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{"id":7641878790394,"title":"James Rushford \/\/ Lake From The Louvers LP","handle":"james-rushford-lake-from-the-louvers-lp","description":"\u003cp\u003eオーストラリアの実験音楽家James Rushfordが、2021年5月にフランスの実験レーベルShelter Pressからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003e深淵なドローン〜ミュージックコンクレート11曲を収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2412997316\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 500.\u003c\/p\u003e\n\u003cp\u003eText by Shelter Press:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLake From The Louvers is a new solo work for concrete sounds, electronics and instruments from Australian composer-performer James Rushford, who has spent the last fifteen years honing his singular approach to composition and performance through solo works and collaborations with artists such as Oren Ambarchi, Crys Cole, Will Guthrie, Graham Lambkin and Klaus Lang.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eCreated primarily during a stay at the La Becque, an artist residency on the shores of Lake Geneva, Lake From The Louvers draws inspiration from the play of shadow and light on both the surface of the lake and the window through which Rushford viewed this lacustrine landscape. While the lake is itself at times directly audible in the form of field recordings, the image suggested by the record’s title is less directly represented than translated into sonic structures inspired, as Rushford explains, by ‘the passing of shadow through a fixed space’. The movement of light across these two flat surfaces, lake and window, finds its sonic equivalent in these eleven pieces, in which fragments and particles of sound – highly amplified crunches, synthesized squawks and pings, harp notes – ripple across the length of each track. Fixed sets of elements define each piece, often moulded into ephemeral ensembles in which\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e individual voices consistently fade away and reappear.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRushford’s performances on various keyboards provide the unstable, wavering foundations of many of these pieces, with microtonal tunings adding a woozy, seasick edge to his stately, often stunningly beautiful playing. Each side of the LP ends with an extended keyboard work: the first for groaning, sighing church organ, the second for a psychedelic cloud of detuned synthesizer tones in which harmonic fragments sink into their own melancholic recollection. Elsewhere the record makes use of elements as varied as microtonal harp, skittering drum machines and synthetic marimba, establishing a sound palette remarkable for its breadth, as well as its sparkling, glittering quality. Where many of Rushford’s solo projects have taken the form of long works with a sombre cast, Lake From The Louvers is strikingly bright and accessible, a series of sonic glimpses in which, like a late Monet, the shimmer of light undoes the distinction between image and reflection, foreground and background, surface and depth.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMastered by Stephan Mathieu, cut at D+M. Printed artwork on inner and outer sleeves by Valle Medina and Benjamin Reynolds (Pa.LaC.E).\u003cbr data-mce-fragment=\"1\"\u003eDesign by Bartolomé Sanson. Released in collababoration with La Becque Editions.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : James Rushford\u003c\/p\u003e\n\u003cp\u003eLabel : Shelter Press\u003c\/p\u003e","published_at":"2022-06-17T15:49:54+09:00","created_at":"2022-06-14T11:15:34+09:00","vendor":"Tobira Records","type":"","tags":["drone","lp","shelter press"],"price":328000,"price_min":328000,"price_max":328000,"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":42875826045178,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"James Rushford \/\/ Lake From The Louvers LP","public_title":null,"options":["Default Title"],"price":328000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/la1_cd8c0118-ebc5-4ab8-aea6-0e4e8d92f639.jpg?v=1655172936","\/\/tobirarecords.com\/cdn\/shop\/products\/la2_fbc4d9ce-c153-40f6-ad6d-525a7c542c2e.jpg?v=1655172936"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/la1_cd8c0118-ebc5-4ab8-aea6-0e4e8d92f639.jpg?v=1655172936","options":["Title"],"media":[{"alt":null,"id":29897035481338,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/la1_cd8c0118-ebc5-4ab8-aea6-0e4e8d92f639.jpg?v=1655172936"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/la1_cd8c0118-ebc5-4ab8-aea6-0e4e8d92f639.jpg?v=1655172936","width":700},{"alt":null,"id":29897035514106,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/la2_fbc4d9ce-c153-40f6-ad6d-525a7c542c2e.jpg?v=1655172936"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/la2_fbc4d9ce-c153-40f6-ad6d-525a7c542c2e.jpg?v=1655172936","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eオーストラリアの実験音楽家James Rushfordが、2021年5月にフランスの実験レーベルShelter Pressからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003e深淵なドローン〜ミュージックコンクレート11曲を収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2412997316\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 500.\u003c\/p\u003e\n\u003cp\u003eText by Shelter Press:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLake From The Louvers is a new solo work for concrete sounds, electronics and instruments from Australian composer-performer James Rushford, who has spent the last fifteen years honing his singular approach to composition and performance through solo works and collaborations with artists such as Oren Ambarchi, Crys Cole, Will Guthrie, Graham Lambkin and Klaus Lang.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eCreated primarily during a stay at the La Becque, an artist residency on the shores of Lake Geneva, Lake From The Louvers draws inspiration from the play of shadow and light on both the surface of the lake and the window through which Rushford viewed this lacustrine landscape. While the lake is itself at times directly audible in the form of field recordings, the image suggested by the record’s title is less directly represented than translated into sonic structures inspired, as Rushford explains, by ‘the passing of shadow through a fixed space’. The movement of light across these two flat surfaces, lake and window, finds its sonic equivalent in these eleven pieces, in which fragments and particles of sound – highly amplified crunches, synthesized squawks and pings, harp notes – ripple across the length of each track. Fixed sets of elements define each piece, often moulded into ephemeral ensembles in which\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e individual voices consistently fade away and reappear.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRushford’s performances on various keyboards provide the unstable, wavering foundations of many of these pieces, with microtonal tunings adding a woozy, seasick edge to his stately, often stunningly beautiful playing. Each side of the LP ends with an extended keyboard work: the first for groaning, sighing church organ, the second for a psychedelic cloud of detuned synthesizer tones in which harmonic fragments sink into their own melancholic recollection. Elsewhere the record makes use of elements as varied as microtonal harp, skittering drum machines and synthetic marimba, establishing a sound palette remarkable for its breadth, as well as its sparkling, glittering quality. Where many of Rushford’s solo projects have taken the form of long works with a sombre cast, Lake From The Louvers is strikingly bright and accessible, a series of sonic glimpses in which, like a late Monet, the shimmer of light undoes the distinction between image and reflection, foreground and background, surface and depth.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMastered by Stephan Mathieu, cut at D+M. Printed artwork on inner and outer sleeves by Valle Medina and Benjamin Reynolds (Pa.LaC.E).\u003cbr data-mce-fragment=\"1\"\u003eDesign by Bartolomé Sanson. Released in collababoration with La Becque Editions.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : James Rushford\u003c\/p\u003e\n\u003cp\u003eLabel : Shelter Press\u003c\/p\u003e"}
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オーストラリアの実験音楽家James Rushfordが、2021年5月にフランスの実験レーベルShelter Pressからリリースしたレコードです。 深淵なドローン〜ミュージックコンクレート11曲を収録。 レーベルその他作品はこちら /// Click here to see more Shelter Press / Recollection GRM / Ideologic Organ...
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{"id":7637752938746,"title":"Ákos Rózmann \/\/ MASS \/ MÄSSA - 7xCD BOXSET","handle":"akos-rozmann-mass-massa-7xcd-boxset","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eハンガリー・ブダペストの実験音楽家Akos Rozmannの7CD BOXセットです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e以下、レーベル解説です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eÁkos RózmannのMassは、1989年から2004年の間に作曲家のスタジオとストックホルムのEMSで制作された12の電子音響作品から構成されています。ロズマンが作曲したほとんどの作品と同様に、『ミサ』は約7時間の長大な作品である。\u003cbr\u003eロズマンの《ミサ》は、カトリックのミサの第一部である「キリー」と「グローリア」についての個人的な観察による巨大なフレスコ画であると表現することができる。ミサのテキストに対する極めて主観的な視点は、ロズマン自身の言葉で言うところの「トロペ」、つまりミサのテキストの特定の言葉やそれとの関連に対するスウェーデン語、ハンガリー語、ラテン語による瞑想のイメージを凍らせることで強調されている。いくつかのパッセージはミサ文とは無関係である。グローリアIのオルガン曲VI（銀と踊りの夜想曲という副題もついている）は、「Natten gråter」（夜が泣いている）というフレーズに基づく一種の哀歌である。グローリアIに続く間奏曲は、スウェーデンのコンサートホールでよく見られる、コーヒーカップの衝突や官僚的な音楽関係者の空虚なおしゃべりを盛り込んだ構成になっており、作曲者の独特のユーモアが感じられる。\u003cbr\u003e\u003cbr\u003eミサ曲の全体的な形式構造は複雑で、さまざまなパートが独立した曲として、また曲の全体構造の中で小グループの一部として同時に機能している。独立した曲として、オルガン曲という名前で演奏されるものもある。例えば、ミサの最初のグローリア部分に含まれる3つの曲は、トリプティコンという別の独立した作品を形成しており、1996年に独立した作品として初演されている。\u003cbr\u003eミサ曲の前半では、ミサ文の言葉によって表される「正の力」と、軽蔑的な笑い、うなり声、ゲップ、吐き気をもよおす窒息音、嘔吐音など、さまざまな挑戦的音によって表される「負の力」の戦いが繰り広げられる。まず、ネガティブな力がポジティブな力を「ブラックホール」あるいはポケットの中に引きずり込みます。その後、ポジティブな力が戻ってきて、グロリアの残りの部分を支配する。この形式的な物語は、作曲者のインタビューによると、このミサの中心的な対立について、より二元的でなく、より複雑な視点をもってニュアンスを表現している。\u003cbr\u003e\u003cbr\u003e「一般的な感覚では、世の中のものはすべてポジティブかネガティブかという概念で成り立っていると思われる。しかし、トリプティク（グローリア曲集の最初の3曲）では、そう単純ではありません。異なる力が互いに対立しているのだが、その相互関係は善と悪のそれよりも複雑なのである。\"\u003cbr\u003e\u003cbr\u003e作品の中で最も目立つ音源は、オルガン、ハンガリーチター、そして人の声である。全曲を通して、コルシカ島の村の教会の声楽グループが、ラテン語のミサ文を独唱と合唱で歌っている。その他、ヴィヴェッカ・セルヴァティウス指揮のスコラ・グレゴリアーナ・ホルミエ、ドイツのベネディクト派修道士たち、そしてトーマス・ハマーが、ある種の儀式の主役として参加している。\u003cbr\u003e\u003cbr\u003e1939年、ハンガリーのブダペストで生まれたアコス・ロズマンは、バルトーク音楽院とリスト音楽院で作曲を学んだ。1971年に奨学金を得てストックホルムに渡り、ストックホルム王立音楽大学でイングヴァル・リドホルムに作曲を師事して修了し、スウェーデンに定住する。ストックホルムのカトリック大聖堂のオルガニストを長く務めた。早くから電子音響音楽に出会い、彼の作曲に新たな方向性を与えた。初期の数曲を除いて、ロズマンが作曲したのはもっぱら電気音響音楽であり、しばしば記念碑的な形式を好み、通常はオルガンと人間の声を最も重要な音源として、記号を満載した複雑で浸透性のある音楽言語を用いている。作曲家として、彼は不本意ながら隠遁生活を送り、妥協することなく、優れた独創性を発揮した。ロズマンの音楽は、存在の根本的な疑問について、しばしば倫理的または宗教的（カトリックや仏教）な根拠に基づいており、例えば、以前Ideologic Organからリリースされた巨大な組曲『夢と死のイメージ』と『12の駅』では、そのような疑問が示されている。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2309218720\/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\/shelter\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e7 CD’s packaged in a hardcover slipcase with a pull ribbon, 12 and 20 pages booklets.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBoxset contains an extensive essay on the composition by Gergely Loch and additional texts by Göran Bergendal and Mats Lindström, and visual documentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e***\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eText \/ artist bio by Ideologic Organ:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eÁkos Rózmann (1939-2005) - Mass\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eÁkos Rózmann’s Mass consists of twelve electroacoustic compositions created between 1989 and 2004 in the composer’s studio and at EMS in Stockholm. Like most of Rózmann’s compositions, Mass is a long-form work with a duration of around seven hours. \u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWe can describe Rózmann’s Mass as an enormous fresco of personal observations on the two first parts of the Catholic Mass, Kyrie and Gloria. The intensely subjective perspective on the texts of the Mass is underlined by Rózmann’s freezing images – in his own words – “tropes”, i.e. meditations in Swedish, Hungarian and Latin over particular words in the mass text or connection to it. A few passages have nothing to do with the mass text: Organ piece VI in Gloria I (also performed with the subtitle Nocturne in silver and dance) is a sort of lament based on the phrase “Natten gråter” (the night is crying). We find the composer’s peculiar sense of humour in the intermezzo following Gloria I – a composed version of the intermission common in Swedish concert houses, complete with clashing coffee cups and empty chatter from the bureaucratic music\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e establishment. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe overarching formal structure of Mass is an intricate one, with the various parts functioning simultaneously as independent pieces and as parts of sub-groups within the whole structure of the piece. As independent pieces, some of them go under the name Organ piece. For example, the three pieces included in the first Gloria part of mass form another independent composition named Triptykon, first performed as a separate work in 1996.\u003cbr data-mce-fragment=\"1\"\u003eIn the earlier parts of Mass, a battle fought between Positive forces is represented by the words in the Mass text and Negative forces represented by various challenging sounds, such as scornful laughter, grunts, burps, nauseous choking and vomiting sounds. First, the Negative powers drag down the Positive forces into a “black hole” or in pockets. Then the Positive forces return to dominate the remaining parts of Gloria. This formal narrative is nuanced by the composer, who, in interviews, offer a less dualistic, more complex viewpoint on the conflict central to the Mass: \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“It’s presumable that everything in the general sense is about the notion of positive or negative because everything in the world is structured like that. But it’s not that simple in the Triptych [the first three pieces of the Gloria-cycle]. Different forces stand against each other, but their interrelation is more complex than that of good and evil.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe most prominent sound sources in the work are the organ, a Hungarian zither and human voices. Throughout the whole piece, there is a vocal group from a village church in Corsica, singing the Latin mass texts solo and chorally. Other participants are Schola Gregoriana Holmiae under the direction of Viveca Servatius, a group of German Benedictine monks and – in the role of a sort of master of ceremonies, Thomas Hammar.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eÁkos Rózmann was born in 1939 in Budapest, Hungary, where he studied composition at the Bartók Conservatory and the Liszt Academy. In 1971 he received a scholarship to come to Stockholm and completed his compositional studies with Ingvar Lidholm at the Royal College of Music in Stockholm and then settled down in Sweden. He was the organist at the Catholic Cathedral in Stockholm for a long time. His early encounter with electroacoustic music gave a new direction to his composing. Except for a few early pieces, Rózmann composed solely electroacoustic music – often preferring a monumental form, usually with the organ and the human voice as the most crucial sound sources in a complex, penetrating musical language loaded with symbols. As a composer, he worked involuntary seclusion, uncompromisingly and with great originality. Rózmann’s music is about the fundamental questions of existence, often on an ethical or religious (Catholic or Buddhist) basis, for example, in the enormous suites Images of the Dream and Death and Twelve Stations, both previously released on Ideologic Organ.