Herbcraft // Ashram To The Stars TAPE

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アメリカ・メイン州のニューエイジレーベルFlower Roomを本邦初入荷しました。

本作は、レーベル主宰デュオStarbirthedの片割れHerbcraftが2011年にリリースした2ndアルバムのカセットリイシューです。コズミックなノイズロック〜アンビエントフォーク7曲を収録。ステッカーとDLコード付属。

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

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Edition of 100. The original 2011 album, newly remastered and on cassette for the very first time.

Description by Flower Room:

" 10th anniversary edition of the second Herbcraft album, available on cassette for the first time! Recorded before the debut LP was released in June 2010, the majority of Ashram to the Stars was initially intended as the debut album for yet another new Matt LaJoie solo project: a Thelema-influenced cult-devotional invention called The Om-Ah-Hum Band (or, alternately, Aumahhum and The Caverns Endless). As noted in interviews at the time, the intent was to deflect from the "good time, blissed out, bonged to the eyeballs"-type press surrounding debut Herbcraft single "Road to Agartha", a reading that ignored the serious and somewhat dark subject matter of the first album. "I wanted to make an album that took the spiritual concepts I was interested in seriously, but in a more-direct way, one that was edge-of-consciousness but couldn’t possibly be considered blissed-out," he said in an interview with Revolt of the Apes upon Ashram's release.

Along with this stated intent, Ashram to the Stars also represented a brand new style of recording and production for Matt, one that relied entirely on stereo speakers (not headphones) for mixing, and a laptop with very basic DAW rather than a multi-track recorder for the entire tracking and mixing process. The session began with Matt recording the two-chord electric guitar strum of opener "Fleet Guru" for minutes on end, imagining the rest of the instrumentation to be filled in later in order to arrive at a suitable ending point for the song. Returning to zero and creating a new track, he then improvised an overdriven fuzz-wah lead guitar in closest approximation possible to what he heard while strumming the chords; as the rhythm guitar faded out, the lead kept flowing across the border, with wild delay-based trickery and abstract noise seemingly creating itself out of nothing - ghosts in the machine. Letting this strange sound continue to emit from the guitar across the next 10+ minutes, he then zeroed the track again to add bass guitar, improvised vocals, and finally percussion to the unbroken piece of music. The entire side of the record was completed in an afternoon. The songs on side two were recorded separately in sessions throughout the following weeks; "Get Esoteric" providing a bit of boogie (with elements borrowed from an unfinished Cursillistas song), "Mass"--especially in its original 17-minute-long form--becoming an abstract devotional centerpiece for the album (an early precursor to the Flower Room sound), and closer "Jupiter Trine Sun" being the door-busting, dervishly cathartic, world-psych climax, featuring a hard-strummed, loosely-tuned 12-string guitar that would regularly be mistaken for a sitar in reviews.

Once primary tracking was finished and the album roughly mixed, Matt utilized a production trick he'd hit upon several weeks earlier while working on the Papers cassette - creating a cassette master of the album, then ripping and loading it back into the digital master file for the two to be mixed together. Inconsistencies in record and playback speed for tape decks ensured that this cassette mix wouldn't line up perfectly with the original digital master, and any attempt to keep the tape synced resulted in a natural flange effect peppered throughout the mix. This unique blend of analog and digital gives the album an out-of-time, out-of-place quality, ancient and futuristic, yet anchored in 21st century experimental lo-fi and underground psych.

Routinely named by fans as a favorite Herbcraft album, Ashram to the Stars was initially released on Woodsist subsidiary Hello Sunshine as a vinyl and digital exclusive in June 2011. We are thrilled upon its 10th anniversary to offer the album on cassette for the first time, with a new remaster specifically for the medium. "

Artist : Herbcraft

Label : Flower Room

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アメリカ・メイン州のニューエイジレーベルFlower Roomを本邦初入荷しました。

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

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

Edition of 100. The original 2011 album, newly remastered and on cassette for the very first time.

