Simili Gum // prepa21 TAPE
Simili Gum // prepa21 TAPE
¥2,160
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フランス・パリのエレクトロニック・ポップ作家Simili Gumが、2022年9月にアメリカの実験／ポップレーベルPreference Recordsから150本限定でリリースした最新カセットです。
実験的ですが甘酸っぱいエレクトロニック・R&B〜ハイパーポップ11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 Preference Records releases available at Tobira.
-----------------------------
Includes DL code. Edition of 150.
Artist : Simili Gum
Label : Preference Records
フランス・パリのエレクトロニック・ポップ作家Simili Gumが、2022年9月にアメリカの実験／ポップレーベルPreference Recordsから150本限定でリリースした最新カセットです。
実験的ですが甘酸っぱいエレクトロニック・R&B〜ハイパーポップ11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 Preference Records releases available at Tobira.
-----------------------------
Includes DL code. Edition of 150.
Artist : Simili Gum
Label : Preference Records
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Fuck Mars Save Earth 05:00\u003cbr\u003e2. Miracle Fish 05:42\u003cbr\u003e3. Do It For The Aliens 06:51\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e4. Mushroom World 04:10\u003cbr\u003e\u003c\/span\u003e5. Yacht Rock 06:28\u003cbr\u003e6. 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Fuck Mars Save Earth 05:00\u003cbr\u003e2. Miracle Fish 05:42\u003cbr\u003e3. Do It For The Aliens 06:51\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e4. Mushroom World 04:10\u003cbr\u003e\u003c\/span\u003e5. Yacht Rock 06:28\u003cbr\u003e6. Go 2 The Beach 06:08\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eArtist : breeze-man\u003c\/p\u003e\n\u003cp\u003eLabel : Preference Records\u003c\/p\u003e"}
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{"id":8803153805562,"title":"Jesse Justice \/\/ Temporary LP","handle":"jesse-justice-temporary-lp","description":"\u003cp\u003eアメリカ・LAのIDM作家Jesse Justiceが、2024年11月に自身が運営に携わるヒップホップレーベルPreference Recordsからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eIDM〜アンビエントdnb〜エレクトロニック・アンビエント8曲を収録。 \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\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2685354388\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=799359403\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2685354388\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/pref\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/pref\"\u003ehere\u003c\/a\u003e to see more Preference Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e-----------------------------\u003c\/p\u003e\n\u003cp\u003eAsk us for digital files. \u003cbr\u003e12\" black vinyl.\u003cbr\u003eEdition of 250. \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. 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Off My Chest 05:42\u003cbr\u003e2. No Real Time 05:27\u003cbr\u003e3. What Is Wrong With My Juno 00:57\u003cbr\u003e4. Certain I'm Uncertain 05:26\u003cbr\u003e5. One 03:18\u003cbr\u003e6. Vitamins 04:33\u003cbr\u003e7. Avalon Steps 03:41\u003cbr\u003e8. Return 03:50\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003ePreference Records:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"\u003cem\u003eListening to Jesse Justice’s music or hearing the Los Angeles artist play live could mean something different on any given day. He might be shredding the keys with his group Human Error Club, playing a Rhodes alongside revered jazz talent or rocking boom-bap from his trusty sampler. But there’s another side to Jesse Justice — and that’s the one behind 'Temporary.'\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Jesse Justice\u003c\/p\u003e\n\u003cp\u003eLabel : Preference Records\u003c\/p\u003e"}
