"It is thus, my most coveted photography book of the year in its qualification as unspeakable language and the glory of the potentially transcendental image."
Brad Feuerhelm, ASX American Suburb X
Kristall ohne Liebe
Limited Edition of 206, all copies signed by the artist
100 pages. Approx 8”/200mm wide, 11”/275mm tall. Handbound at the Tangerine workshop with cloth-covered heavy duty acid-free boards, conservation glue and hemp cord; full colour title page. 200 numbered and 6 lettered copies available for sale. Includes black & white and full colour images.
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Umanzuki is the youngest act to emerge from the current Italian Occult Psychedelia milieu. What was born as some sort of exotic free-jazz combo with the Sonic Birds EP, quickly developed into Tropical Nature Of Tiaso, a 35 minute-long improvisation built upon minimal electronics, diluted sounds and reduced synthetic rhythm.
Porta, their newest effort, explores one more artistic metamorphosis. Focusing on a EP format the Florence based trio has been able to shape the looseness of its previous creations and give birth to two skillfully crafted 8-minute tracks.
With Porta meaning Door it is no surprise that we feel like entering a new zone here, where A side is a somehow refined version of paths already explored on Tropical Nature Of Tiaso, while the flipside opens to a new, almost club-oriented dimension.
Watch the video on NOISEY.
Jojo Hiroshige / Jojo
Words are different to sounds in that the images they create are limited. They’re like a two-edged sword – sometimes they can be used effectively, but sometimes they restrict the range of the images employed. When I was young I read Wittengenstein’s “Philosophical Investigations” and that led me to start thinking about the importance of pinning down thought through the medium of language. Escaping into sound because of your own inarticulacy with language, and using sound to express what cannot be expressed in words are two sides of the same equation.
– Jojo Hiroshige
Jojo’s music has always been a far more communicative medium than one might imagine from his fearsome reputation as the founder of Dionysian noise extremists Hijokaidan and the home of Japanese independent music, Alchemy Records. Rather than a fingers-in-ears rejection of social interaction, his music has always been created out of collaborative contexts, out of spaces where noise and the flesh of more than one performer can collide, to find and create meanings beyond the normal rules of linguistic interaction. It is the very possibilities of that space beyond words that has led Jojo to continually surround himself with new collaborators. So it’s fitting that Jojo’s release, the final one in the Shokyo Ontei series, should be the only one that turns its back on the relationship of music to a text. Unlike his previous solo releases, where vocals had always played a key role, here Jojo is caught alone with his guitar. Linguistic and social encoding falls away, leaving only the body, the instrument, the will.
Photograph by Alexander Binder.
Mastered by Lasse Marhaug.
CD limited to 300 copies.