I love, love, love this recording, and the camaraderie of the artists (and helpers and supporters behind-the-scenes) involved in its making. If the trio’s first performance in the spring of 2022, caught between lockdowns and post-pandemic ‘normality,’ was about that strange sense of cautious relief and optimism, then this later performance was something altogether more strident, brash, at times harsh and ugly, confrontational and combative. What I hear is Lara punching you unremittingly in the mid-rage gut; Pat throwing down beats of glitchy robotic wasps, and of impossible danceability; and my struggles with an unfamiliar guitar (a silver rocker) that wants to make it all a little too easy.
During the mix, I came to realize this unapologetically unrefined music was probably unreleasable, but I also came to love it more for being delicate as a slab of granite. Listen to it, and think of us. Enjoy. [Read the rest…]
Download the album, and revel in those buzzing, ugly fusions, microsurround pops and spikes, and queasily in tune warbles and waves.
Download: €8.
Cassette tape* plus download: €12 plus shipping.
Note on the cassette tape
* The cassette tape release does not duplicate the digital album, but offers a complement to it. In contrast to the digital download album, the cassette album is the room mic recording of the second set only (corresponding to ‘Proxemics I–VI’). The cassette presents a vérité, ‘bootleg’-vibe documentation of the performance as heard by the audience on the night.
Track listing: 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.
Group improvisation as triangulation? Fierce solidarity? Wet, squishy electrochemical processes? And science fiction, and the fictions of science? In Ettore Garzia’s Percorsi Musicali article, Garzia asks me about my thoughts on “art and on the way we should approach the reality of the twenty-first century”:
As for the present-day hellfire 2.0 of the world, whether from strong-men political figures, or the next tech breakthrough, we’re surrounded by promises of simple solutions, and seductive stories of salvation and redemption. In this context, creative peoples, I think, can offer counter-narratives to complicate and refute those easy solutions; to instead help us face the complex, the contradictory, the uncertain and ambiguous.
As for me, empathy, compassion and solidarity remain the reasons I continue to engage with interactive, social music practices and communities. But these practices and communities are flawed and imperfect—they are deeply, deeply human after all—and I think it’s important that we remain aware of the possibility of violence and abuse in our practices, and work to take consent, power, conflict, desire and agency seriously. [Read the rest…]
Proxemics spreads electroacoustic power and a sense of movement, thanks to many elements, the fragmentation of the guitar, the plethora of unnatural sounds brought into play by Thomas and the small and intermittent manipulations of Lara’s sax. I discover a narration inside, but also a void, a melancholic vein. Is that so?
Lara [Jones] and Pat [Thomas] are doing some of the most exciting work in enrolling electronics into improvised performance right now. Their approaches, as different as they are, are informed by present-day technological developments while being irreverent towards those same tech enterprises; they are as avant-garde as they come while deeply engaging with the electronic dance vernacular.
I also hear that messy, contradictory, rolling narrative side to Juno 3, but, more than melancholy, I hear, with Proxemics, something angrier and confrontational—I feel, at times, that the music spits and snarls. [Read the rest…]
Read the rest of the article to catch me talking about how the works of certain writers and filmmakers have affected my work in refracting improvisation through narrative techniques and tropes; the reason for choosing the trio context (and the differences between Eris 136199, Juno 3 and Gonggong 225088); and whether I would ever return to constructing musical automata in this post-ChatGPT condition.
Track listing: Derealization I (4:07), Derealization II (4:57), Derealization III (3:52), Derealization IV (6:19), Derealization V (5:55), Derealization VI (3:47), Proxemics I (5:05), Proxemics II (3:54), Proxemics III (6:10), Proxemics IV (7:15), Proxemics V (6:10), Proxemics VI: Rumble (5:13). Total duration: 62:44.
Track listing: Autopoiesis I (≥ 10:14), Autopoiesis II (≥ 4:29), Niche Shift I (16:09), Niche Shift II (≥ 4:45), Niche Shift III (4:35), Niche Shift IV (≥ 12:52), Autopoiesis III (3:26), Autopoiesis IV (≥ 5:03), Autopoiesis V (≥ 3:17), Autopoiesis VI (3:37). Total duration ≥ 70:14.
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.
Proxemics (BAF003), Juno 3’s latest album is out now! with the digital download available today and the companion cassette tape* to begin shipping in February. Masterminded by Berlin-based Korean-American improviser and guitarist Han-earl Park, Juno 3 is his trio with London-based experimental producer, saxophonist, and sound artist Lara Jones, and boundless experimentalist and pioneer of electroacoustics in free improvisation, Pat Thomas. Recorded at Cafe OTO, Proxemics (BAF003) captures the trio’s performance as part of the EFG London Jazz Festival’s outer left field.