Description by Flower Room:

Artist : Herbcraft

Label : Flower Room

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Quickview {"id":7517154509050,"title":"Matt LaJoie \/\/ Red Resonant Earth LP \/ TAPE","handle":"matt-lajoie-red-resonant-earth-lp-tape","description":"\u003cp\u003eアメリカ・メイン州のポストニューエイジ・ギタリスト Matt LaJoieが、2021年10月に自身主宰レーベルFlower Roomからリリースした最新アルバムです。\u003c\/p\u003e\n\u003cp\u003eエレキギターによる桃源郷アンビエント9曲を収録。\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e一点一点異なるパワーストーンと\u003c\/span\u003eDLコード付属。\u003c\/p\u003e\n\u003cp\u003e以下、作家本人による解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e「私の出生図には、私のライフワークが「スピリチュアル・ガーデナー」であることを示唆するアスペクトがあると言われています。これは、文字通りの意味でも比喩的な意味でも解釈できますが、私は、すべての感覚のある生命が経験できるように、宇宙から地球のものへの意識的で形而上的なつながりを強化するという、私の生まれながらの指向を通して、これを最も明確に理解しています。ちょうど庭師が、高次の力を物質面に超越させる創造的な媒体であり、地球の物質が私たちの感覚を楽しませるために無数の方法で変容させられるように、これはあらゆる媒体における芸術家の本質的な仕事であると見なすことができるのです。偉大な園芸家は、生命を育てる「仕事」のほとんどは、日光、空気、水、鉱物、種子が完璧な共同創造的展開に入る過程において、導き、育て、編集する手であるに過ぎないことを理解しています。そして、即興と自発性、つまりインスピレーションに基づく行動は、自然界で果てしなく展開されている本来の創造的衝動のエコーであるとみなすことができます。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e即興は常に私の音楽の重要な要素でしたが、ここ数ヶ月、1日1曲のColanderプロジェクトに取り組んでいる間に、それが私の創造的プロセスの*唯一の*部分となりました。その先では、私の仕事は純粋に編集者、例えるなら剪定屋です。この実践について私が魅力的に感じたのは（宗教的な意味で）、経験され表現されるのを待っているものが常にあるということです。風に乗って漂う種は、庭師の意識と、土にしっかりと植えるための受容の手を求めているのです。これらの曲がどこから来たかを説明するには、これが唯一の方法だと思います。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eRed Resonant Earthは、2021年3月に自宅スタジオで45分のセッションを2回にわたって録音したもので、この1年間で3軒目の家で行った最初のレコーディングとなりました。私は新しい同居人のDanelectro 59M 12弦エレキギターにすぐに惹かれ、簡単なチューニングの後、すぐに録音を開始するために急いで機材をセットアップしました。ギターをLine 6のDL4ディレイ\/ルーパーに入れ、直接ボードに入れるという、可能な限りシンプルなセットアップです。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eセッションから伝わってくるのは、新しい楽器の繊細なフィーリング（「Red Resonant Earth」）と、爽快で大胆な自由な遊び心（「Return to Rock Pick Mountain」）が交互に、同じ曲（「Forest Sanctuary」、「Rusted Chalice」、「Born Free」）でしばしば聴き取れることです。12弦ギター（過去のレコーディングでは10弦を改造したものも）は、自然の神聖さをたたえる音楽と、原野に沈む現代人の不気味さを表現するのに適しているように感じます。完璧なアカデミックハーモニーからわずかに外れてうなる弦楽器（「Sprout」）、セミの音階に寄り添うドローン（「Taos Hum \u0026gt; Claymaking」）、鳥のさえずりのリズムを模倣した非計量または不完全なループ（「Gilded Hilt」「Mammoth」）などが、牧歌的で神聖なものを思い起こさせるのです。ギターの弦を電子的に操作して工業ノイズやシンセサイザーのような音にしたり、ループさせたり、反転させたり、スピードアップやスローダウンさせたりと、電気や技術の存在も尊重されています。おそらくこれは、アメリカの超越主義を現代によみがえらせたもので、交感とコミュニケーションを拡大する可能性を秘めたテクノロジーを受け入れ、機械と庭が容易な協力者として共存する場所を見出したものなのでしょう。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eしかし、ここで私が込めた意味は余計なものです。確かに、音楽が作られている間、これらの哲学は私の頭の中になかったのです。実際、2回のセッションを終えた直後は、たいしたことはできていないという印象を受けました。しかし、数週間後、ミキシングと編集をしているうちに、だんだん分かってきました。ある曲は、風のために作られたものです。これらの曲は、植えつけられることを望んだのです。共鳴しますように。\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=689772132\/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\/flro\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/flro\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/flro\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/flro\"\u003ehere\u003c\/a\u003e to see more Flower Room releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e-----------------------------\u003c\/p\u003e\n\u003cp\u003eVinyl edition of 400.\u003c\/p\u003e\n\u003cp\u003eTape edition of 100.\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHeld in clear polybox with two-sided pro-printed wraparound tip-on cover, hand-numbered to 100, and includes a small red tiger iron gemstone.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e*****\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eArtist statement by Matt LaJoie, \u003cmeta charset=\"utf-8\"\u003eJuly 2021\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003e\"\u003cem\u003eI've been told there is an aspect of my birth chart that suggests my life's work as being that of a \"spiritual gardener\". This can be interpreted in both literal and metaphorical ways, but I understand it most clearly through my natural orientation to reinforce the conscious, metaphysical link from the cosmos to the stuff of Earth, as can be experienced by all sentient life. Just as the gardener is the creative medium through which higher forces transcend to the material plane, allowing Earth matter to be transformed in myriad ways for the delight of our senses, it's possible to see this as the essential work of artists in every medium. Great horticulturists understand that most of the \"work\" of raising life is merely being a guiding, fostering, and editing hand in the process of sunlight, air, water, mineral, and seed entering into a perfect collaborative creative unfoldment. Through this vision, we can experience nature as our closest terrestrial analogue to Divinity, and to view improvisation and spontaneity--inspired action--as an echo of the original creative impulse that is endlessly unfolding in the natural world.