Editions 005 Double LP
Jason Kahn // electronics, voice, percussion, environmental recordings
Edition of 250
Heavy weight 180 gram vinyl.
Hand-painted covers on thick gray cardboard.
Composed January 2014 to April 2016.
Mastering, liner notes and LP artwork Jason Kahn.
Many thanks to the Popkredit/City of Zürich for their generous support.
Download liner notes here.
Side A: Electronics (18.32)
Side B: Voice (17.59)
Side C: Percussion (17.59)
Side D: Environment (18.00)
Price including post to Europe: 25.00 euros
Price including post to rest of the world: 30.00 euros
In the field of philosophy monads are often referred to as the elementary particles which combine to create a substance. In the context of this double LP, the title refers to the constituent facets of my musical activity: namely, percussion, electronics, environmental recording and voice. What ties these different pursuits together is my particular approach to composition. No matter what sound material I work with, the outcome — at least to my ears — reflects a certain compositional methodology and approach to working with sound in general. I thought it would be interesting to place these four sound groups together as distinct compositions, not only as a means of focusing on the compositional similarities but as a challenge to myself.
Often during the composition of these pieces I found myself in the position where mixing one of these four sound groups with another would've provided an easier solution than just, for example, sticking with only one sound source. Of course, at times any acoustic sound source could be construed as electronically produced and vice versa. But perhaps it was just the idea of taking something explicitly electronic and adding it to an acoustic source that became attractive — and from which I wanted to distance myself.
By now, though, after composing for years with different sound sources it's become clear to me that no matter what sounds I work with, the end result will always reflect my ideas about composition, will always sounds like me. Monads is therefore a kind of discourse in this realization and confirms what I've known all along. These four pieces are less about their sound sources than the compositional strategies tying them together. Any sounds could be at play here. The real material being used is how these sounds are worked with, combined and formed into an overarching sonic structure and dialog.