REVIEW: Steve Crowther’s verdict on JakoJako, Arthur Sykes Rymer Auditorium, University of York, 6/11/2024

JakoJako: “Perpetually adjusting the various sound modules”. Picture: Katja Ruge

AS the auditorium lights diminished, our focus was immediately locked into an illuminated JakoJako, aka Sibel Koçer, sitting at the modular synthesiser, headphones on, zoned in and calmness personified.

 It was fascinating to see the performer-composer perpetually adjusting the various sound modules. Like a micro-electronic orchestra with these modules (instrumental tools): firstly, sliders – allowing pitches to slide between notes like glissando in string instruments; secondly, switches – kind of router selection circuits (putting me in mind of my Hornby train set functions); thirdly, panels – e.g. voice panel, and fourthly, patch cables – cables connecting sections of the synthesiser, such as oscillators.

OK, this may be a long-winded window into the tech side, but it is important to describe the ‘interconnectivity’, which is the core of JakoJako’s performance and compositional journey. We see it as well as listen to it; the performance is, in its own way, musical theatre.

The performance began with a kind of distorted electronic vocal prologue that brought to mind mildly ominous instructions from Tolkien’s Mordor. Little did I know at the time that Sauron would indeed become manifest later that night. Although this was distinct and effective, it was not really used again, which seemed a pity.

The main body of the performance was one of modulating layers of slowly unfolding sounds. I loved the melodic simplicity, familiar electronic transformations, for example pizzicato strings, echoes of the Caribbean steelpan drums.

What might be termed ostinato figures in classical terminology were used throughout; beautiful melodic loops, sometimes syncopated, always rhythmically transforming. Quite often they would surface, for want of a better term, from the depths of a ‘harmonic’ sound world into prominence. These looping melodies had a relaxing timeless quality.

I think the term ‘minimalism’ is a good one to describe the music and, just maybe, the influence of Philip Glass or Steve Reich can be felt. But it is the continual evolution or variation of these elements that makes the music so enriching. There was also a sense of fun.

The overall impression was of beautifully crafted interconnecting, layering musical moments to create a patchwork quilt of sound; musical clouds drifting by. Meditative, hypnotic and very distinct.

Review by Steve Crowther

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