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eImprovisation has always been a key component of my music, but over the past several months while working on my song-a-day Colander project, it has become the *only* part of my creative process. Beyond that step, my work is purely as an editor - or, to extend the metaphor, a pruner. What I’ve found fascinating about this practice (which I mean in the religious sense) is that there's always more waiting to be experienced and expressed; seeds drifting on the winds, seeking the gardener's awareness and receptive hand to plant them firmly in the soil. I think this is the only way I can explain where these songs came from.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eRed Resonant Earth was recorded in March 2021 across two 45-minute sessions at our home studio, the first recordings made in my third home of the past year. I was instantly drawn to our new housemate's Danelectro 59M 12-string electric guitar, and after a quick tuning hastily set up gear to start recording immediately. The guitar went into a Line 6 DL4 delay\/looper, then directly into the board - as simple a setup as possible.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWhat comes across in the sessions is a sensitive feeling out of a new instrument (\"Red Resonant Earth\"), alternating with an invigorated, boldly free playfulness (\"Return to Rock Pick Mountain\"), often within the same song (\"Forest Sanctuary\", \"Rusted Chalice\", \"Born Free\"). 12-string guitar (and the modified 10-string I have often used on past recordings) feels uniquely suited to music honoring the sanctity of nature, as well as the uncanniness of being a modern human submerged in wilderness. Strings buzzing just slightly out of perfect academic harmony (\"Sprout\"), drones leaning into a cicadan scale (\"Taos Hum \u0026gt; Claymaking\"), and unmetered or imperfect loops that mimic the rhythms of birdsong (\"Gilded Hilt\", \"Mammoth\") evoke both the pastoral and the rapturously sacred. The presence of electricity and technology are also honored - guitar strings electronically manipulated into industrial noise or synthesizer-like tones, looped, reversed, sped up and slowed down. Perhaps this is a modern echo of American Transcendentalism, one that embraces technology for its potential for expanded communion and communication, finding a place where the machine and the garden coexist as easy collaborators.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eBut the meaning I'm imbuing here is superfluous: certainly, these philosophies were not on my mind as the music was being created. In fact, immediately after both sessions I had the impression that not much of value had been accomplished at all. Mixing and editing the tracks weeks later, however, I began to get the picture. Some songs are meant for the winds: ephemeral, to be heard in a single moment by the elements and unseen beings. These songs wished to be planted. May they resonate\u003c\/em\u003e.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e*****\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eJarrod Annis, Aquarium Drunkard:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"\u003cem\u003eMatt LaJoie has been a wellspring of cosmically attuned guitar explorations under a multitude of monikers since co-founding the uncannily prolific Flower Room label with Ash Brooks in 2017. The sprawling automatic compositions of Red Resonant Earth spring like mycorrhizae from the groundwork laid by kosimiche forerunners like Gottsching, Fricke, and Rother, reaching simultaneously toward realms both celestial and terrestrial. Immaculately looped passages of electric twelve-string