Search your favorite song for free

1. elintseeker - Insomnia (sample)

elintseeker - Insomnia (sample)

Two years after the release of The Observatory's Catacombs comes the Singapore band's first remix album. Widely regarded as The Observatory's darkest and angriest release, Catacombs is a texturally complex and viscerally emotional album, a study in delusion, insanity and obsession. Now, 11 respected artists from Singapore, China, Norway, Thailand/Japan, and the US, have been invited to enter the vortex of The Observatory and rebuild their own sonic worlds from the detritus of that landmark album. Titled after a key lyric from Catacombs, Behind These Eyes sees these 11 visionaries steering the trajectories of the original album in different directions, resulting in a sprawling double LP that is by turns more violent, calming, morose, euphoric, abstract, and elegiac. While listeners new to The Observatory will find in these disparate tracks a strange but certain unity of spirit borne from passionate experimentalism, fans of the band may find, over the four vinyl sides, a lingering sensation of familiar displacement and the uncanny. An album forged out of friendships and collaborations, Behind These Eyes is jointly released by The Observatory and Ujikaji. elintseeker is the solo project of Fuzz Lee from Singapore. With composition, textural sound design, silence, improvised movements of guitar, sound processing, light glitch electronics, found sound and field recordings, he articulates or reflects his feelings about daily life into musical form. "I chose this track simply because it was the only one that was not taken. It's more of a 'remodel' than a remix. I can only compose or work in a specific mood, and with the track 'Insomnia', I deprived myself of sleep for three days in order to get into the mood (I found out that [the song] is about [former Observatory member] Victor [Low]'s sleeping problem and the song was his composition). At exactly 12 midnight in a half-awake state on the fourth day of sleep deprivation, I worked on the track, improvising over the vocal and drum tracks until I had enough material to work with. I managed to record, process, program and mix everything before noon on Sunday. For me, The Observatory represents forward-thinking and fearless music making. As one who makes music in Singapore, they are an inspiration and a benchmark for the process of evolution and change. Catacombs is their strongest work to date and has taken over A Far Cry From Here as my favourite of theirs."

nothing at of , which is


2. Tim O'Dwyer - Hysteresis (album preview)

Tim O'Dwyer - Hysteresis (album preview)

http://ujikaji.bigcartel.com/product/tim-o-dwyer-hysteresis-cd Tim O’Dwyer makes his debut on Ujikaji Records with his third solo album, Hysteresis. Recorded in Cologne, Germany, while in residence at the Academy of the Arts of the World, the album features the 'meta-sax', a self-constructed hybrid instrument. By mounting controllers on the body of a playable alto saxophone, O'Dwyer processes his playing in real time to "extend the extended techniques of the saxophone". Hysteresis is the memory of movement found within an object after the shifting forces have left. As French philosopher Gilles Deleuze describes how painter Francis Bacon prepared his work without sketches: "This preparatory work is invisible and silent, yet extremely intense, and the act of painting itself appears as an afterward, an après-coup ('hysteresis') in relation to this work." O'Dwyer uses hysteresis as a metaphor for the relationship between the acoustic and electronically processed sound of the saxophone.

nothing at of , which is


3. Pan Gu - The People are Panthers (album preview)

Pan Gu - The People are Panthers (album preview)

http://ujikaji.bigcartel.com/product/pan-gu-the-people-are-panthers-cs Artist: Pan Gu Title: The People are Panthers Label: Ujikaji Catalogue No: UJI-006CS Format: C-30 Cassette Tape Edition: 80 Release date: 7.7.2015 In October 2013, Singapore’s Leslie Low and Norway’s Lasse Marhaug, as Pan Gu, embarked on a 10-day tour of Southeast Asia in support of their debut LP, Primeval Man Born of the Cosmic Egg, released earlier that year on Utech Records (US). The music contained on the two sides of The People are Panthers is a documentation of two shows in Myanmar and Thailand, and demonstrates well the fluidity, tension, and intensity of Pan Gu’s inspired live interplay. The music, performed in venues and to audiences not necessarily initiated to experimental sound, nevertheless forges primal connections through elemental uses of sound – Leslie Low’s diaphanous guitar melodies sparkle then combust and melt into the viscous primordial soup of Lasse Marhaug’s live electronics, finding perfect peace within a relentless storm, and achieving an improvised music of profound meditative quality.

nothing at of , which is


4. Lasse Marhaug - Ends to No Means (sample)

Lasse Marhaug - Ends to No Means (sample)

