SoiSong
xAj3z
Boomkat Product Review:
Peter “Sleazy” Christopherson & Ivan Pavlov’s short-lived, cult electro-jazz-noir duo SoiSong endures in a newly expanded edition of their queered Pentium Jazz odes to Bangkok’s red light districts.
In the years after the passing of his life and creative partner, Jhonn Balance, Peter Christopherson would mint Threshold Houseboys Choir, and also reform Throbbing Gristle with Chris & Cosey as X-TG, as well as work in 2009 with former Coil bandmate Danny Hyde as Electric Sewer Age. He notably also formed a new group, SoiSong - so named for “Soi’s”, or alley-ways in Thai - with Ivan Pavlov, aka CoH, to produce a now-legendary streak of material that typically short-circuited distinctions of the real and artificial.
The octagon-shaped CD ‘xAj3z’ was the first fruit of their labours (if we discount the impossible to find ‘Memory Box #1’) and now reappears with Dais, repackaged with a bonus live version of ‘Lom Tum Lai Kwee’, characteristic of their approach to combining synthesised voices and physical instrumentation in computerised compositions where breezy South Pacific exotica seeped into jazz-noir ambient in distinctly eerie, hallucinogenic forms that are perhaps shy of anything overtly dark, and more subtly implicit in their atmospheric juxtapositions of precious tooled squirm and naif coos.
Ivan Pavlov offers some explanation: “the voice nothing else but an instrument that operates with syllables, which is what makes the performance reminiscent of a language... Yet, regardless of how poetic it might sound to a human ear, that sequence of syllables remains completely meaningless." In collaborating with Pavlov as SoiSong, Christopherson found the music's development natural: "I wouldn’t say that SoiSong really resembles anything that’s come before, particularly. But if you know, and appreciate what we both did before, then that knowledge will bring more appreciation and understanding to what we do now. It’s a progression from the past to the future."
In the hour long, slow fever-dream-sequence transition from deliquescent jazz-noir humidity on ‘Amkhapaa’ thru the uncanny croon of their bespoke virtual singer (co-conceived with external band members Han Li Chiou and Yuu Soijin-san Omiya) on the pooter ballad ’Ti-Di-Ti Naoo’, via the balance of CoH’s signature arp angularities and gauzy sax blare on ’T-Hu Ri Toh’, to the newly added oddness of ‘Lom sum Lai Kwee’, the project patently stands on its own strange merits, and can be heard a as sort of precedent for everything from Christos Chondropoulos’ Athenian Primitivism to heck, Cristobal Tapia de Veer’s soundtrack for the White Lotus series set in Thailand
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Boomkat Product Review:
Peter “Sleazy” Christopherson & Ivan Pavlov’s short-lived, cult electro-jazz-noir duo SoiSong endures in a newly expanded edition of their queered Pentium Jazz odes to Bangkok’s red light districts.
In the years after the passing of his life and creative partner, Jhonn Balance, Peter Christopherson would mint Threshold Houseboys Choir, and also reform Throbbing Gristle with Chris & Cosey as X-TG, as well as work in 2009 with former Coil bandmate Danny Hyde as Electric Sewer Age. He notably also formed a new group, SoiSong - so named for “Soi’s”, or alley-ways in Thai - with Ivan Pavlov, aka CoH, to produce a now-legendary streak of material that typically short-circuited distinctions of the real and artificial.
The octagon-shaped CD ‘xAj3z’ was the first fruit of their labours (if we discount the impossible to find ‘Memory Box #1’) and now reappears with Dais, repackaged with a bonus live version of ‘Lom Tum Lai Kwee’, characteristic of their approach to combining synthesised voices and physical instrumentation in computerised compositions where breezy South Pacific exotica seeped into jazz-noir ambient in distinctly eerie, hallucinogenic forms that are perhaps shy of anything overtly dark, and more subtly implicit in their atmospheric juxtapositions of precious tooled squirm and naif coos.