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{"id":8803144761594,"title":"Pee Froiss \/\/ Wala Wala Bok? LP","handle":"pee-froiss-wala-wala-bok-lp","description":"\u003cp\u003eセネガルのヒップホップクルーPee Froissが、2025年3月にアメリカのヒップホップレーベルPreference Recordsからリリースした再発レコードです。（オリジナルは1996年カセットリリース）\u003c\/p\u003e\n\u003cp\u003e90'sアフリカン・ヒップホップ\u003cspan\u003e10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\"1996年、ダカールを拠点に活動するグループPee Froissは、セネガルのヒップホップを定義づける画期的なアルバム『Wala Wala Bok?'』をリリースした。Positive Black SoulやDaara Jといったグループと並んで、Pee Froissはセネガル・ヒップホップのチャンピオンとなり、ヒップホップと政治的闘争を結びつけることで全世代を鼓舞した。BBCに「アフリカのパブリック・エネミー」と呼ばれたPee Froissは、ヒップホップとレゲエの基礎をダカールの現実に深く根ざしたサウンドに注ぎ込み、若者の世代と共鳴する音楽を作り上げた。元々はカセットのみでリリースされた『Wala Wala Bok?'』は、セネガルのヒップホップ史の試金石であるにもかかわらず、流通から外れてしまった。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eこの『Wala Wala Bok?』のリマスター再発盤は、オリジナルリリースから約30年を経て、このアルバムの遺産を復元した。貴重なアーティスト写真とライナーノーツが掲載された48ページのブックレットが付属し、セネガル・ヒップホップの特異性とアフリカン・ヒップホップの大きな歴史への重要な貢献を讃えている。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2874710406\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/pref\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/pref\"\u003ehere\u003c\/a\u003e to see more Preference Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e-----------------------------\u003c\/p\u003e\n\u003cp\u003eAsk us for digital files. \u003cbr\u003e12\" black vinyl.\u003cbr\u003eEdition of 250.\u003cbr\u003e2025 reissue - o\u003cspan\u003eriginally released in 1996.\u003c\/span\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Wala Wala Bok? 03:56\u003cbr\u003e2. Bitabane 03:54\u003cbr\u003e3. Deuk Bi 03:42\u003cbr\u003e4. Les Cauris 04:11\u003cbr\u003e5. Xeweul 01:22\u003cbr\u003e6. Sons of da Sun 04:36\u003cbr\u003e7. Makowax 03:44\u003cbr\u003e8. Bogolu 03:45\u003cbr\u003e9. Wala Wala Bok? Remix feat. Positive Black Soul 03:59\u003cbr\u003e10. Meyma ma Naan 01:14\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003ePreference Records:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"In 1996, Dakar-based group Pee Froiss released Wala Wala Bok?, a groundbreaking album that helped define Senegalese hip hop. Alongside groups like Positive Black Soul and Daara J, Pee Froiss became champions of Senegalese hip hop, inspiring an entire generation by linking hip hop with political struggle. Dubbed “an African Public Enemy” by the BBC, Pee Froiss channeled the fundaments of hip hop and reggae into a sound deeply rooted in the realities of Dakar, crafting music that resonated with a generation of youth. Originally exclusively released on cassette, Wala Wala Bok? fell out of circulation despite being a touchstone of Senegalese hip hop history.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThis remastered reissue of Wala Wala Bok? restores the album’s legacy nearly 30 years after its original release. Accompanied by a 48-page booklet with rare artist photos and liner notes, the release celebrates the singularity of Senegalese hip hop and its vital contributions to the larger history of African hip hop.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist: Pee Froiss\u003c\/p\u003e\n\u003cp\u003eLabel : Preference Records\u003c\/p\u003e","published_at":"2025-05-30T16:10:56+09:00","created_at":"2025-05-30T12:16:18+09:00","vendor":"Tobira Records","type":"","tags":["hiphop \/ funk","lp","new","preference records"],"price":498000,"price_min":498000,"price_max":498000,"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":47360671514874,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Pee Froiss \/\/ Wala Wala Bok? LP","public_title":null,"options":["Default Title"],"price":498000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/pee1.jpg?v=1748574884","\/\/tobirarecords.com\/cdn\/shop\/files\/pee2.jpg?v=1748574885"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/pee1.jpg?v=1748574884","options":["Title"],"media":[{"alt":null,"id":36111359934714,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pee1.jpg?v=1748574884"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pee1.jpg?v=1748574884","width":700},{"alt":null,"id":36111359967482,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pee2.jpg?v=1748574885"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pee2.jpg?v=1748574885","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eセネガルのヒップホップクルーPee Froissが、2025年3月にアメリカのヒップホップレーベルPreference Recordsからリリースした再発レコードです。