wind like nimble tendrils through the opening textures of ‘Born Free’ and ‘Sprout’ before burrowing into the darker hues of ‘Mammoth’ and ‘Taos Hum \u0026gt; Claymaking,’ which spin out like Terry Riley and Roger McGuinn locked in perpetual dervish. When paired with Land Mass, a digital\/tape counterpart via Flower Room, Red Resonant Earth exemplifies the grand expanse of LaJoie’s sonic vision. It’s music that delves deep into the reaches of the underland while LaJoie holds the lamp, pressing ever onward through subterranean caverns, his picking glimmering like caches of amethyst, until we emerge once again to see the light of the world anew. \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cbr\u003e*****\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eKeith Hadad, Record Crates United:\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003e\"\u003cem\u003eMatt LaJoie continues to conjure the very spirit of nature itself through his cosmic guitar wizardry on the excellent Red Resonant Earth. The tracks on this album feature nothing but LaJoie’s bright guitar lines, all overdubbed and layered on top of each other, rippling and blending together into an array of unusual tones and hues. On songs like “Forest Sanctuary,” the 12-string mimics the movement of tree branches swaying in the breeze and the patterns of dancing sunlight that peek around the leaves. The sound of the guitar, which at times is similar to an electric oud, is always as pleasant and golden as dawn’s first light and as sweet as an ocean breeze.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eElsewhere on the album, like the title track, LaJoie even creates high-pitched percussive twinkling sounds with his instrument, which produces a dazzling sensation. It easily brings to mind images of things like bright lunar reflections shimmering across the choppy surface of a nocturnal sea or a night sky full of streaking meteors.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThroughout the album, LaJoie’s guitar playing is always meditative and relaxed, as though he is actively experiencing the natural scenes that he’s projecting through his improvisations in real time. You get the sense that wandering down his fret board like this is his way of reaching a deep, internal peace. Fans of Popol Vuh, Jerry Garcia and Michael Rother need this record (and all of LaJoie’s records, for that matter).\" \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e*****\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eAndy French, Raven Sings The Blues:\u003cbr\u003e\u003cbr\u003e\"\u003cem\u003eMatt LaJoie’s current run of improvised records has been fruitful to say the least. Spanning three recordings over the past couple of years, and drawing from an elemental aura — the first water, the second fire, and now an album of songs meant to return to the earth — his latest finds Matt nudging the album to life with a horticulturalist’s eye. Recorded over two 45-minute sessions on an unfamiliar instrument (a borrowed Danelectro 59M 12-string electric guitar) Red Resonant Earth folds in many of the themes of his previous two outings, the tone shifts, but he lets the dewy air feed his creation and the sun’s warmth urge the seeds of songs to fruition.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAt its core there’s a must of soil that hangs heavy, but more so a feeling of growth and of life to the pieces. Songs like “Rusted Chalice” and “Gilded Hilt” have a cyclical nature to them — blooming, stretching, receding. The songs turn towards the sun in slow movements. They inhale anxieties, exhale focus. It’s easy to get lost inside of LaJoie’s playing, but once the dream of strings evaporates into the air, the peace lingers in the synapses long after. If Everlasting Spring and Paraclete Tongue already grace your collection, then I don’t think any convincing is needed, but newcomer or old, this is another strong argument that LaJoie’s works are essentials antigens to the forces of chaos constantly brewing.