[..(].: // unnamed CD

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正体不明実験テクノ作家[..(].: が、2023年11月にアメリカ・シカゴの実験レーベルChained LibraryからリリースしたCDです。

ほぼノンビートの光が一切差し込まない漆黒ドローン・テクノ〜亡霊ドローン7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 Chained Library releases available at Tobira.

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

Second collection of [..(].: recordings. Recorded in 2018. Includes DL code.

Tracklist:

09/09/2018 03:10
10/21/2018 06:05
11/26/2018 03:56
11/15/2018 03:59
09/09/2018 05:18
06/unkown/2019 01:13
04/23/2020 05:04

Artist : [..(].:

Label : Chained Library

Quantity

+ -

正体不明実験テクノ作家[..(].: が、2023年11月にアメリカ・シカゴの実験レーベルChained LibraryからリリースしたCDです。

ほぼノンビートの光が一切差し込まない漆黒ドローン・テクノ〜亡霊ドローン7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 Chained Library releases available at Tobira.

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

Second collection of [..(].: recordings. Recorded in 2018. Includes DL code.

Tracklist:

09/09/2018 03:10
10/21/2018 06:05
11/26/2018 03:56
11/15/2018 03:59
09/09/2018 05:18
06/unkown/2019 01:13
04/23/2020 05:04

Artist : [..(].:

Label : Chained Library

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クイックビュー {"id":9020617228538,"title":"Jeff Parker \/\/ Forfolks LP [COLOR]","handle":"jeff-parker-forfolks-lp-color","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan\u003eTortoiseギタリストとしても活動していたアメリカのジャズギタリストJeff Parkerが、2021年にInternational Anthemからリリースしたアルバム\u003c\/span\u003e\u003cspan\u003eです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eギターをメインソースとしたジャズ〜アンビエント・ジャズ8曲を収録。クールミント盤です。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1759480046\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/inan\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/inan\"\u003ehere\u003c\/a\u003e to see more International Anthem releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" cool mint vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlbum liner notes by Matthew Lux:\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"\u003cem\u003eYears ago when Jeff and I were in a band together, I always insisted that our records could not have any liner notes. I was enthralled with the idea that imparting any information beyond the music itself was heresy. As if whatever the sound didn't convey needed to be left to the listener. Somehow, I was able to hold this opinion while simultaneously voraciously consuming every record jacket, CD cover, cassette J card and whatever else I could get my hands on regarding any music that interested me. Many years and finally the making of my own album forced me to confront my cognitive dissonance and recognize context can help the audience find their place in the art that they enjoy. That context is especially necessary when the artist is as under-appreciated yet influential as Jeff Parker.\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWhen I met Jeff, he was the first adult (24 years old to my 18) whose musical taste was as broad as mine and my friends. He liked Eric Dolphy, De La Soul, ‘70s Miles, and Donny Hathaway. We first played together in the living room of my parents’ apartment. We agreed to each bring a friend to round out a group. He brought the amazing and criminally under-represented Sara P. Smith on trombone, and I brought my high school band mate Chad Taylor on drums. Chad\u003cspan class=\"bcTruncateMore\"\u003e and I were certainly outclassed that day, but nevertheless we all became fast friends. A few weeks later, at our regular jam session at the Bop Shop, I told my girlfriend (now wife) to pay attention to Jeff. \"He's going to be important,\" I said.\u003cbr\u003e\u003cbr\u003eThe Chicago that Parker had moved to was ripe with young musicians eager to push at the boundaries. There weren't many venues catering to these new attempts at mixing things up, but slowly a number of great bands coalesced out of a group of like-minded friends, mixing everyone's backgrounds whether punk, disco, jazz or whatever. I clearly remember going to see New Horizons Ensemble at the Hothouse with Jeff, then a few weeks later going to the Empty Bottle to see Tortoise. Within months he'd be in both those bands. He was instrumental in forging a link between players with different styles that helped define the sound of creative music in ‘90s Chicago.\u003cbr\u003e\u003cbr\u003eIt's a particular thing to hear Jeff play solo. He is an unusually selfless improviser, often times laying out and highlighting the contributions of his band mates. He's never been one to play three notes where none would suffice. On this recording however he is by himself, joined only by his own ideas, looped or frozen, to flesh out the music he's creating in his mind. Hearing him craft entire sound worlds on these eight selections gives us an opportunity to really see how Parker orders sound.\u003cbr\u003e\u003cbr\u003eHe has been ordering sound with an amazingly diverse array of artists and collaborators for the past three decades. While it's common for a professional musician to be versed in many styles, that normally means a succession of genre tropes deployed to ensure the listener knows exactly where they are and what's supposed to be happening. A guitarist, for example, might play a Nile Rogers type rhythm on Disco or Funk, a favorite B.B. King lick on a blues or a Wes Montgomery phrase over a standard. Parker rarely does anything this overt. While perfectly capable (Once, in the studio, at the behest of a musician we were working with, I heard him take a solo that could have been an outtake from a Steely Dan album), he eschews genre playing and chooses a painterly approach to coloring the music, maintaining a deeply personal voice without weighing down the music with obvious stylistic maneuverings. His unique approach fits so well into so many contexts precisely because SOUND is his main focus and concern. One can clearly hear the breadth of Black Music in Parker’s playing. He is part of a continuum of musicians extending back to antiquity.