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{"id":7834225606906,"title":"Takehisa Kosugi + Akio Suzuki \/\/ New Sense of Hearing LP","handle":"takehisa-kosugi-akio-suzuki-new-sense-of-hearing-lp","description":"\u003cp\u003e日本の大御所実験音楽家Takehisa KosugiとAkio Suzukiが1980年にリリースしたCDの再発レコード盤です。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2668235880\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003eBlank Forms Editions:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAvailable from Blank Forms for the first time since its original 1980 release on ALM-Uranoia, New Sense of Hearing documents a collaboration between Takehisa Kosugi and Akio Suzuki, two luminaries of Japanese experimental music in the lineage of Fluxus. Blank Forms’s high-quality reissue of the sought-after, long out of print LP, is produced by musician-artist Aki Onda and mastered from the original tapes recorded on April 2, 1979, at Tokyo’s Aeolian Hall.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eDescribed by Suzuki as the “culmination” of their sound, New Sense of Hearing features the two musicians improvising together in that empty Tokyo theater, Kosugi on vocals, violin, and radio transmitter and Suzuki on the Analapos, his namesake glass harmonica, spring cong, and kikkokikiriki, all apparatuses of his own invention.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eSuzuki and Kosugi first met at the city’s Minami Gallery in 1976 on the occasion of “Sound Objects and Sound Tools,” an exhibition of Suzuki’s homemade instruments. Two years later, at the Festival d’Automne in Paris, Suzuki invited Kosugi to join him for a suite of performances as part of the exhibition “MA: Espace – Temps au Japon,” organized by architect Arata Isozaki and composer-writer Tōru Takemitsu. Suzuki and Kosugi performed together at the Musée des Arts Décoratifs, Paris, nearly fifty times, honing\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e their approach to mutual improvisation, before traveling with the exhibition to Stockholm and New York—critic Tom Johnson wrote in the Village Voice that he had “seldom seen two performers so completely tuned in on the same types of sounds, the same performance attitude, the same philosophy, the same sense of what music ought to be.” For New Sense of Hearing, the duo reunited in Japan and produced an extraordinary dispatch from their collaboration of arioso violin, echoing vocals and bangs, and metallic twangs. As Johnson observed in 1979, Kosugi and Suzuki are “in a very subtle artistic world where there can be no direct relationships. . . . Only coincidence.”\u003c\/span\u003e '\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Takehisa Kosugi + Akio Suzuki\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlank Forms Editions\u003c\/span\u003e\u003c\/p\u003e","published_at":"2022-11-10T14:01:57+09:00","created_at":"2022-11-10T13:35:33+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","jazz","lp","monooto","new"],"price":2600,"price_min":2600,"price_max":2600,"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":43635101827322,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Takehisa Kosugi + Akio Suzuki \/\/ New Sense of Hearing LP","public_title":null,"options":["Default Title"],"price":2600,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/se1_2dd1bbe2-5511-4e40-8660-d7997260f0a7.jpg?v=1668054934","\/\/tobirarecords.com\/cdn\/shop\/products\/se2_48427052-c31e-48d6-ac20-7b5be0c4bac7.jpg?v=1668054934"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/se1_2dd1bbe2-5511-4e40-8660-d7997260f0a7.jpg?v=1668054934","options":["Title"],"media":[{"alt":null,"id":30966693724410,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/se1_2dd1bbe2-5511-4e40-8660-d7997260f0a7.jpg?v=1668054934"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/se1_2dd1bbe2-5511-4e40-8660-d7997260f0a7.jpg?v=1668054934","width":700},{"alt":null,"id":30966693757178,"position":2,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/se2_48427052-c31e-48d6-ac20-7b5be0c4bac7.jpg?v=1668054934"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/se2_48427052-c31e-48d6-ac20-7b5be0c4bac7.jpg?v=1668054934","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e日本の大御所実験音楽家Takehisa KosugiとAkio Suzukiが1980年にリリースしたCDの再発レコード盤です。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2668235880\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003eBlank Forms Editions:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAvailable from Blank Forms for the first time since its original 1980 release on ALM-Uranoia, New Sense of Hearing documents a collaboration between Takehisa Kosugi and Akio Suzuki, two luminaries of Japanese experimental music in the lineage of Fluxus. Blank Forms’s high-quality reissue of the sought-after, long out of print LP, is produced by musician-artist Aki Onda and mastered from the original tapes recorded on April 2, 1979, at Tokyo’s Aeolian Hall.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eDescribed by Suzuki as the “culmination” of their sound, New Sense of Hearing features the two musicians improvising together in that empty Tokyo theater, Kosugi on vocals, violin, and radio transmitter and Suzuki on the Analapos, his namesake glass harmonica, spring cong, and kikkokikiriki, all apparatuses of his own invention.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eSuzuki and Kosugi first met at the city’s Minami Gallery in 1976 on the occasion of “Sound Objects and Sound Tools,” an exhibition of Suzuki’s homemade instruments. Two years later, at the Festival d’Automne in Paris, Suzuki invited Kosugi to join him for a suite of performances as part of the exhibition “MA: Espace – Temps au Japon,” organized by architect Arata Isozaki and composer-writer Tōru Takemitsu. Suzuki and Kosugi performed together at the Musée des Arts Décoratifs, Paris, nearly fifty times, honing\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e their approach to mutual improvisation, before traveling with the exhibition to Stockholm and New York—critic Tom Johnson wrote in the Village Voice that he had “seldom seen two performers so completely tuned in on the same types of sounds, the same performance attitude, the same philosophy, the same sense of what music ought to be.” For New Sense of Hearing, the duo reunited in Japan and produced an extraordinary dispatch from their collaboration of arioso violin, echoing vocals and bangs, and metallic twangs. As Johnson observed in 1979, Kosugi and Suzuki are “in a very subtle artistic world where there can be no direct relationships. . . . Only coincidence.”\u003c\/span\u003e '\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Takehisa Kosugi + Akio Suzuki\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlank Forms Editions\u003c\/span\u003e\u003c\/p\u003e"}
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日本の大御所実験音楽家Takehisa KosugiとAkio Suzukiが1980年にリリースしたCDの再発レコード盤です。 レーベルその他作品はこちら /// Click here to see more Blank Forms Editions releases available at Tobira. ------------------------...
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{"id":7484385853690,"title":"Don Cherry \/\/ The Summer House Sessions LP \/ 2xCD","handle":"don-cherry-the-summer-house-sessions-lp-2xcd","description":"\u003cp\u003e伝説のスピリチュアルジャズ作家Don Cherryのアーカイブ音源です。以下、レーベル解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"1968年、\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eDon Cherry\u003c\/span\u003eすでにアバンギャルドの主役の一人としての地位を確立していた。オーネット・コールマンのクラシック・カルテットのメンバーとしてフリージャズの先駆者となり、ジョン・コルトレーンとのコラボレーションで注目を集めていたドン・チェリーは、パートナーのモキと娘のネネとともにスウェーデンに移住した。彼はスウェーデンのミュージシャンを集め、1968年2月から4月まで、ABF（Workers' Educational Association）で毎週ワークショップを開き、呼吸法、ドローン、トルコのリズム、倍音、静寂、自然な声、インドの音階など、即興演奏の延長線上のレッスンを行った。その夏、のちにドンの名盤「オーガニック・ミュージック・ソサエティ」と「エターナル・ナウ」を録音したサックス奏者でレコーディング・エンジニアのヨーラン・フリーズが、ドンと彼の2つのワーキング・バンドのメンバー、そしてトルコ人ドラマーをストックホルム郊外のクンメルナスにある彼の別荘に招待し、前月のワークショップを実践するためのリハーサルとジャム・セッションを重ねたのである。長い間、ドンのセッション記録の中で謎の脚注として扱われてきましたが、このセッションのテープと、リリース用にプロがミックスしたテープが最近、Swedish Jazz Archiveの保管庫で発見され、失われていた「Summer House Sessions」が録音から50年以上経ってようやく入手可能になった。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e7月20日、フリースの別荘に集まったのは、ドンのスウェーデンのグループから、ベルント・ローゼングレン（テナーサックス、フルート、クラリネット）、トミー・コヴァーフルト（テナーサックス、フルート）、レイフ・ウェンナーストレム（ドラムス）、トールビョーン・フルトクランツ（ベース）らが参加した。ドンのスウェーデンのグループからレイフ・ウェンナーストレム（ドラムス）、トルビョーン・フルトクランツ（ベース）、ジャック・トロット（ドラムス）、ケント・カーター（ベース）、トルコから来たビュレント・アテシュ（ハンドドラム、ドラムス）、そしてドン自身（ポケットトランペット、フルート、パーカッション）。共通の言語を持たない彼らは、音楽を共通のコミュニケーション手段としていた。これは、ドンが「エターナル・リズム」を発表する4ヵ月前に、より明確に汎民族的な表現をするようになることを先取りした、熱狂的で自由奔放なセッションである。アメリカ、フランス、スウェーデン、トルコのミュージシャンで構成されたオクテットは、ドンが始めた「コラージュ・ミュージック」を追求するための完璧な手段であった。このコンセプトは、ドンが短波ラジオで世界中の音を聴いていたことにも触発されている。コラージュ・ミュージックとは、短波ラジオで世界中の音を聴きながら、ソロや曲の導入部を省き、豊富なメロディー、サウンド、リズムを、さまざまな雰囲気と変化に富んだ詩的な組曲に変換することである。サマーハウス・セッションのアンサンブルは、様々な文化的イディオムを楽しく重ね合わせ、チェリーの地上のビジョンの空気のような山と穏やかな谷を横断している。\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=464474537\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e2xCD set in jewel case, with slipcase and OBI strip.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eLP on black vinyl, pressed at RTI and housed in a heavy-duty tip-on Stoughton jacket, with insert.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eRecorded July 20, 1968 at Kummelnäs, Sweden by Göran Freese\u003cbr\u003eAudio restoration by Robbie Lee\u003cbr\u003eMastering for vinyl by Kassian Troyer at Dubplates \u0026amp; Mastering, Berlin\u003cbr\u003eCover painting by Moki Cherry: Untitled, ca. 1967-68\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eText by \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eIn 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman’s classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers’ Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese—who later recorded Don’s classic Organic Music Society and Eternal Now LPs—invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months’ workshops into practice. Long relegated to the status of a mysterious footnote in Don’s sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e over fifty years after they were recorded.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOn July 20, the musicians gathered at Freese’s summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don’s Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ateş (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don’s turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don’s budding pursuit of “collage music,” a concept inspired in part by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry’s earthly vision.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWith liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967–68.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Don Cherry\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlank Forms Editions\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-12-06T11:53:00+09:00","created_at":"2021-12-06T11:32:06+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","cd","jazz","lp","tape"],"price":1800,"price_min":1800,"price_max":2700,"available":true,"price_varies":true,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":42154070802682,"title":"LP","option1":"LP","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Don Cherry \/\/ The Summer House Sessions LP \/ 2xCD - LP","public_title":"LP","options":["LP"],"price":2700,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]},{"id":42154070835450,"title":"CD","option1":"CD","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Don Cherry \/\/ The Summer House Sessions LP \/ 2xCD - CD","public_title":"CD","options":["CD"],"price":1800,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ho_c20c9da7-a476-4293-b732-759a4e54a7b8.jpg?v=1638757929","\/\/tobirarecords.com\/cdn\/shop\/products\/ho2_c9b326ff-355e-49a8-996c-9e4b9cf4ec70.jpg?v=1638757928","\/\/tobirarecords.com\/cdn\/shop\/products\/ho3_3ef4318e-aeab-4b74-8776-2508b5037936.jpg?v=1638757928"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ho_c20c9da7-a476-4293-b732-759a4e54a7b8.jpg?v=1638757929","options":["format"],"media":[{"alt":null,"id":28822054011130,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ho_c20c9da7-a476-4293-b732-759a4e54a7b8.jpg?v=1638757929"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ho_c20c9da7-a476-4293-b732-759a4e54a7b8.jpg?v=1638757929","width":700},{"alt":null,"id":28822054043898,"position":2,"preview_image":{"aspect_ratio":1.402,"height":856,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ho2_c9b326ff-355e-49a8-996c-9e4b9cf4ec70.jpg?v=1638757928"},"aspect_ratio":1.402,"height":856,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ho2_c9b326ff-355e-49a8-996c-9e4b9cf4ec70.jpg?v=1638757928","width":1200},{"alt":null,"id":28822054076666,"position":3,"preview_image":{"aspect_ratio":1.33,"height":902,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ho3_3ef4318e-aeab-4b74-8776-2508b5037936.jpg?v=1638757928"},"aspect_ratio":1.33,"height":902,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ho3_3ef4318e-aeab-4b74-8776-2508b5037936.jpg?v=1638757928","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e伝説のスピリチュアルジャズ作家Don Cherryのアーカイブ音源です。以下、レーベル解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"1968年、\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eDon Cherry\u003c\/span\u003eすでにアバンギャルドの主役の一人としての地位を確立していた。オーネット・コールマンのクラシック・カルテットのメンバーとしてフリージャズの先駆者となり、ジョン・コルトレーンとのコラボレーションで注目を集めていたドン・チェリーは、パートナーのモキと娘のネネとともにスウェーデンに移住した。彼はスウェーデンのミュージシャンを集め、1968年2月から4月まで、ABF（Workers' Educational Association）で毎週ワークショップを開き、呼吸法、ドローン、トルコのリズム、倍音、静寂、自然な声、インドの音階など、即興演奏の延長線上のレッスンを行った。その夏、のちにドンの名盤「オーガニック・ミュージック・ソサエティ」と「エターナル・ナウ」を録音したサックス奏者でレコーディング・エンジニアのヨーラン・フリーズが、ドンと彼の2つのワーキング・バンドのメンバー、そしてトルコ人ドラマーをストックホルム郊外のクンメルナスにある彼の別荘に招待し、前月のワークショップを実践するためのリハーサルとジャム・セッションを重ねたのである。