I love, love, love this recording, and the camaraderie of the artists (and helpers and supporters behind-the-scenes) involved in its making. If the trio’s first performance in the spring of 2022, caught between lockdowns and post-pandemic ‘normality,’ was about that strange sense of cautious relief and optimism, then this later performance was something altogether more strident, brash, at times harsh and ugly, confrontational and combative. What I hear is Lara punching you unremittingly in the mid-rage gut; Pat throwing down beats of glitchy robotic wasps, and of impossible danceability; and my struggles with an unfamiliar guitar (a silver rocker) that wants to make it all a little too easy.
During the mix, I came to realize this unapologetically unrefined music was probably unreleasable, but I also came to love it more for being delicate as a slab of granite. Listen to it, and think of us. Enjoy.
These spiky yet nuanced confrontations have their own profound logic, relying on messy, punchy, and unsettling conversational interplay that avoid comforting veins and familiar dynamics and transform it into compelling interplay that offers a subversive, resistant kind of empathy and compassion.
Elastic, doxastic collisions—
hold two thoughts, both true.
Masterminded by Berlin-based Korean-American improviser and guitarist Han-earl Park, Juno 3 is his trio with London-based experimental producer, saxophonist, and sound artist Lara Jones, and boundless experimentalist and pioneer of electroacoustics in free improvisation, Pat Thomas. Recorded at Cafe OTO, Proxemics (BAF003) captures the trio’s performance as part of the EFG London Jazz Festival’s outer left field. Proxemics is the follow-up to the eponymous Juno 3 (RAM-163CD, 2023) described as having “wonderful energy, constant motion, and roiling in noise. And immense amount of grit and power” (Corey Mwamba, Freeness, BBC Radio 3).
The music was recorded with efficiency (and with a boldly creative live-mix) by Kevin Shoemaker, and mixed and mastered for release by Han-earl Park. If the trio’s previous album was an expansive and joyous flow of intergalactic urban transit, then Proxemics is altogether something more prickly, difficult, and at peace with its confrontational nature.
Recommended reading: N. K. Jemisin. The City We Became (Orbit, 2020).
Derealization I (4:07), Derealization II (4:57), Derealization III (3:52), Derealization IV (6:19), Derealization V (5:55), Derealization VI (3:47), Proxemics I (5:05), Proxemics II (3:54), Proxemics III (6:10), Proxemics IV (7:15), Proxemics V (6:10), Proxemics VI: Rumble (5:13). Total duration: 62:44.
Cassette tape: Proxemics A (18:11), Proxemics B (17:27). Total duration: 35:37.*
Recorded live November 13, 2023, Cafe OTO, London.
Recorded/live mix by Kevin Shoemaker. Mixed and mastered by Han-earl Park.
Design and artwork by Han-earl Park.
Funded by Berlin Senate Department for Culture and Community.
Note on the cassette tape
* The cassette tape release does not duplicate the digital album, but offers a complement to it. In contrast to the digital download album, the cassette album is the room mic recording of the second set only (corresponding to ‘Proxemics I–VI’). The cassette presents a vérité, ‘bootleg’-vibe documentation of the performance as heard by the audience on the night.
Track listing: 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.
01-15-25: released! 01-06-25: add video playlist. 02-06-25: added reviews. 02-15-25: cassette delivery delayed. If you’ve already ordered the tape, you should have got an email from me about the delay. If not, please drop me a message.
Coming soon! Proxemics (BAF003), the new album by Juno 3 (Han-earl Park, Lara Jones and Pat Thomas). Proxemics (BAF003) will be available as a full-length, digital download album, and a limited edition companion cassette tape.
The music is strident, brash, at times harsh and ugly, confrontational and combative—it’s unlike anything else I’ve been a part of—and I’m very excited to share it with you, and very, very curious to know what you make of it. More soon!
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Thanks to On Yee Lo, Fielding Hope and everyone at Cafe OTO, Wesley Stephenson of Jazz North East, Corey Mwamba of Out Front! and a very special thanks to Alex Ward for the loan of his guitar. The performance was presented as part of the EFG London Jazz Festival, and with funding from the Berlin Senate Department for Culture and Community.
Funded by Berlin Senate Department for Culture and Community.
Track listing: 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.
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 in-the-box (with a little out-of-the-box thinking) mixing work.
