your left-of-field recording is in need of some…
https://www.youtube.com/watch?v=jewNzu1KL1Q
Violence and cruelty? Fantastical, twisted, dark, deeply affectionate humanism? Improvisation as embodiment and personification? Place, subjectivity and interiority? As part of the Free Jazz: Sunday Interview, in response to a…
Of Life, Recombinant tells multiple stories at once, opening up a wide aperture and displaying stunningly drawn vistas…. Leading listeners down long corridors of chilly anticipation… playing up the subtle intimacy of quiet tones…. And unmistakably, Park’s guitar is itself a treasure chest of delights—long, thrilling sections of beauty fold into chilly, dread-inducing dreamscapes….
We listen, we wait. Breathing deeply, relaxed enough yet ready to be sucked in by some vortex of illusion. We absorb the blows of sudden mutations connected by threads of metallic (in)coherence…. Each spin adds further layers of interpretation, not to mention the sheer aural thrill.
Along with what’s kept there is always something left and something new. The country twang tune with popping harmonics from ‘Naught Opportune.’ The unsettling mandolinesque trill or quivering sustain in hazy delay from ‘Are Variant.’ The distorted suck, psychedelic and ecstatic, in slow crescendo from ‘Of Life, Recombinant’…. In between chaos and composure, it is something closer to the complexity of life.
On NEWJAiM’s ninth disc of adventurous music, guitarist and improviser Han-earl Park takes the solo form, and, refracting improvisations through studio-based techniques, flips the form on its head.
Walls rusted lichen curve into a canopy.
Concrete weaves of roots.
Dew-covered moss memory foam.
Rather than attempting to ‘reinvent’ the guitar, Park navigates the gaps and borders of the instrument, and what it means to be a guitarist. Park creates a music that alternately embraces and short-circuits genre tropes and expectations. Of Life, Recombinant doesn’t shy away from the solitude of the solo form; instead it tightly hugs aloneness—its joys and fears.
Of Life, Recombinant explores the ways in which studio-based techniques can be used as a fluid compositional strategy in the context of improvisative play; how techniques such as montage, collage, and the language of dissolves, cross cuts and match cuts might be enrolled to explore improvisative counterpoint and juxtapositions, the pleasures of discord, parallelism and linearity, and the repurposing of gestures and their meanings.
Conceived as a single improvisative suite, the techniques and strategies used to build Of Life, Recombinant were developed over a year during periods of lockdown. The bulk of the suite was recorded in a single contiguous take, a single improvisation, in June of 2021. That recording remains, more-or-less-intact-but-broken, as the title track, while fragments of it litter, as improvisative detritus, through the rest of the album.
Improviser, guitarist and constructor Han-earl Park has been crossing borders and performing fuzzily idiomatic, on occasion experimental, always traditional, open improvised musics for twenty years. He has performed in clubs, theaters, art galleries, concert halls, and (ad-hoc) alternative spaces across Europe, Korea and the USA.
Park is the mastermind behind ensembles including Eris 136199 with Catherine Sikora and Nick Didkovsky; and Sirene 1009 with Dominic Lash, Mark Sanders and rit.; and has a duo with Richard Barrett. He is the constructor of the machine improviser io 0.0.1 beta++, and instigator of Metis 9, a playbook of improvisative tactics. He has performed with Wadada Leo Smith, Paul Dunmall, Evan Parker, Lol Coxhill, Pauline Oliveros, Josh Sinton, Louise Dam Eckardt Jensen, Gino Robair, Tim Perkis, Andrew Drury, Pat Thomas and Franziska Schroeder.
His ensembles have appeared at festivals including Jazz em Agosto (Lisbon), Freedom of the City (London), Brilliant Corners (Belfast), ISIM (New York), dialogues festival (Edinburgh) and Sonic Acts (Amsterdam). His recordings have been released by labels including SLAM Productions and DUNS Limited Edition. Park taught improvisation at University College Cork, and founded and curated Stet Lab, a space for improvised music in Cork.
New Jazz and Improvised Music Recordings
The New Jazz and Improvised Music Recordings project was established during the height of the COVID-19 pandemic, offering a creative output for musicians when live performance opportunities were unavailable and encouraging artist independence.