Two years after the release of The Observatory's Catacombs comes the Singapore band's first remix album. Widely regarded as The Observatory's darkest and angriest release, Catacombs is a texturally complex and viscerally emotional album, a study in delusion, insanity and obsession. Now, 11 respected artists from Singapore, China, Norway, Thailand/Japan, and the US, have been invited to enter the vortex of The Observatory and rebuild their own sonic worlds from the detritus of that landmark album. Titled after a key lyric from Catacombs, Behind These Eyes sees these 11 visionaries steering the trajectories of the original album in different directions, resulting in a sprawling double LP that is by turns more violent, calming, morose, euphoric, abstract, and elegiac. While listeners new to The Observatory will find in these disparate tracks a strange but certain unity of spirit borne from passionate experimentalism, fans of the band may find, over the four vinyl sides, a lingering sensation of familiar displacement and the uncanny. An album forged out of friendships and collaborations, Behind These Eyes is jointly released by The Observatory and Ujikaji. Lasse Marhaug (b. 1974) has since the early 1990s been one of the most active artists in the Norwegian noise/experimental music scene. As a performer and composer he has contributed to well over 300 CD, vinyl, and cassette releases over the years, as well as extensive touring and performing live on all continents of the world. Marhaug was born in the northern regions above the arctic circle of Norway, but currently lives in Oslo. "I chose this track 'Ends to No Means', because it was the first track that hit me when I first heard the Catacombs demos. In the mix I used both the demo and the album versions. Catacombs is a dark album, even for The Observatory, so my approach for the remix was to go venture further into the darkness. I wanted to obscure the melodies and rhythms and to liquefy the pale skulls of the dusty catacombs into a hallucinogenic elixir. I didn't want the remix to simply be a friendly gesture towards a group of musicians I admire. It needed to be a proper musical statement, built on the foundations of The Observatory's ideas. That's why the track became a 17-minute monster that fills an entire side of this double vinyl set. I'm sorry if I went too far and take up too music space, but some things you just have to go with all the way. (I would have cut the track down had I been asked to, but I'm humbly grateful that The Observatory chose to include the full version for this release). I worked on the track on two trips to North America - first in Mexico, and then a month later when I went to USA (New York). Both sessions were done in a fevered haze of jetlag, which always hits me hard when I travel west. Listening to it now it almost feels like it's the work of someone else."

nothing at of , which is


5. Kiat - Catacombs (Chamber Mix) (sample)

Kiat - Catacombs (Chamber Mix) (sample)

Two years after the release of The Observatory's Catacombs comes the Singapore band's first remix album. Widely regarded as The Observatory's darkest and angriest release, Catacombs is a texturally complex and viscerally emotional album, a study in delusion, insanity and obsession. Now, 11 respected artists from Singapore, China, Norway, Thailand/Japan, and the US, have been invited to enter the vortex of The Observatory and rebuild their own sonic worlds from the detritus of that landmark album. Titled after a key lyric from Catacombs, Behind These Eyes sees these 11 visionaries steering the trajectories of the original album in different directions, resulting in a sprawling double LP that is by turns more violent, calming, morose, euphoric, abstract, and elegiac. While listeners new to The Observatory will find in these disparate tracks a strange but certain unity of spirit borne from passionate experimentalism, fans of the band may find, over the four vinyl sides, a lingering sensation of familiar displacement and the uncanny. An album forged out of friendships and collaborations, Behind These Eyes is jointly released by The Observatory and Ujikaji. Long-time stalwart of Singapore's underground electronic music scene, Kiat has been championing the dark side of electronica for over 17 years. From the decks to the studio, it has always been about quality breaks, heavy bass lines and left-field influences. With tunes sought after by the top shelf DJs in the scene such as Goldie, Doc Scott, and Marky, just to name a few, Kiat has been featured as the Leader of the "Nu-Skool" in international drum & bass magazines, KNOWLEDGE and ATM. In 2009, Kiat took it a level higher by launching a digital music label, Qilin, together with stablemate, The Vortex. He also co-founded Syndicate, the most forward thinking music+visual super-collective in Singapore, set to deconstruct and reassemble sound concepts and visual ideas with live performances and installation sets in various spaces and contexts. With Qilin and Syndicate rolling out nicely for the sugar addict, Kiat is currently finding inspiration from blending his primary love for experimental hip hop together with other progressive electronic sounds from the world over.

nothing at of , which is


6. Xhin - Out Of The Furrow (sample)

Xhin - Out Of The Furrow (sample)

