Old Saw // Sewn the Name LP

¥3,380

Write a review

Item no:
Availability:

アメリカ・ニューイングランドのペダルスチール奏者Henry Birdsey率いるアンビエントフォーク・ドローンバンドOld Sawが、2023年3月にNYのLobby Artから300部限定でリリースしたレコードです。

ペダルスチール、バンジョー、パイプオルガン、ギターという編成だけで容易に想像がつく牧歌アンビエントフォーク・ドローン6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 Lobby Art releases available at Tobira.

----------------------------

Edition of 300. 12" black vinyl. LP comes with vellum paper OBI.

Lobby Art:

"Diving from an elevated perch; down deeper, where the rooms get smaller, the edges rougher, and air more saturated. Overgrown and subterranean, "Sewn the Name" is a collection of quivering dirges, new choreographies for old ceremonies. Coming in at a refracted angle from the elevated posture of Old Saw's first album, "Country Tropics", the tone is dimmer and burns lower. The group still makes their home within the parameters of creaking country laments; jagged fiddle drone, soaring pedal steel, and prickly banjo plucks. Clattered bells and textures are dredged up in the process and leave us with an altogether more holistic impression of how beauty is situated amidst mess. Old Saw works within the elasticity between compressed spaces and expansive outlooks. Lush and confined, this is music tethered to the ground and burrowing further still."

Henry Birdsey - pedal steel, lap steel, tape machines
Bob Driftwood - banjo
Harper Reed - shepherd's bells
Al Lakely - 12-string guitar
Ira Dorset - fiddle

Artist : Old Saw

Label : Lobby Art

レーベルその他作品はこちら /// Click here to see more Lobby Art releases available at Tobira.

----------------------------

Edition of 300. 12" black vinyl. LP comes with vellum paper OBI.

Lobby Art:

Henry Birdsey - pedal steel, lap steel, tape machines
Bob Driftwood - banjo
Harper Reed - shepherd's bells
Al Lakely - 12-string guitar
Ira Dorset - fiddle

