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LP
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SE 011LP
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Second Editions presents a collaborative work by Marja Ahti and Judith Hamann. After their distinguished duet Portals for Cafe Oto's Takuroku label, A coincidence is perfect, intimate attunement is a wonderful sophomore collaborative work pieced together over two years of changing seasons, ideas, moods, and feelings. The release is formed from a shifting field of sound correspondence that pivots on moments of coincidence, of a tuning in. A coincidence... is an LP length composition of multiple interlocking parts, created through exchange, alignment, unpredictability: the title borrowed from poet Fanny Howe falling right into place, a flock of birds in flight, pitches matched and moved across different geographies and temporal frames. Marja and Judith have created an intuitive, lyrical longform piece that considers the idea of attunement itself as, in some sense, the smallest form of measure or denominator connecting their respective practices: across field recording, just intonation, electronic sonorities and instrumental bodies. A coincidence... reflects a sense of a willingness to tune in to impulses given, or gifted to the other, a position that embraces an intimate synchronicity. Recordings and correspondences between 2020-2022. Mixed by Marja Ahti and Judith Hamann. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2022. Edition of 300.
Marja Ahti (b. 1981) is a Swedish-Finnish composer and sound artist based in Turku, Finland. Ahti works with field recordings and other acoustic sound material combined with synthesizers and electronic feedback in order to find the space where these sounds start to communicate. She makes music that rides on waves of slowly warping harmonies and mutating textures -- rough edged, yet precise compositions, rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active in the duo Ahti & Ahti with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.
Judith Hamann is a cellist and performer/composer from Narrm/Melbourne in so-called Australia, currently based in Berlin. Their work encompasses performance, improvisation, electro-acoustic composition, field recording, electronics, site specific generative work, and micro-tonal systems in a deeply considered process-based approach to creative practice. Currently Judith's work is focused on an examination of expressions and manifestations of "shaking" in solo performance practice, a collection of works for cello and humming, as well as ongoing research surrounding "collapse" as a generative imaginary surface, and the "de-mastering" of bodies (human and non-human) in European settler-colonial heritage instrumental practice and pedagogy.
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