Track listing: Autopoiesis I (≥ 10:14), Autopoiesis II (≥ 4:29), Niche Shift I (16:09), Niche Shift II (≥ 4:45), Niche Shift III (4:35), Niche Shift IV (≥ 12:52), Autopoiesis III (3:26), Autopoiesis IV (≥ 5:03), Autopoiesis V (≥ 3:17), Autopoiesis VI (3:37). Total duration ≥ 70:14.
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.
Track listing: 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.
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 question about the joy in improvised music, I talk about the “ambiguity of action and reaction; the unknowability of connection”, and that:
The pleasure of play is when trust is a choice, and we choose to trust. When we don’t take each other for granted. When we are fully cognizant of the potential for violence and cruelty, but we choose to take compassion, affinity, consent, desire and agency seriously.
What quality do you most admire in the musicians you perform with?
It’s not one thing for me. It’s never one thing. What you bring to the stage is your humanity—messy, beautiful, dysfunctional, joyous, contradictory, mutable, stubborn, insecure, fractious, but also empathetic and compassionate.
Each musician is different, and each group is different. It’s good, I think, to be sensitive to who the group is, and what the group could be; to be open to what is possible, but cognizant of the differences and inequalities that exist in any ensemble. [Read the rest…]
By the way, I responded to the question, “if you could resurrect a musician to perform with, who would it be?” by saying that “I could only answer that with a cautionary piece of science fiction.” Here’s my draft sci-fi answer that I did not, in the end, hand in to Paul Acquaro, editor at Free Jazz:
An answer by way of a cautionary story:
The noise was unbearable, the light, harsh, blinding. And then.
The machine went silent, dark. The arcs of electricity now only a vague echo of persistent vision. The only sign that there had been unnatural activity was the ozone in the air. As my eyes slowly adjusted, I could make out the bewigged corpse—pale, contorted—but undead presently on the table.
And so now the doubts: What would the masses of the cultured think of their celebrated composer reanimated? Would, as I had hoped in exhuming their idol, they—the patriarchal, white-supremacist colonialists—(re)examine their dreams and pleasures? Would they recognize the violent scaffolding around which they, and their institutions, erected European Liberalism? Or would the Culture Machine masticate these truths, and come to admire their Zombified Idol as a Strongman-Savior in this Post-Truth condition (a Wolfgang Frickin’ Trump)?
Should I have reanimated instead some marginalized or minoritized artist? One who had been forgotten, perhaps, exoticized or tokenized, or footnoted in our Introduction To Music textbook? What would I tell them as they woke to The World 2.0? What would they see? What would the Culture-Industrial Complex of Western Modernity do to that undead being? How would that Complex (re)rationalize the artist’s story and their existence and their purpose?
If you’d like to know more about my concerns about the role of narrative and narrative form in improvisation, or my interest in shifting improvisative play towards a kind of acting, please read the rest of the interview.
Guitare du jour. (Thanks to Anton Hunter, Cafe OTO and Alex Ward.)
Thanks so much to everyone behind-the-scenes who made the music happen. Thanks so much to Wesley Stephenson and Charles McGovern at Jazz North East, and to everyone at The Globe. Thanks to Fielding Hope at Cafe OTO for again hosting Juno 3, and my warmest thanks to the awesome, awesome people working at OTO on the night who helped us navigate the Jazz Festival crowd (if you were there, you’ll know what I mean), and to Kevin Shoemaker who exercised his creativity behind the desk. And thanks to Ian Perry, Richard Belfitt, Jonny Hill and everyone at OUT FRONT! and at Déda, and thanks so, so much to the smart, creative and tenacious Corey Mwamba—always a pleasure to play Derby!
A 100% sincere ‘boo’ to the airline who sent my guitar to the wrong airport, but an equally sincere thanks to the guitarists who generously lent me their instruments for a night each in Newcastle, London and Derby: to Alex Ward (rock’n’roll!), and to Anton Hunter (you can take the Tele out of Nashville, but you can’t take the Nashville out of a Tele).
Finally, thanks so much to the musicians who joined me on stage: to Heather Roche and Anton Hunter for the chirps, slaps, snaps, twangs, slides, honks, skronks and growls. And to the amazing Lara Jones and awe-inspiring Pat Thomas—yeah, how about that moment from the second OTO set!—I look forward to many more noisy adventures in the future.
Funded by Berlin Senate Department for Culture and Community.
Track listing: 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.
Juno 3 is Han-earl Park (guitar), Lara Jones (saxophone and electronics) and Pat Thomas (electronics). Captivating, gripping and fascinating, Juno 3’s music 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.
As Corey Mwambasaid on Freeness about our music, “wonderful energy, constant motion, and roiling in noise. And immense amount of grit and power.” I can honestly say this trio sounds like nothing out there.
Track listing: 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.
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.
