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Ryu Hankil, Noid, Matija Schellander and others
Foreign Correspondents
MIKROTON CD 43 | 44 | 2015

Edition of 300



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CD 1
Ryu Hankil, Noid, Matija Schellander
Tokyo Office
1. Ftarri | Tokyo | Oct. 14th 2013

CD 2
Ryu Hankil, Noid, Matija Schellander and others
Field Report
1. Tokyo subway closing door signature sound / 100¥ donation @ Sensō-ji shrine | Asakusa | Tokyo
2. Guggenheim House | Kobe | Oct. 11th 2013 | Ali Morimoto, Hankil Ryu, Klaus Filip, Matija Schellander, Nikos Veliotis, noid, Radu Malfatti
3. pachinko hall near Chidoribashi station | Osaka
4. Common Cafe | Osaka | Oct. 13th 2013 | Matija Schellander, noid
5. Port | Osaka | Oct. 12th 2013 | Hankil Ryu, Matija Schellander, noid
6. visitors platform on the 45th floor of the Tokyo Metropolitan Tower
7. Groove | Urasoe | Okinawa | Oct. 16th 2013 | Kazuhisa Uchihashi, Matija Schellander, noid
8. acoustic traffic light | Naha | Okinawa
9. Groove | Urasoe | Okinawa | Oct. 16th 2013 | noid, Syo Yoshihama
10. bird at a peacecamp in front of the american army military zone near Takae village | Okinawa
11. Morso | Naha | Oct. 19th 2013 | noid, Matija Schellander, Takeshi Ishihara
12. Dotolimpic festival @ Mullae Art Center | Seoul | Oct. 26th 2013 | Into The City | participants of the workshop our inner public space by Noid & Matija Schellander at Mullae Art Center playing air horns while walking away from Mullae Art Center
13. Dotolimpic festival @ Mullae Art Center | Seoul | Oct. 27th 2013 | Luciano Maggiore, Matija Schellander, Sangtae Jin
14. Dotolimpic festival @ Mullae Art Center | Seoul | Oct. 27th 2013 | victorian synthesizer orchestra | participants of the Workshop our inner public space by Matija Schellander & noid @ Mullae Art Center
15. wheeled suitcases on a paved street | Seoul / walking from Mullae Art Center to Yeongdeungpo metro station | Seoul
16. CIA | Hong Kong | Oct. 29th 2013 | without me everything would be even worse | Matija Schellander
17. CIA | Hong Kong | Oct. 29th 2013 | annoy the void | noid
18. machine drones in the staircase of the CIA Building | Hong Kong
19. CIA | Hong Kong | Oct. 29th 2013 | tiny tones | Matija Schellander, noid
20. fuel tank filled with Sound Art | Shanghai
21. Rockbund Art Museum | Shanghai | Nov. 2nd 2013 | freedom is the recognition of necessity | blank | silent dance | compacting by impact, all accompanied by huddle | noid, mp3-players of the audience playing random music through headphones
22. jing-hu players @ Ditan Park | Beijing
23. Zaija | Peking | Nov. 3rd 2013 | Lionel Marchetti, Matija Schellander, Quing Li, Weisi Li

Recorded by Noid
Mixed by Matija Schellander & Noid
Images by Arnold Haberl
Designer and executive producer: Kurt Liedwart

In 2013, Noid and Matija Schellander travelled from Vienna to East Asia to meet up with Ryu Hankil and other musicians from Japan, Hong Kong, China, South Korea and Europe. Carrying compositions, sound art pieces and workshop preparations in their luggage to be tested by changing social and artistic settings, by everyday tour life and to be used as starting points for debates in various forms.

The first CD - “Tokyo Office” - is a trio of Noid, Schellander and their main collaborator on this tour: Ryu Hankil from Seoul. It was recorded in the Ftarri shop in Tokyo, an intimate setting, a perfect concert situation for close, concentrated listening. The result is a 44 minute set of unmusical musicality with sounds of typewriter, drums, double bass, cello, jing-hu and victorian synthesizer.