長い間、ドンのセッション記録の中で謎の脚注として扱われてきましたが、このセッションのテープと、リリース用にプロがミックスしたテープが最近、Swedish Jazz Archiveの保管庫で発見され、失われていた「Summer House Sessions」が録音から50年以上経ってようやく入手可能になった。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e7月20日、フリースの別荘に集まったのは、ドンのスウェーデンのグループから、ベルント・ローゼングレン（テナーサックス、フルート、クラリネット）、トミー・コヴァーフルト（テナーサックス、フルート）、レイフ・ウェンナーストレム（ドラムス）、トールビョーン・フルトクランツ（ベース）らが参加した。ドンのスウェーデンのグループからレイフ・ウェンナーストレム（ドラムス）、トルビョーン・フルトクランツ（ベース）、ジャック・トロット（ドラムス）、ケント・カーター（ベース）、トルコから来たビュレント・アテシュ（ハンドドラム、ドラムス）、そしてドン自身（ポケットトランペット、フルート、パーカッション）。共通の言語を持たない彼らは、音楽を共通のコミュニケーション手段としていた。これは、ドンが「エターナル・リズム」を発表する4ヵ月前に、より明確に汎民族的な表現をするようになることを先取りした、熱狂的で自由奔放なセッションである。アメリカ、フランス、スウェーデン、トルコのミュージシャンで構成されたオクテットは、ドンが始めた「コラージュ・ミュージック」を追求するための完璧な手段であった。このコンセプトは、ドンが短波ラジオで世界中の音を聴いていたことにも触発されている。コラージュ・ミュージックとは、短波ラジオで世界中の音を聴きながら、ソロや曲の導入部を省き、豊富なメロディー、サウンド、リズムを、さまざまな雰囲気と変化に富んだ詩的な組曲に変換することである。サマーハウス・セッションのアンサンブルは、様々な文化的イディオムを楽しく重ね合わせ、チェリーの地上のビジョンの空気のような山と穏やかな谷を横断している。\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=464474537\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e2xCD set in jewel case, with slipcase and OBI strip.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eLP on black vinyl, pressed at RTI and housed in a heavy-duty tip-on Stoughton jacket, with insert.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eRecorded July 20, 1968 at Kummelnäs, Sweden by Göran Freese\u003cbr\u003eAudio restoration by Robbie Lee\u003cbr\u003eMastering for vinyl by Kassian Troyer at Dubplates \u0026amp; Mastering, Berlin\u003cbr\u003eCover painting by Moki Cherry: Untitled, ca. 1967-68\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eText by \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eIn 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman’s classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers’ Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese—who later recorded Don’s classic Organic Music Society and Eternal Now LPs—invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months’ workshops into practice. Long relegated to the status of a mysterious footnote in Don’s sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e over fifty years after they were recorded.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOn July 20, the musicians gathered at Freese’s summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don’s Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ateş (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don’s turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don’s budding pursuit of “collage music,” a concept inspired in part by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry’s earthly vision.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWith liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967–68.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Don Cherry\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlank Forms Editions\u003c\/span\u003e\u003c\/p\u003e"}
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伝説のスピリチュアルジャズ作家Don Cherryのアーカイブ音源です。以下、レーベル解説です。 "1968年、 Don Cherryすでにアバンギャルドの主役の一人としての地位を確立していた。オーネット・コールマンのクラシック・カルテットのメンバーとしてフリージャズの先駆者となり、ジョン・コルトレーンとのコラボレーションで注目を集めていたドン・チェリーは、パートナーのモキと娘のネネとともにスウェーデンに移住した。彼はスウェーデンのミュージシャンを集め、1968年2月から4月まで、ABF（Workers' Educational Association）で毎週ワークショップを開き、呼吸法、ドローン、トルコのリズム、倍音、静寂、自然な声、インドの音階など、即興演奏の延長線上のレッスンを行った。その夏、のちにドンの名盤「オーガニック・ミュージック・ソサエティ」と「エターナル・ナウ」を録音したサックス奏者でレコーディング・エンジニアのヨーラン・フリーズが、ドンと彼の2つのワーキング・バンドのメンバー、そしてトルコ人ドラマーをストックホルム郊外のクンメルナスにある彼の別荘に招待し、前月のワークショップを実践するためのリハーサルとジャム・セッションを重ねたのである。長い間、ドンのセッション記録の中で謎の脚注として扱われてきましたが、このセッションのテープと、リリース用にプロがミックスしたテープが最近、Swedish Jazz Archiveの保管庫で発見され、失われていた「Summer House Sessions」が録音から50年以上経ってようやく入手可能になった。7月20日、フリースの別荘に集まったのは、ドンのスウェーデンのグループから、ベルント・ローゼングレン（テナーサックス、フルート、クラリネット）、トミー・コヴァーフルト（テナーサックス、フルート）、レイフ・ウェンナーストレム（ドラムス）、トールビョーン・フルトクランツ（ベース）らが参加した。ドンのスウェーデンのグループからレイフ・ウェンナーストレム（ドラムス）、トルビョーン・フルトクランツ（ベース）、ジャック・トロット（ドラムス）、ケント・カーター（ベース）、トルコから来たビュレント・アテシュ（ハンドドラム、ドラムス）、そしてドン自身（ポケットトランペット、フルート、パーカッション）。共通の言語を持たない彼らは、音楽を共通のコミュニケーション手段としていた。これは、ドンが「エターナル・リズム」を発表する4ヵ月前に、より明確に汎民族的な表現をするようになることを先取りした、熱狂的で自由奔放なセッションである。アメリカ、フランス、スウェーデン、トルコのミュージシャンで構成されたオクテットは、ドンが始めた「コラージュ・ミュージック」を追求するための完璧な手段であった。このコンセプトは、ドンが短波ラジオで世界中の音を聴いていたことにも触発されている。コラージュ・ミュージックとは、短波ラジオで世界中の音を聴きながら、ソロや曲の導入部を省き、豊富なメロディー、サウンド、リズムを、さまざまな雰囲気と変化に富んだ詩的な組曲に変換することである。サマーハウス・セッションのアンサンブルは、様々な文化的イディオムを楽しく重ね合わせ、チェリーの地上のビジョンの空気のような山と穏やかな谷を横断している。 レーベルその他作品はこちら /// Click here to see...
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{"id":7484382740730,"title":"Don Cherry's New Researches featuring Naná Vasconcelos \/\/ Organic Music Theatre: Festival de jazz de Chateauvallon 1972 2xLP \/ 2xCD","handle":"don-cherrys-new-researches-featuring-nana-vasconcelos-organic-music-theatre-festival-de-jazz-de-chateauvallon-1972-2xlp-2xcd","description":"\u003cp\u003e伝説のスピリチュアルジャズ作家Don Cherryのアーカイブ音源です。以下、レーベル解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"1960年代後半、アメリカのトランペット奏者でフリージャズのパイオニアであるドン・チェリー（1936-1995）と、スウェーデンのビジュアルアーティスト兼デザイナーのモキ・チェリー（1943-2009）は、創造的な音楽のための別の空間を想像してコラボレーションを始めた。1972年までに、彼らはドンの音楽、モキの芸術、そしてスウェーデンの田舎町タゴールプでの家族の生活を一つの総合的な実体として統合するコンセプトに名前を付けました。オーガニック・ミュージック・シアター」。ここに収録されているのは、1972年に南フランスのシャトーヴァロンで開催されたフェスティバル・オブ・ジャズでの歴史的なオーガニック・ミュージック・シアターの初演であり、公共テレビで生放送された際に録音されたテープをマスタリングしたものである。ドン・チェリーがジャズ・ミュージシャンとしてのアイデンティティを捨て、後に「Organic Music Society」、「Relativity Suite」、「Brown Rice」、そしてアレハンドロ・ホドロフスキー監督の「The Holy Mountain」のサウンドトラックなどに結実する共同体的な \"神秘的 \"な時期の始まりを告げるパフォーマンスである。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eドン・チェリーのニュー・リサーチのミュージシャンたちは、ブラジル、スウェーデン、フランス、アメリカ出身で、ヨーロッパ各地からシャトーヴァロンに集結した。DonとMoki Cherry、Christer Bothén、Gérard \"Doudou\" Gouirand、Naná Vasconcelosの5人のバンドは、屋外の円形劇場で演奏し、ステージには、旅に同行したスウェーデン人の友人や、コペンハーゲンのクリスチャニアを拠点とするデンマークの人形劇団Det Lilla Circus（The Little Circus）など、十数人の大人や子どもが参加した。壇上にはモキさんの絨毯が敷かれ、インドの鱗を描いた手作りの鮮やかな色のタペストリーにはOrganic Music Theatreの文字が入っていて、舞台を彩っている。ミュージシャンの演奏に合わせて、アニー・ヘドヴァール率いる「デット・リラ」のメンバーが踊り、歌い、高い位置にあるポールで即興の人形劇を披露した。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eシャトーヴァロンの音楽は、歌を通して人々を結びつける世界共通の言語を目指していた。ドンは、得意のポケットトランペットを捨てて、ピアノとハルモニウムに持ち替え、声をシャーマニックなガイダンスのための楽器として解放するという前代未聞の行動に出た。後にドンのアルバム『Organic Music Society』や『Home Boy (Sister Out)』に収録された曲も含め、マリ、南アフリカ、ブラジル、アメリカ先住民の高揚感のある神聖な曲が次々と演奏され、その間、人形使いたちが憑依したようなグロッソラリアが飛び交います。\"Relativity Suite, Part 1 \"では、Bothénがドンソ・ンゴニ（マリの狩猟用ギター）を演奏した後、Vasconcelosがベリンバウで延々とソロを取るのが特徴的だ。ワウのような微分音の渦の中で、ヴァスコンセロスはこのブラジルの一弦楽器を見事に演奏し、ドンとともにに高い評価を得ているグループ、コドナのメンバーとしての活動を予感させる。また、ジム・ペッパーの「Witchi Tai To」の演奏では、子供たちの声が聞こえてきて、非常に親しみやすい雰囲気を醸し出しています。国際的なジャズフェスティバルというスターの集まる場にあって、このコンサートのゆったりとした共同体的な雰囲気は、チェリーズがドンのジャズの聴衆に、彼が前に進んでいることを示そうとしているように感じられる。しかし、それは同時に、ドンが観客を温かく招待しているということでもある。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eマグナス・ナイグレンによるライナーノート付き。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1482469441\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e2xCD set in jewel case, with slipcase and OBI strip.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e2xLP on black vinyl, pressed at RTI and housed in a heavy-duty tip-on gatefold Stoughton jacket\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eText by \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003eIn the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936–1995) and the Swedish visual artist and designer Moki Cherry (1943–2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki’s aphorism “the stage is home and home is a stage.” By 1972, they had given name to a concept that united Don’s music, Moki’s art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don’s extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal “mystical” period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky’s The Holy Mountain.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe musicians in Don Cherry’s New Researches, hailing from Brazil, Sweden, France, and the US, converged on\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e Chateauvallon from all over Europe. The five-person band—Don and Moki Cherry, Christer Bothén, Gérard “Doudou” Gouirand, and Naná Vasconcelos— performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki’s carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe music in the Chateauvallon concert aspired to a universal language that would bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta “Dha Dhin Na, Dha Tin Na,” and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance—including pieces that would later appear on Don’s albums Organic Music Society and Home Boy (Sister Out)—all punctuated by outbursts of possessed glossolalia from the puppeteers. “Relativity Suite, Part 1” notably spotlights Bothén on donso ngoni, a Malian hunter’s guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos’s masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona. The sounds of children playing on the ensemble’s achingly tender rendition of Jim Pepper’s oft-covered beacon of spiritual optimism, “Witchi Tai To,” lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the concert’s laid back, communal vibe feels like an attempt by the Cherrys to show Don’s jazz audience that he was moving on. At the same time, however, Don was extending a warmhearted invitation for them to come along for the ride.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWith liner notes by Magnus Nygren.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Don Cherry's New Researches featuring Naná Vasconcelos\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlank Forms Editions \u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-12-06T11:54:45+09:00","created_at":"2021-12-06T11:27:15+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","cd","jazz","lp"],"price":1700,"price_min":1700,"price_max":3200,"available":true,"price_varies":true,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":42154062708986,"title":"LP","option1":"LP","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":{"id":36272368681210,"product_id":7484382740730,"position":3,"created_at":"2021-12-06T11:27:15+09:00","updated_at":"2021-12-06T11:27:17+09:00","alt":null,"width":1200,"height":842,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/mu3_2a905a4d-ee9c-4246-9c87-79d1d671f6c8.jpg?v=1638757637","variant_ids":[42154062708986]},"available":false,"name":"Don Cherry's New Researches featuring Naná Vasconcelos \/\/ Organic Music Theatre: Festival de jazz de Chateauvallon 1972 2xLP \/ 2xCD - LP","public_title":"LP","options":["LP"],"price":3200,"weight":530,"compare_at_price":null,"inventory_management":"shopify","barcode":"","featured_media":{"alt":null,"id":28822034219258,"position":3,"preview_image":{"aspect_ratio":1.425,"height":842,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/mu3_2a905a4d-ee9c-4246-9c87-79d1d671f6c8.jpg?v=1638757637"}},"requires_selling_plan":false,"selling_plan_allocations":[]},{"id":42154062741754,"title":"CD","option1":"CD","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":{"id":36272368615674,"product_id":7484382740730,"position":2,"created_at":"2021-12-06T11:27:15+09:00","updated_at":"2021-12-06T11:27:16+09:00","alt":null,"width":1200,"height":856,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/mu2_e080e351-9cb2-4dcf-a5ad-fbb59019e3cd.jpg?v=1638757636","variant_ids":[42154062741754]},"available":true,"name":"Don Cherry's New Researches featuring Naná Vasconcelos \/\/ Organic Music Theatre: Festival de jazz de Chateauvallon 1972 2xLP \/ 2xCD - CD","public_title":"CD","options":["CD"],"price":1700,"weight":180,"compare_at_price":null,"inventory_management":"shopify","barcode":"","featured_media":{"alt":null,"id":28822034153722,"position":2,"preview_image":{"aspect_ratio":1.402,"height":856,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/mu2_e080e351-9cb2-4dcf-a5ad-fbb59019e3cd.jpg?v=1638757636"}},"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/mu1_a801745d-7017-4ca5-929d-17378a38a2e8.jpg?v=1638757637","\/\/tobirarecords.com\/cdn\/shop\/products\/mu2_e080e351-9cb2-4dcf-a5ad-fbb59019e3cd.jpg?v=1638757636","\/\/tobirarecords.com\/cdn\/shop\/products\/mu3_2a905a4d-ee9c-4246-9c87-79d1d671f6c8.jpg?v=1638757637"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/mu1_a801745d-7017-4ca5-929d-17378a38a2e8.jpg?v=1638757637","options":["format"],"media":[{"alt":null,"id":28822034120954,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/mu1_a801745d-7017-4ca5-929d-17378a38a2e8.jpg?v=1638757637"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/mu1_a801745d-7017-4ca5-929d-17378a38a2e8.jpg?v=1638757637","width":700},{"alt":null,"id":28822034153722,"position":2,"preview_image":{"aspect_ratio":1.402,"height":856,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/mu2_e080e351-9cb2-4dcf-a5ad-fbb59019e3cd.jpg?v=1638757636"},"aspect_ratio":1.402,"height":856,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/mu2_e080e351-9cb2-4dcf-a5ad-fbb59019e3cd.jpg?v=1638757636","width":1200},{"alt":null,"id":28822034219258,"position":3,"preview_image":{"aspect_ratio":1.425,"height":842,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/mu3_2a905a4d-ee9c-4246-9c87-79d1d671f6c8.jpg?v=1638757637"},"aspect_ratio":1.425,"height":842,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/mu3_2a905a4d-ee9c-4246-9c87-79d1d671f6c8.jpg?v=1638757637","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e伝説のスピリチュアルジャズ作家Don Cherryのアーカイブ音源です。以下、レーベル解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"1960年代後半、アメリカのトランペット奏者でフリージャズのパイオニアであるドン・チェリー（1936-1995）と、スウェーデンのビジュアルアーティスト兼デザイナーのモキ・チェリー（1943-2009）は、創造的な音楽のための別の空間を想像してコラボレーションを始めた。1972年までに、彼らはドンの音楽、モキの芸術、そしてスウェーデンの田舎町タゴールプでの家族の生活を一つの総合的な実体として統合するコンセプトに名前を付けました。オーガニック・ミュージック・シアター」。ここに収録されているのは、1972年に南フランスのシャトーヴァロンで開催されたフェスティバル・オブ・ジャズでの歴史的なオーガニック・ミュージック・シアターの初演であり、公共テレビで生放送された際に録音されたテープをマスタリングしたものである。