Odeya Nini: Voice
1. Mi See Ti 3:37
2. Dalai 6:16
3. Everyday Cantor 3:07
4. Idiomia 4:35
5. Tunnel 6:22
6. Tapestry of Synonyms 6:34
7. There Are So Many Things That I Have To Tell You 9:52
8. Cyclicality 6:36
1-4 were recorded in a private home in Joshua Tree, CA, September 25, 2012.
5 was recorded in an aqueduct in San Francisquito Canyon, CA, April 1, 2013.
7 was recorded at California Institute for the Arts, June 2012.
All tracks except 7 were recorded and mixed by Justin Asher
7 was recorded and mixed by Brian Saia
6 was edited by Odeya Nini
Mastered by Joe Panzner
Except for track 6, all of the pieces are in a single take, no editing. 1-5 are compositions with an open form. There is a compositional road map, but they are not performed the same way twice. 7 and 8 are improvised. Several microphones where set up in the space for 1-5, allowing for the voice to be recorded with movement and gesturing.
Photography – Adeline Newmann and Odeya Nini
Design and layout – Thea Lorentzen
Art – Saul Alpert Abrams
The voice is an instrument that both listens and reveals. It takes from all that is around us and all that is inside us as it communicates a free and composed response outward. In this work I explore the language of the voice like a dancer. I think of shape, form, gesture and the vast range of motion in the voice’s movement through space. The voice is often thought of as intangible, but in this work I try to mold its natural physical tendencies, sensing its vibrations, and feeling the touch of its waves on my skin and in my bones.
Mi See Ti
A simple melody alluding false solfege syllables that repeat themselves, diverging more and more. A play with forms of interpretation from contained and proper, to unruly swells.
In performance this piece incorporates theatrical elements, changes of facial expression and a collapsing of the body to the floor between each iteration. It questions ideas of beauty in the voice, presentation, intention, the relationship and cohesion (or negation) of the body’s expression simultaneous to the expression of the voice, and the role of the singer as an exhibitionist.
Dalai was written while spending time in Mongolia in the summer of 2012. I learned that the meaning of the word Dalai, that we know so well from Dalai Lama, means ocean in Mongolian. Traveling in the Gobi desert, the power of the wind was omnipresent, and absolutely striking to me. It was possible to see the storms and changes of weather traversing the endlessly flat desert from miles away—often surprisingly quick—bringing gusts more powerful than I had ever experienced. Every turn of the head gave variation to the sound of the howling wind: so violent at times and peaceful in its aftermath. The obsession with wind was an easy to acquire, the more I listened, the more I realized the sound of crashing waves and the ocean’s movements were the sounds of wind. In a landlocked country such as Mongolia, I sensed the ocean all around me. Wind, ocean, breath.
Everyday Cantor features voice and field recording. The sounds of sacred song in the everyday act of showering. Is there a difference between singing in a cathedral or singing under the shower head? The devotional voice reveals itself and then becomes drenched in everyday simplicity.
Inspired by random sequences of bird calls and the meaning that comes out of non verbal sonic communication. The answer is in the ear of the beholder. The voice has dynamic expression, calls, yells, gentle flutters, overtones, ingressive and egressive breathing. What is it saying? The mind wants to distill the voice, but allow it to migrate.
Tunnel is an improvisation on a traditional Yemenite Jewish folk song called Tzur Manoti. My Yemenite roots have always been strong in me, I see them on my face, and hear them in my voice. I often question how I fit along the continuum of my spiritually devoted ancestors, having arrived at this experimental art form. In this song I find a passageway between who I am today and the narrative of kindred souls. The result is a contemporary translation which keeps me present in my explorations (and realizations) of free form, allying me with my deep past.
Tapestry of Synonyms
We are what we hear. A collage of field recordings collected over the last four years including goats, monks, trains, plates, horses, helicopters, microwaves, wind storms, rain on tents, creaking cabinet doors, dragging chairs, tin foil crumbling, fire crackling, locks clacking, teeth brushing, family and friends from California, New York, Mexico, Mongolia Italy and Israel.
The collection of textures from our environment are juxtaposed with the voice, which we often do not consider as related. However, whether in texture or song, we do find part of our surroundings, mimicking, blending, connecting.
There is only reverb added to some of these field recordings. Besides being sliced and pasted, there are no other manipulation or altering effects.
The voice of Archie Carey, my grandmother Rachel Nini and my parents David and Tamar Nini are included.
There Are So Many Things that I Have To Tell You
Language can be tricky, slippery and twofold. This piece is a stream of consciousness improvisation with words, surfacing moods and thoughts otherwise submerged.
