sonic rubbish

Quickview {"id":6685113516197,"title":"Eric La Casa + Eamon Sprod \/\/ Friche : Transition CD","handle":"eric-la-casa-eamon-sprod-friche-transition-cd","description":"\u003cp\u003eフランス人音響作家Eric La Casaとオーストラリア人音響作家Tarab (Eamon Sprod)による共作CD。環境音を加工して構築される音響彫刻4曲を収録。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3014049428\/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\u003eEdition of 300.\u003c\/p\u003e\n\u003cp\u003e\"\u003cspan data-mce-fragment=\"1\"\u003e\u003cem\u003eDuring Spring 2015, Eamon Sprod and Eric La Casa \u003c\/em\u003e\u003c\/span\u003e\u003cem\u003espent one week to record on waste grounds, at the north east of Paris, and along the canal Ourcq. Spaces which are somehow both inside yet apart from the city; waiting spaces from which to listen to the threshold of the city.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eAurelio Ciancotta - Neural \u003ca href=\"http:\/\/neural.it\/2019\/10\/eric-la-casa-eamon-sprod-%e2%80%8e-friche-transition\/\"\u003ereview\u003c\/a\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eSprod is an Australian sound artist working for almost two decades; La Casa is an experienced French experimenter and field recorder. In Spring 2015, they spent a week making recordings in areas in the northeast of Paris and over the canal Ourcq. These are areas that are mostly full of garbage, spaces of waste located within the city. They can be considered as alien outposts where it’s possible to listen to the wheezes of a contemporary metropolis regurgitating its own development. Behind a continuous hiss, the weave of the first “transition” is basically made of small buzzes; dogs barking; and piercing audio emergencies; noise made by small movements and by the wind; whistles and crackles. In the following section, the alternation between silence and sound sets a different perception of the space, with a larger presence of machinic elements. But this is just a fleeting impression, because the nature of this indistinct rummage consists of moving inside an enormous variety of dull and dark sounds. \u003cmeta charset=\"utf-8\"\u003e In our imagination, the artists are guides walking over a slow and deep, cathartic travel in some difficult lands. There are also rolls, liquid sounds or sounds produced by materials burning, metallic or glass resonances. It’s possible to obtain a list of audio recordings from the garbage, a sum of vibrating data, which is given a certain development (we don’t know if it’s the result of some post-production work or just the raw recordings). The final result is outstanding; the duo is able to transform something from everyday life belonging to a still and depressing environment into an engaging, mysterious and unforgettable experience.\"\u003cbr\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Eric La Casa + Eamon Sprod\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSwarming\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-04-23T11:14:57+09:00","created_at":"2021-04-23T10:21:26+09:00","vendor":"Tobira Records","type":"","tags":["cd","elc","monooto","sonic rubbish"],"price":165000,"price_min":165000,"price_max":165000,"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":39700352925861,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Eric La Casa + Eamon Sprod \/\/ Friche : Transition CD","public_title":null,"options":["Default Title"],"price":165000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/fr1_b8ebc4ff-f87b-45e1-9ff8-a64df54685b2.jpg?v=1619140888","\/\/tobirarecords.com\/cdn\/shop\/products\/fr2_4646175f-8b17-409d-9966-de1ffc6441c3.jpg?v=1619140888","\/\/tobirarecords.com\/cdn\/shop\/products\/fr3.jpg?v=1619140888"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/fr1_b8ebc4ff-f87b-45e1-9ff8-a64df54685b2.jpg?v=1619140888","options":["Title"],"media":[{"alt":null,"id":21724632875173,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/fr1_b8ebc4ff-f87b-45e1-9ff8-a64df54685b2.jpg?v=1619140888"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/fr1_b8ebc4ff-f87b-45e1-9ff8-a64df54685b2.jpg?v=1619140888","width":700},{"alt":null,"id":21724632907941,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/fr2_4646175f-8b17-409d-9966-de1ffc6441c3.jpg?v=1619140888"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/fr2_4646175f-8b17-409d-9966-de1ffc6441c3.jpg?v=1619140888","width":1200},{"alt":null,"id":21724632940709,"position":3,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/fr3.jpg?v=1619140888"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/fr3.jpg?v=1619140888","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eフランス人音響作家Eric La Casaとオーストラリア人音響作家Tarab (Eamon Sprod)による共作CD。