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02127777272 is the reimagining of 02167777272 from ÇÇ001. Where we hear Kübra Uzun’s WhatsApp audio messages about queer life in Istanbul and their support on Çiçek Çocuk’s mental health issues for the time period.

´Began this track during the elections of Mayor of Istanbul, hoping for a better future for our mentality, our freedom, unfortunately nothing has changed, we're still not free’ - Çiçek Çocuk

02

CRYSTALLMESS - Dreaming at my doorstep
No Bra - The Cult of Hierarchy
BABYNYMPH - Trauma Pop Pt. II ft. Diana Starshine
João Pimenta Gomes - Doppelgänger (with Carminho and Harry Partch)
La Chatte - Idole
Kübra Uzun, Çiçek Çocuk - 02127777272
Fuck U Pay Us - Board Up
Casual Melancholia - Spring
Bruno Mendonca ft. Gerzender - Don’t Cry for Me Brasilia
Jtamul - Hold
Eleonora Meoni, Ninon Liotet, Oliver Simon, Steev Lemercier - HOCA
Grillo - Voz
Sing Libra - Fern Flower
Richie Culver - Create a Lifestyle around your problems
LABOUR - Kewin’s dance (4_4 Remix)
Emma DJ - Ill Rooster
Caroline Letho, SYM - Solução Acid
Yesh ft. Maria - Holy Ghost
Exotourisme - Dominique Gonzalez Foerster, Julien Perez - Sinking Backstage
Photonz, Shcuro - Free Block
Paid to Practice - Eric D. Clark, Eleni Polou-Smith - Human Beings being Human
Ron Trent / BTS - Another Love Song
Carminho - Meu Amor Marinheiro (live at Namouche Studios 2022)
Isabel Lewis - Deep Feelings
Parzubanil - 909 Love Story
CEM - Against the looking glass ft. Kewin Bo

"I woke up late that sunny spring morning in Williamsburg with a familiar New York rush to Port Authority. I promised to meet my sister Monae and my niece Trey in DC at The African American History museum; hungover and in a rush again, my nerves inching closer and closer to the edge of tears- fearing that I would let my family down, sweating and out of breath… finally, I collapsed into my seat on the Megabus. I arrived at the museum and embraced my family- it felt like a kinfolk family reunion full of Black Joy, excitement, and a palpable sense of pride. Out of all the artifacts we encountered that morning, the casket of Emmett Till was the catalyst to a deeper understanding of grief and the constant fear Black mothers experience. I knew that Emmett was only 14 when an angry mob of white men murdered him, but the small casket made real the constant cycles of collective mourning, causing me to sob uncontrollably. I cried and cried, blew snot bubbles, and ugly cried some more before promising myself to live life more intentionally.  In a world that has normalized premature black death, it is crucial that we take every opportunity to celebrate these lives lost, shining light within the shadows, remaining vigilant, and fighting back to build the future.

Martha Graham tells an incredible story about a grieving mother approaching her in Brooklyn after one of her early performances of Lamentation. The mother watched her child get hit by a car and became paralyzed with grief, making her unable to cry. She found a pathway to acknowledge her emotions after witnessing Lamentation. Alvin Ailey choreographed Cry as a birthday present for his mother, danced by his muse Judith Jamison. "Exactly where the woman is going through the ballet's three sections was never explained to me by Alvin. In my interpretation, she represented those women before her who came from the hardships of slavery, through the pain of losing loved ones, through overcoming extraordinary depressions and tribulations. Coming out of a world of pain and trouble, she has found her way and triumphed." (Judith Jamison, "Dancing Spirit")

Black Bawl is a meditation on grief and a 5D collage of human perspectives reflecting universal devastation and unnecessary loss of life into an echoing Dollar Tree funhouse mirror. An improvised tribute and abstraction of two masterworks of choreographed mourning- the work uses the operatic form as a vehicle to explore the tension between two dance pioneers and functions as a springboard to emotional release. On February 24, 2022, we witnessed new mothers lose sons while the pillars of freedom and autonomy vanished as Russia began its invasion of Ukraine at the close of Black History Month. Morning after mourning, we cry, they cry, and then we all die. Black Magic has nothing to do with tragic heroes, but grief and mourning have everything to do with all of us in this race -the human race. I dream of peace and the dawn of morning, without mourning because we all deserve to live in a more gentle, compassionate, and accepting world."

— Richard Kennedy

While composing in Los Angeles at the former residence of Lion and Marta Feuchtwanger, German Jews exiled under national socialism in the last century, we reflect on, or rather lament, exile and its constituents including violence perpetrated, and migration.

