Appearance cancelled: Birmingham, Cheltenham and London

I am sad to announce that I will unfortunately not be taking part in the events in Birmingham (March 17, 2020), Cheltenham (March 19), and London (March 21 and 22). All the events, however, are still taking place without me, so please support the fantastic community of local musicians and curators.

My warmest thanks to all the artists involved, big thanks to Jamie Dawson for again offering to lend me the use of his guitar amp, and special thanks to Tom Ward, Andrew Woodhead and Chris Cundy for inviting me to perform. I hope we can set up a rematch in the future.

Sirene 1009 (BAF000)

Cover of ‘Sirene 1009’ (BAF000) with Han-earl Park, Dominic Lash, Mark Sanders and Caroline Pugh (artwork copyright 2017, Han-earl Park)
‘Sirene 1009’ (BAF000) © 2017 Han-earl Park

January 31, 2017: eponymous first album by Sirene 1009 is out now (compact disc and digital download). Sirene 1009 is the cyborg virtuosity of Han-earl Park, the indomitable low-end growl of Dominic Lash, the unstoppable hits and clangs of Mark Sanders, and the controlled vocal mayhem of Caroline Pugh.

[Get the CD/download (Bandcamp)…]

CD: €11 minimum (‘name your price’) plus shipping.*†
Download: €8 minimum (‘name your price’).†

‘Sirene 1009’ (BAF000) with Han-earl Park, Dominic Lash, Mark Sanders and Caroline Pugh (artwork copyright 2017, Han-earl Park)‘Sirene 1009’ (BAF000) with Han-earl Park, Dominic Lash, Mark Sanders and Caroline Pugh (artwork copyright 2017, Han-earl Park)‘Sirene 1009’ (BAF000) with Han-earl Park, Dominic Lash, Mark Sanders and Caroline Pugh (artwork copyright 2017, Han-earl Park)‘Sirene 1009’ (BAF000) with Han-earl Park, Dominic Lash, Mark Sanders and Caroline Pugh (artwork copyright 2017, Han-earl Park)‘Sirene 1009’ (BAF000) with Han-earl Park, Dominic Lash, Mark Sanders and Caroline Pugh (artwork copyright 2017, Han-earl Park)‘Sirene 1009’ (BAF000) with Han-earl Park, Dominic Lash, Mark Sanders and Caroline Pugh (artwork copyright 2017, Han-earl Park)

* Limited edition glass-mastered CD. CD includes additional material (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.

news and updates

October 10, 2018: Collisions with concrete, of thousands of years of musical history, and keeping it “in their pants” (reviews: Eris 136199 and Sirene 1009) A descent into the concrete? rafting over a boiling river? a collisions of thousands of years of musical history? music to communicate cyclists’ collisions? and who are the “bass/drum/guitar boys”,…

October 3, 2018: 100% perishable skills and shrieks of crustaceans (a Jazz Noise: 7 Questions) Mathy grindcore? tubular gates? shrieks of crustaceans? 100% perishable skills? guitars burning-up on reentry? what do Special Forces snipers and saxophonists have in common? and what is The Shitty Gig…

[All articles on Sirene 1009 (BAF000)…]


Sometimes violent and revelatory listening experience that infuses modern aesthetics with the spirit of the ancient…. Ancient and primordial with ideas as open as the night sky, it is not hard to imagine that some of humanity’s first music would have sounded something like this. [More…]

— John Morrison (Jazz Right Now, Best of 2017)

There are few bands that cross as much territory as this one does. From thrashing, spastic aggressive riffs that put most punks to shame to explorations of the quietest of spaces in-between thoughts, Sirene 1009 is a fierce, adventurous band that goes where most bands don’t: into the unknown, fearlessly in search of the new…. [More…]

— David Menestres (Free Jazz)

This album is brilliant. This album is insane. [More…]

— Dave Sumner (Bird is the Worm)

Sirene 1009 don’t so much push the envelope of improvisation as tear it into small pieces and eat them, just to spite any listener preconceptions…. Sirene 1009 may just be the auditory experience that [Derek] Bailey’s label [‘non-idiomatic improvisation’] has been waiting for. [More…]

— Dave Foxall (Jazz Journal/a Jazz Noise, Best of 2017)

[More reviews…]

Eponymous first album by Sirene 1009. Sirene 1009 is the cyborg virtuosity of Han-earl Park (Eris 136199, Mathilde 253), the indomitable low-end growl of Dominic Lash (Convergence Quartet, The Set Ensemble), the unstoppable hits and clangs of Mark Sanders (John Butcher, Christian Marclay), and the controlled vocal mayhem of Caroline Pugh (Performing Identity and The Unknown, Photo Ballads).

