MARTINA LUSSI // Selected Ambient LP
MARTINA LUSSI // Selected Ambient LP
¥3,323
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スイスの音響作家MARTINA LUSSIの初となるLPが同国Hallow Groundからリリース。彼女はスイス・ローザンヌで毎年行われている映画祭LUFFにも出演しており、今後の活動が注目されます。2017年11月リリース。 DLコード付属。
レーベルその他作品はこちら /// Click here to see more Hallow Ground releases available at Tobira.
--------------------------------
"On the LP Selected Ambient, Martina Lussi brings together a collection of sound material from her practice to date. The material oscillates between electroacoustic composition, sound art, and live performance. The pieces are named after precious gemstones, all of which are traditionally ascribed with special powers. In using these names, the artist seems to refer to the esoteric roots of the genre invoked by the LP’s title. The compositions, however, resist the genre’s characteristically naïve re-enchantment of the world and distrust holistic esotericism’s promise of healing and restoration. Instead, they are defined much more by an interest in affective uncertainties. The gemstones don’t speak, and they don’t convey the mythical forces ascribed to them—rather, they rest in their own materiality. They don’t want to affect or influence—they simply want to exist as witnesses of/to the ultimately incommensurable reality that lives beyond our own horizon.
“Sodalith” is characterized by a melancholy sensibility; the piece is carried by a boundless synthetic surface over which a guitar melody swirls. At first, “Citrin” seems to want to unravel into orbiting, meditative qualities, but in the second part, the mood collects in the peculiarity somewhere between sustained calm and frequently disrupted rave euphoria. “Achat,” which borrows most clearly from the electroacoustic tradition, develops relatively late and unexpectedly into a subtle techno track that then repeatedly interrupts the very momentum it has engendered. Lastly, “Opal,” which was originally written for Lussi’s installation “Composition for a Circle,” writhes in seemingly stochastic contortions that lightly shake the centripetal dynamic of the piece.
In these four compositions as in other works, Lussi creates a sound world in which circling correlations raise more questions than they answer—in contrast to esotericism, which insists on imbuing its material with meaning. Lussi therefore facilitates a listening experience that refers to ambient at its best and most radical: her music represents neither a dissolution of the self in complete uncertainty nor a contemplative internal landscape, but rather a tremulous hovering over the border between the two.
Martina Lussi lives and works in Lucerne. She holds a Master of Arts in Contemporary Arts Practice. In 2014, Lussi’s debut EP, “Komposition O08”, was released on Präsens Editionen. Lussi has performed work between the disciplines of sound art and music performance at places like LUFF (Lausanne Underground Filmfestival) or the festival Oto Nove Swiss at London’s Cafe Oto. "
“Sodalith” is characterized by a melancholy sensibility; the piece is carried by a boundless synthetic surface over which a guitar melody swirls. At first, “Citrin” seems to want to unravel into orbiting, meditative qualities, but in the second part, the mood collects in the peculiarity somewhere between sustained calm and frequently disrupted rave euphoria. “Achat,” which borrows most clearly from the electroacoustic tradition, develops relatively late and unexpectedly into a subtle techno track that then repeatedly interrupts the very momentum it has engendered. Lastly, “Opal,” which was originally written for Lussi’s installation “Composition for a Circle,” writhes in seemingly stochastic contortions that lightly shake the centripetal dynamic of the piece.
In these four compositions as in other works, Lussi creates a sound world in which circling correlations raise more questions than they answer—in contrast to esotericism, which insists on imbuing its material with meaning. Lussi therefore facilitates a listening experience that refers to ambient at its best and most radical: her music represents neither a dissolution of the self in complete uncertainty nor a contemplative internal landscape, but rather a tremulous hovering over the border between the two.
Martina Lussi lives and works in Lucerne. She holds a Master of Arts in Contemporary Arts Practice. In 2014, Lussi’s debut EP, “Komposition O08”, was released on Präsens Editionen. Lussi has performed work between the disciplines of sound art and music performance at places like LUFF (Lausanne Underground Filmfestival) or the festival Oto Nove Swiss at London’s Cafe Oto. "
artist : MARTINA LUSSI
label : Hallow Ground
スイスの音響作家MARTINA LUSSIの初となるLPが同国Hallow Groundからリリース。彼女はスイス・ローザンヌで毎年行われている映画祭LUFFにも出演しており、今後の活動が注目されます。2017年11月リリース。 DLコード付属。
“Sodalith” is characterized by a melancholy sensibility; the piece is carried by a boundless synthetic surface over which a guitar melody swirls. At first, “Citrin” seems to want to unravel into orbiting, meditative qualities, but in the second part, the mood collects in the peculiarity somewhere between sustained calm and frequently disrupted rave euphoria. “Achat,” which borrows most clearly from the electroacoustic tradition, develops relatively late and unexpectedly into a subtle techno track that then repeatedly interrupts the very momentum it has engendered. Lastly, “Opal,” which was originally written for Lussi’s installation “Composition for a Circle,” writhes in seemingly stochastic contortions that lightly shake the centripetal dynamic of the piece.