Now in February and March, the heartbreak of witnessing both the necessity for Ukraine’s citizens to (bravely) bear arms to defend their freedom from Russian aggression — an unprovoked war — and the ensuing (necessary) entrance of Germany and the EU into weapons provisions for Ukraine, which doubly serves as a sign of hope yet also as a general reminder of the broad and dark power held by arms manufacturers and dealers all over the world.

Working again in America, we remember friends and neighbors lost to violence, perpetrated by abuses of power from the police and the endemic misguidance of 'the right to bear arms' which perpetuates and feeds an ever-increasing ubiquitousness of private gun possession and the many horrors that follow...

Black Bawl is a freely atonal work for piano, electronics, and voice, that draws partial inspiration from Arnold Schönberg's Suite für Klavier (op. 25) and also his formal technique of 'developing variation' as aesthetic starting points.

The work is organized into six movements. The first movement briefly introduces the piano and harmonic palette, while the second movement provides the exposition — a duet of voice and piano. The third and fourth movements witness journeys of transformation, engaging electronic processing of short vocal fragments as starting points in processes — including algorithmic techniques to create pointillistic sonic events and temporal offsets, then FX chains of granulation, reverberation, and extreme panning that leads to amplitude modulation – as the harmonic development of temporary pitch centers juxtapose the earlier atonality, preluding the coming non-tonality. Discrete transformations continue in the fifth movement with 'the siren' in all its evocations including that of warning or alert, of mythological seduction, and of glissandi, before the sixth movement's closing statement of the solo voice.

In contemplation of the fragility of provisionalness or the inherent risks of situational necessity, we work towards a world of peace, intelligence, and compassion.”

—  Farahnaz Hatam and Colin Hacklander (LABOUR)

LABOUR composed this music using the piano of Ernst Toch while in residency at the Villa Aurora Los Angeles.

DE-Centered by rRoxymore embodies resistance by rejecting a fundamental element of dance music: the kick drum. Giddy organ arpeggios tease a euphoric build-up that would normally cry out for a kick, but instead disperses the rhythms amongst searching aurora-like tones and swathes of low-end: ultimately denying us something we have come to crave, inviting a more tranquil path to ecstasy. The sound rework asks us to transcend and loop inwards through choreography featuring performer Josh Johnson. Johnson embodies the notion of forever blowing bubbles through the pedestrian act of cutting one’s hair, drawing parallels, and further complicating the looping quality of the composition. As the lyrics vanish, the track progresses; we are reminded of the universal struggle constantly trying to get back to one’s bliss. Hair is cut only to grow back, and to be cut again. Life cycles and common situations with individual emotional processes are made visible as the eyes take an exaggerated quality, a roundness as an acknowledgment of the extraterrestrial within the mundane, connecting the visual to the audio, an oscillating intervention and a splitting of reality.

GLOBAL WARMING RECORDS

Franziska Lantz is a swiss artist/musician based in London. She merges visual and audio work in ritualistic installations and uncompromising performances.

She mainly works with found and weatherbeaten materials that she assembles into arcane, cryptic sculptures.

Lantz runs Global Warming Records, an experimental electronic music label where she releases her deep and heavy lowdown noise and distorted techno music.

Since 2008 she has been producing DriftShift, a weekly radio show on Londons ResonanceFm, from where she is regularly broadcasting her electronic music experiments into space.

RICHARD KENNEDY x DUMITRASCU

Richard Kennedy (b. 1985, Long Beach, California) is an artist, experiential composer, and librettist originally from Middletown Ohio and currently living in Berlin, DE. They received their MFA from the Milton Avery Institute at Bard College. Kennedy is a 2021 Hermitage Retreat Fellow, a 2019 MacDowell Colony Fellow and recently completed residencies at Open Forum Berlin and Mana Contemporary.

Kennedy presented two solo exhibitions at Peres Projects in Berlin”(G)Hosting” and “Street Prophecy", a new opera “FUBU FUKU” for New Models at Trauma Bar, and currently has work in Studio Berlin at Berghain. Their Collapsed Operetta “A Touch of Elegance” premiered at the Institute of Contemporary Art, Virginia Commonwealth University curated by Amber Esseiva and the fall of 2019. Kennedy is scheduled to perform the opera Black Rage at the Zabludowicz Collection, and participate in a group exhibition at the Palais de Tokyo, curated by Marie-Ann Yemsi in fall 2021. They recently presented solo performance pieces at The Studio Museum Harlem, MoMA, The Shed, The Kitchen, and BOFFO Performance Festival.

WILD DAUGHTER

Wild Daughter was conceived by James Jeanette and Stuart Mckenzie over a shared love of music.