Muffled junkyard hammering (clang! thud! snap!) beat unlikely counter-rhythms; suspension bridge rumble in the turbulence with subwoofer scratches; bad traffic and extreme weather conspire elemental percussion; broken public address system splutter and loop, evoke the intelligible.

Conjuring up rhythmic and sonic detritus from just a guitar and a volume pedal, Han-earl Park has performed with some of the craftiest improvisers from the Americas, Asia and Europe. The instigator of Sirene 1009, Park also (co-)leads Eris 136199 with Nick Didkovsky and Catherine Sikora, Mathilde 253 with Charles Hayward and Ian Smith, and Numbers with Richard Barrett.

The molten, musical core of Sirene 1009 comprises the virtuosic bassist, composer and sound artist Dominic Lash, and Mark Sanders, arguably the most sought-after avant-jazz and free improvisation drummer of his generation. Sirene’s rhythm section adeptly plays the borders of idiom and the explicable.

Having variously collaborated over the years in different contexts and configurations, in 2014 Park, Lash and Sanders performed for the first time as a trio.

During the 2015 tour, Belfast-based avant-folk singer and electronic artist Caroline Pugh joined the group. With a practice that critically, sometimes mischievously, intersects with digital, gallery and performance arts, and unmatched microphone technique (from whisper to scream, from embodied sound to flights into the stereo panorama), Pugh brings an additional layer of levity and exuberance to the already playful interactions of the trio.

Recorded at Cafe OTO (London) during a Culture Ireland funded tour of England, and during a single afternoon studio session in Birmingham, the album documents an ensemble of musicians representing diverse strands of present-day improvised musics; performances that fragment and recombine musical histories, that leaps unexpectedly between noise, melody, dissonance, harmony and rhythm.


Han-earl Park (guitar), Dominic Lash (double bass), Mark Sanders (drums), and Caroline Pugh (voice and tape recorder).

track listing

Psychohistory III (≥9:47), Cliodynamics I (10:44), Cliodynamics II (12:22), Cliodynamics III (5:11), Hopeful Monsters (9:41), Psychohistory V (≥10:40). Total duration ≥58:25.

recording details

Music by Han-earl Park, Dominic Lash, Mark Sanders and Caroline Pugh.

Tracks 2–5 recorded live December 3, 2015, Cafe OTO, London. Recorded by Alex Fiennes.
Tracks 1 and 6 recorded June 16, 2016, Flood Studio, Birmingham. Recorded by Luke Morrish-Thomas.
Mixed and mastered by Han-earl Park.
Design and artwork by Han-earl Park.

Thanks to Alex, Luke, Bruce Coates, Richard Scott, Kate Hendry, Nick Didkovsky, Catherine Sikora, Josh Sinton, Franziska Schroeder, John Hough, Corey Mwamba, Ingrid Laubrock, Andrew Raffo Dewar, Jeb Bishop and Melanie L Marshall; to Simon Holliday, Fielding Hope, James Dunn and Oli Barrett at OTO; George Haslam at SLAM; Cath Roberts of LUME; Mike Borella of Avant Music News; Cisco Bradley of Jazz Right Now; Nasc Ireland; Seth Cooke and everyone at Bang the Bore; and Andrew Woodhead of Fizzle.

Culture Ireland logo

London performance presented with funding from Culture Ireland, and support from SLAM Productions.

© + ℗ 2017 Han-earl Park.

Included with pre-orders of Sirene 1009

‘Kuramoto Synchronization’ with Han-earl Park, Dominic Lash and Caroline Pugh (artwork copyright 2016, Han-earl Park)

Kuramoto Synchronization [details…]

Performers: Han-earl Park (guitar), Dominic Lash (double bass) and Caroline Pugh (voice and tape recorder).

