Yan Jun

yan jun, a musician and poet based in beijing.
he works on experimental music and improvised music. he uses noise, field recording, body and concept as materials.
sometimes he goes to audience’s home for playing a plastic bag.
“i wish i was a piece of field recording.”
yanjun.org

For this event, Yuko will read this poem by her mum, Kazuko Shiraishi, called ‘ bus stop'. This is the English translation of it:

BUS STOP

On top of the shifting sand     a
Shadow is seeping in like     a dot
It is     a bus stop
No sign telling     from where     to where
There is no one
To     answer     all the questions
Like purpose     and what then     or
Why
Even what is called meaning
Has worn out     and.    in the old     dictionary
Now gritty     and     sticking out a stone tongue     just laughs

(Even the little room inside the brain
The wind     has flown off     somewhere
So . . .)
Saying so
I go out     get on my bike     but     even though I get on
I don't have a destination     but     to go back
Inside, too
That place     also     is a destination that doesn't exist

Maybe     the bus stop.    has come to the door
And might be building a fire
Maybe     the bus stop     with a huge     ancient eye
Like an iguana     might be watching.    passengers
There might be     an angel lying face down like a puppy
Pretending to be asleep

There is Sister Maria who became
A green birthmark simply because she was afraid of committing adultery
Also     sweat-soaked deserters
In dirty combat boots who can't even become devils.    or.    lazy angels
The bus stop     may be     watching     them
Smudging.   in the color of sand
Around the eyes     with the shifting sand
Something that     is     a dot
On the shifting sand!
Certainly existing     that
Phantom existence!

_______
from ‘Let Those Who Appear’, Kazuko Shiraishi
New Directions Publishing
Translated by Samuel Grolmes & Yumiko Tsumura

Michelle Lou

Michelle Lou is SoCal based electroacoustic composer and performer whose work has been presented at festivals such as MaerzMusik, Rainy Days, Wien Modern, TimeSpans, Drone not Drones, and Donaueschinger Musiktage, amongst others. Releases include solo and collaborative work on the imprints Party Perfect, Carrier, Unknown Tapes, Kairos, and Dinzu Artefacts. Visit www.michellelou.com for more information. 

Bryan Eubanks

Bryan Eubanks develops his music through solo work and collaboration. Since 1999 he has participated in many short and long term projects, and regularly presents his work internationally. Continually active in a variety of contexts: improvisation; composing electronic and acoustic works for small ensembles, solo instruments, computers, and electronics; organizing and curating concerts for other artists; building electronic instruments. He currently lives in Berlin.
https://www.sacredrealism.org/artists/bryan-eubanks/

yPLO

yPLO (Paul Abbott & Michael Speers) is a project about imaginary drums and rhythms, using acoustic percussion and synthetic sounds. Their record 'ob TRU', was released by London-based imprint Feedback Moves in 2024.

Michael Speers (b.1992) is a drummer, sound artist and researcher from County Down, Ireland. Currently a PhD student at SARC: Centre for Interdisciplinary Research in Sound and Music, Belfast.
His practice incorporates percussion, feedback, digital synthesis and environmental sound. Recordings published by Anòmia, C.A.N.V.A.S., Party Perfect!, Wasted Capital Since 2013, Takuroku, Krim Kram and Feedback Moves.

Paul Abbott is a writer, sound and performance artist. He has played at venues and festivals internationally and was a resident at Cafe OTO. He completed a PhD at the University of Edinburgh under the supervision of Florian Hecker and Nikki Moran, and is currently undertaking research at Royal Conservatoire in Antwerp. He is also the co-founder and editor of Cesura//Acceso, a journal for music, politics and poetics.

Technical Reserve

Technical Reserve is the trio project of Hunter Brown, Dominic Coles, and T.J. Borden. Their singular improvisational language moves freely between discrete rhythmic shards, precision-oriented bombast, and floating, hazy abjection.