ドン・チェリーがジャズ・ミュージシャンとしてのアイデンティティを捨て、後に「Organic Music Society」、「Relativity Suite」、「Brown Rice」、そしてアレハンドロ・ホドロフスキー監督の「The Holy Mountain」のサウンドトラックなどに結実する共同体的な \"神秘的 \"な時期の始まりを告げるパフォーマンスである。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eドン・チェリーのニュー・リサーチのミュージシャンたちは、ブラジル、スウェーデン、フランス、アメリカ出身で、ヨーロッパ各地からシャトーヴァロンに集結した。DonとMoki Cherry、Christer Bothén、Gérard \"Doudou\" Gouirand、Naná Vasconcelosの5人のバンドは、屋外の円形劇場で演奏し、ステージには、旅に同行したスウェーデン人の友人や、コペンハーゲンのクリスチャニアを拠点とするデンマークの人形劇団Det Lilla Circus（The Little Circus）など、十数人の大人や子どもが参加した。壇上にはモキさんの絨毯が敷かれ、インドの鱗を描いた手作りの鮮やかな色のタペストリーにはOrganic Music Theatreの文字が入っていて、舞台を彩っている。ミュージシャンの演奏に合わせて、アニー・ヘドヴァール率いる「デット・リラ」のメンバーが踊り、歌い、高い位置にあるポールで即興の人形劇を披露した。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eシャトーヴァロンの音楽は、歌を通して人々を結びつける世界共通の言語を目指していた。ドンは、得意のポケットトランペットを捨てて、ピアノとハルモニウムに持ち替え、声をシャーマニックなガイダンスのための楽器として解放するという前代未聞の行動に出た。後にドンのアルバム『Organic Music Society』や『Home Boy (Sister Out)』に収録された曲も含め、マリ、南アフリカ、ブラジル、アメリカ先住民の高揚感のある神聖な曲が次々と演奏され、その間、人形使いたちが憑依したようなグロッソラリアが飛び交います。\"Relativity Suite, Part 1 \"では、Bothénがドンソ・ンゴニ（マリの狩猟用ギター）を演奏した後、Vasconcelosがベリンバウで延々とソロを取るのが特徴的だ。ワウのような微分音の渦の中で、ヴァスコンセロスはこのブラジルの一弦楽器を見事に演奏し、ドンとともにに高い評価を得ているグループ、コドナのメンバーとしての活動を予感させる。また、ジム・ペッパーの「Witchi Tai To」の演奏では、子供たちの声が聞こえてきて、非常に親しみやすい雰囲気を醸し出しています。国際的なジャズフェスティバルというスターの集まる場にあって、このコンサートのゆったりとした共同体的な雰囲気は、チェリーズがドンのジャズの聴衆に、彼が前に進んでいることを示そうとしているように感じられる。しかし、それは同時に、ドンが観客を温かく招待しているということでもある。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eマグナス・ナイグレンによるライナーノート付き。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1482469441\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e2xCD set in jewel case, with slipcase and OBI strip.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e2xLP on black vinyl, pressed at RTI and housed in a heavy-duty tip-on gatefold Stoughton jacket\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eText by \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003eIn the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936–1995) and the Swedish visual artist and designer Moki Cherry (1943–2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki’s aphorism “the stage is home and home is a stage.” By 1972, they had given name to a concept that united Don’s music, Moki’s art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don’s extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal “mystical” period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky’s The Holy Mountain.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe musicians in Don Cherry’s New Researches, hailing from Brazil, Sweden, France, and the US, converged on\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e Chateauvallon from all over Europe. The five-person band—Don and Moki Cherry, Christer Bothén, Gérard “Doudou” Gouirand, and Naná Vasconcelos— performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki’s carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe music in the Chateauvallon concert aspired to a universal language that would bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta “Dha Dhin Na, Dha Tin Na,” and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance—including pieces that would later appear on Don’s albums Organic Music Society and Home Boy (Sister Out)—all punctuated by outbursts of possessed glossolalia from the puppeteers. “Relativity Suite, Part 1” notably spotlights Bothén on donso ngoni, a Malian hunter’s guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos’s masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona. The sounds of children playing on the ensemble’s achingly tender rendition of Jim Pepper’s oft-covered beacon of spiritual optimism, “Witchi Tai To,” lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the concert’s laid back, communal vibe feels like an attempt by the Cherrys to show Don’s jazz audience that he was moving on. At the same time, however, Don was extending a warmhearted invitation for them to come along for the ride.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWith liner notes by Magnus Nygren.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Don Cherry's New Researches featuring Naná Vasconcelos\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlank Forms Editions \u003c\/span\u003e\u003c\/p\u003e"}
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伝説のスピリチュアルジャズ作家Don Cherryのアーカイブ音源です。以下、レーベル解説です。 "1960年代後半、アメリカのトランペット奏者でフリージャズのパイオニアであるドン・チェリー（1936-1995）と、スウェーデンのビジュアルアーティスト兼デザイナーのモキ・チェリー（1943-2009）は、創造的な音楽のための別の空間を想像してコラボレーションを始めた。1972年までに、彼らはドンの音楽、モキの芸術、そしてスウェーデンの田舎町タゴールプでの家族の生活を一つの総合的な実体として統合するコンセプトに名前を付けました。オーガニック・ミュージック・シアター」。ここに収録されているのは、1972年に南フランスのシャトーヴァロンで開催されたフェスティバル・オブ・ジャズでの歴史的なオーガニック・ミュージック・シアターの初演であり、公共テレビで生放送された際に録音されたテープをマスタリングしたものである。ドン・チェリーがジャズ・ミュージシャンとしてのアイデンティティを捨て、後に「Organic Music Society」、「Relativity Suite」、「Brown Rice」、そしてアレハンドロ・ホドロフスキー監督の「The Holy Mountain」のサウンドトラックなどに結実する共同体的な "神秘的 "な時期の始まりを告げるパフォーマンスである。ドン・チェリーのニュー・リサーチのミュージシャンたちは、ブラジル、スウェーデン、フランス、アメリカ出身で、ヨーロッパ各地からシャトーヴァロンに集結した。DonとMoki Cherry、Christer Bothén、Gérard "Doudou"...
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{"id":7484373827834,"title":"Graham Lambkin \/\/ Solos 2xLP + 42-PAGE BOOKLET","handle":"graham-lambkin-solos-2xlp-42-page-booklet","description":"\u003cp\u003eイギリスの実験音楽家Graham Lambkinの2枚組ボックスです。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4268676685\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 500.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis deluxe boxed set of Graham Lambkin’s first four solo records includes an expansive 42-page book featuring unseen photos and reproductions of artworks as well as essays and anecdotal recollections providing fresh insight and divulging hermetic secrets by Ed Atkins, Mark Harwood, Matt Krefting, Lawrence Kumpf, Samara Lubelski, and Adrian Rew.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eText by Blank Forms:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eThe years between Graham Lambkin’s tenure with the legendary Shadow Ring and his more recent improvisational duos mark a distinct period of creative production within the artist’s insular career. Living with his family in Poughkeepsie, NY, from 2001 through 2011 Lambkin recorded and self-released four solo albums that valorized mundane domestic situations while reveling in the liminal spaces between the acts of listening, recording, and producing. Created through an ingenious economy of means, these solo records are as beguilingly seductive as they are uncanny. Perpetually laughing in his own duplicitous face, Lambkin breathed new life into musique concrète and sound poetry, giving outmoded forms a contemporary consciousness while setting the gold standard for a continuously unfolding canon of 21st century tape music.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003ePoem (For Voice \u0026amp; Tape), Salmon Run, Softly Softly Copy Copy, and Amateur Doubles are now remastered and finally back in print, with Salmon Run and Softly Softly Copy Copy available on vinyl for the first time. This deluxe boxed set of Graham Lambkin’s\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e first four solo records includes an expansive 42-page book featuring unseen photos and reproductions of artworks as well as essays and anecdotal recollections providing fresh insight and divulging hermetic secrets by Ed Atkins, Mark Harwood, Matt Krefting, Lawrence Kumpf, Samara Lubelski, and Adrian Rew.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eGraham Lambkin (b. 1973, Dover, England) is a multidisciplinary artist who first came to prominence in the early ‘90s through the formation of his experimental music group The Shadow Ring. As a sound organizer rather than music maker, Lambkin looks at an everyday object and sees an ocean of possibility, continually transforming quotidian atmospheres and the mundane into expressive sound art using tape manipulation techniques, chance operations, and the thick ambience of domestic field recordings. His Kye imprint, founded in 2001, was an instrumental platform for the dissemination of and dialogue between work by an intergenerational cast of artists using sound, including Henning Christiansen, Anton Heyboer, Moniek Darge, and Gabi Losoncy. He began showing his visual art in 2014 with Came To Call Mine, an exhibition curated by Lawrence Kumpf and Justin Luke at Audio Visual Arts in conjunction with the publication of Lambkin’s children’s book (for adults) of the same name, and has since exhibited his work at 356 Mission, Künstlerhaus, PiK, and Blank Forms.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Graham Lambkin\u003c\/p\u003e\n\u003cp\u003eLabel : Blank Forms Editions\u003c\/p\u003e","published_at":"2021-12-06T13:01:38+09:00","created_at":"2021-12-06T11:16:02+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","drone","lp","monooto"],"price":9300,"price_min":9300,"price_max":9300,"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":42154041803002,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Graham Lambkin \/\/ Solos 2xLP + 42-PAGE BOOKLET","public_title":null,"options":["Default Title"],"price":9300,"weight":1700,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/so1_b7e10981-4d80-4644-9a73-2672a7c7d330.jpg?v=1638756963","\/\/tobirarecords.com\/cdn\/shop\/products\/so2_f41844e8-f796-477a-b37c-2c3a1dbec0a8.jpg?v=1638756964"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/so1_b7e10981-4d80-4644-9a73-2672a7c7d330.jpg?v=1638756963","options":["Title"],"media":[{"alt":null,"id":28821971173626,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/so1_b7e10981-4d80-4644-9a73-2672a7c7d330.jpg?v=1638756963"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/so1_b7e10981-4d80-4644-9a73-2672a7c7d330.jpg?v=1638756963","width":700},{"alt":null,"id":28821971206394,"position":2,"preview_image":{"aspect_ratio":1.425,"height":842,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/so2_f41844e8-f796-477a-b37c-2c3a1dbec0a8.jpg?v=1638756964"},"aspect_ratio":1.425,"height":842,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/so2_f41844e8-f796-477a-b37c-2c3a1dbec0a8.jpg?v=1638756964","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eイギリスの実験音楽家Graham Lambkinの2枚組ボックスです。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4268676685\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 500.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis deluxe boxed set of Graham Lambkin’s first four solo records includes an expansive 42-page book featuring unseen photos and reproductions of artworks as well as essays and anecdotal recollections providing fresh insight and divulging hermetic secrets by Ed Atkins, Mark Harwood, Matt Krefting, Lawrence Kumpf, Samara Lubelski, and Adrian Rew.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eText by Blank Forms:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eThe years between Graham Lambkin’s tenure with the legendary Shadow Ring and his more recent improvisational duos mark a distinct period of creative production within the artist’s insular career. Living with his family in Poughkeepsie, NY, from 2001 through 2011 Lambkin recorded and self-released four solo albums that valorized mundane domestic situations while reveling in the liminal spaces between the acts of listening, recording, and producing. Created through an ingenious economy of means, these solo records are as beguilingly seductive as they are uncanny. Perpetually laughing in his own duplicitous face, Lambkin breathed new life into musique concrète and sound poetry, giving outmoded forms a contemporary consciousness while setting the gold standard for a continuously unfolding canon of 21st century tape music.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003ePoem (For Voice \u0026amp; Tape), Salmon Run, Softly Softly Copy Copy, and Amateur Doubles are now remastered and finally back in print, with Salmon Run and Softly Softly Copy Copy available on vinyl for the first time. This deluxe boxed set of Graham Lambkin’s\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e first four solo records includes an expansive 42-page book featuring unseen photos and reproductions of artworks as well as essays and anecdotal recollections providing fresh insight and divulging hermetic secrets by Ed Atkins, Mark Harwood, Matt Krefting, Lawrence Kumpf, Samara Lubelski, and Adrian Rew.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eGraham Lambkin (b. 1973, Dover, England) is a multidisciplinary artist who first came to prominence in the early ‘90s through the formation of his experimental music group The Shadow Ring. As a sound organizer rather than music maker, Lambkin looks at an everyday object and sees an ocean of possibility, continually transforming quotidian atmospheres and the mundane into expressive sound art using tape manipulation techniques, chance operations, and the thick ambience of domestic field recordings. His Kye imprint, founded in 2001, was an instrumental platform for the dissemination of and dialogue between work by an intergenerational cast of artists using sound, including Henning Christiansen, Anton Heyboer, Moniek Darge, and Gabi Losoncy. He began showing his visual art in 2014 with Came To Call Mine, an exhibition curated by Lawrence Kumpf and Justin Luke at Audio Visual Arts in conjunction with the publication of Lambkin’s children’s book (for adults) of the same name, and has since exhibited his work at 356 Mission, Künstlerhaus, PiK, and Blank Forms.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Graham Lambkin\u003c\/p\u003e\n\u003cp\u003eLabel : Blank Forms Editions\u003c\/p\u003e"}
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イギリスの実験音楽家Graham Lambkinの2枚組ボックスです。 レーベルその他作品はこちら /// Click here to see more Blank Forms Editions releases available at Tobira. ------------------------ Edition...