In these four compositions as in other works, Lussi creates a sound world in which circling correlations raise more questions than they answer—in contrast to esotericism, which insists on imbuing its material with meaning. Lussi therefore facilitates a listening experience that refers to ambient at its best and most radical: her music represents neither a dissolution of the self in complete uncertainty nor a contemplative internal landscape, but rather a tremulous hovering over the border between the two.
Martina Lussi lives and works in Lucerne. She holds a Master of Arts in Contemporary Arts Practice. In 2014, Lussi’s debut EP, “Komposition O08”, was released on Präsens Editionen. Lussi has performed work between the disciplines of sound art and music performance at places like LUFF (Lausanne Underground Filmfestival) or the festival Oto Nove Swiss at London’s Cafe Oto. " artist : MARTINA LUSSI label : Hallow Ground
レーベルその他作品はこちら /// Click here to see more Hallow Ground releases available at Tobira.
--------------------------------
"On the LP Selected Ambient, Martina Lussi brings together a collection of sound material from her practice to date. The material oscillates between electroacoustic composition, sound art, and live performance. The pieces are named after precious gemstones, all of which are traditionally ascribed with special powers. In using these names, the artist seems to refer to the esoteric roots of the genre invoked by the LP’s title. The compositions, however, resist the genre’s characteristically naïve re-enchantment of the world and distrust holistic esotericism’s promise of healing and restoration. Instead, they are defined much more by an interest in affective uncertainties. The gemstones don’t speak, and they don’t convey the mythical forces ascribed to them—rather, they rest in their own materiality. They don’t want to affect or influence—they simply want to exist as witnesses of/to the ultimately incommensurable reality that lives beyond our own horizon.“Sodalith” is characterized by a melancholy sensibility; the piece is carried by a boundless synthetic surface over which a guitar melody swirls. At first, “Citrin” seems to want to unravel into orbiting, meditative qualities, but in the second part, the mood collects in the peculiarity somewhere between sustained calm and frequently disrupted rave euphoria. “Achat,” which borrows most clearly from the electroacoustic tradition, develops relatively late and unexpectedly into a subtle techno track that then repeatedly interrupts the very momentum it has engendered. Lastly, “Opal,” which was originally written for Lussi’s installation “Composition for a Circle,” writhes in seemingly stochastic contortions that lightly shake the centripetal dynamic of the piece.
In these four compositions as in other works, Lussi creates a sound world in which circling correlations raise more questions than they answer—in contrast to esotericism, which insists on imbuing its material with meaning. Lussi therefore facilitates a listening experience that refers to ambient at its best and most radical: her music represents neither a dissolution of the self in complete uncertainty nor a contemplative internal landscape, but rather a tremulous hovering over the border between the two.
Martina Lussi lives and works in Lucerne. She holds a Master of Arts in Contemporary Arts Practice. In 2014, Lussi’s debut EP, “Komposition O08”, was released on Präsens Editionen. Lussi has performed work between the disciplines of sound art and music performance at places like LUFF (Lausanne Underground Filmfestival) or the festival Oto Nove Swiss at London’s Cafe Oto. " artist : MARTINA LUSSI label : Hallow Ground
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{"id":8954091012346,"title":"Ben Frost \/\/ Steelwound (20th Anniversary Edition) LP","handle":"ben-frost-steelwound-20th-anniversary-edition-lp","description":"\u003cp\u003eオーストラリアのアンビエント・ギタリストBen Frostが、\u003cspan\u003e2025年9月に同国実験/アンビエントレーベルRoom40からリリースした再発レコードです。(オリジナルは2003年リリース)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eエレキギターによるアンビエント〜シューゲイズ6曲を収録\u003c\/span\u003e。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e以下、レーベルオーナーLawrence Englishによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"間違っていなければ、Ben Frostと私が後に『Steelwound』となる構想について初めて話し合ったのは、2002年半ば頃だった。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e2000年代初頭、Benはカットアップされた電子音に取り組んでおり、浮遊するリズム、うなる弦楽器サンプル、ピアノの断片が溢れ出していた。このサウンドは一部、Fruity Loopsの逆説的活用によって実現され、2001年末に登場したAbleton Liveの影響も色濃く受けていた。当時までの彼の作品は、穏やかなサチュレーションと時折弾けるような歪みで満ちており、2002年夏から2003年にかけて彼が集中的に追求する新たな音の世界を予感させていた。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eビクトリア州グレートオーシャ・ロード沿いの南端、人里離れたジョアンナズ・ビーチに身を隠すようにして、彼は初めて束縛感なく録音に臨むことができた。この音のパレットの開放は、以前の録音ではほのめかされながらも実現されていなかった、全く新しい和声言語をもたらした。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eフェンダー・ツインを使用し、しばしばリバーブを最大に設定して演奏する中で、彼はきらめきと飽和、圧縮と衝突の言語を見出した。これは、音量が大きくなった際に音がどのように振る舞い、知覚されるかという長期的な探求の礎となった。また、後に彼の作曲言語として認知されるようになった多くの音色的・旋律的なニュアンスが初めて顕在化した作品でもある。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e『Steelwound』は、私の見解ではBenにとって未来への地図である。それは新たな理解が生まれ、根付くための扉であり、この学びこそがその後数年にわたるベンの創作を導いてきた。『Steelwound』はノイズの海に浮かぶ脈打つ灯台であり、今や20年にわたりその光を揺らめかせ続けている。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3915687355\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003ehere\u003c\/a\u003e to see more Room40 releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e---------------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl. Includes DL code.