Panghalina // Lava CD

¥2,380

Write a review

Item no:
Availability:

オーストラリア・メルボルンのインプロトリオPanghalinaが、2024年2月に同国ブリスベンの実験／アンビエントレーベルRoom40からリリースしたCDです。

ドラムとコントラバス、シンセ、声によるアンビエント〜インプロ8曲を収録。エンボス加工スリーブ仕様です。

レーベルその他作品はこちら /// Click here to see more Room40 releases available at Tobira.

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

CD in embossed cardstock sleeve.

Tracklist:

1. Not Super 06:39
2. Arrival 02:52
3. Whale Dance 06:09
4. Glass Lake 06:43
5. Backstroke 05:51
6. Once More 06:14
7. Nightmare at A1 Bakery 05:20
8. Stellar Tides 10:53

Room40:

"Lava is an ode to the connections between sound, emotion and human experience, exploring the interplay of sonic duality. The overlapping duos within the trio framework brought forth uncharted possibilities, allowing each of us to weave our individuality into the improvisations.

The crafting of the record revealed the project’s distinctiveness. With an instant resonance, we found ourselves drawn to this project - a canvas that allows various aspects within our artistic practices to flourish. The album encapsulates the dialogue between our spirits and the music, celebrating the alignment of artistic kinship.

We’ve named the album ‘Lava’, drawing inspiration from the melding of our sounds that resonates with the characteristics of molten rock - its subdued, unhurried motion juxtaposed against its fiery core. Just as molten rock emerges from a terrestrial planet, our collaboration springs forth from a distinctive sonic realm that is exclusively our own."

Artist : Panghalina

Label : Room40

オーストラリア・メルボルンのインプロトリオPanghalinaが、2024年2月に同国ブリスベンの実験／アンビエントレーベルRoom40からリリースしたCDです。

ドラムとコントラバス、シンセ、声によるアンビエント〜インプロ8曲を収録。エンボス加工スリーブ仕様です。

レーベルその他作品はこちら /// Click here to see more Room40 releases available at Tobira.

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

CD in embossed cardstock sleeve.

Tracklist:

1. Not Super 06:39
2. Arrival 02:52
3. Whale Dance 06:09
4. Glass Lake 06:43
5. Backstroke 05:51
6. Once More 06:14
7. Nightmare at A1 Bakery 05:20
8. Stellar Tides 10:53

Room40:

Artist : Panghalina

Label : Room40

Related Products

クイックビュー {"id":8601072533754,"title":"Zimoun \/\/ Guitar Studies I-III CD+BOOKLET","handle":"zimoun-guitar-studies-i-iii-cd-booklet","description":"\u003cp\u003eスイスの実験音楽家Zimounが、2022年5月にオーストラリアの実験レーベルRoom40からリリースしたCDです。レーベルオーナーLawrence Englishとの対談や写真を掲載したブックレットが付属。\u003c\/p\u003e\n\u003cp\u003e以下、作家による解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eこの「Guitar Studies」シリーズでは、ギターが発する音やノイズだけを扱ってきました。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eギターを手で弾くというオーソドックスな方法もありますが、それよりも小型のDCモーターで作動させたりすることの方が多かったです。レコーディングには様々なマイクを使用し、ピックアップの接触も緩く、アンプも様々なものを使用しました。部分的に欠陥のある小さなおもちゃのアンプから、60年代のアナログトレモロ付きの美しいマグナトーンアンプ、10歳の時に初めてギターと一緒に買った古いフェンダーアンプなどです。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eまた、録音した音を段ボールの筒の中や広さの違う部屋など、様々な環境で再生して、録音し直しました。そうすることで、音に自然な響きや空間性を持たせることができました。また、テーブルの上に置いた裸のスピーカー膜にギターの信号を送り、膜の上に砂を載せて歪ませた音も作りました。膜と砂の摩擦によって、さまざまな形の歪みが生まれます。ギターをどのように変形させるか、様々な反復のプロセスを試したのです。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eどの作品でもループは使っていません。各作品の各レイヤーについて、約1時間の間、私が探っていたものをすべて録音しました。このようにして、私は数え切れないほどの時間の音をまとめました。ほとんど無限に続くオーバーレイと長い録音時間によって、私はある種の活気を達成しようとしました。全く同じということはないけれど、どこかに行ってしまうということもない。そういう意味で、これらの作品は彫刻的な要素も強く持っています。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eこのプロセスの後、私は録音の微細構造について作業を始めました。例えば、いくつかの曲でイコライザーをゆっくりずらしながら録音していきました。また、これらを様々なコントローラーやアナログ・イコライザーを使ってライブ演奏しました。このアプローチによって、個々の周波数が長い時間をかけて存在感を増したり、他の周波数と混ざり合ったりするようになりました。比喩的に言えば、これはランプ（または様々なランプ）を使って彫刻を様々な角度から照らしたり、光の緩やかな変化を作り出し、彫刻の知覚に影響を与えるのと似ています。また、異なる音のステージでは、これはさらに音響心理学的な現象を引き起こすことができます。これらの方法を通して、私は音の微細な構造とその展開に複雑さを生み出そうとしました。\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3900595271\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\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\" data-mce-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\" data-mce-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\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIncludes insert card featuring exclusive reductions of the pieces + a book featuring an in conversation between Zimoun and Lawrence English, plus archival documentation and photographs examining Zimoun's work across mediums.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e***\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist statement:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eWith the Guitar Studies series I’ve dealt solely with noises and sounds produced by guitars.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003ePartly I played the guitars by hand in a more conventional way, but more often I prepared them, or activated them by using small DC motors. I used various microphones for the recordings, as well as the loose contact of a pickup and many different amps; from a small toy amp that was partially defective to a beautiful Magnatone amp with analogue tremolo from the sixties and an old Fender Amp I bought together with my first guitar when I was 10 years old.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eI also played recorded sounds back in different environments, for example inside a cardboard tube or in different rooms with various sizes, and then recorded them again. This way I added natural resonate and spatiality to the sounds. I also created a distorted sounds by sending the signal of the guitar to a naked speaker membrane lying on the table, and then put some sand on the membrane itself. The friction between the membrane and the sand then created various forms of distortion. I was trying to test various processes of iteration to discover how transformed the guitar might\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e become.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eI did not work with loops in any of the compositions. For each layer in each piece, I recorded whatever I was exploring over the whole period of about an hour. In this way, I put together countless hours of sounds. Through the almost endless overlaying and long recording takes, I have tried to achieve a kind of liveliness, even if at the same time no major changes happen in the composition. It’s never exactly the same, but never going somewhere else either. In that sense these compositions also have a strong sculptural component.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAfter this process, I started working on the microstructures of the recordings. For example, I recorded slow equalizer shifts in some of these tracks over the whole period of time. I also played these live via various controllers and analogue equalizers. This approach allowed the individual frequencies to become more present over long periods of time or mix with others. Figuratively speaking, this is similar to using a lamp (or various lamps) to illuminate a sculpture from different perspectives, or to create slow changes in light, which affects our perception of the sculpture. At different sonic stages, this can also provoke additional psychoacoustic phenomena. Through these methods I have tried to create a complexity in the microstructures of the sounds and their evolutions.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAll three compositions last about an hour each. Digitally, they are released in their full length, while the CD contains shortened versions.