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Ákos Rózmann\u003c\/p\u003e\n\u003cp\u003eLabel : Ideologic Organ\u003c\/p\u003e","published_at":"2022-06-12T08:01:57+09:00","created_at":"2022-06-11T13:55:02+09:00","vendor":"Tobira Records","type":"","tags":["cd","contemporary \/ sound poetry","monooto","shelter press"],"price":798000,"price_min":798000,"price_max":798000,"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":42862367473914,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Ákos Rózmann \/\/ MASS \/ MÄSSA - 7xCD BOXSET","public_title":null,"options":["Default Title"],"price":798000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ma1_e661f73f-f625-4c69-b54d-c0e756bbe563.jpg?v=1654923303","\/\/tobirarecords.com\/cdn\/shop\/products\/ma2_fb5e1f6f-5e66-4b94-be50-fd5c14c677b1.jpg?v=1654923304"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ma1_e661f73f-f625-4c69-b54d-c0e756bbe563.jpg?v=1654923303","options":["Title"],"media":[{"alt":null,"id":29869711196410,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ma1_e661f73f-f625-4c69-b54d-c0e756bbe563.jpg?v=1654923303"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ma1_e661f73f-f625-4c69-b54d-c0e756bbe563.jpg?v=1654923303","width":700},{"alt":null,"id":29869711229178,"position":2,"preview_image":{"aspect_ratio":1.5,"height":800,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ma2_fb5e1f6f-5e66-4b94-be50-fd5c14c677b1.jpg?v=1654923304"},"aspect_ratio":1.5,"height":800,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ma2_fb5e1f6f-5e66-4b94-be50-fd5c14c677b1.jpg?v=1654923304","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eハンガリー・ブダペストの実験音楽家Akos Rozmannの7CD BOXセットです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e以下、レーベル解説です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eÁkos RózmannのMassは、1989年から2004年の間に作曲家のスタジオとストックホルムのEMSで制作された12の電子音響作品から構成されています。ロズマンが作曲したほとんどの作品と同様に、『ミサ』は約7時間の長大な作品である。\u003cbr\u003eロズマンの《ミサ》は、カトリックのミサの第一部である「キリー」と「グローリア」についての個人的な観察による巨大なフレスコ画であると表現することができる。ミサのテキストに対する極めて主観的な視点は、ロズマン自身の言葉で言うところの「トロペ」、つまりミサのテキストの特定の言葉やそれとの関連に対するスウェーデン語、ハンガリー語、ラテン語による瞑想のイメージを凍らせることで強調されている。いくつかのパッセージはミサ文とは無関係である。グローリアIのオルガン曲VI（銀と踊りの夜想曲という副題もついている）は、「Natten gråter」（夜が泣いている）というフレーズに基づく一種の哀歌である。グローリアIに続く間奏曲は、スウェーデンのコンサートホールでよく見られる、コーヒーカップの衝突や官僚的な音楽関係者の空虚なおしゃべりを盛り込んだ構成になっており、作曲者の独特のユーモアが感じられる。\u003cbr\u003e\u003cbr\u003eミサ曲の全体的な形式構造は複雑で、さまざまなパートが独立した曲として、また曲の全体構造の中で小グループの一部として同時に機能している。独立した曲として、オルガン曲という名前で演奏されるものもある。例えば、ミサの最初のグローリア部分に含まれる3つの曲は、トリプティコンという別の独立した作品を形成しており、1996年に独立した作品として初演されている。\u003cbr\u003eミサ曲の前半では、ミサ文の言葉によって表される「正の力」と、軽蔑的な笑い、うなり声、ゲップ、吐き気をもよおす窒息音、嘔吐音など、さまざまな挑戦的音によって表される「負の力」の戦いが繰り広げられる。まず、ネガティブな力がポジティブな力を「ブラックホール」あるいはポケットの中に引きずり込みます。その後、ポジティブな力が戻ってきて、グロリアの残りの部分を支配する。この形式的な物語は、作曲者のインタビューによると、このミサの中心的な対立について、より二元的でなく、より複雑な視点をもってニュアンスを表現している。\u003cbr\u003e\u003cbr\u003e「一般的な感覚では、世の中のものはすべてポジティブかネガティブかという概念で成り立っていると思われる。しかし、トリプティク（グローリア曲集の最初の3曲）では、そう単純ではありません。異なる力が互いに対立しているのだが、その相互関係は善と悪のそれよりも複雑なのである。\"\u003cbr\u003e\u003cbr\u003e作品の中で最も目立つ音源は、オルガン、ハンガリーチター、そして人の声である。全曲を通して、コルシカ島の村の教会の声楽グループが、ラテン語のミサ文を独唱と合唱で歌っている。その他、ヴィヴェッカ・セルヴァティウス指揮のスコラ・グレゴリアーナ・ホルミエ、ドイツのベネディクト派修道士たち、そしてトーマス・ハマーが、ある種の儀式の主役として参加している。\u003cbr\u003e\u003cbr\u003e1939年、ハンガリーのブダペストで生まれたアコス・ロズマンは、バルトーク音楽院とリスト音楽院で作曲を学んだ。1971年に奨学金を得てストックホルムに渡り、ストックホルム王立音楽大学でイングヴァル・リドホルムに作曲を師事して修了し、スウェーデンに定住する。ストックホルムのカトリック大聖堂のオルガニストを長く務めた。早くから電子音響音楽に出会い、彼の作曲に新たな方向性を与えた。初期の数曲を除いて、ロズマンが作曲したのはもっぱら電気音響音楽であり、しばしば記念碑的な形式を好み、通常はオルガンと人間の声を最も重要な音源として、記号を満載した複雑で浸透性のある音楽言語を用いている。作曲家として、彼は不本意ながら隠遁生活を送り、妥協することなく、優れた独創性を発揮した。ロズマンの音楽は、存在の根本的な疑問について、しばしば倫理的または宗教的（カトリックや仏教）な根拠に基づいており、例えば、以前Ideologic Organからリリースされた巨大な組曲『夢と死のイメージ』と『12の駅』では、そのような疑問が示されている。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2309218720\/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\/shelter\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e7 CD’s packaged in a hardcover slipcase with a pull ribbon, 12 and 20 pages booklets.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBoxset contains an extensive essay on the composition by Gergely Loch and additional texts by Göran Bergendal and Mats Lindström, and visual documentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e***\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eText \/ artist bio by Ideologic Organ:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eÁkos Rózmann (1939-2005) - Mass\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eÁkos Rózmann’s Mass consists of twelve electroacoustic compositions created between 1989 and 2004 in the composer’s studio and at EMS in Stockholm. Like most of Rózmann’s compositions, Mass is a long-form work with a duration of around seven hours. \u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWe can describe Rózmann’s Mass as an enormous fresco of personal observations on the two first parts of the Catholic Mass, Kyrie and Gloria. The intensely subjective perspective on the texts of the Mass is underlined by Rózmann’s freezing images – in his own words – “tropes”, i.e. meditations in Swedish, Hungarian and Latin over particular words in the mass text or connection to it. A few passages have nothing to do with the mass text: Organ piece VI in Gloria I (also performed with the subtitle Nocturne in silver and dance) is a sort of lament based on the phrase “Natten gråter” (the night is crying). We find the composer’s peculiar sense of humour in the intermezzo following Gloria I – a composed version of the intermission common in Swedish concert houses, complete with clashing coffee cups and empty chatter from the bureaucratic music\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e establishment. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe overarching formal structure of Mass is an intricate one, with the various parts functioning simultaneously as independent pieces and as parts of sub-groups within the whole structure of the piece. As independent pieces, some of them go under the name Organ piece. For example, the three pieces included in the first Gloria part of mass form another independent composition named Triptykon, first performed as a separate work in 1996.\u003cbr data-mce-fragment=\"1\"\u003eIn the earlier parts of Mass, a battle fought between Positive forces is represented by the words in the Mass text and Negative forces represented by various challenging sounds, such as scornful laughter, grunts, burps, nauseous choking and vomiting sounds. First, the Negative powers drag down the Positive forces into a “black hole” or in pockets. Then the Positive forces return to dominate the remaining parts of Gloria. This formal narrative is nuanced by the composer, who, in interviews, offer a less dualistic, more complex viewpoint on the conflict central to the Mass: \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“It’s presumable that everything in the general sense is about the notion of positive or negative because everything in the world is structured like that. But it’s not that simple in the Triptych [the first three pieces of the Gloria-cycle]. Different forces stand against each other, but their interrelation is more complex than that of good and evil.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe most prominent sound sources in the work are the organ, a Hungarian zither and human voices. Throughout the whole piece, there is a vocal group from a village church in Corsica, singing the Latin mass texts solo and chorally. Other participants are Schola Gregoriana Holmiae under the direction of Viveca Servatius, a group of German Benedictine monks and – in the role of a sort of master of ceremonies, Thomas Hammar.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eÁkos Rózmann was born in 1939 in Budapest, Hungary, where he studied composition at the Bartók Conservatory and the Liszt Academy. In 1971 he received a scholarship to come to Stockholm and completed his compositional studies with Ingvar Lidholm at the Royal College of Music in Stockholm and then settled down in Sweden. He was the organist at the Catholic Cathedral in Stockholm for a long time. His early encounter with electroacoustic music gave a new direction to his composing. Except for a few early pieces, Rózmann composed solely electroacoustic music – often preferring a monumental form, usually with the organ and the human voice as the most crucial sound sources in a complex, penetrating musical language loaded with symbols. As a composer, he worked involuntary seclusion, uncompromisingly and with great originality. Rózmann’s music is about the fundamental questions of existence, often on an ethical or religious (Catholic or Buddhist) basis, for example, in the enormous suites Images of the Dream and Death and Twelve Stations, both previously released on Ideologic Organ.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Ákos Rózmann\u003c\/p\u003e\n\u003cp\u003eLabel : Ideologic Organ\u003c\/p\u003e"}
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ハンガリー・ブダペストの実験音楽家Akos Rozmannの7CD BOXセットです。 以下、レーベル解説です。 Ákos RózmannのMassは、1989年から2004年の間に作曲家のスタジオとストックホルムのEMSで制作された12の電子音響作品から構成されています。ロズマンが作曲したほとんどの作品と同様に、『ミサ』は約7時間の長大な作品である。ロズマンの《ミサ》は、カトリックのミサの第一部である「キリー」と「グローリア」についての個人的な観察による巨大なフレスコ画であると表現することができる。ミサのテキストに対する極めて主観的な視点は、ロズマン自身の言葉で言うところの「トロペ」、つまりミサのテキストの特定の言葉やそれとの関連に対するスウェーデン語、ハンガリー語、ラテン語による瞑想のイメージを凍らせることで強調されている。いくつかのパッセージはミサ文とは無関係である。グローリアIのオルガン曲VI（銀と踊りの夜想曲という副題もついている）は、「Natten gråter」（夜が泣いている）というフレーズに基づく一種の哀歌である。グローリアIに続く間奏曲は、スウェーデンのコンサートホールでよく見られる、コーヒーカップの衝突や官僚的な音楽関係者の空虚なおしゃべりを盛り込んだ構成になっており、作曲者の独特のユーモアが感じられる。ミサ曲の全体的な形式構造は複雑で、さまざまなパートが独立した曲として、また曲の全体構造の中で小グループの一部として同時に機能している。独立した曲として、オルガン曲という名前で演奏されるものもある。例えば、ミサの最初のグローリア部分に含まれる3つの曲は、トリプティコンという別の独立した作品を形成しており、1996年に独立した作品として初演されている。ミサ曲の前半では、ミサ文の言葉によって表される「正の力」と、軽蔑的な笑い、うなり声、ゲップ、吐き気をもよおす窒息音、嘔吐音など、さまざまな挑戦的音によって表される「負の力」の戦いが繰り広げられる。まず、ネガティブな力がポジティブな力を「ブラックホール」あるいはポケットの中に引きずり込みます。その後、ポジティブな力が戻ってきて、グロリアの残りの部分を支配する。この形式的な物語は、作曲者のインタビューによると、このミサの中心的な対立について、より二元的でなく、より複雑な視点をもってニュアンスを表現している。「一般的な感覚では、世の中のものはすべてポジティブかネガティブかという概念で成り立っていると思われる。しかし、トリプティク（グローリア曲集の最初の3曲）では、そう単純ではありません。異なる力が互いに対立しているのだが、その相互関係は善と悪のそれよりも複雑なのである。"作品の中で最も目立つ音源は、オルガン、ハンガリーチター、そして人の声である。全曲を通して、コルシカ島の村の教会の声楽グループが、ラテン語のミサ文を独唱と合唱で歌っている。その他、ヴィヴェッカ・セルヴァティウス指揮のスコラ・グレゴリアーナ・ホルミエ、ドイツのベネディクト派修道士たち、そしてトーマス・ハマーが、ある種の儀式の主役として参加している。1939年、ハンガリーのブダペストで生まれたアコス・ロズマンは、バルトーク音楽院とリスト音楽院で作曲を学んだ。1971年に奨学金を得てストックホルムに渡り、ストックホルム王立音楽大学でイングヴァル・リドホルムに作曲を師事して修了し、スウェーデンに定住する。ストックホルムのカトリック大聖堂のオルガニストを長く務めた。早くから電子音響音楽に出会い、彼の作曲に新たな方向性を与えた。初期の数曲を除いて、ロズマンが作曲したのはもっぱら電気音響音楽であり、しばしば記念碑的な形式を好み、通常はオルガンと人間の声を最も重要な音源として、記号を満載した複雑で浸透性のある音楽言語を用いている。作曲家として、彼は不本意ながら隠遁生活を送り、妥協することなく、優れた独創性を発揮した。ロズマンの音楽は、存在の根本的な疑問について、しばしば倫理的または宗教的（カトリックや仏教）な根拠に基づいており、例えば、以前Ideologic Organからリリースされた巨大な組曲『夢と死のイメージ』と『12の駅』では、そのような疑問が示されている。" レーベルその他作品はこちら /// Click here to see more Shelter Press...
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{"id":7637751726330,"title":"Akos Rozmann \/\/ 12 Stations\/Tolv Stationer (1978-2001) 7xCD BOXSET","handle":"akos-rozmann-12-stations-tolv-stationer-1978-2001-7xcd-boxset","description":"\u003cp\u003eハンガリー・ブダペストの実験音楽家Akos Rozmannの7CD BOXセットがこの度再発。\u003c\/p\u003e\n\u003cp\u003e以下、Mark Harwoodによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eアコス・ロズマン（1939-2005）はブダペストで生まれ、リスト音楽院でオルガンと作曲を学んだ。1971年から1974年までストックホルム王立音楽大学で作曲を学び、1978年からはストックホルムのカソリック大聖堂のオルガニストとして活躍した。生涯を通じてムジーク・コンクレートに専念し、あらゆる音楽のジャンルの中で最も錬金術的なこのジャンルにおいて、最も大規模で実りある作品群を作り上げた。80年代初頭には、カトリック大聖堂の地下に電子音響スタジオを建設し、その一方で、初期の傑作を生み出したEMS（Elektronmusikstudion スウェーデン）でも活動を継続した。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e音楽創作への揺るぎないこだわりを持つロズマン氏は、望む結果を得るために、窓のないスタジオに閉じこもって夜通し作業をすることもしばしばあった。彼は、自分のビジョンを完璧に表現することだけを考え、仲間からの承認や聴衆の満足は求めなかった。このようなビジョン、情熱、頑固さの組み合わせが、ミュージック・コンクリートという分野で最も特異なカタログを生み出すことになった。ハンガリーの作曲家ミクローシュ・マロスから、ピアノと声のための5分間の作品を依頼された。ロズマンは、ミクローシュの妻でソプラノ歌手のイロナ・マロスの録音と、彼自身のプリペアド・ピアノの実験からなるテープ作品を書くつもりで、この申し出を受けた。ここで録音された要素が「12 Stations」の素材となった。この作品は、当初の5分という短い時間から大きく飛び出し、20年後に6時間半を超える精神の旅路として着地したのである。この作曲プロセスは、初期段階から最終作品の完成まで18年間のギャップがあるため、ロズマン作品の中でもユニークなものとなっている。1978年から1980年にかけて作られた最初の段階は、スピードアップ、スローダウン、テープのカットやスプライシングといった伝統的なミュジック・コンクレートの技法の探求で構成されています。1998年から2001年にかけて制作された最後の4つのステーションは、デジタル技術を取り入れ、1978年のオリジナル録音の小さなセクションをエフェクト・プロセッサーにかけ、サンプラーキーボードで即興演奏しています。このようなギャップや、それぞれの制作期間で展開された異なる技術にもかかわらず、記念碑的な結果は完全で驚異的な全体として収まっている。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eロズマンは、音源の制限の中で、オリジナルのピアノと声の録音から柔軟な音の世界を引き出す不思議な才能を発揮している。その結果、ダイナミックな音の渦が生まれ、20世紀における最も大胆で挑戦的、かつ見応えのあるムジーク・コンクレートの作品のひとつとなったのである。プロパティ・ルームパートIとIIは、シュトゥルム・ウント・ドランの広大な風景で始まる。ピアノと声のオリジナル素材は、攻撃的な異世界の雰囲気を呼び起こす手段として、分解・再構築されている。The Contents and Life of the Black Pit'は、重く堕落した声と狂乱したエレクトロニクスが最も不穏な方法で踊る広がりのある味付けでさらに外へとシフトしていく。The Abandonment of Hell'は、リスナーを洗練された衝撃的なオーディオの混乱に導き、明確な「音楽」の質を持つものである。この作品には、職人が静かに個々の要素を削ぎ落とし、以前は手に入れることのできなかった世界を手に入れようとしているのが感じられる。パートV「The Awakening」では、序盤のうなり声、腹鳴、不穏な声が、より天の声となり、下の異形のものを昇天させるように、ミックスに女性の形を埋め込んでいる。ロズマン氏は、「Twelve Stations」の最初の部分が「チベットの生命の輪」の解釈であることを以前に示唆していたが、作品の背後にある意味について典型的に曖昧な態度をとっていた。チベット仏教への関心と並行して、彼はカソリック教会への信仰を持ち続けていた。その結果、高揚したモチーフを持つこの曲は、地獄から天国への上昇と読むこともできるだろう。ロズマンが演奏する「The Celebrators」は、エンディングというより、ある種の継続として提示されている。短い音楽のリフレインは、声と音の屈折が鏡の回廊のように現れ、果てしなく螺旋状に広がっていくプリズムを思い起こさせる。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eスケール、音色、テクニック、ムード、動きにおいて叙事詩的なこの作品は、20世紀のムジーク・コンクレーテのユニークな傑作であり、強烈にパーソナルで大胆な音の領域として、万人に開かれた過激なミサのような捧げ物として提示されている。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e人間は放浪の旅を通して、さまざまな困難や苦しみに出会う。これらは、絶え間なく続く闘争の間にある力である。彼はこれらの力を制御し、主宰することはできない。嵐の中の雪片のように、上下に翻弄され、無力である。混沌とした思考と感情、喜びと苦しみは、始まりも終わりもない川のように途切れることなく流れている。これらはすべて自分の行いの結果である。しかし、この人生では、これらのことを簡単にするチャンスがある。 \u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1312392139\/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\/shelter\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eFinal pressing edition of 300.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e7 CD’s packaged in a hardcover slipcase with a pull ribbon, 20-page booklet containing an extensive essay on the composition by the scholar Gergely Loch, photos from the process and of scores and the composer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e***\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eText \/ artist bio by \u003cmeta charset=\"utf-8\"\u003e \u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eMark Harwood\u003c\/span\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003e\"Ákos Rózmann (1939-2005) was born in Budapest where he studied organ and composition at the Liszt Academy. From 1971 to 1974 he studied composition at the Royal College of Music in Stockholm and from 1978 he was an organist at the catholic cathedral in Stockholm. Throughout his life Rózmann dedicated himself to musique concrète developing one of the largest and most rewarding bodies of work in this, the most alchemical of all musical genres. In the early eighties, Rózmann started to build a private electroacoustic studio which he installed in the basement of the Catholic Cathedral whilst continuing to work in tandem at the Elektronmusikstudion (EMS Sweden) where he produced his earlier masterpieces.