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Swarm 03:59\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e2. ...I Lay My Ear To Furious Latin 09:03\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e3. You, Me And The End Of Everything 10:24\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e4. Steel Wound 09:13\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e5. Last Exit To Brooklyn 06:51\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e6. And I Watched You Breathe 07:15\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eText written by Lawrence English:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eIf I’m not mistaken, Ben Frost and I first talked about the ideas of what would become Steelwound sometime in mid 2002.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIn the early 00s, Ben had been working on cut-up electronics, spilling over with floating rhythms, humming string samples and piano splices. It was a sound realised in part through the subversion of fruity loops and also owes a debt to Ableton Live which arrived in late 2001. His works to that point, gently saturated and bristling with a fizzy distortion at times, hinted at another sound world which would become his focused in the summer of 2002 and into 2003.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLocking himself away at Johanna’s Beach, a remote southern vantage along the Great Ocean Road in Victoria, he was able to record for the first time without a sense of constraint. This opening up of the sound palette brought with it an entirely new harmonic language that had been hinted at, but not realised, on previous recordings. With a simple restriction of instrumentation, the guitar as the palette, Frost unlocked a certain verticality to his working methods that holds light to this day.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSteelwound is, by design, a singular record in Ben Frost’s discography. It’s a recording born of particular conditions, but also of particular interests. It was the first time Ben had set\u003cspan class=\"bcTruncateMore\"\u003e himself up with a situation where saturation, volume and density were all something that could be realised in a space and a time, not as a process of post-production. To have sound operating in space is a thing of true beauty and moreover it allows for a certain unpredictability that is central to new discoveries.\u003cbr\u003e\u003cbr\u003eWorking with a Fender Twin, often with the reverb dialled in at maximum, he found a language of shimmer and saturation, of compression and collision, that set the stage for a prolonged interest in how sound performs and is perceived at volume. It also is the first time that many of the tonal and melodic inflections that have come to be recognised as his compositional language are on display.\u003cbr\u003e\u003cbr\u003eSteelwound, in my opinion, is a map to the future for Ben. It is a portal, a chance for new understandings to emerge and also to take hold and it’s these learnings that have guided Ben’s work in the subsequent years. Steelwound remains a pulsing beacon in an ocean of noise that has been flickering for two decades now.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Ben Frost\u003c\/p\u003e\n\u003cp\u003eLabel : Room40\u003c\/p\u003e\n\u003cp\u003ecat no : RMV403\u003c\/p\u003e","published_at":"2025-10-12T10:59:21+09:00","created_at":"2025-10-12T09:01:37+09:00","vendor":"Tobira Records","type":"","tags":["ambient","lp","new","room40"],"price":381800,"price_min":381800,"price_max":381800,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47814781698298,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Ben Frost \/\/ Steelwound (20th Anniversary Edition) LP","public_title":null,"options":["Default Title"],"price":381800,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/ben1_89dbe848-d20a-4434-a8bf-af25e6eb08d2.jpg?v=1760227315","\/\/tobirarecords.com\/cdn\/shop\/files\/ben3_722ad759-1221-4cb9-9075-46828235e5ef.jpg?v=1760227316"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/ben1_89dbe848-d20a-4434-a8bf-af25e6eb08d2.jpg?v=1760227315","options":["Title"],"media":[{"alt":null,"id":37074618319098,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ben1_89dbe848-d20a-4434-a8bf-af25e6eb08d2.jpg?v=1760227315"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ben1_89dbe848-d20a-4434-a8bf-af25e6eb08d2.jpg?v=1760227315","width":700},{"alt":null,"id":37074618351866,"position":2,"preview_image":{"aspect_ratio":1.412,"height":850,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ben3_722ad759-1221-4cb9-9075-46828235e5ef.jpg?v=1760227316"},"aspect_ratio":1.412,"height":850,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ben3_722ad759-1221-4cb9-9075-46828235e5ef.jpg?v=1760227316","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eオーストラリアのアンビエント・ギタリストBen Frostが、\u003cspan\u003e2025年9月に同国実験/アンビエントレーベルRoom40からリリースした再発レコードです。(オリジナルは2003年リリース)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eエレキギターによるアンビエント〜シューゲイズ6曲を収録\u003c\/span\u003e。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e以下、レーベルオーナーLawrence Englishによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"間違っていなければ、Ben Frostと私が後に『Steelwound』となる構想について初めて話し合ったのは、2002年半ば頃だった。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e2000年代初頭、Benはカットアップされた電子音に取り組んでおり、浮遊するリズム、うなる弦楽器サンプル、ピアノの断片が溢れ出していた。