ASA IRONS – ‘Knife Gift Debt’ CDr/LP
Asa Irons is a Terra Mystic tradesman born in New Hampshire, USA. A stonemason and carpenter by trade, he gracefully distills these salt of the earth qualities into song. Having been a central figure in the band Feathers, as well as playing in Witch, MV&EE, and Taboo, Asa is no stranger to spiritual/sonic environs. His songs are meticulously crafted, yet maintain an open and humble feeling. On “Knife Gift Debt,” Asa explodes his past recordings. A stone foundation blossoms into a structure which can encompass the whole, all elements of this incredibly dynamic songwriter getting equal play. Traditional folk forms still provide the backbone for these songs, but like all folk masterpieces, the rules yield to the artist’s vision. The now elaborate, lush arrangements of this new and original material are composed by Asa himself, and recorded and co-produced by Caleb Mulkerin and Micah Blue Smaldone. The sound is sparse yet massive, cinematic and extremely intimate. Asa has enlisted close friends Big Blood, Micah Blue Smaldone, Tom K, Janane Tripp and others to help carry out this vision. Photographs by Asa Irons. Layout/Design by Asa and Amy Moon.
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Textured synthesizer and electronic sessions. Confused and agitated sonic mutterings make their way through damp hallways. An edition of 50 pro-dubbed/imprinted cassettes.
Warning: Long player. Take the day off of work. Canada’s Hobo Cubes runs through a VHStecnho minefield while Delaware’s Vales gnaws and paws at holograms of modular waves. An edition of 50 pro-dubbed/imprinted cassettes.


72 pages + digital release / 14 x 19 cm / black & white printing / 2013 first edition of 50 handnumbered copies + 10AP / perfect bound / soft cover mastered by helmut erler at dubplates & mastering, berlin. About the book: The 61 pages that make up the score for Tztztztzt Î Í Í … were interpreted and performed by three vocalists: Ben Vida, Tyondai Braxton, and Sara Magenheimer. Utilizing envelope following, vocoder analysis and trigger sensing the recordings of these performances were analyzed and converted into control sources. These control sources were used to activate analog and digital synthesizing systems and functioned to trigger envelopes and gates, determine pitched materials and act as modulating sources for frequency and amplitude modulation. Though the voice of the performer becomes almost completely obscured through this process, all rhythmic patterns, compositional forms and musical gestures were derived from the vocalist’s performance – the voice remains an intrinsic element of the final synthesized tracks. About the artist: Ben Vida is a Brooklyn based composer, improviser and artist. He produces compositions that utilize analog and digital synthesizing technologies and focus on aural phenomena and auditory illusions. He has released records with PAN, ALKU, Thrill Jockey, Drag City, Amish, Bottrop-Boy, Hapna and Kranky. As both a solo artist and in collaboration he has presented his work in the United States, Canada, the United Kingdom, Europe, Australia, South Korea and Japan.