Two years after the release of The Observatory's Catacombs comes the Singapore band's first remix album. Widely regarded as The Observatory's darkest and angriest release, Catacombs is a texturally complex and viscerally emotional album, a study in delusion, insanity and obsession. Now, 11 respected artists from Singapore, China, Norway, Thailand/Japan, and the US, have been invited to enter the vortex of The Observatory and rebuild their own sonic worlds from the detritus of that landmark album. Titled after a key lyric from Catacombs, Behind These Eyes sees these 11 visionaries steering the trajectories of the original album in different directions, resulting in a sprawling double LP that is by turns more violent, calming, morose, euphoric, abstract, and elegiac. While listeners new to The Observatory will find in these disparate tracks a strange but certain unity of spirit borne from passionate experimentalism, fans of the band may find, over the four vinyl sides, a lingering sensation of familiar displacement and the uncanny. An album forged out of friendships and collaborations, Behind These Eyes is jointly released by The Observatory and Ujikaji. Xhin (pronounced as "sheen") has been crafting ominous cuts of cutting-edge electronic music since 1997. Building a forte in sound design, he is best described as a sound futurist. His identical rhythmic structure and compositional techniques which incorporate elements of techno, tight sub bass, ambient and IDM, delivers a hint of chaotic soundscape amidst artistry. A Singaporean by birth and residence, he independently released Xycle, a self-promotional EP that made the industry stand up and notice, in early 2003. He then followed with his debut album, Supersonicstate, the following year. In 2006, his talent was discovered by German independent record label Meerestief, and his remix for Five Green Circle's 'Ronan's BBQ' created a storm over Europe, praised supported and charted by heavyweights from the world of electronic music. Three years later, Xhin found a new home. He joined Berlin's then new techno label, Stroboscopic Artefacts, to release his dark, intense and experimental tracks. This was yet again the beginning of an "old new" direction for him to explore and experiment sounds even deeper for his future releases.

nothing at of , which is


7. Marco Fusinato - Spectral Arrows: Singapore (album preview)

Marco Fusinato - Spectral Arrows: Singapore (album preview)

Artist: Marco Fusinato Title: Spectral Arrows: Singapore Label: Ujikaji Catalogue No: UJI-004LP Format: Vinyl LP Edition: 150 Release date: 22.4.2017 In Singapore, the year 2015 will for evermore be remembered as “SG50” – the state-led yearlong celebrations of Singapore’s 50th year of independence, marked by scores of heritage projects, commemorative merchandise (SG50 fish cakes, anyone?), festivals and more. 2015 was also a big year for Marco Fusinato. The sound and visual artist was selected to exhibit at the prestigious Venice Biennale’s headline international art exhibition, All the World’s Futures. Right smack in the middle of his Venice stint, Fusinato’s path intersected with that of Singapore’s, as the Australian artist installed his first major solo exhibition, Constellations, at the Institute of Contemporary Arts Singapore (ICAS). This also brought Fusinato’s by-now legendary Spectral Arrows series of performances to the city-state, which saw the artist in an improvised durational performance using guitar and electronics. This LP-length documentation captures the immense energy and emotions of the 8-hour performance, marked by passages of eviscerating noise, abrupt shifts of tact, and tension-filled silence. Recorded live at the ICAS in the same month of Singapore’s national day and the culmination of SG50 festivities, Fusinato’s performance mirrored, and yet shattered, the relentless noise of the city-state’s yearlong golden jubilee celebrations. Locked grooves on both sides of this vinyl release mean that the audio can repeat ad infinitum.

nothing at of , which is


8. Yan Jun & Yuen Chee Wai - Crows that have no eyes (album preview)

Yan Jun & Yuen Chee Wai - Crows that have no eyes (album preview)

Artist: Yan Jun & Yuen Chee Wai Title: Crows that have no eyes Label: Ujikaji Catalogue No: UJI-011CD Format: CD Edition: 300 Release date: 22.4.2017 Created from the non-standard use of electronics, hydrophone microphone and feedback, Crows that have no eyes is a patient and masterful 40-minute eai (electroacoustic improvisation) piece by two of Asia’s most exciting improvisers today. There is nothing close to a straightforward musical narrative here, only oblique strategies and a display of wits, curiosity and risk-taking; where the artists have opted for subtle but extreme frequencies that push against the limits of listening. This isn’t so much harsh noise as a harsh attitude – the music here is largely “quiet”, but still unsettling, as if king-of-noise Merzbow had decided to cover Morton Feldman by pricking your cochlea with a hairpin. The album title comes from one of Yan Jun’s old poems. He ruminates on this image: “what if a black crow has no eyes to be aware of his blackness? what if a crow receives his blackness from the dark, the essential void? […] what if the music comes from the void we call ‘silence’?” In his desultory liner notes, Yan Jun jumps across topical affairs, from the government-sanctioned culling of crows and the regulation of live music during the Hindu Thaipusam festival in Singapore, to the pro-democracy Umbrella Movement in Hong Kong. He notes when “protestors keep silent, making the streets a breathless whirlpool. it’s a tactic of calling out the invisible power.” For Yuen, the album takes on a much more personal meaning, a meditation on the relationship between desire and memory. The music of Crows that have no eyes is abstract and resists easy interpretation, an open work which one could read both the political and the personal into. This is the debut recording of Yan Jun (China) and Yuen Chee Wai (Singapore). Yan Jun is a musician and poet, a key figure of Chinese experimental music. Yuen is a musician and artist working with sound, presently a member of avant-rock band The Observatory. Both are members of the improv group FEN (Far East Network), which also consists of Otomo Yoshihide (Japan) and Ryu Hankil (S. Korea).

