recordings – Page 4 – Han-earl Park

July 27, 2022September 14, 2022

Rerelease the Cryptogenic Animals!

Update: download no longer available. Thank you so much for your support, and thanks so much for listening!

Rereleased, and available for a limited time: Eris 136199’s Cryptogenic Animals originally released in 2018!

Folk (including many new listeners who’d missed out on the crowdfunders) have, over the last few years, been asking about the availability of Eris 136199’s limited-edition recordings. For the trio’s decennial we’ll be rolling a few of these out again. The digital-only albums Problematica (recorded at Out Front, Derby), and Parabiosis (The Vortex Jazz Club, London) will be rereleased in the following months, but available from today is Cryptogenic Animals recorded at Xposed Club, Cheltenham, November 2017.

Download: €5.00 minimum (‘name your price’).

Album available to stream via the free Bandcamp app, and to download in multiple formats including lossless.

Description

Repurposing melodic atoms? Dueling amplifiers? By turns riding and submerging into reverberant spaces? Here’s how I described the recording on its release in 2018:

While the Copenhagen and Newcastle performances are documented in an upcoming album by the trio Eris 136199, Cryptogenic Animals, recorded in Cheltenham between those dates, offers a unique opportunity to track the evolution of this improvising trio during the 2017 European tour.

Take for example the synchronized, collective jump-cuts and smash-cuts that populates the Copenhagen improvisations. These are all but absent by the time the trio perform three night later in Newcastle where, in their place, you find the group breathing together; moving and transitioning in larger scales. On Cryptogenic Animals, recorded the night after Copenhagen, and two before Newcastle, you can hear both these improvisative tactics operating in fascinating, contrasting ways.

You can also hear saxophonist Catherine Sikora revisit and rework some of the melodic atoms played in Copenhagen; trying them against the contrasting acoustic environments. And, adapting to the disparate amplification available in Cheltenham (a diminutive solid-state amp against a 112 Fender), Nick Didkovsky and Han-earl Park reexamine the freedoms and restraints of the two-guitar context; an experience that would inform into their approach in Newcastle in significant ways.

With the rich acoustics of the Francis Close Hall Chapel, the Cheltenham performance is, in contrast to the frenetic and biting Copenhagen and Newcastle performances, unhurried and lush. Cryptogenic Animals documents a fascinating transitional point in the group’s behavior, showcasing the trio’s adaptability to context, and creativity born from the contingent.

[Read the rest…]

Celebrate 10 years of Eris 136199

𝑿: Eris 136199 Decennial artwork (copyright 2020 Han-earl Park)

𝑿: Eris 136199 Decennial [details…]

Personnel: Han-earl Park (guitar), Catherine Sikora (saxophone) and Nick Didkovsky (guitar).

Track listing: Let 𝑿 (7:56), Problematica I.ii (remastered) (8:34). Total duration: 16:30.

Also by Eris 136199

cover art (copyright 2020 Han-earl Park)

Peculiar Velocities (BAF002) [details…]

Personnel: Han-earl Park (guitar), Catherine Sikora (saxophone) and Nick Didkovsky (guitar).

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.

Cover of ‘Eris 136199’ (BAF001) by Han-earl Park, Catherine Sikora and Nick Didkovsky (artwork copyright 2018, Han-earl Park)

Eris 136199 (BAF001) [details…]

Personnel: Han-earl Park (guitar), Catherine Sikora (saxophone) and Nick Didkovsky (guitar).

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.

CD cover of ‘Anomic Aphasia’ (SLAMCD 559) with Han-earl Park, Catherine Sikora, Nick Didkovsky and Josh Sinton (artwork copyright 2015, Han-earl Park)

Anomic Aphasia (SLAMCD 559) [details…]

Personnel: Han-earl Park (guitar), Catherine Sikora (tenor and soprano saxophones), Nick Didkovsky (guitar; tracks 1 and 5), and Josh Sinton (baritone saxophone and bass clarinet; tracks 2–4).

Track listing: Monopod (27:19), Pleonasm (Metis 9) (17:08), Flying Rods (Metis 9) (7:41), Hydraphon (7:34), StopCock (10:54). Total duration: 70:33.

updates

09-14-22: no longer available.