環境音を加工して構築される音響彫刻4曲を収録。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3014049428\/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\u003eEdition of 300.\u003c\/p\u003e\n\u003cp\u003e\"\u003cspan data-mce-fragment=\"1\"\u003e\u003cem\u003eDuring Spring 2015, Eamon Sprod and Eric La Casa \u003c\/em\u003e\u003c\/span\u003e\u003cem\u003espent one week to record on waste grounds, at the north east of Paris, and along the canal Ourcq. Spaces which are somehow both inside yet apart from the city; waiting spaces from which to listen to the threshold of the city.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eAurelio Ciancotta - Neural \u003ca href=\"http:\/\/neural.it\/2019\/10\/eric-la-casa-eamon-sprod-%e2%80%8e-friche-transition\/\"\u003ereview\u003c\/a\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eSprod is an Australian sound artist working for almost two decades; La Casa is an experienced French experimenter and field recorder. In Spring 2015, they spent a week making recordings in areas in the northeast of Paris and over the canal Ourcq. These are areas that are mostly full of garbage, spaces of waste located within the city. They can be considered as alien outposts where it’s possible to listen to the wheezes of a contemporary metropolis regurgitating its own development. Behind a continuous hiss, the weave of the first “transition” is basically made of small buzzes; dogs barking; and piercing audio emergencies; noise made by small movements and by the wind; whistles and crackles. In the following section, the alternation between silence and sound sets a different perception of the space, with a larger presence of machinic elements. But this is just a fleeting impression, because the nature of this indistinct rummage consists of moving inside an enormous variety of dull and dark sounds. \u003cmeta charset=\"utf-8\"\u003e In our imagination, the artists are guides walking over a slow and deep, cathartic travel in some difficult lands. There are also rolls, liquid sounds or sounds produced by materials burning, metallic or glass resonances. It’s possible to obtain a list of audio recordings from the garbage, a sum of vibrating data, which is given a certain development (we don’t know if it’s the result of some post-production work or just the raw recordings). The final result is outstanding; the duo is able to transform something from everyday life belonging to a still and depressing environment into an engaging, mysterious and unforgettable experience.\"\u003cbr\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Eric La Casa + Eamon Sprod\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSwarming\u003c\/span\u003e\u003c\/p\u003e"}

Quickview {"id":6685103521957,"title":"Tarab \/\/ Housekeeping CD","handle":"tarab-housekeeping-cd","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e2000年代初期から活動しており、来日公演も経験したメルボルンの音響作家Tarabが自主レーベルSonic Rubbishより2018年12月にリリースした作品。環境音を再構築する彼特有のスタイルで描かれる音響彫刻2曲を収録。デジパック仕様です。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe width=\"100%\" height=\"166\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/526569336\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\"\u003e\u003c\/iframe\u003e\n\u003cdiv style=\"font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ca data-encoded-attr-charset=\"dXRmLTg=\" data-encoded-tag-value=\"\" data-encoded-tag-name=\"meta\"\u003e\u003c\/a\u003eその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/soru\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/soru\"\u003ehere\u003c\/a\u003e to see more \u003ca data-sanitized-data-mce-fragment=\"1\" data-encoded-attr-charset=\"dXRmLTg=\" data-encoded-tag-value=\"\" data-encoded-tag-name=\"meta\"\u003e\u003c\/a\u003eSonic Rubbish releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eTarab:\u003c\/p\u003e\n\u003cp\u003e\u003ca data-encoded-attr-charset=\"dXRmLTg=\" data-encoded-tag-value=\"\" data-encoded-tag-name=\"meta\"\u003e\u003c\/a\u003e\u003cspan\u003e\"\u003cem\u003eI am a collector of rubbish: not an archivist, but in a small way, a hoarder. Clutter seems to be attracted to me.\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eHOUSEKEEPING was originally conceived as a project to finally put to use some of this amassed junk, and then to discard it all once again. It first took shape as an installation work for 8-channel audio, found objects, speakers, transducers, desk, chair and room; presented at Blindside, Melbourne, August 2017.