このサウンドは一部、Fruity Loopsの逆説的活用によって実現され、2001年末に登場したAbleton Liveの影響も色濃く受けていた。当時までの彼の作品は、穏やかなサチュレーションと時折弾けるような歪みで満ちており、2002年夏から2003年にかけて彼が集中的に追求する新たな音の世界を予感させていた。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eビクトリア州グレートオーシャ・ロード沿いの南端、人里離れたジョアンナズ・ビーチに身を隠すようにして、彼は初めて束縛感なく録音に臨むことができた。この音のパレットの開放は、以前の録音ではほのめかされながらも実現されていなかった、全く新しい和声言語をもたらした。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eフェンダー・ツインを使用し、しばしばリバーブを最大に設定して演奏する中で、彼はきらめきと飽和、圧縮と衝突の言語を見出した。これは、音量が大きくなった際に音がどのように振る舞い、知覚されるかという長期的な探求の礎となった。また、後に彼の作曲言語として認知されるようになった多くの音色的・旋律的なニュアンスが初めて顕在化した作品でもある。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e『Steelwound』は、私の見解ではBenにとって未来への地図である。それは新たな理解が生まれ、根付くための扉であり、この学びこそがその後数年にわたるベンの創作を導いてきた。『Steelwound』はノイズの海に浮かぶ脈打つ灯台であり、今や20年にわたりその光を揺らめかせ続けている。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3915687355\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003ehere\u003c\/a\u003e to see more Room40 releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e---------------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl. Includes DL code.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Swarm 03:59\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e2. ...I Lay My Ear To Furious Latin 09:03\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e3. You, Me And The End Of Everything 10:24\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e4. Steel Wound 09:13\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e5. Last Exit To Brooklyn 06:51\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e6. And I Watched You Breathe 07:15\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eText written by Lawrence English:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eIf I’m not mistaken, Ben Frost and I first talked about the ideas of what would become Steelwound sometime in mid 2002.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIn the early 00s, Ben had been working on cut-up electronics, spilling over with floating rhythms, humming string samples and piano splices. It was a sound realised in part through the subversion of fruity loops and also owes a debt to Ableton Live which arrived in late 2001. His works to that point, gently saturated and bristling with a fizzy distortion at times, hinted at another sound world which would become his focused in the summer of 2002 and into 2003.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLocking himself away at Johanna’s Beach, a remote southern vantage along the Great Ocean Road in Victoria, he was able to record for the first time without a sense of constraint. This opening up of the sound palette brought with it an entirely new harmonic language that had been hinted at, but not realised, on previous recordings. With a simple restriction of instrumentation, the guitar as the palette, Frost unlocked a certain verticality to his working methods that holds light to this day.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSteelwound is, by design, a singular record in Ben Frost’s discography. It’s a recording born of particular conditions, but also of particular interests. It was the first time Ben had set\u003cspan class=\"bcTruncateMore\"\u003e himself up with a situation where saturation, volume and density were all something that could be realised in a space and a time, not as a process of post-production. To have sound operating in space is a thing of true beauty and moreover it allows for a certain unpredictability that is central to new discoveries.\u003cbr\u003e\u003cbr\u003eWorking with a Fender Twin, often with the reverb dialled in at maximum, he found a language of shimmer and saturation, of compression and collision, that set the stage for a prolonged interest in how sound performs and is perceived at volume. It also is the first time that many of the tonal and melodic inflections that have come to be recognised as his compositional language are on display.\u003cbr\u003e\u003cbr\u003eSteelwound, in my opinion, is a map to the future for Ben. It is a portal, a chance for new understandings to emerge and also to take hold and it’s these learnings that have guided Ben’s work in the subsequent years. Steelwound remains a pulsing beacon in an ocean of noise that has been flickering for two decades now.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Ben Frost\u003c\/p\u003e\n\u003cp\u003eLabel : Room40\u003c\/p\u003e\n\u003cp\u003ecat no : RMV403\u003c\/p\u003e"}
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オーストラリアのアンビエント・ギタリストBen Frostが、2025年9月に同国実験/アンビエントレーベルRoom40からリリースした再発レコードです。(オリジナルは2003年リリース) エレキギターによるアンビエント〜シューゲイズ6曲を収録。DLコード付属。 以下、レーベルオーナーLawrence Englishによる解説です。 "間違っていなければ、Ben Frostと私が後に『Steelwound』となる構想について初めて話し合ったのは、2002年半ば頃だった。 2000年代初頭、Benはカットアップされた電子音に取り組んでおり、浮遊するリズム、うなる弦楽器サンプル、ピアノの断片が溢れ出していた。このサウンドは一部、Fruity Loopsの逆説的活用によって実現され、2001年末に登場したAbleton Liveの影響も色濃く受けていた。当時までの彼の作品は、穏やかなサチュレーションと時折弾けるような歪みで満ちており、2002年夏から2003年にかけて彼が集中的に追求する新たな音の世界を予感させていた。 ビクトリア州グレートオーシャ・ロード沿いの南端、人里離れたジョアンナズ・ビーチに身を隠すようにして、彼は初めて束縛感なく録音に臨むことができた。この音のパレットの開放は、以前の録音ではほのめかされながらも実現されていなかった、全く新しい和声言語をもたらした。 フェンダー・ツインを使用し、しばしばリバーブを最大に設定して演奏する中で、彼はきらめきと飽和、圧縮と衝突の言語を見出した。これは、音量が大きくなった際に音がどのように振る舞い、知覚されるかという長期的な探求の礎となった。また、後に彼の作曲言語として認知されるようになった多くの音色的・旋律的なニュアンスが初めて顕在化した作品でもある。 『Steelwound』は、私の見解ではBenにとって未来への地図である。それは新たな理解が生まれ、根付くための扉であり、この学びこそがその後数年にわたるベンの創作を導いてきた。『Steelwound』はノイズの海に浮かぶ脈打つ灯台であり、今や20年にわたりその光を揺らめかせ続けている。" レーベルその他作品はこちら ///...