Artist : Old Saw

Label : Lobby Art

Related Products

クイックビュー {"id":8596386840826,"title":"Old Saw \/\/ Country Tropics - Meridian Edition 2xLP [COLOR]","handle":"old-saw-country-tropics-meridian-edition-2xlp-color","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003eアメリカ・ニューイングランドのペダルスチール奏者\u003ca href=\"https:\/\/tobirarecords.com\/collections\/tongue-depressor-henry-birdsey\"\u003eHenry Birdsey\u003c\/a\u003e率いるアンビエントフォーク・ドローンバンドOld Sawが、2024年7月に同国NYのアンビエント作家\u003ca href=\"https:\/\/tobirarecords.com\/products\/post-moves-heart-music-2xlp\"\u003ePost Moves\u003c\/a\u003e主宰レーベルLobby Artから300部限定でリリースした再発2枚組レコードです。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eペダルスチール、バンジョー、パイプオルガン、アコースティックギターによる、ロードムービーのサウンドトラックのような牧歌アンビエントフォーク・ドローン4曲＋リミックス4曲を収録。DLコードと帯付属。\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eマスタリングはAndrew Weathersが担当しています。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eHenry Birdsey - pedal steel, lap steel\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBob Driftwood - banjo\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIra Dorset- fiddle\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRev. Clarence Lewis - pipe organ\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHarper Reed - resonator guitar, nylon string guitar\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAnn Rowlis - orchestral bells\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2027226148\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=241075086\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=2039256154\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2027226148\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=4212955287\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e2xLP housed in reverse board jacket with metallic silver ink and vellum OBI:\u003cbr\u003e- 1xLP (Black) Country Tropics (Repress)\u003cbr\u003e- 1xLP (Clear) Country Tropics - Meridian Edition (Remixes) \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e1. Dead Creek Drawl (Meridian Edition) 10:10\u003cbr\u003e2. The Mechanical Bull at Our Lady of the Valley (Meridian Edition) 11:26\u003cbr\u003e3. Dirtbikes of Heaven, Grains of the Field (Meridian Edition) 07:28\u003cbr\u003e4. Chewing the Bridle (Meridian Edition) 09:15\u003cbr\u003e5. Dead Creek Drawl 08:20\u003cbr\u003e6. The Mechanical Bull at Our Lady of the Valley 13:06\u003cbr\u003e7. Dirtbikes of Heaven, Grains of the Field 07:31\u003cbr\u003e8. Chewing the Bridle 09:15 \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLobby Art:\u003c\/p\u003e\n\u003cp\u003eBio:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA network of New England string pluckers, organ drivers, and bell ringers craft a rusted and granular shadow world where the dive bar meets the divine. Country Tropics treats the landscape as an iceberg as the ensemble dredges up silt, clay, weeds, and trash to craft a more holy image of our tattered landscape\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv\u003e~\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\"\u003cem\u003eDevotional music and its devotees all do a bit of \"buying in\"; that while one's on the ground reality may appear anything but celestial, through this music, one can reach ecstatic space, ecstatic peace. However, devotional music is not solely concerned with a skyward glance - what does it look like to raise up the rust, look upon fractured branches, gaze at the density of a low fog across a field? Instead of us looking up at the land, what if the land was looking back at us? Old Saw brings together a brigade of New England silt sifters to raise up the land not as excavators, but as preparators. Tending and caring for the simple mess that our world discards. Throughout \"Country Tropics\" four pieces, the crew stretches and bends chords to their resting place before setting forth towards a new one. Fiddle drone, wistful tape loops of pedal steel, pipe organ hums, and clattering bells call us to scenes of observation, a water tower, a mechanical bull rental agency, a back porch, a taxidermy shop, a local church choir, a garden with singing vines, voltage hum of the electric fence on Pulp mill bridge road.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe funny thing about devotion is the absence of sight, of source. We place trust in the guide or guides to bring us to a place of seeing, feeling, and hearing. The music on \"Country Tropics\" calls out to those in search of such places, but also doesn't demand we conjure some fantastical, celestial vision of understanding. Rather, Old Saw points our gaze downward towards the terrafirma unconsidered, and guides our hands into the dirt.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCredits:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eHenry Birdsey - pedal steel, lap steel\u003cbr\u003eBob Driftwood - banjo\u003cbr\u003eIra Dorset- fiddle\u003cbr\u003eRev. Clarence Lewis - pipe organ\u003cbr\u003eHarper Reed - resonator guitar, nylon string guitar\u003cbr\u003eAnn Rowlis - orchestral bells\u003cbr\u003eRecorded by Henry Birdsey at Meridian HQ in February 2021\u003cbr\u003eMastering by Andrew Weathers\u003cbr\u003eAlbum Image by Sam Youkilis\u003cbr\u003eDesign by Ximena Bedoya \u0026amp; Sam Wenc\u003c\/p\u003e\n\u003cp\u003eRemix clear LP :\u003c\/p\u003e\n\u003cp\u003eRyder Tarbox: cassette + 8-track loops\u003cbr\u003eLuther Severance: reel-to-reels \u003c\/p\u003e\n\u003cp\u003eArtist : Old Saw\u003c\/p\u003e\n\u003cp\u003eLabel : Lobby Art\u003c\/p\u003e","published_at":"2024-08-15T12:35:33+09:00","created_at":"2024-08-15T12:17:58+09:00","vendor":"Tobira Records","type":"","tags":["ambient","lobby art","lp","new","recommended"],"price":474500,"price_min":474500,"price_max":474500,"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":46558183751930,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Old Saw \/\/ Country Tropics - Meridian Edition 2xLP [COLOR]","public_title":null,"options":["Default