Jason Kahn
Jason Kahn was born in New York in 1960 and grew up in Los Angeles, drumming in rock bands until he left for Berlin in 1990. The kit went with him but did not survive intact: within a few years he was running percussion through electronics, and the line between the two stopped being useful. Zurich has been home since 2000. From 1997 to 2008 he ran Cut, a label he started because his own group had a tape and nowhere to put it, and closed after twenty-five records. He plays percussion, analogue synthesizer, computer and, more recently, his own voice, in whatever combination the room suggests. Several of his releases are books with sound attached.
Jason Kahn was born in New York in 1960 and grew up in Los Angeles, drumming in rock bands until he left for Berlin in 1990. The kit went with him but did not survive intact: within a few years he was running percussion through electronics, and the line between the two stopped being useful. Zurich has been home since 2000. From 1997 to 2008 he ran Cut, a label he started because his own group had a tape and nowhere to put it, and closed after twenty-five records. He plays percussion, analogue synthesizer, computer and, more recently, his own voice, in whatever combination the room suggests. Several of his releases are books with sound attached.
Topography
Percussionist Jon Mueller continues his amazing run of releases (he appears on eight Table Of The Elements titles in the first half of 2008!) with Topography, a collaboration with Zürich-based sound and visual artist Jason Kahn. As a drummer, Mueller propels Collections of Colonies of Bees and the occasional guitar army of Rhys Chatham; he also finds time to collaborate with artists ranging from Wilco's Glenn Kotche to Swans' Jarboe. Kahn draws on electronic and acoustic sound sources to create …
Songs for Nicolas Ross
The audio material of «Songs for Nicolas Ross» is taken from my travels 2000-2003 in the cities Amsterdam, Baltimore, Berlin, Caudeval, Lausanne, Los Angeles, New York, Paris, St. Pölten and Zürich. As the CD was for the birthday of Alessandro Bianco's son Nicolas Ross, I thought of the pieces as short songs, either as lullabyes or just brief sonic enivornments for him to enter into. I tried to imagine young Nicolas' perception of the sound around himself and his relation to this. This was the s…