Organum Electronics ‘Noughwhere’ is the third OE album for Die Stadt, and could almost be seen as a culmination of all previous OE albums in terms of denseness and intensity. Like with all these works it’s a return to the electronic sounds David Jackman already created at the very beginning of his Organum project about 40 years ago. Similar sets of particular sound sources, arranged in a variety of permutations and combinations, and a variety of structures, to create a range of variations. They “offer an experience of instant immersion and sustained immediacy” as one reviewer observed listening to OE ‘Quietude’ (DS128) and OE ‘Darcknes’ (DS130) which were released end of 2023. Recorded in 2023 and edited by Alan Jones at RMS Studios in South London, the CD comes in a 4-panel Digisleeve with graphic artwork by Jonathan Coleclough.
UK-based composer and visual artist David Jackman began his career in the late 1960s in the experimental group Scratch Orchestra, co‑founded by Cornelius Cardew. He started recording solo work in the late 1970s, mostly on self-released cassettes in very small numbers. In the early 1980s he established his main project, Organum, which eventually evolved into a new version under the name Organum Electronics in 2019. Since 2019 five albums were released by Japanese imprint Siren Records, followed by (so far) three albums on Die Stadt. This is the third of seven albums which are scheduled for release on Die Stadt until the end of 2024. Apart from several albums under the Organum Electronics moniker these will also include works under David Jackman’s own name.
Organum Electronics ‘Quietude’ is another intense aural experience. A dense work, consisting of buzzing washes of electronic sounds, reminiscent of the very first Organum recordings. In common with other recent works, the piece uses a carefully chosen set of sound sources, overlaid and structured to form a tapestry of shifting textures. Recorded in 2021 and edited by Alan Jones at RMS Studios South London, the CD comes in a 4-panel Digisleeve with graphic artwork by Jonathan Coleclough. UK-based composer and visual artist David Jackman began his career in the late 1960s in the experimental group Scratch Orchestra, co-founded by Cornelius Cardew. He started recording solo work in the late 1970s, mostly on self-released cassettes in very small numbers. In the early 1980s he established his main project, Organum, which evolved into a new version under the name Organum Electronics in 2019. Five OE albums have been released by Japanese imprint Siren Records. ‘Quietude’ (DS128) is the first OE release on Die Stadt.. This is the second of seven albums scheduled for release on Die Stadt up until the end of 2024. As well as several albums under the OE moniker these will include works under David Jackman’s own name.
Organum Electronics ‘Darcknes’ is the sibling album of ‘Quietude’ (DS128). It is a similarly dense work, consisting of buzzing washes of electronic sounds, reminiscent of the very first Organum recordings. In common with other recent works, the piece uses a carefully chosen set of sound sources, overlaid and structured to form a tapestry of shifting textures. Recorded in 2021 and edited by Alan Jones at RMS Studios South London, the CD comes in a 4-panel Digisleeve with graphic artwork by Jonathan Coleclough. UK-based composer and visual artist David Jackman began his career in the late 1960s in the experimental group Scratch Orchestra, co-founded by Cornelius Cardew. He started recording solo work in the late 1970s, mostly on self-released cassettes in very small numbers. In the early 1980s he established his main project, Organum, which evolved into a new version under the name Organum Electronics in 2019. Five OE albums have been released by Japanese imprint Siren Records. ‘Darcknes’ (DS130) is the second OE release on Die Stadt. This is the second of seven albums scheduled for release on Die Stadt up until the end of 2024. As well as several albums under the OE moniker these will include works under David Jackman’s own name.