© + ℗ 2016 Han-earl Park.

about the ensemble

Sirene 1009: Han-earl Park, Dominic Lash, Mark Sanders and Caroline Pugh
Photos © 2016 Bruce Coates. [More images…]

Somewhere out there, there’s an SUV-sized violin tailgating, a No Wave guitarist desperately trying to survive in the Appalachian Mountains, someone dropping sheets of metal during a Jazz Session, an evolutionary biologist finding themselves speaking in tongues (Awash in Blue).

Hear guitarist Han-earl Park push and pull on the guitar-amplifier dancing partners, Dominic Lash and his double bass damage hanging artwork, Mark Sanders excavate caverns in the smallest spaces for his percussion, and Caroline Pugh sing the lines that border the intelligible and the cryptic. [More about Sirene 1009…]

about the performers

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 and the USA.

Park engages a radical, liminal, cyborg virtuosity in which mind, body and artifact collide. He is driven by the social and revolutionary potential of real-time interactive performance in which tradition and practice become creative problematics. As a constructor of musical automata, he is interested in partial, and partially frustrating, context-specific artifacts; artifacts that amplify social relations and corporeal identities and agencies.

Ensembles include Mathilde 253 with Charles Hayward and Ian Smith, Eris 136199 with Nick Didkovsky and Catherine Sikora, and Numbers with Richard Barrett. Park 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, Mark Sanders, Josh Sinton, Louise Dam Eckardt Jensen, Gino Robair, Tim Perkis, Andrew Drury, Pat Thomas and Franziska Schroeder, and as part of large ensembles led by Wadada Leo Smith, Evan Parker and Pauline Oliveros.

Festival appearances include Freedom of the City (London), Sonorities (Belfast), ISIM (New York), dialogues festival (Edinburgh), CEAIT (Los Angeles) and Sonic Acts (Amsterdam). His recordings have been released by labels including Slam Productions, Creative Sources and DUNS Limited Edition.

Park taught improvisation at University College Cork, and founded and curated Stet Lab, a space for improvised music in Cork.

“Guitarist Han-earl Park is a musical philosopher…. Expect unexpected things from Park, who is a delightful shape-shifter….”

Brian Morton (Point of Departure)

Dominic Lash is a freely improvising double bassist, although his activities also range much more widely and include playing bass guitar and other instruments; both writing and performing composed music; and writing about music and various other subjects.

He has performed with musicians such as Tony Conrad (in duo and quartet formations), Joe Morris (trio and quartet), Evan Parker (duo, quartet and large ensemble) and the late Steve Reid. His main projects include The Dominic Lash Quartet, The Set Ensemble (an experimental music group focused on the work of the Wandelweiser collective) and The Convergence Quartet.

Based in Bristol, Lash has performed in the UK, Austria, Finland, France, Germany, the Netherlands, Norway, Spain, Switzerland, Turkey and USA. For nearly a decade he was based in Oxford and played a central role in the activities of Oxford Improvisers; much of 2011 was spent living in Manhattan. In 2013 and 2014 he is taking part in Take Five, the professional development programme administered by Serious.

Festival appearances include Akbank Jazz Festival (Istanbul), Audiograft (Oxford), Freedom of the City (London), Huddersfield Contemporary Music Festival, Hurta Cordel (Madrid), Konfrontationen (Nickelsdorf), LMC Festival (London), Manchester Jazz Festival and Tampere Jazz Happening.

His work has been broadcast on a number of radio stations, including BBC Radios 1 and 3 and Germany’s SWR2, and released on labels including Another Timbre, b-boim, Bead, Cathnor, Clean Feed, Compost and Height, Emanem, Erstwhile, FMR, Foghorn, Leo and NoBusiness.

Since moving to Bristol he has been involved in organising concerts under the banners of Bang the Bore and Insignificant Variation. A new venture is the monthly series happening every second Wednesday at the Arnolfini entitled Several 2nds. Events include performances, workshops, film screenings and discussions.

“Following in an illustrious lineage from Barry Guy through Simon Fell… breathtaking.”