June 5, 2022November 9, 2023

Beauty into dread-inducing dreamscapes and the detritus of a creative life

A new galaxy in Park’s universe? David Lynch vs. Andrei Tarkovsky? And what’s hidden that will be unearthed? Lee Rice Epstein reviews Of Life, Recombinant (NEWJAiM9) in Free Jazz:

Of Life, Recombinant tells multiple stories at once, opening up a wide aperture and displaying stunningly drawn vistas. The four-song suite makes for a fantastic headphone album, as small details invite your attention ever more deeply throughout…. The fugue-like state is but one-layer of Park’s suite. As they progress, ‘Game: Mutation,’ ‘Naught Opportune,’ ‘Are Variant,’ and the 30-minute ‘Of Life, Recombinant’ continually pitch one direction, pivot on multiple axes, and branch out in new directions. That’s true as much for the sonics—with pre-recorded material mixed and matched over itself—as it is for the emotional throughlines, in some cases leading listeners down long corridors of chilly anticipation, in others 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, each of which will enchant and delight in equal measure. [Read the rest…]

[About this album…] [Get the CD/download from NEWJAiM (Bandcamp)…] [All reviews…]

Creative Dead Ends in Music

Elsewhere, J. Vognsen, writing in Perfect Sound Forever, asked composers and performers (including myself) for our thoughts on failure in the context of creative work: “Why does some music end up not in the ears of listeners but in the dustbin, or perhaps never leaving the mind of the creator in the first place?”

Every piece I do leaves behind detritus of a creative life: abandoned exercises, studies, mockups, etcetera. A lot of my time and energy as a performer, specifically as an improviser, is spent in preparation; off-stage, in practice and in study. Testing things out, sometimes speculatively, sometimes with a particular goal in mind, sometimes creating studies to more clearly define a problem or problematic; these exercises and studies can help me hone in on a particular technique or strategy, they can help me discover better ways of getting from A-to-B….

But sometimes the creative detritus can be unplanned and have a greater impact—a greater impact on energy expended, on time and effort. [Read the rest…]

The piece is very much worth reading. In particular, I enjoyed reading, and really related to, Carla Kihlstedt’s take (“my creative failures… fall into three basic categories: The Hollow, The Half-baked and The Missed Marks”), and Nick Didkovsky’s telling of The CHORD Origin Story is a total blast.

If you enjoyed that piece, please also check out some of my recent written work including ‘Broken Families: Collectivism, Violence, Imagined Utopias and Improvisation,’ and my reflections on working through times of uncertainty, anxiety, and of doubt.

May 26, 2022May 26, 2022

X: Eris 136199 Decennial

𝑿: Eris 136199 Decennial artwork — Artwork by Han-earl Park with Catherine Sikora and Nick Didkovsky. © 2022 Han-earl Park.

Celebrate 10 years of Eris 136199 with the trio’s new EP, 𝑿: Eris 136199 Decennial!

On May 27, 2012 at ABC No Rio, NYC, Catherine Sikora, Nick Didkovsky and I took the stage for the first time as a trio. Ten years later, in celebration of this ensemble, Catherine, Nick and I have created a long-distance improvisative collage.

[Download now (Bandcamp)…]

Download: €3.00 minimum (‘name your price’).

EP available to stream via the free Bandcamp app, and to download in multiple formats including lossless.

description

I recall the exact moment I knew this group was something special, when, fifteen minutes into the 40 minute improvisation, the broken-machinery-rattle-buzzes-and-bumps of the guitars were joined by the melismatic lines of the soprano saxophone. And the trio refused to collapse that juxtaposition—letting that idiomatic dissonance remain standing—creating its own logic by force-of-will.

— Han-earl Park

Ten years ago, May 27, 2012, at ABC No Rio in the Lower East Side, Han-earl Park, Catherine Sikora and Nick Didkovsky took the stage for the first time as a trio. Before the events of 2020, the plan had been for the trio, after the release of a new album, to go on tour. But, as the rogue piece of genetic material danced its dance with humanity, the trio had to rethink that plan.

Park selected an excerpt from the recording of the trio’s Derby, 2017 performance to serve as the foundation for a new piece by the trio. He created custom music-minus-one mixes starting with a mix without the saxophone part. Sikora then recorded a new saxophone part. Park then created a mix with this new saxophone part, but without Didkovsky’s 2017 guitar. Didkovsky then recorded a new guitar part, and finally Park recorded a new guitar part to replace his 2017 performance.

