#In Sainkho's music

[fennessyofficial]

Sainkho Namtchylak is an experimental music artist known for her unique vocal style, especially in throat singing. Her diverse musical repertoire ranges from avant-garde jazz to electronic and traditional Tuvan music.

In Sainkho's music, you'll encounter a captivating ethnic allure. Her mastery of Mongolian throat singing techniques, including khoomei (throat singing), kargyraa (vocal fry), and sygyt (whistling), delivers a mesmerizing auditory journey!

[womenofnoise]

Sainkho Namtchylak

[nochoirliketheirsong]

Song #143

I don't really know what to say about this one, it's more like a soundscape than a song, but on the other hand it's definitely not just noise. Maybe an improvisation? But I'm not sure if it is actually improvised. I guess I just recommend listening to it! The entire thing, it's a bit on the longer side compared to a lot of pop music, though not the longest song in my likes.

[etrangersvoyageant]

Thursday, I went to see Leya and stayed for Slumberland, who collaborated with Sainkho Namtchylak (a voice artist). Both performances were excellent.

Leya’s music worked well in the small venue and between tracks they talked a little. When Adam mentioned the harp was new, someone in the crowd noticed the price tag and we all had a laugh. The atmosphere was good.

After the show, I got to talk to both Marilu and Afam for a bit. Oddly enough they both thought I looked familiar, which I reasoned were the dead eyes of seeing too many bad shows (former music journalist ‘problem’). Combined random banter with actual information as one does.

Also talked to the promoter for a moment to ask how he got Leya, to which he explained he knew Claire Rousay and so got the label on board... it's a small world.

Slumberland is the project of Jochem Baelus, who makes his own sonic contraptions. He had taken a few on stages with them and they were great. Meanwhile Namtchylak deployed a sound range with a clarity not many could mimic. I had thought of leaving early, but I’m glad I stayed to witness this.

Friday, I went to see Avalon Emerson & the Charm. I’m not sure what I expected, maybe more hardware? Anyway the stage was pretty empty, Avalon on vocals and the Charm both wielding guitars or 1 on electric cello. With in the back, 4 distorted mirrors. In-between songs

Overall, it was a fine performance, but I think I could have missed it? Anyway, it got me into Amsterdam again and I walked around for a bit to think about some writing ideas. (Clearly, not every performance will be the best thing ever, this was a passing grade.)

One thing all these artists had in common? No encore, that was good. The ‘always encore’-meta got old pretty fast.

[wan-jx]

The 7 Deadly Sins

In the first assignment, I tried to trigger the keyword “sound ecology” with a simple and effective concept, and to develop and produce a sound work around the first keyword of the course, “sound”. In Assignment 2: Self Directed (Experimental Sound) I would like to experiment with, explore and produce a second keyword — noise.

The theme I wanted to experiment with was the “Seven Deadly Sins”, as these were originally written by the Greek theologian monk Pontius Pontius Pilate, who identified eight evils that harmed the spirituality of the individual, in a downward spiral. This corresponds to my definition of noise, so I wanted to use this theme to create a sound work.

The components of the work are initially divided into three parts. In the first part, I will collect live sounds (noises) from different environments that may represent each of the evils associated with it, such as crowded subways and scientific research for greed, peaceful places for laziness, etc., either through sound collages or live recordings. Or by creating music with non-traditional instruments and electronic synthesized sounds, but also by considering the possibility of creating sculptures with sound elements embedded in them. In the second part I will create chemical reactions and chaos by mixing all the “original sins” and changing the timbre or key of the sound (or music). In the third part I wanted to create a “death” sound. A minimalist approach to the creation of vocals (maybe). The first thing that came to my mind was Sainkho Namtchylak’s “lost river” from 1991.

Noise is defined as unwanted sound. Subjectively I feel noise as a sound that causes discomfort, annoyance and pain. And that brings us to a sound piece that blurs the boundaries — lost river. In the 1990s, the Soviet Union was going through an unprecedented political and economic crisis. Tuva, where she grew up, was in an even more precarious stage: unemployed people had no place to live; supermarkets were empty, there was no food, and people were faced with poverty and famine. Poor people often queue for countless hours in the cold with tiny food stamps, just to get a small piece of bread. Shanko worked hard to earn money and try to help her family get a little food and clothing, but her parents still died of hate in such a chaotic time. She returned to Berlin with a look of sadness on her face. The producer asked her if she wanted to give vent to her inner pain through music, and she couldn’t think of any melody that could express the suffering of the nation and its people, only an extreme, tearful whine. It became an outlet for her emotions and a way for her to heal herself during her long life. The purely vocal expression tries to explain that the human voice is the container of all sounds, and this is her first attempt to make a vocal experimental album after studying vocal music in Moscow, the purpose is to record all the possible methods of vocalization and tonal expression of a person, to show the most real sound of the primitive state of life of human beings, the cry of death.