¥3,818
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{"id":8954090848506,"title":"Ben Frost \/\/ Steelwound (20th Anniversary Edition) LP [COLOR]","handle":"ben-frost-steelwound-20th-anniversary-edition-lp-color","description":"\u003cp\u003eオーストラリアのアンビエント・ギタリストBen Frostが、\u003cspan\u003e2025年9月に同国実験/アンビエントレーベルRoom40からリリースした再発レコードです。(オリジナルは2003年リリース)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eエレキギターによるアンビエント〜シューゲイズ6曲を収録\u003c\/span\u003e。クリア盤です。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e以下、レーベルオーナーLawrence Englishによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"間違っていなければ、Ben Frostと私が後に『Steelwound』となる構想について初めて話し合ったのは、2002年半ば頃だった。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e2000年代初頭、Benはカットアップされた電子音に取り組んでおり、浮遊するリズム、うなる弦楽器サンプル、ピアノの断片が溢れ出していた。このサウンドは一部、Fruity Loopsの逆説的活用によって実現され、2001年末に登場したAbleton Liveの影響も色濃く受けていた。当時までの彼の作品は、穏やかなサチュレーションと時折弾けるような歪みで満ちており、2002年夏から2003年にかけて彼が集中的に追求する新たな音の世界を予感させていた。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eビクトリア州グレートオーシャ・ロード沿いの南端、人里離れたジョアンナズ・ビーチに身を隠すようにして、彼は初めて束縛感なく録音に臨むことができた。この音のパレットの開放は、以前の録音ではほのめかされながらも実現されていなかった、全く新しい和声言語をもたらした。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eフェンダー・ツインを使用し、しばしばリバーブを最大に設定して演奏する中で、彼はきらめきと飽和、圧縮と衝突の言語を見出した。これは、音量が大きくなった際に音がどのように振る舞い、知覚されるかという長期的な探求の礎となった。また、後に彼の作曲言語として認知されるようになった多くの音色的・旋律的なニュアンスが初めて顕在化した作品でもある。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e『Steelwound』は、私の見解ではBenにとって未来への地図である。それは新たな理解が生まれ、根付くための扉であり、この学びこそがその後数年にわたるベンの創作を導いてきた。『Steelwound』はノイズの海に浮かぶ脈打つ灯台であり、今や20年にわたりその光を揺らめかせ続けている。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3915687355\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003ehere\u003c\/a\u003e to see more Room40 releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e---------------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" clear vinyl. Includes DL code.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Swarm 03:59\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e2. ...I Lay My Ear To Furious Latin 09:03\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e3. You, Me And The End Of Everything 10:24\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e4. Steel Wound 09:13\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e5. Last Exit To Brooklyn 06:51\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e6. And I Watched You Breathe 07:15\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eText written by Lawrence English:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eIf I’m not mistaken, Ben Frost and I first talked about the ideas of what would become Steelwound sometime in mid 2002.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIn the early 00s, Ben had been working on cut-up electronics, spilling over with floating rhythms, humming string samples and piano splices. It was a sound realised in part through the subversion of fruity loops and also owes a debt to Ableton Live which arrived in late 2001. His works to that point, gently saturated and bristling with a fizzy distortion at times, hinted at another sound world which would become his focused in the summer of 2002 and into 2003.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLocking himself away at Johanna’s Beach, a remote southern vantage along the Great Ocean Road in Victoria, he was able to record for the first time without a sense of constraint. This opening up of the sound palette brought with it an entirely new harmonic language that had been hinted at, but not realised, on previous recordings. With a simple restriction of instrumentation, the guitar as the palette, Frost unlocked a certain verticality to his working methods that holds light to this day.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSteelwound is, by design, a singular record in Ben Frost’s discography. It’s a recording born of particular conditions, but also of particular interests. It was the first time Ben had set\u003cspan class=\"bcTruncateMore\"\u003e himself up with a situation where saturation, volume and density were all something that could be realised in a space and a time, not as a process of post-production. To have sound operating in space is a thing of true beauty and moreover it allows for a certain unpredictability that is central to new discoveries.