\u003cbr\u003e\u003cbr\u003eThe structures here challenge our preconceptions of background and foreground. ALL the layers are primary. We are presented with fully integrated sonic developments rather than accompaniment, melody, or \"soloing\". Often times a solo album is an excuse for an artist to display their virtuosity. The idea being, possibly, that unencumbered by other musicians, the soloist is free to ride off on flights of fancy. But a career spent in the practice of subtlety is thankfully apparent in every song here. On Forfolks, a standard of the Great American Songbook fits comfortably next to multi-layered improvisations, a Thelonious Monk tune, and several compositions of Parker’s own, dating back twenty-five years.\u003cbr\u003e\u003cbr\u003eMonk, I find to be an apt comparison. Both men were deeply involved in some of the most progressive musical movements of their respective generations, neither gaining much renown at the time, but both kept on doing things in their own quietly iconoclastic ways until the world caught up with them some twenty years later. I was fortunate enough to recognize the first time I heard Jeff Parker thirty years ago that I was witnessing something very special.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Jeff Parker\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eInternational Anthem\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCat No : IARC0052LPCM\u003c\/span\u003e\u003c\/p\u003e","published_at":"2025-12-05T14:54:15+09:00","created_at":"2025-12-05T14:52:53+09:00","vendor":"Tobira Records","type":"","tags":["ambient","international anthem","jazz","lp","new"],"price":489000,"price_min":489000,"price_max":489000,"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":48066335703290,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Jeff Parker \/\/ Forfolks LP [COLOR]","public_title":null,"options":["Default Title"],"price":489000,"weight":530,"compare_at_price":null,"inventory_management":"shopify","barcode":"789993991969","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/R-21371338-1639662625-9098.jpg?v=1754011771","\/\/tobirarecords.com\/cdn\/shop\/files\/R-21302908-1672515922-9892.jpg?v=1754011771"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/R-21371338-1639662625-9098.jpg?v=1754011771","options":["Title"],"media":[{"alt":null,"id":36463102591226,"position":1,"preview_image":{"aspect_ratio":0.993,"height":599,"width":595,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/R-21371338-1639662625-9098.jpg?v=1754011771"},"aspect_ratio":0.993,"height":599,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/R-21371338-1639662625-9098.jpg?v=1754011771","width":595},{"alt":null,"id":36457416753402,"position":2,"preview_image":{"aspect_ratio":1.003,"height":598,"width":600,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/R-21302908-1672515922-9892.jpg?v=1754011771"},"aspect_ratio":1.003,"height":598,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/R-21302908-1672515922-9892.jpg?v=1754011771","width":600}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan\u003eTortoiseギタリストとしても活動していたアメリカのジャズギタリストJeff Parkerが、2021年にInternational Anthemからリリースしたアルバム\u003c\/span\u003e\u003cspan\u003eです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eギターをメインソースとしたジャズ〜アンビエント・ジャズ8曲を収録。クールミント盤です。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1759480046\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/inan\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/inan\"\u003ehere\u003c\/a\u003e to see more International Anthem releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" cool mint vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlbum liner notes by Matthew Lux:\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"\u003cem\u003eYears ago when Jeff and I were in a band together, I always insisted that our records could not have any liner notes. I was enthralled with the idea that imparting any information beyond the music itself was heresy. As if whatever the sound didn't convey needed to be left to the listener. Somehow, I was able to hold this opinion while simultaneously voraciously consuming every record jacket, CD cover, cassette J card and whatever else I could get my hands on regarding any music that interested me. Many years and finally the making of my own album forced me to confront my cognitive dissonance and recognize context can help the audience find their place in the art that they enjoy. That context is especially necessary when the artist is as under-appreciated yet influential as Jeff Parker.