\"\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e*****\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eArtist : Matt LaJoie\u003c\/p\u003e\n\u003cp\u003eLabel : Flower Room\u003c\/p\u003e","published_at":"2022-01-18T20:18:46+09:00","created_at":"2022-01-16T14:10:17+09:00","vendor":"Tobira Records","type":"","tags":["ambient","flower room","lp","post 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Matt LaJoieが、2021年10月に自身主宰レーベルFlower Roomからリリースした最新アルバムです。\u003c\/p\u003e\n\u003cp\u003eエレキギターによる桃源郷アンビエント9曲を収録。\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e一点一点異なるパワーストーンと\u003c\/span\u003eDLコード付属。\u003c\/p\u003e\n\u003cp\u003e以下、作家本人による解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e「私の出生図には、私のライフワークが「スピリチュアル・ガーデナー」であることを示唆するアスペクトがあると言われています。これは、文字通りの意味でも比喩的な意味でも解釈できますが、私は、すべての感覚のある生命が経験できるように、宇宙から地球のものへの意識的で形而上的なつながりを強化するという、私の生まれながらの指向を通して、これを最も明確に理解しています。ちょうど庭師が、高次の力を物質面に超越させる創造的な媒体であり、地球の物質が私たちの感覚を楽しませるために無数の方法で変容させられるように、これはあらゆる媒体における芸術家の本質的な仕事であると見なすことができるのです。偉大な園芸家は、生命を育てる「仕事」のほとんどは、日光、空気、水、鉱物、種子が完璧な共同創造的展開に入る過程において、導き、育て、編集する手であるに過ぎないことを理解しています。そして、即興と自発性、つまりインスピレーションに基づく行動は、自然界で果てしなく展開されている本来の創造的衝動のエコーであるとみなすことができます。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e即興は常に私の音楽の重要な要素でしたが、ここ数ヶ月、1日1曲のColanderプロジェクトに取り組んでいる間に、それが私の創造的プロセスの*唯一の*部分となりました。その先では、私の仕事は純粋に編集者、例えるなら剪定屋です。この実践について私が魅力的に感じたのは（宗教的な意味で）、経験され表現されるのを待っているものが常にあるということです。風に乗って漂う種は、庭師の意識と、土にしっかりと植えるための受容の手を求めているのです。これらの曲がどこから来たかを説明するには、これが唯一の方法だと思います。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eRed Resonant Earthは、2021年3月に自宅スタジオで45分のセッションを2回にわたって録音したもので、この1年間で3軒目の家で行った最初のレコーディングとなりました。私は新しい同居人のDanelectro 59M 12弦エレキギターにすぐに惹かれ、簡単なチューニングの後、すぐに録音を開始するために急いで機材をセットアップしました。ギターをLine 6のDL4ディレイ\/ルーパーに入れ、直接ボードに入れるという、可能な限りシンプルなセットアップです。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eセッションから伝わってくるのは、新しい楽器の繊細なフィーリング（「Red Resonant Earth」）と、爽快で大胆な自由な遊び心（「Return to Rock Pick Mountain」）が交互に、同じ曲（「Forest Sanctuary」、「Rusted Chalice」、「Born Free」）でしばしば聴き取れることです。12弦ギター（過去のレコーディングでは10弦を改造したものも）は、自然の神聖さをたたえる音楽と、原野に沈む現代人の不気味さを表現するのに適しているように感じます。完璧なアカデミックハーモニーからわずかに外れてうなる弦楽器（「Sprout」）、セミの音階に寄り添うドローン（「Taos Hum \u0026gt; Claymaking」）、鳥のさえずりのリズムを模倣した非計量または不完全なループ（「Gilded Hilt」「Mammoth」）などが、牧歌的で神聖なものを思い起こさせるのです。ギターの弦を電子的に操作して工業ノイズやシンセサイザーのような音にしたり、ループさせたり、反転させたり、スピードアップやスローダウンさせたりと、電気や技術の存在も尊重されています。おそらくこれは、アメリカの超越主義を現代によみがえらせたもので、交感とコミュニケーションを拡大する可能性を秘めたテクノロジーを受け入れ、機械と庭が容易な協力者として共存する場所を見出したものなのでしょう。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eしかし、ここで私が込めた意味は余計なものです。確かに、音楽が作られている間、これらの哲学は私の頭の中になかったのです。実際、2回のセッションを終えた直後は、たいしたことはできていないという印象を受けました。しかし、数週間後、ミキシングと編集をしているうちに、だんだん分かってきました。ある曲は、風のために作られたものです。これらの曲は、植えつけられることを望んだのです。共鳴しますように。\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=689772132\/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\/flro\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/flro\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/flro\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/flro\"\u003ehere\u003c\/a\u003e to see more Flower Room releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e-----------------------------\u003c\/p\u003e\n\u003cp\u003eVinyl edition of 400.\u003c\/p\u003e\n\u003cp\u003eTape edition of 100.\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHeld in clear polybox with two-sided pro-printed wraparound tip-on cover, hand-numbered to 100, and includes a small red tiger iron gemstone.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e*****\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eArtist statement by Matt LaJoie, \u003cmeta charset=\"utf-8\"\u003eJuly 2021\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003e\"\u003cem\u003eI've been told there is an aspect of my birth chart that suggests my life's work as being that of a \"spiritual gardener\". This can be interpreted in both literal and metaphorical ways, but I understand it most clearly through my natural orientation to reinforce the conscious, metaphysical link from the cosmos to the stuff of Earth, as can be experienced by all sentient life. Just as the gardener is the creative medium through which higher forces transcend to the material plane, allowing Earth matter to be transformed in myriad ways for the delight of our senses, it's possible to see this as the essential work of artists in every medium. Great horticulturists understand that most of the \"work\" of raising life is merely being a guiding, fostering, and editing hand in the process of sunlight, air, water, mineral, and seed entering into a perfect collaborative creative unfoldment. Through this vision, we can experience nature as our closest terrestrial analogue to Divinity, and to view improvisation and spontaneity--inspired action--as an echo of the original creative impulse that is endlessly unfolding in the natural world.