\u003cbr\u003e\u003cbr\u003eWorking with a Fender Twin, often with the reverb dialled in at maximum, he found a language of shimmer and saturation, of compression and collision, that set the stage for a prolonged interest in how sound performs and is perceived at volume. It also is the first time that many of the tonal and melodic inflections that have come to be recognised as his compositional language are on display.\u003cbr\u003e\u003cbr\u003eSteelwound, in my opinion, is a map to the future for Ben. It is a portal, a chance for new understandings to emerge and also to take hold and it’s these learnings that have guided Ben’s work in the subsequent years. Steelwound remains a pulsing beacon in an ocean of noise that has been flickering for two decades now.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Ben Frost\u003c\/p\u003e\n\u003cp\u003eLabel : Room40\u003c\/p\u003e\n\u003cp\u003ecat no : RMV403\u003c\/p\u003e","published_at":"2025-10-12T11:00:23+09:00","created_at":"2025-10-12T09:00:09+09:00","vendor":"Tobira Records","type":"","tags":["ambient","lp","new","room40"],"price":418000,"price_min":418000,"price_max":418000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47814781468922,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Ben Frost \/\/ Steelwound (20th Anniversary Edition) LP [COLOR]","public_title":null,"options":["Default Title"],"price":418000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/ben1_289a2e65-fe3b-462c-8163-4691d40399cd.jpg?v=1760227103","\/\/tobirarecords.com\/cdn\/shop\/files\/ben2_b2c2cbcd-3f51-49fe-aab4-038b17cc300c.jpg?v=1760227102"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/ben1_289a2e65-fe3b-462c-8163-4691d40399cd.jpg?v=1760227103","options":["Title"],"media":[{"alt":null,"id":37074609340666,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ben1_289a2e65-fe3b-462c-8163-4691d40399cd.jpg?v=1760227103"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ben1_289a2e65-fe3b-462c-8163-4691d40399cd.jpg?v=1760227103","width":700},{"alt":null,"id":37074609373434,"position":2,"preview_image":{"aspect_ratio":1.412,"height":850,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ben2_b2c2cbcd-3f51-49fe-aab4-038b17cc300c.jpg?v=1760227102"},"aspect_ratio":1.412,"height":850,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ben2_b2c2cbcd-3f51-49fe-aab4-038b17cc300c.jpg?v=1760227102","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eオーストラリアのアンビエント・ギタリストBen Frostが、\u003cspan\u003e2025年9月に同国実験/アンビエントレーベルRoom40からリリースした再発レコードです。(オリジナルは2003年リリース)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eエレキギターによるアンビエント〜シューゲイズ6曲を収録\u003c\/span\u003e。クリア盤です。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e以下、レーベルオーナーLawrence Englishによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"間違っていなければ、Ben Frostと私が後に『Steelwound』となる構想について初めて話し合ったのは、2002年半ば頃だった。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e2000年代初頭、Benはカットアップされた電子音に取り組んでおり、浮遊するリズム、うなる弦楽器サンプル、ピアノの断片が溢れ出していた。このサウンドは一部、Fruity Loopsの逆説的活用によって実現され、2001年末に登場したAbleton Liveの影響も色濃く受けていた。当時までの彼の作品は、穏やかなサチュレーションと時折弾けるような歪みで満ちており、2002年夏から2003年にかけて彼が集中的に追求する新たな音の世界を予感させていた。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eビクトリア州グレートオーシャ・ロード沿いの南端、人里離れたジョアンナズ・ビーチに身を隠すようにして、彼は初めて束縛感なく録音に臨むことができた。この音のパレットの開放は、以前の録音ではほのめかされながらも実現されていなかった、全く新しい和声言語をもたらした。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eフェンダー・ツインを使用し、しばしばリバーブを最大に設定して演奏する中で、彼はきらめきと飽和、圧縮と衝突の言語を見出した。これは、音量が大きくなった際に音がどのように振る舞い、知覚されるかという長期的な探求の礎となった。また、後に彼の作曲言語として認知されるようになった多くの音色的・旋律的なニュアンスが初めて顕在化した作品でもある。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e『Steelwound』は、私の見解ではBenにとって未来への地図である。それは新たな理解が生まれ、根付くための扉であり、この学びこそがその後数年にわたるベンの創作を導いてきた。『Steelwound』はノイズの海に浮かぶ脈打つ灯台であり、今や20年にわたりその光を揺らめかせ続けている。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3915687355\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003ehere\u003c\/a\u003e to see more Room40 releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e---------------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" clear vinyl. Includes DL code.