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWith an unwavering commitment to the creation of music Rózmann would often lock himself up in his windowless studio working into the night in order to achieve the results he desired. He did not seek the approval of his peers nor the satisfaction of his audience with the only concern being the perfect articulation of his vision. This combination of vision, passion and stubbornness resulted in one of the most singular catalogues within the field of musique concrete. Commissioned by the Hungarian composer\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cem\u003e Miklós Maros who requested a five-minute work for piano and voice. Rózmann accepted the offer with the intention of writing a tape piece made from recordings of Miklós’ wife, the soprano singer Ilona Maros’ and his own experiments with prepared piano. The elements recorded here became the source material for Twelve Stations, a work which flew far from the initial five minute brief to land 20 years later as a spirit stretching journey of more than 6 1\/2 hours. The compositional process is unique in Rózmann’s output due to the 18 year gap between the initial phase and completion of the final work. The first phase made between 1978-1980 consists of an exploration of traditional musique concrète techniques such as speeding up, slowing down, cutting and splicing tape. The last four stations made between 1998-2001 embrace digital technology where small sections of the original recordings from 1978 were fed through an effects processor and improvised on a sampler keyboard. Despite this gap and the different techniques deployed at each period of creation the monumental result sits as a complete and staggering whole.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWithin the set limitations of the source material Rózmann’s skill unfolds in an uncanny ability to coax a vast world of flexible sound from the original piano and voice recordings. The result is a maelstrom of dynamic audio and one of the most daring, challenging and rewarding works of musique concrète from the 20th Century. ‘Property – Room’ parts I and II initiate proceedings with a vast landscape of Sturm und Drang. The original material of piano and voice are dissected and reconstructed as a means of evoking an aggressive otherworldly atmosphere. ‘The Contents and Life of the Black Pit’ shifts further outside with an expansive palate of heavily corrupted voice and frenzied electronics dancing in a most unsettling fashion. ‘The Abandonment of Hell’ leads the listener into a sophisticated and shocking melange of audio disorientation, one with a distinct ‘musical’ quality. One senses a master craftsman quietly whittling away at the individual elements in order to harness the previously unobtainable world within. Part V ‘The Awakening’ implants female forms in the mix as the growling, belching, disturbing voices of the early sequences are replaced with more heavenly voices ascending the malformed matter below. Rózmann was typically ambiguous about the meaning behind his work despite suggesting earlier that the first part of ‘Twelve Stations’ was an interpretation of the ‘Tibetan Wheel of Life’. Alongside his interest in Tibetan Buddhism he maintained his following of the catholic church and as a consequence one may also read this sequence, with its uplifting motifs as an ascent from hell into heaven. Rózmann concludes proceedings with ‘The Celebrators’, which presents itself not as an ending but rather a continuation of sorts. A short musical refrain conjures a prism where refractions of voice and sound appear like a hall of mirrors, spiralling onwards and outwards, without end.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eEpic in scale, timbre, technique, mood and movement, Twelve Stations is a unique masterpiece of 20th Century musique concrète and presents itself as an intensely personal and bold realm of sound, an offering as such, a radical mass open to all.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eMan meets different difficulties and sufferings through his wandering. These are forces between which a continuous struggle is going on. He cannot control and preside over these forces. He is being tossed up and down, powerless, like snowflakes in the storm: chaotic thoughts and feelings, gladness and suffering, which flow without intermission like a river that has no beginning nor end. All these are the fruits of our own deeds. However, in this life you have the chance to make easier those life wanderings that are to come. - Rózmann (from the programme notes for the 1984 premiere of the first seven stations).\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Akos Rozmann\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIdeologic Organ\u003c\/span\u003e\u003c\/p\u003e","published_at":"2022-06-12T07:55:49+09:00","created_at":"2022-06-11T13:52:21+09:00","vendor":"Tobira Records","type":"","tags":["cd","contemporary \/ sound poetry","monooto","shelter press"],"price":798000,"price_min":798000,"price_max":798000,"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":42862353383674,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Akos Rozmann \/\/ 12 Stations\/Tolv Stationer (1978-2001) 7xCD BOXSET","public_title":null,"options":["Default Title"],"price":798000,"weight":180,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/akos-rozmann-12-stations-tolv-statione.jpg.250.jpg?v=1654923142","\/\/tobirarecords.com\/cdn\/shop\/products\/av.jpg?v=1654923143"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/akos-rozmann-12-stations-tolv-statione.jpg.250.jpg?v=1654923142","options":["Title"],"media":[{"alt":null,"id":29869699989754,"position":1,"preview_image":{"aspect_ratio":1.0,"height":250,"width":250,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/akos-rozmann-12-stations-tolv-statione.jpg.250.jpg?v=1654923142"},"aspect_ratio":1.0,"height":250,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/akos-rozmann-12-stations-tolv-statione.jpg.250.jpg?v=1654923142","width":250},{"alt":null,"id":29869700022522,"position":2,"preview_image":{"aspect_ratio":1.5,"height":800,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/av.jpg?v=1654923143"},"aspect_ratio":1.5,"height":800,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/av.jpg?v=1654923143","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eハンガリー・ブダペストの実験音楽家Akos Rozmannの7CD BOXセットがこの度再発。\u003c\/p\u003e\n\u003cp\u003e以下、Mark Harwoodによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eアコス・ロズマン（1939-2005）はブダペストで生まれ、リスト音楽院でオルガンと作曲を学んだ。1971年から1974年までストックホルム王立音楽大学で作曲を学び、1978年からはストックホルムのカソリック大聖堂のオルガニストとして活躍した。生涯を通じてムジーク・コンクレートに専念し、あらゆる音楽のジャンルの中で最も錬金術的なこのジャンルにおいて、最も大規模で実りある作品群を作り上げた。80年代初頭には、カトリック大聖堂の地下に電子音響スタジオを建設し、その一方で、初期の傑作を生み出したEMS（Elektronmusikstudion スウェーデン）でも活動を継続した。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e音楽創作への揺るぎないこだわりを持つロズマン氏は、望む結果を得るために、窓のないスタジオに閉じこもって夜通し作業をすることもしばしばあった。彼は、自分のビジョンを完璧に表現することだけを考え、仲間からの承認や聴衆の満足は求めなかった。このようなビジョン、情熱、頑固さの組み合わせが、ミュージック・コンクリートという分野で最も特異なカタログを生み出すことになった。ハンガリーの作曲家ミクローシュ・マロスから、ピアノと声のための5分間の作品を依頼された。ロズマンは、ミクローシュの妻でソプラノ歌手のイロナ・マロスの録音と、彼自身のプリペアド・ピアノの実験からなるテープ作品を書くつもりで、この申し出を受けた。ここで録音された要素が「12 Stations」の素材となった。この作品は、当初の5分という短い時間から大きく飛び出し、20年後に6時間半を超える精神の旅路として着地したのである。この作曲プロセスは、初期段階から最終作品の完成まで18年間のギャップがあるため、ロズマン作品の中でもユニークなものとなっている。1978年から1980年にかけて作られた最初の段階は、スピードアップ、スローダウン、テープのカットやスプライシングといった伝統的なミュジック・コンクレートの技法の探求で構成されています。1998年から2001年にかけて制作された最後の4つのステーションは、デジタル技術を取り入れ、1978年のオリジナル録音の小さなセクションをエフェクト・プロセッサーにかけ、サンプラーキーボードで即興演奏しています。このようなギャップや、それぞれの制作期間で展開された異なる技術にもかかわらず、記念碑的な結果は完全で驚異的な全体として収まっている。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eロズマンは、音源の制限の中で、オリジナルのピアノと声の録音から柔軟な音の世界を引き出す不思議な才能を発揮している。その結果、ダイナミックな音の渦が生まれ、20世紀における最も大胆で挑戦的、かつ見応えのあるムジーク・コンクレートの作品のひとつとなったのである。プロパティ・ルームパートIとIIは、シュトゥルム・ウント・ドランの広大な風景で始まる。ピアノと声のオリジナル素材は、攻撃的な異世界の雰囲気を呼び起こす手段として、分解・再構築されている。The Contents and Life of the Black Pit'は、重く堕落した声と狂乱したエレクトロニクスが最も不穏な方法で踊る広がりのある味付けでさらに外へとシフトしていく。The Abandonment of Hell'は、リスナーを洗練された衝撃的なオーディオの混乱に導き、明確な「音楽」の質を持つものである。この作品には、職人が静かに個々の要素を削ぎ落とし、以前は手に入れることのできなかった世界を手に入れようとしているのが感じられる。パートV「The Awakening」では、序盤のうなり声、腹鳴、不穏な声が、より天の声となり、下の異形のものを昇天させるように、ミックスに女性の形を埋め込んでいる。ロズマン氏は、「Twelve Stations」の最初の部分が「チベットの生命の輪」の解釈であることを以前に示唆していたが、作品の背後にある意味について典型的に曖昧な態度をとっていた。チベット仏教への関心と並行して、彼はカソリック教会への信仰を持ち続けていた。その結果、高揚したモチーフを持つこの曲は、地獄から天国への上昇と読むこともできるだろう。ロズマンが演奏する「The Celebrators」は、エンディングというより、ある種の継続として提示されている。短い音楽のリフレインは、声と音の屈折が鏡の回廊のように現れ、果てしなく螺旋状に広がっていくプリズムを思い起こさせる。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eスケール、音色、テクニック、ムード、動きにおいて叙事詩的なこの作品は、20世紀のムジーク・コンクレーテのユニークな傑作であり、強烈にパーソナルで大胆な音の領域として、万人に開かれた過激なミサのような捧げ物として提示されている。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e人間は放浪の旅を通して、さまざまな困難や苦しみに出会う。これらは、絶え間なく続く闘争の間にある力である。彼はこれらの力を制御し、主宰することはできない。嵐の中の雪片のように、上下に翻弄され、無力である。混沌とした思考と感情、喜びと苦しみは、始まりも終わりもない川のように途切れることなく流れている。これらはすべて自分の行いの結果である。しかし、この人生では、これらのことを簡単にするチャンスがある。 \u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1312392139\/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\/shelter\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eFinal pressing edition of 300.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e7 CD’s packaged in a hardcover slipcase with a pull ribbon, 20-page booklet containing an extensive essay on the composition by the scholar Gergely Loch, photos from the process and of scores and the composer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e***\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eText \/ artist bio by \u003cmeta charset=\"utf-8\"\u003e \u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eMark Harwood\u003c\/span\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003e\"Ákos Rózmann (1939-2005) was born in Budapest where he studied organ and composition at the Liszt Academy. From 1971 to 1974 he studied composition at the Royal College of Music in Stockholm and from 1978 he was an organist at the catholic cathedral in Stockholm. Throughout his life Rózmann dedicated himself to musique concrète developing one of the largest and most rewarding bodies of work in this, the most alchemical of all musical genres. In the early eighties, Rózmann started to build a private electroacoustic studio which he installed in the basement of the Catholic Cathedral whilst continuing to work in tandem at the Elektronmusikstudion (EMS Sweden) where he produced his earlier masterpieces.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWith an unwavering commitment to the creation of music Rózmann would often lock himself up in his windowless studio working into the night in order to achieve the results he desired. He did not seek the approval of his peers nor the satisfaction of his audience with the only concern being the perfect articulation of his vision. This combination of vision, passion and stubbornness resulted in one of the most singular catalogues within the field of musique concrete. Commissioned by the Hungarian composer\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cem\u003e Miklós Maros who requested a five-minute work for piano and voice. Rózmann accepted the offer with the intention of writing a tape piece made from recordings of Miklós’ wife, the soprano singer Ilona Maros’ and his own experiments with prepared piano. The elements recorded here became the source material for Twelve Stations, a work which flew far from the initial five minute brief to land 20 years later as a spirit stretching journey of more than 6 1\/2 hours. The compositional process is unique in Rózmann’s output due to the 18 year gap between the initial phase and completion of the final work. The first phase made between 1978-1980 consists of an exploration of traditional musique concrète techniques such as speeding up, slowing down, cutting and splicing tape. The last four stations made between 1998-2001 embrace digital technology where small sections of the original recordings from 1978 were fed through an effects processor and improvised on a sampler keyboard. Despite this gap and the different techniques deployed at each period of creation the monumental result sits as a complete and staggering whole.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWithin the set limitations of the source material Rózmann’s skill unfolds in an uncanny ability to coax a vast world of flexible sound from the original piano and voice recordings. The result is a maelstrom of dynamic audio and one of the most daring, challenging and rewarding works of musique concrète from the 20th Century. ‘Property – Room’ parts I and II initiate proceedings with a vast landscape of Sturm und Drang. The original material of piano and voice are dissected and reconstructed as a means of evoking an aggressive otherworldly atmosphere. ‘The Contents and Life of the Black Pit’ shifts further outside with an expansive palate of heavily corrupted voice and frenzied electronics dancing in a most unsettling fashion. ‘The Abandonment of Hell’ leads the listener into a sophisticated and shocking melange of audio disorientation, one with a distinct ‘musical’ quality. One senses a master craftsman quietly whittling away at the individual elements in order to harness the previously unobtainable world within. Part V ‘The Awakening’ implants female forms in the mix as the growling, belching, disturbing voices of the early sequences are replaced with more heavenly voices ascending the malformed matter below. Rózmann was typically ambiguous about the meaning behind his work despite suggesting earlier that the first part of ‘Twelve Stations’ was an interpretation of the ‘Tibetan Wheel of Life’. Alongside his interest in Tibetan Buddhism he maintained his following of the catholic church and as a consequence one may also read this sequence, with its uplifting motifs as an ascent from hell into heaven. Rózmann concludes proceedings with ‘The Celebrators’, which presents itself not as an ending but rather a continuation of sorts. A short musical refrain conjures a prism where refractions of voice and sound appear like a hall of mirrors, spiralling onwards and outwards, without end.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eEpic in scale, timbre, technique, mood and movement, Twelve Stations is a unique masterpiece of 20th Century musique concrète and presents itself as an intensely personal and bold realm of sound, an offering as such, a radical mass open to all.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eMan meets different difficulties and sufferings through his wandering. These are forces between which a continuous struggle is going on. He cannot control and preside over these forces. He is being tossed up and down, powerless, like snowflakes in the storm: chaotic thoughts and feelings, gladness and suffering, which flow without intermission like a river that has no beginning nor end. All these are the fruits of our own deeds. However, in this life you have the chance to make easier those life wanderings that are to come. - Rózmann (from the programme notes for the 1984 premiere of the first seven stations).\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Akos Rozmann\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIdeologic Organ\u003c\/span\u003e\u003c\/p\u003e"}
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ハンガリー・ブダペストの実験音楽家Akos Rozmannの7CD BOXセットがこの度再発。 以下、Mark Harwoodによる解説です。 アコス・ロズマン（1939-2005）はブダペストで生まれ、リスト音楽院でオルガンと作曲を学んだ。1971年から1974年までストックホルム王立音楽大学で作曲を学び、1978年からはストックホルムのカソリック大聖堂のオルガニストとして活躍した。生涯を通じてムジーク・コンクレートに専念し、あらゆる音楽のジャンルの中で最も錬金術的なこのジャンルにおいて、最も大規模で実りある作品群を作り上げた。80年代初頭には、カトリック大聖堂の地下に電子音響スタジオを建設し、その一方で、初期の傑作を生み出したEMS（Elektronmusikstudion スウェーデン）でも活動を継続した。音楽創作への揺るぎないこだわりを持つロズマン氏は、望む結果を得るために、窓のないスタジオに閉じこもって夜通し作業をすることもしばしばあった。彼は、自分のビジョンを完璧に表現することだけを考え、仲間からの承認や聴衆の満足は求めなかった。このようなビジョン、情熱、頑固さの組み合わせが、ミュージック・コンクリートという分野で最も特異なカタログを生み出すことになった。ハンガリーの作曲家ミクローシュ・マロスから、ピアノと声のための5分間の作品を依頼された。ロズマンは、ミクローシュの妻でソプラノ歌手のイロナ・マロスの録音と、彼自身のプリペアド・ピアノの実験からなるテープ作品を書くつもりで、この申し出を受けた。ここで録音された要素が「12 Stations」の素材となった。この作品は、当初の5分という短い時間から大きく飛び出し、20年後に6時間半を超える精神の旅路として着地したのである。この作曲プロセスは、初期段階から最終作品の完成まで18年間のギャップがあるため、ロズマン作品の中でもユニークなものとなっている。1978年から1980年にかけて作られた最初の段階は、スピードアップ、スローダウン、テープのカットやスプライシングといった伝統的なミュジック・コンクレートの技法の探求で構成されています。1998年から2001年にかけて制作された最後の4つのステーションは、デジタル技術を取り入れ、1978年のオリジナル録音の小さなセクションをエフェクト・プロセッサーにかけ、サンプラーキーボードで即興演奏しています。このようなギャップや、それぞれの制作期間で展開された異なる技術にもかかわらず、記念碑的な結果は完全で驚異的な全体として収まっている。ロズマンは、音源の制限の中で、オリジナルのピアノと声の録音から柔軟な音の世界を引き出す不思議な才能を発揮している。その結果、ダイナミックな音の渦が生まれ、20世紀における最も大胆で挑戦的、かつ見応えのあるムジーク・コンクレートの作品のひとつとなったのである。プロパティ・ルームパートIとIIは、シュトゥルム・ウント・ドランの広大な風景で始まる。ピアノと声のオリジナル素材は、攻撃的な異世界の雰囲気を呼び起こす手段として、分解・再構築されている。The Contents and Life of the Black...