（オリジナルは1996年カセットリリース）\u003c\/p\u003e\n\u003cp\u003e90'sアフリカン・ヒップホップ\u003cspan\u003e10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\"1996年、ダカールを拠点に活動するグループPee Froissは、セネガルのヒップホップを定義づける画期的なアルバム『Wala Wala Bok?'』をリリースした。Positive Black SoulやDaara Jといったグループと並んで、Pee Froissはセネガル・ヒップホップのチャンピオンとなり、ヒップホップと政治的闘争を結びつけることで全世代を鼓舞した。BBCに「アフリカのパブリック・エネミー」と呼ばれたPee Froissは、ヒップホップとレゲエの基礎をダカールの現実に深く根ざしたサウンドに注ぎ込み、若者の世代と共鳴する音楽を作り上げた。元々はカセットのみでリリースされた『Wala Wala Bok?'』は、セネガルのヒップホップ史の試金石であるにもかかわらず、流通から外れてしまった。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eこの『Wala Wala Bok?』のリマスター再発盤は、オリジナルリリースから約30年を経て、このアルバムの遺産を復元した。貴重なアーティスト写真とライナーノーツが掲載された48ページのブックレットが付属し、セネガル・ヒップホップの特異性とアフリカン・ヒップホップの大きな歴史への重要な貢献を讃えている。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2874710406\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/pref\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/pref\"\u003ehere\u003c\/a\u003e to see more Preference Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e-----------------------------\u003c\/p\u003e\n\u003cp\u003eAsk us for digital files. \u003cbr\u003e12\" black vinyl.\u003cbr\u003eEdition of 250.\u003cbr\u003e2025 reissue - o\u003cspan\u003eriginally released in 1996.\u003c\/span\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Wala Wala Bok? 03:56\u003cbr\u003e2. Bitabane 03:54\u003cbr\u003e3. Deuk Bi 03:42\u003cbr\u003e4. Les Cauris 04:11\u003cbr\u003e5. Xeweul 01:22\u003cbr\u003e6. Sons of da Sun 04:36\u003cbr\u003e7. Makowax 03:44\u003cbr\u003e8. Bogolu 03:45\u003cbr\u003e9. Wala Wala Bok? Remix feat. Positive Black Soul 03:59\u003cbr\u003e10. Meyma ma Naan 01:14\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003ePreference Records:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"In 1996, Dakar-based group Pee Froiss released Wala Wala Bok?, a groundbreaking album that helped define Senegalese hip hop. Alongside groups like Positive Black Soul and Daara J, Pee Froiss became champions of Senegalese hip hop, inspiring an entire generation by linking hip hop with political struggle. Dubbed “an African Public Enemy” by the BBC, Pee Froiss channeled the fundaments of hip hop and reggae into a sound deeply rooted in the realities of Dakar, crafting music that resonated with a generation of youth. Originally exclusively released on cassette, Wala Wala Bok? fell out of circulation despite being a touchstone of Senegalese hip hop history.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThis remastered reissue of Wala Wala Bok? restores the album’s legacy nearly 30 years after its original release. Accompanied by a 48-page booklet with rare artist photos and liner notes, the release celebrates the singularity of Senegalese hip hop and its vital contributions to the larger history of African hip hop.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist: Pee Froiss\u003c\/p\u003e\n\u003cp\u003eLabel : Preference Records\u003c\/p\u003e"}
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セネガルのヒップホップクルーPee Froissが、2025年3月にアメリカのヒップホップレーベルPreference Recordsからリリースした再発レコードです。（オリジナルは1996年カセットリリース） 90'sアフリカン・ヒップホップ10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。 "1996年、ダカールを拠点に活動するグループPee Froissは、セネガルのヒップホップを定義づける画期的なアルバム『Wala Wala Bok?'』をリリースした。Positive Black SoulやDaara Jといったグループと並んで、Pee Froissはセネガル・ヒップホップのチャンピオンとなり、ヒップホップと政治的闘争を結びつけることで全世代を鼓舞した。BBCに「アフリカのパブリック・エネミー」と呼ばれたPee...