nothing at of , which is


9. The Analog Girl - Headworm (Vapours Rising Remix) (sample)

The Analog Girl - Headworm (Vapours Rising Remix) (sample)

Two years after the release of The Observatory's Catacombs comes the Singapore band's first remix album. Widely regarded as The Observatory's darkest and angriest release, Catacombs is a texturally complex and viscerally emotional album, a study in delusion, insanity and obsession. Now, 11 respected artists from Singapore, China, Norway, Thailand/Japan, and the US, have been invited to enter the vortex of The Observatory and rebuild their own sonic worlds from the detritus of that landmark album. Titled after a key lyric from Catacombs, Behind These Eyes sees these 11 visionaries steering the trajectories of the original album in different directions, resulting in a sprawling double LP that is by turns more violent, calming, morose, euphoric, abstract, and elegiac. While listeners new to The Observatory will find in these disparate tracks a strange but certain unity of spirit borne from passionate experimentalism, fans of the band may find, over the four vinyl sides, a lingering sensation of familiar displacement and the uncanny. An album forged out of friendships and collaborations, Behind These Eyes is jointly released by The Observatory and Ujikaji. Named by TIME magazine as one of 5 Music Acts To Watch in 2008, Singapore-based musician The Analog Girl helped to define the genre that is laptop rock, while creating songs using a series of illuminated musical objects including the Tenori-On and Percussa AudioCubes. Having sprung into the international spotlight in 2005 when American sportswear giant Nike featured a track off her debut self-released, self-produced album, her unique yet catchy brand of electronic pop has since gained a worldwide following. Armed with her trusty laptop and ever-evolving array of instruments, The Analog Girl has showcased at New York City's CMJ Music Festival, Worldtronics Festival at the Haus der Kulturer der Welt in Berlin, amongst many others. The Analog Girl's newest studio album Tonight Your Love is downright her most hypnotic offering to date, and is mastered by Paul Gold at Salt Mastering in Brooklyn, New York. "I was immediately drawn to the track 'Headworm' on first listen of the LP - that beat! And the way it launches into a spiral vortex of noise, synths, and cymbals. I knew right from the start that I had to get my hands on these stems and enter some kind of an otherworldly wormhole with them. The process to remixing this track came very organically to me. I played with it in the way that the song spoke to me, and so began our sonic dialogue. At some point, it felt like I was in a live jamming session with members of The Observatory, and it felt good. Catacombs is my most favourite release from The Observatory to date, and that feeling when you watch them perform songs from this record live, it's just breathtaking."

nothing at of , which is


10. X' Ho - Anger & Futility (DJ Mentor's Beijing Fireworks Rmx) (sample)

X' Ho - Anger & Futility (DJ Mentor's Beijing Fireworks Rmx) (sample)