John Sharpe (All About Jazz)

Mark Sanders has played with many renowned musicians from around the world including Evan Parker, Peter Brotzmann, Derek Bailey, Myra Melford, Paul Rogers, Henry Grimes, Roswell Rudd, Okkyung Lee, Barry Guy, Tim Berne, Otomo Yoshihide, Luc Ex, Ken Vandermark, Sidsel Endresen and Jean Francois Pauvrois, in duo and quartets with Wadada Leo Smith and trios with Charles Gayle with Sirone and William Parker.

New collaborative projects include ‘Riverloam Trio’ with Mikolaj Trzaska and Olie Brice, ‘Asunder’ with Hasse Poulsen and Paul Dunmall, duos with John Butcher and DJ Sniff, ‘Statics’ with Georg Graewe and John Butcher, and trio with Rachel Musson and Liam Noble.

Mark and John Edwards play as a rhythm section with many groups including Trevor Watts Quartet, ‘Foils’ with Frank Paul Schubert and Matthius Muller, Mathew Shipp’s ‘London Quartet,’ also playing with Fred Frith, Wadada Leo Smith and Shabaka Hutchins amongst many others.

Christian Marclay’s ‘Everyday’ project includes Mark with Christian, Steve Beresford, John Butcher and Alan Tomlinson, he also works regularly in the projects of Mikolaj Trzaska, Gail Brand, Paul Dunmall, Peter Jaquemyn, and Simon H. Fell.

Mark has performed in the USA, Canada, Brazil, Japan, Morrocco, South Africa, Mozambique and Turkey, playing at many major festivals including, Nickelsdorf, Ulrichsburg, Glastonbury, Womad, Vancouver, Isle of Wight, Roskilde, Berlin Jazz days, Mulhouse, Luz, Minniapolis, Banlieue Bleues, Son D’hiver and Hurta Cordel.

He has released over 120 CDs.

“A gifted player capable of seamless movement between free-rhythms and propulsive swing.”

John Fordham (The Guardian)

Scottish vocalist and composer Caroline Pugh borrows old-fangled technologies and honours oral histories to create new performances. With a background in both folk and improvisation, her solo works You’ve Probably Heard These Songs Before, Timing By Ear, Measuring By Hand and Platform Audio also draw on performance art and pinhole photography.

Originally from Edinburgh, Caroline has performed across Europe and North America with new improvisation performances including Los Angeles’ Betalevel in 2012, NIME 2011 in Oslo, Just Listening 2011 in Limerick and Experimentica09 in Cardiff. She is also in a band called ABODE and an improvisation collective called E=MCH.

Now based in Belfast, Caroline sings in a folk duo with Meabh Meir and together with Myles McCormack they run traditional song sessions at the Garrick Bar on Mondays from 7.30-10pm.

In 2011, Caroline was awarded an Art Council Northern Ireland grant for her solo work and gained a Distinction for her AHRC-funded Master of Music at Newcastle University. She coaches students at Queen’s University Belfast and has worked in collaboration with visual artists (Connecting through Scape 2008), theatre practitioners (hour8+9 2009), video artists (SAAB 2009), dancers and psychologists (Newcastle and Northumbria Universities 2010). She also got a BA in Scottish Music from the Royal Academy of Music and Drama in Glasgow, and studied Contemporary Music at the University of Central Lancashire for a wee while too.

“Every once in a while you happen upon a gig or event that’s so fundamentally unlike anything you’ve experienced before that you can’t help but reconsider your own thoughts on what defines music, performance and entertainment.”

Brian Coney (BBC Across The Line)

Also by these artists

‘A Little Brittle Music’ with Han-earl Park, Dominc Lash and Corey Mwamba (artwork copyright 2015, Han-earl Park)

A Little Brittle Music [details…]

Performers: Han-earl Park (guitar), Dominic Lash (double bass) and Corey Mwamba (vibraphone and flute).

© 2015 Han-earl Park. ℗ 2015 Park/Lash/Mwamba.

Skip (copyright 2013, FMR)

Skip (FMRCD350)

Performers: Pat Thomas (piano), Dominic Lash (bass) and Mark Sanders (drums).

© + ℗ 2013 FMR Records.