Title"],"price":474500,"weight":630,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/a1466406582_16.jpg?v=1723692102","\/\/tobirarecords.com\/cdn\/shop\/files\/0036688238_10.jpg?v=1723692104","\/\/tobirarecords.com\/cdn\/shop\/files\/0036688241_10.jpg?v=1723692107"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/a1466406582_16.jpg?v=1723692102","options":["Title"],"media":[{"alt":null,"id":34710097723642,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a1466406582_16.jpg?v=1723692102"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a1466406582_16.jpg?v=1723692102","width":700},{"alt":null,"id":34710097887482,"position":2,"preview_image":{"aspect_ratio":1.506,"height":797,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0036688238_10.jpg?v=1723692104"},"aspect_ratio":1.506,"height":797,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0036688238_10.jpg?v=1723692104","width":1200},{"alt":null,"id":34710097920250,"position":3,"preview_image":{"aspect_ratio":1.506,"height":797,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0036688241_10.jpg?v=1723692107"},"aspect_ratio":1.506,"height":797,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0036688241_10.jpg?v=1723692107","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003eアメリカ・ニューイングランドのペダルスチール奏者\u003ca href=\"https:\/\/tobirarecords.com\/collections\/tongue-depressor-henry-birdsey\"\u003eHenry Birdsey\u003c\/a\u003e率いるアンビエントフォーク・ドローンバンドOld Sawが、2024年7月に同国NYのアンビエント作家\u003ca href=\"https:\/\/tobirarecords.com\/products\/post-moves-heart-music-2xlp\"\u003ePost Moves\u003c\/a\u003e主宰レーベルLobby Artから300部限定でリリースした再発2枚組レコードです。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eペダルスチール、バンジョー、パイプオルガン、アコースティックギターによる、ロードムービーのサウンドトラックのような牧歌アンビエントフォーク・ドローン4曲＋リミックス4曲を収録。DLコードと帯付属。\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eマスタリングはAndrew Weathersが担当しています。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eHenry Birdsey - pedal steel, lap steel\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBob Driftwood - banjo\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIra Dorset- fiddle\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRev. Clarence Lewis - pipe organ\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHarper Reed - resonator guitar, nylon string guitar\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAnn Rowlis - orchestral bells\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2027226148\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=241075086\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=2039256154\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2027226148\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=4212955287\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e2xLP housed in reverse board jacket with metallic silver ink and vellum OBI:\u003cbr\u003e- 1xLP (Black) Country Tropics (Repress)\u003cbr\u003e- 1xLP (Clear) Country Tropics - Meridian Edition (Remixes) \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e1. Dead Creek Drawl (Meridian Edition) 10:10\u003cbr\u003e2. The Mechanical Bull at Our Lady of the Valley (Meridian Edition) 11:26\u003cbr\u003e3. Dirtbikes of Heaven, Grains of the Field (Meridian Edition) 07:28\u003cbr\u003e4. Chewing the Bridle (Meridian Edition) 09:15\u003cbr\u003e5. Dead Creek Drawl 08:20\u003cbr\u003e6. The Mechanical Bull at Our Lady of the Valley 13:06\u003cbr\u003e7. Dirtbikes of Heaven, Grains of the Field 07:31\u003cbr\u003e8. Chewing the Bridle 09:15 \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLobby Art:\u003c\/p\u003e\n\u003cp\u003eBio:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA network of New England string pluckers, organ drivers, and bell ringers craft a rusted and granular shadow world where the dive bar meets the divine. Country Tropics treats the landscape as an iceberg as the ensemble dredges up silt, clay, weeds, and trash to craft a more holy image of our tattered landscape\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv\u003e~\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\"\u003cem\u003eDevotional music and its devotees all do a bit of \"buying in\"; that while one's on the ground reality may appear anything but celestial, through this music, one can reach ecstatic space, ecstatic peace. However, devotional music is not solely concerned with a skyward glance - what does it look like to raise up the rust, look upon fractured branches, gaze at the density of a low fog across a field? Instead of us looking up at the land, what if the land was looking back at us? Old Saw brings together a brigade of New England silt sifters to raise up the land not as excavators, but as preparators. Tending and caring for the simple mess that our world discards. Throughout \"Country Tropics\" four pieces, the crew stretches and bends chords to their resting place before setting forth towards a new one. Fiddle drone, wistful tape loops of pedal steel, pipe organ hums, and clattering bells call us to scenes of observation, a water tower, a mechanical bull rental agency, a back porch, a taxidermy shop, a local church choir, a garden with singing vines, voltage hum of the electric fence on Pulp mill bridge road.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe funny thing about devotion is the absence of sight, of source. We place trust in the guide or guides to bring us to a place of seeing, feeling, and hearing. The music on \"Country Tropics\" calls out to those in search of such places, but also doesn't demand we conjure some fantastical, celestial vision of understanding. Rather, Old Saw points our gaze downward towards the terrafirma unconsidered, and guides our hands into the dirt.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCredits:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eHenry Birdsey - pedal steel, lap steel\u003cbr\u003eBob Driftwood - banjo\u003cbr\u003eIra Dorset- fiddle\u003cbr\u003eRev. Clarence Lewis - pipe organ\u003cbr\u003eHarper Reed - resonator guitar, nylon string guitar\u003cbr\u003eAnn Rowlis - orchestral bells\u003cbr\u003eRecorded by Henry Birdsey at Meridian HQ in February 2021\u003cbr\u003eMastering by Andrew Weathers\u003cbr\u003eAlbum Image by Sam Youkilis\u003cbr\u003eDesign by Ximena Bedoya \u0026amp; Sam Wenc\u003c\/p\u003e\n\u003cp\u003eRemix clear LP :\u003c\/p\u003e\n\u003cp\u003eRyder Tarbox: cassette + 8-track loops\u003cbr\u003eLuther Severance: reel-to-reels \u003c\/p\u003e\n\u003cp\u003eArtist : Old Saw\u003c\/p\u003e\n\u003cp\u003eLabel : Lobby Art\u003c\/p\u003e"}