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{"id":7637747007738,"title":"claire rousay \/\/ everything perfect is already here LP \/ CD","handle":"claire-rousay-everything-perfect-is-already-here-lp-cd","description":"\u003cp\u003e 過去にorangemilkなどから発表しているアメリカ・テキサスのアンビエント作家claire rousayが、2022年4月にフランスの実験レーベルShelter Pressからリリースした最新アルバムです。\u003c\/p\u003e\n\u003cp\u003eロングフォームのネオクラシカル・アンビエント2曲を収録。DLコード付属。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=481327857\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eBlack vinyl edition of 900. Includes DL code.\u003cbr\u003eCD edition of 500.\u003c\/p\u003e\n\u003cp\u003eText by Shelter Press:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eWhen words trail off at the beginning of claire rousay’s “everything perfect is already here,” ornate instrumentation is waiting to fill a void left by the breakdown of language. Yet it becomes clear as we trace rousay’s collaged sonic pathway that breakdown, of meaning and also of melody, is also a place to rest. everything perfect… is made up of two extended compositions that cycle between familiarity and unknowing. There are seemingly infinite ways to feel in response to these pieces of music, which shift tone across their languid duration, earnest like a familiar song but unbound from the emotional didacticisms of lyrical voice and pop form.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003erousay builds a fluid landscape around the acoustic contributions of Alex Cunningham (violin), Mari Maurice (electronics and violin), Marilu Donovan (harp), and Theodore Cale Schafer (piano), whose respective melodies weave gently in and out, sometimes steady, sometimes aching, sometimes receding altogether in deference to less overtly musical sounds. That is, percussive texture in the form of unvarnished samples and field recordings: the rattle and rustle and the stops and starts of life unfurling, voices sharing memories nearly out of reach, doors closing, wind against a microphone. Everything comes from somewhere in particular, possessing the veneer of the\u003cspan class=\"bcTruncateMore\"\u003e diaristic, but sound’s provenance is secondary here and so these details become tangled and fused. On this release I hear such details not as individual ornaments or stories but the collective architecture of the greater composition. It’s an architecture that is not quite formed and thus full of openings out to the world unfolding.\u003cbr\u003e\u003cbr\u003e“The world unfolding,” that’s a kind way of saying change, movement, loss, transformation. Things rousay here indexes, not without shards of desire or pain, still somehow what I hear is coarse peace in the in-between. These two pieces sweep you away and then bring you to earth, but which is which, anyway? Where am I now? What is different outside of me? What is different inside of me? Um. I think. everything is perfect is already here, like the answers to these questions, is loose and beautiful in surprising ways.\u003cbr\u003e\u003cbr\u003eThe music guides a certain experience of the world around. In claire’s music there is this marriage—not just a pairing or juxtaposition but an interrelationship, an eventual confusion—of song\/texture, narrative\/abstraction, figure\/ground. Everything comes from somewhere in particular but not just the voices, the field recordings, the what is being said or meant, what matters is “the where you are now.” There are so many ways of anchoring oneself in the present, some have to do with fantasy or storytelling and some with accepting what is.\u003cbr\u003e\u003cbr\u003eThese two compositions find peace between these modes. They sweep you away and then bring you to earth, but which is which, anyway? Their mode of feeling is inquisitive. Where am I now? What has changed outside of me? What has changed inside of me? The music, like the answers to these questions, is loose and beautiful in surprising ways.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003eArtist : claire rousay\u003c\/p\u003e\n\u003cp\u003eLabel : Shelter Press\u003c\/p\u003e","published_at":"2022-06-12T07:45:35+09:00","created_at":"2022-06-11T13:43:52+09:00","vendor":"Tobira Records","type":"","tags":["ambient","cd","lp","neo classical","shelter press"],"price":245000,"price_min":245000,"price_max":319000,"available":false,"price_varies":true,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":42862326382842,"title":"LP","option1":"LP","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":{"id":37295817326842,"product_id":7637747007738,"position":2,"created_at":"2022-06-11T13:43:52+09:00","updated_at":"2022-06-11T13:43:54+09:00","alt":null,"width":1200,"height":902,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ev2_f54ddda6-b5a3-41c2-be52-98bf5e482b02.jpg?v=1654922634","variant_ids":[42862326382842]},"available":false,"name":"claire rousay \/\/ everything perfect is already here LP \/ CD - LP","public_title":"LP","options":["LP"],"price":319000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","featured_media":{"alt":null,"id":29869664141562,"position":2,"preview_image":{"aspect_ratio":1.33,"height":902,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ev2_f54ddda6-b5a3-41c2-be52-98bf5e482b02.jpg?v=1654922634"}},"requires_selling_plan":false,"selling_plan_allocations":[]},{"id":42862326415610,"title":"CD","option1":"CD","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":{"id":37295817294074,"product_id":7637747007738,"position":3,"created_at":"2022-06-11T13:43:52+09:00","updated_at":"2022-06-11T13:43:53+09:00","alt":null,"width":1200,"height":856,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ev3_532b403f-f000-4474-97dc-10e25be69417.jpg?v=1654922633","variant_ids":[42862326415610]},"available":false,"name":"claire rousay \/\/ everything perfect is already here LP \/ CD - CD","public_title":"CD","options":["CD"],"price":245000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","featured_media":{"alt":null,"id":29869664174330,"position":3,"preview_image":{"aspect_ratio":1.402,"height":856,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ev3_532b403f-f000-4474-97dc-10e25be69417.jpg?v=1654922633"}},"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ev1_79378221-4fa6-401e-9127-fb56d3981ac5.jpg?v=1654922633","\/\/tobirarecords.com\/cdn\/shop\/products\/ev2_f54ddda6-b5a3-41c2-be52-98bf5e482b02.jpg?v=1654922634","\/\/tobirarecords.com\/cdn\/shop\/products\/ev3_532b403f-f000-4474-97dc-10e25be69417.jpg?v=1654922633"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ev1_79378221-4fa6-401e-9127-fb56d3981ac5.jpg?v=1654922633","options":["format"],"media":[{"alt":null,"id":29869664108794,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ev1_79378221-4fa6-401e-9127-fb56d3981ac5.jpg?v=1654922633"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ev1_79378221-4fa6-401e-9127-fb56d3981ac5.jpg?v=1654922633","width":700},{"alt":null,"id":29869664141562,"position":2,"preview_image":{"aspect_ratio":1.33,"height":902,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ev2_f54ddda6-b5a3-41c2-be52-98bf5e482b02.jpg?v=1654922634"},"aspect_ratio":1.33,"height":902,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ev2_f54ddda6-b5a3-41c2-be52-98bf5e482b02.jpg?v=1654922634","width":1200},{"alt":null,"id":29869664174330,"position":3,"preview_image":{"aspect_ratio":1.402,"height":856,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ev3_532b403f-f000-4474-97dc-10e25be69417.jpg?v=1654922633"},"aspect_ratio":1.402,"height":856,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ev3_532b403f-f000-4474-97dc-10e25be69417.jpg?v=1654922633","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e 過去にorangemilkなどから発表しているアメリカ・テキサスのアンビエント作家claire rousayが、2022年4月にフランスの実験レーベルShelter Pressからリリースした最新アルバムです。\u003c\/p\u003e\n\u003cp\u003eロングフォームのネオクラシカル・アンビエント2曲を収録。DLコード付属。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=481327857\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eBlack vinyl edition of 900. Includes DL code.\u003cbr\u003eCD edition of 500.\u003c\/p\u003e\n\u003cp\u003eText by Shelter Press:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eWhen words trail off at the beginning of claire rousay’s “everything perfect is already here,” ornate instrumentation is waiting to fill a void left by the breakdown of language. Yet it becomes clear as we trace rousay’s collaged sonic pathway that breakdown, of meaning and also of melody, is also a place to rest. everything perfect… is made up of two extended compositions that cycle between familiarity and unknowing. There are seemingly infinite ways to feel in response to these pieces of music, which shift tone across their languid duration, earnest like a familiar song but unbound from the emotional didacticisms of lyrical voice and pop form.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003erousay builds a fluid landscape around the acoustic contributions of Alex Cunningham (violin), Mari Maurice (electronics and violin), Marilu Donovan (harp), and Theodore Cale Schafer (piano), whose respective melodies weave gently in and out, sometimes steady, sometimes aching, sometimes receding altogether in deference to less overtly musical sounds. That is, percussive texture in the form of unvarnished samples and field recordings: the rattle and rustle and the stops and starts of life unfurling, voices sharing memories nearly out of reach, doors closing, wind against a microphone. Everything comes from somewhere in particular, possessing the veneer of the\u003cspan class=\"bcTruncateMore\"\u003e diaristic, but sound’s provenance is secondary here and so these details become tangled and fused. On this release I hear such details not as individual ornaments or stories but the collective architecture of the greater composition. It’s an architecture that is not quite formed and thus full of openings out to the world unfolding.\u003cbr\u003e\u003cbr\u003e“The world unfolding,” that’s a kind way of saying change, movement, loss, transformation. Things rousay here indexes, not without shards of desire or pain, still somehow what I hear is coarse peace in the in-between. These two pieces sweep you away and then bring you to earth, but which is which, anyway? Where am I now? What is different outside of me? What is different inside of me? Um. I think. everything is perfect is already here, like the answers to these questions, is loose and beautiful in surprising ways.\u003cbr\u003e\u003cbr\u003eThe music guides a certain experience of the world around. In claire’s music there is this marriage—not just a pairing or juxtaposition but an interrelationship, an eventual confusion—of song\/texture, narrative\/abstraction, figure\/ground. Everything comes from somewhere in particular but not just the voices, the field recordings, the what is being said or meant, what matters is “the where you are now.” There are so many ways of anchoring oneself in the present, some have to do with fantasy or storytelling and some with accepting what is.\u003cbr\u003e\u003cbr\u003eThese two compositions find peace between these modes. They sweep you away and then bring you to earth, but which is which, anyway? Their mode of feeling is inquisitive. Where am I now? What has changed outside of me? What has changed inside of me? The music, like the answers to these questions, is loose and beautiful in surprising ways.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003eArtist : claire rousay\u003c\/p\u003e\n\u003cp\u003eLabel : Shelter Press\u003c\/p\u003e"}
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過去にorangemilkなどから発表しているアメリカ・テキサスのアンビエント作家claire rousayが、2022年4月にフランスの実験レーベルShelter Pressからリリースした最新アルバムです。 ロングフォームのネオクラシカル・アンビエント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 Shelter Press / Recollection GRM / Ideologic Organ...
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{"id":7450471956730,"title":"Ai Aso \/\/ Lone LP","handle":"ai-aso-lone-lp","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e東京のサイケデリック・SSW\u003cmeta charset=\"utf-8\"\u003e朝生愛のライブ盤です。\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e2012年11月3日代官山UNITで行われたライブを収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e浮遊感のあるポップ7曲を収録。Stephen O'Malley監修によるレーベルideologic organからのリリースです。\u003c\/span\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1231337233\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ \u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eText by Ideologic Organ:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"Tokyo’s Ai Aso (朝生愛, Asō Ai) is a Japanese psychedelic pop singer-songwriter whose work has a whisper-thin acid folk quality to it. She started performing as a solo singer around 2000. Her solo work, infrequent collaborations with White Heaven members You Ishihara and Michio Kurihara, Yurayura Teikoku, and Boris bring a level of fragility and hypnotism to the stage recalling lost memories, small flavors of COIL and serial playing on the verge of evaporation.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAs for her recent activities, she has performed on bills together with Sunn O))), Boris, Masaki Batoh (Ghost), Touri Kudoh, Kim Doo Soo, Mark Fry, Simon Finn etc.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Ai Aso\u003c\/p\u003e\n\u003cp\u003eLabel : Ideologic Organ\u003c\/p\u003e","published_at":"2021-11-17T07:24:26+09:00","created_at":"2021-11-15T16:49:03+09:00","vendor":"Tobira Records","type":"","tags":["asia","folk \/ left-field pop","lp","shelter press"],"price":315000,"price_min":315000,"price_max":315000,"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":42057997189370,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Ai Aso \/\/ Lone LP","public_title":null,"options":["Default Title"],"price":315000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/lon1_1b9008ed-a1e1-4f01-a078-c642c42c3d38.jpg?v=1636962545","\/\/tobirarecords.com\/cdn\/shop\/products\/lon2_6b0ebc18-e6e7-445b-b6ee-85a281af14eb.jpg?v=1636962545"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/lon1_1b9008ed-a1e1-4f01-a078-c642c42c3d38.jpg?v=1636962545","options":["Title"],"media":[{"alt":null,"id":26931365642490,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/lon1_1b9008ed-a1e1-4f01-a078-c642c42c3d38.jpg?v=1636962545"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/lon1_1b9008ed-a1e1-4f01-a078-c642c42c3d38.jpg?v=1636962545","width":700},{"alt":null,"id":26931365675258,"position":2,"preview_image":{"aspect_ratio":1.397,"height":859,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/lon2_6b0ebc18-e6e7-445b-b6ee-85a281af14eb.jpg?v=1636962545"},"aspect_ratio":1.397,"height":859,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/lon2_6b0ebc18-e6e7-445b-b6ee-85a281af14eb.jpg?v=1636962545","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e東京のサイケデリック・SSW\u003cmeta charset=\"utf-8\"\u003e朝生愛のライブ盤です。\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e2012年11月3日代官山UNITで行われたライブを収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e浮遊感のあるポップ7曲を収録。Stephen O'Malley監修によるレーベルideologic organからのリリースです。\u003c\/span\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1231337233\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ \u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eText by Ideologic Organ:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"Tokyo’s Ai Aso (朝生愛, Asō Ai) is a Japanese psychedelic pop singer-songwriter whose work has a whisper-thin acid folk quality to it. She started performing as a solo singer around 2000. Her solo work, infrequent collaborations with White Heaven members You Ishihara and Michio Kurihara, Yurayura Teikoku, and Boris bring a level of fragility and hypnotism to the stage recalling lost memories, small flavors of COIL and serial playing on the verge of evaporation.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAs for her recent activities, she has performed on bills together with Sunn O))), Boris, Masaki Batoh (Ghost), Touri Kudoh, Kim Doo Soo, Mark Fry, Simon Finn etc.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Ai Aso\u003c\/p\u003e\n\u003cp\u003eLabel : Ideologic Organ\u003c\/p\u003e"}
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東京のサイケデリック・SSW朝生愛のライブ盤です。2012年11月3日代官山UNITで行われたライブを収録。 浮遊感のあるポップ7曲を収録。Stephen O'Malley監修によるレーベルideologic organからのリリースです。 レーベルその他作品はこちら /// Click here to see more Shelter Press / Recollection GRM / Ideologic Organ...
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{"id":7450468286714,"title":"Kukangendai \/\/ Palm LP","handle":"kukangendai-palm-lp","description":"\u003cp\u003e京都を拠点に活動する３ピースミニマルロックバンド空間現代が、2019年にリリースしたアルバム。タイトな楽曲6曲を収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=470443803\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eText by Stephen O’Malley, February 2019, Paris:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e'Kukangendai is a kick ass rock trio from Kyoto (Tokyo transplants). When I first hear this band live I was instantly transfixed by their minimalist yet illusory primitive, polyrythmic and structural, memory evoking rock narratives. Their energy is completely and transparently palpable yet handled with restraint of the pleasure of a disciplined form dealing with time and articulation. They are a power trio of bass, drums and guitar but the music they play is as much the limbic system of a forest than it is a geode. They started in 2006. They left Tokyo to Kyoto and started the cult venue Soto (“Outside”) “to listen to music they hadn’t heard yet” a few years later. They collaborated with Ryuichi Sakamoto last year. They reminded me of James Brown on a heavy binge of Bastro, there’s a deep current of both archaic musical tastes and the human desire for articulating that archaism in there, but you shake your ass and get the shouting in… in a punk basement … 13th century version of Breadwinner, the bare soul version. I’m honoured and proud to work with this tribe, and to count them amongst friends.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Kukangendai\u003c\/p\u003e\n\u003cp\u003eLabel : Ideologic Organ\u003c\/p\u003e","published_at":"2021-11-17T08:01:51+09:00","created_at":"2021-11-15T16:44:18+09:00","vendor":"Tobira Records","type":"","tags":["asia","folk \/ left-field pop","lp","shelter press"],"price":315000,"price_min":315000,"price_max":315000,"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":42057993060602,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Kukangendai \/\/ Palm LP","public_title":null,"options":["Default Title"],"price":315000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ku1_491eaba1-8c86-4967-b875-d9a2f1bc19b9.jpg?v=1636962260","\/\/tobirarecords.com\/cdn\/shop\/products\/ku2_49a595bb-9b13-407c-9058-2c186488b3d3.jpg?v=1636962260"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ku1_491eaba1-8c86-4967-b875-d9a2f1bc19b9.jpg?v=1636962260","options":["Title"],"media":[{"alt":null,"id":26931350339834,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ku1_491eaba1-8c86-4967-b875-d9a2f1bc19b9.jpg?v=1636962260"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ku1_491eaba1-8c86-4967-b875-d9a2f1bc19b9.jpg?v=1636962260","width":700},{"alt":null,"id":26931350372602,"position":2,"preview_image":{"aspect_ratio":1.33,"height":902,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ku2_49a595bb-9b13-407c-9058-2c186488b3d3.jpg?v=1636962260"},"aspect_ratio":1.33,"height":902,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ku2_49a595bb-9b13-407c-9058-2c186488b3d3.jpg?v=1636962260","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e京都を拠点に活動する３ピースミニマルロックバンド空間現代が、2019年にリリースしたアルバム。タイトな楽曲6曲を収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=470443803\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eText by Stephen O’Malley, February 2019, Paris:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e'Kukangendai is a kick ass rock trio from Kyoto (Tokyo transplants). When I first hear this band live I was instantly transfixed by their minimalist yet illusory primitive, polyrythmic and structural, memory evoking rock narratives. Their energy is completely and transparently palpable yet handled with restraint of the pleasure of a disciplined form dealing with time and articulation. They are a power trio of bass, drums and guitar but the music they play is as much the limbic system of a forest than it is a geode. They started in 2006. They left Tokyo to Kyoto and started the cult venue Soto (“Outside”) “to listen to music they hadn’t heard yet” a few years later. They collaborated with Ryuichi Sakamoto last year. They reminded me of James Brown on a heavy binge of Bastro, there’s a deep current of both archaic musical tastes and the human desire for articulating that archaism in there, but you shake your ass and get the shouting in… in a punk basement … 13th century version of Breadwinner, the bare soul version. I’m honoured and proud to work with this tribe, and to count them amongst friends.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Kukangendai\u003c\/p\u003e\n\u003cp\u003eLabel : Ideologic Organ\u003c\/p\u003e"}
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京都を拠点に活動する３ピースミニマルロックバンド空間現代が、2019年にリリースしたアルバム。タイトな楽曲6曲を収録。 レーベルその他作品はこちら /// Click here to see more Shelter Press / Recollection GRM / Ideologic Organ releases available at Tobira. ...