On the other hand, the musical direction of the album “The 7 Deadly Sins” by Mantra Sounds. For example, on the seventh sin, “Wrath,” a melancholic melody spans a rising bass line and brings about an uninhibited descent. Vulnerable lyricism and high-energy screams fit the tone of the song, embodying the inner rage and thirst for vengeance that human beings may face at some point in their lives. Based on the musicality, experimentation and creativity of Mantra Sounds, I was able to capture more possibilities and directions for the expression of “Original Sin”.

[zoeflake]

Issei Suda - Photography - 須田 一政, Anonymous Japanese Master

“Anonymous Japanese Master, Issei Suda 須田 一政, born 24 April 1940 – 7 March 2019 was a Japanese photographer who "combined a pure appreciation of Japanese customs with a sharp investigative eye". While the West has been fascinated by certain elements of Japanese photography for decades, there are important figures who have been overlooked—Issei Suda, a precise observer of the everyday theater of the streets is one such artist. Issei Suda occupies a unique position in the history of Japanese photography: deeply important yet having received relatively little attention for his work from the West. Perhaps owing to the fact that he never became associated with any particular school, he remained outside the widely disseminated narratives told about Japanese photography. While more celebrated figures, such as Daido Moriyama and the Provoke Group are well known, Suda labored in a surprising degree of anonymity. Perhaps another problem for Suda is that his techniques were straightforward: he used a medium-format camera and precisely observed his subjects, painstakingly describing what he saw. As opposed to some of the more raw and biting Japanese photography that has long been popular in the West, Suda’s artistry is more subtle. It can be hard, at first, to discern what makes Suda’s work so special, yet his delicacy and precision become clearer with extended appreciation.” — E ī h w a z 

[intotheclash]

Sainkho Namtchylak - Order to survive

[sainkhonamtchylak]

Jazztopad 16 Festival in Wrotclaw having very nice teashirt and bag, before the concert trying on #sainkho #sainkhonamtchylak #music #festival #jazz #event #austria #poland #europe #singer (at Wroclaw, Poland) https://www.instagram.com/p/B4-oGD4Bt7h/?igshid=2m9qip10jpmh

[cowboy]

you should check out sainkho namtchylak's album stepmother city if you're into funky folk music it's stellar

LISTENIMG NOW

[vulnicura]

can somebody who knows music mix xtal by aphex twin with ritual virtuality by sainkho namtchylak so they like blend into each other

[lady-book-trash]

Autumn Studying Challenge 10.14.21

14th October - What are your favourite songs to listen to in autumn?

Usually softer, like 90s indie maybe? This fall is mostly filled with odd meditative music, lofi, and podcasts.

Had some time to repot plants. Today I plan to:

- start up & redesign bujo

- transplant all remaining plants

- swap winter/summer clothes

- clean bathrooms, vacuum, laundry, etc

- hopefully also meal plan or at least clear out the fridge

[womenofnoise]

do you have any recs for more folk-influenced women's noise projects? i really like svitlana nianio and aine o'dwyer and i'm wondering if there's more similar stuff out there

Hello there, it's a very interesting question! There's plenty of artists who mix folk with experimental/noise/contemporary. Here's a list of few I can think of right now:

There's Księżyc [x], a 90s experimental classic from Poland - it's a whole band, but fronted by two women.

Adela Mede [x] is a Czech artist creating contemporary sound collages with some folk vocals

Maryana Klochko [x] - an Ukrainian artist, her style ranges from more electroacoustic to more trip-hopy/electronic, worth checking out few of her tracks to get a range (I like the song Kvity, which kind of changes from one to another)

Tomoko Sauvage [x] - Japanese artist hugely inspired by various music folklore traditions, such as Carnatic water-bowls instrument

Julia Ulehla / dalava [x] - Czech vocalist, composer, ethnomusicologist "With her husband guitarist Aram Bajakian, she initiated a new line of performance research based on the ancestral song tradition of her father’s lineage, sourcing folk songs collected and transcribed by her great-grandfather, biologist Vladimír Úlehla".

Daina Dieva [x] - from Lithuania. Her works aren't maybe the most folklorish, but their closeness to the world of nature makes me put her in the mix

Audrey Chen [x] - Chinese-American artist mixing cello, voice and analogue synthesizers to create hauting compositions

Sainkho Namtchylak [x] - is a Tuvan experimental singer, known for using Tuvian throat singing and overtone singing named Khöömei. She mixes elements of east asian culture with genres such as avant jazz or electronica.

For more Slavic avant-folk check out this this compilation by In Crudo: [x] it's not all-women but features some inspiring women artists (Svitlana Nino and Księżyc included)

One can mix folk traditions with pretty much any genres I tried to stick to your artists of reference, but it's hard to find something *just like that* and nothing else - there are many more artists than these I've mentioned!

[0reblogufufu0]

You can usually tell a lot about a person by the type of music they listen to. Put your favorite playlist on shuffle and list the first ten songs then tag ten people! No skipping!

I was tagged by the wonderful

@liyazaki

to do this tag game! Thank you! I can’t do any fancy pictures likes yours because I’m on my laptop and that’s too much work, but I’ll still have fun with it!