I sit in front of my loop pedal and amp, not knowing what stories will emerge, and allow them to flow. No story quite like the last, It is always a new and exciting journey.
One voice layers on another, and another and another, shifting, morphing, coasting.
Beneath all these layers, I am still only one.
Thank you to all these wonderful people and places who created this album with their patient and skillful talents, generosity, inspiration and love. Endless gratitude.
Justin Asher, Joe Panzner, Brian Saia, Julie Tolentino + Feral Studios, CalArts, Adeline Newmann, Saul Alpert Abrams, Thea Lorentzen, Pieter Performance Space, Gerry Hemingway (for teaching me that music is sound in time), and ALL the incredible people who supported this album on Kickstarter.
Thank you to my dear family, Achinoam, Roy, Sharra, to my grandmother Rachel whose voice of many lives always plays in my ear, and especially to my parents David and Tamar Nini for their endless unquestioning love and support. My voice is your voice.
. . . and to Archie, for absolutely everything. This album is for you.
Michael Vlatkovich Quartet
You’re Too Dimensional.
Michael Vlatkovich: Compositions, Trombone
Jim Knodle: Trumpet
Phil Sparks: Bass
Greg Campbell: Drums, French Horn*
(05:05) 1. various manifestations of thwart & opine for curved bill thrasher & toy piano in 4 parts
(02:48) 2. no candy for the wagon full of devils
(08:15) 3. the curious intensity of a refrigerator defrosting *
(04:24) 4. wishing for 2 at 5/3
(06:26) 5. mOOn jOOiia
(10:04) 6. blue peepers
(06:25) 7. the static equilibrium of the values of savagery
(06:50) 8. i liberate monsters
(02:32) 9. balance out of life out of balance *
(06:32) 10. fools drunks & angels
Recorded in Seattle 2-2-13 Doug Hare – Engineer, Sonarchy Radio
Edited, Mixed & Mastered 5-01/02-13
Wayne Peet – Engineer, Newzone Studio, Los Angeles
Chuck Britt – Design
Emily Hay: Flute, Alto Flute, Vocals, Fx
Wayne Peet: Piano, Organ, Theremin
Brad Dutz: Percussion
Mixed And Mastered 02-04-06
Newzone Sudio, Los Angeles
Wayne Peet, Engineer
Cover Painting By Kaoru: Untitled #61
Graphic Assistance: Ted Killian
Record Executive: Jeff Kaiser
Brad thanks: Yamaha, Vic Firth, Paiste, Factory Metal Percussion, Remo, Roland
#1. Bean Dip 5:57
#2. Filthy Washer 5:08
#3. It Can Be Thick 5:03
#4. Metamorphasize 9:43
#5. Coming! 8:17
#6. Hot Japanese Water 4:44
#7. Amnesia Dealer 8:26
#8. A Lotta T’s 6:35
#9. Possum 12:27
© Emily Hay, Emily Hay Music, BMI
© Brad Dutz, Leaky Spleen Music, BMI
© Wayne Peet, Killzone Music, BMI
The Choir Boys with Strings
Jeff Kaiser: Trumpet, Quarter-Tone Trumpet, Flugelhorn, Electronics
Andrew Pask: Clarinet, Bass Clarinet, Alto Saxophone, Bass Penny Whistle, Electronics
G.E. Stinson: Electric Guitars, Electronics
Steuart Liebig: Contrabass Guitars, Electronics
Visit The Choir Boys home page at:
1. Needlework Alice 11:59
2. Impromptu Lateral Drop 7:26
3. Tobacconist from Rimini 10:59
4. Frenchwoman Luggage Cart 8:39
5. Adulterous Dishwasher 9:40
6. Definitely Jack 10:23
7. Rest of the Skeleton 15:12
8. Wir Sind Hier 5:28
The music was created in two continuous suites.
Track numbers have been added for convenience.
Suite One: Tracks 1-5. Suite Two: Tracks 6-8.
Total Playing Time: 79:46
All music © 2006, Jeff Kaiser Music, ASCAP and Kaleidacousticon, ASCAP
Digital multitrack recording by Wayne Peet, October 5, 2005 at Ventura College Theater, Ventura, California
Art, Layout, Mixing and Mastering by Jeff Kaiser, January 2006
pfMENTUM • pfmentum.com • Box 1653 • Ventura • CA • 93002
Special thanks to Robert Lawson and Ollie Powers for the invitation to perform,
and to Roger Meyer for staging and lighting the show.