For this edition of the Idle Chatter artist-curated series, we invited NYC-based artist Muyassar Kurdi to choose the composer and performances of her liking, with the condition that she also include some of her own work.
Muyassar Kurdi (b. 1989 in Chicago) is a New York City-based interdisciplinary artist. Her work encompasses sound art, extended vocal technique, performance art, movement, photography, and film. She has toured extensively in the U.S. and throughout Europe.
A versatile improviser, Kurdi has composed and performed music for voice, harmonium, piano, lyre, autoharp, theremin, bass, and cello. She currently focuses her attention to interweaving homemade electronic instruments and sculpture into her vocal and dance performances, stirring a plethora of emotions from her audience members through vicious noise, ritualistic chants, and meditative movements. Recent works include: SEVEN VOICES, a multi-channel project for seven voices, which was recorded during her artist residency at EMS in Stockholm February 2018. A cassette release entitled Travelling on No Rent Records and Intersections and Variations, a collaborative work released on Astral Spirits in early 2018.
For REALITY TUNNELS, Kurdi put together a 44-minute compilation featuring a diverse group of contemporary experimental composers from around the world, including: Esmeralda Conde Ruiz (UK), Sukitoa o Namau (Morocco), Meira Asher (Israel), Sharon Gal (UK), Lucie Vitkova (Czech Republic), Nima Ikki (Mexico), Diana Policarpo (Portugal) Yasunao Miyauchi (Japan), Elie Gregory (UK), Anastasia Clarke, Ka Baird and Muyassar Kurdi (USA). As enthralling as it is challenging, this compilation demands a deep listening experience while serving as a guide to some of the most interesting experimental works being created around the world.
released April 1, 2019
Curated by Muyassar Kurdi
Cover Art: 35mm film photo by Muyassar Kurdi
Layout/Design: by Joao M. Da Silva
All composition copyright owned by the individual artist.
supported by 5 fans who also own “Reality Tunnels (Idle Chatter 005)”
“With Julius, he was based in repetition, but here was a spirit of openness and improvisation. His scores, if they were written out that way, were often like jazz scores. He loved multiplying instruments – four pianos, ten cellos – so there was a real feeling of the presence of the instrument, not just using an instrument in some kind of equation, as a means to an end.” ~ Mary Jane Leach
Enough said. pt