Emphasising sustainability for artists and music studios, the ethos of sustainability also carries through the production process by employing a carbon neutral manufacturing plant and distributors, using recycled and biodegradable materials whenever possible.
Graphic design by Andrew Delanoy.
Portrait photography by Nella Aguessy.
Project director: Wesley Stephenson.
“Many thanks to everyone that contributed and supported our Crowdfunder campaign for the New Jazz and Improvised Music Recordings project. This release was made possible with additional support from Arts Council Ireland, Arts Council England and North East Local Enterprise Partnership. Additional thanks to Chris Sharkey for mastering and Andrew Delanoy for graphic design. Very special thanks to Nella Aguessy for the portrait photograph of Han-earl Park, you can find some really great work on her website.” — NEWJAiM Recordings.
“Thanks to Annette Krebs, Richard Barrett, and Anne Wellmer, and hugs for Asha and Melanie. The construction of this piece was made possible by funding from the Arts Council of Ireland” — Han-earl Park.
Track listing: Ballad of Tensegrity I (≥ 5:12), Ballad of Tensegrity II (2:28), Peculiar Velocities I (3:46), Peculiar Velocities II (3:36), Sleeping Dragon (5:22), D-Loop I (≥ 6:16), D-Loop II (5:13), Polytely I (≥ 5:01), Polytely II: Breakdown (5:33), Anagnorisis I (2:09), Anagnorisis II (2:19). Total duration ≥ 46:54.
New album from Han-earl Park will be released by New Jazz and Improvised Music Recordings in November 2021! This suite has been in the works for over a year; it’s unlike anything I’ve done before, and I’m so very much looking forward to sharing this music with you. More soon!
Do you want to be first in-line to hear the new album? Please sign-up to my newsletter:
Peculiar Velocities is Eris 136199’s first studio album, and captures the trio during their 2019 European tour; between the first date at The Vortex (London) and their performance at Jazz em Agosto (Lisbon).
CD: €11 minimum (‘name your price’) plus shipping.*†
Download: €8 minimum (‘name your price’).†
* Limited edition glass-mastered CD. CD includes additional material (liner notes, artwork, etc.) not included in the download version of the album.
† Both digital and physical purchases give you streaming via the free Bandcamp app, and option to download the recording in multiple formats including lossless.
https://soundcloud.com/hanearlpark/mix-engineer-works
Wondering what mixing strategy could possibly work for your recording of noisy, pretty, gentle and disorderly peculiar music? Hit me up if your left-of-field recording is in need of some…
https://www.youtube.com/watch?v=jewNzu1KL1Q
Violence and cruelty? Fantastical, twisted, dark, deeply affectionate humanism? Improvisation as embodiment and personification? Place, subjectivity and interiority? As part of the Free Jazz: Sunday Interview, in response to a…
An uncomfortable joy, a can’t-be-reproduced-in-the-laboratory combination of rare elements, a new musical alloy, an ongoing experiment, the perfect distillation of uneasy listening.
Formed in New York in 2012, Eris 136199 is the chaotic-slamming one-person rhythm section of Han-earl Park (Sirene 1009), the deep melodic intelligence and big-tenor sound of Catherine Sikora (Clockwork Mercury), and the anthems of glitch, experimentalism and riffage of Nick Didkovsky (Doctor Nerve). Recorded during the trio’s 2019 European tour, Peculiar Velocities (BAF002) is Eris 136199’s third CD, and first studio album. The album is the follow-up to the eponymous Eris 136199 (BAF001, 2018) described as “like letting an insane brain surgeon in through your ear” (aJazzNoise, Best of 2018), and Anomic Aphasia (SLAMCD 559, 2015) which was described as “a beautiful noise” (KFJC 89.7 FM).
Surprises abound on this disc from the collision of three seemingly incompatible notions of time and rhythm in [the title track] ‘Peculiar Velocities’; to ‘Sleeping Dragon’ which insistently claims to be one thing but reveals itself to be something else; to the aural love letter to No Wave that is ‘D-Loop’….
Moments of absolute clarity, where two of us may deliberately hit exactly the same notes, are juxtaposed by equally comfortable bursts of raging chaos and easy silences.
— From the liner notes‡
Recorded with a lean, efficient boldness by Sean Woodlock, and mastered by Richard Scott, the album captures music that leaps from wispy, delicate webs to massive weather-beaten mountains. Recorded over just three hours in a single live room, Peculiar Velocities catches Eris 136199 between the first date of the tour at The Vortex (London) and their performance at Jazz em Agosto (Lisbon).