アメリカ・ニューイングランドのペダルスチール奏者Henry Birdsey率いるアンビエントフォーク・ドローンバンドOld Sawが、2024年7月に同国NYのアンビエント作家Post Moves主宰レーベルLobby Artから300部限定でリリースした再発2枚組レコードです。ペダルスチール、バンジョー、パイプオルガン、アコースティックギターによる、ロードムービーのサウンドトラックのような牧歌アンビエントフォーク・ドローン4曲＋リミックス4曲を収録。DLコードと帯付属。マスタリングはAndrew Weathersが担当しています。 Henry Birdsey - pedal steel, lap...

¥4,745

クイックビュー {"id":8510548181242,"title":"Post Moves \/\/ Ground Echo Dust LP","handle":"post-moves-ground-echo-dust-lp","description":"\u003cp\u003e\u003c!----\u003e\u003c\/p\u003e\n\u003cp\u003eアメリカ・フィラデルフィアのアンビエントレーベル\u003ca href=\"https:\/\/tobirarecords.com\/collections\/loart\"\u003eLobby Art\u003c\/a\u003e主宰Post Movesが、2024年6月に同国ワシントンのDebacleからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eバンジョーやパーカッション、ギターによるアンビエント・フォーク〜実験アメリカーナ2曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ\u003c\/p\u003e\n\u003cp\u003e以下、作家本人による解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"この2曲の制作は、どちらもロングフォームな曲で、推進力のあるパーカッションに支えられて前進する力強さを感じさせるが、正反対である。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e『Harbor Ripple Blue』は、2022年3月にストックホルムのEMSスタジオで1週間滞在した際に作曲、録音した。私は、パーカッシブなオブジェが入った小さなバッグと、小さなドラムマシーン、そしてトランスデューサーをいくつか持って、ストックホルムに向かった。スタジオから歩いてすぐのアパートメントに着くと、ホストに会い、ベッドの下に置いてあった美しいノルディック・ダルシマー（名前は忘れた）を見せてもらった。スタジオで数日過ごした後、作品の形が見えてきたので、そのダルシマーを持ち出して最終的な形にすることにした。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEMSでは、美しいヴィンテージ・モジュラーシンセが並んでいたので、私は少しばかりシンセサイザーを弾いたが、ほとんどは持参した小さな機材を使用した。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e雪が降ったり、太陽が照ったり、港の氷が溶けたり、ルーシー・レイルトンが教会でオリヴィエ・メシアンを演奏するのを見たりしながら、晩冬のストックホルムをゆっくりと歩いた。帰国後、作品はほぼ私のパートで完成していたが、2人の友人にパートを提供してもらった。ジュリアン・モリス（Laypersonとして曲を書いている）がボーカルを、ベン・ヴァリアン（Ben Varianとして曲を書いている）がドラムを担当してくれた。私は、ソングライターをさまざまな環境に連れて行き、彼らがどのようにすべてを引き締めるのか、またどのようにアプローチを緩め、オープンで広々とした状態を保つのかを聞くのが好きだ。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e「ダーク・エア・クワイエット』は、もっと違った軌跡をたどっている。この曲は、数え切れないほど何度も作り直した。ライ・ワーナー（かつてOhioanとして曲を書き、現在はNatural Liteとして活動）にヴォーカルを、ベンにドラムを担当してもらうまでは、正直言ってボツにする覚悟だった。最初のイテレーションは2021年の初めに録音し、『Harbor Ripple Blue』を完成させた後、この曲にもう一度挑戦することを決めた。それがどうなったにせよ、この曲は忘れられないし、スクラップヤードから救い出すことができてよかったと思っている。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e私にとってこのアルバムは、各トラックが存在に向かって歩んだこの2つの道と非常に結びついている。2年の間に、1週間の間に起こりうるのと同じように、途方もない量の人生が起こりうる。それは、音楽を作るというこの道を、真の人生の修行としてさらに信じる助けとなる。いつ、どのように何かが生まれるかは、私が決めることではない。私はただ、彼らがふさわしいと思う時間に、私が音に向かって（あるいは音から離れて）導かれることを信じるしかないのだ。アルバムタイトルの『Ground Echo Dust 』は、そのような視点を反映している。私たちは音源に引き寄せられると同時に、そこから遠ざかることもある。永遠のざわめき、絶え間ないさざ波。 \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/B7rRS0421fo?si=dFi7mJWt8xpkf8WL\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/TjOp8hXTMZE?si=M94Vav5tvL0a7Pqk\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e---------------------------------------\u003c\/p\u003e\n\u003cp\u003eAsk us for digital files. 12\" black vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Harbor Ripple Blue 15:24\u003cbr\u003e2. Dark Air Quiet 14:57\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eArtist statement by Post Moves:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe creation of these two tracks here are somewhat diametrically opposed. Though the end result reflects a sort of symmetry, both side length pieces, both anchored by propulsive percussion and a certain commitment to forward momentum, they were made in very different conditions and spaces of time.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\"Harbor Ripple Blue\" was mostly written and recorded during a one-week residency in March 2022 at Electronmusikstudio in Stockholm. I traveled there with just a small bag of percussive objects, a small drum machine, and a couple transducers. When I arrived at the apartment I was staying at, a brief walk from the studio, I met the host who showed me a beautiful nordic dulcimer (that i forget the name of) he kept under the bed. After a few days in the studio, I had the shape of the piece and I decided to bring out the dulcimer, which gave it its final form.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eI felt somewhat silly at EMS, because it's a space with these beautiful, vintage modular synths. I plunked around some on them, but mostly focused on the small assemblage of materials I had with me.