Paul Dunmall, Han-earl Park and Mark Sanders: Dunmall-Park-Sanders (Birmingham, 02-15-11)

Dunmall-Park-Sanders (Birmingham, 02-15-11) [details…]

Performers: Paul Dunmall (saxophones and bagpipes), Han-earl Park (guitar) and Mark Sanders (drums).

(cc) 2013 Paul Dunmall/Han-earl Park/Mark Sanders.

Han-earl Park, Paul Dunmall, Mark Sanders and Jamie Smith: Live at the Glucksman gallery, Cork (owlcd002) CD cover (copyright 2012, Owlhouse Recordings)

Live at the Glucksman gallery, Cork (owlcd002) [details…]

Performers: Han-earl Park (guitar), Paul Dunmall (saxophone), Mark Sanders (drums) and Jamie Smith (guitar).

© 2009 by Owlhouse Recordings.
℗ 2009 Han-earl Park/Paul Dunmall/Mark Sanders/Jamie Smith.


01-31-17: released!
01-29-19: added reviews.

tonight: Bruce Coates, Han-earl Park and Walt Shaw at Fizzle, Birmingham

Bruce Coates, Han-eark Park and Walt Shaw
Tonight (Tuesday, July 19, 2016), at at 7:30pm: Bruce Coates (saxophones), Han-earl Park (guitar) and Walt Shaw (percussion), plus Jim Bashford (drums) and Andrew Woodhead (piano), perform at Fizzle @ The Lamp Tavern (Barford Street, Birmingham B5 6AH). Admission is £5.

performance: Bruce Coates, Han-earl Park and Walt Shaw at Fizzle, Birmingham

Bruce Coates, Han-earl Park and Walt Shaw
Tuesday, July 19, 2016, at 7:30pm: Bruce Coates (saxophones), Han-earl Park (guitar) and Walt Shaw (percussion), plus Liam Noble (piano), Mark Lewandowski (double bass) and Jim Bashford (drums) and Andrew Woodhead (piano), perform at Fizzle @ The Lamp Tavern (Barford Street, Birmingham B5 6AH). Admission is £5.

And, yes, it’s been ten years since I first met, and played with, Bruce; way back in November 2006. It’s been a while… 😉

See the performance diary for up-to-date info. [Fizzle page…]

By Han-earl Park and Bruce Coates

‘io 0.0.1 beta++ (SLAMCD 531) CD cover (copyright 2011, Han-earl Park)

io 0.0.1 beta++ (SLAMCD 531) [details…]

Performers: io 0.0.1 beta++ (itself), Han-earl Park (guitar), Bruce Coates (alto and sopranino saxophones) and Franziska Schroeder (soprano saxophone). [About this project…]

© 2011 Han-earl Park.
℗ 2011 SLAM Productions.


07-18-16: update lineup.

performance diary 06-25-16 (Birmingham)

upcoming performances
date venue time details
July 19, 2016 The Lamp Tavern
Barford Street
Birmingham B5 6AH
7:30pm Bruce Coates (saxophones), Han-earl Park (guitar) and Walt Shaw (percussion) presented by Fizzle. Also performing: Liam Noble (piano), Mark Lewandowski (double bass) and Jim Bashford (drums) and Andrew Woodhead (piano). Admission: £5.
[Details…] [Fizzle listings…]
2017 Europe I am seeking performance opportunities for, in particular, the ensemble Sirene 1009 (Han-earl Park: guitar; Dominic Lash: double bass; Mark Sanders: drums; and Caroline Pugh: voice). Interested promoters, venues and sponsors, please get in touch!

Continue reading “performance diary 06-25-16 (Birmingham)”

thanks: Park-Lash-Sanders-Pugh (Fizzle, Birmingham; BtB, Bristol; and OTO London), Laubrock-Park (New Revolution Arts, Brooklyn) and Didkovsky-Park-Sinton (65Fen, Brooklyn)

Han-earl Park and Ingrid Laubrock (New Revolution Arts, Brooklyn, December 12, 2015). Photo © 2015 Michael Foster.
Han-earl Park and Ingrid Laubrock (New Revolution Arts, Brooklyn, December 12, 2015). Photo © 2015 Michael Foster.

