Recordings made in Croatia, Egypt, Japan, Lebanon and Switzerland
You can tell the releases on Jason Kahn’s low- key Cut label amongst their brethren: Cut’s thick cardboard fold-over sleeves are housed in sturdy plastic slips, yet they still all but disappear among the towers of scuffed jewel cases surrounding the stereo. Dressed in simple yet effective abstract colour patterns, the packaging is a perfect fit for the music contained inside. Unassuming yet far from diffident, Kahn searches for works that diligently explore a few different aspects of the one thing, with his own music the guiding light, perhaps, of the Cut aesthetic. Fields is a further refinement of the powerful take on near-stasis and incremental development that had begun to be defined on his earlier Miramar and Sihl albums. Indeed, these recordings slot together as an unintentional triptych, the documentation of an ongoing obsession with pinprick focus. Typically, Kahn will zoom in on two or three sound events, sourced on Fields from percussion, synthesizer, radio and field recordings, and carefully tend to their interplay, patiently waiting for the interaction to reach its natural endpoint before gradually weaving new elements in as the old disappears in a terrifically slow cross-fade. It would be easy to resort to the theatrical flourish to grab the listener’s attention, to enlarge the basic building blocks of compositions – there is something undeniably panoramic about the general approach. One of the real strengths of Fields, however, is its ultimate denial of ‘largeness’ and the sense of intimacy in these meticulous pieces. The other strength goes hand in hand with that intimacy – the undemonstrative, non-cliched beauty of Kahn’s compositional touch, his gentle caress of the sensitised ear. (Jon Dale, The Wire)
Kahn presents seven compositions that were created for analogue synthesizer, percussion, short wave radio and field recordings from Croatia, Egypt, Japan, Lebanon and Switzerland. In much of his work, solo and improvisation wise, Kahn loves the stretched fields of sound: long blocks of drone like sounds that only evolve minimally over the course of a piece. On ‘Fields’ this is no different, but throughout it seems as if he uses many layers, as opposed to just a few. All the sounds start at once and then through clever mixing and filtering changes are made. Subtle changes in the work of Kahn, but nevertheless a trademark of his work, a very fine disc. (Frans de Waard, Vital Weekly)
A partir de sons capturés en Croatie, en Egypte, au Japon, au Liban ou en Suisse, Jason Kahn ne propose pas une soirée diapo de ses derniers voyages, mais retravaille tout ça pour les rendre diffcilement identifiables. Ce qui reste reconnaissable, par contre, c’est son travail sur les textures et le drone qu’il en sort.