Ivan Pavlov offers some explanation: “the voice nothing else but an instrument that operates with syllables, which is what makes the performance reminiscent of a language... Yet, regardless of how poetic it might sound to a human ear, that sequence of syllables remains completely meaningless." In collaborating with Pavlov as SoiSong, Christopherson found the music's development natural: "I wouldn’t say that SoiSong really resembles anything that’s come before, particularly. But if you know, and appreciate what we both did before, then that knowledge will bring more appreciation and understanding to what we do now. It’s a progression from the past to the future."
In the hour long, slow fever-dream-sequence transition from deliquescent jazz-noir humidity on ‘Amkhapaa’ thru the uncanny croon of their bespoke virtual singer (co-conceived with external band members Han Li Chiou and Yuu Soijin-san Omiya) on the pooter ballad ’Ti-Di-Ti Naoo’, via the balance of CoH’s signature arp angularities and gauzy sax blare on ’T-Hu Ri Toh’, to the newly added oddness of ‘Lom sum Lai Kwee’, the project patently stands on its own strange merits, and can be heard a as sort of precedent for everything from Christos Chondropoulos’ Athenian Primitivism to heck, Cristobal Tapia de Veer’s soundtrack for the White Lotus series set in Thailand
Boomkat Product Review:
Peter “Sleazy” Christopherson & Ivan Pavlov’s short-lived, cult electro-jazz-noir duo SoiSong endures in a newly expanded edition of their queered Pentium Jazz odes to Bangkok’s red light districts.
In the years after the passing of his life and creative partner, Jhonn Balance, Peter Christopherson would mint Threshold Houseboys Choir, and also reform Throbbing Gristle with Chris & Cosey as X-TG, as well as work in 2009 with former Coil bandmate Danny Hyde as Electric Sewer Age. He notably also formed a new group, SoiSong - so named for “Soi’s”, or alley-ways in Thai - with Ivan Pavlov, aka CoH, to produce a now-legendary streak of material that typically short-circuited distinctions of the real and artificial.
The octagon-shaped CD ‘xAj3z’ was the first fruit of their labours (if we discount the impossible to find ‘Memory Box #1’) and now reappears with Dais, repackaged with a bonus live version of ‘Lom Tum Lai Kwee’, characteristic of their approach to combining synthesised voices and physical instrumentation in computerised compositions where breezy South Pacific exotica seeped into jazz-noir ambient in distinctly eerie, hallucinogenic forms that are perhaps shy of anything overtly dark, and more subtly implicit in their atmospheric juxtapositions of precious tooled squirm and naif coos.
Ivan Pavlov offers some explanation: “the voice nothing else but an instrument that operates with syllables, which is what makes the performance reminiscent of a language... Yet, regardless of how poetic it might sound to a human ear, that sequence of syllables remains completely meaningless." In collaborating with Pavlov as SoiSong, Christopherson found the music's development natural: "I wouldn’t say that SoiSong really resembles anything that’s come before, particularly. But if you know, and appreciate what we both did before, then that knowledge will bring more appreciation and understanding to what we do now. It’s a progression from the past to the future."
In the hour long, slow fever-dream-sequence transition from deliquescent jazz-noir humidity on ‘Amkhapaa’ thru the uncanny croon of their bespoke virtual singer (co-conceived with external band members Han Li Chiou and Yuu Soijin-san Omiya) on the pooter ballad ’Ti-Di-Ti Naoo’, via the balance of CoH’s signature arp angularities and gauzy sax blare on ’T-Hu Ri Toh’, to the newly added oddness of ‘Lom sum Lai Kwee’, the project patently stands on its own strange merits, and can be heard a as sort of precedent for everything from Christos Chondropoulos’ Athenian Primitivism to heck, Cristobal Tapia de Veer’s soundtrack for the White Lotus series set in Thailand
Boomkat Product Review:
Peter “Sleazy” Christopherson & Ivan Pavlov’s short-lived, cult electro-jazz-noir duo SoiSong endures in a newly expanded edition of their queered Pentium Jazz odes to Bangkok’s red light districts.