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Zimoun\u003c\/p\u003e\n\u003cp\u003eLabel : Room40\u003c\/p\u003e","published_at":"2024-08-19T10:14:28+09:00","created_at":"2024-08-19T10:13:51+09:00","vendor":"Tobira Records","type":"","tags":["cd","drone","new","room40"],"price":334000,"price_min":334000,"price_max":334000,"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":46581165064442,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Zimoun \/\/ Guitar Studies I-III CD+BOOKLET","public_title":null,"options":["Default Title"],"price":334000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/gu1_686eb952-1d8b-4b53-bdd6-4b8b5e8105ea.jpg?v=1657500106","\/\/tobirarecords.com\/cdn\/shop\/products\/gu2_77161ccf-5435-4863-b8ea-eae410f54e03.jpg?v=1657500105"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/gu1_686eb952-1d8b-4b53-bdd6-4b8b5e8105ea.jpg?v=1657500106","options":["Title"],"media":[{"alt":null,"id":30094769127674,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/gu1_686eb952-1d8b-4b53-bdd6-4b8b5e8105ea.jpg?v=1657500106"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/gu1_686eb952-1d8b-4b53-bdd6-4b8b5e8105ea.jpg?v=1657500106","width":700},{"alt":null,"id":30094769160442,"position":2,"preview_image":{"aspect_ratio":1.412,"height":850,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/gu2_77161ccf-5435-4863-b8ea-eae410f54e03.jpg?v=1657500105"},"aspect_ratio":1.412,"height":850,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/gu2_77161ccf-5435-4863-b8ea-eae410f54e03.jpg?v=1657500105","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eスイスの実験音楽家Zimounが、2022年5月にオーストラリアの実験レーベルRoom40からリリースしたCDです。レーベルオーナーLawrence Englishとの対談や写真を掲載したブックレットが付属。\u003c\/p\u003e\n\u003cp\u003e以下、作家による解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eこの「Guitar Studies」シリーズでは、ギターが発する音やノイズだけを扱ってきました。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eギターを手で弾くというオーソドックスな方法もありますが、それよりも小型のDCモーターで作動させたりすることの方が多かったです。レコーディングには様々なマイクを使用し、ピックアップの接触も緩く、アンプも様々なものを使用しました。部分的に欠陥のある小さなおもちゃのアンプから、60年代のアナログトレモロ付きの美しいマグナトーンアンプ、10歳の時に初めてギターと一緒に買った古いフェンダーアンプなどです。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eまた、録音した音を段ボールの筒の中や広さの違う部屋など、様々な環境で再生して、録音し直しました。そうすることで、音に自然な響きや空間性を持たせることができました。また、テーブルの上に置いた裸のスピーカー膜にギターの信号を送り、膜の上に砂を載せて歪ませた音も作りました。膜と砂の摩擦によって、さまざまな形の歪みが生まれます。ギターをどのように変形させるか、様々な反復のプロセスを試したのです。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eどの作品でもループは使っていません。各作品の各レイヤーについて、約1時間の間、私が探っていたものをすべて録音しました。このようにして、私は数え切れないほどの時間の音をまとめました。ほとんど無限に続くオーバーレイと長い録音時間によって、私はある種の活気を達成しようとしました。全く同じということはないけれど、どこかに行ってしまうということもない。そういう意味で、これらの作品は彫刻的な要素も強く持っています。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eこのプロセスの後、私は録音の微細構造について作業を始めました。例えば、いくつかの曲でイコライザーをゆっくりずらしながら録音していきました。また、これらを様々なコントローラーやアナログ・イコライザーを使ってライブ演奏しました。このアプローチによって、個々の周波数が長い時間をかけて存在感を増したり、他の周波数と混ざり合ったりするようになりました。比喩的に言えば、これはランプ（または様々なランプ）を使って彫刻を様々な角度から照らしたり、光の緩やかな変化を作り出し、彫刻の知覚に影響を与えるのと似ています。また、異なる音のステージでは、これはさらに音響心理学的な現象を引き起こすことができます。これらの方法を通して、私は音の微細な構造とその展開に複雑さを生み出そうとしました。\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3900595271\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\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\" data-mce-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\" data-mce-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\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIncludes insert card featuring exclusive reductions of the pieces + a book featuring an in conversation between Zimoun and Lawrence English, plus archival documentation and photographs examining Zimoun's work across mediums.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e***\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist statement:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eWith the Guitar Studies series I’ve dealt solely with noises and sounds produced by guitars.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003ePartly I played the guitars by hand in a more conventional way, but more often I prepared them, or activated them by using small DC motors. I used various microphones for the recordings, as well as the loose contact of a pickup and many different amps; from a small toy amp that was partially defective to a beautiful Magnatone amp with analogue tremolo from the sixties and an old Fender Amp I bought together with my first guitar when I was 10 years old.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eI also played recorded sounds back in different environments, for example inside a cardboard tube or in different rooms with various sizes, and then recorded them again. This way I added natural resonate and spatiality to the sounds. I also created a distorted sounds by sending the signal of the guitar to a naked speaker membrane lying on the table, and then put some sand on the membrane itself. The friction between the membrane and the sand then created various forms of distortion. I was trying to test various processes of iteration to discover how transformed the guitar might\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e become.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eI did not work with loops in any of the compositions. For each layer in each piece, I recorded whatever I was exploring over the whole period of about an hour. In this way, I put together countless hours of sounds. Through the almost endless overlaying and long recording takes, I have tried to achieve a kind of liveliness, even if at the same time no major changes happen in the composition. It’s never exactly the same, but never going somewhere else either. In that sense these compositions also have a strong sculptural component.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAfter this process, I started working on the microstructures of the recordings. For example, I recorded slow equalizer shifts in some of these tracks over the whole period of time. I also played these live via various controllers and analogue equalizers. This approach allowed the individual frequencies to become more present over long periods of time or mix with others. Figuratively speaking, this is similar to using a lamp (or various lamps) to illuminate a sculpture from different perspectives, or to create slow changes in light, which affects our perception of the sculpture. At different sonic stages, this can also provoke additional psychoacoustic phenomena. Through these methods I have tried to create a complexity in the microstructures of the sounds and their evolutions.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAll three compositions last about an hour each. Digitally, they are released in their full length, while the CD contains shortened versions.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Zimoun\u003c\/p\u003e\n\u003cp\u003eLabel : Room40\u003c\/p\u003e"}

