Pleased to announce a new album by Korean American musician and writer, Sunik Kim. Currently based in Los Angeles, Sunik's music is often described as "a frenzied electronic orchestra that sits somewhere in between free jazz, noise, and Korean shamanic music." In this new album, Sunik is heading in another direction, with a heightened focus on the physicality of computer generated electronic sounds - "I challenged myself with this release to use pure electronic sounds in a way that avoids generic "harsh" / computer music tropes, and is very "clear" / "dry" and compositionally and structurally complex," as they recall.
Quotes from Tears of Rage:
옛시는 자연의 아름다움을 좋아하여
산과 물과 안개와 꽃, 그리고 눈과 달과 바람에 대해 읊었다.
하지만 현대시에는 강철도 포함 시켜야 하며,
시인도 공격을 주도할 줄 알아야 한다.
-호찌민, "'천가시'를 읽고"
도로가 풀밭이던 시대, 늪지대였던 시대. 그 모든 시대를 지나, 상아와 매머드의 시대를 지나, 고요한 일출의 시대를 지나, 산전수전 다 겪은 여자가 (치마를 입었으니 여자일게다) 왼손으로 옆구리를 쥐고 오른손은 편 채 서 사랑을 노래했다. 백만 년 동안 지속된 사랑, 그녀는 노래했다. 결국은 승리하는 사랑. 이 세월 동안 죽어 있던 그녀의 연인은 수백만 년 전, 그녀와 5월에 나란히 걷고 있었건만, 그녀는 흥얼거렸다. 하지만 여름의 나날처럼 길고 불타는 시간이 흐르면서, 그녀가 기억했다. 그는 가버렸다. 죽음의 거대한 낫이 우뚝 솟은 산을 휩쓸었던 것이다. 드디어 그녀가 하얗게 세고 깊게 나이 든 머리, 이제는 한낱 얼음의 재가 되어버린 머리를 대지에 뉘며 신들에게 간청했다. 보라색 들꽃을 곁에 두어 달라고. 마지막 햇살이 어루만졌던, 그녀가 묻힐 언덕 위에. 그러고 나면 만물의 연극이 끝이 날 테니.
-버지니아 울프, "댈러웨이 부인"
The ancients used to like to sing about natural beauty:
Snow and flowers, moon and wind, mists, mountains, and rivers.
Today we should make poems including iron and steel,
And the poet also should know to lead an attack.
—Ho Chi Minh, "On Reading 'Anthology of a Thousand Poets'"
Through all ages—when the pavement was grass, when it was swamp, through the age of tusk and mammoth, through the age of silent sunrise, the battered woman—for she wore a skirt—with her right hand exposed, her left clutching at her side, stood singing of love—love which has lasted a million years, she sang, love which prevails, and millions of years ago, her lover, who had been dead these centuries, had walked, she crooned, with her in May; but in the course of ages, long as summer days, and flaming, she remembered, with nothing but red asters, he had gone; death's enormous sickle had swept those tremendous hills, and when at last she laid her hoary and immensely aged head on the earth, now become a mere cinder of ice, she implored the Gods to lay by her side a bunch of purple heather, there on her high burial place which the last rays of the last sun caressed; for then the pageant of the universe would be over.
—Virginia Woolf, "Mrs. Dalloway"
credits
released April 10, 2024
Artwork by Sunik Kim
Cover Design by Yewon Kim
Mastered by Kim, Changhee
Translation by Yewon Kim, Han Gil Jang
I almost find it inaccurate to call this an encapsulation of various human emotions and states. It doesn't capture the intensely unimaginable (yet clearly realized) musical language it introduces and gratuitously uses. Not a single "word" is haphazardly "spoken" yet new phrases are abundantly launched. Maybe "language" isn't even doing it justice. But that near-ineffable quality is what makes 'Potential' the most important work of the year. Lucy Liyou
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Despite the length and variety offered by this release, a few general techniques or patterns are present throughout. Most notable is the interaction between Thomas and Wright, with the former playing in his signature dense and percussive style while the latter provides bursts of gritty notes on the alto. Wright’s wailing is an unconventional counterpoint to Thomas’s classicism.
https://avantmusicnews.com/2024/04/06/amn-reviews-%d8%a3%d8%ad%d9%85%d8%af-ahmed-giant-beauty-2024-bandcamp/ Michael Borella