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cem\u003eSince then it has slowly shifted itself into this CD. However rather than a documentation of an installation, this iteration has been arranged from the debris collected during the process of making one. Sound was gathered together from various raw audio materials; object manipulation; rehearsals, studio tests and failures; recordings of both installation and de-installation; the final composition files ; recordings of the installation in-situ; the empty gallery space; the Nicholas Building (the home of Blindside); a performance made with Clinton Green enacted to close the installation. All collected materials were then cut up, tumbled around and de-arranged into the current form it finds itself in here.\u003c\/em\u003e\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca data-encoded-attr-charset=\"dXRmLTg=\" data-encoded-tag-value=\"\" data-encoded-tag-name=\"meta\"\u003e\u003c\/a\u003eHoward Stelzer - VITAL WEEKLY \u003ca href=\"http:\/\/www.vitalweekly.net\/1166.html\"\u003ereview\u003c\/a\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003ca data-encoded-attr-charset=\"dXRmLTg=\" data-encoded-tag-value=\"\" data-encoded-tag-name=\"meta\"\u003e\u003c\/a\u003e \u003cem\u003eThough Tarab’s work is based mainly on field recordings, it’d be a mistake to think of it as documentary or sound ecology. On his latest album, composer Eamon Sprod jams his source sounds together into action-heavy audio dramas that leap from one intense space to another in a way that demands active, attentive listening. The sudden shifts in tone, volume and character are ideal for headphones. Maybe don’t listen before going to sleep, though. This is music that delights in subverting expectations over and over again. The dull drone of people in a reverberant hallway settles into a lull for just long enough to make the punctuating slam of ear-boxing trash hilariously startling. Doors shut, the wind sings, motors whine… a distant murmur comes slowly into focus and then suddenly runs straight at the listener. The impetus for this work was Sprod dealing with his accumulated clutter, using up the debris one last time before he throws it away. Between its first iteration as an 8-channel installation to the current 2-channel distillation, the debris generated by the process has also been folded back into the music. Somehow, the three-dimensional character of the multi-channel installation is preserved on this stereo composition. All the junk swirling inside “Housekeeping” seems so tactile that at one point I had to take my headphones off to make sure something hadn’t fallen off a shelf in my living room.\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : TARAB\u003c\/p\u003e\n\u003cp\u003eLabel : Sonic Rubbish\u003c\/p\u003e","published_at":"2021-04-23T11:09:26+09:00","created_at":"2021-04-23T10:16:45+09:00","vendor":"Tobira Records","type":"","tags":["cd","Clinton Green","monooto","sonic rubbish"],"price":165000,"price_min":165000,"price_max":165000,"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":39700338409637,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Tarab \/\/ Housekeeping CD","public_title":null,"options":["Default Title"],"price":165000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/hou1.jpg?v=1619140607","\/\/tobirarecords.com\/cdn\/shop\/products\/hou2.jpg?v=1619140607","\/\/tobirarecords.com\/cdn\/shop\/products\/hou3.jpg?v=1619140607"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/hou1.jpg?v=1619140607","options":["Title"],"media":[{"alt":null,"id":21724590080165,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/hou1.jpg?v=1619140607"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/hou1.jpg?v=1619140607","width":700},{"alt":null,"id":21724590112933,"position":2,"preview_image":{"aspect_ratio":2.023,"height":173,"width":350,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/hou2.jpg?v=1619140607"},"aspect_ratio":2.023,"height":173,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/hou2.jpg?v=1619140607","width":350},{"alt":null,"id":21724590145701,"position":3,"preview_image":{"aspect_ratio":1.118,"height":313,"width":350,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/hou3.jpg?v=1619140607"},"aspect_ratio":1.118,"height":313,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/hou3.jpg?v=1619140607","width":350}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e2000年代初期から活動しており、来日公演も経験したメルボルンの音響作家Tarabが自主レーベルSonic Rubbishより2018年12月にリリースした作品。環境音を再構築する彼特有のスタイルで描かれる音響彫刻2曲を収録。