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{"id":7450467074298,"title":"Ustad Zia Mohiuddin Dagar \/\/ Raga Yaman (Rudra Veena \/\/ Seattle \/\/ 15 March 1986) 2xLP","handle":"ustad-zia-mohiuddin-dagar-raga-yaman-rudra-veena-seattle-15-march-1986-2xlp","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eインドの伝統的な歌唱法ドゥルパドのマスターUstad Zia Mohiuddin Dagarの\u003cmeta charset=\"utf-8\"\u003e1986年ライブ音源を収録した2枚組みレコードです。\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=738229571\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eGatefold cover.\u003c\/p\u003e\n\u003cp\u003eText by \u003cmeta charset=\"utf-8\"\u003eStephen O'Malley, March 2018, Paris, France:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O'Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eDhrupad, for those who do not know, is a branch of Hindustani classical music said to \"show the raga in its clearest and purest form\". It's pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance ... in short I was hooked on this new (to me) and ancient form of music from the first listen, and feel that a more or less continual listening \u0026amp; reviewing of Zia Mohiuddin Dagar's recordings in the years that followed have influenced my own approach to music quite heavily (if, albeit\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e, indirectly).\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eIn early 2015 I was able to make contact with Zia Mohiuddin Dagar's son Bahauddin and some of his American students\/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access a massive archive of recordings and developed these two paired titles for my label. It's been a long path to arrive at actually releasing them but also probably in many ways one of the most significant releases I've worked on. And I'm proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eZia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad (Bahauddin Dagar continues the lineage as a master rudra veena dhrupad player of note today). Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar's life and teaching (a long story also in Seattle, my hometown!), the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eRaga Yaman was recorded at a public concert in Seattle at the HUB Ballroom at the University of Washington in March 1986 (the week after the accompanying release SOMA028 Ragas Abhogi \u0026amp; Vardhani was recorded) at the end of his last tour of the United States. Yaman was a special raga for Zia Mohiuddin Dagar, one of his signature raags. For centuries, Yaman has been considered as one of the most fundamental ragas in Hindustani music and is one of the first ragas which is taught to students. A deep knowledge of Yaman gives a key for understanding many other ragas. It's filled with tranquility, contemplation, pathos and spiritual yearning.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eTracklist:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eRaga Yaman\u003cbr\u003e1) Alap\u003cbr\u003e2) Jod\u003cbr\u003e3) Jhala\u003cbr\u003e4) Gat (Composition in Chautal)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Ustad Zia Mohiuddin Dagar \u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIdeologic Organ\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-11-17T17:03:19+09:00","created_at":"2021-11-15T16:41:38+09:00","vendor":"Tobira Records","type":"","tags":["field recording","lp","shelter press"],"price":388000,"price_min":388000,"price_max":388000,"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":42057991979258,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Ustad Zia Mohiuddin Dagar \/\/ Raga Yaman (Rudra Veena \/\/ Seattle \/\/ 15 March 1986) 2xLP","public_title":null,"options":["Default Title"],"price":388000,"weight":530,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ScreenShot2021-11-15at4.38.11pm.png?v=1636962100","\/\/tobirarecords.com\/cdn\/shop\/products\/u1_04683727-c804-4883-835d-2ddda57133ed.jpg?v=1636962405"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ScreenShot2021-11-15at4.38.11pm.png?v=1636962100","options":["Title"],"media":[{"alt":null,"id":26931345555706,"position":1,"preview_image":{"aspect_ratio":0.998,"height":499,"width":498,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ScreenShot2021-11-15at4.38.11pm.png?v=1636962100"},"aspect_ratio":0.998,"height":499,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ScreenShot2021-11-15at4.38.11pm.png?v=1636962100","width":498},{"alt":null,"id":26931359187194,"position":2,"preview_image":{"aspect_ratio":0.75,"height":1200,"width":900,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/u1_04683727-c804-4883-835d-2ddda57133ed.jpg?v=1636962405"},"aspect_ratio":0.75,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/u1_04683727-c804-4883-835d-2ddda57133ed.jpg?v=1636962405","width":900}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eインドの伝統的な歌唱法ドゥルパドのマスターUstad Zia Mohiuddin Dagarの\u003cmeta charset=\"utf-8\"\u003e1986年ライブ音源を収録した2枚組みレコードです。\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=738229571\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eGatefold cover.\u003c\/p\u003e\n\u003cp\u003eText by \u003cmeta charset=\"utf-8\"\u003eStephen O'Malley, March 2018, Paris, France:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O'Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eDhrupad, for those who do not know, is a branch of Hindustani classical music said to \"show the raga in its clearest and purest form\". It's pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance ... in short I was hooked on this new (to me) and ancient form of music from the first listen, and feel that a more or less continual listening \u0026amp; reviewing of Zia Mohiuddin Dagar's recordings in the years that followed have influenced my own approach to music quite heavily (if, albeit\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e, indirectly).\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eIn early 2015 I was able to make contact with Zia Mohiuddin Dagar's son Bahauddin and some of his American students\/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access a massive archive of recordings and developed these two paired titles for my label. It's been a long path to arrive at actually releasing them but also probably in many ways one of the most significant releases I've worked on. And I'm proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eZia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad (Bahauddin Dagar continues the lineage as a master rudra veena dhrupad player of note today). Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar's life and teaching (a long story also in Seattle, my hometown!), the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eRaga Yaman was recorded at a public concert in Seattle at the HUB Ballroom at the University of Washington in March 1986 (the week after the accompanying release SOMA028 Ragas Abhogi \u0026amp; Vardhani was recorded) at the end of his last tour of the United States. Yaman was a special raga for Zia Mohiuddin Dagar, one of his signature raags. For centuries, Yaman has been considered as one of the most fundamental ragas in Hindustani music and is one of the first ragas which is taught to students. A deep knowledge of Yaman gives a key for understanding many other ragas. It's filled with tranquility, contemplation, pathos and spiritual yearning.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eTracklist:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eRaga Yaman\u003cbr\u003e1) Alap\u003cbr\u003e2) Jod\u003cbr\u003e3) Jhala\u003cbr\u003e4) Gat (Composition in Chautal)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Ustad Zia Mohiuddin Dagar \u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIdeologic Organ\u003c\/span\u003e\u003c\/p\u003e"}
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インドの伝統的な歌唱法ドゥルパドのマスターUstad Zia Mohiuddin Dagarの1986年ライブ音源を収録した2枚組みレコードです。 レーベルその他作品はこちら /// Click here to see more Shelter Press / Recollection GRM / Ideologic Organ...
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{"id":7450464616698,"title":"Lucy Railton \/ Max Eilbacher \/\/ Forma \/ Metabolist Meter (Foster, Cottin, Caetani and a Fly) LP","handle":"lucy-railton-max-eilbacher-forma-metabolist-meter-foster-cottin-caetani-and-a-fly-lp","description":"\u003cp\u003eイギリスのチェロ奏者Lucy Railtonと、当店でもおなじみのコラージュ作家Max Eilbacherが、フランス・パリの実験レーベルGRMから2020年6月にリリースしたスプリットレコード。それぞれ長尺のコラージュを収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1839220642\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eText by Portraits GRM:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"Forma by Lucy Railton, is a work that burrows deep inside. It disorientates and teases, without malice. Its beauty lies in gentle projections, which, though subtle, leave deep impressions, like the wings of a nocturnal moth reflecting dark light. Its path, too, is unpredictable, but such disorientation is not a reflection of chaos. Instead, a mysterious intention appears through an imperious unfolding - its logic escapes us, but nevertheless captivates us. It is the story of a becoming of forms, as well as of their fading away and their appearance as a disappearance .\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMetabolist Meter (Foster, Cottin, Caetani and a Fly), by Max Eilbacher is a teeming piece, a matrix where textures and structures merge together, where the polyrhythmic instances become timbre, where the formal abstraction of the harmonic volutes coagulates around a vibrating form that is actualized in the dramatic reality of a dying fly. And this formal mastery is not disembodied in Max Eilbacher’s work and the kaleidoscopic forms of the sound spectra that he has deployed know how to resonate in the sensations and experiences of each one.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThese works, each with their own agenda, evolve with grace and inspiration in their exploration of vast sound worlds, and\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e it is with great pride that we present them in the new collection.\"\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eReleased in association with Editions Mego.\u003cbr\u003eCoordination GRM: François Bonnet, Jules Négrier\u003cbr\u003e\u2028Executive Production: Peter Rehberg\u003c\/span\u003e\u003cspan\u003e \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\"\u003e \u003cstrong\u003e\u003cem\u003eForma\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eLucy Railton\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003e2019 \/ 23’19\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eForma, for multichannel tape and live cello\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eCommissioned by INA GRM and first performed on the Acousmonium at INA GRM's Multiphonies Concert Series, Maison de la Radio, Paris on June 1st 2019.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eCello recorded live in concert, performed by Lucy Railton. Serge Synthesiser recorded at GRM Studios in April 2019.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eOrgan recorded in Skálholt Cathedral, Iceland, by Alex Bonney, performed by Kit Downes in 2017.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eAll other materials recorded, mixed and created by Lucy Railton at GRM Studios and in her Berlin studio between November 2018 and May 2019.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eMix by Lucy Railton \/ Premaster by Emmanuel Richier (GRM)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003ePhoto by George Nebieridze\u003c\/em\u003e\u003cbr\u003e\u003cem\u003ePart of Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e:::::::::::::::::::::::::::::\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eMetabolist Meter (Foster, Cottin, Caetani and a Fly)\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eMax Eilbacher\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003e2019 \/ 22’29\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eCreated and recorded November 2018-March 2019 in Baltimore, Maryland.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eFly recording made September 2018 in Carrières-sous-Poissy, France.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eMade for the Présences électronique festival 2019 in Paris, France.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eMixed from 8 channel to stereo August 2019.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eFlute by Ka Baird\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eText by Max Eilbacher \/ Text read by Alexander Moskos and Miriam Salaymeh\u003c\/em\u003e\u003cbr\u003e\u003cem\u003ePhoto by Didier Allard © INA \/\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMastered by Giuseppe Ielasi \/ Cut by Kauffelt at Schnittstelle, Berlin, February 2020.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eSleeve design by Stephen O’Malley\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Lucy Railton \/ Max Eilbacher\u003c\/p\u003e\n\u003cp\u003eLabel : Portraits\u003cspan data-mce-fragment=\"1\"\u003e GRM\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-11-17T17:10:05+09:00","created_at":"2021-11-15T16:36:03+09:00","vendor":"Tobira Records","type":"","tags":["lp","monooto","shelter press"],"price":315000,"price_min":315000,"price_max":315000,"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":42057988899066,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Lucy Railton \/ Max Eilbacher \/\/ Forma \/ Metabolist Meter (Foster, Cottin, Caetani and a Fly) LP","public_title":null,"options":["Default Title"],"price":315000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/fo1_f111140a-e3c4-4485-8003-2d92160e41b6.jpg?v=1636961778","\/\/tobirarecords.com\/cdn\/shop\/products\/fo2_04adcc48-7faf-4cc1-bc12-81ca31295167.jpg?v=1636961778"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/fo1_f111140a-e3c4-4485-8003-2d92160e41b6.jpg?v=1636961778","options":["Title"],"media":[{"alt":null,"id":26931329368314,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/fo1_f111140a-e3c4-4485-8003-2d92160e41b6.jpg?v=1636961778"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/fo1_f111140a-e3c4-4485-8003-2d92160e41b6.jpg?v=1636961778","width":700},{"alt":null,"id":26931329401082,"position":2,"preview_image":{"aspect_ratio":1.33,"height":902,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/fo2_04adcc48-7faf-4cc1-bc12-81ca31295167.jpg?v=1636961778"},"aspect_ratio":1.33,"height":902,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/fo2_04adcc48-7faf-4cc1-bc12-81ca31295167.jpg?v=1636961778","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eイギリスのチェロ奏者Lucy Railtonと、当店でもおなじみのコラージュ作家Max Eilbacherが、フランス・パリの実験レーベルGRMから2020年6月にリリースしたスプリットレコード。それぞれ長尺のコラージュを収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1839220642\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eText by Portraits GRM:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"Forma by Lucy Railton, is a work that burrows deep inside. It disorientates and teases, without malice. Its beauty lies in gentle projections, which, though subtle, leave deep impressions, like the wings of a nocturnal moth reflecting dark light. Its path, too, is unpredictable, but such disorientation is not a reflection of chaos. Instead, a mysterious intention appears through an imperious unfolding - its logic escapes us, but nevertheless captivates us. It is the story of a becoming of forms, as well as of their fading away and their appearance as a disappearance .\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMetabolist Meter (Foster, Cottin, Caetani and a Fly), by Max Eilbacher is a teeming piece, a matrix where textures and structures merge together, where the polyrhythmic instances become timbre, where the formal abstraction of the harmonic volutes coagulates around a vibrating form that is actualized in the dramatic reality of a dying fly. And this formal mastery is not disembodied in Max Eilbacher’s work and the kaleidoscopic forms of the sound spectra that he has deployed know how to resonate in the sensations and experiences of each one.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThese works, each with their own agenda, evolve with grace and inspiration in their exploration of vast sound worlds, and\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e it is with great pride that we present them in the new collection.\"\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eReleased in association with Editions Mego.\u003cbr\u003eCoordination GRM: François Bonnet, Jules Négrier\u003cbr\u003e\u2028Executive Production: Peter Rehberg\u003c\/span\u003e\u003cspan\u003e \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\"\u003e \u003cstrong\u003e\u003cem\u003eForma\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eLucy Railton\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003e2019 \/ 23’19\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eForma, for multichannel tape and live cello\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eCommissioned by INA GRM and first performed on the Acousmonium at INA GRM's Multiphonies Concert Series, Maison de la Radio, Paris on June 1st 2019.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eCello recorded live in concert, performed by Lucy Railton. Serge Synthesiser recorded at GRM Studios in April 2019.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eOrgan recorded in Skálholt Cathedral, Iceland, by Alex Bonney, performed by Kit Downes in 2017.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eAll other materials recorded, mixed and created by Lucy Railton at GRM Studios and in her Berlin studio between November 2018 and May 2019.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eMix by Lucy Railton \/ Premaster by Emmanuel Richier (GRM)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003ePhoto by George Nebieridze\u003c\/em\u003e\u003cbr\u003e\u003cem\u003ePart of Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e:::::::::::::::::::::::::::::\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eMetabolist Meter (Foster, Cottin, Caetani and a Fly)\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eMax Eilbacher\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003e2019 \/ 22’29\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eCreated and recorded November 2018-March 2019 in Baltimore, Maryland.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eFly recording made September 2018 in Carrières-sous-Poissy, France.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eMade for the Présences électronique festival 2019 in Paris, France.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eMixed from 8 channel to stereo August 2019.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eFlute by Ka Baird\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eText by Max Eilbacher \/ Text read by Alexander Moskos and Miriam Salaymeh\u003c\/em\u003e\u003cbr\u003e\u003cem\u003ePhoto by Didier Allard © INA \/\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMastered by Giuseppe Ielasi \/ Cut by Kauffelt at Schnittstelle, Berlin, February 2020.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eSleeve design by Stephen O’Malley\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Lucy Railton \/ Max Eilbacher\u003c\/p\u003e\n\u003cp\u003eLabel : Portraits\u003cspan data-mce-fragment=\"1\"\u003e GRM\u003c\/span\u003e\u003c\/p\u003e"}
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イギリスのチェロ奏者Lucy Railtonと、当店でもおなじみのコラージュ作家Max Eilbacherが、フランス・パリの実験レーベルGRMから2020年6月にリリースしたスプリットレコード。それぞれ長尺のコラージュを収録。 レーベルその他作品はこちら /// Click here to see more Shelter Press / Recollection GRM / Ideologic Organ releases available...