So fascinating—it is clearly, undeniably Eris, but also not Eris—the components are all there but the interactions/atmosphere is totally different.

— Catherine Sikora

It’s like peering into a parallel universe and listening to what Eris in that world sounds like.

— Nick Didkovsky

And for the ‘B-side,’ the EP includes a remastered edition of the original source recording made in Derby five years ago.

Eris 136199

Eris 136199 plays on the crossroads of noise, melody, rhythm, space, density, contrast, synchronicity, asymmetry, serendipity and contradiction. Eris 136199 is the corporeal, cyborg virtuosity of constructor and guitarist Han-earl Park; the noisy, unruly complexity of composer, computer artist and guitarist Nick Didkovsky; and the no-nonsense melodic logic of composer and saxophonist Catherine Sikora.

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., 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).

personnel

Han-earl Park (guitar), Catherine Sikora (saxophone), and Nick Didkovsky (guitar).

track listing

Let 𝑿 (7:56), Problematica I.ii (remastered) (8:34). Total duration: 16:30.

recording details

Music by Han-earl Park, Catherine Sikora and Nick Didkovsky.

Track 1 recorded March and April 2022, New York and Berlin.
Track 2 recorded live November 4, 2017, The Bless, Derby.
Recorded by Eris 136199 (track 1), and by Chris Trent (track 2).

Mixed by Han-earl Park.
Mastered by Chris Sharkey.

Artwork by Han-earl Park with Catherine Sikora and Nick Didkovsky.

Special thanks to Corey Mwamba and Chris Trent. Derby performance presented by Corey Mwamba/OUT FRONT!, and with the awesome support of our Kickstarter backers. Track 2 includes material previously released on the limited edition album Problematica (2018).

Also by Eris 136199

Peculiar Velocities (BAF002) [details…]

Personnel: Han-earl Park (guitar), Catherine Sikora (saxophone) and Nick Didkovsky (guitar).

Eris 136199 (BAF001) [details…]

Personnel: Han-earl Park (guitar), Catherine Sikora (saxophone) and Nick Didkovsky (guitar).

Anomic Aphasia (SLAMCD 559) [details…]

Personnel: Han-earl Park (guitar), Catherine Sikora (tenor and soprano saxophones), Nick Didkovsky (guitar; tracks 1 and 5), and Josh Sinton (baritone saxophone and bass clarinet; tracks 2–4).

Track listing: Monopod (27:19), Pleonasm (Metis 9) (17:08), Flying Rods (Metis 9) (7:41), Hydraphon (7:34), StopCock (10:54). Total duration: 70:33.

April 28, 2022November 9, 2023

Poetic, messy, terrifying and mesmerizing (article in Jazz Right Now)

As part of the ‘New Work’ series, Jazz Right Now has published my piece on work(ing) during these pandemic times; times of “uncertainty, anxiety, and of doubt.” In the article, I reflect on the perverse desire for artistic ‘productivity’; the breaches between public and private spaces; the artistic commemoration this time, this condition; and the need for creative work that frustrates:

The rogue strand of RNA danced its dance with humanity. It’s beautiful in its own way. Poetic—messy, terrifying, mesmerizing—in its own way.

R-nought.

New words and expressions entered the vernacular. Old words came to denote less—more specific things—but encapsulate and carry more meaning: of fear, uncertainty, yes, but also fascination. We’re being transformed, across porous borders, through language. Soon, those of us who lived through this, might share these as shorthands. ‘Variant’ means something. It has a texture and resonance and feel and vibe that can’t be captured by a Merriam-Webster.

I reflect on how pre-pandemic cultures (and culture-industrial complexes), with its obsession with authority and coherence and narrative, ill prepared us for the complexity and discord and messiness of the present. That maybe if we had held closer these prickly, uncomfortable, inconvenient, noisy heterophonies we, as societies, may have been more capable of facing the chaos, or dancing the dance of humanity v. RNA. [Read the rest…]

Thanks to Cisco Bradley for inviting me to contribute to this series, and thanks so much to Cristina Marx for the photography.

Watch the rest of the #lockdownminiature series on Twitter and Facebook.

Out now on NEWJAiM Recordings

Of Life, Recombinant (NEWJAiM9) [details…]

Personnel: Han-earl Park (guitar) with Anne Wellmer (voice on track 4).