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMy time there was spent walking slowly around a late winter Stockholm, snow squalls and blasts of sun, melting harbor ice, seeing Lucy Railton perform Olivier Messien in a church. Upon\u003cspan class=\"bcTruncateMore\"\u003e my return, with the piece mostly done on my part, I brought in two friends to contribute parts. Julian Morris (who writes songs as Layperson) contributed vocals and Ben Varian (who writes songs as Ben Varian) on drums. I love bringing songwriters into different environments and hearing how they both tighten it all up as well as slacken their approach and keep things open and spacious.\u003cbr\u003e\u003cbr\u003e\"Dark Air Quiet\" has a much different trajectory. This piece went through so many iterations I've lost count. I was ready to scrap it quite honestly before bringing in Rye Warner (who once wrote songs as Ohioan, now as Natural Lite) to contribute vocals and Ben again on drums. The first iteration was recorded early in 2021 and it wasn't until after I had done \"Harbor Ripple Blue\" that I decided to give the track one more shot. Whatever happened to it, it stuck and I feel glad I rescued it from the scrapyard.\u003cbr\u003e\u003cbr\u003eThe album in sum, for me, is very tied to these two paths each track took towards existence. A tremendous amount of life can occur within a two year period just as it can within a one week period. It helps me believe even more so in this path of making music as a true life practice. I don't get to decide when and how something comes together. I just have to be trusting that I will be guided towards (or away) from the sounds in the time that they deem fit. The title of the album, \"Ground Echo Dust\" reflects such a perspective - we sense echoes both distant and near. We are drawn to the source just as we can be pushed away from it. An eternal rattling, a constant rippling.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Post Moves\u003c\/p\u003e\n\u003cp\u003eLabel : Debacle Records\u003c\/p\u003e\n\u003cp\u003eCAT No: \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDBL133\u003c\/span\u003e\u003c\/p\u003e","published_at":"2024-06-13T15:57:21+09:00","created_at":"2024-06-12T13:45:05+09:00","vendor":"Tobira Records","type":"","tags":["ambient","folk \/ left-field pop","lobby art","lp","new"],"price":436000,"price_min":436000,"price_max":436000,"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":46222327808250,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Post Moves \/\/ Ground Echo Dust LP","public_title":null,"options":["Default Title"],"price":436000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/ground1.jpg?v=1718167337","\/\/tobirarecords.com\/cdn\/shop\/files\/ground2.jpg?v=1718167337"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/ground1.jpg?v=1718167337","options":["Title"],"media":[{"alt":null,"id":34311690486010,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ground1.jpg?v=1718167337"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ground1.jpg?v=1718167337","width":700},{"alt":null,"id":34311690518778,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ground2.jpg?v=1718167337"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ground2.jpg?v=1718167337","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003c!----\u003e\u003c\/p\u003e\n\u003cp\u003eアメリカ・フィラデルフィアのアンビエントレーベル\u003ca href=\"https:\/\/tobirarecords.com\/collections\/loart\"\u003eLobby Art\u003c\/a\u003e主宰Post Movesが、2024年6月に同国ワシントンのDebacleからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eバンジョーやパーカッション、ギターによるアンビエント・フォーク〜実験アメリカーナ2曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ\u003c\/p\u003e\n\u003cp\u003e以下、作家本人による解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"この2曲の制作は、どちらもロングフォームな曲で、推進力のあるパーカッションに支えられて前進する力強さを感じさせるが、正反対である。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e『Harbor Ripple Blue』は、2022年3月にストックホルムのEMSスタジオで1週間滞在した際に作曲、録音した。私は、パーカッシブなオブジェが入った小さなバッグと、小さなドラムマシーン、そしてトランスデューサーをいくつか持って、ストックホルムに向かった。スタジオから歩いてすぐのアパートメントに着くと、ホストに会い、ベッドの下に置いてあった美しいノルディック・ダルシマー（名前は忘れた）を見せてもらった。スタジオで数日過ごした後、作品の形が見えてきたので、そのダルシマーを持ち出して最終的な形にすることにした。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEMSでは、美しいヴィンテージ・モジュラーシンセが並んでいたので、私は少しばかりシンセサイザーを弾いたが、ほとんどは持参した小さな機材を使用した。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e雪が降ったり、太陽が照ったり、港の氷が溶けたり、ルーシー・レイルトンが教会でオリヴィエ・メシアンを演奏するのを見たりしながら、晩冬のストックホルムをゆっくりと歩いた。帰国後、作品はほぼ私のパートで完成していたが、2人の友人にパートを提供してもらった。ジュリアン・モリス（Laypersonとして曲を書いている）がボーカルを、ベン・ヴァリアン（Ben Varianとして曲を書いている）がドラムを担当してくれた。私は、ソングライターをさまざまな環境に連れて行き、彼らがどのようにすべてを引き締めるのか、またどのようにアプローチを緩め、オープンで広々とした状態を保つのかを聞くのが好きだ。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e「ダーク・エア・クワイエット』は、もっと違った軌跡をたどっている。この曲は、数え切れないほど何度も作り直した。