The second CD - "Field Report" - is the travelogue of one month of concerts, field recordings, workshops, dinners, getting lost, missing planes, stretched and contracted gut strings in the temperature and humidity extremes from Okinawa to Beijing, collaborating with locals and other traveling musicians, exposing sometimes strict concepts to confusing listening situations from Seoul rooftops to Osaka market stands to Hong Kong industrial buildings.
Snippets and cuts composed in chronological order to an immersive flow of changing spaces and societies, on the turning point between being in and out.


freiStil, steroid:
Noid (a.k.a. Arnold Haberl) und Schellander, beide in Wien ansässig, beide kompromissscheue Soundabenteurer, bereisten 2013 für einen Monat den Fernen Osten. In Japan, Südkorea, Hongkong und China spielte man Konzerte, gab Workshops, kollaborierte. CD 2 (Field Report) ist eine Art Audio-Tagebuch dieses Trips. Der Chronologie der Reise folgend, ordnet die Tracklist field recordings und Konzertschnippsel an. Zu hören sind folglich markante urbane Phänomene, viele Maschinen, soziales Rauschen, ein Vogel, aber vor allem zahlreiche humanoide KooperationspartnerInnen, darunter etwa Kazuhisa Uchihashi, Takeshi Ishihara und Klaus Filip. Naturgemäß hat eine solche Zusammenstellung einen privat-dokumentarischen, kursorischen und damit zweifelhaften Charakter. Ihr wohnt die Schönheit eines Scherbenhaufens inne. Hier wurden einzelne Bruchstücke aus stilistisch anspruchsvollen Klangfiguren gesprengt und aufeinander geschüttet. Wenn nichts fehlen darf, kommt alles zu kurz. Da kann das alles noch so super sein. Anders CD 1. Tokyo Office beherbergt eine dreiviertelstündige Improvisation im Verbund mit Ryu Hankil. Was gibt es zu hören? Kontrabass und Cello. Dazu ein hochtönendes, stark mit der chinesischen Operntradtion verbundenes Saiteninstrument (Jing-Hu). Außerdem einen "viktorianischen Synthesizer", der ausschließlich mit Technologie arbeitet, die auch dem 19. Jahrhundert zur Verfügung stand (Steampunk-Düsentrieb dahinter: J. M. Bowers). Und eine Schreibmaschine. Eh klar. Beste Voraussetzungen für richtig abgedrehten Scheiß. Die erzeugte Musik bewegt sich am unteren Limit der Identifikationsgrenze. Stille, Säuseln, Stille, Tippen und Klappern, die große Beiläufigkeit, all ears on ein Geräusch. Das beglückende Zusammenfallen von Intuitionen und einander befeuernde Sounds. Immer wieder. Bricht eine dichte Minute an, fühlt man sich alleine vom Scheppern der Saiten tief ergriffen. Kunst kann so gut sein.

Vital Weekly, Frans de Waard:
'And Others': it really says so on the cover of the last recent Mikroton release. I was thinking: suppose you'd be one of the others, would you like to be mentioned like that? This double CD is about a travel Noid and Matija Schellander made from Vienna to East Asia, to people like Ryu Hankil and countries like Japan, Hong Kong, China and South Korea. Their idea was that they would be 'carrying compositions, sound art pieces and workshop preparations in their luggage to be tested by changing social and artistic settings, by everyday tour life and to be used as starting points for debates in various forms'. On the first disc there is a forty-seven minute piece the three musicians recorded in the Ftarri shop and Ryu plays typewriter, Schellander double bass and victorian synthesizer and noid plays cello and jing-hu. I am not sure if I can visualize all of these instruments, but surely one is a percussion instrument. In this piece they bounce back and forth between loud fragments of all three of them hectic and nervously playing and remaining very quiet; in those instances we hear the typewriter quite well. I must say that as an idea 'loud versus quiet' I quite understood what it was after some twenty minutes, even when you can play both loud and quiet s bit longer as they do in the second half. It's not bad, I thought, but a bit long. The 'others; are on the second disc and here we a bunch of field recordings from their tour (gas stations, pachinko's, acoustic traffic light, birds, fuel tank filled with sound art) as well as short bits of improvisation recorded with a whole bunch of guests, such as Ali Morimoto, Klaus Filip, Nikos Veliotis, Radu Malfatti, Kazuhisa Uchihashi, Syo Yoshihama, Takeshi Ishihara, Luciano Maggiore, Jin Sangtea, Lionel Marchetti, Quing Lo and Weisi Li — I hope I didn't overlook anyone's name, but I wanted to avoid to say 'and others'. Twenty-three pieces, mostly short, so one gets easily lost in here, but the interaction between the quietest improvisations and the likewise quiet field recordings works quite well. Now this is a disc I quite enjoyed; it has lots of variety in both approaches and executions of pieces. I wouldn't have minded two of those!