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eImprovisation has always been a key component of my music, but over the past several months while working on my song-a-day Colander project, it has become the *only* part of my creative process. Beyond that step, my work is purely as an editor - or, to extend the metaphor, a pruner. What I’ve found fascinating about this practice (which I mean in the religious sense) is that there's always more waiting to be experienced and expressed; seeds drifting on the winds, seeking the gardener's awareness and receptive hand to plant them firmly in the soil. I think this is the only way I can explain where these songs came from.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eRed Resonant Earth was recorded in March 2021 across two 45-minute sessions at our home studio, the first recordings made in my third home of the past year. I was instantly drawn to our new housemate's Danelectro 59M 12-string electric guitar, and after a quick tuning hastily set up gear to start recording immediately. The guitar went into a Line 6 DL4 delay\/looper, then directly into the board - as simple a setup as possible.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWhat comes across in the sessions is a sensitive feeling out of a new instrument (\"Red Resonant Earth\"), alternating with an invigorated, boldly free playfulness (\"Return to Rock Pick Mountain\"), often within the same song (\"Forest Sanctuary\", \"Rusted Chalice\", \"Born Free\"). 12-string guitar (and the modified 10-string I have often used on past recordings) feels uniquely suited to music honoring the sanctity of nature, as well as the uncanniness of being a modern human submerged in wilderness. Strings buzzing just slightly out of perfect academic harmony (\"Sprout\"), drones leaning into a cicadan scale (\"Taos Hum \u0026gt; Claymaking\"), and unmetered or imperfect loops that mimic the rhythms of birdsong (\"Gilded Hilt\", \"Mammoth\") evoke both the pastoral and the rapturously sacred. The presence of electricity and technology are also honored - guitar strings electronically manipulated into industrial noise or synthesizer-like tones, looped, reversed, sped up and slowed down. Perhaps this is a modern echo of American Transcendentalism, one that embraces technology for its potential for expanded communion and communication, finding a place where the machine and the garden coexist as easy collaborators.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eBut the meaning I'm imbuing here is superfluous: certainly, these philosophies were not on my mind as the music was being created. In fact, immediately after both sessions I had the impression that not much of value had been accomplished at all. Mixing and editing the tracks weeks later, however, I began to get the picture. Some songs are meant for the winds: ephemeral, to be heard in a single moment by the elements and unseen beings. These songs wished to be planted. May they resonate\u003c\/em\u003e.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003e*****\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eJarrod Annis, Aquarium Drunkard:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"\u003cem\u003eMatt LaJoie has been a wellspring of cosmically attuned guitar explorations under a multitude of monikers since co-founding the uncannily prolific Flower Room label with Ash Brooks in 2017. The sprawling automatic compositions of Red Resonant Earth spring like mycorrhizae from the groundwork laid by kosimiche forerunners like Gottsching, Fricke, and Rother, reaching simultaneously toward realms both celestial and terrestrial. Immaculately looped passages of electric twelve-string wind like nimble tendrils through the opening textures