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{"id":6779485683877,"title":"Joke \/\/ Nice Days When Misremembered TAPE","handle":"joke-nice-days-when-misremembered-tape","description":"\u003cp\u003eアメリカ・ポートランドのコラージュジャズ作家Jokeが2021年4月に100本限定でリリースしたカセット。実験要素が極めて強いジャズ4曲を収録。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=641647366\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/track=2611670702\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=641647366\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eEdition of 100.\u003c\/p\u003e\n\u003cp\u003eFrom the artist:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eI put together whatever these sounds and ideas are while I was working at a park for a city years ago. I call myself a park ranger now when I speak about this job with others (which rarely happens) but, to put it simply, it was a situation similar to that of the film character Paul Blart (I’ve never seen the movie), where I was hired by a city to sit in a room in a park and tell people to stop doing things every once in a while (“Please put the turtle down, moving them is disorienting”). I had no real authority other than a uniform I never wore, so people didn’t really know why I was telling them what to do. The park itself was fairly empty because no one in the city really knew about it. It was a missile detection site during a period of geopolitical tension a while back, over time trees took over and the city turned it into a park.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eLuckily for me, the park required an attendant be there at all times because two sad teen boys unsuccessfully tried to burn it down at some point and its close proximity to houses forced the city to hire one person at minimum-wage salary to sit in a ranger room in order to discourage arson. There were no real duties that the job required, I didn’t even have to maintain anything because, in a tediously Krasznahorkai-like twist, everything in the park rapidly began dying around the time I started working there. There\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e was nothing to maintain or protect. All of the many trees were infested by some beetle due to prolonged drought, all the fish in the pond died due to an unkillable algae bloom, even the artificial streams that the city added back in the day had broken pumps, so they sat dry. Itinerant ducks would come and go because there was still one pond filled with water. People would bring pet turtles that they didn’t want anymore and throw them in the pond. That was pretty much it, as far as things I had to keep an eye out for. Other than that, I just worked on music in the ranger room. If there was an actual problem, I would ignore it or call someone from the city to fix it. There was a maintenance man who worked for the city, an old white guy in his 60s or so, who would come by every now and then when there was something to fix. He’d show up once every few months and we’d continue one long conversation that we’d been having.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHe was originally from Mississippi (I’m originally from Louisiana) and he had a swamp lunatic vibe that I found extremely endearing, probably made even more endearing by how he would constantly talk about driving out to the desert, getting on ATVs, and rifling through burial sites to collect pottery. He collected all kinds of pottery, but prized what he got from burial sites the most. I was happy to hear about his pottery theories (“You gotta find this oily grass, it’s oily, that’s where they buried their people and their pottery, right there in the oily grass”). He was also into prospecting for gold, which was why he was closely following the mass beetle infestation killing all the trees in California. With never-ending fires there was a high likelihood that larger and larger swathes of dead tree land would be burned down, and if followed by intense runs of rain (again, highly likely), the land would be burnt, then washed, making it possible for him to step in and see if anything was glinting once the sun came out. He had this dream of doing something special with the money. He wanted to buy a specific drone (he told me the model but I don’t remember) and set it to fly over a point in the ocean that he knew was favored by whales, then have the drone film the whales. This footage would be livestreamed into his sunglasses while he was doing all of his maintenance duties, or while prospecting for gold after he retired. One day he said to me, with what can only be called a faraway look in his eyes (he was wearing sunglasses), in a thick Southern accent: “You see, this way, I can have the whales in my eyes at all times.” He said this to me while I was in the middle of working on a number of musical pieces in the ranger room, most of which were discarded because they weren’t much good, but I’d like to think that the misguided, unhinged yearning of this phrase of his carried its way into every part of the work that I thought was good. That’s generally not how these things work, but one can only hope.