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{"id":7450461208826,"title":"Iannis Xenakis \/\/ GRM Works 1957-1962 LP","handle":"iannis-xenakis-grm-works-1957-1962-lp","description":"\u003cp\u003eコンクレート音楽では最重要作家の一人Iannis Xenakisの1957-1962年楽曲の復刻盤です。現在のマスタリングを通して聴くと新たな発見があります。\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=602786264\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eInfo about each track:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConcret PH, 1958 (2'41)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eBrussels World Fair, 1958 : The industrialist Philips commissioned Le Corbusier's famous \"Philips Pavilion\": \"I'll create an electronic poem for you, he said. Everything will happen inside: sound, light, colour and rhythm.\" Iannis Xenakis designed the architectural blueprint and composed \"Concret PH\", meant to psychologically prepare the public to the show created inside, accompanied by a musical piece by Varese.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe 400 speakers that lined the inner shell were meant to fill the space through the sound sparkles of \"Concret PH\" and achieve a joint emanation of architecture and music, conceived as a whole: the roughness of the concrete and its internal friction coefficient found an echo in the timbre of the sparkles.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOrient-Occident, 1960 (11'10)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe work was originally composed for a film by Enrico Fulchignoni for UNESCO. The film describes a visit to the museum suggesting to compare artefacts produced by various cultures and highlighting their interaction that dates back to the most ancient times.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eFrom an abstract point of view, the composer regards this\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cem\u003e work as a solution to the problem of finding highly diversified means of transition, meant to link a type of material to another. One indeed witnesses a varied gradation of mutations, interplays, overlaps, cross-fading, sudden shifts and hidden junction points.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eDiamorphoses, 1957-58 (7'00)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eContinuity and discontinuity within evolution, here are two aspects of the being, whether in opposition or in communion. In \"Diamorphoses\" this antithesis was worked on in the sections of some sounds strongly opposed to others, and particularly in organisations of continuous variations of average or \"statistical\" heights.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eBohor, 1962 (21'50)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eBohor (referring to Bors the Younger, Lancelot's cousin), is a character from the medieval cycle of King Arthur and the Knights of the Round Table. “Bohor” is dedicated to Pierre Schaeffer. The author deliberately abstained from giving and descriptive information on his piece, letting the listener choose an imaginary route for himself. For this release, we have chosen the 1968 version, revised by Iannis Xenakis himself and as yet not made available to the public.\u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Iannis Xenakis\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-11-17T09:13:15+09:00","created_at":"2021-11-15T16:31:13+09:00","vendor":"Tobira Records","type":"","tags":["contemporary \/ sound poetry","lp","monooto","shelter press"],"price":315000,"price_min":315000,"price_max":315000,"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":42057985786106,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Iannis Xenakis \/\/ GRM Works 1957-1962 LP","public_title":null,"options":["Default Title"],"price":315000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/wo1_ebc845b8-b8ec-4097-b2b0-2af2d6d63e3c.jpg?v=1636961475","\/\/tobirarecords.com\/cdn\/shop\/products\/wo2_74f7a1c7-bc0f-4c6f-85fe-6e4a4caa32af.jpg?v=1636961475"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/wo1_ebc845b8-b8ec-4097-b2b0-2af2d6d63e3c.jpg?v=1636961475","options":["Title"],"media":[{"alt":null,"id":26931309936890,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/wo1_ebc845b8-b8ec-4097-b2b0-2af2d6d63e3c.jpg?v=1636961475"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/wo1_ebc845b8-b8ec-4097-b2b0-2af2d6d63e3c.jpg?v=1636961475","width":700},{"alt":null,"id":26931309969658,"position":2,"preview_image":{"aspect_ratio":1.33,"height":902,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/wo2_74f7a1c7-bc0f-4c6f-85fe-6e4a4caa32af.jpg?v=1636961475"},"aspect_ratio":1.33,"height":902,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/wo2_74f7a1c7-bc0f-4c6f-85fe-6e4a4caa32af.jpg?v=1636961475","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eコンクレート音楽では最重要作家の一人Iannis Xenakisの1957-1962年楽曲の復刻盤です。現在のマスタリングを通して聴くと新たな発見があります。\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=602786264\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eInfo about each track:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConcret PH, 1958 (2'41)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eBrussels World Fair, 1958 : The industrialist Philips commissioned Le Corbusier's famous \"Philips Pavilion\": \"I'll create an electronic poem for you, he said. Everything will happen inside: sound, light, colour and rhythm.\" Iannis Xenakis designed the architectural blueprint and composed \"Concret PH\", meant to psychologically prepare the public to the show created inside, accompanied by a musical piece by Varese.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe 400 speakers that lined the inner shell were meant to fill the space through the sound sparkles of \"Concret PH\" and achieve a joint emanation of architecture and music, conceived as a whole: the roughness of the concrete and its internal friction coefficient found an echo in the timbre of the sparkles.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOrient-Occident, 1960 (11'10)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe work was originally composed for a film by Enrico Fulchignoni for UNESCO. The film describes a visit to the museum suggesting to compare artefacts produced by various cultures and highlighting their interaction that dates back to the most ancient times.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eFrom an abstract point of view, the composer regards this\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cem\u003e work as a solution to the problem of finding highly diversified means of transition, meant to link a type of material to another. One indeed witnesses a varied gradation of mutations, interplays, overlaps, cross-fading, sudden shifts and hidden junction points.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eDiamorphoses, 1957-58 (7'00)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eContinuity and discontinuity within evolution, here are two aspects of the being, whether in opposition or in communion. In \"Diamorphoses\" this antithesis was worked on in the sections of some sounds strongly opposed to others, and particularly in organisations of continuous variations of average or \"statistical\" heights.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eBohor, 1962 (21'50)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eBohor (referring to Bors the Younger, Lancelot's cousin), is a character from the medieval cycle of King Arthur and the Knights of the Round Table. “Bohor” is dedicated to Pierre Schaeffer. The author deliberately abstained from giving and descriptive information on his piece, letting the listener choose an imaginary route for himself. For this release, we have chosen the 1968 version, revised by Iannis Xenakis himself and as yet not made available to the public.\u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Iannis Xenakis\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e\u003c\/p\u003e"}
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コンクレート音楽では最重要作家の一人Iannis Xenakisの1957-1962年楽曲の復刻盤です。現在のマスタリングを通して聴くと新たな発見があります。 レーベルその他作品はこちら /// Click here to see more Shelter Press / Recollection GRM / Ideologic Organ releases available at...
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{"id":7450459865338,"title":"Bernard Parmegiani \/\/ Violostries LP","handle":"bernard-parmegiani-violostries-lp","description":"\u003cp\u003eフランスの実験音楽家Bernard Parmegianiの再発レコードです。（オリジナルは1969年リリース）\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=606170898\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eSong by song information:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eViolostries (1963\/64), 16'39\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003ePremiered and recorded in April 1965 at the Royan Festival - France, by Devy Erlih (violin) \u0026amp; Bernard Parmegiani (sound projection).\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eViolostries represents the intersection of several musical research directions, presented as two simultaneous dialogues - composer\/performer and instrument\/orchestra.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eAfter a short introduction tutti very spatialized:\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e1. Pulsion\/Miroirs: multiplied by itself, the violin is projected into the four corners of the sound space.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e2. Jeu de cellules: concertante piece for violin and audio medium, the latter being made up of very tightly woven microsounds.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e3. Végétal: slow and invisible development following a continuous time, resulting from an internal and permanent processing of the matter.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eCapture éphémère (1967, 1988 version), 11'48\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThis work was composed in four tracks in 1967 for quadraphonic diffusion.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eRemixed in stereo in 1988.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003ePremiered at the Studio 105 of the Maison de la Radio, Paris\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cem\u003e, May 1967.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eSounds - noises that circulate as time unfolds - continue to exist despite our recording them.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eBreaths, fluttering wings: ephemeral microsonic sounds streaking space, sound scratches, landslides, bounces, vertigo of solid objects falling into an abyssal void, multiple snapshots forever frozen in their fall. As many symbols leave inside us the permanent trace of their ephemeral brushing against our ear.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eSome day, a desert, a sound, then never again....\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eSomewhere, in my head and body something still resonates... resonance, what could be more ephemeral.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLa Roue Ferris (1971), 10'45\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003ePremiered at the Festival des chantiers navals, Menton, on August 26, 1971.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eSound projection: Bernard Parmegiani.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eLa Roue Ferris (Ferris wheel) spins, merging with its own resonance, stubbornly perpetuating its variations. It only sketches a regularly evolving movement around a constant axis. Each of its towers generates thick sonic layers that penetrate each other, producing a very fluid interweaving. The crackling of the origin eventually metamorphoses into sonic threads whose lightness recalls high-altitude clouds, cirrus clouds, haunted by the cries of swifts twirling in the warm air. The wondrous arises and dies off, leaving us with an illusion of duration.\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Bernard Parmegiani\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e\u003c\/p\u003e","published_at":"2023-02-11T11:28:42+09:00","created_at":"2021-11-15T16:29:03+09:00","vendor":"Tobira Records","type":"","tags":["contemporary \/ sound poetry","lp","monooto","shelter press"],"price":348000,"price_min":348000,"price_max":348000,"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":42057984180474,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Bernard Parmegiani \/\/ Violostries LP","public_title":null,"options":["Default Title"],"price":348000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/lo1_7208ca89-556f-4cf6-9057-bee64e9cbac8.jpg?v=1636961344","\/\/tobirarecords.com\/cdn\/shop\/products\/lo2_a9c452e8-37f1-4bb2-a075-f1abfd80e71c.jpg?v=1636961344"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/lo1_7208ca89-556f-4cf6-9057-bee64e9cbac8.jpg?v=1636961344","options":["Title"],"media":[{"alt":null,"id":26931303186682,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/lo1_7208ca89-556f-4cf6-9057-bee64e9cbac8.jpg?v=1636961344"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/lo1_7208ca89-556f-4cf6-9057-bee64e9cbac8.jpg?v=1636961344","width":700},{"alt":null,"id":26931303219450,"position":2,"preview_image":{"aspect_ratio":1.33,"height":902,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/lo2_a9c452e8-37f1-4bb2-a075-f1abfd80e71c.jpg?v=1636961344"},"aspect_ratio":1.33,"height":902,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/lo2_a9c452e8-37f1-4bb2-a075-f1abfd80e71c.jpg?v=1636961344","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eフランスの実験音楽家Bernard Parmegianiの再発レコードです。（オリジナルは1969年リリース）\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=606170898\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eSong by song information:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eViolostries (1963\/64), 16'39\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003ePremiered and recorded in April 1965 at the Royan Festival - France, by Devy Erlih (violin) \u0026amp; Bernard Parmegiani (sound projection).\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eViolostries represents the intersection of several musical research directions, presented as two simultaneous dialogues - composer\/performer and instrument\/orchestra.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eAfter a short introduction tutti very spatialized:\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e1. Pulsion\/Miroirs: multiplied by itself, the violin is projected into the four corners of the sound space.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e2. Jeu de cellules: concertante piece for violin and audio medium, the latter being made up of very tightly woven microsounds.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e3. Végétal: slow and invisible development following a continuous time, resulting from an internal and permanent processing of the matter.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eCapture éphémère (1967, 1988 version), 11'48\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThis work was composed in four tracks in 1967 for quadraphonic diffusion.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eRemixed in stereo in 1988.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003ePremiered at the Studio 105 of the Maison de la Radio, Paris\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cem\u003e, May 1967.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eSounds - noises that circulate as time unfolds - continue to exist despite our recording them.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eBreaths, fluttering wings: ephemeral microsonic sounds streaking space, sound scratches, landslides, bounces, vertigo of solid objects falling into an abyssal void, multiple snapshots forever frozen in their fall. As many symbols leave inside us the permanent trace of their ephemeral brushing against our ear.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eSome day, a desert, a sound, then never again....\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eSomewhere, in my head and body something still resonates... resonance, what could be more ephemeral.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLa Roue Ferris (1971), 10'45\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003ePremiered at the Festival des chantiers navals, Menton, on August 26, 1971.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eSound projection: Bernard Parmegiani.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eLa Roue Ferris (Ferris wheel) spins, merging with its own resonance, stubbornly perpetuating its variations. It only sketches a regularly evolving movement around a constant axis. Each of its towers generates thick sonic layers that penetrate each other, producing a very fluid interweaving. The crackling of the origin eventually metamorphoses into sonic threads whose lightness recalls high-altitude clouds, cirrus clouds, haunted by the cries of swifts twirling in the warm air. The wondrous arises and dies off, leaving us with an illusion of duration.\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Bernard Parmegiani\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e\u003c\/p\u003e"}
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フランスの実験音楽家Bernard Parmegianiの再発レコードです。（オリジナルは1969年リリース） レーベルその他作品はこちら /// Click here to see more Shelter Press / Recollection GRM / Ideologic Organ releases available at...
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{"id":7450458521850,"title":"Michèle Bokanowski \/\/ Rhapsodia \/ Battements Solaires LP","handle":"michele-bokanowski-rhapsodia-battements-solaires-lp","description":"\u003cp\u003eフランスのドローン作家Michèle Bokanowskiが、2021年2月に同国Shelter Pressからリリースしたレコードです。深淵なドローン2曲を収録。DLコード付属。\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2376042738\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eText by François Bonnet, Paris, 2020:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"Michèle Bokanowski's art is one of densities, much like the density of a given colour, a given depth. Her sound textures are, indeed, profound, both in the space occupied by their frequencies and the sharp temporal trail they leave behind. Here lies the composer's immense talent that finds the right development for each sound, letting it blossom before altering it, adapting the musical structure to let the sounds “be”, even if it sometimes means returning to the most basic form, such as a loop. This is a sign of great honesty and artistic sensitivity; able to stand back and let the music become music. It is the most radical, the most accurate gesture of composition. The two pieces on this record, dissociated in time, both in their approach and destination, nevertheless reflect, each in its own way, Michèle Bokanowski's highly singular and insightful musical intuition.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e~\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrack information:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eRhapsodia (2018), 17'\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e(2 movements and 1 interlude)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eDedicated to Marceline Lartigue\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eCreated in the composer’s own studio\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eTechnical collaboration: Jonathan Prager\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBattements solaires (2008), 17’35\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMusic for Patrick Bokanowski’s film\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eProduced in the Kira BM Films studios\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eProduction: Kira BM Films with ARTE France and CNC contributions\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eBest Film Award, 2009 EXiS Festival Seoul (South Korea)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Michèle Bokanowski\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-11-30T16:18:15+09:00","created_at":"2021-11-15T16:26:39+09:00","vendor":"Tobira Records","type":"","tags":["drone","lp","shelter press"],"price":375000,"price_min":375000,"price_max":375000,"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":42057982542074,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Michèle Bokanowski \/\/ Rhapsodia \/ Battements Solaires LP","public_title":null,"options":["Default Title"],"price":375000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ba1_f3755f44-336a-4d0c-8021-dd76cf31554b.jpg?v=1636961201","\/\/tobirarecords.com\/cdn\/shop\/products\/ba2_7514bcf9-a9a7-48f0-b9bc-3a510d9e7572.jpg?v=1636961201"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ba1_f3755f44-336a-4d0c-8021-dd76cf31554b.jpg?v=1636961201","options":["Title"],"media":[{"alt":null,"id":26931290505466,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ba1_f3755f44-336a-4d0c-8021-dd76cf31554b.jpg?v=1636961201"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ba1_f3755f44-336a-4d0c-8021-dd76cf31554b.jpg?v=1636961201","width":700},{"alt":null,"id":26931290538234,"position":2,"preview_image":{"aspect_ratio":1.33,"height":902,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ba2_7514bcf9-a9a7-48f0-b9bc-3a510d9e7572.jpg?v=1636961201"},"aspect_ratio":1.33,"height":902,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ba2_7514bcf9-a9a7-48f0-b9bc-3a510d9e7572.jpg?v=1636961201","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eフランスのドローン作家Michèle Bokanowskiが、2021年2月に同国Shelter Pressからリリースしたレコードです。深淵なドローン2曲を収録。DLコード付属。\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2376042738\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eText by François Bonnet, Paris, 2020:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"Michèle Bokanowski's art is one of densities, much like the density of a given colour, a given depth. Her sound textures are, indeed, profound, both in the space occupied by their frequencies and the sharp temporal trail they leave behind. Here lies the composer's immense talent that finds the right development for each sound, letting it blossom before altering it, adapting the musical structure to let the sounds “be”, even if it sometimes means returning to the most basic form, such as a loop. This is a sign of great honesty and artistic sensitivity; able to stand back and let the music become music. It is the most radical, the most accurate gesture of composition. The two pieces on this record, dissociated in time, both in their approach and destination, nevertheless reflect, each in its own way, Michèle Bokanowski's highly singular and insightful musical intuition.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e~\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrack information:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eRhapsodia (2018), 17'\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e(2 movements and 1 interlude)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eDedicated to Marceline Lartigue\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eCreated in the composer’s own studio\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eTechnical collaboration: Jonathan Prager\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBattements solaires (2008), 17’35\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMusic for Patrick Bokanowski’s film\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eProduced in the Kira BM Films studios\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eProduction: Kira BM Films with ARTE France and CNC contributions\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eBest Film Award, 2009 EXiS Festival Seoul (South Korea)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Michèle Bokanowski\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e\u003c\/p\u003e"}
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フランスのドローン作家Michèle Bokanowskiが、2021年2月に同国Shelter Pressからリリースしたレコードです。深淵なドローン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 Shelter Press / Recollection GRM / Ideologic Organ releases available...