Five performance this final month of 2015! A great privilege to have shared the stage with so many awesomely creative, smart and generous people. Let’s get to the hat-tips…

Okay, start with a thanks to my co-conspirators, Dominic Lash, Mark Sanders and Caroline Pugh, who consistently created fascinating, difficult, infuriating, confounding and beautiful spaces for interaction. Listening to the music play out in real-time, all I could think was that it sounds great whenever the guitarist shuts-up. (As Josh Sinton pointed out later, that’s really a wonderful position to be in; not knowing how to contribute to—to add to—an already perfect ensemble at play.)

Thanks to Ingrid Laubrock for the play—it was great to come-off a… logistically challenging set of gigs into a relaxed performance where, well, anything might happen… and we ended up in some interesting and unexpected places. (Felt very good about this one.)

To Josh Sinton and Nick Didkovsky, well… That. Was. A. Blast. …Thanks, Josh, Nick, for the Loud Jazz (best possible sense!).

Big thanks to all the venues and promoters, DIYers and supporters: to the indefatigable Andrew Woodhead at Fizzle; to Seth Cooke and everyone at Bang the Bore for an awesome event; to Fielding Hope, Oli Barrett and everyone at Cafe OTO for their support, and for their patience with all the ups’n’downs; to Josh and everyone at 65Fen Music Series; and to Cisco Bradley for inviting me to perform at New Revolution Arts (a beautiful space—socially, musically).

Thanks to Tom Durham the gentleman who lent me his amplifier in Birmingham (sorry, can’t remember your name!), and to Andrew Drury and Chris Welcome who did the same in Brooklyn—y’all made my travels so much more pleasant!

The tour by my ensemble with Dom, Mark and Caroline was made possible with funding from Culture Ireland, and I am extremely grateful for their support.

I am also grateful to Franziska Schroeder, Elspeth Murray, Helen Petts, ODD7’s Towards the Margins, London Korea Links, and Alma Ní Choigligh of Embassy of Ireland (London) who all helped to spread the word of the performances. A special thanks to Cath Roberts of LUME, Avant Music News, and George Haslam of SLAM Productions for their continued support. Similarly, thanks to Editor Laurence Donohue-Greene for tying-in a review in The New York City Jazz Record to coincide with my Brooklyn performances.

Thanks to Dom Lash and Kate Hendry, and to Josh Sinton and family, for offering a place for this itinerant musician to crash a night (or three). Kudos to Nasc Ireland for helping me navigate some border… technicalities 😉

And a very special thanks to the Best Sound Engineer in the Known Universe, Alex Fiennes, for taking time to make the music sound great in London.

Finally, as always, thanks, thanks, thanks, everyone, for listening.

Next up…

Performing again with Dom Lash, Mark Sanders and Caroline Pugh, this time in Cork, January 2016. See the performance diary for up-to-date info.

Culture Ireland logo

Birmingham, Bristol and London performances presented with funding from Culture Ireland, and support from SLAM Productions.


12–20-15: add Tom Durham’s name (thanks, Andy).

thanks: Han-earl Park, Dominic Lash and Mark Sanders (Birmingham and London, October 2014)

Quick note of thanks to all involved in the October 28 and October 30 performances. Thanks mightily to Cath Roberts and Dee Byrne, instigators of LUME, and Andrew Woodhead, the new mastermind behind Fizzle, for hosting the performances, and for their support and enthusiasm. Thanks to Ben Lee (who also managed Fizzle on the night) and Roberto Sassi (and Roland Ramanan for the intro) for allowing this itinerant guitarist to borrow the use of their amplifiers. Thanks to the other ensembles who shared the bill: Lee Allatson, Stewart Brackley and Bruce Coates (Lee, Bruce, great to see you guys again!); and Sam Andreae and Rodrigo Constanzo.

Mondo kudos to Dom Lash and Mark Sanders. I am indebted to these two smart, perceptive, crafty and imaginative improvisers. They make every moment sound that much more brilliant, and every turn that much more unexpected. Looking forward to playing again! (tell your local music org to book us! 😉

Finally, as always, thanks to all who came to listen to the real-time noise, and to witness the jump-cuts between chaotic frenzy and delicate, pretty open spaces. It’s been a while since I performed in these two cities; always a pleasure.