Organum ‘Raven’ CD, which was released by Siren Records in 2018 was the last piece that Jackman released under the name Organum. He changed the name Organum to Organum Electronics in 2019 and has released five volumes of the albums on Siren Records since then. ‘Sekihi Oidori’ is a development of the quiet nature of earlier Organum works and Jackman decided to release the album under his own name because of a very personal essence. ‘Sekihi Oidori’ is composed of low-key church organ drones, airy tanpura sounds, occasional church bell chimes and chirping birds. It is the most minimal, the most quiet and the most powerful composition Jackman has ever created. The drones continue uninterrupted and you may feel little change in partial listening, but you’ll appreciate the increasing internal dynamic energy that Jackman infused with mindful listening. ‘Sekihi Oidori’ means ‘Stone Tomb Old Bird’ in English translation but the piece is neither an elegy nor a lamentation.
‘D.D.D.’ is a field recording album recorded by Daisuke Suzuki and was originally released by Texas based IDEA in 2001 in an edition of 300 copies on LP.
Sometimes field recordings can be appreciated in relation to the conceptual art form, or as an on-site sound study and documentation of a very specific phenomena. However, Daisuke had no concept of the idea of building sonic panoramas and was specifically only concerned with gathering lots of intriguing sound matter for his personal listening.
‘D.D.D.’ was mastered by Gary Todd, who was the founder of the Cortical Foundation. Gary and Daisuke became good friends when Gary visited Japan as Red Crayola live sound engineer in the late 1990s and they developed a mutual trust with each other after that.
Sadly in September 2001, Gary fell from his apartment balcony, which left him hospitalized ever since. On June 25, 2022 Gary passed away at the age of 59.
Daisuke said, “Gary was always generous and had a kind heart. He gave me a lot of friendship and warmth. I’ve decided to re-issue 'D.D.D.' to keep him in memory and heart.”
The CD includes an expanded version of ‘Cricket Voice’ which did not appear on the original IDEA LP release.
The CD is in edition 200 copies and is presented in a facsimile card sleeve of the original release, newly designed by Andrew Chalk.
A collaboration does not mean you have to share everything or to do each and every activity together as a team. If your words or sounds inspire someone to open a challenge to something new,or open the door of possibilities-you can call it collaboration.
Your personally recorded sounds never fail to reveal your true face and the sounds always speak more than words can.
‘Drifting’ is the very first collaboration between Andrew Chalk and Daisuke Suzuki, which has remained unsurfaced since then-their private recording in 1996. In early 1996 Daisuke sent Andrew a DAT tape which included some unedited pieces that he recorded with found objects in his garden.
Those fragments of recordings inspired Andrew to make a spontaneous recording and he made a live mix directly to cassette recorder with his instinct and archaic vision. ‘Drifting’ is a kind of archaic low-fi recording, but it has great atmosphere and perfect unison in texture.
‘Drifting’ was also a prelude to their long-term collaborations and the beginning of the change of direction in Andrew’s approach to music.
Remastered by Denis Blackham in 2023, and CD comes with glossy card sleeve in edition 300.
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
2018
'RAVEN' is the first new Organum album release since that of 'SOROW' in 2010 (Siren Records) and was recorded in 2017. For the realisation of RAVEN, Organum was comprised of David Jackman, Alan Jones, and Daisuke Suzuki.
'RAVEN' is composed of striking piano-keys, church bells, temple gongs, a crow, a raven and a rook and is divided into 13 parts.
In 'RAVEN', sounds appear from silence and then return again into that silence.
'RAVEN' is a work within those very silences.
You can contemplate emptiness intently after the sounds have ended.
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