スイスの実験音楽家Zimounが、2022年5月にオーストラリアの実験レーベルRoom40からリリースしたCDです。レーベルオーナーLawrence Englishとの対談や写真を掲載したブックレットが付属。以下、作家による解説です。この「Guitar Studies」シリーズでは、ギターが発する音やノイズだけを扱ってきました。ギターを手で弾くというオーソドックスな方法もありますが、それよりも小型のDCモーターで作動させたりすることの方が多かったです。レコーディングには様々なマイクを使用し、ピックアップの接触も緩く、アンプも様々なものを使用しました。部分的に欠陥のある小さなおもちゃのアンプから、60年代のアナログトレモロ付きの美しいマグナトーンアンプ、10歳の時に初めてギターと一緒に買った古いフェンダーアンプなどです。また、録音した音を段ボールの筒の中や広さの違う部屋など、様々な環境で再生して、録音し直しました。そうすることで、音に自然な響きや空間性を持たせることができました。また、テーブルの上に置いた裸のスピーカー膜にギターの信号を送り、膜の上に砂を載せて歪ませた音も作りました。膜と砂の摩擦によって、さまざまな形の歪みが生まれます。ギターをどのように変形させるか、様々な反復のプロセスを試したのです。どの作品でもループは使っていません。各作品の各レイヤーについて、約1時間の間、私が探っていたものをすべて録音しました。このようにして、私は数え切れないほどの時間の音をまとめました。ほとんど無限に続くオーバーレイと長い録音時間によって、私はある種の活気を達成しようとしました。全く同じということはないけれど、どこかに行ってしまうということもない。そういう意味で、これらの作品は彫刻的な要素も強く持っています。このプロセスの後、私は録音の微細構造について作業を始めました。例えば、いくつかの曲でイコライザーをゆっくりずらしながら録音していきました。また、これらを様々なコントローラーやアナログ・イコライザーを使ってライブ演奏しました。このアプローチによって、個々の周波数が長い時間をかけて存在感を増したり、他の周波数と混ざり合ったりするようになりました。比喩的に言えば、これはランプ（または様々なランプ）を使って彫刻を様々な角度から照らしたり、光の緩やかな変化を作り出し、彫刻の知覚に影響を与えるのと似ています。また、異なる音のステージでは、これはさらに音響心理学的な現象を引き起こすことができます。これらの方法を通して、私は音の微細な構造とその展開に複雑さを生み出そうとしました。レーベルその他作品はこちら /// Click here to see more Room40 releases available at Tobira....