Track listing: Game: Mutation (5:38); Naught Opportune (≥ 10:42); Are Variant (≥ 8:06); Of Life, Recombinant (≥ 29:22). Total duration ≥ 53:48.

March 26, 2022March 29, 2022

Threads of metallic (in)coherence (reviews: Of Life, Recombinant)

Fractions of stillness close to being shattered? warped halos of reverberating pitches? a very seducing utopia? Massimo Ricci of Touching Extremes describes the experience of listening to Of Life, Recombinant (NEWJAiM9):

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. Twisted harmonics, miscellanies of tones whose fluidity belongs more to states of exhausted drowsiness than labyrinths of analytical overspill. Superimposed images gradually losing the distinctness we had laboriously achieved in our mind. Bursts of paroxysm that, in the long run, disclose unexpectedly appeasing qualities. Each spin adds further layers of interpretation, not to mention the sheer aural thrill. As per Park’s words, “I’d like to think that listeners might find their way into their own space, and find their world refracted through it.” There will be no problem with that, if that audience is awake and profoundly receptive. [Read the rest…]

I really appreciate that Massimo Ricci embraced the subjective and poetic. It’s the kind of approach that I’d hoped that reviewers would take when writing about this work.

Elsewhere, Ken Waxman of JazzWord describes a bullet-train journey of ‘sound mutations’ between moments of ‘guitar-ness’ and the guitar as ‘sourced textures’:

Sometimes bell-ringing strums, power crunches or mechanized drones are emphasized to the extent that expected guitar sounds are at a premium and arise unexpectedly…. The concept is evolved at its greatest length during the almost 29½-minute title track. With whispered sibilant vocalized noises sometimes snarling in the ether, muted rumbles inflate to voltage buzzes that include oscillated hisses with silent interludes before hardening into a wavering horizontal line. As over-amplified knob twisting tones and shaking bullet-train-like rumbles become aurally prominent besides the electronic impulses, by midpoint is appears that a psychedelic-era freak-out may be in the offing. Although the narrative echoes from harsh to harsher, yet following an elephantine-like chord variation fragmented parts blend into nearly opaque solid matter and abruptly stop. Like a notable train trip, gratification come from sights glimpsed… not the final destination. [Read the rest…]

And, writing in salt peanuts*, Jan Granlie finds “a kind of meditative music for sophisticated souls”, a music that is “consistently melancholic while simultaneously arch-modern and exciting”:

Og selv om dette er musikk som krever en del av lytteren, skal man gi gitaristen tid. Man skal lytte gjennom hans lydverden flere ganger og etter hvert plukke opp detaljer og, kanskje også, forstå hva den godeste gitaristen vil fortelle oss. For selv om dette ikke er det enkleste historiene, så er det fascinerende å følge med i hva han skaper av lydbilder med gitaren. Og i sistesporet, «Of Life. Recombinant», hvor han har «damer på rommet», og er platas hovedspor som varer i nesten en halv time, skjer det utrolig mange spennende ting man skal følge med på. [Read the rest…]

[About this album…] [Get the CD/download from NEWJAiM (Bandcamp)…] [All reviews…]

March 22, 2022November 5, 2023

Bodies, agency, ‘the material,’ automata, cyborgs and improvisation

“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…]

Tonight

Tuesday, March 22, 2022, at 8:00pm: Han-earl Park performs at Hyde Park Book Club (27–29 Headingley Lane, Leeds LS6 1BL).

Also coming up

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.

March 7, 2022November 8, 2024

More #lockdownminiature(s)

I think where Nº 8, for me, fell short is how it was unable to engage with the vernacular of wah-wah guitar. I mean, if you wanted to strip the wah of all its funk, that was how to do it. So Nº 11, I hope, goes some way toward redressing that. [Read the rest…]

Watch more miniatures in the series on Twitter and Facebook.

Out now on NEWJAiM Recordings

Of Life, Recombinant (NEWJAiM9) [details…]

Personnel: Han-earl Park (guitar) with Anne Wellmer (voice on track 4).

Track listing: Game: Mutation (5:38); Naught Opportune (≥ 10:42); Are Variant (≥ 8:06); Of Life, Recombinant (≥ 29:22). Total duration ≥ 53:48.

March 6, 2022March 17, 2022

Work in progress…

Audio recording (screenshot of a digital audio workstation)

Want to know more? Sign-up now to my newsletter to keep up-to-date.