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe only other noteworthy person working for the park was much less interesting, a dying old man with the same position at the park that I had (the city, like most employers at the time, kept a lot of part-time employees to cut down on paying benefits). This guy had extremely serious health problems and, from my perspective, would just silently sit in a chair all day decomposing. Every time I saw him, there was some new and horrible physical ailment that he was peacefully sitting with behind a desk, in a chair, in the ranger room. He was a nice guy. I would say hello and then he’d tell me how he’d been, get up, leave, I would sit in that chair, take a laptop out, put it on that desk, work on some music, and then leave the ranger room. There were other noteworthy things that were happening in my life, in the park, in the city and in the world at large at the time this project was put together, but when I think about whatever these sounds are (which happens less and less as time passes), I think about this tedious, quiet, dying, sparsely attended space, staffed with maniacal or useless employees, a place whose inexplicably stupid and unnecessary existence gives it a totemic presence in my mind.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Joke\u003c\/p\u003e\n\u003cp\u003eLabel : Preference Records\u003c\/p\u003e","published_at":"2021-05-29T20:13:44+09:00","created_at":"2021-05-24T13:09:52+09:00","vendor":"Tobira Records","type":"","tags":["jazz","monooto","preference records","tape"],"price":138000,"price_min":138000,"price_max":138000,"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":39954822856869,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Joke \/\/ Nice Days When Misremembered TAPE","public_title":null,"options":["Default Title"],"price":138000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ni1_321102de-ff3a-4616-ace0-f2063dfcbd90.jpg?v=1621829393","\/\/tobirarecords.com\/cdn\/shop\/products\/ni2_4c735955-189c-438d-a86f-2fcd23844280.jpg?v=1621829393"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ni1_321102de-ff3a-4616-ace0-f2063dfcbd90.jpg?v=1621829393","options":["Title"],"media":[{"alt":null,"id":22250279403685,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ni1_321102de-ff3a-4616-ace0-f2063dfcbd90.jpg?v=1621829393"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ni1_321102de-ff3a-4616-ace0-f2063dfcbd90.jpg?v=1621829393","width":700},{"alt":null,"id":22250279436453,"position":2,"preview_image":{"aspect_ratio":1.5,"height":800,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ni2_4c735955-189c-438d-a86f-2fcd23844280.jpg?v=1621829393"},"aspect_ratio":1.5,"height":800,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ni2_4c735955-189c-438d-a86f-2fcd23844280.jpg?v=1621829393","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカ・ポートランドのコラージュジャズ作家Jokeが2021年4月に100本限定でリリースしたカセット。実験要素が極めて強いジャズ4曲を収録。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=641647366\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/track=2611670702\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=641647366\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eEdition of 100.\u003c\/p\u003e\n\u003cp\u003eFrom the artist:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eI put together whatever these sounds and ideas are while I was working at a park for a city years ago. I call myself a park ranger now when I speak about this job with others (which rarely happens) but, to put it simply, it was a situation similar to that of the film character Paul Blart (I’ve never seen the movie), where I was hired by a city to sit in a room in a park and tell people to stop doing things every once in a while (“Please put the turtle down, moving them is disorienting”). I had no real authority other than a uniform I never wore, so people didn’t really know why I was telling them what to do. The park itself was fairly empty because no one in the city really knew about it. It was a missile detection site during a period of geopolitical tension a while back, over time trees took over and the city turned it into a park.