¥3,340

クイックビュー {"id":8601072238842,"title":"Mike Cooper \/\/ Oceans Of Milk And Treacle CD + BOOKLET","handle":"mike-cooper-oceans-of-milk-and-treacle-cd-booklet","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e60年代から活動するイギリスの大御所ギタリストMike Cooperが、2022年1月にオーストラリアの実験レーベルRom40からリリースしたCD+ブックレットです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eラップスティールギターや3種のサックス、パーカッションに世界各国で収集したフィールドレコーディングがブレンドされたアンビエント・エキゾチカ9曲を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e彼のコラージュ作品を掲載した48ページのブックレットが付属。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3302057760\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\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\" data-mce-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\" data-mce-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\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eMonochrome, matte laminate and embossed sleeve and insert card, plus a 48 page perfect bound book featuring texts from Mike Cooper and a full documentation of his paper based collage artworks, made available in full, for the very first time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist statement:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eThis is a soundtrack for an otherwise silent film. The title of the album, and of course the film, is borrowed from my late friend Fred Hardy’s book The Religious Culture of India - Power, Love and Wisdom, considered to be one of the most important books on the subject. In this book Fred wrote...\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e“In 1835 the historian Macaulay investigated whether there was anything in the traditional Indian systems of learning and education that could be used in the training of native personnel. In fairness to Mr Macaulay, we must remember that those were days long before the writings of a Tolkien or a Mervyn Peake. He came to the devastating conclusion that people who believe in oceans of milk and treacle had nothing to offer to a modern system of education. A straightforward, realistic assessment in an age that believed in science and realism! The effects were far-reaching. Traditional Indian ways of looking at the world were written off as obsolete. India was provided with three universities (Calcutta, Bombay and Madras, founded in 1857) as the hothouses to nurture a custom-built, English-speaking Indian intelligentsia. A new age began for India, and two of its inevitable consequences were the demand for\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e independence and the production of atomic bombs and satellites by the post-independent Bhārat.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWikipedia explains the Ocean of Milk thus -\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn Hindu cosmology, the Ocean of Milk (Kṣīra Sāgara in Sanscrit) is the fifth from the center of the seven oceans. It surrounds the continent known as Krauncha. According to Hindu scriptures, the devas and asuras worked together for a millennium to churn the ocean and release Amrita the nectar of immortal life. It is spoken of in the Samudra manthana chapter of the Puranas, a body of ancient Hindu legends. It is called Thirupaarkadal (Sacred Sea of Milk) in Tamil and is the place where Vishnu reclines over Shesha Naga along with his consort Lakshmi.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn his book Postcolonial Interruptions, Unauthorised Modernities (2017), Iain Chambers maintains that “… in the context of increasing neo-liberalisation processes of universities and scholarships, academic knowledge should no longer be considered the only legitimate mode of critically understanding the world…”. Chambers argues that \"nowadays the most interesting and sophisticated critical knowledge of the contemporary world is coming from what he calls post-colonial works of art.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA Hydra is a genus of small, fresh-water organisms native to the temperate and tropical regions. Biologists are especially interested in Hydra because of their regenerative ability – they do not appear to die of old age, or indeed to age at all.\u003cbr data-mce-fragment=\"1\"\u003eSome long time fellow musical travellers are called upon to lend a hand on this album.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSaxophonists Geoff Hawkins and Aaron Hawkins. Geoff is on many of my earlier records and we have known each other for over 60 years. Aaron is one of his sons.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eViv Corringham - Vocalist and ‘deep listening’ artist dedicated to walking, listening and singing all at the same time in her work which she calls Shadow Walks. \u2028\u2028Saxophonist Tim Hill, now established in the West Country of England where he organises musical street theatre events and several small ensembles playing free improvised and composed music.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLol Coxhill and Roger Turner, colleagues from The Recedents, an improvising music trio we had for 20 plus years, appear in a short extract from our five c.d. box set Wishing You Were Here. Lol is unfortunately no longer with us.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eI was moved to embrace how the digital, virtual, acoustic and natural worlds intersect in making this edition.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMike Cooper plays Electric Lap Steel Guitar. Acoustic Brazilian Viola Ciapira and Virtual Pedal Steel Guitar, Double Bass, Koto, Strings, Percussion and Drums.\u003cbr\u003eViv Corringham - Voice.\u003cbr\u003eTim Hill - Baritone Saxophone.\u003cbr\u003eAaron Hawkins - Tenor Saxophone.\u003cbr\u003eGeoff Hawkins - Tenor Saxophone.\u003cbr\u003eLol Coxhill - Soprano Saxophone.