Fin  by LET

Butterfly - Acoustic by UMI

For Real by Jharrel Jerome, Kemba

Eat Ur Greens by Gayathri Krishnan, SisterCody

Shoop by Salt-N-Pepa

Blanket - Live by Jeff Beck, Imogen Heap

My Dear Left... by Sainkho Namtchylak

Officially Missing You by AKMU

sage by OnlyOneOf

If Only by OZI

I’ll be tagging: @blckpinkmilk , @walkwithursus , @chrisjake-cp , @gunsatthaphan , @billkinspp , @wootaekyung , @blboys-kissing-boys , @certainkidbiscuitparty , @sunsetandthemoon  and @lcvr !

[dustedmagazine]

Listed: Upper Wilds

Dan Friel has been a mainstay of Brooklyn noise rock since the aughts, first with the obliteratingly loud (but kinda hooky) Parts & Labor, then with a series of ebullient solo albums and now, three records in, with Upper Wilds. Reviewing Venus, his latest, Jennifer Kelly noted with approval that it was, “a continuous barrage of bass and drums, knocking his inimitable fuzz-crusted hooks sideways and to pieces and rampaging on regardless.” Here, Friel lists some of his favorite live performances, and we agree 100% about the Coachwhips.

Friel notes that “It's been a good year for reflecting on the importance of live performance. Here is a wildly subjective list of good shows I ended up at. The clips aren't necessarily from the sets I saw, but I tried to be somewhat era-appropriate.

Suicidal Tendencies (1992)

My first show. I was 16, and really liked “How Can I Laugh Tomorrow If I Can't Even Smile Today.” Not something I still listen to a ton, but thrash-era ST is just a fascinating combination of anger/positivity, chops, and fashion choices. I got a ride to the show in Worcester, MA with older kids who had to shovel beer cans out of the backseat into the Stop & Shop recycling center for change to put in the gas tank. Suicidal were just past their peak, but still had some of the best players in thrash (Rocky George forever) and blew Megadeth off the stage (near as I can remember).

Rorschach (1993)

My first punk show, in a former porno theater, with Universal Order of Armageddon. I had never seen anyone move around that much while playing music and thought their cover of King Crimson's “21st Century Schizoid Man” was an original for long enough that hardcore and prog are still hopelessly intertwined in my head.

Ornette Coleman and Prime Time (1994)

My first big jazz show. Ornette took some extremely punk violin solos, the set was short and chaotic, and the whole thing was so fluid and conversational it felt like watching a group of people form a river.

Black Star (1999)

My first night living in NYC. I had just started working at the Knitting Factory, and Black Star played for like 2+ hours with The Roots backing them up. A long way into the set, Questlove took one reality-shredding 8-bar drum solo, and then quietly went back to holding it down for the rest of the night.

Sainkho Namtchylak (2000)

Sainkho Namtchylak is an experimental vocalist from Tuva. I went into this show blind, and still think frequently about the range of sounds she was able to make, and the point where she seemed to visibly realize she didn’t need the microphone to fill the 250-capacity room with those sounds.

Yeah Yeah Yeahs (2001)

The first YYYs show I saw was also at the first real show I played in Brooklyn. Karen O performed wearing a plastic bag for a shirt and screamed real good on “Art Star,” and their set was the first time I felt like I was watching a band become famous in real time.

Friends Forever (2003)

Friends Forever was a band from Denver that played in their van instead of venues. They were goofy and loud and highly representative of the moment. I saw them a few times, including a Halloween-ish show outside Brian Chippendale’s space in Providence, which included a lot of flying pumpkins and punks jumping through a small fire.

Coachwhips (2004)

John Dwyer is never not entertaining, but there was this one small show in a junkyard outside of Austin where he just kept picking up lit fireworks and throwing them back at the audience, and I really wish there was footage somewhere. This show was good too.

Justice Yeldham (2006)

Justice Yeldham (aka Lucas Abela) has been traveling the world biting off pieces of amplified broken glass for a while now. I first saw him at Monkey Mania 2, Friends Forever’s space in Denver. Beyond the obvious madness of performing with broken glass, he’s an extremely dynamic musician with crazy range on his instrument, and it always rules.

Pet Shop Boys (2010)

A wise British friend dragged me to this at a festival I played, and I'm still confused as to how they pulled off this billion-dollar Broadway-esque trick of projecting onto a wall of bricks, having the wall collapse, having dancers pop out of the bricks, and then having the bricks reform the wall. It's true that I don't go to a lot of big-budget stage productions, but I swear it was nuts. Having 10,000 people sing along to the chorus didn't hurt either.

[burlveneer-music]

Minim feat. Sainkho - Earth - Polish avant-jazz combo with Tuvan singer Sainkho Namtchylak

MINIM feat. SAINKHO is a bewitching project consists of young, creative generation of polish jazz musicians and worldwide known vocalist and artist – Sainkho Namtchylak. The meeting of two worlds. Music played by quintet is remarkable amalgamate of avant-garde jazz with minimalistic approach and traditional Tuvan singing with its deep bonds with folklore.