Two years after the release of The Observatory's Catacombs comes the Singapore band's first remix album. Widely regarded as The Observatory's darkest and angriest release, Catacombs is a texturally complex and viscerally emotional album, a study in delusion, insanity and obsession. Now, 11 respected artists from Singapore, China, Norway, Thailand/Japan, and the US, have been invited to enter the vortex of The Observatory and rebuild their own sonic worlds from the detritus of that landmark album. Titled after a key lyric from Catacombs, Behind These Eyes sees these 11 visionaries steering the trajectories of the original album in different directions, resulting in a sprawling double LP that is by turns more violent, calming, morose, euphoric, abstract, and elegiac. While listeners new to The Observatory will find in these disparate tracks a strange but certain unity of spirit borne from passionate experimentalism, fans of the band may find, over the four vinyl sides, a lingering sensation of familiar displacement and the uncanny. An album forged out of friendships and collaborations, Behind These Eyes is jointly released by The Observatory and Ujikaji. DJ Mentor is X' Ho, the musician/author/underground filmmaker who is better accepted in Singapore as Chris Ho, the radio DJ. To date, he has written three books about Singapore, made six short films, and recorded numerous CDs, including Lucifugous (2013), a collaboration with ARCN TEMPL who are Les & Viv of The Observatory. His 2009 album No Ordinary Country (the first "protest folk" album from Singapore), received this praise from The Business Times: "(It) should be required listening for anyone interested in plugging into a part of Singapore's zeitgeist that too often lies simmering below the surface." DJ Mentor was the moniker adopted when X' was spinning music for the goth parties organised by Singapore Dark Alternative Movement (SDAM). He's previously done remixes under the name Fab IQ with music-partner Alessandro Marchi. "Catacombs is among the greatest of the best Singapore works EVER. I am delighted to be given change to 'frame' one of its songs in an 'altered form', commonly known as 'remix'. The idea for the remix literally came to me when I was in Beijing at the time, hence my titling it such, and for the celebratory date mentioned in the lyric." Anger & Futility (DJ Mentor's Beijing Fireworks Rmx) was recorded at Hushworks Studio; engineered by Alessandro Marchi

nothing at of , which is


11. Evan Tan - The Argument (Hard Truth Remix) (sample)

Evan Tan - The Argument (Hard Truth Remix) (sample)

Two years after the release of The Observatory's Catacombs comes the Singapore band's first remix album. Widely regarded as The Observatory's darkest and angriest release, Catacombs is a texturally complex and viscerally emotional album, a study in delusion, insanity and obsession. Now, 11 respected artists from Singapore, China, Norway, Thailand/Japan, and the US, have been invited to enter the vortex of The Observatory and rebuild their own sonic worlds from the detritus of that landmark album. Titled after a key lyric from Catacombs, Behind These Eyes sees these 11 visionaries steering the trajectories of the original album in different directions, resulting in a sprawling double LP that is by turns more violent, calming, morose, euphoric, abstract, and elegiac. While listeners new to The Observatory will find in these disparate tracks a strange but certain unity of spirit borne from passionate experimentalism, fans of the band may find, over the four vinyl sides, a lingering sensation of familiar displacement and the uncanny. An album forged out of friendships and collaborations, Behind These Eyes is jointly released by The Observatory and Ujikaji. Evan Tan is a sound designer for TV and film and has been involved in the local music scene since 1998. He was also a member of The Observatory from 2003 to 2011. Since 2002, he has been active in laptop music and the sound art scene, exploring field recordings, digital noise, electro-acoustic and electronic music. "I wanted to remix 'Headworm' but it was already taken so I chose 'The Argument' for its fast tempo. I wanted it to be an abstract noisy affair at first but it was going nowhere so I changed the idea to a more beat-centric remix. I was listening to some new wave and industrial music and wanted some of the tacky elements like in Laibach, a Slovenian band."

nothing at of , which is


12. George Chua - Accidentagram (Martyrs' Blood) (sample)

George Chua - Accidentagram (Martyrs' Blood) (sample)

Two years after the release of The Observatory's Catacombs comes the Singapore band's first remix album. Widely regarded as The Observatory's darkest and angriest release, Catacombs is a texturally complex and viscerally emotional album, a study in delusion, insanity and obsession. Now, 11 respected artists from Singapore, China, Norway, Thailand/Japan, and the US, have been invited to enter the vortex of The Observatory and rebuild their own sonic worlds from the detritus of that landmark album. Titled after a key lyric from Catacombs, Behind These Eyes sees these 11 visionaries steering the trajectories of the original album in different directions, resulting in a sprawling double LP that is by turns more violent, calming, morose, euphoric, abstract, and elegiac. While listeners new to The Observatory will find in these disparate tracks a strange but certain unity of spirit borne from passionate experimentalism, fans of the band may find, over the four vinyl sides, a lingering sensation of familiar displacement and the uncanny. An album forged out of friendships and collaborations, Behind These Eyes is jointly released by The Observatory and Ujikaji. After a period of reflection and rest from presenting work, George Chua recently re-emerged with new fervor to create ecstatic and joyous noise informed by ideas and things that don't demand you hurry up and progress. "I was listening to the pre-release video teaser on their blog and that trance-inducing drone really excited me. I later found out that it was extracted from the track 'Accidentagram'. After hearing the whole track, I was really impressed with the percussive elements within the track as well. It was so good that I found fault with it; it was too short. The drone and precussion form the base for what I thought could be an interesting personal interpretation of my passion for extended trace inducing music in general, which in this case is in the form of trance rock. My experience of their live performance at The Substation performing extended versions of some of their repertoire also inspired some of the decisions made during the remix."