\u003cbr\u003eRoger Turner - Percussion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Mike Cooper\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRoom40\u003c\/span\u003e\u003c\/p\u003e","published_at":"2024-08-19T10:12:46+09:00","created_at":"2024-08-19T10:12:10+09:00","vendor":"Tobira Records","type":"","tags":["ambient","cd","new","room40"],"price":334000,"price_min":334000,"price_max":334000,"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":46581163098362,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Mike Cooper \/\/ Oceans Of Milk And Treacle CD + BOOKLET","public_title":null,"options":["Default Title"],"price":334000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/oc1_edaa4401-c3ae-4391-8d67-73e924a93ba5.jpg?v=1641449271","\/\/tobirarecords.com\/cdn\/shop\/products\/oc2_e1d15d75-bdde-4d0c-8a80-287fa43637a9.jpg?v=1641449272","\/\/tobirarecords.com\/cdn\/shop\/products\/oc33.jpg?v=1641449271"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/oc1_edaa4401-c3ae-4391-8d67-73e924a93ba5.jpg?v=1641449271","options":["Title"],"media":[{"alt":null,"id":28965846941946,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/oc1_edaa4401-c3ae-4391-8d67-73e924a93ba5.jpg?v=1641449271"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/oc1_edaa4401-c3ae-4391-8d67-73e924a93ba5.jpg?v=1641449271","width":700},{"alt":null,"id":28965846974714,"position":2,"preview_image":{"aspect_ratio":1.412,"height":850,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/oc2_e1d15d75-bdde-4d0c-8a80-287fa43637a9.jpg?v=1641449272"},"aspect_ratio":1.412,"height":850,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/oc2_e1d15d75-bdde-4d0c-8a80-287fa43637a9.jpg?v=1641449272","width":1200},{"alt":null,"id":28965847007482,"position":3,"preview_image":{"aspect_ratio":3.0,"height":400,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/oc33.jpg?v=1641449271"},"aspect_ratio":3.0,"height":400,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/oc33.jpg?v=1641449271","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e60年代から活動するイギリスの大御所ギタリストMike Cooperが、2022年1月にオーストラリアの実験レーベルRom40からリリースしたCD+ブックレットです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eラップスティールギターや3種のサックス、パーカッションに世界各国で収集したフィールドレコーディングがブレンドされたアンビエント・エキゾチカ9曲を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e彼のコラージュ作品を掲載した48ページのブックレットが付属。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3302057760\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\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\" data-mce-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\" data-mce-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\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eMonochrome, matte laminate and embossed sleeve and insert card, plus a 48 page perfect bound book featuring texts from Mike Cooper and a full documentation of his paper based collage artworks, made available in full, for the very first time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist statement:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eThis is a soundtrack for an otherwise silent film. The title of the album, and of course the film, is borrowed from my late friend Fred Hardy’s book The Religious Culture of India - Power, Love and Wisdom, considered to be one of the most important books on the subject. In this book Fred wrote...\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e“In 1835 the historian Macaulay investigated whether there was anything in the traditional Indian systems of learning and education that could be used in the training of native personnel. In fairness to Mr Macaulay, we must remember that those were days long before the writings of a Tolkien or a Mervyn Peake. He came to the devastating conclusion that people who believe in oceans of milk and treacle had nothing to offer to a modern system of education. A straightforward, realistic assessment in an age that believed in science and realism! The effects were far-reaching. Traditional Indian ways of looking at the world were written off as obsolete. India was provided with three universities (Calcutta, Bombay and Madras, founded in 1857) as the hothouses to nurture a custom-built, English-speaking Indian intelligentsia. A new age began for India, and two of its inevitable consequences were the demand for\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e independence and the production of atomic bombs and satellites by the post-independent Bhārat.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWikipedia explains the Ocean of Milk thus -\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn Hindu cosmology, the Ocean of Milk (Kṣīra Sāgara in Sanscrit) is the fifth from the center of the seven oceans. It surrounds the continent known as Krauncha. According to Hindu scriptures, the devas and asuras worked together for a millennium to churn the ocean and release Amrita the nectar of immortal life. It is spoken of in the Samudra manthana chapter of the Puranas, a body of ancient Hindu legends. It is called Thirupaarkadal (Sacred Sea of Milk) in Tamil and is the place where Vishnu reclines over Shesha Naga along with his consort Lakshmi.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn his book Postcolonial Interruptions, Unauthorised Modernities (2017), Iain Chambers maintains that “… in the context of increasing neo-liberalisation processes of universities and scholarships, academic knowledge should no longer be considered the only legitimate mode of critically understanding the world…”. Chambers argues that \"nowadays the most interesting and sophisticated critical knowledge of the contemporary world is coming from what he calls post-colonial works of art.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA Hydra is a genus of small, fresh-water organisms native to the temperate and tropical regions. Biologists are especially interested in Hydra because of their regenerative ability – they do not appear to die of old age, or indeed to age at all.\u003cbr data-mce-fragment=\"1\"\u003eSome long time fellow musical travellers are called upon to lend a hand on this album.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSaxophonists Geoff Hawkins and Aaron Hawkins. Geoff is on many of my earlier records and we have known each other for over 60 years. Aaron is one of his sons.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eViv Corringham - Vocalist and ‘deep listening’ artist dedicated to walking, listening and singing all at the same time in her work which she calls Shadow Walks. \u2028\u2028Saxophonist Tim Hill, now established in the West Country of England where he organises musical street theatre events and several small ensembles playing free improvised and composed music.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLol Coxhill and Roger Turner, colleagues from The Recedents, an improvising music trio we had for 20 plus years, appear in a short extract from our five c.d. box set Wishing You Were Here. Lol is unfortunately no longer with us.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eI was moved to embrace how the digital, virtual, acoustic and natural worlds intersect in making this edition.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMike Cooper plays Electric Lap Steel Guitar. Acoustic Brazilian Viola Ciapira and Virtual Pedal Steel Guitar, Double Bass, Koto, Strings, Percussion and Drums.\u003cbr\u003eViv Corringham - Voice.\u003cbr\u003eTim Hill - Baritone Saxophone.\u003cbr\u003eAaron Hawkins - Tenor Saxophone.\u003cbr\u003eGeoff Hawkins - Tenor Saxophone.\u003cbr\u003eLol Coxhill - Soprano Saxophone.\u003cbr\u003eRoger Turner - Percussion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Mike Cooper\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRoom40\u003c\/span\u003e\u003c\/p\u003e"}