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Swarm 03:59\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e2. ...I Lay My Ear To Furious Latin 09:03\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e3. You, Me And The End Of Everything 10:24\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e4. Steel Wound 09:13\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e5. Last Exit To Brooklyn 06:51\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e6. And I Watched You Breathe 07:15\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eText written by Lawrence English:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eIf I’m not mistaken, Ben Frost and I first talked about the ideas of what would become Steelwound sometime in mid 2002.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIn the early 00s, Ben had been working on cut-up electronics, spilling over with floating rhythms, humming string samples and piano splices. It was a sound realised in part through the subversion of fruity loops and also owes a debt to Ableton Live which arrived in late 2001. His works to that point, gently saturated and bristling with a fizzy distortion at times, hinted at another sound world which would become his focused in the summer of 2002 and into 2003.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLocking himself away at Johanna’s Beach, a remote southern vantage along the Great Ocean Road in Victoria, he was able to record for the first time without a sense of constraint. This opening up of the sound palette brought with it an entirely new harmonic language that had been hinted at, but not realised, on previous recordings. With a simple restriction of instrumentation, the guitar as the palette, Frost unlocked a certain verticality to his working methods that holds light to this day.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSteelwound is, by design, a singular record in Ben Frost’s discography. It’s a recording born of particular conditions, but also of particular interests. It was the first time Ben had set\u003cspan class=\"bcTruncateMore\"\u003e himself up with a situation where saturation, volume and density were all something that could be realised in a space and a time, not as a process of post-production. To have sound operating in space is a thing of true beauty and moreover it allows for a certain unpredictability that is central to new discoveries.\u003cbr\u003e\u003cbr\u003eWorking with a Fender Twin, often with the reverb dialled in at maximum, he found a language of shimmer and saturation, of compression and collision, that set the stage for a prolonged interest in how sound performs and is perceived at volume. It also is the first time that many of the tonal and melodic inflections that have come to be recognised as his compositional language are on display.\u003cbr\u003e\u003cbr\u003eSteelwound, in my opinion, is a map to the future for Ben. It is a portal, a chance for new understandings to emerge and also to take hold and it’s these learnings that have guided Ben’s work in the subsequent years. Steelwound remains a pulsing beacon in an ocean of noise that has been flickering for two decades now.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Ben Frost\u003c\/p\u003e\n\u003cp\u003eLabel : Room40\u003c\/p\u003e\n\u003cp\u003ecat no : RMV403\u003c\/p\u003e"}
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オーストラリアのアンビエント・ギタリストBen Frostが、2025年9月に同国実験/アンビエントレーベルRoom40からリリースした再発レコードです。(オリジナルは2003年リリース) エレキギターによるアンビエント〜シューゲイズ6曲を収録。クリア盤です。DLコード付属。 以下、レーベルオーナーLawrence Englishによる解説です。 "間違っていなければ、Ben Frostと私が後に『Steelwound』となる構想について初めて話し合ったのは、2002年半ば頃だった。 2000年代初頭、Benはカットアップされた電子音に取り組んでおり、浮遊するリズム、うなる弦楽器サンプル、ピアノの断片が溢れ出していた。このサウンドは一部、Fruity Loopsの逆説的活用によって実現され、2001年末に登場したAbleton Liveの影響も色濃く受けていた。当時までの彼の作品は、穏やかなサチュレーションと時折弾けるような歪みで満ちており、2002年夏から2003年にかけて彼が集中的に追求する新たな音の世界を予感させていた。 ビクトリア州グレートオーシャ・ロード沿いの南端、人里離れたジョアンナズ・ビーチに身を隠すようにして、彼は初めて束縛感なく録音に臨むことができた。この音のパレットの開放は、以前の録音ではほのめかされながらも実現されていなかった、全く新しい和声言語をもたらした。 フェンダー・ツインを使用し、しばしばリバーブを最大に設定して演奏する中で、彼はきらめきと飽和、圧縮と衝突の言語を見出した。これは、音量が大きくなった際に音がどのように振る舞い、知覚されるかという長期的な探求の礎となった。また、後に彼の作曲言語として認知されるようになった多くの音色的・旋律的なニュアンスが初めて顕在化した作品でもある。 『Steelwound』は、私の見解ではBenにとって未来への地図である。それは新たな理解が生まれ、根付くための扉であり、この学びこそがその後数年にわたるベンの創作を導いてきた。『Steelwound』はノイズの海に浮かぶ脈打つ灯台であり、今や20年にわたりその光を揺らめかせ続けている。" レーベルその他作品はこちら ///...
