One word was given to the 15 artists who appear on Whereabout's new compilation: "Vernacular," the title of the release. "Originally, music existed in each region's inherent culture, in accordance with the character of the location," writes Yui Onodera, who produced the compilation, and it was his goal to have each musician transcribe in sound their unique relationship with their home country. It's hard to say, for example, if you can hear Argentina in Federico Durand's looping guitar cuts or Itay in Tu M''s piano manipulations, but most tracks do place wisps and ephemera of field recordings into the mix. This gives an implicit evocation of place, one that hints at it in obscured gestures, challenging you to listen harder and longer. More than anything, though, the incredible reach of experimental music is on display with "Vernacular," attaining memorable heights with the diaphanous curls of droning electronics by Dale Lloyd, raw and modern musique concrete by Yves De Mey, and glassy piano motifs by Kenneth Kirschner. – Ryan Potts, Experimedia
This compilation collects a gathering of 15 sound artists from 11 countries. Released as a double CD compilation album with a 16-page booklet, V.A. / VERNACULAR connects the past and future of theelectronica, ambient, and experimental scenes, using the locality of each artists country as the theme.
1.HIOR CHRONIK / SKETCHES OF YOU
2.STEVE RODEN / IF HERE, NOT THERE, IF NOT THERE, THEN HERE
3.YUI ONODERA / BLUE PLANET SKY (for 21st Century Museum of
Contemporary Art, Kanazawa)
4.JANEK SCHAEFER / REST IN PEACE KNOWING THE SOUND OF ANGELS
5.KENNETH KIRSCHNER / JULY 10, 2012
6.SIMON SCOTT / ADVENTURERS FEN
7.TU M' / TENEBRA
1.FEDERICO DURAND / MAGNOLIA
2.DALE LLOYD / EXTRA ORDINARY, EXTRA REGULAR
3.JOS SMOLDERS / VANGSAA: REVISITED, REDUCED
4.YVES DE MEY / LOCAL FRACS
5.KIM CASCONE / A SPECTACLE OF MALLEABLE
GLASS - ALCHEMISPHERE THREE
6.TROUM / WELCEN
7.JOHN GRZINICH / ANIMATE STRUCTURES #2 (wires, wind, snow)
8.LAWRENCE ENGLISH / BREAKING CLOUDS APART
"In producing this compilation album, I conveyed a theme to all of the artists who participated. It was the single word "VERNACULAR". As the development of technology has enabled better cross-border communication, now it is easy to collaborate with artists all around the world, or listen to their music online. In the mean time, I felt that it includes many negative effects that cause cultural standardization.
Originally, music existed in each region's inherent culture, in accordance with the character of the location. It was as if the architects placed importance on the characters of region (environment, geography, and cultural background) when they designed the architecture.
I thought this might be the time to reconsider "VERNACULAR", which has been cut by the "universal design that transcends locality and ethnicity" of modernism.
The meaning of a sound and the way it is used is different in each country, and I think it should naturally be apparent in the sound of their work, if artists work on it consciously. It's not simply about environmental sound in certain places. For example, a sustainable tone of Japanese Gagaku best expresses the Japanese aesthetic towards the process where things melt in nature and fall into decay to rebirth. This kind of aesthetic is what "VERNACULAR" is, and this is influenced a lot by each country's and region's inherent culture, by the lives and the historical view." - Yui Onodera
"VERNACULAR is a history accumulated by each place's inherent environment and culture. It is like a cocoon, intricately weaved, by relating to and having influences on each other over the years.
As the concept of this project, the supervisor, Yui Onodera, describes something that keeps people connected to their own environment. This relationship can be like a cocoon, allowing people connect to each other even if their countries and languages are different.
When I started working on the artwork of this project, I thought of using this cocoon as an architecture model for the design.
While respective countries and places are different and distant of each other, there still is a single "connection" that can't separate or divide them. This connection is just like the light of a single Polaris that leads numerous ships, illuminating them equally when they sail bravely in the vast field of night sea.
As far west as Argentina and as far east as Australia. I set the paths of each ship from 11 countries as proportions to the origin coordinate Polaris, and I attempted to make a model of a cocoon by developing the proportion in line with the coordinate axis. The surface that appears amid the continuous weaving of the cocoon reflects the truth of what creativity is, expressing VERNACULAR, something that "keeps you connected" even inside the convergent relationships.
When you listen to this work, your ears trace their sea route, and disentangle the cocoon to a single string. As someone who participated in this miraculous work, I sincerely hope that the sound of the string will brighten up your own Polaris." - Masanori Diefor (ARK TYP)