Insectoid ASMR glitches to powerful ballads of weight and light; gentle, languorous shimmers to startling No Wave noise; raspy double-guitar hockets to gutted, dismantled chorales.
Han-earl Park is the instigator and mastermind behind Eris 136199, as well as groups including Sirene 1009 with Dominic Lash, Mark Sanders and rit. (f.k.a. Caroline Pugh), and co-conspirator in projects with Richard Barrett and others. Park is the constructor of the machine improviser io 0.0.1 beta++, and of Metis 9, a playbook of improvisative tactics. He has performed with Wadada Leo Smith, Paul Dunmall, Evan Parker, Lol Coxhill, Josh Sinton, Louise Dam Eckardt Jensen, Ingrid Laubrock, Gino Robair, Tim Perkis, Andrew Drury, Pat Thomas and Franziska Schroeder. His ensembles have performed at festivals including Freedom of the City (London), Brilliant Corners (Belfast), ISIM (New York), CEAIT (Los Angeles) and Sonic Acts (Amsterdam).
Saxophonist, improviser and composer Catherine Sikora, known for her big sound and lyrical melodic work, works as a solo performer and with Eric Mingus, Enrique Haneine, Brian Chase, Han-earl Park, Ethan Winogrand, Christopher Culpo and Ross Hammond. In recent years Sikora has toured in Canada, the United States, Europe and Australia. She was a featured soloist in Eric Mingus’ radical reimagining of Tommy by the Who (Adelaide Festival 2015), and was artist in residence at the Centre Culturel Irlandais in Paris in 2014 and in 2020.
Guitarist, composer, and computer music programmer Nick Didkovsky has composed music for Kathleen Supové, ETHEL, Bang on a Can All-Stars, Meridian Arts Ensemble, New Century Players, ARTE Quartett, as part of the Fred Frith Guitar Quartet, and his own bands Doctor Nerve, Vomit Fist, Häßliche Luftmasken, and others. His compositions and guitar performances appear on more than 50 records. For over 30 years, his avant-metal big band Doctor Nerve has fueled Didkovsky’s intricate compositions with the energy of rock, punching holes through the walls between heavy metal, contemporary music, and improvisation, and performing at festivals including Moers, FIMAV, and the Whitney Museum’s ‘Whitney Live.’ With computer music pioneer Phil Burk, Didkovsky developed the computer music language Java Music Specification Language (JMSL).
Ballad of Tensegrity I (≥ 5:12), Ballad of Tensegrity II (2:28), Peculiar Velocities I (3:46), Peculiar Velocities II (3:36), Sleeping Dragon (5:22), D-Loop I (≥ 6:16), D-Loop II (5:13), Polytely I (≥ 5:01), Polytely II: Breakdown (5:33), Anagnorisis I (2:09), Anagnorisis II (2:19). Total duration ≥ 46:54.
A big thanks to the backers of our Kickstarter project for their awe-inspiring generosity; helping bring this music to you! A massive thanks to Phillip A., Bruno Bissonnette, Mike Borella, Colin Cahill, Jeremy Clarke, Gary Couse, Nicholas Croft, Don Davis, Andrew Raffo Dewar, Tom Duff, Erik Ellestad, Lee Rice Epstein, Goldi, Owen Green, Rich Hollis, Martin Hoogeboom, Terry Kattleman, Gary W. Kennedy, Liam, Bartholomew R. Mallio, walt mattes, Andrew McKenzie, Rob Miller, Eric Mingus, John Minnock, david m morris, Neil, Matthew Nolan, Michael Rogers, Steffen Schindler, Ken Shimamoto, Craig Sines, j. sinton, Marte van der Loop, Tom Ward, Bernd Wimmer, aJazzNoise, and the Newcastle Festival of Jazz and Improvised Music, and to our anonymous backers.
Track listing: Therianthropy I (≥ 3:43), Therianthropy II (8:56), Therianthropy III (3:55), Therianthropy IV (6:30), Adaptive Radiation I (6:44), Adaptive Radiation II (8:48), Adaptive Radiation III (5:54), Universal Greebly (10:58), Hypnagogia I (8:03), Hypnagogia II (4:45). Total duration ≥ 68:25.