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{"id":6129320624293,"title":"Masayuki Takayanagi New Direction Unit \/\/ Axis\/Another Revolvable Thing CD","handle":"masayuki-takayanagi-new-direction-unit-axis-another-revolvable-thing-cd","description":"\u003cp\u003e高柳 昌行アーカイヴ・リイシュー第2弾。1975年9月5日、東京・新宿の安田生命ホールで行われたNew Direction Unitのコンサート録音を収録した2枚組で、高柳がそれまでの「リアルジャズ」という枠を飛び越えて「ノンセクション・ミュージック」と呼ぶようになったものを深く追求している様子がうかがえる内容です。\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4144906859\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cem\u003eAxis\/Another Revolvable Thing is the second installment of Blank Forms’ archival reissues of the music of Japan’s eternal revolutionary Masayuki Takayanagi, following April is the cruellest month, a 1975 studio record by his New Direction Unit. Comprised of recordings of a September 5, 1975 concert by the New Direction Unit at Yasuda Seimei Hall in Tokyo’s Shinjuku district, the two-part set showcases Takayanagi in deep pursuit of what he began calling “non-section music” after leaping beyond the confines of his prior descriptor “real jazz.” The quartet of Takayanagi (guitar), Kenji Mori (reeds), Nobuyoshi Ino (bass, cello), and Hiroshi Yamazaki (percussion) deftly explores the twin poles of Takayanagi’s spacious “gradually projection” and explosively virulent “mass projection” concepts across six pieces, titled Fragments I - VI. Originally issued in two individual LP volumes in rearranged order, this CD edition presents the Another Revolvable Thing concert in chronological sequence for the first time, with “gradually projection” pieces on the first disc and “mass projection” eruptions on the second.\u003c\/em\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eAs part of his liner notes for the original records (newly translated for this edition), noted Japanese free jazz critic Teruto Soejima wrote:\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e\"New Direction Unit performances always emit the smell\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e of blood. Fresh blood, never blood that is old or crusted. This is not the desiccated shell of music, it's sound through which pumps the blood of living human beings. Blood that seethes, that flows and counterflows, that blazes, runs, rises and congeals, blood that vomits and spurts. Vivid, scarlet blood. The ultimate beauty that Takayanagi aims at, is it not the color of this blood?\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBlood calls out to blood. For these four musicians, playing together means feasting on each other’s blood. It is also a summoning to a secret blood oath, to the creation of solidarity with the audience. In the moment, truly, the situation and beauty are instantaneously unified. To borrow the title of a movie by Kōji Wakamatsu: blood is redder than the sun.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMasayuki “Jojo” Takayanagi (1932 - 1991) was a maverick Japanese guitarist, a revolutionary spirit whose oeuvre embodied the radical political movements of late ‘60s Japan. Having cut his teeth as an accomplished Lennie Tristano disciple playing cool jazz in the late ‘50s, Takayanagi had his mind blown by the Chicago Transit Authority’s “Free Form Guitar” in 1969 and promptly turned his back on the jazz scene by which he was beloved, going as far as to call his former peers and admirers “a bunch of losers” in the press. Takayanagi had found a new direction, an annihilation of jazz and its associated idolatry of hegemonic American culture. Aiming his virtuoso chops towards the stratosphere, Takayanagi dedicated himself to the art of the freakout, laying waste to tradition left and right, most notably via the all-out assault of his aptly-named New Direction for the Arts (later New Direction Unit) and collaborations with like-minded outsider saxophonist Kaoru Abe. His innovations on the instrument parallel those of Sonny Sharrock and Derek Bailey and paved the way for the Japanese necromancy of Keiji Haino and Otomo Yoshihide, but even at its most limitless hurdling Takayanagi’s playing is propelled by the dexterous grasp of his foundations, to which he paid tribute with elegant takes on flamenco and Ornette Coleman’s “Lonely Woman.” In the autumn of his life, Takayanagi’s solo Action Direct performances made him one of the first guitarists, alongside but independent of Keith Rowe, to use tabletop guitar for pure noise improvisation.\"\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Masayuki Takayanagi New Direction Unit\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e","published_at":"2021-01-27T13:09:36+09:00","created_at":"2021-01-27T13:09:36+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","cd","jazz"],"price":1800,"price_min":1800,"price_max":1800,"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":37786713260197,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Masayuki Takayanagi New Direction Unit \/\/ Axis\/Another Revolvable Thing CD","public_title":null,"options":["Default Title"],"price":1800,"weight":150,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/a2507392548_16.jpg?v=1611720786"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/a2507392548_16.jpg?v=1611720786","options":["Title"],"media":[{"alt":null,"id":16259215294629,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/a2507392548_16.jpg?v=1611720786"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/a2507392548_16.jpg?v=1611720786","width":700}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e高柳 昌行アーカイヴ・リイシュー第2弾。1975年9月5日、東京・新宿の安田生命ホールで行われたNew Direction Unitのコンサート録音を収録した2枚組で、高柳がそれまでの「リアルジャズ」という枠を飛び越えて「ノンセクション・ミュージック」と呼ぶようになったものを深く追求している様子がうかがえる内容です。\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4144906859\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cem\u003eAxis\/Another Revolvable Thing is the second installment of Blank Forms’ archival reissues of the music of Japan’s eternal revolutionary Masayuki Takayanagi, following April is the cruellest month, a 1975 studio record by his New Direction Unit. Comprised of recordings of a September 5, 1975 concert by the New Direction Unit at Yasuda Seimei Hall in Tokyo’s Shinjuku district, the two-part set showcases Takayanagi in deep pursuit of what he began calling “non-section music” after leaping beyond the confines of his prior descriptor “real jazz.” The quartet of Takayanagi (guitar), Kenji Mori (reeds), Nobuyoshi Ino (bass, cello), and Hiroshi Yamazaki (percussion) deftly explores the twin poles of Takayanagi’s spacious “gradually projection” and explosively virulent “mass projection” concepts across six pieces, titled Fragments I - VI. Originally issued in two individual LP volumes in rearranged order, this CD edition presents the Another Revolvable Thing concert in chronological sequence for the first time, with “gradually projection” pieces on the first disc and “mass projection” eruptions on the second.\u003c\/em\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eAs part of his liner notes for the original records (newly translated for this edition), noted Japanese free jazz critic Teruto Soejima wrote:\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e\"New Direction Unit performances always emit the smell\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e of blood. Fresh blood, never blood that is old or crusted. This is not the desiccated shell of music, it's sound through which pumps the blood of living human beings. Blood that seethes, that flows and counterflows, that blazes, runs, rises and congeals, blood that vomits and spurts. Vivid, scarlet blood. The ultimate beauty that Takayanagi aims at, is it not the color of this blood?\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBlood calls out to blood. For these four musicians, playing together means feasting on each other’s blood. It is also a summoning to a secret blood oath, to the creation of solidarity with the audience. In the moment, truly, the situation and beauty are instantaneously unified. To borrow the title of a movie by Kōji Wakamatsu: blood is redder than the sun.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMasayuki “Jojo” Takayanagi (1932 - 1991) was a maverick Japanese guitarist, a revolutionary spirit whose oeuvre embodied the radical political movements of late ‘60s Japan. Having cut his teeth as an accomplished Lennie Tristano disciple playing cool jazz in the late ‘50s, Takayanagi had his mind blown by the Chicago Transit Authority’s “Free Form Guitar” in 1969 and promptly turned his back on the jazz scene by which he was beloved, going as far as to call his former peers and admirers “a bunch of losers” in the press. Takayanagi had found a new direction, an annihilation of jazz and its associated idolatry of hegemonic American culture. Aiming his virtuoso chops towards the stratosphere, Takayanagi dedicated himself to the art of the freakout, laying waste to tradition left and right, most notably via the all-out assault of his aptly-named New Direction for the Arts (later New Direction Unit) and collaborations with like-minded outsider saxophonist Kaoru Abe. His innovations on the instrument parallel those of Sonny Sharrock and Derek Bailey and paved the way for the Japanese necromancy of Keiji Haino and Otomo Yoshihide, but even at its most limitless hurdling Takayanagi’s playing is propelled by the dexterous grasp of his foundations, to which he paid tribute with elegant takes on flamenco and Ornette Coleman’s “Lonely Woman.” In the autumn of his life, Takayanagi’s solo Action Direct performances made him one of the first guitarists, alongside but independent of Keith Rowe, to use tabletop guitar for pure noise improvisation.\"\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Masayuki Takayanagi New Direction Unit\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e"}
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高柳 昌行アーカイヴ・リイシュー第2弾。1975年9月5日、東京・新宿の安田生命ホールで行われたNew Direction Unitのコンサート録音を収録した2枚組で、高柳がそれまでの「リアルジャズ」という枠を飛び越えて「ノンセクション・ミュージック」と呼ぶようになったものを深く追求している様子がうかがえる内容です。 レーベルその他作品はこちら /// Click here to see more Blank Forms Editions releases available at Tobira....
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{"id":8023573758202,"title":"Catherine Christer Hennix \/\/ Solo for Tamburium 2xLP","handle":"catherine-christer-hennix-solo-for-tamburium-2xlp","description":"\u003cp\u003e \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e哲学者、数学者の顔も持つスウェーデンの伝説的作曲家Catherine Christer Hennixのアーカイブシリーズ第4弾です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cem\u003e\"Hennixは自ら創作した楽器を演奏し、キーボード・インターフェイスで、精密に調律されたタンブラの88の録音からなる組曲をコントロールし、豊かなハーモニーの相互作用の連続的な流れを生み出している。ベルリンで開催されたMaerzMusik 2017で記録されたこの作品は、音の基本的な知覚効果を注意深く引き出し、厳密でカタルシスのある電子ドローンを形成している。密に重ねられた音色のテクスチャーと連続的な倍音の衝突が迷路のような音の風景を作り出し、聴く者をHennixの言う神の平衡、あるいは区別のない状態に突き落とす。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e1960年代後半から、Hennixはミニマル・ミュージック、コンピューター・プログラミング、詩、彫刻、ライト・アートなど、革新的で膨大な作品を創作し、これらのメディアの技術的・概念的な限界を押し広げてきた。彼女はニューヨークのダウンタウン音楽学校の一員であり、ヘンリー・フリントやラ・モンテ・ヤングなど、その中心人物たちと幅広く活動してきた。70年代、Hennixは古典ヒンドゥスターニ音楽のキラーナ伝統の巨匠、パンディット・プラン・ナートの弟子として、ハーモニックサウンドの性質と使い方を学んだ。プラーン・ナートの特別にデザインされたタンブラは、彼女の集中的な研究の中心であり、楽器を注意深く調律し、連続的で均等な流れの中で鳴らすという献身的な実践でもあった。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e1976年、ストックホルムのモデナ美術館で、Hennixは、その後の彼女の活動を決定づけた2つの画期的な作品を発表した。Hennix、弟のピーター、スウェーデンの打楽器奏者ハンス・イスグレンからなるグループ「デオンティック・ミラクル」とともに、ルネサンス・オーボエ、笙、ハーモニック・フィードバック・ディストーションのための一連のモーダルな作品を演奏した。この曲は、和声の構築と解消の重層的な相互作用から濃密な音のテクスチュアが徐々に浮かび上がってくる、Hennixの特徴的な演奏スタイルの始まりとなった作品である。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSolo for Tamburiumは、モーダル・ミュージック（ラーガ、マカム、ブルースなど）の非重力的なハーモニクスを調律されたキーボードにマッピングするという彼女の試みを、指摘的に再検討したものである。2017年にこの作品をデビューさせて以来、彼女は作品を発展させ続け、ニューヨークのブランク・フォームズや2022年のパリのピノー・コレクションなど、さまざまな文脈で作品を再構築し、発表してきた。Hennixにとって、モダリティをダイナミックなプロセスとしてアプローチすることは、究極的には瞑想的な実践である。それを通して、調和的な振動への身体的な同調は、認識論的に変容する状態を生み出し、知ることと存在することの新しい方法を開く。\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2769786032\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e2x12\" black vinyl. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSolo for Tamburium (01:18:00)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e++\u003c\/p\u003e\n\u003cp\u003eBlank Forms Editions:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eThe fourth release in Blank Forms Editions’s initiative to chart the ever-expanding musical practice of Catherine Christer Hennix, Solo for Tamburium captures the composer’s most recent major work. Hennix plays an instrument of her own creation, a keyboard interface controlling a suite of eighty-eight recordings of precision-tuned tambura, creating a sweeping and continuous flow of rich harmonic interplay. This piece, documented in Berlin at MaerzMusik 2017, carefully draws upon the fundamental perceptual effects of sound, forming an exacting and cathartic electronic drone. Densely-layered timbral textures and continuous overtone collisions create a maze-like sonic landscape, thrusting the listener into what Hennix calls divine equilibrium or a distinctionless state of being.