"We had one day of preparation for the multi-track recording, performing for two nights surrounded by a limited but packed audience. The Emily Harvey Foundation loft in New York City is itself quite constrained, and Akio and I needed a significant portion of the floor to place our gear and roam around. Microphones were everywhere, since our sounds diffused across the space. My role was to set an assortment of "scenes" with field recordings, sustained drones generated by an industrial electric fan, and electronic tones and pulses from radios, et cetera. Akio then built upon these with layers of melodies and rhythmic patterns, while we both engaged in fabricating distinctive texture and timbre. Akio kept changing his instruments - such as the Analapos, the stone flute, discarded objects, et cetera - bringing surprises and sudden changes, creating contrast and powerful tension. "ke i te ki" in Japanese means the sound of an alarm, or a whistle to call attention to a hazardous event. We hoped to further develop our unconventional style by adopting a set of self-imposed rules related to the multi-directional soundscape, acoustical response to the space, implementation of visual elements, and so on. Akio suggested the name "ke i te ki" as a reminder to push ourselves further. It was a lesson for us in questioning 'norms' and exploring other possibilities. It's having no determined limit or boundary." (Aki Onda)
soon in stock - please pre-order | AU| 2018| ROOM40 | 13.90

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