\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWhen I met Jeff, he was the first adult (24 years old to my 18) whose musical taste was as broad as mine and my friends. He liked Eric Dolphy, De La Soul, ‘70s Miles, and Donny Hathaway. We first played together in the living room of my parents’ apartment. We agreed to each bring a friend to round out a group. He brought the amazing and criminally under-represented Sara P. Smith on trombone, and I brought my high school band mate Chad Taylor on drums. Chad\u003cspan class=\"bcTruncateMore\"\u003e and I were certainly outclassed that day, but nevertheless we all became fast friends. A few weeks later, at our regular jam session at the Bop Shop, I told my girlfriend (now wife) to pay attention to Jeff. \"He's going to be important,\" I said.\u003cbr\u003e\u003cbr\u003eThe Chicago that Parker had moved to was ripe with young musicians eager to push at the boundaries. There weren't many venues catering to these new attempts at mixing things up, but slowly a number of great bands coalesced out of a group of like-minded friends, mixing everyone's backgrounds whether punk, disco, jazz or whatever. I clearly remember going to see New Horizons Ensemble at the Hothouse with Jeff, then a few weeks later going to the Empty Bottle to see Tortoise. Within months he'd be in both those bands. He was instrumental in forging a link between players with different styles that helped define the sound of creative music in ‘90s Chicago.\u003cbr\u003e\u003cbr\u003eIt's a particular thing to hear Jeff play solo. He is an unusually selfless improviser, often times laying out and highlighting the contributions of his band mates. He's never been one to play three notes where none would suffice. On this recording however he is by himself, joined only by his own ideas, looped or frozen, to flesh out the music he's creating in his mind. Hearing him craft entire sound worlds on these eight selections gives us an opportunity to really see how Parker orders sound.\u003cbr\u003e\u003cbr\u003eHe has been ordering sound with an amazingly diverse array of artists and collaborators for the past three decades. While it's common for a professional musician to be versed in many styles, that normally means a succession of genre tropes deployed to ensure the listener knows exactly where they are and what's supposed to be happening. A guitarist, for example, might play a Nile Rogers type rhythm on Disco or Funk, a favorite B.B. King lick on a blues or a Wes Montgomery phrase over a standard. Parker rarely does anything this overt. While perfectly capable (Once, in the studio, at the behest of a musician we were working with, I heard him take a solo that could have been an outtake from a Steely Dan album), he eschews genre playing and chooses a painterly approach to coloring the music, maintaining a deeply personal voice without weighing down the music with obvious stylistic maneuverings. His unique approach fits so well into so many contexts precisely because SOUND is his main focus and concern. One can clearly hear the breadth of Black Music in Parker’s playing. He is part of a continuum of musicians extending back to antiquity.\u003cbr\u003e\u003cbr\u003eThe structures here challenge our preconceptions of background and foreground. ALL the layers are primary. We are presented with fully integrated sonic developments rather than accompaniment, melody, or \"soloing\". Often times a solo album is an excuse for an artist to display their virtuosity. The idea being, possibly, that unencumbered by other musicians, the soloist is free to ride off on flights of fancy. But a career spent in the practice of subtlety is thankfully apparent in every song here. On Forfolks, a standard of the Great American Songbook fits comfortably next to multi-layered improvisations, a Thelonious Monk tune, and several compositions of Parker’s own, dating back twenty-five years.\u003cbr\u003e\u003cbr\u003eMonk, I find to be an apt comparison. Both men were deeply involved in some of the most progressive musical movements of their respective generations, neither gaining much renown at the time, but both kept on doing things in their own quietly iconoclastic ways until the world caught up with them some twenty years later. I was fortunate enough to recognize the first time I heard Jeff Parker thirty years ago that I was witnessing something very special.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Jeff Parker\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eInternational Anthem\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCat No : IARC0052LPCM\u003c\/span\u003e\u003c\/p\u003e"}