デジパック仕様です。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe width=\"100%\" height=\"166\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/526569336\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\"\u003e\u003c\/iframe\u003e\n\u003cdiv style=\"font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ca data-encoded-attr-charset=\"dXRmLTg=\" data-encoded-tag-value=\"\" data-encoded-tag-name=\"meta\"\u003e\u003c\/a\u003eその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/soru\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/soru\"\u003ehere\u003c\/a\u003e to see more \u003ca data-sanitized-data-mce-fragment=\"1\" data-encoded-attr-charset=\"dXRmLTg=\" data-encoded-tag-value=\"\" data-encoded-tag-name=\"meta\"\u003e\u003c\/a\u003eSonic Rubbish releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eTarab:\u003c\/p\u003e\n\u003cp\u003e\u003ca data-encoded-attr-charset=\"dXRmLTg=\" data-encoded-tag-value=\"\" data-encoded-tag-name=\"meta\"\u003e\u003c\/a\u003e\u003cspan\u003e\"\u003cem\u003eI am a collector of rubbish: not an archivist, but in a small way, a hoarder. Clutter seems to be attracted to me.\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eHOUSEKEEPING was originally conceived as a project to finally put to use some of this amassed junk, and then to discard it all once again. It first took shape as an installation work for 8-channel audio, found objects, speakers, transducers, desk, chair and room; presented at Blindside, Melbourne, August 2017.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cem\u003eSince then it has slowly shifted itself into this CD. However rather than a documentation of an installation, this iteration has been arranged from the debris collected during the process of making one. Sound was gathered together from various raw audio materials; object manipulation; rehearsals, studio tests and failures; recordings of both installation and de-installation; the final composition files ; recordings of the installation in-situ; the empty gallery space; the Nicholas Building (the home of Blindside); a performance made with Clinton Green enacted to close the installation. All collected materials were then cut up, tumbled around and de-arranged into the current form it finds itself in here.\u003c\/em\u003e\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca data-encoded-attr-charset=\"dXRmLTg=\" data-encoded-tag-value=\"\" data-encoded-tag-name=\"meta\"\u003e\u003c\/a\u003eHoward Stelzer - VITAL WEEKLY \u003ca href=\"http:\/\/www.vitalweekly.net\/1166.html\"\u003ereview\u003c\/a\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003ca data-encoded-attr-charset=\"dXRmLTg=\" data-encoded-tag-value=\"\" data-encoded-tag-name=\"meta\"\u003e\u003c\/a\u003e \u003cem\u003eThough Tarab’s work is based mainly on field recordings, it’d be a mistake to think of it as documentary or sound ecology. On his latest album, composer Eamon Sprod jams his source sounds together into action-heavy audio dramas that leap from one intense space to another in a way that demands active, attentive listening. The sudden shifts in tone, volume and character are ideal for headphones. Maybe don’t listen before going to sleep, though. This is music that delights in subverting expectations over and over again. The dull drone of people in a reverberant hallway settles into a lull for just long enough to make the punctuating slam of ear-boxing trash hilariously startling. Doors shut, the wind sings, motors whine… a distant murmur comes slowly into focus and then suddenly runs straight at the listener. The impetus for this work was Sprod dealing with his accumulated clutter, using up the debris one last time before he throws it away. Between its first iteration as an 8-channel installation to the current 2-channel distillation, the debris generated by the process has also been folded back into the music. Somehow, the three-dimensional character of the multi-channel installation is preserved on this stereo composition. All the junk swirling inside “Housekeeping” seems so tactile that at one point I had to take my headphones off to make sure something hadn’t fallen off a shelf in my living room.\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : TARAB\u003c\/p\u003e\n\u003cp\u003eLabel : Sonic Rubbish\u003c\/p\u003e"}

2000年代初期から活動しており、来日公演も経験したメルボルンの音響作家Tarabが自主レーベルSonic Rubbishより2018年12月にリリースした作品。環境音を再構築する彼特有のスタイルで描かれる音響彫刻2曲を収録。デジパック仕様です。その他作品はこちら /// Click here to see more Sonic Rubbish releases available at Tobira. ---------------------------- Tarab:...