In the years after the passing of his life and creative partner, Jhonn Balance, Peter Christopherson would mint Threshold Houseboys Choir, and also reform Throbbing Gristle with Chris & Cosey as X-TG, as well as work in 2009 with former Coil bandmate Danny Hyde as Electric Sewer Age. He notably also formed a new group, SoiSong - so named for “Soi’s”, or alley-ways in Thai - with Ivan Pavlov, aka CoH, to produce a now-legendary streak of material that typically short-circuited distinctions of the real and artificial.
The octagon-shaped CD ‘xAj3z’ was the first fruit of their labours (if we discount the impossible to find ‘Memory Box #1’) and now reappears with Dais, repackaged with a bonus live version of ‘Lom Tum Lai Kwee’, characteristic of their approach to combining synthesised voices and physical instrumentation in computerised compositions where breezy South Pacific exotica seeped into jazz-noir ambient in distinctly eerie, hallucinogenic forms that are perhaps shy of anything overtly dark, and more subtly implicit in their atmospheric juxtapositions of precious tooled squirm and naif coos.
Ivan Pavlov offers some explanation: “the voice nothing else but an instrument that operates with syllables, which is what makes the performance reminiscent of a language... Yet, regardless of how poetic it might sound to a human ear, that sequence of syllables remains completely meaningless." In collaborating with Pavlov as SoiSong, Christopherson found the music's development natural: "I wouldn’t say that SoiSong really resembles anything that’s come before, particularly. But if you know, and appreciate what we both did before, then that knowledge will bring more appreciation and understanding to what we do now. It’s a progression from the past to the future."
In the hour long, slow fever-dream-sequence transition from deliquescent jazz-noir humidity on ‘Amkhapaa’ thru the uncanny croon of their bespoke virtual singer (co-conceived with external band members Han Li Chiou and Yuu Soijin-san Omiya) on the pooter ballad ’Ti-Di-Ti Naoo’, via the balance of CoH’s signature arp angularities and gauzy sax blare on ’T-Hu Ri Toh’, to the newly added oddness of ‘Lom sum Lai Kwee’, the project patently stands on its own strange merits, and can be heard a as sort of precedent for everything from Christos Chondropoulos’ Athenian Primitivism to heck, Cristobal Tapia de Veer’s soundtrack for the White Lotus series set in Thailand
Estimated Release Date: 30 May 2025
Please note that shipping dates for pre-orders are estimated and are subject to change
Boomkat Product Review:
Peter “Sleazy” Christopherson & Ivan Pavlov’s short-lived, cult electro-jazz-noir duo SoiSong endures in a newly expanded edition of their queered Pentium Jazz odes to Bangkok’s red light districts.
In the years after the passing of his life and creative partner, Jhonn Balance, Peter Christopherson would mint Threshold Houseboys Choir, and also reform Throbbing Gristle with Chris & Cosey as X-TG, as well as work in 2009 with former Coil bandmate Danny Hyde as Electric Sewer Age. He notably also formed a new group, SoiSong - so named for “Soi’s”, or alley-ways in Thai - with Ivan Pavlov, aka CoH, to produce a now-legendary streak of material that typically short-circuited distinctions of the real and artificial.
The octagon-shaped CD ‘xAj3z’ was the first fruit of their labours (if we discount the impossible to find ‘Memory Box #1’) and now reappears with Dais, repackaged with a bonus live version of ‘Lom Tum Lai Kwee’, characteristic of their approach to combining synthesised voices and physical instrumentation in computerised compositions where breezy South Pacific exotica seeped into jazz-noir ambient in distinctly eerie, hallucinogenic forms that are perhaps shy of anything overtly dark, and more subtly implicit in their atmospheric juxtapositions of precious tooled squirm and naif coos.