Tortoiseギタリストとしても活動していたアメリカのジャズギタリストJeff Parkerが、2021年にInternational Anthemからリリースしたアルバムです。ギターをメインソースとしたジャズ〜アンビエント・ジャズ8曲を収録。クールミント盤です。レーベルその他作品はこちら /// Click here to see more International Anthem releases available at Tobira. ...

¥4,890

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Ask us for digital files.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. SKINIKO GLASS PALACE 04:08\u003cbr\u003e2. APOLITOTITA 05:00\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e3. PARKO TZENI KAREZI DEN EXEI PIA ALANIA 02:06\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e4. PSAXNW PISTH 03:59\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e5. XETHORIASMENOS 01:40\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e6. ENOXES 02:39\u003cbr\u003e\u003c\/span\u003e7. STO TIKTOK DE BAINW,DE XAZEUW 04:20\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e8. OLA EINAI ENA PSEMA 01:48\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e9. AFESI 05:18\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e10. EPITAFIOS 03:32\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e11. POLIXNI ALITIA 04:32\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeat Crimes:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eDebut full-length from DJ Loser’s gothic ambient alias delivers a phantasmic blend of blackened chamber music, dungeon techno tropes, and ritualist synthetic lore – a modern Greek fever dream for fans of Akira Yamaoka, K-holes in Skyrim, or crying in the club with your velvet gloves still on.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eEmerging from the post-club catacombs of Thessaloniki, Vanity Bay marks Angel’s Corpse’s most ambitious invocation yet – a baroque-laced, mist-wreathed descent into haunted ambient fantasia. Across 11 tracks, DJ Loser (Pantelis Terzoglou) casts off the scorched rave detritus of his mainline alias in favor of something more narcotic, more narratively driven, and ultimately more unplaceable.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIf previous works like Technophobia Network or Deathtripper EVO flirted with the sacred\/profane divide, Vanity Bay plunges straight into its depths – a world of glitched-out Gregorian chants, decaying synth choirs, and organ drones that flicker like candlelight in an abandoned cathedral. At times evoking the windswept melancholy of Twin Peaks or the spectral desolation of late-‘90s survival horror OSTs, the album treads a fine line between affective ambient fiction and hardcore spectral poetics.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eFans of Manni Dee’s gothic lacerations, Christos\u003cspan class=\"bcTruncateMore\"\u003e Chondropoulos’ faux-ritualism, or even JS Bach filtered through a crusty VST will find plenty to lose themselves in here. But Vanity Bay is less about genre allegiance than emotional excavation – a record that functions as myth-making, mourning, and myth-breaking all at once.\u003cbr\u003e\u003cbr\u003eA shadow-drenched debut that positions Angel’s Corpse as a vital node in the mutant continuum of Greek sound art – one eye on the club, the other staring unblinking into the void.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Angel's Corpse\u003c\/p\u003e\n\u003cp\u003eLabel : Heat Crimes\u003c\/p\u003e\n\u003cp\u003eRelease date : 1st December 2025\u003c\/p\u003e","published_at":"2025-12-05T07:48:45+09:00","created_at":"2025-12-04T10:13:39+09:00","vendor":"Tobira Records","type":"","tags":["ambient","drone","heat crimes","lp","new","strange beats"],"price":486000,"price_min":486000,"price_max":486000,"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":48060534718714,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Angel's Corpse \/\/ Vanity Bay LP","public_title":null,"options":["Default Title"],"price":486000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/bay1_ad5f03bb-0905-4f88-8cff-57e6e6e8732c.jpg?v=1764810721","\/\/tobirarecords.com\/cdn\/shop\/files\/bay2_ae1bf7f3-9b1e-4786-a01b-0662ae9950cd.jpg?v=1764810721"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/bay1_ad5f03bb-0905-4f88-8cff-57e6e6e8732c.jpg?v=1764810721","options":["Title"],"media":[{"alt":null,"id":37694600872186,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bay1_ad5f03bb-0905-4f88-8cff-57e6e6e8732c.jpg?v=1764810721"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bay1_ad5f03bb-0905-4f88-8cff-57e6e6e8732c.jpg?v=1764810721","width":700},{"alt":null,"id":37694600904954,"position":2,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bay2_ae1bf7f3-9b1e-4786-a01b-0662ae9950cd.jpg?v=1764810721"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bay2_ae1bf7f3-9b1e-4786-a01b-0662ae9950cd.jpg?v=1764810721","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan\u003eギリシャの実験／アンビエント作家Angel's Corpse aka DJ Loserが、2025年12月にウガンダ・カンパラのレフトフィールド・ダンスレーベルNyege Nyege傘下Heat Crimesからリリースしたレコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eゴシックでリチュアリスティックなアンビエント〜ダークアンビエント11曲を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\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\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e以下、レーベルによる解説です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"DJ Loserのゴシック・アンビエント名義によるデビュー・フルレングスは、黒く染まった室内楽、ダンジョン・テクノの定型、儀式的な合成の伝承が幻想的に融合した作品だ。