of ‘Born Free’ and ‘Sprout’ before burrowing into the darker hues of ‘Mammoth’ and ‘Taos Hum \u0026gt; Claymaking,’ which spin out like Terry Riley and Roger McGuinn locked in perpetual dervish. When paired with Land Mass, a digital\/tape counterpart via Flower Room, Red Resonant Earth exemplifies the grand expanse of LaJoie’s sonic vision. It’s music that delves deep into the reaches of the underland while LaJoie holds the lamp, pressing ever onward through subterranean caverns, his picking glimmering like caches of amethyst, until we emerge once again to see the light of the world anew. \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cbr\u003e*****\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eKeith Hadad, Record Crates United:\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003e\"\u003cem\u003eMatt LaJoie continues to conjure the very spirit of nature itself through his cosmic guitar wizardry on the excellent Red Resonant Earth. The tracks on this album feature nothing but LaJoie’s bright guitar lines, all overdubbed and layered on top of each other, rippling and blending together into an array of unusual tones and hues. On songs like “Forest Sanctuary,” the 12-string mimics the movement of tree branches swaying in the breeze and the patterns of dancing sunlight that peek around the leaves. The sound of the guitar, which at times is similar to an electric oud, is always as pleasant and golden as dawn’s first light and as sweet as an ocean breeze.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eElsewhere on the album, like the title track, LaJoie even creates high-pitched percussive twinkling sounds with his instrument, which produces a dazzling sensation. It easily brings to mind images of things like bright lunar reflections shimmering across the choppy surface of a nocturnal sea or a night sky full of streaking meteors.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThroughout the album, LaJoie’s guitar playing is always meditative and relaxed, as though he is actively experiencing the natural scenes that he’s projecting through his improvisations in real time. You get the sense that wandering down his fret board like this is his way of reaching a deep, internal peace. Fans of Popol Vuh, Jerry Garcia and Michael Rother need this record (and all of LaJoie’s records, for that matter).\" \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e*****\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eAndy French, Raven Sings The Blues:\u003cbr\u003e\u003cbr\u003e\"\u003cem\u003eMatt LaJoie’s current run of improvised records has been fruitful to say the least. Spanning three recordings over the past couple of years, and drawing from an elemental aura — the first water, the second fire, and now an album of songs meant to return to the earth — his latest finds Matt nudging the album to life with a horticulturalist’s eye. Recorded over two 45-minute sessions on an unfamiliar instrument (a borrowed Danelectro 59M 12-string electric guitar) Red Resonant Earth folds in many of the themes of his previous two outings, the tone shifts, but he lets the dewy air feed his creation and the sun’s warmth urge the seeds of songs to fruition.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAt its core there’s a must of soil that hangs heavy, but more so a feeling of growth and of life to the pieces. Songs like “Rusted Chalice” and “Gilded Hilt” have a cyclical nature to them — blooming, stretching, receding. The songs turn towards the sun in slow movements. They inhale anxieties, exhale focus. It’s easy to get lost inside of LaJoie’s playing, but once the dream of strings evaporates into the air, the peace lingers in the synapses long after. If Everlasting Spring and Paraclete Tongue already grace your collection, then I don’t think any convincing is needed, but newcomer or old, this is another strong argument that LaJoie’s works are essentials antigens to the forces of chaos constantly brewing.\"\u003c\/em\u003e \u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e*****\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eArtist : Matt LaJoie\u003c\/p\u003e\n\u003cp\u003eLabel : Flower Room\u003c\/p\u003e"}