nothing at of , which is


13. Koichi Shimizu - Accidentagram (Actified Mix) (sample)

Koichi Shimizu - Accidentagram (Actified Mix) (sample)

Two years after the release of The Observatory's Catacombs comes the Singapore band's first remix album. Widely regarded as The Observatory's darkest and angriest release, Catacombs is a texturally complex and viscerally emotional album, a study in delusion, insanity and obsession. Now, 11 respected artists from Singapore, China, Norway, Thailand/Japan, and the US, have been invited to enter the vortex of The Observatory and rebuild their own sonic worlds from the detritus of that landmark album. Titled after a key lyric from Catacombs, Behind These Eyes sees these 11 visionaries steering the trajectories of the original album in different directions, resulting in a sprawling double LP that is by turns more violent, calming, morose, euphoric, abstract, and elegiac. While listeners new to The Observatory will find in these disparate tracks a strange but certain unity of spirit borne from passionate experimentalism, fans of the band may find, over the four vinyl sides, a lingering sensation of familiar displacement and the uncanny. An album forged out of friendships and collaborations, Behind These Eyes is jointly released by The Observatory and Ujikaji. Koichi Shimizu is a sound and multimedia artist as well as an event organiser based in Bangkok, Thailand. Born in Japan, Koichi studied sound engineering in New York. In 2003, he moved to Bangkok. As a sound designer and music composer for film, Shimizu has worked with international award winning directors, scoring for films such as Pen-ek Ratanaruang's Invisible Waves, Ploy, Nymph, Apichatpong Weerasethakul's Syndromes and a Century, and Aditya Assarat's Wonderful Town. His latest work is Apichatpong's Uncle Boonmee, which won Palm d'Or at 2010's Cannes film festival. He also won Best Composer award for best music score for Nymph at 2010's Dubai International Film Festival. Currently, he also runs an independent record label SO::ON DRY FLOWER. "First reason I picked this track 'Accidentagram' is I love this song. Another reason is that this song has simple but strong rhythm patterns. So I thought it is easier for me to approach with 'pattern and loop-based composition' which I normally do."

nothing at of , which is


14. Awk Wah - Ava (album preview)

Awk Wah - Ava (album preview)

http://ujikaji.bigcartel.com/product/awk-wah-ava-vinyl-lp Catalogue No: UJI-003LP Translucent redwood vinyl LP in deluxe die cut jacket and numbered tangerine dream insert + digital download code Numbered edition of 110 Duration: 40 min Release date: 20 September 2013 Leaping away from the twisted monolithic vision forged in his noisy 2011 debut Opera Box, Awk Wah returns with an exquisite new work. Listening to Ava is akin to trekking through unknown territory, each track a different region of alien environment, like a grittier, more turbulent version of the Future of Sound of London’s 1994 ambient classic, Lifeforms. There is a sense of sonic adventurism that charts the meeting points of avant garde, experimental, and techno music – comparable to what contemporary artist-producers like Raime, Helm, Lee Gamble and Jar Moff are doing. On Ava, tracks like “Rhea”, “Oneiros” and “Dazzling Spinoza” evoke ceremonial drums in a dark, primordial jungle; “Spineless”, “Hello On-tik”, and “Thex” raise the spectre of a dystopian industrial landscape littered with roaring furnaces; “Making Happy” and “Ominhex” are weirder still, their electronic beats an uneasy sort of dance, marking an ambiguous space between the pleasure of a groove and the ticking of a bomb. The big shifts in sound can be attributed to Awk Wah’s newfound use of the Roland SP-555 sampler in addition to his, by now, signature spider-like percussion work. Sound elements both synthetic and organic are sparsely overlaid; free rolling percussion, clangorous cymbals, nihilistic techno beats are used to compelling effect. At times, Awk Wah’s use of repetition in electronic beats, acoustic percussion – even the rhythmic feedback of a sampled radio in “Thex” – has the curious similarity to the echolocation function of sonar systems in search of an invisible intruder; there is something hypnotic about it, but equally a sense of imminent danger. Conceptually, the album is named after Avalokitasvara – the sanskrit form of Guanyin, Goddess of Mercy – and a word that literally means ‘perceiver of the sounds (cries) of the world’. What on a mytho-spiritual level evokes the compassion of a deity for humankind, is transposed in Ava into the sensitive act of keen listening to create vast and looming sound worlds – ones of ritualistic beats, distressed squelches, and powerful distortion. With his second album, Awk Wah cements his place as an outsider music genius, with rich insights to share with those willing to listen in to the cosmos with him. Tracklisting: A1. Rhea A2. Making Happy A3. Spineless A4. Oneiros A5. Hyal B1. Hello On-Tik B2. Dazzling Spinoza B3. Thex B4. Ominhex Album preview: https://soundcloud.com/ujikaji/awk-wah-ava-album-preview