Ivan Pavlov offers some explanation: “the voice nothing else but an instrument that operates with syllables, which is what makes the performance reminiscent of a language... Yet, regardless of how poetic it might sound to a human ear, that sequence of syllables remains completely meaningless." In collaborating with Pavlov as SoiSong, Christopherson found the music's development natural: "I wouldn’t say that SoiSong really resembles anything that’s come before, particularly. But if you know, and appreciate what we both did before, then that knowledge will bring more appreciation and understanding to what we do now. It’s a progression from the past to the future."
In the hour long, slow fever-dream-sequence transition from deliquescent jazz-noir humidity on ‘Amkhapaa’ thru the uncanny croon of their bespoke virtual singer (co-conceived with external band members Han Li Chiou and Yuu Soijin-san Omiya) on the pooter ballad ’Ti-Di-Ti Naoo’, via the balance of CoH’s signature arp angularities and gauzy sax blare on ’T-Hu Ri Toh’, to the newly added oddness of ‘Lom sum Lai Kwee’, the project patently stands on its own strange merits, and can be heard a as sort of precedent for everything from Christos Chondropoulos’ Athenian Primitivism to heck, Cristobal Tapia de Veer’s soundtrack for the White Lotus series set in Thailand
Clear smoke vinyl
Estimated Release Date: 30 May 2025
Please note that shipping dates for pre-orders are estimated and are subject to change
Boomkat Product Review:
Peter “Sleazy” Christopherson & Ivan Pavlov’s short-lived, cult electro-jazz-noir duo SoiSong endures in a newly expanded edition of their queered Pentium Jazz odes to Bangkok’s red light districts.
In the years after the passing of his life and creative partner, Jhonn Balance, Peter Christopherson would mint Threshold Houseboys Choir, and also reform Throbbing Gristle with Chris & Cosey as X-TG, as well as work in 2009 with former Coil bandmate Danny Hyde as Electric Sewer Age. He notably also formed a new group, SoiSong - so named for “Soi’s”, or alley-ways in Thai - with Ivan Pavlov, aka CoH, to produce a now-legendary streak of material that typically short-circuited distinctions of the real and artificial.
The octagon-shaped CD ‘xAj3z’ was the first fruit of their labours (if we discount the impossible to find ‘Memory Box #1’) and now reappears with Dais, repackaged with a bonus live version of ‘Lom Tum Lai Kwee’, characteristic of their approach to combining synthesised voices and physical instrumentation in computerised compositions where breezy South Pacific exotica seeped into jazz-noir ambient in distinctly eerie, hallucinogenic forms that are perhaps shy of anything overtly dark, and more subtly implicit in their atmospheric juxtapositions of precious tooled squirm and naif coos.
Ivan Pavlov offers some explanation: “the voice nothing else but an instrument that operates with syllables, which is what makes the performance reminiscent of a language... Yet, regardless of how poetic it might sound to a human ear, that sequence of syllables remains completely meaningless." In collaborating with Pavlov as SoiSong, Christopherson found the music's development natural: "I wouldn’t say that SoiSong really resembles anything that’s come before, particularly. But if you know, and appreciate what we both did before, then that knowledge will bring more appreciation and understanding to what we do now. It’s a progression from the past to the future."
In the hour long, slow fever-dream-sequence transition from deliquescent jazz-noir humidity on ‘Amkhapaa’ thru the uncanny croon of their bespoke virtual singer (co-conceived with external band members Han Li Chiou and Yuu Soijin-san Omiya) on the pooter ballad ’Ti-Di-Ti Naoo’, via the balance of CoH’s signature arp angularities and gauzy sax blare on ’T-Hu Ri Toh’, to the newly added oddness of ‘Lom sum Lai Kwee’, the project patently stands on its own strange merits, and can be heard a as sort of precedent for everything from Christos Chondropoulos’ Athenian Primitivism to heck, Cristobal Tapia de Veer’s soundtrack for the White Lotus series set in Thailand
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