¥1,650

Quickview {"id":6685097754789,"title":"Tarab \/\/ Apophenia CD","handle":"tarab-apophenia-cd","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e2000年代初期から活動しており、来日公演も経験したメルボルンの音響作家Tarabが自主レーベルSonic Rubbishより2020年3月にリリースした作品。環境音を再構築する彼特有のスタイルで描かれる音響彫刻7曲を収録。マスタリングはGiuseppe Ielashiが担当。デジパック仕様です。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/playlists\/956959750\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" height=\"450\" width=\"100%\" allow=\"autoplay\" frameborder=\"no\" scrolling=\"no\"\u003e\u003c\/iframe\u003e\n\u003cdiv style=\"font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eSonic Rubbish その他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/soru\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/soru\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/soru\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/soru\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eSonic Rubbish releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eTarab:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cem\u003eElements of this piece first appeared on the Aposiopèse compilation VIII. Sounds were then borrowed, discarded and re-arranged into a mix for the Ears Have Ears radio program (RIP). Further additions and subtractions were made, and over time it all de-arranged into the form it is in here. Thank you: air conditioning units, bicarb soda, malfunctioning white goods, alleyways, constructions sites, trains, escalators, plastic bags, hollow vessels, floor boards and empty rooms.\u003c\/em\u003e\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eMark Cutler\u003cb\u003e - \u003c\/b\u003eTone Glow\u003cb\u003e \u003ca href=\"https:\/\/toneglow.substack.com\/p\/010-overlooked-albums-of-2020-q1\"\u003ereview\u003c\/a\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\"\u003cem\u003eIt is too easy to lean on either the personal or geographic specificity of field recordings as a justification for their existence. The assumption is that the recordings themselves gain more significance as a kind of document of—or window into—a particular place or person’s experience. The title of this release, Apophenia, seems like a direct commentary on this tendency, apophenia being the all-too-human phenomenon of finding connections or meaning in unrelated, meaningless coincidences. On this album, Tarab forestalls any such effort by openly acknowledging that his source material comes from a number of disparate persons and places. Against the cliché image of the sound artist as the lone figure, stolidly lugging his equipment through abandoned factories and babbling brooks, whacking a steel chair with a cinderblock and muttering yes, excellent…, Tarab invites us to imagine the music as a fractured collage of many environments and experiences, intertwining to produce impossible juxtapositions, like a sonic document of what never did or could exist. In this way, our attention is freed from any effort to identify the sources of the sounds, better to enjoy the meticulous arrangements. These pieces are both elegant and sparse, making ample use of silence both to frame the music and to underscore their fragmentary, denatured status as found materials. This is both a serious, challenging album and an excellent introduction to Tarab’s body of work.\"\u003c\/em\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eHoward Stelzer - VITAL WEEKLY \u003ca href=\"http:\/\/www.vitalweekly.net\/1224.html\"\u003ereview\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e\"The title is so clever, it nearly derails the usefulness of a review. Apophenia, according to The Skeptic’s Dictionary, is “the tendency to mistakenly perceive connections and meaning between unrelated things”. Such distance from authorial intent invites listeners to hear this as pure music disconnected from the source that produced the sound. Eamon Sprod, the artist behind the Tarab moniker, works predominantly (though not exclusively) with field recordings, as loaded a sound material as any. The temptation for a listener is to match sounds to their source and attempt to read meaning there. But Sprod makes it clear in the title that such an interpretation would have as much validity as finding images in clouds or constellations. So never mind the suggestive litany of source sounds provided by the artist: bicarb soda, air conditioning