remodeled counters, selfmade objects, tuning fork
홍철기: turntable without cartridge
류한길: speaker and piezo vibration
커버 디자인: 최준용
2009년 7월에 있던 카와구치 타카히로의
서울 방문중에 녹음되었다.
|Tablesetting vol.1 2009/07/25 at
Bowie (사진: 진상태)
related audio file from The Wire web exclusive
- recorded at Bowie in Seoul 2009.7.25, outtake from 'oscillation.vacillation'
by Brian Olewnick]
Firstly, excellent CD sleeve design in play here--two L-shaped pockets
that overlap one another around the disc. Two tracks, one relatively
short (@ 13 minutes) one over 40. Quiet, often fluttery, only rarely
edging into territory adjacent to "Driller". It's been interesting to
hear the infiltration of rhythm in the form of clocks and other
counting-type machines in some portion of new Korean and Japanese
improvisation. Here, there's often some kind of beating or ticking
element in play though I guess calling them "rhythms" is stretching the
point, though the second cut ends with a humorous kind of gentle,
three-beat horsey clip-clop. They don't propel things forward; if
anything, one has the sense of hovering, like a hummingbird or
dragonfly. It's a fine session, though, the quartet managing that tough
feat of being fairly busy and active but entirely avoiding a sense of
the cluttered or cloying. A nice sense of the space of the room. Fine
recording, held my attention every step of the way. Get it.
on Vital Weekly by Frans de Waard]
The quartet release of Koreans Chulki and
Hankil along with Takahiro Kawaguchi (from Japan) and Joe Foster
(originally from the USA but since 2002 in Korea) is by contrast a more
'regular' album of improvisation. There is no information on the album
as to who plays what or when and where it was recorded and judging by
my ears this is a duet of electronics (analogue), contact microphones,
feedback, turntables and other cracked electronics. Much softer than
the 'Driller' release, this one bounces up and down the scale.
Sometimes loud, sometimes inaudible soft. There is lots and lots of
stuff going on here, making this a highly vibrant record. The absence
of real instruments, yet while strictly in improvising field, make this
a most exciting record. It could have a bit more information, I'd say.