Also by Eris 136199

Peculiar Velocities (BAF002) [details…]

Personnel: Han-earl Park (guitar), Catherine Sikora (saxophone) and Nick Didkovsky (guitar).

January 4, 2022January 5, 2022

In between chaos and composure (reviews and best of 2021: Of Life, Recombinant)

I feel blessed and enormously privileged to find Of Life, Recombinant (NEWJAiM9) among the year’s end ‘best of’ lists. Selecting my album for aJazzNoise’s picks-of-2021, Dave Foxall writes:

Han-earl Park digs deep into techniques and sounds and presents a fresh palette for the guitar. Pyrotechnics abound, but not in any kind of traditional sense. [Read the rest…]

Plus, with the inclusion of Catherine Sikora’s corners (“absorbing, pushing against and playing off the natural reverb”), and Nick Didkovsky’s CHORD IV, aJazzNoise’s selection almost like an informal Eris 136199 reunion!

Keith Prosk also chooses Of Life… for his Top 10 at Free Jazz, and in his review at harmonic series, Prosk writes of a music that “explores and rearranges material, or things whose characters seem similar though never the same, through its durations”:

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 its representation of real-time activity that ruminates on its material, it is as if it provides a glimpse into the improvising process, whose hushed reality of painstaking practice might often be misinterpreted as something closer to strokes of inspiration out of the ether. In between chaos and composure, it is something closer to the complexity of life. [Read the rest…]

And I’m super proud to find my album on Avant Music News’ Best of 2021. As Mike Borella previously wrote:

Park’s approach changes, from jangling notes, to ambient passages, to twangy folk themes, to long-held chords. In doing so, he incorporates extended techniques into more conventional practices to the point where the former guide and direct the latter. [Read the rest…]

[About this album…] [Get the CD/download from NEWJAiM (Bandcamp)…] [All reviews…]

November 26, 2021November 26, 2021

A field, a cliff, a landscape: the backlot of the world… (a listening guide to Of Life, Recombinant)

Of Life, Recombinant (NEWJAiM9), my latest disc and my first solo* album, is out now on New Jazz and Improvised Music Recordings.

This suite might be my first self-consciously poetic work if not for the fact that I couldn’t have told you that’s what it was when I was in the middle of it (visibility low; uncertain, uncertain, uncertain). Of Life, Recombinant is the work in which I most want listeners to hear, in it, themselves.

Walls rusted lichen curve into a canopy. / Concrete weaves of roots. / Dew-covered moss memory foam. / You find your usual spot on the armchair, or maybe the comfort of your favorite beanbag. Perhaps your companion animal (is it a cat?) chooses to sleep on your lap. Maybe you lay between two speakers. Or having embraced the solitary, you wear headphones. / Music starts. / Look out the window—a field, a cliff, a landscape: the backlot of the world. Of neon. Of sodium. Of broken machinery. Fences. Or walls. Do walls surround you? Home to insects. Mammals, reptiles, and plants, molds and funguses? / Watching the light of dawn (or is it dusk?). See the light-wall of apartments. Leaves waving. Or are the trees bare? And distant as the hillside. Images refracted by veins of rain. No, the sky is clear: stars, pinprick rear-projections. But drowned in a sea of streetlights—streaking—traffic etches unpredictable figures across the darkened ceiling. My eyes hunt muscae volitantes. Hear those creaks. (I’ve missed something.) The sound of floorboards next door. (Do I seek ghosts?) My roommate. My Family. My guest. My host. — © 2021 Han-earl Park [Higher resolution image…]

I always hope that my music reflects and diffracts very human truths; that they depend, and perform, and engage with them. But with Of Life, Recombinant, I think, (I hope) that the work is fueled by, and has in its core, compassion.

Thanks again to the project director at NEWJAiM, Wesley Stephenson, for inviting me to have my work represented on this most awesome label. Thanks also to Annette Krebs for helping me, with one simple question, to decide to release these listening guides to my listeners.

[About this album…] [Get the CD/download from NEWJAiM (Bandcamp)…]

* Ostensibly solo. It’s complicated.