units, escalators, floorboards and so on. Instead, let’s talk about the industrial immensity and finely controlled drama of the piece. The music seems endlessly detailed, both legible and obscured at the same time, with a stellar control of tension. Not a second seems to be on autopilot. “Apophenia” begins with close crinkles, a swarm of small sounds that wrap themselves around the stereo field like angry gnats. This pulls a listener in, but Tarab is not about to let anyone rest; giant blasts hammer jarring juxtapositions between inhuman roar and reverberant emptiness. Metal bashing becomes hyperventilating, events heard at a distance are suddenly jump-cut screaming in your face and just as suddenly warped sideways into multi-layered acoustic squeaks. Sections full of soft ambient howl are rudely interrupted by teeny sounds wrapped in gaspingly intimate silence. Delicate sections are rapidly intercut with screaming peals of heavy weather. There are sections of recognizable rain, vocalizations (but not words), and human hands acting upon objects, but those do little to diminish the overall mystery and suspense. “Apophenia” concludes on a surprising note, twelve minutes of low frequency growl, the only track that remains in roughly the same sonic area for its duration, granting listeners time to rest and reflect after the death-defying bumper car ride that preceded it.\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Tarab\u003c\/p\u003e\n\u003cp\u003eLabel : Sonic Rubbish\u003c\/p\u003e","published_at":"2021-04-23T11:01:26+09:00","created_at":"2021-04-23T10:13:03+09:00","vendor":"Tobira Records","type":"","tags":["cd","monooto","sonic rubbish"],"price":165000,"price_min":165000,"price_max":165000,"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":39700328448165,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Tarab \/\/ Apophenia CD","public_title":null,"options":["Default Title"],"price":165000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ap1.jpg?v=1619140386","\/\/tobirarecords.com\/cdn\/shop\/products\/ap2.jpg?v=1619140386","\/\/tobirarecords.com\/cdn\/shop\/products\/ap3.jpg?v=1619140386"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ap1.jpg?v=1619140386","options":["Title"],"media":[{"alt":null,"id":21724561375397,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ap1.jpg?v=1619140386"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ap1.jpg?v=1619140386","width":700},{"alt":null,"id":21724561408165,"position":2,"preview_image":{"aspect_ratio":1.917,"height":626,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ap2.jpg?v=1619140386"},"aspect_ratio":1.917,"height":626,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ap2.jpg?v=1619140386","width":1200},{"alt":null,"id":21724561440933,"position":3,"preview_image":{"aspect_ratio":1.917,"height":626,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ap3.jpg?v=1619140386"},"aspect_ratio":1.917,"height":626,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ap3.jpg?v=1619140386","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e2000年代初期から活動しており、来日公演も経験したメルボルンの音響作家Tarabが自主レーベルSonic Rubbishより2020年3月にリリースした作品。環境音を再構築する彼特有のスタイルで描かれる音響彫刻7曲を収録。マスタリングはGiuseppe Ielashiが担当。デジパック仕様です。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/playlists\/956959750\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" height=\"450\" width=\"100%\" allow=\"autoplay\" frameborder=\"no\" scrolling=\"no\"\u003e\u003c\/iframe\u003e\n\u003cdiv style=\"font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eSonic Rubbish その他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/soru\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/soru\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/soru\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/soru\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eSonic Rubbish releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eTarab:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cem\u003eElements of this piece first appeared on the Aposiopèse compilation VIII. Sounds were then borrowed, discarded and re-arranged into a mix for the Ears Have Ears radio program (RIP). Further additions and subtractions were made, and over time it all de-arranged into the form it is in here. Thank you: air conditioning units, bicarb soda, malfunctioning white goods, alleyways, constructions sites, trains, escalators, plastic bags, hollow vessels, floor boards and empty rooms.