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{"id":7450454196474,"title":"Ben Vida \/\/ Damaged Particulates LP","handle":"ben-vida-damaged-particulates-lp","description":"\u003cp\u003eアメリカ・NYのモジュラー奏者Ben Vidaが、2016年にフランスの実験レーベルShelter Pressからリリースしたレコード。\u003c\/p\u003e\n\u003cp\u003eコラージュ・ドローンスケープ2曲、約40分を収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1621723332\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eFirst edition of 500.\u003c\/p\u003e\n\u003cp\u003eText by Shelter Press:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eBen Vida’s Damaged Particulates LP represents the conclusion of one body of work, Damaged Particulates, and the beginnings of a new long form project titled Reducing the Tempo to Zero.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe version of Damaged Particulates (2012-2016) included in this LP is the final iteration of a piece that Vida has been developing for close to four years. It first materialized as a number of individual synthesizer studies under the title Damaged Parts. These studies became the source material for an early version of DPs, taking shape as a commissioned work for the Unsound Festival. For the commission the piece coalesced as a single, through-composed live sound installation that utilized tactile subbass speakers which interfaced directly with the audiences bodies. In this form Damaged Particulates was presented at festivals, galleries and museums including versions at Experimental Intermedia, New York, Cricoteka Museum, Kraków, Poland and Leap Gallery, Berlin. It has since been presented in live performance at Museo d’Arte Moderna di Bologna, Bologna and Electrónica en Abril, Madrid and as a multichannel defusion at the Akousma Festival, Montreal.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eReducing the Tempo to Zero (2016 – ???) is the first recorded dispatch of Vida’s new long form composition\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e. This excerpt demonstrates a short instrumental passage taken from a work that, in its full duration, clocks in at close to five hours. Live performances featuring a four member vocal ensemble have been presented at Lampo, Chicago and at The Kitchen, NYC. This mutable composition will be reconfigured once again in late 2016, this time scored for choir and electronics, to be staged in Italy and Belgium.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eReducing the Tempo to Zero represents Vida’s return to the durational drone based forms that he first experimented with in the mid-90’s with his group Town and Country. In performance, RtTtZ continues his exploration of phonetic based text scores. This method of scoring was used in his project Slipping Control which debuted at Audio Visual Arts Gallery, NYC (the vinyl version is available as an LP from Shelter Press), and creates a continuous thread between his work as a composer and his developing career as an artist. In recent solo shows at 356 S Mission Rd, Los Angeles and Lisa Cooley Gallery, NYC Vida has expanded his compositional process into a number of mediums, acting to blur any delineation between disciplines and practices.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Ben Vida\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press \u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-11-17T07:27:20+09:00","created_at":"2021-11-15T16:21:25+09:00","vendor":"Tobira Records","type":"","tags":["drone","lp","monooto","shelter press"],"price":318000,"price_min":318000,"price_max":318000,"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":42057964650746,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Ben Vida \/\/ Damaged Particulates LP","public_title":null,"options":["Default Title"],"price":318000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/da1_1ae5e011-78f7-4277-9850-95c13297591f.jpg?v=1636960887","\/\/tobirarecords.com\/cdn\/shop\/products\/da2_6fd46a55-b083-41fc-bdf2-482b66321bf6.jpg?v=1636960887"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/da1_1ae5e011-78f7-4277-9850-95c13297591f.jpg?v=1636960887","options":["Title"],"media":[{"alt":null,"id":26931261505786,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/da1_1ae5e011-78f7-4277-9850-95c13297591f.jpg?v=1636960887"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/da1_1ae5e011-78f7-4277-9850-95c13297591f.jpg?v=1636960887","width":700},{"alt":null,"id":26931261538554,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/da2_6fd46a55-b083-41fc-bdf2-482b66321bf6.jpg?v=1636960887"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/da2_6fd46a55-b083-41fc-bdf2-482b66321bf6.jpg?v=1636960887","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカ・NYのモジュラー奏者Ben Vidaが、2016年にフランスの実験レーベルShelter Pressからリリースしたレコード。\u003c\/p\u003e\n\u003cp\u003eコラージュ・ドローンスケープ2曲、約40分を収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1621723332\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eFirst edition of 500.\u003c\/p\u003e\n\u003cp\u003eText by Shelter Press:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eBen Vida’s Damaged Particulates LP represents the conclusion of one body of work, Damaged Particulates, and the beginnings of a new long form project titled Reducing the Tempo to Zero.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe version of Damaged Particulates (2012-2016) included in this LP is the final iteration of a piece that Vida has been developing for close to four years. It first materialized as a number of individual synthesizer studies under the title Damaged Parts. These studies became the source material for an early version of DPs, taking shape as a commissioned work for the Unsound Festival. For the commission the piece coalesced as a single, through-composed live sound installation that utilized tactile subbass speakers which interfaced directly with the audiences bodies. In this form Damaged Particulates was presented at festivals, galleries and museums including versions at Experimental Intermedia, New York, Cricoteka Museum, Kraków, Poland and Leap Gallery, Berlin. It has since been presented in live performance at Museo d’Arte Moderna di Bologna, Bologna and Electrónica en Abril, Madrid and as a multichannel defusion at the Akousma Festival, Montreal.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eReducing the Tempo to Zero (2016 – ???) is the first recorded dispatch of Vida’s new long form composition\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e. This excerpt demonstrates a short instrumental passage taken from a work that, in its full duration, clocks in at close to five hours. Live performances featuring a four member vocal ensemble have been presented at Lampo, Chicago and at The Kitchen, NYC. This mutable composition will be reconfigured once again in late 2016, this time scored for choir and electronics, to be staged in Italy and Belgium.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eReducing the Tempo to Zero represents Vida’s return to the durational drone based forms that he first experimented with in the mid-90’s with his group Town and Country. In performance, RtTtZ continues his exploration of phonetic based text scores. This method of scoring was used in his project Slipping Control which debuted at Audio Visual Arts Gallery, NYC (the vinyl version is available as an LP from Shelter Press), and creates a continuous thread between his work as a composer and his developing career as an artist. In recent solo shows at 356 S Mission Rd, Los Angeles and Lisa Cooley Gallery, NYC Vida has expanded his compositional process into a number of mediums, acting to blur any delineation between disciplines and practices.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Ben Vida\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press \u003c\/span\u003e\u003c\/p\u003e"}
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アメリカ・NYのモジュラー奏者Ben Vidaが、2016年にフランスの実験レーベルShelter Pressからリリースしたレコード。 コラージュ・ドローンスケープ2曲、約40分を収録。 レーベルその他作品はこちら /// Click here to see more Shelter Press / Recollection GRM / Ideologic Organ releases...
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{"id":7450451673338,"title":"Felicia Atkinson \u0026 Jefre Cantu-Ledesma \/\/ Limpid As The Solitudes LP","handle":"felicia-atkinson-jefre-cantu-ledesma-limpid-as-the-solitudes-lp","description":"\u003cp\u003eフランスの音響作家Felicia Atkinsonとアメリカの音響レーベルRoot Strata主宰Jefre Cantu-Ledesmaが、2018年にリリースした共作レコードです。\u003c\/p\u003e\n\u003cp\u003eピアノやギター、フィールドレコーディング、パルスなど様々な音色が現れては消えていくドリーミーなコラージュ・アンビエント4曲を収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2814837903\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eRepress. \u003c\/p\u003e\n\u003cp\u003eText by \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"When is one plus one not two? When two paths converge and a new one appears. But what is this newly activated neural pathway? A Third Mind? In the 1960s, multimedia artist Brion Gysin cut through the words of a newspaper and rearranged them to reveal a new kind of truth contained within the words but not freed until his knife cut it loose. He described this as part of the Third Mind. Likewise, «Limpid As The Solitudes» cuts through sound-making techniques to enter a new zone of sonic revelations.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eIf you had to look for musical precedents, you might say the record recalls the turn-of-the-century Mille Plateaux glitch era, the warmth of La Monte Young’s raga-inspired microtonal electronic «dream house» drones, a sense of adventure evident in the acousmatic non-space recordings made by GRM artists in the 1960s\/ 1970s, 4AD’s floor gazing guitar sound circa Cocteau Twins peak, and blissfully diverse field recordings. But you could equally equate it with entirely different recording sources. «Limpid As The Solitudes» has a widescreen sound that is both familiar and unfamiliar. Warm, comforting and also unsettling in unpredictable ways. Deliberate yet exploratory. It’s a record composed of opposites and contrasts. Following historical guidelines yet also throwing them out of the window. It’s hard\u003cspan class=\"bcTruncateMore\"\u003e to tell if the process of creating it was more akin to abstract painting but it might possibly be easier to understand if it was a large museum painting (to steal a thought from David Stubbs). To describe the album as ambient would indicate a much too passive engagement with the sound – leave it to play in the background and you’ll miss a lot of the joy.\u003cbr\u003eFelicia Atkinson and Jefre Cantu-Ledesma describe the record as a series of postcards - «things and sounds that happen vertically as a slow ascension, vessels communicating in dreams.» In this collaborative recording, there is a feeling of «becoming» - things metamorphose - a concrete sound turns into a electronic sound that turns into a spiral-like melody which then furls \/ unfurls at the same time.\u003cbr\u003eThe title of the album - «Limpid As The Solitudes» - as well as track titles, are all verses stolen from Sylvia Plath’s poems – Atkinson notes «like dropped pearls from a lost collar.» Trying further to capture the records poetic impulses she notes it’s reflects «Empathy to objects and nature’s elements, meteorological states, seasons that answer to your heart, granular etchings carved and sustained to create a blurred sentimental landscape.» But notes with a sharpness that «the finale is more optimistic than Plath’s poetry. Love and lyricism win, the music soaring from deep water to interstellar galaxies.»\u003cbr\u003eIf you look at the cover, you’ll find another key clue - you’ll see an image created by photographer Julien Carreyn of a young women wearing destroyed jeans, playing with bubble wrap. The image is intended to give the viewer an eerie 1990’s feeling that echoes the recording. They note - «think films such as by «Trust» (Hal Hartley, 1990) or «Chuncking Express» (Wong Kar Wai, 1994).» They add «it’s the «ultra modern solitude» of characters lost in an early-digital urban vacuum, looking for a more time to wonder, a soul mate or just some compassion in the grey sky.»\u003cbr\u003eAmong the many other references for this album is how Google Maps have created new digital perceptions of space, Gilles Deleuze’s examination of Alice In Wonderland, Andre Bretons poems and more films including the classics «Sacrifice» (Tarkovsky), «Passenger» (Antonioni) and «Last Year In Marienbad» (Resnais). To dig into the more of the ideas and sources behind this record you’ll simply have to talk to the duo. We simply cannot give you the full depth here.\u003cbr\u003eBe sure to come back to this record more than once - it’s then that it’s power will work - you’ll recall the sound of a lover, a garden you once walked through, an echo of a record you once loved. To be appreciated, «Limpid As The Solitudes» requires you to immerse yourself as if in a hot spring, letting the sounds float over you and alter your perceptions and memories.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Felicia Atkinson \u0026amp; Jefre Cantu-Ledesma\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-11-17T17:15:58+09:00","created_at":"2021-11-15T16:19:28+09:00","vendor":"Tobira Records","type":"","tags":["ambient","lp","monooto","shelter press"],"price":315000,"price_min":315000,"price_max":315000,"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":42057960521978,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Felicia Atkinson \u0026 Jefre Cantu-Ledesma \/\/ Limpid As The Solitudes LP","public_title":null,"options":["Default Title"],"price":315000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/li1_acf921e6-59ee-499d-8e83-674e0e558503.jpg?v=1636960770","\/\/tobirarecords.com\/cdn\/shop\/products\/li2_1bb446b8-a049-4f87-a095-e729ae0f25bd.jpg?v=1636960770"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/li1_acf921e6-59ee-499d-8e83-674e0e558503.jpg?v=1636960770","options":["Title"],"media":[{"alt":null,"id":26931252789498,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/li1_acf921e6-59ee-499d-8e83-674e0e558503.jpg?v=1636960770"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/li1_acf921e6-59ee-499d-8e83-674e0e558503.jpg?v=1636960770","width":700},{"alt":null,"id":26931252822266,"position":2,"preview_image":{"aspect_ratio":1.33,"height":902,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/li2_1bb446b8-a049-4f87-a095-e729ae0f25bd.jpg?v=1636960770"},"aspect_ratio":1.33,"height":902,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/li2_1bb446b8-a049-4f87-a095-e729ae0f25bd.jpg?v=1636960770","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eフランスの音響作家Felicia Atkinsonとアメリカの音響レーベルRoot Strata主宰Jefre Cantu-Ledesmaが、2018年にリリースした共作レコードです。\u003c\/p\u003e\n\u003cp\u003eピアノやギター、フィールドレコーディング、パルスなど様々な音色が現れては消えていくドリーミーなコラージュ・アンビエント4曲を収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2814837903\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eRepress. \u003c\/p\u003e\n\u003cp\u003eText by \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"When is one plus one not two? When two paths converge and a new one appears. But what is this newly activated neural pathway? A Third Mind? In the 1960s, multimedia artist Brion Gysin cut through the words of a newspaper and rearranged them to reveal a new kind of truth contained within the words but not freed until his knife cut it loose. He described this as part of the Third Mind. Likewise, «Limpid As The Solitudes» cuts through sound-making techniques to enter a new zone of sonic revelations.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eIf you had to look for musical precedents, you might say the record recalls the turn-of-the-century Mille Plateaux glitch era, the warmth of La Monte Young’s raga-inspired microtonal electronic «dream house» drones, a sense of adventure evident in the acousmatic non-space recordings made by GRM artists in the 1960s\/ 1970s, 4AD’s floor gazing guitar sound circa Cocteau Twins peak, and blissfully diverse field recordings. But you could equally equate it with entirely different recording sources. «Limpid As The Solitudes» has a widescreen sound that is both familiar and unfamiliar. Warm, comforting and also unsettling in unpredictable ways. Deliberate yet exploratory. It’s a record composed of opposites and contrasts. Following historical guidelines yet also throwing them out of the window. It’s hard\u003cspan class=\"bcTruncateMore\"\u003e to tell if the process of creating it was more akin to abstract painting but it might possibly be easier to understand if it was a large museum painting (to steal a thought from David Stubbs). To describe the album as ambient would indicate a much too passive engagement with the sound – leave it to play in the background and you’ll miss a lot of the joy.\u003cbr\u003eFelicia Atkinson and Jefre Cantu-Ledesma describe the record as a series of postcards - «things and sounds that happen vertically as a slow ascension, vessels communicating in dreams.» In this collaborative recording, there is a feeling of «becoming» - things metamorphose - a concrete sound turns into a electronic sound that turns into a spiral-like melody which then furls \/ unfurls at the same time.\u003cbr\u003eThe title of the album - «Limpid As The Solitudes» - as well as track titles, are all verses stolen from Sylvia Plath’s poems – Atkinson notes «like dropped pearls from a lost collar.» Trying further to capture the records poetic impulses she notes it’s reflects «Empathy to objects and nature’s elements, meteorological states, seasons that answer to your heart, granular etchings carved and sustained to create a blurred sentimental landscape.» But notes with a sharpness that «the finale is more optimistic than Plath’s poetry. Love and lyricism win, the music soaring from deep water to interstellar galaxies.»\u003cbr\u003eIf you look at the cover, you’ll find another key clue - you’ll see an image created by photographer Julien Carreyn of a young women wearing destroyed jeans, playing with bubble wrap. The image is intended to give the viewer an eerie 1990’s feeling that echoes the recording. They note - «think films such as by «Trust» (Hal Hartley, 1990) or «Chuncking Express» (Wong Kar Wai, 1994).» They add «it’s the «ultra modern solitude» of characters lost in an early-digital urban vacuum, looking for a more time to wonder, a soul mate or just some compassion in the grey sky.»\u003cbr\u003eAmong the many other references for this album is how Google Maps have created new digital perceptions of space, Gilles Deleuze’s examination of Alice In Wonderland, Andre Bretons poems and more films including the classics «Sacrifice» (Tarkovsky), «Passenger» (Antonioni) and «Last Year In Marienbad» (Resnais). To dig into the more of the ideas and sources behind this record you’ll simply have to talk to the duo. We simply cannot give you the full depth here.\u003cbr\u003eBe sure to come back to this record more than once - it’s then that it’s power will work - you’ll recall the sound of a lover, a garden you once walked through, an echo of a record you once loved. To be appreciated, «Limpid As The Solitudes» requires you to immerse yourself as if in a hot spring, letting the sounds float over you and alter your perceptions and memories.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Felicia Atkinson \u0026amp; Jefre Cantu-Ledesma\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press\u003c\/span\u003e\u003c\/p\u003e"}
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フランスの音響作家Felicia Atkinsonとアメリカの音響レーベルRoot Strata主宰Jefre Cantu-Ledesmaが、2018年にリリースした共作レコードです。 ピアノやギター、フィールドレコーディング、パルスなど様々な音色が現れては消えていくドリーミーなコラージュ・アンビエント4曲を収録。 レーベルその他作品はこちら /// Click here to see more Shelter Press / Recollection GRM / Ideologic...
