Poet With Tools

"To wrest the century away from bondage so as to start the world anew one must tie together with a flute the knees of all the knotted days"
- Osip Mandelstam 'The Century'

Jimmie Åkesson Awakens to Ayahuasca

Recording and practice session with Tarek Atoui and Party, August 2014 EMS Studio, Stockholm.

De:tune Jarva

De:tune Järva was a project run by Tensta Konsthallen in Stockholm Sweden, where Tarek Atoui (b. 1980) led a group of musicians in a series of improvised collaborations. Under the direction of Tarek Atoui (Lebanon/France) a group of 20 musicians representing a broad cultural and ethnic set of traditions was brought together and trained in both improvised musical composition and performance.

The group performed three times at the Stockholm Music and Arts festival following a series of sessions where materials were composed and recorded and then remixed and incorporated back into the repertoire. This is a recording of the final concert at Stockholm Music and Arts 2014 festival on the island of Skeppshölmen in Stockholm harbor.

I play several times during the hour long performance.

This is a rough recording from studio practice of the group I will be performing with this weekend at the Stockholm Music and Arts Festival. The performance is part of a project with Tensta Konsthallen. It is led by composer and sound artist Tarek Atoui (Lebanon/France). Details here:

Sound creates space as well as being a communicative medium. The space that sound creates cannot be seen, but is felt or experienced. Sound is networked, not linear. Sound bleeds out of its source over concrete, through walls, over time and passed the control points of the planned city. Sound is free, the vibration of particles produced by skill requiring only very limited capital. To control sound is to control space. Working back from this proposition, it becomes possible to change space by changing sound.

“Any theory of power today must include a theory of the localization of noise and its endowment with form. Among birds a tool for marking territorial boundaries, noise is inscribed from the start within the panoply of power. Equivalent to the articulation of a space, it indicates the limits of a territory and the way to make oneself heard within it, how to survive by drawing one’s sustenance from it” (Jacques Attali “Noise: the Political Economy of Music”, p6).

Sounding the City produces sound that attempts to redefine the city by transforming the noise of periphery and minority into the music of the center. The words of residence remixed and added to music from global players. It is sent via wireless signal and shared files throughout the city and then on to the wider world. In doing so a space is created wherever the sound is heard that links up with wherever else it is being heard. An invisible layer of played space exists in the form of sound. In this space people are not identities in the same sense of visual media. Instead they are bodies in sound, the vibrations have joined them in a cybernetic union with the sound and the others experiencing it.

This project is ongoing and is the work of James Barrett.

Total Groove (October 10, 2009)

Amazing drummer, dancer and storyteller Bonus M. Diallo leads the sound on this live recording from 10th October 2009 at Nocks Night Club as part of African Story Week in Skellefteå, Sweden. Bonus (Senegal) plays djembe and sings, along with Jim Barrett (Australia) who plays didgeridoo, and Adil Fadi (Morocco) who plays percussion.

Live radio broadcast with Brothers of the Occult Sisterhood, in Toowoomba Australia maybe around 2004. Final image, live at Bon Amici’s coffee house.

6majik9 band in Australia in 2006 maybe…

Breath is the source of didgeridoo sound. Therefore the rhythm produced by it for any sustained period of time must be compatible with breath rhythm. In this piece the breath of the didgeridoo is mapped over the rhythm of the tabla, a heartbeat like 24 beat cycle. There is a conflict between the two that creates a third space for the listener. This space can appear confusing to the listener. Alongside these sound cycles is the sound of the tropical forest, complete with gibbon songs.

This sound piece is against thought and the regulated rhythms that support the power structures of the present mass social environment. It is intended to create a space for the third space, the indivisible state that is not subject/object, but is Being.