LP [edition of 200 copies]
Belgium £16.50 (including postage)
Europe £18.50 (including postage)
Rest of world £23 (including postage)
CD [edition of 100 copies]
Belgium £13 (including postage)
Europe £15 (including postage)
Rest of world £17 (including postage)
Mastered by Christophe Albertijn
Ohad Fishof is an interdisciplinary artist. He began his artistic career in the mid-eighties as the energetic teenage leader of the pioneering Israeli post-punk
band Nosei Hamigbaat. His subsequent
time-based art, ranging from dance pieces and performance acts (often in collaboration with choreographer Noa Zuk) to sound and video installations
as well as recorded and live music,
has been presented worldwide.
Fishof performs his music regularly as part of his solo multimedia and dance
works. He also has an improvised music duo with conductor and music curator
Soundtracks aside, ALBUM 1 is Ohad Fishof’s first solo album. Some of the
music on it was originally created in the context of other art projects, and was
then rearranged for inclusion here. Technically electro-acoustic, stylistically
idiomatic and liminal, ALBUM 1 carries
a strong sense of narrative and seems
to be taking place somewhere in the fantasy territory of ethnographic fiction.
Its echoes of exotica on one hand, and post-punk on the other, are shaped
into idiosyncratic song forms, fronted by changing voice characters.
“Dancing, playing and listening to
music are my main life-practices. These
activities prepare me for my work as
an artist. Although artistic ideas are
a mystery — by repeatedly referring us back to the mystery from which they
emerged, they put this mystery at the centre of the art work - many of the
insights I follow as an artist are a direct
or an indirect result of my dancing,
playing and listening. This is how I learn about timing, space, dynamics, texture, layers of experience, different states of being, levels of consciousness, the nature of creativity, self-invention and beauty.
My work also presents a deeply rooted tendency towards the performative.
This predisposition — possibly shaped
in part by studying theatre in high-school
and being profoundly impressed by the combination of avant-garde music and
performance art that gained popularity in the 1980s — places a great significance
on art as a shared experience. The meeting of audience and the art work,
the art event as an encounter, and how
it unfolds in time, have always been
central to what I do. It is also embedded in the work itself as a formal interest
in narrative and the structure of stories
as a mould for human experience.
The concept of the soundtrack carries
a great significance too. As well as being
partially related to the organisational
trait of stories, it implies the separation
of sound and image from their original context, dissecting perceptual reality
and reassembling it together to make new realities and imaginary worlds.
This complex, evocative gap between the seen and the heard, this vast poetic space, is where much of my creative work takes place.”