TABLOID PRESS

TABLOID press is an experimental publishing platform founded in Berlin, 2014 by two poets. The poets are Nat Marcus & Zoe Darsee.
Tabloid Press poetics are embodied disclosures, versed body politics, tall orders. They are poets just talking, playing with talking. They are environmental: conceived in Berlin in 2014 by Zoe Darsee and Nat Marcus, the project’s first publication was a gossip column on newsprint – the effect of its lyrics were intended not only for the reader in private, silent engagement, but for the whole interpersonal terrain in which the authors were growing up and about which they wrote. Wrote poems that could also bridge a “scene”, slice open a “club”. Wrote to enter a dancefloor as a poet and let the dancefloor enter the poem.

In the following years, Tabloid has released over 12 publications, its activities widening to include facilitating poetry workshops, designing books and clothing, and providing textual documentation for live performance. No matter the format or function, the press’  activities are always means of innervating the body, be it collective or individual, with a force called lyric. “To publish” is to make public, to reveal or announce – but in doing so, to publish is also always the act of formulating a public audience. Tabloid poetics are in this way sung testaments to a partnership, grounds for play and gospel house megamixes, people watching people-watching. They are lateral, acts of love, never not looped feedback, never not meant for our family and the reader we’ll never meet.

01

Tabloid Press – Orchid
Wolfgang Tillmans – Certain Sensitivity
        (Live with FRAGILE at BOFFO 2018)
Sene – Junq Sonorum

Jeff Mills – Hatsumi
Cali Rose – Divinus
Karl Holmqvist – Call Your Girlfriend
Asmara – Soul Dramatique
fabaitos – B2UFranziska Lantz – Meshe [Global Warming Records]
BOTO – Manco
Wild Daughter – Leckerman
Richard Kennedy – FYEO
Juan Ramos – Iniciado
rRoxymore – DE-Centered
MadAlba – Gonna do with you

On the occasion of Isabel Lewis and Dirk Bell's INTIM/E, REIF and Dublab presented 01 Listening Session with Richard Kennedy, ULR, Cali Rose and DJ Saliva.

REIF began as a celebration. Our primary goals in curating events was to craft multicultural happenings in which different expressions of thought, identity, play, and experience could intersect within intimate safe spaces. We submitted to chance and embraced uncertainty, trusting that our care and attention to each element would ensure that everyone would have their voice equally heard.

The results moved beyond our dreams– birthing collaborations, conflicts, friendships and zones, as waxed by Hakim Bey in his essay “The temporary autonomous Zone”. For a moment constraints of society seemed to be uplifted.

These happenings led to now create our homonymous sound label, thus giving life to our first release series.

For our first compilation - 01 , we invited artists that were involved with REIF in its early stages and next generation collaborators to contribute a piece of sonic art. These works take form as sonic offerings to REIF, the memories we created, and the future we work to actualize together.

We understand sound as the chosen instrument for political catharsis that our artists explore. Sound in itself encompasses a broad reflection of the times– whatever is happening or changing in the world, we “hear” it. As sound curators, it is our task to crystalize these cathartic sounds and give them new forms, preventing them from being lost or forgotten; buried or silenced.

With the abrupt disruption of society as we knew it, countercultural communities were forced to deal with our spaces for play vanishing, forcing us to imagine new spaces we could migrate - simultaneously reinforcing the need for thought expansion and a reimagined a safe space.

«Sirenes» gathers sounds in which the experimental use of the voice is a central mode of expression, as an instrument or an enunciator of meaning. They respond to each others and coexist in an echoing space that has no linearity but many doorless rooms and corridors where they meet and cross.

LARA DÂMASO (b.1996) is an artist and performer living in Zurich. Lara's central medium is the body. She explores the expressive, therapeutic and political potential of the voice. More than an enunciation tool of the intellect, its setting in motion is closely linked to that of the body; it establishes a vibratory link that is more a matter of sensitive experience than of reason. In doing so, the artist bypasses the structures of power embodied in the disciplined use of the voice. Her work exists in the form of live performances, videos, or audio works.

Her work has been presented in various institutions, off-spaces and festivals, including les Urbaines, Masi Lugano, Zürich Moves, Kunsthaus Langenthal, Istituto Svizzero, Centre d'Art Contemporain Genève, Kunsthalle Zürich, Theater Neumarkt, Cabaret Voltaire, Plymouth Rock, Kunsthalle Bern, Centre Pasqu'Art. In 2020 she was nominated for the Kiefer-Hablitzel Göhner Art Prize and is nominated for Plattform21 and the Swiss Performance Award 2021. As a performer she has worked with and for Monster Chetwynd, Jade Kuriki Olivo (Puppies Puppies), Tarren Johnson, Isabel Lewis, Nile Koetting, Nikima Jagudajev, Dora Garcia, Cally Spooner/Offshore, Debora Delmar corp. and Alicia Frankovich. Lara is associated artist at Theater Gessnerallee in Zurich.