nothing at of , which is


15. Ujikaji Radio for SEA Artsfest 7 Oct 2013

Ujikaji Radio for SEA Artsfest 7 Oct 2013

Ujikaji means experiment in Malay (Bahasa Melayu). Ujikaji Records is an independent music label and mail order store. Our interests lie in the curation of fiercely experimental works falling loosely in the realms of power electronics, lowercase, free jazz, freak folk, modern composition, glitch electronics, psych rock and/or avant pop. We are physically based in Singapore. This podcast is produced by Ujikaji specially for the SEA Artsfest 2013, a London festival which champions and develops the work of the artists of South East Asia and those inspired by South East Asia. Ujikaji Radio hopes to introduce music of the region to an international audience, focusing on contemporary music of an experimental, off-kilter bent, but also occasionally taking a dip in the historical and traditional. Got comments? Suggestions? Email [email protected] with UJIKAJI RADIO in the subject field. Links: SEA Artsfest: http://seaartsfest.org/ Ujikaji Radio: http://seaartsfest.org/ujikaji/ Ujikaji: http://ujikaji.net Playlist with notes [0:33] Timpun (chant) sung on the lansaran by Muruts of Semanbi tribe (North Borneo) (from Murut Music of North Borneo LP, Folkways FW04459/FE 4459, 1961) - "Men of the Semambu tribe of the Muruts chant together on a single tone. The pitch never varies, even when the chant and dance last all night. The percussion tone is made by the lansaran. The floor of houses is flexible, the houses are high up on stilts. The lasaran is built up under the floor so that when the dancers step hard on the floor, it touches the lasaras and makes the percussion sound heard in the record. This dance step is uniform in rhythm, so that the lasaran sounds an equal beat (beats all about equally loud) about what we would write down as a quarter note apart, or 1/4 meter. Thus both the pitch and the meter are as simple as it is possible to find." Recorded by Ivan Polunin. [2:32] Untitled by Yong Yandsen (from Disillusion LP, Doubtful Sounds doubt10, 2013) - A pioneer of the Malaysian Chinese rock scene until he gave it up for experimental music and free jazz. A member of cult band Klangmutationen. [7:30] Gonekid by Swirling Light (from The World is Full of Noise CDR, self-released, 2009) - Swirling Light is a shoegaze and alternative rock band from Bangkok, Thailand. They are inspired by My Bloody Valentine, The Jesus and Mary Chain, Slowdive, and other bands from the 1980s and 1990s. [12:07] Layar Maya by Sawi Lieu (from Pasaraya cassette, Constellation Tatsu PURR 0032, 2013) - Coming from Jakarta, Indonesia, Sawi's brand of trippy hypnagogic electronics have begun to stream to little corners around the world. His latest work on the Oakland, California tape label Constellation Tatsu, is his best yet. [17:05] Ominhex by Awk Wah (from Ava LP, Ujikaji UJI-003LP, 2013) - Ujikaji is proud to work with this outsider genius from Singapore. His new work charts the meeting points of avant garde, experimental, and techno. [20:10] Khen Le Molam by Unknown Artist (from Ethnic Minority Music of Southern Laos CD, Sublime Frequencies SF036, 2007) - This soulful performance was recorded by ethnomusicologist Laurent Jeanneau, who documented the music of the Harak and various Brao ethnic groups in Southern Laos. This music forms the roots of Molam, a sort of folk-blues music that is indigenous to the regions of Laos and Thailand. [25:30] They're Not Musicians by Elemento (from As It Is CDR, self-released, 2011) - Elemento was a project led by Lirio Salvador, a prolific sculptor who created numerous experimental instruments based on his own concept of ethno-industrial art/music. Sadly, Salvador was the victim of a hit-and-run accident in December 2011 and remains in a coma today. [29:54] Tu Dai Oán by The Six Tones (from Signal in Noise CD, dB Production, 2013) - The Six Tones are made up of Nguyen Thanh Thuy, Ngo Tra My and Swedish guitarist Stefan Ostersj. Tu Dai Oán is their performance of a traditional Vietnamese piece... in a non-traditional way! Played on dan tranh, 10-string guitar and live electronics. [41:22] Don't Run Away by Nan Su Yati Soe feat. Kyaw Htut Swe (from Moe Ma Myin Lay Ma Myin CD, 2008?) - Nan Su Yati Soe is a popular singer, actress and model from Myanmar. This song is the only English song on her album Moe Ma Myin Lay Ma Myin. [44:22] Tek Tum (Big Water) by Cambodian Space Project (from 2011: A Space Odyssey CD, Metal Postcard METAL 030CD, 2011) - The Cambodian Space Project is a cross-cultural project of Australian and French musicians and the distinctive Khmer vocals of Cambodian chanteuse Srey Channthy. They have been huge festival favourites internationally with their repertoire of classic Khmer rock 'n roll. Tek Tum is their psychedelic take on a traditional Khmer tune.

