Journal of Popular Noise (Vol. 3, Issue 8) 7" LP single

Second Pressing, edition of 200, 7" single - Bora Yoon + Ben Frost

Bora Yoon + Ben Frost

In logic, the principal of explosion requires a series of proofs known as ex falso quodlibet, which explains that if something is and isn't simultaneously, then anything and everything is true - thus making a number of theorems in a system "explode." A dialetheia rejects this principle. Paraconsistent logic, as in this piece, confronts us with an entirely different series of proofs. The space of sound is a physical occupation. Starting and ending with subdued fanfare, we're dragged from the public space of performance into a private, nocturnal realm where the fleeting impression of uncharted space is constricted by the familiar sounds of domesticity - but only for a few seconds. Sounds of breathing and furtive activity inhabit the music, but we're not quite welcome to get closer to identification. Tender, plaintive piano and sheer moments of beauty are recombinant with half-sung suggestions. Animal sounds, distinctly not pet sounds, vacillate and sometimes reconcile with the bestial. The results are plangent, temporal, and delicate as orchid blooms.

The paradox here is: pure physicality is a manifestation of the mind's inner workings. The internal score sheds light on conveyances between the overlooked, the personal, the half-remembered, and the half-expressed, all draped in shadow. Associations are created, space for breath and speech, a conversation from memory. The implication of a thought that we can't fully express begins to germinate, and is forever tied to either the weather at the moment, the one we are with, or the briskness of our pace as we move through time. There's a sense that a feeling is always on the tip of the tongue, but it isn't said. Bleak and barren landscapes can be warm companions. The contradictions embedded in any formal structure may be embraced. - Casey Zap

BORA YOON + BEN FROST mangled a pilates ball; moved bowls along cowhide; recorded bacon, a footpump, and a G5; whirled sound tubes; wrote with a cellphone (quill); drowned coins; played/wrestled a piano; pronounced things; and sang. Ben played piano on 3, and engineered, programmed and frosted the tracks. Recorded by Ben Frost for Greenhouse Studios, Reykjavik, Iceland. Sessions assisted by Paul Corley. Spine crunching on track 2 and Piano on track 4 by Paul Corley. Studio Manager Sturla 'Mio' Porrisson. Dedicated to Jaskarn Raju. Thank you Valgeir Sigurdsson.

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