The following is quoted from Jesse Goin's write-up of our upcoming show in the CWNM 2013 concert series.
crow with no mouth is pleased to announce its inaugural concert of
the 2013 season – Hong Chulki (Seoul), in his first visit to the U.S.,
and the return of Jason Zeh (Kansas City, Missouri), who performed in
the cwnm 2011 series.
I first became aware of Hong’s music in 2008, when a generous package
of Seoul-based noise and improvised music, documented mainly on the
Balloon & Needle, Manual and Celdon labels (also Seoul-based)
arrived in the mail from my friend William Ashline, a professor at
Yonsei University, and long-time listener of improvised music. A small
crew of collaborative musicians, performing in an improbably tiny venue,
Dotolim, were beginning to generate some positive chatter among
experimental music listeners around the world. This core collective –
Choi Joonyong, Ryu Hankil. Jin Sangtae, Lee Hangjun, Park Seung Jun, two
U.S. ex-pats who adopted Seoul as their home town, Joe Foster and Kevin
Parks, and our special guest Hong Chulki – were making authentically
risky music, often boisterous, subversive, even compellingly ugly.
Serving as a sonic antithesis to much of the reduced, micro-minimal
sounds issuing from the Seoul group’s occasional collaborators from
Tokyo, Vienna, and elsewhere, e.g., Sachiko M, Klaus Filip, and Jason
Kahn, Hong and his compatriots create a sui generis ruckus by means of
hacked, gutted and otherwise repurposed junk. Typewriters, clockworks,
cartridge-less turntables, CD player entrails – all are investigated for
their sound possibilities. I have written twice about this music coming
out of Seoul over the past several years, saying in June 2011 …[this
music] is made of nearly every ugly sonic byproduct you can imagine
issuing from the mechanized, throw-away toys of our time, with
meticulous attention to the piece’s overall shape, sound placement and
the player’s conjoining of elements.
This is Hong Chulki’s first visit to the United States, and a rare
opportunity to hear a musician engaged in an area of improvisation I
hear as … neither simply going for your throat, nor studied and
airless enough to be regarded as academic; they love that ugly produce,
so much so they set aside the lap-tops and guitars they’ve all been
associated with to bring the roughness, the rudeness and the ruckus.
I first heard Jason Zeh in 2006, at a
poorly-attended show in a record store in Minneapolis slated for
foreclosure. On an evening consisting of 5 or 6 sets played to largely
listless attendees seated on forensically-stained shag carpeting between
rows of rock & roll vinyl bins, Zeh delivered a brief improvised
collage, manically manipulating at least seven cassette players of
varying vintages; it was brilliant, and I returned home to search the
internet for pointers to his music. Finding nothing, I was excited, five
years hence, when Zeh agreed to come to Minneapolis to perform on a
mini-tour with Jason Kahn and Mike Shiflet. In his second appearance in a
crow with no mouth concert, Zeh will offer a solo set, and a duo with
Hong, whom he will meet for the first time when he arrives.
In November 2011, I wrote: I
want to get after you all a little to look into the music of a tape
composer from Bowling Green, Ohio; Jason Zeh has been focused for some
years on making intimate, meticulously crafted sound works by every
means possible within the medium of cassettes. Zeh shares aspects of an
overlapping sensibility with Jason Lescalleet and, specifically in his
predilection for nearly entombing rich sonic details in tape-murk,
It is my great pleasure to present Hong Chulki and Jason Zeh together
on February 15, an auspicious opening for the 2013 series.
The three-year anniversary of my blog, crow with no mouth, is also in
that week of February, so we will celebrate this music with a few