ライ・ワーナー（かつてOhioanとして曲を書き、現在はNatural Liteとして活動）にヴォーカルを、ベンにドラムを担当してもらうまでは、正直言ってボツにする覚悟だった。最初のイテレーションは2021年の初めに録音し、『Harbor Ripple Blue』を完成させた後、この曲にもう一度挑戦することを決めた。それがどうなったにせよ、この曲は忘れられないし、スクラップヤードから救い出すことができてよかったと思っている。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e私にとってこのアルバムは、各トラックが存在に向かって歩んだこの2つの道と非常に結びついている。2年の間に、1週間の間に起こりうるのと同じように、途方もない量の人生が起こりうる。それは、音楽を作るというこの道を、真の人生の修行としてさらに信じる助けとなる。いつ、どのように何かが生まれるかは、私が決めることではない。私はただ、彼らがふさわしいと思う時間に、私が音に向かって（あるいは音から離れて）導かれることを信じるしかないのだ。アルバムタイトルの『Ground Echo Dust 』は、そのような視点を反映している。私たちは音源に引き寄せられると同時に、そこから遠ざかることもある。永遠のざわめき、絶え間ないさざ波。 \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/B7rRS0421fo?si=dFi7mJWt8xpkf8WL\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/TjOp8hXTMZE?si=M94Vav5tvL0a7Pqk\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e---------------------------------------\u003c\/p\u003e\n\u003cp\u003eAsk us for digital files. 12\" black vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Harbor Ripple Blue 15:24\u003cbr\u003e2. Dark Air Quiet 14:57\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eArtist statement by Post Moves:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThe creation of these two tracks here are somewhat diametrically opposed. Though the end result reflects a sort of symmetry, both side length pieces, both anchored by propulsive percussion and a certain commitment to forward momentum, they were made in very different conditions and spaces of time.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\"Harbor Ripple Blue\" was mostly written and recorded during a one-week residency in March 2022 at Electronmusikstudio in Stockholm. I traveled there with just a small bag of percussive objects, a small drum machine, and a couple transducers. When I arrived at the apartment I was staying at, a brief walk from the studio, I met the host who showed me a beautiful nordic dulcimer (that i forget the name of) he kept under the bed. After a few days in the studio, I had the shape of the piece and I decided to bring out the dulcimer, which gave it its final form.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eI felt somewhat silly at EMS, because it's a space with these beautiful, vintage modular synths. I plunked around some on them, but mostly focused on the small assemblage of materials I had with me.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMy time there was spent walking slowly around a late winter Stockholm, snow squalls and blasts of sun, melting harbor ice, seeing Lucy Railton perform Olivier Messien in a church. Upon\u003cspan class=\"bcTruncateMore\"\u003e my return, with the piece mostly done on my part, I brought in two friends to contribute parts. Julian Morris (who writes songs as Layperson) contributed vocals and Ben Varian (who writes songs as Ben Varian) on drums. I love bringing songwriters into different environments and hearing how they both tighten it all up as well as slacken their approach and keep things open and spacious.\u003cbr\u003e\u003cbr\u003e\"Dark Air Quiet\" has a much different trajectory. This piece went through so many iterations I've lost count. I was ready to scrap it quite honestly before bringing in Rye Warner (who once wrote songs as Ohioan, now as Natural Lite) to contribute vocals and Ben again on drums. The first iteration was recorded early in 2021 and it wasn't until after I had done \"Harbor Ripple Blue\" that I decided to give the track one more shot. Whatever happened to it, it stuck and I feel glad I rescued it from the scrapyard.\u003cbr\u003e\u003cbr\u003eThe album in sum, for me, is very tied to these two paths each track took towards existence. A tremendous amount of life can occur within a two year period just as it can within a one week period. It helps me believe even more so in this path of making music as a true life practice. I don't get to decide when and how something comes together. I just have to be trusting that I will be guided towards (or away) from the sounds in the time that they deem fit. The title of the album, \"Ground Echo Dust\" reflects such a perspective - we sense echoes both distant and near. We are drawn to the source just as we can be pushed away from it. An eternal rattling, a constant rippling.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Post Moves\u003c\/p\u003e\n\u003cp\u003eLabel : Debacle Records\u003c\/p\u003e\n\u003cp\u003eCAT No: \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDBL133\u003c\/span\u003e\u003c\/p\u003e"}