nothing at of , which is


16. James Plotkin - Out of The Furrow (sample)

James Plotkin - Out of The Furrow (sample)

Two years after the release of The Observatory's Catacombs comes the Singapore band's first remix album. Widely regarded as The Observatory's darkest and angriest release, Catacombs is a texturally complex and viscerally emotional album, a study in delusion, insanity and obsession. Now, 11 respected artists from Singapore, China, Norway, Thailand/Japan, and the US, have been invited to enter the vortex of The Observatory and rebuild their own sonic worlds from the detritus of that landmark album. Titled after a key lyric from Catacombs, Behind These Eyes sees these 11 visionaries steering the trajectories of the original album in different directions, resulting in a sprawling double LP that is by turns more violent, calming, morose, euphoric, abstract, and elegiac. While listeners new to The Observatory will find in these disparate tracks a strange but certain unity of spirit borne from passionate experimentalism, fans of the band may find, over the four vinyl sides, a lingering sensation of familiar displacement and the uncanny. An album forged out of friendships and collaborations, Behind These Eyes is jointly released by The Observatory and Ujikaji. James Plotkin, as a guitarist, bassist and sound arranger/producer, has been at the nexus of extreme and marginal music for over two decades. Moving from high impact metal through experimental noise and tingling, metallic ambience, he had worked with Aaron Turner, John Zorn, Michael Gira Jon Mueller, Paal Nilssen-Love, Stephen O'Malley, and has constantly pushed extreme metal into new sonic and idealistic realms with bands such as Atomsmasher/Phantomsmasher and the slow metal supergroup Khanate. Plotkin relocated from New York City to Philadelphia in 2010 and has been currently focusing on sound design, production, and engineering, as well as his newest group, Jodis, with Aaron Turner (ISIS, Hydra Head Records). His mastering/remixing credits read like a short list of today's most adventurous artists. He also designs analog devices that are completely handmade from start to finish, and incorporate a less predictable element of chaos to many musician's sonic arsenals. "I only use original tracking when remixing - what I enjoy most about the process is being able to change the actual genre of a track through production techniques. I'm not a fan of remixes that incorporate very little of the original track into what is essentially a composition of the remix artist. In my opinion, a remix is successful only when it pays respect to the original."

nothing at of , which is


17. VAVABOND - One-dimensional One (sample)

VAVABOND - One-dimensional One (sample)

Two years after the release of The Observatory's Catacombs comes the Singapore band's first remix album. Widely regarded as The Observatory's darkest and angriest release, Catacombs is a texturally complex and viscerally emotional album, a study in delusion, insanity and obsession. Now, 11 respected artists from Singapore, China, Norway, Thailand/Japan, and the US, have been invited to enter the vortex of The Observatory and rebuild their own sonic worlds from the detritus of that landmark album. Titled after a key lyric from Catacombs, Behind These Eyes sees these 11 visionaries steering the trajectories of the original album in different directions, resulting in a sprawling double LP that is by turns more violent, calming, morose, euphoric, abstract, and elegiac. While listeners new to The Observatory will find in these disparate tracks a strange but certain unity of spirit borne from passionate experimentalism, fans of the band may find, over the four vinyl sides, a lingering sensation of familiar displacement and the uncanny. An album forged out of friendships and collaborations, Behind These Eyes is jointly released by The Observatory and Ujikaji. VAVABOND is an improvised laptop noise artist. Member of band VagusNerve (psychedelic noise) and duo Mind Fiber (environment improvise). Enthusiast of all the humming of the unknown signals such as electromagnetism, insect buzzing, and messages from the cosmos. Her interests include time-based practice, machine drones, sound glitches and improvisational structures. VAVABOND is based in Beijing, China. "I chose this track 'One-dimensional One' because it gives a dark feeling, which is my favourite part of The Observatory's music. I met them two years after I remixed this track in Beijing. I really enjoyed their performances and appreciate them as musicians."

nothing at of , which is