60年代から活動するイギリスの大御所ギタリストMike Cooperが、2022年1月にオーストラリアの実験レーベルRom40からリリースしたCD+ブックレットです。ラップスティールギターや3種のサックス、パーカッションに世界各国で収集したフィールドレコーディングがブレンドされたアンビエント・エキゾチカ9曲を収録。彼のコラージュ作品を掲載した48ページのブックレットが付属。レーベルその他作品はこちら /// Click here to see more Room40 releases available at Tobira. ----------------------------...

¥3,340

クイックビュー {"id":8601072075002,"title":"Aki Onda \/\/ Brisbane September 25 2004 TAPE","handle":"aki-onda-brisbane-september-25-2004-tape","description":"\u003cp\u003e過去にDinzu Artefactsなどから発表している日本の実験音楽家\u003cspan data-mce-fragment=\"1\"\u003eAki Ondaが、2021年10月にオーストラリア・メルボルンの音響作家Lawrence English主宰レーベルRoom40からリリースしたカセットです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eコラージュ〜ドローン46分を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2415128320\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\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\" data-mce-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\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003ehere\u003c\/a\u003e to see more Room40 releases available at Tobira.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eMatte laminate and embossed outer sleeve, three panel monochrome fold out insert, soft poly-carb case. Includes an 18 page long form in conversation between Aki Onda and Lawrence English, plus archival photographs etc.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRoom40:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eIt may sound implausible now, but in the early 2000s Australia felt a long way away from the rest of the world. Brisbane, where I still live today, felt even further removed. This remoteness had its challenges, but also its charms.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eIn 2001, Zane Trow then director of the Brisbane Powerhouse invited me to perform at an Open Day for the centre with my trio I\/O3 and DJ Olive. I didn’t realise it at the time, but this engagement would spark a number of connections that tie directly into this edition. Following that live performance (released as Powerhouse Sessions in 2002), I was invited to curate a performance series, Fabrique, focused on new and emergent musics for Brisbane Powerhouse. At the same time, DJ Olive mentioned that he had started a new imprint, Phonomena, with Toshio Kajiwara and one of the first releases they were planning was from Aki Onda, whom Olive described as using a set of Walkmans that make a whole universe. I was intrigued.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe following year, Aki Onda not only produced Cassette Memories Volume I ‘Ancient And Modern' for Phonomena, but a few months later released a second volume ‘Bon Voyage!’ with the always inspiring Improvised Music From Japan label. Both of these editions marked out overlapping territories relating to tape\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e music, field recordings and most of all perceptions of memory (how it is lost and then found again, how it can constructed and deconstructed - sometimes simultaneously). In early 2004, I wrote to Aki and invited him to Australia for a series of performances including two in Brisbane; one at Fabrique and another as part of NineHoursNorth, a dedicated program of Japanese music I was curating at the Judith Wright Centre Of Contemporary Art.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEach of Aki’s performances typified the expansive nature of his practice. Although the medium and tools may have been identical (cassettes, Walkmans, delay pedals and fender twin amps), the focus of each performance was markedly different. For NinehoursNorth, Aki deployed the approach he presented on 'Bon Voyage!’, long-form field recordings were re-amped and in the process of their unfolding a perception of time being bent in and out of shape emerged. There was a sense of the strange familiar, as bird songs, city scapes, voices, instruments and various environments were melted together and reconfigured through the intense volume produced by the amplifiers.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFor Fabrique, the recording collected on this edition, Aki undertook a more performative method that reflected the sense of pacing and movement collected on ‘Ancient And Modern’. What surprised me most about his performance was how closely it resembled the compositional sensibilities captured on the record. In my mind’s ear I had heard ‘Ancient And Modern’ as a highly orchestrated work, a process of layering and transformation. Upon hearing Aki’s performance, it became clear what was captured in that recording was a transcription of an experimental and utterly personal performative language that had unfastened the walkman from its conceptual bounds as a device for linear acoustic playback.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn performance (and his recordings as I now realised) Aki Onda sought to bend, and break, expectations of time and linearity. In doing so he opened up new ways of appreciating themes of texture, pulse, rhythm and repetition. William S. Burroughs often wrote of the cut-up as a device for causing a rupture in time and that certain new ways of knowing and understanding might ooze out from these cuts, to my ears Aki Onda’s sounds were doing just this. He was taking elements from the world we collectively knew and he was refocusing them, cutting into them and removing their sense of ‘natural’ time, in doing so he allowed us all to forgo our desire for the familiar in favour of something unknown and perhaps even unknowable.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTo revisit this performance nearly two decades on, I am struck by this same sense of reaching out into something that is not altogether clear, but maintains a deep invitational attraction, an acoustic allure that remains as compelling today as it did then…perhaps even more so.