アメリカ・フィラデルフィアのアンビエントレーベルLobby Art主宰Post Movesが、2024年6月に同国ワシントンのDebacleからリリースしたレコードです。バンジョーやパーカッション、ギターによるアンビエント・フォーク〜実験アメリカーナ2曲を収録。 ※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ以下、作家本人による解説です。 "この2曲の制作は、どちらもロングフォームな曲で、推進力のあるパーカッションに支えられて前進する力強さを感じさせるが、正反対である。『Harbor Ripple Blue』は、2022年3月にストックホルムのEMSスタジオで1週間滞在した際に作曲、録音した。私は、パーカッシブなオブジェが入った小さなバッグと、小さなドラムマシーン、そしてトランスデューサーをいくつか持って、ストックホルムに向かった。スタジオから歩いてすぐのアパートメントに着くと、ホストに会い、ベッドの下に置いてあった美しいノルディック・ダルシマー（名前は忘れた）を見せてもらった。スタジオで数日過ごした後、作品の形が見えてきたので、そのダルシマーを持ち出して最終的な形にすることにした。 EMSでは、美しいヴィンテージ・モジュラーシンセが並んでいたので、私は少しばかりシンセサイザーを弾いたが、ほとんどは持参した小さな機材を使用した。雪が降ったり、太陽が照ったり、港の氷が溶けたり、ルーシー・レイルトンが教会でオリヴィエ・メシアンを演奏するのを見たりしながら、晩冬のストックホルムをゆっくりと歩いた。帰国後、作品はほぼ私のパートで完成していたが、2人の友人にパートを提供してもらった。ジュリアン・モリス（Laypersonとして曲を書いている）がボーカルを、ベン・ヴァリアン（Ben Varianとして曲を書いている）がドラムを担当してくれた。私は、ソングライターをさまざまな環境に連れて行き、彼らがどのようにすべてを引き締めるのか、またどのようにアプローチを緩め、オープンで広々とした状態を保つのかを聞くのが好きだ。「ダーク・エア・クワイエット』は、もっと違った軌跡をたどっている。この曲は、数え切れないほど何度も作り直した。ライ・ワーナー（かつてOhioanとして曲を書き、現在はNatural...