November 8, 2021March 26, 2022

The perfect distillation of uneasy listening (reviews: Peculiar Velocities and Of Life, Recombinant)

Eris 136199: Peculiar Velocities

Grunting tonal bursts? atmospherics? weaving sinuous melody? In his review of Eris 136199’s Peculiar Velocities, Paul Acquaro at Free Jazz describes a “masterful slice of trifurcated dialog” by turns “haunting, gracious and grating”, with tones that cut “like an exacto-blade.” He writes that, by the third track (‘Peculiar Velocities I’) of the album:

The guitars have adopted a slightly different aesthetic, using choppy, brittle sounds, they lay down a fractured soundscape replete with sonic barbs and suspended tones. Sikora finds her footing on this shifting ground and plays freely. As the track continues into ‘Peculiar Velocities II’ the fascinating part is realizing how connected the three actually are: this is not parallel play, rather it connects deep in the sub-systems. [Read the rest…]

Meanwhile Todd McComb’s Jazz Thoughts finds “vignettes within an overall urban fantasy soundscape”, and according to Ed Pinsent at The Sound Projector:

This music does stem from a knowledge and practice of free improvisation, and can fit inside various ‘art music’ categories, but on one level to me it feels as good as any ‘noise rock’ served up by Sonic Youth, The Dead C, or any new-wave influenced beat combo who tend to attract the ‘angular’ adjective. [Read the rest…]

Having previously selected Peculiar Velocities as one of the Best of 2020, Dave Foxall writes in aJazzNoise that:

It’s mind-twisting stuff. Intensely ‘musical’ (whatever that means) and harshly jarring, gently testing Broca’s convolutions, seeking points of entry and storage, delicately inserting sounds, probing for reaction, disconcertion and delight. (i.e. It gets inside your head)….

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. [Read the rest…]

[About this album…] [Get the CD/download (Bandcamp)…] [All reviews…]

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

CD photo: Eris 136199: Peculiar Velocities (BAF002) by Han-earl Park, Catherine Sikora and Nick Didkovsky (artwork and photo copyright 2020, Han-earl Park)

* 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.

Of Life, Recombinant

And finally, in his LondonJazz News review of Of Life, Recombinant, Tony Dudley-Evans describes a music of ‘industrial sounds,’ by turns ‘ambient’ and ‘dramatic,’ with elements of minimalism. Plus:

Sinister sounds reminiscent of a hospital MRI scanning machine. [Read the rest…]

[About this album…] [Get the CD/download from NEWJAiM (Bandcamp)…] [All reviews…]

October 24, 2021June 26, 2022

Of Life, Recombinant (NEWJAiM9)

November 26, 2021: Of Life, Recombinant (NEWJAiM9), Han-earl Park’s latest album, is out now on New Jazz and Improvised Music Recordings!

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!

[Get the CD/download from NEWJAiM (Bandcamp)…]

CD: £12 plus shipping. Download: £6.

news and updates

February 20, 2024: Mixing noisy, pretty, gentle and disorderly peculiar music

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…

January 29, 2024: The unknowability of connection, and a little science fiction (Free Jazz: Sunday Interview)

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…

[All articles on Of Life, Recombinant (NEWJAiM9)…]

description

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….

— Lee Rice Epstein (Free Jazz)

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.

— Massimo Ricci (Touching Extremes)

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.

— Keith Prosk (harmonic series)

[More reviews…]

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.

Han-earl Park

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.

The New Jazz and Improvised Music Recordings project is brought to you from the director of Newcastle Festival of Jazz and Improvised Music.

personnel

Han-earl Park (guitar) with Anne Wellmer (voice on track 4).

track listing

Game: Mutation (5:38); Naught Opportune (≥ 10:42); Are Variant (≥ 8:06); Of Life, Recombinant (≥ 29:22). Total duration ≥ 53:48.

recording details

Music by Han-earl Park.

Recorded by Han-earl Park, June 2, 2021.
Additional recording by Han-earl Park, April 3, 2021, and by Anne Wellmer June 27, 2021.

Mixed by Han-earl Park.
Mastered by Chris Sharkey.

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.

Also from Han-earl Park

Peculiar Velocities (BAF002) [details…]

Personnel: Han-earl Park (guitar), Catherine Sikora (saxophone) and Nick Didkovsky (guitar).

Cover of ‘ Two+ Bagatelles’ by Han-earl Park (photo copyright Jazz em Agosto / Petra Cvelbar)

Two+ Bagatelles [details…]

Personnel: Han-earl Park (guitar).

Track listing: Zero (01:03), One (10:27), Two (05:28). Total duration: 16:59.

updates

11-26-21: released!
06-26-22: add review quotes.