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSince the late 1960s, Hennix has created a massive and innovative body of work spanning minimal music, computer programming, poetry, sculpture, and light art—pushing the technical and conceptual boundaries of these media toward singular ends. She was part of the downtown music school in New York and has worked extensively with some of its key figures, including Henry Flynt and La Monte Young. In the ’70s, Hennix studied the nature and use of harmonic sound as a disciple of Pandit Pran Nath, a master of the Kirana\u003cspan class=\"bcTruncateMore\"\u003e tradition of classical Hindustani music. The exceptionally designed tamburas of Pran Nath were central to her intensive investigations, as was the devotional practice of carefully tuning and sounding the instruments in a continuous and even flow—both have guided her work with sound ever since.\u003cbr\u003e\u003cbr\u003eIn 1976, at Stockholm’s Moderna Museet, Hennix presented a pair of groundbreaking works that came to define her ensuing practice. With the Deontic Miracle—a group composed of Hennix, her brother Peter, and the Swedish percussionist Hans Isgren—she performed a series of modal compositions for Renaissance oboes, sheng, and harmonic feedback distortion. On this same occasion she premiered an equally significant body of solo work for keyboard, including the only public presentation of The Electric Harpsichord (1976), a piece that marks the beginning of Hennix’s characteristic style of playing, where dense sonic textures gradually emerge from the multilayered interplay of harmonic construction and dissolution.\u003cbr\u003e\u003cbr\u003eSolo for Tamburium represents a pointed revisitation of her endeavor to map the non-gravitational harmonics of modal musics—among them raga, maqam, and the blues—onto a tuned keyboard. Since the debut of this piece in 2017 she has continued to develop the work, reshaping and presenting it in a variety of contexts, including at Blank Forms in New York and the Bourse de Commerce — Pinault Collection in Paris in 2022. For Hennix, to approach modality as a dynamic process is ultimately a contemplative practice. Through it, embodied attunement to harmonic vibration gives rise to epistemically transformative states, opening new ways of knowing and being.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eArtist : Catherine Christer Hennix\u003c\/p\u003e\n\u003cp\u003eLabel : Blank Forms Editions\u003c\/p\u003e","published_at":"2023-09-24T09:55:02+09:00","created_at":"2023-09-23T13:28:13+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","drone","lp","new"],"price":3600,"price_min":3600,"price_max":3600,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":44583413022970,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Catherine Christer Hennix \/\/ Solo for Tamburium 2xLP","public_title":null,"options":["Default Title"],"price":3600,"weight":530,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/solo1.jpg?v=1695443295","\/\/tobirarecords.com\/cdn\/shop\/files\/solo2.jpg?v=1695443295"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/solo1.jpg?v=1695443295","options":["Title"],"media":[{"alt":null,"id":32486466846970,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/solo1.jpg?v=1695443295"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/solo1.jpg?v=1695443295","width":700},{"alt":null,"id":32486466879738,"position":2,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/solo2.jpg?v=1695443295"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/solo2.jpg?v=1695443295","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e哲学者、数学者の顔も持つスウェーデンの伝説的作曲家Catherine Christer Hennixのアーカイブシリーズ第4弾です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cem\u003e\"Hennixは自ら創作した楽器を演奏し、キーボード・インターフェイスで、精密に調律されたタンブラの88の録音からなる組曲をコントロールし、豊かなハーモニーの相互作用の連続的な流れを生み出している。ベルリンで開催されたMaerzMusik 2017で記録されたこの作品は、音の基本的な知覚効果を注意深く引き出し、厳密でカタルシスのある電子ドローンを形成している。密に重ねられた音色のテクスチャーと連続的な倍音の衝突が迷路のような音の風景を作り出し、聴く者をHennixの言う神の平衡、あるいは区別のない状態に突き落とす。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e1960年代後半から、Hennixはミニマル・ミュージック、コンピューター・プログラミング、詩、彫刻、ライト・アートなど、革新的で膨大な作品を創作し、これらのメディアの技術的・概念的な限界を押し広げてきた。彼女はニューヨークのダウンタウン音楽学校の一員であり、ヘンリー・フリントやラ・モンテ・ヤングなど、その中心人物たちと幅広く活動してきた。70年代、Hennixは古典ヒンドゥスターニ音楽のキラーナ伝統の巨匠、パンディット・プラン・ナートの弟子として、ハーモニックサウンドの性質と使い方を学んだ。プラーン・ナートの特別にデザインされたタンブラは、彼女の集中的な研究の中心であり、楽器を注意深く調律し、連続的で均等な流れの中で鳴らすという献身的な実践でもあった。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e1976年、ストックホルムのモデナ美術館で、Hennixは、その後の彼女の活動を決定づけた2つの画期的な作品を発表した。Hennix、弟のピーター、スウェーデンの打楽器奏者ハンス・イスグレンからなるグループ「デオンティック・ミラクル」とともに、ルネサンス・オーボエ、笙、ハーモニック・フィードバック・ディストーションのための一連のモーダルな作品を演奏した。この曲は、和声の構築と解消の重層的な相互作用から濃密な音のテクスチュアが徐々に浮かび上がってくる、Hennixの特徴的な演奏スタイルの始まりとなった作品である。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSolo for Tamburiumは、モーダル・ミュージック（ラーガ、マカム、ブルースなど）の非重力的なハーモニクスを調律されたキーボードにマッピングするという彼女の試みを、指摘的に再検討したものである。2017年にこの作品をデビューさせて以来、彼女は作品を発展させ続け、ニューヨークのブランク・フォームズや2022年のパリのピノー・コレクションなど、さまざまな文脈で作品を再構築し、発表してきた。Hennixにとって、モダリティをダイナミックなプロセスとしてアプローチすることは、究極的には瞑想的な実践である。それを通して、調和的な振動への身体的な同調は、認識論的に変容する状態を生み出し、知ることと存在することの新しい方法を開く。\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2769786032\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e2x12\" black vinyl. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSolo for Tamburium (01:18:00)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e++\u003c\/p\u003e\n\u003cp\u003eBlank Forms Editions:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eThe fourth release in Blank Forms Editions’s initiative to chart the ever-expanding musical practice of Catherine Christer Hennix, Solo for Tamburium captures the composer’s most recent major work. Hennix plays an instrument of her own creation, a keyboard interface controlling a suite of eighty-eight recordings of precision-tuned tambura, creating a sweeping and continuous flow of rich harmonic interplay. This piece, documented in Berlin at MaerzMusik 2017, carefully draws upon the fundamental perceptual effects of sound, forming an exacting and cathartic electronic drone. Densely-layered timbral textures and continuous overtone collisions create a maze-like sonic landscape, thrusting the listener into what Hennix calls divine equilibrium or a distinctionless state of being.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSince the late 1960s, Hennix has created a massive and innovative body of work spanning minimal music, computer programming, poetry, sculpture, and light art—pushing the technical and conceptual boundaries of these media toward singular ends. She was part of the downtown music school in New York and has worked extensively with some of its key figures, including Henry Flynt and La Monte Young. In the ’70s, Hennix studied the nature and use of harmonic sound as a disciple of Pandit Pran Nath, a master of the Kirana\u003cspan class=\"bcTruncateMore\"\u003e tradition of classical Hindustani music. The exceptionally designed tamburas of Pran Nath were central to her intensive investigations, as was the devotional practice of carefully tuning and sounding the instruments in a continuous and even flow—both have guided her work with sound ever since.\u003cbr\u003e\u003cbr\u003eIn 1976, at Stockholm’s Moderna Museet, Hennix presented a pair of groundbreaking works that came to define her ensuing practice. With the Deontic Miracle—a group composed of Hennix, her brother Peter, and the Swedish percussionist Hans Isgren—she performed a series of modal compositions for Renaissance oboes, sheng, and harmonic feedback distortion. On this same occasion she premiered an equally significant body of solo work for keyboard, including the only public presentation of The Electric Harpsichord (1976), a piece that marks the beginning of Hennix’s characteristic style of playing, where dense sonic textures gradually emerge from the multilayered interplay of harmonic construction and dissolution.\u003cbr\u003e\u003cbr\u003eSolo for Tamburium represents a pointed revisitation of her endeavor to map the non-gravitational harmonics of modal musics—among them raga, maqam, and the blues—onto a tuned keyboard. Since the debut of this piece in 2017 she has continued to develop the work, reshaping and presenting it in a variety of contexts, including at Blank Forms in New York and the Bourse de Commerce — Pinault Collection in Paris in 2022. For Hennix, to approach modality as a dynamic process is ultimately a contemplative practice. Through it, embodied attunement to harmonic vibration gives rise to epistemically transformative states, opening new ways of knowing and being.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eArtist : Catherine Christer Hennix\u003c\/p\u003e\n\u003cp\u003eLabel : Blank Forms Editions\u003c\/p\u003e"}
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哲学者、数学者の顔も持つスウェーデンの伝説的作曲家Catherine Christer Hennixのアーカイブシリーズ第4弾です。 以下、レーベルによる解説です。 "Hennixは自ら創作した楽器を演奏し、キーボード・インターフェイスで、精密に調律されたタンブラの88の録音からなる組曲をコントロールし、豊かなハーモニーの相互作用の連続的な流れを生み出している。ベルリンで開催されたMaerzMusik 2017で記録されたこの作品は、音の基本的な知覚効果を注意深く引き出し、厳密でカタルシスのある電子ドローンを形成している。密に重ねられた音色のテクスチャーと連続的な倍音の衝突が迷路のような音の風景を作り出し、聴く者をHennixの言う神の平衡、あるいは区別のない状態に突き落とす。1960年代後半から、Hennixはミニマル・ミュージック、コンピューター・プログラミング、詩、彫刻、ライト・アートなど、革新的で膨大な作品を創作し、これらのメディアの技術的・概念的な限界を押し広げてきた。彼女はニューヨークのダウンタウン音楽学校の一員であり、ヘンリー・フリントやラ・モンテ・ヤングなど、その中心人物たちと幅広く活動してきた。70年代、Hennixは古典ヒンドゥスターニ音楽のキラーナ伝統の巨匠、パンディット・プラン・ナートの弟子として、ハーモニックサウンドの性質と使い方を学んだ。プラーン・ナートの特別にデザインされたタンブラは、彼女の集中的な研究の中心であり、楽器を注意深く調律し、連続的で均等な流れの中で鳴らすという献身的な実践でもあった。1976年、ストックホルムのモデナ美術館で、Hennixは、その後の彼女の活動を決定づけた2つの画期的な作品を発表した。Hennix、弟のピーター、スウェーデンの打楽器奏者ハンス・イスグレンからなるグループ「デオンティック・ミラクル」とともに、ルネサンス・オーボエ、笙、ハーモニック・フィードバック・ディストーションのための一連のモーダルな作品を演奏した。この曲は、和声の構築と解消の重層的な相互作用から濃密な音のテクスチュアが徐々に浮かび上がってくる、Hennixの特徴的な演奏スタイルの始まりとなった作品である。Solo for Tamburiumは、モーダル・ミュージック（ラーガ、マカム、ブルースなど）の非重力的なハーモニクスを調律されたキーボードにマッピングするという彼女の試みを、指摘的に再検討したものである。2017年にこの作品をデビューさせて以来、彼女は作品を発展させ続け、ニューヨークのブランク・フォームズや2022年のパリのピノー・コレクションなど、さまざまな文脈で作品を再構築し、発表してきた。Hennixにとって、モダリティをダイナミックなプロセスとしてアプローチすることは、究極的には瞑想的な実践である。それを通して、調和的な振動への身体的な同調は、認識論的に変容する状態を生み出し、知ることと存在することの新しい方法を開く。" レーベルその他作品はこちら /// Click here to see more Blank Forms Editions...
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{"id":8001029701882,"title":"7038634357 \/\/ Neo Seven LP","handle":"7038634357-neo-seven-lp","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eアメリカのアンビエント作家7038634357が、2023年7月に同国NYの実験レーベルBlank Formsからリリースしたレコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eエモーショナルでポップなアンビエント・ノイズ7曲を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cem\u003e\"Neo Gibsonは7038634357という別名義でレコーディング、演奏、プロデュースを行っている。彼らの音楽は、その形式的な正確さ、メロディーの構造、特異な感情的なテナーが特徴である。これまでは、主に小ロットのCD-Rで自主リリースされ、親密な環境で演奏されてきた。シンセサイザーとレコーディングはすべて彼らのコンピューターで行われ、『 Neo Seven』は彼らにとって初のレコード作品であり、多作で流動的な彼らの作品のどこから始めるかにもよるが、おそらく7枚目のリリースとなる。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e30分強の収録時間の中に、Neo Sevenは、アーティストのエモーショナルで、心理的にチャージされたアンビエント・ソングライティングの、余裕のある、美しく、生々しい旅を含んでいる。アルバムに収録された7つのトラックは、サウンドスケープ、歌、静寂の間で絶えず形成と変形を繰り返しながら、互いに出入りしている。ターンテーブルの上で繁殖する埃とほとんど見分けがつかないような、短い間隔の柔らかいノイズが、次第にハーモニーフォームの土台となる。規則的な小休止を挟んで音色が微妙に変化していく様子は、深宇宙のパルサーの中を旅しているような感覚を覚える。ネオの重く加工されたメロディーは、静寂によって規則的にゲートされ、レコードの鼓動を形成し、内面的で主観的な旅が行われる広大なフィールドを作り出している。スクエア・ハートは、このモチーフをリズミカルに利用し、Neoのロボットのような重くヴォコーダー化された声が遠く、不機嫌で、低くミックスされた曲ではあるが、意外にも痛々しいほど優しいポップソングに発展している。各トラックが独自の内部論理を探求するにつれ、単純な構造から複雑な形態が生まれ、振動の層が混ざり合い、互いに積み重なっていく。圧縮されたテクスチャーのリズミカルなカッティングは、大気圏で燃え尽きる流星やフロントガラスに降り注ぐあられのように感じられる。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eこのレコードは、Neoがゆっくりと作り上げたアンビエントハーモニーの波が、耳障りなデジタル・ノイズによってカットされることで始まり、終わる。最終曲『Perfect Night』では、スラッシュの下に、ほとんど聞き取れないほどの歌の形が現れる。ノイズの下に隠されたNeoの歌声は、明瞭さと柔らかさを帯びており、それが明らかになるのは、曲の終わりに向かってノイズが映画的に飛び出す一瞬だけである。\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3743443803\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black 180gram vinyl. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWinded 06:44\u003c\/li\u003e\n\u003cli\u003eEverytime 06:24\u003c\/li\u003e\n\u003cli\u003eSquare Heart 04:22\u003c\/li\u003e\n\u003cli\u003eAcolyte 03:02\u003c\/li\u003e\n\u003cli\u003eOverbraid 04:48\u003c\/li\u003e\n\u003cli\u003eEraser 01:54\u003c\/li\u003e\n\u003cli\u003ePerfect Night 04:20\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eBlank Forms Editions:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eNeo Gibson records, performs, and produces under the alias 7038634357. Their music is characterized by its formal precision, melodic structure, and an idiosyncratic emotional tenor. Up until this point, it has been primarily self-released on small-batch CD-R’s and performed in intimate settings. Synthesized and recorded entirely on their computer, Neo Seven is their first vinyl record, and perhaps their seventh release depending on where you begin amidst their prolific and fluid output.