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eLuckily for me, the park required an attendant be there at all times because two sad teen boys unsuccessfully tried to burn it down at some point and its close proximity to houses forced the city to hire one person at minimum-wage salary to sit in a ranger room in order to discourage arson. There were no real duties that the job required, I didn’t even have to maintain anything because, in a tediously Krasznahorkai-like twist, everything in the park rapidly began dying around the time I started working there. There\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e was nothing to maintain or protect. All of the many trees were infested by some beetle due to prolonged drought, all the fish in the pond died due to an unkillable algae bloom, even the artificial streams that the city added back in the day had broken pumps, so they sat dry. Itinerant ducks would come and go because there was still one pond filled with water. People would bring pet turtles that they didn’t want anymore and throw them in the pond. That was pretty much it, as far as things I had to keep an eye out for. Other than that, I just worked on music in the ranger room. If there was an actual problem, I would ignore it or call someone from the city to fix it. There was a maintenance man who worked for the city, an old white guy in his 60s or so, who would come by every now and then when there was something to fix. He’d show up once every few months and we’d continue one long conversation that we’d been having.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHe was originally from Mississippi (I’m originally from Louisiana) and he had a swamp lunatic vibe that I found extremely endearing, probably made even more endearing by how he would constantly talk about driving out to the desert, getting on ATVs, and rifling through burial sites to collect pottery. He collected all kinds of pottery, but prized what he got from burial sites the most. I was happy to hear about his pottery theories (“You gotta find this oily grass, it’s oily, that’s where they buried their people and their pottery, right there in the oily grass”). He was also into prospecting for gold, which was why he was closely following the mass beetle infestation killing all the trees in California. With never-ending fires there was a high likelihood that larger and larger swathes of dead tree land would be burned down, and if followed by intense runs of rain (again, highly likely), the land would be burnt, then washed, making it possible for him to step in and see if anything was glinting once the sun came out. He had this dream of doing something special with the money. He wanted to buy a specific drone (he told me the model but I don’t remember) and set it to fly over a point in the ocean that he knew was favored by whales, then have the drone film the whales. This footage would be livestreamed into his sunglasses while he was doing all of his maintenance duties, or while prospecting for gold after he retired. One day he said to me, with what can only be called a faraway look in his eyes (he was wearing sunglasses), in a thick Southern accent: “You see, this way, I can have the whales in my eyes at all times.” He said this to me while I was in the middle of working on a number of musical pieces in the ranger room, most of which were discarded because they weren’t much good, but I’d like to think that the misguided, unhinged yearning of this phrase of his carried its way into every part of the work that I thought was good. That’s generally not how these things work, but one can only hope.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe only other noteworthy person working for the park was much less interesting, a dying old man with the same position at the park that I had (the city, like most employers at the time, kept a lot of part-time employees to cut down on paying benefits). This guy had extremely serious health problems and, from my perspective, would just silently sit in a chair all day decomposing. Every time I saw him, there was some new and horrible physical ailment that he was peacefully sitting with behind a desk, in a chair, in the ranger room. He was a nice guy. I would say hello and then he’d tell me how he’d been, get up, leave, I would sit in that chair, take a laptop out, put it on that desk, work on some music, and then leave the ranger room. There were other noteworthy things that were happening in my life, in the park, in the city and in the world at large at the time this project was put together, but when I think about whatever these sounds are (which happens less and less as time passes), I think about this tedious, quiet, dying, sparsely attended space, staffed with maniacal or useless employees, a place whose inexplicably stupid and unnecessary existence gives it a totemic presence in my mind.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Joke\u003c\/p\u003e\n\u003cp\u003eLabel : Preference Records\u003c\/p\u003e"}
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アメリカ・ポートランドのコラージュジャズ作家Jokeが2021年4月に100本限定でリリースしたカセット。実験要素が極めて強いジャズ4曲を収録。DLコード付属。 Edition of 100. From the artist: "I put together whatever these sounds and ideas...
¥1,380