\u003c\/em\u003e\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eMark Cutler\u003cb\u003e - \u003c\/b\u003eTone Glow\u003cb\u003e \u003ca href=\"https:\/\/toneglow.substack.com\/p\/010-overlooked-albums-of-2020-q1\"\u003ereview\u003c\/a\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\"\u003cem\u003eIt is too easy to lean on either the personal or geographic specificity of field recordings as a justification for their existence. The assumption is that the recordings themselves gain more significance as a kind of document of—or window into—a particular place or person’s experience. The title of this release, Apophenia, seems like a direct commentary on this tendency, apophenia being the all-too-human phenomenon of finding connections or meaning in unrelated, meaningless coincidences. On this album, Tarab forestalls any such effort by openly acknowledging that his source material comes from a number of disparate persons and places. Against the cliché image of the sound artist as the lone figure, stolidly lugging his equipment through abandoned factories and babbling brooks, whacking a steel chair with a cinderblock and muttering yes, excellent…, Tarab invites us to imagine the music as a fractured collage of many environments and experiences, intertwining to produce impossible juxtapositions, like a sonic document of what never did or could exist. In this way, our attention is freed from any effort to identify the sources of the sounds, better to enjoy the meticulous arrangements. These pieces are both elegant and sparse, making ample use of silence both to frame the music and to underscore their fragmentary, denatured status as found materials. This is both a serious, challenging album and an excellent introduction to Tarab’s body of work.\"\u003c\/em\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eHoward Stelzer - VITAL WEEKLY \u003ca href=\"http:\/\/www.vitalweekly.net\/1224.html\"\u003ereview\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e\"The title is so clever, it nearly derails the usefulness of a review. Apophenia, according to The Skeptic’s Dictionary, is “the tendency to mistakenly perceive connections and meaning between unrelated things”. Such distance from authorial intent invites listeners to hear this as pure music disconnected from the source that produced the sound. Eamon Sprod, the artist behind the Tarab moniker, works predominantly (though not exclusively) with field recordings, as loaded a sound material as any. The temptation for a listener is to match sounds to their source and attempt to read meaning there. But Sprod makes it clear in the title that such an interpretation would have as much validity as finding images in clouds or constellations. So never mind the suggestive litany of source sounds provided by the artist: bicarb soda, air conditioning units, escalators, floorboards and so on. Instead, let’s talk about the industrial immensity and finely controlled drama of the piece. The music seems endlessly detailed, both legible and obscured at the same time, with a stellar control of tension. Not a second seems to be on autopilot. “Apophenia” begins with close crinkles, a swarm of small sounds that wrap themselves around the stereo field like angry gnats. This pulls a listener in, but Tarab is not about to let anyone rest; giant blasts hammer jarring juxtapositions between inhuman roar and reverberant emptiness. Metal bashing becomes hyperventilating, events heard at a distance are suddenly jump-cut screaming in your face and just as suddenly warped sideways into multi-layered acoustic squeaks. Sections full of soft ambient howl are rudely interrupted by teeny sounds wrapped in gaspingly intimate silence. Delicate sections are rapidly intercut with screaming peals of heavy weather. There are sections of recognizable rain, vocalizations (but not words), and human hands acting upon objects, but those do little to diminish the overall mystery and suspense. “Apophenia” concludes on a surprising note, twelve minutes of low frequency growl, the only track that remains in roughly the same sonic area for its duration, granting listeners time to rest and reflect after the death-defying bumper car ride that preceded it.\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Tarab\u003c\/p\u003e\n\u003cp\u003eLabel : Sonic Rubbish\u003c\/p\u003e"}