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWithin a runtime of just over thirty minutes, Neo Seven contains a spare, beautiful, and raw journey through the artist's emotive, psychologically-charged ambient songwriting. The album’s seven tracks bleed into and out of one another, continually forming and deforming between soundscape, song, and silence. The record opens slowly with Winded, as brief intervals of soft noise, nearly indistinguishable from dust breeding on the turntable, gradually become the ground upon which harmonic form is built. As tones subtly shift across regular lulls of sound, one gets the sense they’re traveling amidst a pulsar in deep space. Neo’s heavily-processed melodies, gated regularly by silence, form the heartbeat of the record, creating an expansive field in which an interior\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e, subjective journey takes place. Square Heart utilizes this motif to rhythmic ends, in what surprisingly develops into an achingly tender pop song, albeit one in which Neo’s robotic, heavily vocoded voice is distant, sullen, and mixed low. As each track explores its own interior logic, complex forms emerge out of simple structures, and layers of oscillations commingle and build upon one another. Rhythmic cuts of compressive texture begin to feel like meteors burning up in the atmosphere or hail upon the windshield.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe record begins and ends with Neo’s slowly built-up waves of ambient harmony being cut by grating digital noise. On the final track, Perfect Night, beneath the thrashing, a song-form appears nearly inaudibly. Hidden beneath the noise, Neo’s voice bears a clarity and a softness that is revealed only momentarily, when the noise flitters out cinematically toward the end of the track.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : 7038634357\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLabel : Blank Forms Editions\u003c\/p\u003e","published_at":"2023-08-02T18:36:07+09:00","created_at":"2023-08-02T13:51:13+09:00","vendor":"Tobira Records","type":"","tags":["ambient","blank forms","lp","new","noise"],"price":2600,"price_min":2600,"price_max":2600,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":44413991846138,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":false,"featured_image":null,"available":false,"name":"7038634357 \/\/ Neo Seven LP","public_title":null,"options":["Default Title"],"price":2600,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/neo1_3bd5ae0d-3ec5-4d48-817e-8a2f4fa9cef6.jpg?v=1690951875","\/\/tobirarecords.com\/cdn\/shop\/files\/neo2_8dd2e827-7d93-4ec1-b211-e98554bee648.jpg?v=1690951875"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/neo1_3bd5ae0d-3ec5-4d48-817e-8a2f4fa9cef6.jpg?v=1690951875","options":["Title"],"media":[{"alt":null,"id":32289218560250,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/neo1_3bd5ae0d-3ec5-4d48-817e-8a2f4fa9cef6.jpg?v=1690951875"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/neo1_3bd5ae0d-3ec5-4d48-817e-8a2f4fa9cef6.jpg?v=1690951875","width":700},{"alt":null,"id":32289218593018,"position":2,"preview_image":{"aspect_ratio":1.463,"height":820,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/neo2_8dd2e827-7d93-4ec1-b211-e98554bee648.jpg?v=1690951875"},"aspect_ratio":1.463,"height":820,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/neo2_8dd2e827-7d93-4ec1-b211-e98554bee648.jpg?v=1690951875","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eアメリカのアンビエント作家7038634357が、2023年7月に同国NYの実験レーベルBlank Formsからリリースしたレコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eエモーショナルでポップなアンビエント・ノイズ7曲を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cem\u003e\"Neo Gibsonは7038634357という別名義でレコーディング、演奏、プロデュースを行っている。彼らの音楽は、その形式的な正確さ、メロディーの構造、特異な感情的なテナーが特徴である。これまでは、主に小ロットのCD-Rで自主リリースされ、親密な環境で演奏されてきた。シンセサイザーとレコーディングはすべて彼らのコンピューターで行われ、『 Neo Seven』は彼らにとって初のレコード作品であり、多作で流動的な彼らの作品のどこから始めるかにもよるが、おそらく7枚目のリリースとなる。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e30分強の収録時間の中に、Neo Sevenは、アーティストのエモーショナルで、心理的にチャージされたアンビエント・ソングライティングの、余裕のある、美しく、生々しい旅を含んでいる。アルバムに収録された7つのトラックは、サウンドスケープ、歌、静寂の間で絶えず形成と変形を繰り返しながら、互いに出入りしている。ターンテーブルの上で繁殖する埃とほとんど見分けがつかないような、短い間隔の柔らかいノイズが、次第にハーモニーフォームの土台となる。規則的な小休止を挟んで音色が微妙に変化していく様子は、深宇宙のパルサーの中を旅しているような感覚を覚える。ネオの重く加工されたメロディーは、静寂によって規則的にゲートされ、レコードの鼓動を形成し、内面的で主観的な旅が行われる広大なフィールドを作り出している。スクエア・ハートは、このモチーフをリズミカルに利用し、Neoのロボットのような重くヴォコーダー化された声が遠く、不機嫌で、低くミックスされた曲ではあるが、意外にも痛々しいほど優しいポップソングに発展している。各トラックが独自の内部論理を探求するにつれ、単純な構造から複雑な形態が生まれ、振動の層が混ざり合い、互いに積み重なっていく。圧縮されたテクスチャーのリズミカルなカッティングは、大気圏で燃え尽きる流星やフロントガラスに降り注ぐあられのように感じられる。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eこのレコードは、Neoがゆっくりと作り上げたアンビエントハーモニーの波が、耳障りなデジタル・ノイズによってカットされることで始まり、終わる。最終曲『Perfect Night』では、スラッシュの下に、ほとんど聞き取れないほどの歌の形が現れる。ノイズの下に隠されたNeoの歌声は、明瞭さと柔らかさを帯びており、それが明らかになるのは、曲の終わりに向かってノイズが映画的に飛び出す一瞬だけである。\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3743443803\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black 180gram vinyl. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eWinded 06:44\u003c\/li\u003e\n\u003cli\u003eEverytime 06:24\u003c\/li\u003e\n\u003cli\u003eSquare Heart 04:22\u003c\/li\u003e\n\u003cli\u003eAcolyte 03:02\u003c\/li\u003e\n\u003cli\u003eOverbraid 04:48\u003c\/li\u003e\n\u003cli\u003eEraser 01:54\u003c\/li\u003e\n\u003cli\u003ePerfect Night 04:20\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eBlank Forms Editions:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eNeo Gibson records, performs, and produces under the alias 7038634357. Their music is characterized by its formal precision, melodic structure, and an idiosyncratic emotional tenor. Up until this point, it has been primarily self-released on small-batch CD-R’s and performed in intimate settings. Synthesized and recorded entirely on their computer, Neo Seven is their first vinyl record, and perhaps their seventh release depending on where you begin amidst their prolific and fluid output.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWithin a runtime of just over thirty minutes, Neo Seven contains a spare, beautiful, and raw journey through the artist's emotive, psychologically-charged ambient songwriting. The album’s seven tracks bleed into and out of one another, continually forming and deforming between soundscape, song, and silence. The record opens slowly with Winded, as brief intervals of soft noise, nearly indistinguishable from dust breeding on the turntable, gradually become the ground upon which harmonic form is built. As tones subtly shift across regular lulls of sound, one gets the sense they’re traveling amidst a pulsar in deep space. Neo’s heavily-processed melodies, gated regularly by silence, form the heartbeat of the record, creating an expansive field in which an interior\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e, subjective journey takes place. Square Heart utilizes this motif to rhythmic ends, in what surprisingly develops into an achingly tender pop song, albeit one in which Neo’s robotic, heavily vocoded voice is distant, sullen, and mixed low. As each track explores its own interior logic, complex forms emerge out of simple structures, and layers of oscillations commingle and build upon one another. Rhythmic cuts of compressive texture begin to feel like meteors burning up in the atmosphere or hail upon the windshield.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe record begins and ends with Neo’s slowly built-up waves of ambient harmony being cut by grating digital noise. On the final track, Perfect Night, beneath the thrashing, a song-form appears nearly inaudibly. Hidden beneath the noise, Neo’s voice bears a clarity and a softness that is revealed only momentarily, when the noise flitters out cinematically toward the end of the track.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : 7038634357\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLabel : Blank Forms Editions\u003c\/p\u003e"}
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アメリカのアンビエント作家7038634357が、2023年7月に同国NYの実験レーベルBlank Formsからリリースしたレコードです。 エモーショナルでポップなアンビエント・ノイズ7曲を収録。 以下、レーベルによる解説です。 "Neo Gibsonは7038634357という別名義でレコーディング、演奏、プロデュースを行っている。彼らの音楽は、その形式的な正確さ、メロディーの構造、特異な感情的なテナーが特徴である。これまでは、主に小ロットのCD-Rで自主リリースされ、親密な環境で演奏されてきた。シンセサイザーとレコーディングはすべて彼らのコンピューターで行われ、『 Neo Seven』は彼らにとって初のレコード作品であり、多作で流動的な彼らの作品のどこから始めるかにもよるが、おそらく7枚目のリリースとなる。30分強の収録時間の中に、Neo Sevenは、アーティストのエモーショナルで、心理的にチャージされたアンビエント・ソングライティングの、余裕のある、美しく、生々しい旅を含んでいる。アルバムに収録された7つのトラックは、サウンドスケープ、歌、静寂の間で絶えず形成と変形を繰り返しながら、互いに出入りしている。ターンテーブルの上で繁殖する埃とほとんど見分けがつかないような、短い間隔の柔らかいノイズが、次第にハーモニーフォームの土台となる。規則的な小休止を挟んで音色が微妙に変化していく様子は、深宇宙のパルサーの中を旅しているような感覚を覚える。ネオの重く加工されたメロディーは、静寂によって規則的にゲートされ、レコードの鼓動を形成し、内面的で主観的な旅が行われる広大なフィールドを作り出している。スクエア・ハートは、このモチーフをリズミカルに利用し、Neoのロボットのような重くヴォコーダー化された声が遠く、不機嫌で、低くミックスされた曲ではあるが、意外にも痛々しいほど優しいポップソングに発展している。各トラックが独自の内部論理を探求するにつれ、単純な構造から複雑な形態が生まれ、振動の層が混ざり合い、互いに積み重なっていく。圧縮されたテクスチャーのリズミカルなカッティングは、大気圏で燃え尽きる流星やフロントガラスに降り注ぐあられのように感じられる。このレコードは、Neoがゆっくりと作り上げたアンビエントハーモニーの波が、耳障りなデジタル・ノイズによってカットされることで始まり、終わる。最終曲『Perfect Night』では、スラッシュの下に、ほとんど聞き取れないほどの歌の形が現れる。ノイズの下に隠されたNeoの歌声は、明瞭さと柔らかさを帯びており、それが明らかになるのは、曲の終わりに向かってノイズが映画的に飛び出す一瞬だけである。" レーベルその他作品はこちら /// Click here to see more Blank...
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{"id":7995615609082,"title":"Graham Lambkin \/\/ Aphorisms 2xLP","handle":"graham-lambkin-aphorisms-2x12","description":"\u003cp\u003eイギリスの実験音楽家Graham Lambkinが、2023年6月にアメリカ・NYの実験レーベルBlank Forms Editionsからリリースした2枚組レコードです。\u003c\/p\u003e\n\u003cp\u003e物音ドローン〜コンクレート11曲を収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=98717812\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e2x12\" 140gram black vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA1 Samplehurst\u003cbr\u003eA2 Limp Test\u003cbr\u003eA3 Gibbus\u003cbr\u003eA4 Needlemuff\u003cbr\u003eB1 Slave Painting\u003cbr\u003eB2 Corpsicus\u003cbr\u003eB3 Trilogy Of Embers\u003cbr\u003eC1 Porpitus\u003cbr\u003eC2 Cannon Hill\u003cbr\u003eC3 The Wind Imp\u003cbr\u003eD1 Aphorisms\u003c\/p\u003e\n\u003cp\u003eArtist : Graham Lambkin \u003c\/p\u003e\n\u003cp\u003eLabel : Blank Forms Editions\u003c\/p\u003e","published_at":"2023-07-17T18:52:42+09:00","created_at":"2023-07-16T17:20:04+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","contemporary \/ sound poetry","drone","lp","monooto","new"],"price":3200,"price_min":3200,"price_max":3200,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":44348823830778,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Graham Lambkin \/\/ Aphorisms 2xLP","public_title":null,"options":["Default Title"],"price":3200,"weight":530,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/ap1_d0a5c31c-4df1-4421-9ad0-3c52b4d59ba3.jpg?v=1689495606","\/\/tobirarecords.com\/cdn\/shop\/files\/ap2_37ec8a21-4d4a-46c1-aec4-fff1843342fb.jpg?v=1689495606"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/ap1_d0a5c31c-4df1-4421-9ad0-3c52b4d59ba3.jpg?v=1689495606","options":["Title"],"media":[{"alt":null,"id":32231189807354,"position":1,"preview_image":{"aspect_ratio":0.993,"height":599,"width":595,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ap1_d0a5c31c-4df1-4421-9ad0-3c52b4d59ba3.jpg?v=1689495606"},"aspect_ratio":0.993,"height":599,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ap1_d0a5c31c-4df1-4421-9ad0-3c52b4d59ba3.jpg?v=1689495606","width":595},{"alt":null,"id":32231189840122,"position":2,"preview_image":{"aspect_ratio":1.412,"height":850,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ap2_37ec8a21-4d4a-46c1-aec4-fff1843342fb.jpg?v=1689495606"},"aspect_ratio":1.412,"height":850,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ap2_37ec8a21-4d4a-46c1-aec4-fff1843342fb.jpg?v=1689495606","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eイギリスの実験音楽家Graham Lambkinが、2023年6月にアメリカ・NYの実験レーベルBlank Forms Editionsからリリースした2枚組レコードです。\u003c\/p\u003e\n\u003cp\u003e物音ドローン〜コンクレート11曲を収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=98717812\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e2x12\" 140gram black vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA1 Samplehurst\u003cbr\u003eA2 Limp Test\u003cbr\u003eA3 Gibbus\u003cbr\u003eA4 Needlemuff\u003cbr\u003eB1 Slave Painting\u003cbr\u003eB2 Corpsicus\u003cbr\u003eB3 Trilogy Of Embers\u003cbr\u003eC1 Porpitus\u003cbr\u003eC2 Cannon Hill\u003cbr\u003eC3 The Wind Imp\u003cbr\u003eD1 Aphorisms\u003c\/p\u003e\n\u003cp\u003eArtist : Graham Lambkin \u003c\/p\u003e\n\u003cp\u003eLabel : Blank Forms Editions\u003c\/p\u003e"}
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イギリスの実験音楽家Graham Lambkinが、2023年6月にアメリカ・NYの実験レーベルBlank Forms Editionsからリリースした2枚組レコードです。 物音ドローン〜コンクレート11曲を収録。 レーベルその他作品はこちら /// Click here to see more Blank Forms Editions releases available at...
