Regionality, according to Yui Onodera, is much more than just locale. It is a lens through which we look at life, through which we experience, process and create. Worried by the negative effects of cultural standardisation, he has embarked on a journey to observe the relevance of "environment, geography, and cultural background" guided by a fundamental conviction: "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."
To prove his point, Onodera has invited fifteen producers from eleven nations and asked them to contribute their perspective on the topic of vernacular. On a first listen, the results are impressive: Although this double-disc compilation restricts itself to experimental sound art, there are myriads of gradations, nuances, variations and concepts on display here, endlessly differentiated approaches to the shaping and sculpting of acoustic elements. As one zooms in on the conceptual considerations, meanwhile, questions start welling up. Is Hior Chronik's subliminal, fragile sense of harmony and texture really typically 'Greek'? Can TU'M gently droning soundscapes genuinely be characterised as 'Italian'? Kenneth Kirschner's minimal post-piano-étude "July 10, 2012" could certainly be regarded as following in the footsteps of fellow New Yorker Morton Feldman – yet others around the globe have been similarly inspired by his legacy.
As Onodera rightly argues in the booklet, meanwhile, "it's not simply about environmental sound in certain places." And even if were, there might still not be any clear-cut answers. I've frequently asked artists about the relevance of cultural influences for almost ten years now and they tend to agree that these influences are undeniable, but impossible to disentangle. The entire concept of vernacular, it appears, has transformed and turned from a regional concept to an aesthetic one.
The mere fact that the strikingly diverse contributions on Vernacular – ranging from complexly layered field recordings to ultra-minimal microsoundscapes – feel strangely related already proves how much diversity there can be within this small pocket of the music spectrum. To be governed by free choice, creative affiliation, similar production values and a shared vocabulary rather than border demarcations certainly seem preferable to the old paradigms as well.
Tokafi (Germany)
supported by 5 fans who also own “Vernacular [DISC.2]”
Tui ( orla wren ) is one of our favorite artists, and can seemingly make music from anything - in other words, magical sounds emanate from the mix, and fly right into your being... tm editions vaché
Designed to mirror the reverence of meditative spaces, the gentle ambient tracks on the new LP from Alejandro Morse envelop you. Bandcamp New & Notable Jan 8, 2022
supported by 5 fans who also own “Vernacular [DISC.2]”
In Bokeh, Wil Bolton patiently crafted six tracks, where processed field recordings and reverberated synthesizers melodies are carefully balanced.
Chimes, bar-like talks, distant traffic or whispers from the wind frame the story of this release in a very small location. We are only one step away from saying that the artist takes us in his privacy with Bokeh ; and I'll go for it.
Very personal and sensitive, this album takes place behind the closed doors of Bolton's near environment.
Lovely. Dotflac