スカイリムのKホール、あるいはベルベットの手袋をはめたままクラブで泣くような体験を求めるファンに向けた、現代ギリシャの熱病的な夢である。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eテッサロニキのポストクラブ地下墓場から出現した『Vanity Bay』は、Angel's Corpseにとって最も野心的な召喚となる——バロック調の装飾と霧に包まれた、幽霊の住むアンビエント幻想への降下だ。全11トラックにわたり、DJ Loser（パントリス・テルゾグル）は本流名義の焦げたレイヴの残骸を脱ぎ捨て、より麻薬的で、より物語性に駆られ、そして究極的に場所を特定できない何かへと移行する。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e『Technophobia Network』や『Deathtripper EVO』といった過去の作品が神聖と俗悪の境界を弄んだのに対し、『Vanity Bay』はその深淵へ真っ直ぐに飛び込む。グリッチしたグレゴリオ聖歌、朽ちゆくシンセの聖歌隊、廃大聖堂で揺らめく蝋燭の光のようにちらつくオルガンのドローンが織りなす世界だ。時に『ツイン・ピークス』の荒涼たる哀愁を、時に90年代末サバイバルホラーの幽玄な荒廃を想起させる本作は、情感豊かなアンビエント・フィクションとハードコアな幽玄詩学の狭間を巧みに歩む。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eマニ・ディーのゴシックな裂傷、クリストス・ホンドロプロスの偽儀式的表現、あるいは古びたVSTを通したJ.S.バッハさえも愛好する者なら、ここに没入すべき要素を豊富に見出せるだろう。しかし『Vanity Bay』はジャンルへの忠誠よりも感情の掘り起こしに焦点を当てた作品だ——神話創造、哀悼、神話破壊を同時に果たすレコードである。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e影に浸されたこのデビュー作は、Angel's Corpseをギリシャ音響芸術の変異連続体における重要な結節点として位置づける。片目はクラブに向けられ、もう片方は虚無を瞬きもせず見つめ続ける存在だ。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2488900852\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/hakku\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/hakku\"\u003ehere\u003c\/a\u003e to see more Hakuna Kulala \/ Nyege Nyege Tapes \/ Heat Crimes releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e-----------------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl. Ask us for digital files.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. SKINIKO GLASS PALACE 04:08\u003cbr\u003e2. APOLITOTITA 05:00\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e3. PARKO TZENI KAREZI DEN EXEI PIA ALANIA 02:06\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e4. PSAXNW PISTH 03:59\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e5. XETHORIASMENOS 01:40\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e6. ENOXES 02:39\u003cbr\u003e\u003c\/span\u003e7. STO TIKTOK DE BAINW,DE XAZEUW 04:20\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e8. OLA EINAI ENA PSEMA 01:48\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e9. AFESI 05:18\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e10. EPITAFIOS 03:32\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e11. POLIXNI ALITIA 04:32\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeat Crimes:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eDebut full-length from DJ Loser’s gothic ambient alias delivers a phantasmic blend of blackened chamber music, dungeon techno tropes, and ritualist synthetic lore – a modern Greek fever dream for fans of Akira Yamaoka, K-holes in Skyrim, or crying in the club with your velvet gloves still on.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eEmerging from the post-club catacombs of Thessaloniki, Vanity Bay marks Angel’s Corpse’s most ambitious invocation yet – a baroque-laced, mist-wreathed descent into haunted ambient fantasia. Across 11 tracks, DJ Loser (Pantelis Terzoglou) casts off the scorched rave detritus of his mainline alias in favor of something more narcotic, more narratively driven, and ultimately more unplaceable.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIf previous works like Technophobia Network or Deathtripper EVO flirted with the sacred\/profane divide, Vanity Bay plunges straight into its depths – a world of glitched-out Gregorian chants, decaying synth choirs, and organ drones that flicker like candlelight in an abandoned cathedral. At times evoking the windswept melancholy of Twin Peaks or the spectral desolation of late-‘90s survival horror OSTs, the album treads a fine line between affective ambient fiction and hardcore spectral poetics.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eFans of Manni Dee’s gothic lacerations, Christos\u003cspan class=\"bcTruncateMore\"\u003e Chondropoulos’ faux-ritualism, or even JS Bach filtered through a crusty VST will find plenty to lose themselves in here. But Vanity Bay is less about genre allegiance than emotional excavation – a record that functions as myth-making, mourning, and myth-breaking all at once.\u003cbr\u003e\u003cbr\u003eA shadow-drenched debut that positions Angel’s Corpse as a vital node in the mutant continuum of Greek sound art – one eye on the club, the other staring unblinking into the void.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Angel's Corpse\u003c\/p\u003e\n\u003cp\u003eLabel : Heat Crimes\u003c\/p\u003e\n\u003cp\u003eRelease date : 1st December 2025\u003c\/p\u003e"}