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{"id":7995615215866,"title":"The Cat \u0026 Bells Club \/\/ The Cat \u0026 Bells Club LP","handle":"the-cat-bells-club-the-cat-bells-club-lp","description":"\u003cp\u003eイギリスの実験音楽家Graham Lambkinと\u003cspan data-mce-fragment=\"1\"\u003eDarren HarrisによるデュオThe Cat \u0026amp; Bells Clubが、2023年7月にアメリカ・NYの実験レーベルBlank Formsからリリースした再発レコードです。（オリジナルは1991年リリース）\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eリサイクルショップで入手したチューニングがずれたギターや、ドラム代わりのコーヒーカップなどを用いたフリーフォームなインプロ〜サウンドポエトリー〜実験Lo-Fiロック16曲を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=161896343\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=367840319\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e \u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=161896343\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e12\" 140gram black vinyl.\u003c\/p\u003e\n\u003cp\u003eBlank Forms:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eIn 1992, under the guise of the Cat \u0026amp; Bells Club, eighteen-year-old Cheriton residents Graham Lambkin and Darren Harris self-released three tapes—two yellow cassettes and one pink—documenting their earliest musical efforts at S.H.P. studios (Lambkin’s bedroom in his parents’ house). The lowest of all lo-fi recordings, these tracks were laid down live, directly into a boombox with no overdubs. Relieved of their academic expectations and plunged into the workforce, the duo aspired to enter the annals of rock history, making their own primitive teenage overtures to Marc Bolan, the Incredible String Band, Whitehouse, and the Godz. Lyrically and spiritually the Cat \u0026amp; Bells Club had much to do with Bolan’s early Tyrannosaurus Rex project, but with a hyperlocalized Folkestonian twist that nonetheless maintained his penchant for chevaline. While much of the Club’s repertoire comprised freeform instrumental try-outs—untuned charity shop guitars and coffee cup drum kits—a number of songs featured Lambkin’s original lyrics, read by both members of the band, dramatizing the comings and goings of anthropomorphic animals and musing abstractly on the minutiae of daily life in Cheriton (their native C-Town).\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eTaking their moniker from a mishearing of “the jester’s\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e bauble, cap and bells,”' a line from Incredible String Band’s “The Iron Stone,” the duo operated for a brief year under the increasingly esoteric influence of the Fisheye mail-order and then fledgling Forced Exposure fanzine, and from the airwaves via Radio 1’s John Peel show. This collection was compiled by Lambkin in the early aughts for an unrealized release on his now defunct Kye label, but barring a few tracks on a retrospective 7″ issued by Siltbreeze in 2010, hardly any of these recordings have been heard beyond a handful of hangers-on, inner-circle drinking allies, and the most devoted of fans. The Cat \u0026amp; Bells Club set the stage for what was to soon follow, when the group changed its name to the Shadow Ring—the rest is history.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : The Cat \u0026amp; Bells Club\u003c\/p\u003e\n\u003cp\u003eLabel : Blank Forms Editions\u003c\/p\u003e","published_at":"2023-07-20T11:46:08+09:00","created_at":"2023-07-16T17:17:08+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","jazz","lp","new","sound poetry","strange beats"],"price":2700,"price_min":2700,"price_max":2700,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":44348823240954,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"The Cat \u0026 Bells Club \/\/ The Cat \u0026 Bells Club LP","public_title":null,"options":["Default Title"],"price":2700,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/ca1_68703260-fa65-4a35-ac38-562f515da389.jpg?v=1689495430","\/\/tobirarecords.com\/cdn\/shop\/files\/ca2_01244d61-a211-4656-97ec-b2421d167a95.jpg?v=1689495430"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/ca1_68703260-fa65-4a35-ac38-562f515da389.jpg?v=1689495430","options":["Title"],"media":[{"alt":null,"id":32231186497786,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ca1_68703260-fa65-4a35-ac38-562f515da389.jpg?v=1689495430"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ca1_68703260-fa65-4a35-ac38-562f515da389.jpg?v=1689495430","width":700},{"alt":null,"id":32231186530554,"position":2,"preview_image":{"aspect_ratio":1.412,"height":850,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ca2_01244d61-a211-4656-97ec-b2421d167a95.jpg?v=1689495430"},"aspect_ratio":1.412,"height":850,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ca2_01244d61-a211-4656-97ec-b2421d167a95.jpg?v=1689495430","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eイギリスの実験音楽家Graham Lambkinと\u003cspan data-mce-fragment=\"1\"\u003eDarren HarrisによるデュオThe Cat \u0026amp; Bells Clubが、2023年7月にアメリカ・NYの実験レーベルBlank Formsからリリースした再発レコードです。（オリジナルは1991年リリース）\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eリサイクルショップで入手したチューニングがずれたギターや、ドラム代わりのコーヒーカップなどを用いたフリーフォームなインプロ〜サウンドポエトリー〜実験Lo-Fiロック16曲を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=161896343\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=367840319\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e \u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=161896343\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e12\" 140gram black vinyl.\u003c\/p\u003e\n\u003cp\u003eBlank Forms:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eIn 1992, under the guise of the Cat \u0026amp; Bells Club, eighteen-year-old Cheriton residents Graham Lambkin and Darren Harris self-released three tapes—two yellow cassettes and one pink—documenting their earliest musical efforts at S.H.P. studios (Lambkin’s bedroom in his parents’ house). The lowest of all lo-fi recordings, these tracks were laid down live, directly into a boombox with no overdubs. Relieved of their academic expectations and plunged into the workforce, the duo aspired to enter the annals of rock history, making their own primitive teenage overtures to Marc Bolan, the Incredible String Band, Whitehouse, and the Godz. Lyrically and spiritually the Cat \u0026amp; Bells Club had much to do with Bolan’s early Tyrannosaurus Rex project, but with a hyperlocalized Folkestonian twist that nonetheless maintained his penchant for chevaline. While much of the Club’s repertoire comprised freeform instrumental try-outs—untuned charity shop guitars and coffee cup drum kits—a number of songs featured Lambkin’s original lyrics, read by both members of the band, dramatizing the comings and goings of anthropomorphic animals and musing abstractly on the minutiae of daily life in Cheriton (their native C-Town).\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eTaking their moniker from a mishearing of “the jester’s\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e bauble, cap and bells,”' a line from Incredible String Band’s “The Iron Stone,” the duo operated for a brief year under the increasingly esoteric influence of the Fisheye mail-order and then fledgling Forced Exposure fanzine, and from the airwaves via Radio 1’s John Peel show. This collection was compiled by Lambkin in the early aughts for an unrealized release on his now defunct Kye label, but barring a few tracks on a retrospective 7″ issued by Siltbreeze in 2010, hardly any of these recordings have been heard beyond a handful of hangers-on, inner-circle drinking allies, and the most devoted of fans. The Cat \u0026amp; Bells Club set the stage for what was to soon follow, when the group changed its name to the Shadow Ring—the rest is history.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : The Cat \u0026amp; Bells Club\u003c\/p\u003e\n\u003cp\u003eLabel : Blank Forms Editions\u003c\/p\u003e"}
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イギリスの実験音楽家Graham LambkinとDarren HarrisによるデュオThe Cat & Bells Clubが、2023年7月にアメリカ・NYの実験レーベルBlank Formsからリリースした再発レコードです。（オリジナルは1991年リリース） リサイクルショップで入手したチューニングがずれたギターや、ドラム代わりのコーヒーカップなどを用いたフリーフォームなインプロ〜サウンドポエトリー〜実験Lo-Fiロック16曲を収録。 レーベルその他作品はこちら /// Click here to see more Blank Forms...
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{"id":7484388966650,"title":"Graham Lambkin \u0026 Joe McPhee \/\/ The Wolf Has Come Down from the North 7\"","handle":"graham-lambkin-joe-mcphee-the-wolf-has-come-down-from-the-north-7","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eNY在住のサウンドアーティストGraham Lambkinとフリージャズ界の大御所Joe McPheeによる共作がNY実験レーベルBlank Forms Editionsより270部限定でリリース。5分の即興曲2曲を収録。DLコード付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=670529132\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 270.\u003c\/p\u003e\n\u003cp\u003eText by \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlank Forms Editions:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThis record of absurd, delirious sound poetry, drawn primarily from the voices of Graham Lambkin and Joe McPhee, marks their first vinyl release as a duo...\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eJoe McPhee has been a deeply emotional composer, improviser, and multi-instrumentalist since his emergence on the creative jazz and new music scenes in the late 60s. Inspired by the music of Albert Ayler, he taught himself the saxophone and proceeded to cut two records that remain defining monuments to the civil rights era: the out free jazz of Underground Railroad and avant-funk of Nation Time. His odyssey since has taken McPhee through Deep Listening collaborations with Pauline Oliveros and countless left field improv sessions both within and way outside of the jazz tradition. Graham Lambkin is a multidisciplinary artist who first came to prominence in the early 90s through the formation of his experimental music group The Shadow Ring. A sound organizer rather than music maker, Lambkin looks at an everyday object and sees an ocean of possibility, continually transforming quotidian atmospheres and the mundane into expressive sound art using tape manipulation techniques, chance operations and the thick ambience of domestic field\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e recordings.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn 1993 one of the chief concerns of Graham Lambkin’s then fledgling Shadow Ring was to emulate, on a cheap Casio keyboard, the electronic textures of ’70s Joe McPhee collaborator John Snyder’s ARP synthesizer. Twenty-two years later Lambkin and McPhee recorded their \"Chance Meeting\" album using chimes, whistle, pocket synthesizer, tape, Baoding balls and other objects. That and subsequent recordings such as this one are marked by the jovial spirit and wry humor that characterizes their collaborative dynamic, both in performance and friendship.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Graham Lambkin \u0026amp; Joe McPhee\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlank Forms Editions\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-12-06T12:46:55+09:00","created_at":"2021-12-06T11:34:42+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","jazz","lp"],"price":1200,"price_min":1200,"price_max":1200,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":42154074931450,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Graham Lambkin \u0026 Joe McPhee \/\/ The Wolf Has Come Down from the North 7\"","public_title":null,"options":["Default Title"],"price":1200,"weight":230,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/co1_e124c40a-2ad2-4c9f-8b8e-a03bcb4c853e.jpg?v=1638758084","\/\/tobirarecords.com\/cdn\/shop\/products\/co2_edb6828e-8f78-475b-94fd-1ae623b0d01f.jpg?v=1638758084"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/co1_e124c40a-2ad2-4c9f-8b8e-a03bcb4c853e.jpg?v=1638758084","options":["Title"],"media":[{"alt":null,"id":28822064136442,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/co1_e124c40a-2ad2-4c9f-8b8e-a03bcb4c853e.jpg?v=1638758084"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/co1_e124c40a-2ad2-4c9f-8b8e-a03bcb4c853e.jpg?v=1638758084","width":700},{"alt":null,"id":28822064169210,"position":2,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/co2_edb6828e-8f78-475b-94fd-1ae623b0d01f.jpg?v=1638758084"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/co2_edb6828e-8f78-475b-94fd-1ae623b0d01f.jpg?v=1638758084","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eNY在住のサウンドアーティストGraham Lambkinとフリージャズ界の大御所Joe McPheeによる共作がNY実験レーベルBlank Forms Editionsより270部限定でリリース。5分の即興曲2曲を収録。DLコード付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=670529132\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 270.\u003c\/p\u003e\n\u003cp\u003eText by \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlank Forms Editions:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eThis record of absurd, delirious sound poetry, drawn primarily from the voices of Graham Lambkin and Joe McPhee, marks their first vinyl release as a duo...\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eJoe McPhee has been a deeply emotional composer, improviser, and multi-instrumentalist since his emergence on the creative jazz and new music scenes in the late 60s. Inspired by the music of Albert Ayler, he taught himself the saxophone and proceeded to cut two records that remain defining monuments to the civil rights era: the out free jazz of Underground Railroad and avant-funk of Nation Time. His odyssey since has taken McPhee through Deep Listening collaborations with Pauline Oliveros and countless left field improv sessions both within and way outside of the jazz tradition. Graham Lambkin is a multidisciplinary artist who first came to prominence in the early 90s through the formation of his experimental music group The Shadow Ring. A sound organizer rather than music maker, Lambkin looks at an everyday object and sees an ocean of possibility, continually transforming quotidian atmospheres and the mundane into expressive sound art using tape manipulation techniques, chance operations and the thick ambience of domestic field\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e recordings.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn 1993 one of the chief concerns of Graham Lambkin’s then fledgling Shadow Ring was to emulate, on a cheap Casio keyboard, the electronic textures of ’70s Joe McPhee collaborator John Snyder’s ARP synthesizer. Twenty-two years later Lambkin and McPhee recorded their \"Chance Meeting\" album using chimes, whistle, pocket synthesizer, tape, Baoding balls and other objects. That and subsequent recordings such as this one are marked by the jovial spirit and wry humor that characterizes their collaborative dynamic, both in performance and friendship.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Graham Lambkin \u0026amp; Joe McPhee\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlank Forms Editions\u003c\/span\u003e\u003c\/p\u003e"}
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NY在住のサウンドアーティストGraham Lambkinとフリージャズ界の大御所Joe McPheeによる共作がNY実験レーベルBlank Forms Editionsより270部限定でリリース。5分の即興曲2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 Blank Forms Editions releases available at...
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{"id":7484379037946,"title":"Catherine Christer Hennix \/\/ Unbegrenzt LP","handle":"catherine-christer-hennix-unbegrenzt-lp","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e哲学者、数学者の顔も持つスウェーデンの伝説的作曲家Catherine Christer Hennixのアーカイブシリーズ第３弾。\u003cmeta charset=\"utf-8\"\u003e1974年2月にシュトックハウゼンの楽曲を演奏した音源で、彼女が朗読、\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eパーカッション、エレクトロニクスを、HANS ISGREN がゴングを担当しています。マスタリングは\u003cmeta charset=\"utf-8\"\u003eStephan Mathieuが担当。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4158344538\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e12\" black vinyl edition pressed at Quality Record Pressings and housed in a heavy-duty Stoughton gatefold jacket, with an insert featuring liner notes by Bill Dietz.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eText by \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\"\u003cem\u003eUnbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works and Selections from 100 Models of Hegikan Roku (named the #1 archival release of 2019 by The Wire), in addition to a two-volume collection of Hennix’s writing titled Poësy Matters and Other Matters.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eRecorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, and electronics) and Hans Isgren (bowed gong), Hennix’s realization of Karlheinz Stockhausen’s “Unbegrenzt” (German for “unlimited”) from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen’s conception of “intuitive music,” a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo\u003cspan class=\"bcTruncateMore\"\u003e Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young’s event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer’s Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen’s 1969 recording, Hennix’s alternative realization of the “Unbegrenzt” score’s instructions to “play a sound with the certainty that you have an infinite amount of time and space” is based on her concept of Infinitary Compositions, the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen’s compositional method of “moment-forming” to heart, her version’s dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen’s score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind.\u003cbr\u003e\u003cbr\u003eAudio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan class=\"bcTruncateMore\"\u003e~\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cstrong\u003eArtist Bio:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"\u003cem\u003eCatherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.\u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Catherine Christer Hennix\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlank Forms Editions\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-12-06T12:46:03+09:00","created_at":"2021-12-06T11:21:47+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","drone","lp","monooto","tape"],"price":2400,"price_min":2400,"price_max":2400,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":42154054156538,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Catherine Christer Hennix \/\/ Unbegrenzt LP","public_title":null,"options":["Default Title"],"price":2400,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/un1_d28334da-76e9-4bf0-924f-d6e617122869.jpg?v=1638757308","\/\/tobirarecords.com\/cdn\/shop\/products\/un2_d6ced79b-c18a-47c5-a224-1e7961e968d7.jpg?v=1638757308"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/un1_d28334da-76e9-4bf0-924f-d6e617122869.jpg?v=1638757308","options":["Title"],"media":[{"alt":null,"id":28822007709946,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/un1_d28334da-76e9-4bf0-924f-d6e617122869.jpg?v=1638757308"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/un1_d28334da-76e9-4bf0-924f-d6e617122869.jpg?v=1638757308","width":700},{"alt":null,"id":28822007742714,"position":2,"preview_image":{"aspect_ratio":1.33,"height":902,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/un2_d6ced79b-c18a-47c5-a224-1e7961e968d7.jpg?v=1638757308"},"aspect_ratio":1.33,"height":902,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/un2_d6ced79b-c18a-47c5-a224-1e7961e968d7.jpg?v=1638757308","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e哲学者、数学者の顔も持つスウェーデンの伝説的作曲家Catherine Christer Hennixのアーカイブシリーズ第３弾。\u003cmeta charset=\"utf-8\"\u003e1974年2月にシュトックハウゼンの楽曲を演奏した音源で、彼女が朗読、\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eパーカッション、エレクトロニクスを、HANS ISGREN がゴングを担当しています。マスタリングは\u003cmeta charset=\"utf-8\"\u003eStephan Mathieuが担当。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4158344538\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e12\" black vinyl edition pressed at Quality Record Pressings and housed in a heavy-duty Stoughton gatefold jacket, with an insert featuring liner notes by Bill Dietz.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eText by \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\"\u003cem\u003eUnbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works and Selections from 100 Models of Hegikan Roku (named the #1 archival release of 2019 by The Wire), in addition to a two-volume collection of Hennix’s writing titled Poësy Matters and Other Matters.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eRecorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, and electronics) and Hans Isgren (bowed gong), Hennix’s realization of Karlheinz Stockhausen’s “Unbegrenzt” (German for “unlimited”) from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen’s conception of “intuitive music,” a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo\u003cspan class=\"bcTruncateMore\"\u003e Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young’s event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer’s Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen’s 1969 recording, Hennix’s alternative realization of the “Unbegrenzt” score’s instructions to “play a sound with the certainty that you have an infinite amount of time and space” is based on her concept of Infinitary Compositions, the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen’s compositional method of “moment-forming” to heart, her version’s dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen’s score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind.\u003cbr\u003e\u003cbr\u003eAudio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan class=\"bcTruncateMore\"\u003e~\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cstrong\u003eArtist Bio:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\"\u003cem\u003eCatherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.\u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Catherine Christer Hennix\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlank Forms Editions\u003c\/span\u003e\u003c\/p\u003e"}
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哲学者、数学者の顔も持つスウェーデンの伝説的作曲家Catherine Christer Hennixのアーカイブシリーズ第３弾。1974年2月にシュトックハウゼンの楽曲を演奏した音源で、彼女が朗読、パーカッション、エレクトロニクスを、HANS ISGREN がゴングを担当しています。マスタリングはStephan Mathieuが担当。 レーベルその他作品はこちら /// Click here to see more Blank Forms Editions releases available...