¥4,180

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{"id":8954090324218,"title":"Swoop and Cross \/\/ On the Grounds of Indecency TAPE","handle":"swoop-and-cross-on-the-grounds-of-indecency-tape","description":"\u003cp\u003eポルトガル出身デンマーク在住のアンビエント作家Swoop and Crossが、\u003cspan\u003e2025年10月に\u003c\/span\u003eオーストラリア・タスマニアのアンビエントレーベル\u003cspan\u003ePerceptual Tapesから50本限定でリリースしたカセットです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eピアノをメインソースにしたネオクラシカル・アンビエント9曲を収録。DLコード付属。 \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2947787012\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/prctltp\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/prctltp\"\u003ehere\u003c\/a\u003e to see more Perceptual Tapes releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e----------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. \u003cbr\u003eCassette in norelco case. \u003cbr\u003eEdition of 50. \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Elco eda 02:49\u003cbr\u003e2. Deferral 02:54\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e3. Montauk and the bear 06:31\u003cbr\u003e\u003c\/span\u003e4. Norfolk 04:51\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e5. This river 09:06\u003cbr\u003e\u003c\/span\u003e6. Wyntrr 06:00\u003cbr\u003e7. Old kind world 04:42\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e8. Complete 03:20\u003cbr\u003e\u003c\/span\u003e9. Fenestra 03:43\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003ePerceptual Tapes:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e'On the Grounds of Indecency' is the new album by Copenhagen-based Portuguese artist Swoop and Cross (Ruben do Vale). Merging neoclassical, ambient and drone textures, Ruben crafts intimate and emotional soundscapes blending piano, field recordings, virtual instruments, electronics and effects.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe album is inspired by Kazuo Ishiguro’s Never Let Me Go – a book that unsettled Ruben to his core and led him to revisit, reframe, and reimagine his own past. The record unfolds as a deeply personal meditation on memory and fragility, moving from delicate piano performances to dense, layered soundscapes, soaked in reverb and dirtied by tape grit and warble.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe pieces evolve patiently, exploring the fragile lines between beauty and unease, consonance and dissonance, inviting the listener to reflect and linger.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Swoop and Cross\u003c\/p\u003e\n\u003cp\u003eLabel : Perceptual Tapes\u003c\/p\u003e\n\u003cp\u003ecat no : PER014\u003c\/p\u003e","published_at":"2025-10-12T11:05:10+09:00","created_at":"2025-10-12T08:55:30+09:00","vendor":"Tobira Records","type":"","tags":["ambient","neo classical","new","perceptual tapes","tape"],"price":215000,"price_min":215000,"price_max":215000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47814780453114,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Swoop and Cross \/\/ On the Grounds of Indecency TAPE","public_title":null,"options":["Default Title"],"price":215000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/on1_0a150b15-c3c2-4d3b-ad43-5524daaa8fe3.jpg?v=1760226854","\/\/tobirarecords.com\/cdn\/shop\/files\/on2_874a1f1a-34a4-4346-8741-e38207e23909.jpg?v=1760226854"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/on1_0a150b15-c3c2-4d3b-ad43-5524daaa8fe3.jpg?v=1760226854","options":["Title"],"media":[{"alt":null,"id":37074594136314,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/on1_0a150b15-c3c2-4d3b-ad43-5524daaa8fe3.jpg?v=1760226854"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/on1_0a150b15-c3c2-4d3b-ad43-5524daaa8fe3.jpg?v=1760226854","width":700},{"alt":null,"id":37074594169082,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/on2_874a1f1a-34a4-4346-8741-e38207e23909.jpg?v=1760226854"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/on2_874a1f1a-34a4-4346-8741-e38207e23909.jpg?v=1760226854","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eポルトガル出身デンマーク在住のアンビエント作家Swoop and Crossが、\u003cspan\u003e2025年10月に\u003c\/span\u003eオーストラリア・タスマニアのアンビエントレーベル\u003cspan\u003ePerceptual Tapesから50本限定でリリースしたカセットです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eピアノをメインソースにしたネオクラシカル・アンビエント9曲を収録。DLコード付属。 \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2947787012\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/prctltp\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/prctltp\"\u003ehere\u003c\/a\u003e to see more Perceptual Tapes releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e----------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. \u003cbr\u003eCassette in norelco case. \u003cbr\u003eEdition of 50. \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Elco eda 02:49\u003cbr\u003e2. Deferral 02:54\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e3. Montauk and the bear 06:31\u003cbr\u003e\u003c\/span\u003e4. Norfolk 04:51\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e5. This river 09:06\u003cbr\u003e\u003c\/span\u003e6. Wyntrr 06:00\u003cbr\u003e7. Old kind world 04:42\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e8. Complete 03:20\u003cbr\u003e\u003c\/span\u003e9. Fenestra 03:43\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003ePerceptual Tapes:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e'On the Grounds of Indecency' is the new album by Copenhagen-based Portuguese artist Swoop and Cross (Ruben do Vale). Merging neoclassical, ambient and drone textures, Ruben crafts intimate and emotional soundscapes blending piano, field recordings, virtual instruments, electronics and effects.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe album is inspired by Kazuo Ishiguro’s Never Let Me Go – a book that unsettled Ruben to his core and led him to revisit, reframe, and reimagine his own past. The record unfolds as a deeply personal meditation on memory and fragility, moving from delicate piano performances to dense, layered soundscapes, soaked in reverb and dirtied by tape grit and warble.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe pieces evolve patiently, exploring the fragile lines between beauty and unease, consonance and dissonance, inviting the listener to reflect and linger.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Swoop and Cross\u003c\/p\u003e\n\u003cp\u003eLabel : Perceptual Tapes\u003c\/p\u003e\n\u003cp\u003ecat no : PER014\u003c\/p\u003e"}
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ポルトガル出身デンマーク在住のアンビエント作家Swoop and Crossが、2025年10月にオーストラリア・タスマニアのアンビエントレーベルPerceptual Tapesから50本限定でリリースしたカセットです。 ピアノをメインソースにしたネオクラシカル・アンビエント9曲を収録。DLコード付属。 レーベルその他作品はこちら /// Click here to see more Perceptual Tapes releases available at...
¥2,150