Donghoon Gang, a Frankfurt-based South Korean artist and composer, has released a new album titled 4.6m/s. This album is inspired by Yeondeunggut–an annual ritual summoned to the God of wind that takes place in early February in Gangʼs hometown, Jeju Island, in South Korea. In the spirit of the God believed to protect the wellness of the island and sow seeds for a fruitful spring, islanders pray, hoping for the peacefully calm sea surrounding the island during the two-week duration of the ceremony.

The title of the album, 4.6m/s, is the average wind speed on the day the God of wind arrives on the island for over the past thirty years. Each track was written and presented in the order of the traditional ceremony procedures: Calling, Telling, Seeding and Playing – all of which are symbolic gestures of welcoming the wind deity and sending her back to her origin. Every component in the album is created in mixtures of field recordings and collaborative fulfillment with traditional instrumentalists and shamans based on the island. All the tracks are also incorporated with ambient sounds, spoken words and musique concrète, generating a variety of aural and texture affections at different parts of each sequence.

Released on December 10, 2022

Edition of 200

One side (22ʼ16”)
1. Calling (06ʼ50”)
2. Telling (09ʼ38”)
3. Seeding (03ʼ26”)
4. Playing (02ʼ22”)

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Tracing the the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead.

For as long as recording and communications technologies have existed, operators have evoked the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. In Unsound:Undead, contributors from a variety of disciplines chart these undead zones, mapping out a nonlinear timeline populated by sonic events stretching from the 8th century BC (the song of the Sirens), to 2013 (acoustic levitation), with a speculative extension into 2057 (the emergence of holographic and holosonic phenomena).

For the past seven years the AUDINT group has been researching peripheral sonic perception (unsound) and the ways in which frequencies are utilized to modulate our understanding of presence/non-presence, entertainment/torture, and ultimately life/death. Concurrently, themes of hauntology have inflected the musical zeitgeist, resonating with the notion of a general cultural malaise and a reinvestment in traces of lost futures inhabiting the present.

This undead culture has already spawned a Lazarus economy in which Tupac, ODB, and Eazy-E are digitally revivified as laser-lit holograms. The obscure otherworldly dimensions of sound have also been explored in the sonic fictions produced by the likes of Drexciya, Sun Ra, and Underground Resistance, where hauntology is virtually extended: the future appears in the cracks of the present.

The contributions to this volume reveal how the sonic nurtures new dimensions in which the real and the imagined (fictional, hyperstitional, speculative) bleed into one another, where actual sonic events collide with spatiotemporal anomalies and time-travelling entities, and where the unsound serves to summon the undead.

Contributions by Lawrence Abu Hamdan, Lendl Barcelos, Charlie Blake, Lisa Blanning, Brooker Buckingham, Al Cameron, Erik Davis, Kodwo Eshun, Matthew Fuller, Kristen Gallerneaux, Lee Gamble, Agnès Gayraud, Steve Goodman, Anna Greenspan, Olga Gurionova, S. Ayesha Hameed, Tim Hecker, Julian Henriques, Toby Heys, Eleni Ikoniadou, Amy Ireland, Nicola Masciandaro, Ramona Naddaff, Anthony Nine, The Occulture, Luciana Parisi, Alina Popa, Paul Purgas, Georgina Rochefort, Steven Shaviro, Jonathan Sterne, Jenna Sutela, Eugene Thacker, Dave Tompkins, Shelley Trower, and Souzana Zamfe.

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