Grčki čovjek-šišmiš leti ezoteričnim vektorima elektromagnetskih gradova koje su prije milijun godina sagradili vračevi free jazza.
jarmoff.tumblr.com
www.pan-act.com
PAN's first release of 2013 is an epic plunderphonic simulation recommended to followers of Thought Broadcast, Wanda Group, Ghédalia Tazartès. Mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl and packaged in a pro-press color jacket which itself is housed in a silkscreened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas** PAN's first move on 2013 is a psychedelic, plunderphonic concrète collage by Athens-based artist Jar Moff. 'Commercial Mouth' is perhaps best aligned with the gyroscopic logic of labelmates Ghédalia Tazartès or Joseph Hammer, intersecting and overlapping sonic vectors at oblique trajectories carved and canted into shape and space with an elemental geometry and the sort of calloused, knotty finish that suggests he may have lost a thumb or finger in the process. It's a compelling and ambitious sound for such a relatively inexperienced artist; acousmatic samples are stretched, cut-up and recombined with free jazz dexterity between opposing poles of lysergic hip hop and electro-acoustic noise, functioning at a highly impressive level somewhere between the abstract underground and more disciplined, academic skools of sound thought. But, taking his previous appearances on the Harald Grosskopf remix album and Matthewdavid's Leaving Records into account, it's not such a far fetched proposition, and one evidently within his grasp. Across the A-side's 'Tziaitzomanasou', shards of industrial percussions fracture and buckle in a rusted sci-fi soundsphere sounding like Thought Broadcast and Wanda Group rendered in 3D by Bee Mask, whilst the B-side's 'Commercial Mouth' feels even further gone, inhabiting a frayed and almost anxious ecology of zig-zagging bleats reminding of Golden Retriever mixed with lazer-guided no wave skronk and the kind of visceral, cuticle-flaying dynamic heard on Reinhold Freidl's incredible 'Inside Piano' LP. The result is a baffling but exhilarating collision of styles and techniques handled with a nearly synaesthetic quality, you almost see this record appearing as broken waveforms and physical objects sprouting from the speakers/headphones. - boomkat
Imagine: a world where magical underwater dolphins prank call
each other and leave lengthy voicemails consisting of heavy breathing
over lush Myst-like waterfall soundscapes, before diving into a
super rowdy game of laser tag, and then finally attending a jazz show.
Now this may not have been your fantasy at the beginning of the day, but
now that you know it exists, why not? Why not make it your fantasy?
Because it does exist, in the mind and tunes of Athens-based sound
collage artist Jar Moff.
Come December 7, PAN will release Jar Moff’s debut LP Commercial Mouth as a digital album and an LP. This is the fella’s first full-length LP (sure, it’s only two tracks, but they’re LONG ones. That’s what matters, right?); he did a digital release for Leaving Records and a remix on the Harald Grosskopf Synthesist/Re-Synthesist LP last year. If you’ve ever listened to hip-hop records and thought, “what’s with the lack of laser swooshes and dolphin squeaking?” well then Jar Moff might just be your new best friend; check out the excerpt: - Liz Louche
Jar Moff is
a collage-inspired beatsmith from Athens, Greece who has an LP coming
out next week on the consistently spot-on experimental Berlin label Pan. In addition to producing a fine Harold Grosskopf remix for last year’s Synthesist/Re-Synthesist
compilation on RVNG Intl., he’s put out a few releases on
Matthewdavid’s Leaving Records imprint, sharing enough of a kinship with
that artist’s warped sample aesthetic to convince me momentarily that
he was from the Los Angeles Beat scene. “Commercial Mouth,” the title
track of the Pan release, is a rhythmic scramble of scuzz, metallic
clangs and free jazz saxophone, cut with some alluringly simple synth.
Stream an excerpt from the track in this found footage video he created
for it, noting that Jar Moff’s music and the cringeworthy kitsch of
Greek trash TV make for a strangely pleasing combination. - Emilie FriedlanderCome December 7, PAN will release Jar Moff’s debut LP Commercial Mouth as a digital album and an LP. This is the fella’s first full-length LP (sure, it’s only two tracks, but they’re LONG ones. That’s what matters, right?); he did a digital release for Leaving Records and a remix on the Harald Grosskopf Synthesist/Re-Synthesist LP last year. If you’ve ever listened to hip-hop records and thought, “what’s with the lack of laser swooshes and dolphin squeaking?” well then Jar Moff might just be your new best friend; check out the excerpt: - Liz Louche
In the last year, a steady flow of deftly crafted experimental sounds has poured from Berlin label PAN. Heatsick’s dirty, queer, Ron Hardy inspired, quasi-afro-indie-disco sex moans and Lee Gamble’s minimally reconstructed rave deconstructions share a trance inducing power, unleashed by splicing dance music’s DNA and re-sequencing its cell structure. Though varied in style, PAN’s offerings emphasize physical, textural grooves with shearing psychic resonance. Currents of carved weighty wax waves pile into amplified assonance and tease out into dissonant tension like rippling rubber ribbons, an ocean of tensed elastic bands. Stretched to the breaking point, these bulging bodies of sound snap beyond their physical bounds into transcendental mystery.
Commercial Mouth, Athenian Jar Moff’s PAN debut, is no exception. On both extended experimental cuts, ‘Tziaitzomanasou’ and the B-side title track, Moff draws from tributaries of the Rhine, Nile, Niger and Mississippi, slurping up ancient reservoirs of metaphysical musical tradition into a mighty rolling basin. Taking the recently noisy leanings of art-techno and reuniting them with their ancient free jazz origins in an audio-collage à la concrète, Moff effortlessly ties a bow between three generations of avant-garde. Here Keith Jarrett, Sun Ra and Ornette Coleman perform sacred analog computer rites, together with the likes of PAN’s Gamble. Violently shuddering, shrieking blasts of horn, creaking hums, whistling fuzz, and jangling bells explode as if unleashed from some Pandora’s Box, recalling mythical powers of creation and destruction. Sounds amble on seemingly without fixed pattern, like random rhythms of life, before disappearing into the uncanny canyons of imposed mental order. Take this quaking journey, at once to the centre and the boundaries of our musical universe. -Dashiel Brasen
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