MADALBA – GONNA DO WITH YOU

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In the future that is now, we are able to connect across oceans and experience, making way for an expanded form of collaboration. Through today’s Tik Tok dance culture, people can link from all corners of the world; captured here by Kira Lillie and edited by Pasquale (last name) sharing with us this almost religious practice embodied by these young Caymanians.

After meeting Janet, a Cayman Island Silver Thatch weaver and main reference for Kira during her time on the island, she had the opportunity to meet and share space and time with Mary K and Ashley, Janet’s full of life daughters. Centered in this part of the Caribbean we get to peek into the world of these young girls, dancing by themselves or with their girl-friends, sharing a common love for music and movement.

“F-a-b-u-l-o-u-s yes diamonds on my neck cause I’m fabulous. They keep hating on me, I don’t stress. I’m too good for this, I am fabulous”

Singing and dancing provides a pathway for the powerful force within the universe of these young girls colliding with global techno feminism movements, illustrated by MadAlba's (name of song). Within this virtual space we begin to carve alternative ways of relating and sharing as we intersect generations, cultures and rhythms.

« I asked them to show me what they were up to, so the “DJ” stopped the music to put on the girl's favorite song and in the middle of the street, almost perfectly synchronized, they broke out dancing - all together - proud. Goosebumps ran all over my body. The moment the song ended they covered their faces with their hands, back to their shy selfs and ran off…

We danced all together, for hours, pure silly-ness and love. »

Kira Lillie, founder of INCORP, spent almost 6 months on the Grand Cayman island curating an artist residency with a main focus on health and healing.

Kira worked closely with Janet, learning the art of Silver thatch weaving, bush Medicine and local wild fruits and vegetables.

Janet's children and their friends reminded Kira to play with life, laugh and love.

Hatsumi, composed by Mills appears on 01 - the work is inspired by Masaaki Hatsumi. Lewis’ work O.C.E.A.N.I.C.A imagines human beings swimming through a social ocean- floating and sometimes drowning but surviving. How does our physical nature conform to our intentions? The collision of these two works suggests that there is no division between our interior and exterior experiences, further proving that integrated mind and body connections are totally natural and easily observed through movement. Meditating on the quality of movement through a free-flowing tango of forms, merging and moving through, swimming and listening deep, imagining new ways to reconcile one’s artistic activity in relation to the responsibility to protect nature, specifically the ocean, a tidal wave of possibility emerges.

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WOLFGANG TILLMANS – CERTAIN SENSITIVITY
(LIVE WITH FRAGILE AT BOFFO 2018)

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FRANZISKA LANTZ — MESHE
[GLOBAL WARMING RECORDS]

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Common garden ants on a mission, pursuing their activities with unfaltering pace amidst the battering sound offensive discharging all over them like an electrical storm.

Watch them interact as they crawl forth and back from the underground to the surface, follow invisible paths and explore new territory before returning back to their base. When crossing paths they perform intricate meet and greet rituals, exchanging information and communicating through elemental body language and touch.

In contrast to the steady rhythm of the cyclic ant movement the soundtrack is unleashing a temperamental array of cosmic forces onto the scene, an overload of turbulent energies and built up pressure, fast cutting sounds and spitting sparks are accelerating, crashing and seemingly bouncing off the hardy black armour of the unfazed ant explorers.

Kotti Mantras is the first commissioned work of REIF’s Sonic Catharsis residency program for Centre d'Art Contemporain Geneve’s 5th floor.  The  inaugural instalment is a meditation on  the essence of sound through an  investigation of the human voice and its ability to complicate power dynamics with words. Deconstructing language through lyrical repetition, the work slips into a trance that progresses  into catharsis as artist Karl Holmqvist and poet duo Tabloid Press (Nat Marcus & Zoe Darsee) crescendo into a cacophony of meaning. In the fall and swell of Berlin’s infamous Kottbusser Tor, the work opens a portal that presses gently against the throat - imagining  a way to transcend the body.

MANTRA 1’ Karl Holmqvist – Shit Come and Go My Way

MANTRA 2’ NM (Tabloid Press) – Ncameu

MANTRA 3’ Karl Holmqvist – Enchanté

MANTRA 4’ NM (Tabloid Press) – Gestaltung

MANTRA 5’ Karl Holmqvist – I Would 

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JUAN RAMOS - INICIADO

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Juan Ramos comes out of the pandemic exploring spaces which stray outside of his normal musical language to create a new series of work which draws on inherited and chosen culture beginning with “Iniciado". The concept is underscored by the ethos of latin pop set against experimental drum programming and expressionist sound design executed to psychedelic effect.

The music video is a collaboration with 3D Artist Omer Schwartz. Using the digital space as a means to recreate ancient ritual the video centers around the cyclical nature of time as observed by late Neolithic culture. The imagery is drawn from centuries of Pagan tradition to act as a means to illustrate and reconnect our subconscious to the powerful and energy giving totems of our ancestors.