ギリシャの実験／アンビエント作家Angel's Corpse aka DJ Loserが、2025年12月にウガンダ・カンパラのレフトフィールド・ダンスレーベルNyege Nyege傘下Heat Crimesからリリースしたレコードです。ゴシックでリチュアリスティックなアンビエント〜ダークアンビエント11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、レーベルによる解説です。 "DJ Loserのゴシック・アンビエント名義によるデビュー・フルレングスは、黒く染まった室内楽、ダンジョン・テクノの定型、儀式的な合成の伝承が幻想的に融合した作品だ。スカイリムのKホール、あるいはベルベットの手袋をはめたままクラブで泣くような体験を求めるファンに向けた、現代ギリシャの熱病的な夢である。テッサロニキのポストクラブ地下墓場から出現した『Vanity Bay』は、Angel's...

¥4,860

クイックビュー {"id":9019023458554,"title":"hoyah \/\/ Set + Setting TAPE","handle":"hoyah-set-setting-tape","description":"\u003cp\u003eイギリスのサックス奏者hoyahが、2024年にドイツのテクノ\u003cspan\u003eレーベル\u003c\/span\u003e\u003cspan\u003eBRUKからリリースしたカセット\u003c\/span\u003e\u003cspan\u003eです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eサックスとMPCによるアンビエント・ジャズ〜アブストラクト・ヒップホップ12曲を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2514584163\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2514584163\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=454685499\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e-----------------------------------\u003c\/p\u003e\n\u003cp\u003eCassette in norelco case.\u003cbr\u003eEdition of 50. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. 12009 Foreword (feat Earthman Bob) 02:08\u003cbr\u003e2. Dubblebubble 05:22\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e3. 9541 - Ergot 02:41\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e4. 11835 Solumn 02:26\u003cbr\u003e\u003c\/span\u003e5. 5109 The Warp (Inst) 03:27\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e6. 7134 [Breathes Deeply] 04:58\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e7. Silence 11029 02:47\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e8. 11752 05:14\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e9. bb 10129 06:29\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e10. 9989 Treat Me Like A Dance 06:41\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e11. 131-31(-°-) 07:15\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e12. 5109 The Warp (feat Isaiah Hull) 02:50\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBruk:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eUtilising a mammoth bank of saxophone samples, Shmuel Hatchwell presents his new alias hoyah with an engrossing album captured in tape and digital form on Bruk.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe process leading to Set + Setting started out with a need for limitations to provide some focus for long-serving sound engineer and producer Hatchwell. He set out the following guidelines to accompany the overarching idea of ‘set + setting’:\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eNo ‘beats’\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eSaxophones are the voice\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eStay away from the computer for as long as possible\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eHatchwell took a deep dive in search of every saxophone sample he could find, threw them all into his MPC and then proceeded to weave together a variety of pieces. The focus on a particular instrument brings cohesion to the album, but equally the limited sound inspired freedom to experiment with other techniques and tools. At times one or two sax voices sound naked and undisturbed, while elsewhere you might only hear jagged shards or distant ghosts as they pass through aggravated processing.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eBeyond the sound itself, the name hoyah was born with the flippancy of the 21st Century and ratified by ancient tradition\u003cspan class=\"bcTruncateMore\"\u003e. After the music had been made, Hatchwell plucked the name out of thin air as a play on the TikTok meme ‘can I get a hoya,’ and subsequently discovered on a dive into his Jewish heritage that in old Hebrew hoyah means, ‘to be, become, come to pass, exist, happen, fall out.’ This distinction between Jewish concepts and modern political conflations is important to Hatchwell, who finds himself consistently having to separate Judaism from the situation in the Middle East and its ongoing genocide.\u003cbr\u003e\u003cbr\u003eSubtly calling to mind the understated cosiness of real-life sax players like Sam Gendel as well as the fragmented sample manipulation of Matmos and Tim Hecker’s approach to processed noise, hoyah’s debut album absolutely manifests an idea and musical practice as something new and intentional.