Jason Kahn
Edition of 250
Composed and recorded 2008-2010 by Jason Kahn in Zurich and Horw, Switzerland Cover artwork by Jason Kahn.
Side A: 18:19
Excerpt Side A
Excerpt Side B Price including registered post to rest of the world: 30.00 euros Digital copies can be purchased through Bandcamp: https://jasonkahn.bandcamp.com/album/on-metal-shore
I wanted to re-visit this approach with "On Metal Shore," which takes its title from this first experience on the shores of the Lake of Zurich playing with metal railings. "On Metal Shore" was recorded from 2008-2010. The composition uses not only recordings made of me playing found metal constructions outside but studio recordings of various metal objects and percussion instruments being vibrated with sound waves played through different types of transducers. In a sense, then, "On Metal Shore" is a composition about percussion, but not only. It's also about the idea of "playing" with an environment and taking my percussionist's skills outside the studio and into uncontrolled situations. Some of the other location recordings for "On Metal Shore" were made at the Binaural Residency in Nodar, Portugal, where I found some water tanks with good sounding metal ladders welded to them. More lakeside recordings were made, this time on the shores of the Lake of Luzern, while on another residency at the Haus am See in Horw. In this case, a small dock nearby the house where I was staying had a line of steel railings which were incredibly resonant and played nicely with the water quietly splashing against the nearby boats and the dock's wooden piles. At a construction site in Oerlikon, a suburb of Zurich, I found some long metal pipes which I recorded with the microphones placed deep inside, tapping lightly on the pipes with my fingers. The rumble of passing trains running parallel to the site provided a good juxtaposition to my playing. And at a school nearby where I live I found a drainage pipe closed off with a large plate of steel, which responded to the lightest of playing with a soft mallet. In the distance, water running down another pipe offered a strong contrast to the ringing tones of the steel plate. In my studio I set up a mini version of my installation "Wires (2008)" and experimented with various frequencies of sound waves vibrating the steel wires, recording this in front of tin can resonators attached to the wires. I also made recordings of other metal objects and drums activated with various transducers, ranging from small piezo elements to large "bass shakers." I had never set out to compose a piece for percussion, but I guess in the end this is "What On Metal Shore" is, though perhaps not just about the sound of percussion but about the idea of how and where I play it, be it outside or in the studio, with my hands or without, set vibrating by the oscillation of sound waves or accompanied by a flock of birds or the sound of water.
Jason Kahn
This evening didn't start so well once I got home from work. I don't recommend rubbing freshly chopped chilli into your eye. It hurts a lot and it takes about an hour for the sting to subside enough to open your eye again. I also don't recommend trying to eat your dinner with your eyes closed either. Or at least, not with a clean t-shirt on. Still, after tonight's mishaps I spent time with a vinyl album I have been playing on and off for a couple of weeks and enjoying a lot- the new solo, self released album by Jason Kahn named On Metal Shore.
Kahn made On Metal Shore alone, recording metal pipes, ladders, water tanks, and siding, then playing the sounds through various other metal objects in his studio. He then layered this material with environmental sounds using a computer. The effect is somewhat like a collage of slowed-down recordings of Harry Bertoia sculptures with commentary by the crickets and birds he disturbed while playing. This music is well matched to the vinyl medium; the produce of physical processes, it gets a final frisson from the palpability of playback. Fetishizing aside, its two side-long pieces are rich and often gorgeous expositions of unbound sound.
L'expression populaire dit qu'il faut se méfier de l'eau qui dort ; la prudence ferroviaire, qu'un train peut en cacher un autre. Au petit matin, Jason Kahn déroute une machine à vapeur -- qu'il a repérée où -- et l'aiguille sur la surface du lac de Zürich.
En étoffant avec patience un premier coup léger, Kahn rappelle d'abord Fritz Hauser. Et puis un parasite s'immisce dans sa démonstration : c'est le premier son de la locomotive. Les suivants seront bruits de bielle-manivelles et de rails, sifflements et sirène. Sur l'eau du lac, le percussionniste fait aussi se refléter des éléments de constructions métalliques -- de pont, notamment. Leur résistance est persistance, à en croire la seconde face : là, les coups réguliers sont plus graves, sourds voire distanciés, et les parasites contrits.
Comme si les rails avaient gardé au chaud le souvenir du passage du monstre fabuleux et le révélaient au fur et à mesure qu'elles disparaissent sous la surface. Le lac a maintenant recouvré sa quiétude.
As we've mentioned before, American ex-pat and former hardcore drummer Jason Kahn made a radical shift away from the SST punk style jams he was kicking out during the '80s toward an avant-drone-noise-improv type of career that has taken him to Zurich, Switzerland. Yeah, it is a career for him, but the price one has to pay for having a sound-art career is a constant tour / exhibition schedule. Rock'n'roll may have its fortune seekers, but a steady paycheck through sound-art? Not very likely. Yet, Kahn has done it; and done it by producing work that is incredibly refined through his own take on electro-acoustic strategies, modular synth exploration, holy minimalist composition, and an occasional percussion flourish in ghostly deference to his former life as the drummer for Leaving Trains. With all of the touring and exhibitions (seriously, his schedule is fucking insane!), solo releases from Jason Kahn can be fleeting (although he's very prolific with his collaborative contributions). So, this new production from Kahn is something that could be celebrated simply because the man somehow found the time to get this out in the world; but that would be selling it short... as On Metal Shores is a brilliant piece of shimmering, gasping minimalism that glides out of acoustically-sourced drone reminiscent of Andrew Chalk and Organum, the metallurgically organic swells of Alan Lamb's wire recordings, and the graceful minimalism of Eliane Radigue and Roland Kayn. Kahn writes at great length in the liner notes about some of the situations for the source recordings, including the nice image of Jason Kahn tapping on a resonant hand-railing near Lake Zurich as local birds would congregate and take off depending on the volume of Kahn's rhythm-n-drone. These elements along with long-thin-wire instruments attached to transducers, the thrum of giant water tanks, drainage pipe raspings, and much more get worked into Kahn's shifting drones that accrete into swollen crescendos of complex shimmered noise and harmonic interplay. This stunner of an album is limited to 250 copies, hand numbered, and hand-painted.
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