¥4,360

Post Moves & The Sound Memory Ensemble // Recall the Dream Breath LP

クイックビュー {"id":7888863002874,"title":"Post Moves \u0026 The Sound Memory Ensemble \/\/ Recall the Dream Breath LP","handle":"post-moves-the-sound-memory-ensemble-recall-the-dream-breath-lp","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003eアメリカ・NYのアンビエントレーベルLobby Art主宰Post Moves aka Sam Wencが、2023年1月に同国アリゾナのMooneからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eペダルスチールやギター、ドラムによるアンビエント・カントリー〜アンビエント・ジャズ5曲を収録。DLコード付属。 \u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=529173390\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/lobby-art\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/lobby-art\"\u003ehere\u003c\/a\u003e to see more Lobby Art releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code.\u003c\/p\u003e\n\u003cp\u003eArtist statement by Post Moves:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"I recorded the album after a conversation with Caleb about doing an album for the label and talking through ideas of what it could look like - compared to my previous release, Heart Music (2022, Where to Now? Records), which was written and recorded over 1-1.5 yrs, Recall the Dream Breath was written and recorded within the span of 2 weeks in March 2021. Heart Music was written in quarantine more or less, so that album became very dense as I wasn't too concerned with thinking about how to perform it live. I really wanted to strip things down for Recall and to see if I could similarly create thoughtful and inviting worlds for the listener, but with a more simple sound palette (pedal steel, drums, bass, banjo for the most part). After the careful deliberations and constructions of Heart Music, this album somehow felt freer and looser (more like 1st idea is the best idea). The first two tracks are more thoroughly \"composed\" pieces and for me, highlight new approaches for how I am writing music for the pedal steel. The 2nd half of \"Lorraine's\" and the final three songs were more or less improvised\/written while recording. So I kind of hear the album in this sorta reflective way, Side A \u0026amp; B of similar palettes, but with some different intentions behind them. The other kicker with this album is the collaborations with fellow Moone artists Kyle Field \u0026amp; John Dieterich, two people I have looked up to for a while. When talking with Caleb, he asked about having Moone artists on the album, and it worked out to have Kyle \u0026amp; John contribute (Kyle writing and speaking the poem \"Lorraine's\" and John adding guitar \u0026amp; effects to \"Electric Pasture\". These contributions made me feel ever more part of the Moone orbit, especially after playing on Caleb's solo album this past year. For that reason, I also had in my mind the image of an imaginary group or collective performing this music. The album is attributed to \"Post Moves \u0026amp; the Sound Memory Ensemble\". Though I am performing most of the instrumentation (aside from Kyle \u0026amp; John's contributions) - I wanted a listener to perhaps get the feeling that there was a larger group at work. With the album title and name of the ensemble, both have an associated verb\/action with them. Both concerning dreams and\/or memories, I liked the idea of the music scoring these moments where we cue information culled from dreams\/memories as a way of situating ourselves in our present state. The placelessness of memories and their role in us finding place in the present.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Post Moves \u0026amp; The Sound Memory Ensemble\u003c\/p\u003e\n\u003cp\u003eLabel : Moone\u003c\/p\u003e","published_at":"2023-01-29T14:28:50+09:00","created_at":"2023-01-08T13:44:31+09:00","vendor":"Tobira Records","type":"","tags":["ambient","folk \/ left-field pop","jazz","lobby art","lp","recommended"],"price":348000,"price_min":348000,"price_max":348000,"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":43864022417658,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Post Moves \u0026 The Sound Memory Ensemble \/\/ Recall the Dream Breath LP","public_title":null,"options":["Default Title"],"price":348000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ScreenShot2023-01-08at1.41.55pm.png?v=1673153073","\/\/tobirarecords.com\/cdn\/shop\/products\/dr1_091d48b9-140a-42fb-bee4-79524dd2f4d6.jpg?v=1673153073"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ScreenShot2023-01-08at1.41.55pm.png?v=1673153073","options":["Title"],"media":[{"alt":null,"id":31336159183098,"position":1,"preview_image":{"aspect_ratio":1.003,"height":398,"width":399,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ScreenShot2023-01-08at1.41.55pm.png?v=1673153073"},"aspect_ratio":1.003,"height":398,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ScreenShot2023-01-08at1.41.55pm.png?v=1673153073","width":399},{"alt":null,"id":31336159215866,"position":2,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/dr1_091d48b9-140a-42fb-bee4-79524dd2f4d6.jpg?v=1673153073"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/dr1_091d48b9-140a-42fb-bee4-79524dd2f4d6.jpg?v=1673153073","width":700}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003eアメリカ・NYのアンビエントレーベルLobby Art主宰Post Moves aka Sam Wencが、2023年1月に同国アリゾナのMooneからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eペダルスチールやギター、ドラムによるアンビエント・カントリー〜アンビエント・ジャズ5曲を収録。DLコード付属。 \u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=529173390\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/lobby-art\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/lobby-art\"\u003ehere\u003c\/a\u003e to see more Lobby Art releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code.\u003c\/p\u003e\n\u003cp\u003eArtist statement by Post Moves:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"I recorded the album after a conversation with Caleb about doing an album for the label and talking through ideas of what it could look like - compared to my previous release, Heart Music (2022, Where to Now? Records), which was written and recorded over 1-1.5 yrs, Recall the Dream Breath was written and recorded within the span of 2 weeks in March 2021. Heart Music was written in quarantine more or less, so that album became very dense as I wasn't too concerned with thinking about how to perform it live. I really wanted to strip things down for Recall and to see if I could similarly create thoughtful and inviting worlds for the listener, but with a more simple sound palette (pedal steel, drums, bass, banjo for the most part). After the careful deliberations and constructions of Heart Music, this album somehow felt freer and looser (more like 1st idea is the best idea). The first two tracks are more thoroughly \"composed\" pieces and for me, highlight new approaches for how I am writing music for the pedal steel. The 2nd half of \"Lorraine's\" and the final three songs were more or less improvised\/written while recording. So I kind of hear the album in this sorta reflective way, Side A \u0026amp; B of similar palettes, but with some different intentions behind them. The other kicker with this album is the collaborations with fellow Moone artists Kyle Field \u0026amp; John Dieterich, two people I have looked up to for a while. When talking with Caleb, he asked about having Moone artists on the album, and it worked out to have Kyle \u0026amp; John contribute (Kyle writing and speaking the poem \"Lorraine's\" and John adding guitar \u0026amp; effects to \"Electric Pasture\". These contributions made me feel ever more part of the Moone orbit, especially after playing on Caleb's solo album this past year. For that reason, I also had in my mind the image of an imaginary group or collective performing this music. The album is attributed to \"Post Moves \u0026amp; the Sound Memory Ensemble\". Though I am performing most of the instrumentation (aside from Kyle \u0026amp; John's contributions) - I wanted a listener to perhaps get the feeling that there was a larger group at work. With the album title and name of the ensemble, both have an associated verb\/action with them. Both concerning dreams and\/or memories, I liked the idea of the music scoring these moments where we cue information culled from dreams\/memories as a way of situating ourselves in our present state. The placelessness of memories and their role in us finding place in the present.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Post Moves \u0026amp; The Sound Memory Ensemble\u003c\/p\u003e\n\u003cp\u003eLabel : Moone\u003c\/p\u003e"}