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : hoyah\u003c\/p\u003e\n\u003cp\u003eLabel : Bruk\u003c\/p\u003e\n\u003cp\u003ecat no : BRUK6\u003c\/p\u003e\n\u003cp\u003eRelease date : 5th April 2024\u003c\/p\u003e","published_at":"2025-12-05T07:23:11+09:00","created_at":"2025-12-04T09:45:25+09:00","vendor":"Tobira Records","type":"","tags":["ambient","bruk","hiphop \/ funk","jazz","new","tape"],"price":299500,"price_min":299500,"price_max":299500,"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":48060509782266,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"hoyah \/\/ Set + Setting TAPE","public_title":null,"options":["Default Title"],"price":299500,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/ho1_e1b54d79-9c43-481f-a8a8-451abf5c14d1.jpg?v=1764809000","\/\/tobirarecords.com\/cdn\/shop\/files\/ho3_80a6553c-6add-4350-9c9a-d7d498a6305c.jpg?v=1764809000"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/ho1_e1b54d79-9c43-481f-a8a8-451abf5c14d1.jpg?v=1764809000","options":["Title"],"media":[{"alt":null,"id":37694546936058,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ho1_e1b54d79-9c43-481f-a8a8-451abf5c14d1.jpg?v=1764809000"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ho1_e1b54d79-9c43-481f-a8a8-451abf5c14d1.jpg?v=1764809000","width":700},{"alt":null,"id":37694547001594,"position":2,"preview_image":{"aspect_ratio":1.0,"height":600,"width":600,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ho3_80a6553c-6add-4350-9c9a-d7d498a6305c.jpg?v=1764809000"},"aspect_ratio":1.0,"height":600,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ho3_80a6553c-6add-4350-9c9a-d7d498a6305c.jpg?v=1764809000","width":600}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eイギリスのサックス奏者hoyahが、2024年にドイツのテクノ\u003cspan\u003eレーベル\u003c\/span\u003e\u003cspan\u003eBRUKからリリースしたカセット\u003c\/span\u003e\u003cspan\u003eです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eサックスとMPCによるアンビエント・ジャズ〜アブストラクト・ヒップホップ12曲を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2514584163\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2514584163\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=454685499\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e-----------------------------------\u003c\/p\u003e\n\u003cp\u003eCassette in norelco case.\u003cbr\u003eEdition of 50. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. 12009 Foreword (feat Earthman Bob) 02:08\u003cbr\u003e2. Dubblebubble 05:22\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e3. 9541 - Ergot 02:41\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e4. 11835 Solumn 02:26\u003cbr\u003e\u003c\/span\u003e5. 5109 The Warp (Inst) 03:27\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e6. 7134 [Breathes Deeply] 04:58\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e7. Silence 11029 02:47\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e8. 11752 05:14\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e9. bb 10129 06:29\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e10. 9989 Treat Me Like A Dance 06:41\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e11. 131-31(-°-) 07:15\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e12. 5109 The Warp (feat Isaiah Hull) 02:50\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBruk:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eUtilising a mammoth bank of saxophone samples, Shmuel Hatchwell presents his new alias hoyah with an engrossing album captured in tape and digital form on Bruk.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe process leading to Set + Setting started out with a need for limitations to provide some focus for long-serving sound engineer and producer Hatchwell. He set out the following guidelines to accompany the overarching idea of ‘set + setting’:\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eNo ‘beats’\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eSaxophones are the voice\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eStay away from the computer for as long as possible\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eHatchwell took a deep dive in search of every saxophone sample he could find, threw them all into his MPC and then proceeded to weave together a variety of pieces. The focus on a particular instrument brings cohesion to the album, but equally the limited sound inspired freedom to experiment with other techniques and tools. At times one or two sax voices sound naked and undisturbed, while elsewhere you might only hear jagged shards or distant ghosts as they pass through aggravated processing.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eBeyond the sound itself, the name hoyah was born with the flippancy of the 21st Century and ratified by ancient tradition\u003cspan class=\"bcTruncateMore\"\u003e. After the music had been made, Hatchwell plucked the name out of thin air as a play on the TikTok meme ‘can I get a hoya,’ and subsequently discovered on a dive into his Jewish heritage that in old Hebrew hoyah means, ‘to be, become, come to pass, exist, happen, fall out.’ This distinction between Jewish concepts and modern political conflations is important to Hatchwell, who finds himself consistently having to separate Judaism from the situation in the Middle East and its ongoing genocide.\u003cbr\u003e\u003cbr\u003eSubtly calling to mind the understated cosiness of real-life sax players like Sam Gendel as well as the fragmented sample manipulation of Matmos and Tim Hecker’s approach to processed noise, hoyah’s debut album absolutely manifests an idea and musical practice as something new and intentional.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : hoyah\u003c\/p\u003e\n\u003cp\u003eLabel : Bruk\u003c\/p\u003e\n\u003cp\u003ecat no : BRUK6\u003c\/p\u003e\n\u003cp\u003eRelease date : 5th April 2024\u003c\/p\u003e"}