A science fictional foray? the specter of drumming giant Rashied Ali? searing, erupting explosions? striking song-like passages over the rumble and din? climbing over a breathless downpour of sound? John Pietaro writes in the February issue of The New York City Jazz Record that: “In a field of experimentation and free music, Eris 136199 stands as singular.”
The closing work, two-part “Hypnagogia”, begins with the most electronic of sounds in [Nick] Didkovsky’s canon and as it fades the saxophonist blows an aerial passage that turns expressionistic as [Han-earl] Park hurls rapid- fire fills about her (think Interstellar Space as a starting point). By the time Didkovsky returns, his guitar embellishes Park’s and [Catherine] Sikora closes with lush postbop improvisation that will give listeners chills. [Read the rest…]
I love this review! Not just for its generosity and not just that it’s evident that the writer listened carefully (though, of course, it’s both of those), but I appreciate that it devotes space, in turn, to each musician of the trio. So big thanks to John for the review, and thanks, John, for hearing the Ali-connection back in 2013.
Mike Borella at Avant Music News finds monstrous extemporizations; jangling, twisting uneasiness; and an internal battle of self-restraint:
Eris 136199 is much more than deconstructivistic listening. Putting these three explorers together results in a surprising pleasant, if not angular and abstract, experience. Sikora and Didkovsky are a wonderful stylistic matchup – a sax player who is both aggressive and understated with a guitarist who seems to be fighting an internal battle of self-restraint. Park hangs around in the background, adding texture and an ephemeral context for their parts. [Read the rest…]
He concludes by writing: “Great stuff and highly recommended.”
Elsewhere, Avant Scena writes that “the music is just wonderful and charming – all kinds of colors, rhythms, expressions and sounds are condensed together in one form.” And Dolf Mulder writing in Vital Weekly describes a complex music emerging from the meeting of three very different individuals: “A radical kind of music.”
And finally, in Free Jazz’s survey of the recent albums by Catherine Sikora, Fotis Nikolakopoulos describes, in his ☆☆☆☆ review of Eris 136199, dismantling of the rock guitar solo pose, multidimensional timbres and atmosphere, and a constant battle of metallic guitar sounds and the organic feel of the saxophone: “like-minded improvisers who try to find their way through collective thinking and playing…. Eris 136199 is an album that blossoms after repeated listenings and deserves more than a quick listen….”
CD: €11 minimum (‘name your price’) plus shipping.*†
Download: €8 minimum (‘name your price’).†
* Limited edition glass-mastered CD. CD includes additional material (liner notes, artwork, etc.) not included in the download version of the album.
*† Both digital and physical purchases give you streaming via the free Bandcamp app, and option to download the recording in multiple formats including lossless.
Eris 136199 may construct music in the way that is closest to my imagination’s music, even as it continues to confound my moment-by-moment expectations. I have no a priori knowledge of each bloop or bleep or klang or fizz or honk or skronk… nor do I have any specific sense of the strategies at play before we make that first sounding.
But as the music gets underway, and the initial gestures get sounded, I think: yes, of course. There’s that succession of choices (constructive, difficult, obvious, oblique) that have brought me (brought us) right here, right-now; choices that, however perplexing in the moment, retroactively comes to seem almost inevitable. And then it’s time for me to make that next choice, secure in the knowledge that Catherine [Sikora] and Nick [Didkovsky] are ready to make their choices, (ir)responsibly, care(ful|less)ly, with unhurried/spur-of-the-moment deliberation that real-time constraints offer.*
I’m enormously proud of the music recorded here, and blessed to have worked with all the wonderful people who all brought their best game to this album. In particular, I am very grateful to Troels Bech and Charlie McGovern who recorded the performances with clarity and great care, and to Richard Scott who mastered the whole album, giving it a stunning punch and immediacy. Enjoy the noise!
CD: €11 minimum (‘name your price’) plus shipping.†‡
Download: €8 minimum (‘name your price’).‡
* Liner notes are only available with the CD.
† Limited edition glass-mastered CD. CD includes additional material (liner notes, artwork, etc.) not included in the download version of the album.
‡ Both digital and physical purchases give you streaming via the free Bandcamp app, and option to download the recording in multiple formats including lossless.