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Aki Onda\u003c\/p\u003e\n\u003cp\u003eLabel : Room40\u003c\/p\u003e","published_at":"2024-08-19T10:09:58+09:00","created_at":"2024-08-19T10:09:17+09:00","vendor":"Tobira Records","type":"","tags":["drone","monooto","new","room40","tape"],"price":218000,"price_min":218000,"price_max":218000,"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":46581162705146,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Aki Onda \/\/ Brisbane September 25 2004 TAPE","public_title":null,"options":["Default Title"],"price":218000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ak1_94a6976c-5f91-4559-9b2a-30646e01da13.jpg?v=1641450487","\/\/tobirarecords.com\/cdn\/shop\/products\/ak2_0f940ad8-b1e1-4c66-840e-1e11334dd778.jpg?v=1641450487"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ak1_94a6976c-5f91-4559-9b2a-30646e01da13.jpg?v=1641450487","options":["Title"],"media":[{"alt":null,"id":28965875024122,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ak1_94a6976c-5f91-4559-9b2a-30646e01da13.jpg?v=1641450487"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ak1_94a6976c-5f91-4559-9b2a-30646e01da13.jpg?v=1641450487","width":700},{"alt":null,"id":28965875056890,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ak2_0f940ad8-b1e1-4c66-840e-1e11334dd778.jpg?v=1641450487"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ak2_0f940ad8-b1e1-4c66-840e-1e11334dd778.jpg?v=1641450487","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e過去にDinzu Artefactsなどから発表している日本の実験音楽家\u003cspan data-mce-fragment=\"1\"\u003eAki Ondaが、2021年10月にオーストラリア・メルボルンの音響作家Lawrence English主宰レーベルRoom40からリリースしたカセットです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eコラージュ〜ドローン46分を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2415128320\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\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\" data-mce-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\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003ehere\u003c\/a\u003e to see more Room40 releases available at Tobira.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eMatte laminate and embossed outer sleeve, three panel monochrome fold out insert, soft poly-carb case. Includes an 18 page long form in conversation between Aki Onda and Lawrence English, plus archival photographs etc.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRoom40:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eIt may sound implausible now, but in the early 2000s Australia felt a long way away from the rest of the world. Brisbane, where I still live today, felt even further removed. This remoteness had its challenges, but also its charms.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eIn 2001, Zane Trow then director of the Brisbane Powerhouse invited me to perform at an Open Day for the centre with my trio I\/O3 and DJ Olive. I didn’t realise it at the time, but this engagement would spark a number of connections that tie directly into this edition. Following that live performance (released as Powerhouse Sessions in 2002), I was invited to curate a performance series, Fabrique, focused on new and emergent musics for Brisbane Powerhouse. At the same time, DJ Olive mentioned that he had started a new imprint, Phonomena, with Toshio Kajiwara and one of the first releases they were planning was from Aki Onda, whom Olive described as using a set of Walkmans that make a whole universe. I was intrigued.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe following year, Aki Onda not only produced Cassette Memories Volume I ‘Ancient And Modern' for Phonomena, but a few months later released a second volume ‘Bon Voyage!’ with the always inspiring Improvised Music From Japan label. Both of these editions marked out overlapping territories relating to tape\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e music, field recordings and most of all perceptions of memory (how it is lost and then found again, how it can constructed and deconstructed - sometimes simultaneously). In early 2004, I wrote to Aki and invited him to Australia for a series of performances including two in Brisbane; one at Fabrique and another as part of NineHoursNorth, a dedicated program of Japanese music I was curating at the Judith Wright Centre Of Contemporary Art.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEach of Aki’s performances typified the expansive nature of his practice. Although the medium and tools may have been identical (cassettes, Walkmans, delay pedals and fender twin amps), the focus of each performance was markedly different. For NinehoursNorth, Aki deployed the approach he presented on 'Bon Voyage!’, long-form field recordings were re-amped and in the process of their unfolding a perception of time being bent in and out of shape emerged. There was a sense of the strange familiar, as bird songs, city scapes, voices, instruments and various environments were melted together and reconfigured through the intense volume produced by the amplifiers.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFor Fabrique, the recording collected on this edition, Aki undertook a more performative method that reflected the sense of pacing and movement collected on ‘Ancient And Modern’. What surprised me most about his performance was how closely it resembled the compositional sensibilities captured on the record. In my mind’s ear I had heard ‘Ancient And Modern’ as a highly orchestrated work, a process of layering and transformation. Upon hearing Aki’s performance, it became clear what was captured in that recording was a transcription of an experimental and utterly personal performative language that had unfastened the walkman from its conceptual bounds as a device for linear acoustic playback.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn performance (and his recordings as I now realised) Aki Onda sought to bend, and break, expectations of time and linearity. In doing so he opened up new ways of appreciating themes of texture, pulse, rhythm and repetition. William S. Burroughs often wrote of the cut-up as a device for causing a rupture in time and that certain new ways of knowing and understanding might ooze out from these cuts, to my ears Aki Onda’s sounds were doing just this. He was taking elements from the world we collectively knew and he was refocusing them, cutting into them and removing their sense of ‘natural’ time, in doing so he allowed us all to forgo our desire for the familiar in favour of something unknown and perhaps even unknowable.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTo revisit this performance nearly two decades on, I am struck by this same sense of reaching out into something that is not altogether clear, but maintains a deep invitational attraction, an acoustic allure that remains as compelling today as it did then…perhaps even more so.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Aki Onda\u003c\/p\u003e\n\u003cp\u003eLabel : Room40\u003c\/p\u003e"}