Label description :
Lighting flashes through the ether
And rain whips the earth violently
From the innermost depths, the pale light of candles
A constancy
A midnight torrent overflows and marks time in solitude
The cold air searches, sewing through the ground
Slowly changing and irresolute, nothing is lost
Paths are drawn, contorted by fierce winds that traverse the ground
In uncertain times and places
Order flows through chaos
Every step of the spiral is forever surging and altered
Yet everlasting
In a space, an electromagnetic ring swarms then rotates
The ring releases its own shackles and plunges through the depths of space
The sounds draw out to an inner sea
Turning to dark fundamental notes and overtones
Phenomena, life and sound, as it arises
To change the order of changes
The voice of wildness resonating in an impenetrable world
That continues to churn and swirl
Between cathode and anode – iron filings pattern around a magnet
Certainty changes, currents move the sand, heat dispatches the wind
The water rises, returning as rain
Changed to smoke and reappearing as vapour
The mass of the earth compressing the rocks
Fire changes everything, rising and falling, opening and closing
4th volume of Organum Electronics project
An abandoned silence
Dreams of drifting, living a fateful solitude
Wrapped around a grey and foaming voice
Reaping impulse and mass like a forgotten beast
Lost to countless days and nights
Rocks and soil, sand and stars
In the sadness of being
Standing apart
Remember the rising flame from time long ago
A sound that shook deeply from the bottom of a boiling ocean
One voice of Mother Magma
Formless lava fashioned a primeval landscape
Ash, smoke and seething seas
A red-hot avalanche cascades endlessly
The Awakened Voice
Predestined from beyond the FEARCENESS
2021
Press release text:
"In the everlasting silence of the universe
Dark clouds reflect upon shimmering water
The voiceless radiance of solitude
Dissonant overtones in dark clouds
Pierce the eternal veil of night
The rivers rage ceaselessly
Burst
Swiftly, cloud-shadows and sunbeams
White flames burning through a dark sky
Wrapped in its own eternity
Wild and forsaken
No sound is tamed
Release and rebirth, revolve, subside and swell
Inescapable and incessant in motion
The path of that unfailing sound
A harmony
Ancient and solemn
The voiceless radiance of solitude"
David Jackman’s music, both as Organum and under his given name, is typically characterized by repetition, brevity and a deadpan aloofness. He’s made plenty of extremely short (sometimes one-sided) 7” singles, albums containing multiple slight variations on a single piece, and albums of compositional (if not sonic) minimalism. It’s Jackman’s typical move to provide very little information beyond a word, or sometimes an image. Lately, he’s been predisposed to not even providing an image; just as few words as possible on a white background, nothing more.
Naturally, he does not seem to do interviews and has no web presence. As listeners, we’re left to apprehend the music as itself. No guidance into his hermetic world. I find it refreshing. Whatever your experience of an Organum album is, that’s all you get. Thankfully, each emission is thought- provoking enough to get lost in and monolithic enough to encourage both passive and active engagement.
Howard Stelzer
2020
Press release text:
"A constant flow of waves
Cold, light and fluorescent
Crystallise empty feelings
The howling echoes of a fox
Somewhere in a vast open plain
An asteroid collides with the others
Flickers in the ember hollow remain
Rust slowly nurtures the machine gun
Scarred for its life
The passage to the centre of the light
Phosphorescent, the dunes seem alight
The future has passed
The past is the present"
David Jackman’s music, both as Organum and under his given name, is typically characterized by repetition, brevity and a deadpan aloofness. He’s made plenty of extremely short (sometimes one-sided) 7” singles, albums containing multiple slight variations on a single piece, and albums of compositional (if not sonic) minimalism. It’s Jackman’s typical move to provide very little information beyond a word, or sometimes an image. Lately, he’s been predisposed to not even providing an image; just as few words as possible on a white background, nothing more.
Naturally, he does not seem to do interviews and has no web presence. As listeners, we’re left to apprehend the music as itself. No guidance into his hermetic world. I find it refreshing. Whatever your experience of an Organum album is, that’s all you get. Thankfully, each emission is thought- provoking enough to get lost in and monolithic enough to encourage both passive and active engagement.
Howard Stelzer
2019
Press release text:
"In the birth of the universe
Time stands still amidst a wild and untamable energy
Radiant light bathes and purifies solid stone pillars
Both ancient and modern
Wild vibrations touch our most innermost core and perception
Organum Electronics exists in the clear moment of the present
But its mysterious compositions lay hidden in a timeless past
Modulating oscillations mirror our most fundamental sense of being
As though a living and breathing entity would
Communicating with a life-force and language we have all but forgotten"
David Jackman’s music, both as Organum and under his given name, is typically characterized by repetition, brevity and a deadpan aloofness. He’s made plenty of extremely short (sometimes one-sided) 7” singles, albums containing multiple slight variations on a single piece, and albums of compositional (if not sonic) minimalism. It’s Jackman’s typical move to provide very little information beyond a word, or sometimes an image. Lately, he’s been predisposed to not even providing an image; just as few words as possible on a white background, nothing more.
Naturally, he does not seem to do interviews and has no web presence. As listeners, we’re left to apprehend the music as itself. No guidance into his hermetic world. I find it refreshing. Whatever your experience of an Organum album is, that’s all you get. Thankfully, each emission is thought- provoking enough to get lost in and monolithic enough to encourage both passive and active engagement.
Howard Stelzer