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{"id":6129334681765,"title":"Judith Hamann \/\/ Music for Cello and Humming CD","handle":"judith-hamann-music-for-cello-and-humming-cd","description":"\u003cp\u003eオーストラリアのチェロ奏者Judith Hamannのデビュー作品。題の通り、チェロと対峙した際の直感的感覚をハミングで表現しており、彼女のうっすらとした声がチェロと融合した8曲を収録。DLコード付属。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2178117103\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cem\u003eFor her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her LP, \"Shaking Studies,\" is a collection of iterative cello performance that foregrounds shaking as a generative subject. In addition to an arsenal of techniques for registrable shaking, Hamann’s conception of the term emphasizes micro and macro pulsing, including tremors, vibrato, wolf tones, and complex partial activity. Hamann begins with a sphygmological reading of the pulse of her cello, inciting it to shake audibly and visually as a symbiotic basis for determining the rate of her own left hand’s tremor and consequent direction of resonant frequencies. Following a thorough harmonic investigation of her shaking practice in two parts, she directs us to look outwards, combining beating chordal structures with electronics and recordings of real world shaking. From inner pulse to more macrocosmic quaking, Hamann’s alternative conception of shaking rejects measurement and regularity, order and control, instead alluding to a more responsive and intuitive mode of convulsive sounding.\u003c\/em\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eJudith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e in a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada’s Duets, Graham Lambkin’s Community, Alvin Lucier’s Illuminated By The Moon, and Gossamers, with Rosalind Hall.\u003c\/span\u003e \"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Judith Hamann\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e","published_at":"2021-01-27T13:24:16+09:00","created_at":"2021-01-27T13:24:16+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","cd","drone","jazz","monooto"],"price":1500,"price_min":1500,"price_max":1500,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":37786762248357,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Judith Hamann \/\/ Music for Cello and Humming CD","public_title":null,"options":["Default Title"],"price":1500,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/a0384000667_16.jpg?v=1611721581"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/a0384000667_16.jpg?v=1611721581","options":["Title"],"media":[{"alt":null,"id":16259287941285,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/a0384000667_16.jpg?v=1611721581"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/a0384000667_16.jpg?v=1611721581","width":700}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eオーストラリアのチェロ奏者Judith Hamannのデビュー作品。題の通り、チェロと対峙した際の直感的感覚をハミングで表現しており、彼女のうっすらとした声がチェロと融合した8曲を収録。DLコード付属。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2178117103\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cem\u003eFor her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her LP, \"Shaking Studies,\" is a collection of iterative cello performance that foregrounds shaking as a generative subject. In addition to an arsenal of techniques for registrable shaking, Hamann’s conception of the term emphasizes micro and macro pulsing, including tremors, vibrato, wolf tones, and complex partial activity. Hamann begins with a sphygmological reading of the pulse of her cello, inciting it to shake audibly and visually as a symbiotic basis for determining the rate of her own left hand’s tremor and consequent direction of resonant frequencies. Following a thorough harmonic investigation of her shaking practice in two parts, she directs us to look outwards, combining beating chordal structures with electronics and recordings of real world shaking. From inner pulse to more macrocosmic quaking, Hamann’s alternative conception of shaking rejects measurement and regularity, order and control, instead alluding to a more responsive and intuitive mode of convulsive sounding.\u003c\/em\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eJudith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e in a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada’s Duets, Graham Lambkin’s Community, Alvin Lucier’s Illuminated By The Moon, and Gossamers, with Rosalind Hall.\u003c\/span\u003e \"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Judith Hamann\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e"}
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オーストラリアのチェロ奏者Judith Hamannのデビュー作品。題の通り、チェロと対峙した際の直感的感覚をハミングで表現しており、彼女のうっすらとした声がチェロと融合した8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 Blank Forms Editions releases available at Tobira. ------------------------...
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{"id":6129327210661,"title":"Judith Hamann \/\/ Shaking Studies LP","handle":"judith-hamann-shaking-studies-lp","description":"\u003cp\u003eオーストラリアのチェロ奏者Judith Hamannのデビュー作品。題の通り、自身の左手の震えの速度とその結果として生じるチェロとの共振周波数を音楽的に表現した作品。ミクロ＝マクロな全4曲を収録。DLコード付属。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2317036613\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cem\u003eFor her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her LP, \"Shaking Studies,\" is a collection of iterative cello performance that foregrounds shaking as a generative subject. In addition to an arsenal of techniques for registrable shaking, Hamann’s conception of the term emphasizes micro and macro pulsing, including tremors, vibrato, wolf tones, and complex partial activity. Hamann begins with a sphygmological reading of the pulse of her cello, inciting it to shake audibly and visually as a symbiotic basis for determining the rate of her own left hand’s tremor and consequent direction of resonant frequencies. Following a thorough harmonic investigation of her shaking practice in two parts, she directs us to look outwards, combining beating chordal structures with electronics and recordings of real world shaking. From inner pulse to more macrocosmic quaking, Hamann’s alternative conception of shaking rejects measurement and regularity, order and control, instead alluding to a more responsive and intuitive mode of convulsive sounding.\u003c\/em\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eJudith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e in a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada’s Duets, Graham Lambkin’s Community, Alvin Lucier’s Illuminated By The Moon, and Gossamers, with Rosalind Hall.\u003c\/span\u003e \"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Judith Hamann\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e","published_at":"2021-01-27T13:17:29+09:00","created_at":"2021-01-27T13:17:29+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","jazz","lp","monooto"],"price":1800,"price_min":1800,"price_max":1800,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":37786735476901,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Judith Hamann \/\/ Shaking Studies LP","public_title":null,"options":["Default Title"],"price":1800,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/a2376208719_16.jpg?v=1611721295"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/a2376208719_16.jpg?v=1611721295","options":["Title"],"media":[{"alt":null,"id":16259263824037,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/a2376208719_16.jpg?v=1611721295"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/a2376208719_16.jpg?v=1611721295","width":700}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eオーストラリアのチェロ奏者Judith Hamannのデビュー作品。題の通り、自身の左手の震えの速度とその結果として生じるチェロとの共振周波数を音楽的に表現した作品。ミクロ＝マクロな全4曲を収録。DLコード付属。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2317036613\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cem\u003eFor her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her LP, \"Shaking Studies,\" is a collection of iterative cello performance that foregrounds shaking as a generative subject. In addition to an arsenal of techniques for registrable shaking, Hamann’s conception of the term emphasizes micro and macro pulsing, including tremors, vibrato, wolf tones, and complex partial activity. Hamann begins with a sphygmological reading of the pulse of her cello, inciting it to shake audibly and visually as a symbiotic basis for determining the rate of her own left hand’s tremor and consequent direction of resonant frequencies. Following a thorough harmonic investigation of her shaking practice in two parts, she directs us to look outwards, combining beating chordal structures with electronics and recordings of real world shaking. From inner pulse to more macrocosmic quaking, Hamann’s alternative conception of shaking rejects measurement and regularity, order and control, instead alluding to a more responsive and intuitive mode of convulsive sounding.\u003c\/em\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eJudith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e in a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada’s Duets, Graham Lambkin’s Community, Alvin Lucier’s Illuminated By The Moon, and Gossamers, with Rosalind Hall.\u003c\/span\u003e \"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Judith Hamann\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e"}
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{"id":6129315315877,"title":"Exotic Sin \/\/ Customer's Copy LP","handle":"exotic-sin-customers-copy-lp","description":"\u003cp\u003eDon Cherryの孫Naima Karlssonと日本人ジャズ奏者Kenichi Iwasaによるデュオの初リリース作品。アナログとデジタル、アコースティックとエレクトリック、自然と非自然のコントラストを好む\u003cmeta charset=\"utf-8\"\u003eKarlssonはピアノ、チェレスタ、ベルに加えてシンセサイザーを、Iwasaは時代錯誤な90年代ヤマハのキーボードとギターレットにコントラバス・リコーダー、ドラムス、カリンバ、そしてDon Cherryオリジナル楽器「Donのやかん」（けたたましい高音が出るため）を取り入れています。ジャズと呼ぶにはアヴァン過ぎる3作を収録。DLコード付属。\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2308381917\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/blankformseditions.bandcamp.com\/album\/customers-copy\"\u003eCustomer's Copy by Exotic Sin\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCustomer’s Copy is the debut LP of contorted cosmic jazz and eccentric minimal electronics by Exotic Sin. The duo of Naima Karlsson and Kenichi Iwasa first came together for a performance celebrating the art and music of Karlsson’s grandparents, Moki and Don Cherry, before continuing as an independent unit that still incorporates some of the Cherrys’ instruments as well as their synergetic integration of music with artistic practice.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePreferring the stark contrast of analog\/digital, acoustic\/electric, and natural\/unnatural sounds, Karlsson contributes synthesizers in addition to piano, celesta, and bells, while Iwasa collides anachronistic 90s Yamaha keyboard and guitaret with contrabass recorder, drums, kalimba, and three of Don Cherry’s instruments: one of his trumpets as well as two of his “zen saxophones,” handmade woodwinds appending reed mouthpieces to plastic plumbing parts, also called Don’s kettles after their high-pitched sound. With such timbral juxtapositions, the spirit of Exotic Sin is reminiscent of a number of leftfield jazz-meets-electronics ‘70s duos from Don Cherry’s maverick collaborations with Jon Appleton and Terry Riley to Anthony Braxton’s work with Richard Teitelbaum, İlhan Mimaroğlu and Freddie Hubbard’s Sing Me a Song of Songmy, and Muhal\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eRichard Abrams’ electronic works. On album opener “Dot 2 Dot,” Karlsson’s measured, monastic piano sets an elegiac stage for kettle bends and absurdist electro-percussive filtering courtesy of Iwasa before a flourish of cascading ebonies and ivories together with restorative circular trumpet motifs bring the sidelong piece to a majestic resolution. Named after the character from Ridley Scott’s 1989 film Black Rain, the schizosphere of “Charlie Vincent” interfaces ominous, dystopian synthesizer with permuted organ swells before album closer “Canis Minor” sets gentle sail for a distant bed of lonesome stars.\u003cbr\u003e\u003cbr\u003eA visual artist as well as an archivist and coordinator for the Cherry estate, Karlsson continues to learn and study Don’s compositions and approach to piano with her uncles Eagle-Eye and David, who were taught by Don himself, and his use of short piano compositions as loose scaffoldings for improvisation is prevalent across the record’s three otherworldly unfurlings. Improvisor and multidisciplinary artist Kenichi Iwasa is also known for his legendary Krautrock Karaoke night, his contribution to Beatrice Dillon’s 2020 album Workaround, and collaborations with visual artists and musicians from Linder Sterling to members of Can, Neu!, Faust, Cluster, and Wire. Recorded and mixed, with additional alto flute, woodwinds, and contrabass recorder by Robbie Lee.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Exotic Sin\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e","published_at":"2021-01-27T13:01:04+09:00","created_at":"2021-01-27T13:01:04+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","jazz","lp","monooto"],"price":1800,"price_min":1800,"price_max":1800,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":37786688258213,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Exotic Sin \/\/ Customer's Copy LP","public_title":null,"options":["Default Title"],"price":1800,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/a0160732745_16.jpg?v=1611720376"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/a0160732745_16.jpg?v=1611720376","options":["Title"],"media":[{"alt":null,"id":16259184001189,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/a0160732745_16.jpg?v=1611720376"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/a0160732745_16.jpg?v=1611720376","width":700}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eDon Cherryの孫Naima Karlssonと日本人ジャズ奏者Kenichi Iwasaによるデュオの初リリース作品。アナログとデジタル、アコースティックとエレクトリック、自然と非自然のコントラストを好む\u003cmeta charset=\"utf-8\"\u003eKarlssonはピアノ、チェレスタ、ベルに加えてシンセサイザーを、Iwasaは時代錯誤な90年代ヤマハのキーボードとギターレットにコントラバス・リコーダー、ドラムス、カリンバ、そしてDon Cherryオリジナル楽器「Donのやかん」（けたたましい高音が出るため）を取り入れています。ジャズと呼ぶにはアヴァン過ぎる3作を収録。DLコード付属。\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2308381917\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/blankformseditions.bandcamp.com\/album\/customers-copy\"\u003eCustomer's Copy by Exotic Sin\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCustomer’s Copy is the debut LP of contorted cosmic jazz and eccentric minimal electronics by Exotic Sin. The duo of Naima Karlsson and Kenichi Iwasa first came together for a performance celebrating the art and music of Karlsson’s grandparents, Moki and Don Cherry, before continuing as an independent unit that still incorporates some of the Cherrys’ instruments as well as their synergetic integration of music with artistic practice.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePreferring the stark contrast of analog\/digital, acoustic\/electric, and natural\/unnatural sounds, Karlsson contributes synthesizers in addition to piano, celesta, and bells, while Iwasa collides anachronistic 90s Yamaha keyboard and guitaret with contrabass recorder, drums, kalimba, and three of Don Cherry’s instruments: one of his trumpets as well as two of his “zen saxophones,” handmade woodwinds appending reed mouthpieces to plastic plumbing parts, also called Don’s kettles after their high-pitched sound. With such timbral juxtapositions, the spirit of Exotic Sin is reminiscent of a number of leftfield jazz-meets-electronics ‘70s duos from Don Cherry’s maverick collaborations with Jon Appleton and Terry Riley to Anthony Braxton’s work with Richard Teitelbaum, İlhan Mimaroğlu and Freddie Hubbard’s Sing Me a Song of Songmy, and Muhal\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eRichard Abrams’ electronic works. On album opener “Dot 2 Dot,” Karlsson’s measured, monastic piano sets an elegiac stage for kettle bends and absurdist electro-percussive filtering courtesy of Iwasa before a flourish of cascading ebonies and ivories together with restorative circular trumpet motifs bring the sidelong piece to a majestic resolution. Named after the character from Ridley Scott’s 1989 film Black Rain, the schizosphere of “Charlie Vincent” interfaces ominous, dystopian synthesizer with permuted organ swells before album closer “Canis Minor” sets gentle sail for a distant bed of lonesome stars.\u003cbr\u003e\u003cbr\u003eA visual artist as well as an archivist and coordinator for the Cherry estate, Karlsson continues to learn and study Don’s compositions and approach to piano with her uncles Eagle-Eye and David, who were taught by Don himself, and his use of short piano compositions as loose scaffoldings for improvisation is prevalent across the record’s three otherworldly unfurlings. Improvisor and multidisciplinary artist Kenichi Iwasa is also known for his legendary Krautrock Karaoke night, his contribution to Beatrice Dillon’s 2020 album Workaround, and collaborations with visual artists and musicians from Linder Sterling to members of Can, Neu!, Faust, Cluster, and Wire. Recorded and mixed, with additional alto flute, woodwinds, and contrabass recorder by Robbie Lee.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Exotic Sin\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e"}
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