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{"id":7450448429306,"title":"Felicia Atkinson \/\/ The Flower And The Vessel 2xLP","handle":"felicia-atkinson-the-flower-and-the-vessel-2xlp","description":"\u003cp\u003eフランスの音響作家Felicia Atkinsonが、2019年に自身主宰レーベルShelter Pressからリリースした2枚組レコードです。\u003c\/p\u003e\n\u003cp\u003eピアノやギター、フィールドレコーディング、パルスなど様々な音色が現れては消えていくドリーミーなコラージュ・アンビエント11曲を収録。\u003c\/p\u003e\n\u003cp\u003eRashad Beckerがマスタリングを担当しています。\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2666955148\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 1200.\u003c\/p\u003e\n\u003cp\u003eText by Shelter Press:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eFrench poet and ASMR auteur Félicia Atkinson has frequently fixated on the elusive interwoven relationship between microcosms and macrocosms – how even the quietest creative act ripples outward in unforeseen ways, a whisper with no fixed meaning. Her latest work pursues this notion in a more literal and lasting fashion, as it was crafted while pregnant on tour, in impersonal hotel rooms in foreign cities. She describes it as “a record not about being pregnant but a record made with pregnancy.” Each day and night, finding herself far from home, she asked herself “What am I doing here? How can I connect myself to the world?” The answer gradually revealed itself: “With small gestures: recording my voice, recording birds, a simple melody.”\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e\u2028\u2028In truth there is nothing simple about The Flower \u0026amp; The Vessel. The album’s 11 songs span a vast pantheon of whispering textures, opaque moods, and surreal spoken word, leading the listener through a mirrored hall of beguiling mirages. Atkinson cites a trio of French classical compositions from her childhood as formative influences on this particular collection: Maurice Ravel’s “L'enfant et les sortilèges” (“a scary opera for kids”), Debussy’s “La Mer” (for its union of narration and music) and Erik Satie’s “Gymnopédies”\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e (as an exercise in negative space, irony without cynicism, and “melody with doubt”). There’s certainly a shade of classicism woven within these tracks, however veiled, abstracted, or unorthodox. Melancholic piano motifs repeat then retreat into a radiant frost of shivering frequencies; processed voices recite cut-up poems and interviews over delay-refracted Rhodes and Wurlitzer; iPad gamelan patterns flutter from meditative to melancholic and back again, offset by pointillist patches of delicate software synesthesia.\u2028\u2028\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAlthough much of Atkinson’s past discography is shaped by speech and the lyricism of language, The Flower \u0026amp; The Vessel ventures farther into silence, absence, and voiceless wilderness. Among her sources of inspiration were “women who wonder, dream, and create vacant spaces in their art,” as well as Ikebana flower arrangements, which reflect her own relationship with listening: “structure combined with everyday noises, selecting them to make a sparse music bouquet.” Field recordings from Tasmania and the Mojave Desert murmur beneath hushed reverberations of gong, vibraphone, marimba, softly processed into an elegant emptiness, alternately eerie and serene.\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eHer mode of minimalism has long been one of reduction, riddles, and curation, but here Atkinson’s synergy feels close to apotheosis, emotive but ambivalent, a ceremony of expectation and invisible forces. The 19-minute closing collaboration with SUNN O))) guitarist Stephen O’Malley, “Des Pierres,” is one of the album’s few pieces tracked in a proper studio (Music Unit in Montreuil, France) but it broods and burns with the same subliminal majesty as the rest of The Flower \u0026amp; The Vessel: an ember in amber, seeds planted in shifting sands. Atkinson’s voice flickers like a flame, framed by slabs of shadowy feedback. Her process may be personal is but its impact ripples to the edges of existence: “How does the act of creation connect us, not only to history, but to the cosmic? It’s a process of taking, and then giving back. It makes us belong to the world.”\u003c\/span\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e~~~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eAll the music, mixing and production are by Félicia Atkinson. Some parts of Moderato Cantabile have been recorded live at Issue Project Room in New York on March 31, 2018. Open\/Ouvre and Joan have been recorded at Type Foundry Studio by Adam Selzer in Portland in April 2018. Des Pierres has been recorded at MusicUnit in Montreuil on April 25, 2018 by Martin Antiphon and has been produced by Stephen O’Malley, who also plays the guitar on this song. The mastering is by Rashad Becker. The photographs by Julien Carreyn with assistance of Naomi Tamamura, and the design by Bartolomé Sanson. Some lyrics on this album have been inspired by an interview of Shirley Jaffe by Shirley Kaneda, the poem Turning by David Antin, an interview of St. EOM by Tom Patterson, and the book La lecture des pierres by Roger Caillois.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Félicia Atkinson\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-11-17T17:23:18+09:00","created_at":"2021-11-15T16:15:49+09:00","vendor":"Tobira Records","type":"","tags":["ambient","lp","monooto","shelter press"],"price":348000,"price_min":348000,"price_max":348000,"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":42057952231674,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Felicia Atkinson \/\/ The Flower And The Vessel 2xLP","public_title":null,"options":["Default Title"],"price":348000,"weight":530,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ve1_3ec273cd-44ba-48af-8ab0-1789ebdd72f8.jpg?v=1636960551","\/\/tobirarecords.com\/cdn\/shop\/products\/ve2_a455dc87-8d80-4fa4-97d5-6c7093d4ca8f.jpg?v=1636960551"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ve1_3ec273cd-44ba-48af-8ab0-1789ebdd72f8.jpg?v=1636960551","options":["Title"],"media":[{"alt":null,"id":26931235553530,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ve1_3ec273cd-44ba-48af-8ab0-1789ebdd72f8.jpg?v=1636960551"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ve1_3ec273cd-44ba-48af-8ab0-1789ebdd72f8.jpg?v=1636960551","width":700},{"alt":null,"id":26931235586298,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ve2_a455dc87-8d80-4fa4-97d5-6c7093d4ca8f.jpg?v=1636960551"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ve2_a455dc87-8d80-4fa4-97d5-6c7093d4ca8f.jpg?v=1636960551","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eフランスの音響作家Felicia Atkinsonが、2019年に自身主宰レーベルShelter Pressからリリースした2枚組レコードです。\u003c\/p\u003e\n\u003cp\u003eピアノやギター、フィールドレコーディング、パルスなど様々な音色が現れては消えていくドリーミーなコラージュ・アンビエント11曲を収録。\u003c\/p\u003e\n\u003cp\u003eRashad Beckerがマスタリングを担当しています。\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2666955148\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 1200.\u003c\/p\u003e\n\u003cp\u003eText by Shelter Press:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eFrench poet and ASMR auteur Félicia Atkinson has frequently fixated on the elusive interwoven relationship between microcosms and macrocosms – how even the quietest creative act ripples outward in unforeseen ways, a whisper with no fixed meaning. Her latest work pursues this notion in a more literal and lasting fashion, as it was crafted while pregnant on tour, in impersonal hotel rooms in foreign cities. She describes it as “a record not about being pregnant but a record made with pregnancy.” Each day and night, finding herself far from home, she asked herself “What am I doing here? How can I connect myself to the world?” The answer gradually revealed itself: “With small gestures: recording my voice, recording birds, a simple melody.”\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e\u2028\u2028In truth there is nothing simple about The Flower \u0026amp; The Vessel. The album’s 11 songs span a vast pantheon of whispering textures, opaque moods, and surreal spoken word, leading the listener through a mirrored hall of beguiling mirages. Atkinson cites a trio of French classical compositions from her childhood as formative influences on this particular collection: Maurice Ravel’s “L'enfant et les sortilèges” (“a scary opera for kids”), Debussy’s “La Mer” (for its union of narration and music) and Erik Satie’s “Gymnopédies”\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e (as an exercise in negative space, irony without cynicism, and “melody with doubt”). There’s certainly a shade of classicism woven within these tracks, however veiled, abstracted, or unorthodox. Melancholic piano motifs repeat then retreat into a radiant frost of shivering frequencies; processed voices recite cut-up poems and interviews over delay-refracted Rhodes and Wurlitzer; iPad gamelan patterns flutter from meditative to melancholic and back again, offset by pointillist patches of delicate software synesthesia.\u2028\u2028\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAlthough much of Atkinson’s past discography is shaped by speech and the lyricism of language, The Flower \u0026amp; The Vessel ventures farther into silence, absence, and voiceless wilderness. Among her sources of inspiration were “women who wonder, dream, and create vacant spaces in their art,” as well as Ikebana flower arrangements, which reflect her own relationship with listening: “structure combined with everyday noises, selecting them to make a sparse music bouquet.” Field recordings from Tasmania and the Mojave Desert murmur beneath hushed reverberations of gong, vibraphone, marimba, softly processed into an elegant emptiness, alternately eerie and serene.\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eHer mode of minimalism has long been one of reduction, riddles, and curation, but here Atkinson’s synergy feels close to apotheosis, emotive but ambivalent, a ceremony of expectation and invisible forces. The 19-minute closing collaboration with SUNN O))) guitarist Stephen O’Malley, “Des Pierres,” is one of the album’s few pieces tracked in a proper studio (Music Unit in Montreuil, France) but it broods and burns with the same subliminal majesty as the rest of The Flower \u0026amp; The Vessel: an ember in amber, seeds planted in shifting sands. Atkinson’s voice flickers like a flame, framed by slabs of shadowy feedback. Her process may be personal is but its impact ripples to the edges of existence: “How does the act of creation connect us, not only to history, but to the cosmic? It’s a process of taking, and then giving back. It makes us belong to the world.”\u003c\/span\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e~~~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eAll the music, mixing and production are by Félicia Atkinson. Some parts of Moderato Cantabile have been recorded live at Issue Project Room in New York on March 31, 2018. Open\/Ouvre and Joan have been recorded at Type Foundry Studio by Adam Selzer in Portland in April 2018. Des Pierres has been recorded at MusicUnit in Montreuil on April 25, 2018 by Martin Antiphon and has been produced by Stephen O’Malley, who also plays the guitar on this song. The mastering is by Rashad Becker. The photographs by Julien Carreyn with assistance of Naomi Tamamura, and the design by Bartolomé Sanson. Some lyrics on this album have been inspired by an interview of Shirley Jaffe by Shirley Kaneda, the poem Turning by David Antin, an interview of St. EOM by Tom Patterson, and the book La lecture des pierres by Roger Caillois.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Félicia Atkinson\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press\u003c\/span\u003e\u003c\/p\u003e"}
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フランスの音響作家Felicia Atkinsonが、2019年に自身主宰レーベルShelter Pressからリリースした2枚組レコードです。 ピアノやギター、フィールドレコーディング、パルスなど様々な音色が現れては消えていくドリーミーなコラージュ・アンビエント11曲を収録。 Rashad Beckerがマスタリングを担当しています。 レーベルその他作品はこちら /// Click here to see more Shelter Press / Recollection GRM /...
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{"id":7450437517562,"title":"Kassel Jaeger \/\/ Swamps \/ Things 2xLP","handle":"kassel-jaeger-swamps-things-2xlp","description":"\u003cp\u003e過去にEditions MegoやSenufo Editionsなどから多数発表しているフランスの実験音楽家Kassel Jaegerが、2020年にフランス・パリの実験レーベルShelter Pressからリリースした2枚組レコード。淡いアンビエントドローン〜立体的なドローン10曲を収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=958500317\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ePrinted inner and outersleeves with artwork by Cameron Jamie\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eText by Shelter Press:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003e\u003cspan class=\"bcTruncateMore\"\u003e\"Over the last decade, Kassel Jaeger, the moniker of the Paris-based composer, writer \/ theorist, producer, and director of the Groupe de Recherches Musicales (GRM), François Bonnet, has meticulously sculpted a body of multidisciplinary work that rests at the forefront contemporary electronic and electroacoustic practice. On July 10th he will release his new album ‘Swamp \/ Things’ on Shelter-Press.\u003cbr\u003e\u003cbr\u003eRigorously experimental without sacrificing the intimacies of self, his efforts as a composer and musician extend across live contexts and numerous critically heralded solo releases, as well as collaborations with Jim O’Rourke and Lucy Railton, both contributing to the record, alongside Stephen O’Malley, Stephan Mathieu, Akira Rabelais, Oren Ambarchi, and James Rushford, and others.\u003cbr\u003e\u003cbr\u003eDeeply invested in the potential of sound as an elemental form - a root phenomenon with a profound capacity for meaning, as much as a multidimensional material for creative process and ideas – Jaeger’s work across numerous fields, be it in text, action, or sound presents a crucial bridge between the optimistic, philosophical origins of electronic and electroacoustic music, the present and where they have yet to delve.\u003cbr\u003e\u003cbr\u003eSound is abstract. When the source is elusive, narrative and meaning shift between the concrete and obscure. With his first solo LP with Shelter Press, Swamps\/Things, Kassel Jaeger wades into this foggy, conceptual realm. From memory and metaphor - sliding fluidly through the imagistic and emotive - emerges an immersive, cavernous world that rethinks electroacoustic music on organic terms.\u003cbr\u003e\u003cbr\u003e‘Swamps \/ Things’ was conceived as an opera without distinct characters or text. It draws Kassel Jaeger into his own history, experiences, and the unlikely double of the swamp, a landscape that has held literal and metaphorical sway over him since childhood. Merging 8 works as a total environment, abstaining from distinct shape or discrete articulation, across the album's breadth, sound becomes a shifting mirror for the bubbling, ordered chaos of organic life.\u003cbr\u003e\u003cbr\u003eResting at the junction of concept, emotion, and phenomena - tapping the multidimensional potential for narrative and meaning possessed by each - Swamps \/ Things encounters an artist of remarkable craft, delving toward the unknown, deploying organized sonority as object and environment, as much as action, movement, passage, and arc. Seemingly possessed by an entropy entirely its own, the temporal gives way to the poetics of space, while the density of an endlessly evolving climate, laden with cacophonous happenings, renders itself still. Flickering images of the natural world - memory and the imagined reformed as sound - present an operatic double for human action and thought. From deep, fog like banks of minimalist long tone, to industrial clamors left as tracks in the mud, or the collisions of shifting pulses, overtones, and textures - captured from across the murky, drone laden waters between the acoustic and synthetic realms - moody, howling cries and tense meditations merge in ambient sheets, capturing a fleeting image of where decomposition gives way to new growth.\u003cbr\u003e\u003cbr\u003eA remarkably intimate and forward-thinking aural balm, bristling with complex beauty, Shelter press is overjoyed to present Kassel Jaeger’s Swamps \/ Things. Two immersive, intoxicating sides overflowing with humanity and ideas.\u003c\/span\u003e \"\u003c\/em\u003e\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\"\u003eArtist statement by Francois Bonnet (Kassel Jaeger):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\"\u003cem\u003eAs a child, almost every Sunday, I was wandering in the countryside, and usually, I was finding myself in my favorite spot: a swamp. Air was different. Trees were dead, but not really dead. Soil was swaying of clear water, and an everlasting mist was suspended all over the place. No one was there and nothing could happen even if some animal tracks were here to prove me I was wrong. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMuch later, one of my masters made always this joke about my music. He said I was composing swamps, I guess because of the lack of demonstrative musical shapes and articulations. At the same time, he was acknowledging that I was building a “climate”.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eIt took me then almost 30 years to understand why I was so fond of swamps. It’s because a swamp is an intermediary space of the organic becoming and the blurry space suspending the cycle of the utilities, which is the cycle of history. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSwamps \/ Things has been conceived as an opera. An opera without characters, without text, but not without story. The story, here, is only an arc. Because what is an opera, if not an arc? And the arc, here, is the simplest. It’s walking through the swamp. Approaching it, leaching into it, becoming it. The Swamp is us. Our own disappearance, populated by all the beasts we have turned into, by\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e the places we have haunted, and by the time we have consumed. We are traces in an always intermediate state. Animals tracks in the sodden earth of the Swamp\u003c\/em\u003e.\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Kassel Jaeger\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-11-18T01:46:34+09:00","created_at":"2021-11-15T16:01:02+09:00","vendor":"Tobira Records","type":"","tags":["ambient","drone","lp","shelter press"],"price":388000,"price_min":388000,"price_max":388000,"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":42057916481786,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Kassel Jaeger \/\/ Swamps \/ Things 2xLP","public_title":null,"options":["Default Title"],"price":388000,"weight":530,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ka1_c2d3f186-a97e-4b35-b358-df28e22379a3.jpg?v=1636959664","\/\/tobirarecords.com\/cdn\/shop\/products\/ka2_a36288dc-658e-4990-82fd-9f9bb85aa860.jpg?v=1636959665"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ka1_c2d3f186-a97e-4b35-b358-df28e22379a3.jpg?v=1636959664","options":["Title"],"media":[{"alt":null,"id":26931165921530,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ka1_c2d3f186-a97e-4b35-b358-df28e22379a3.jpg?v=1636959664"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ka1_c2d3f186-a97e-4b35-b358-df28e22379a3.jpg?v=1636959664","width":700},{"alt":null,"id":26931165954298,"position":2,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ka2_a36288dc-658e-4990-82fd-9f9bb85aa860.jpg?v=1636959665"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ka2_a36288dc-658e-4990-82fd-9f9bb85aa860.jpg?v=1636959665","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e過去にEditions MegoやSenufo Editionsなどから多数発表しているフランスの実験音楽家Kassel Jaegerが、2020年にフランス・パリの実験レーベルShelter Pressからリリースした2枚組レコード。淡いアンビエントドローン〜立体的なドローン10曲を収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=958500317\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ePrinted inner and outersleeves with artwork by Cameron Jamie\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eText by Shelter Press:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003e\u003cspan class=\"bcTruncateMore\"\u003e\"Over the last decade, Kassel Jaeger, the moniker of the Paris-based composer, writer \/ theorist, producer, and director of the Groupe de Recherches Musicales (GRM), François Bonnet, has meticulously sculpted a body of multidisciplinary work that rests at the forefront contemporary electronic and electroacoustic practice. On July 10th he will release his new album ‘Swamp \/ Things’ on Shelter-Press.\u003cbr\u003e\u003cbr\u003eRigorously experimental without sacrificing the intimacies of self, his efforts as a composer and musician extend across live contexts and numerous critically heralded solo releases, as well as collaborations with Jim O’Rourke and Lucy Railton, both contributing to the record, alongside Stephen O’Malley, Stephan Mathieu, Akira Rabelais, Oren Ambarchi, and James Rushford, and others.\u003cbr\u003e\u003cbr\u003eDeeply invested in the potential of sound as an elemental form - a root phenomenon with a profound capacity for meaning, as much as a multidimensional material for creative process and ideas – Jaeger’s work across numerous fields, be it in text, action, or sound presents a crucial bridge between the optimistic, philosophical origins of electronic and electroacoustic music, the present and where they have yet to delve.\u003cbr\u003e\u003cbr\u003eSound is abstract. When the source is elusive, narrative and meaning shift between the concrete and obscure. With his first solo LP with Shelter Press, Swamps\/Things, Kassel Jaeger wades into this foggy, conceptual realm. From memory and metaphor - sliding fluidly through the imagistic and emotive - emerges an immersive, cavernous world that rethinks electroacoustic music on organic terms.\u003cbr\u003e\u003cbr\u003e‘Swamps \/ Things’ was conceived as an opera without distinct characters or text. It draws Kassel Jaeger into his own history, experiences, and the unlikely double of the swamp, a landscape that has held literal and metaphorical sway over him since childhood. Merging 8 works as a total environment, abstaining from distinct shape or discrete articulation, across the album's breadth, sound becomes a shifting mirror for the bubbling, ordered chaos of organic life.\u003cbr\u003e\u003cbr\u003eResting at the junction of concept, emotion, and phenomena - tapping the multidimensional potential for narrative and meaning possessed by each - Swamps \/ Things encounters an artist of remarkable craft, delving toward the unknown, deploying organized sonority as object and environment, as much as action, movement, passage, and arc. Seemingly possessed by an entropy entirely its own, the temporal gives way to the poetics of space, while the density of an endlessly evolving climate, laden with cacophonous happenings, renders itself still. Flickering images of the natural world - memory and the imagined reformed as sound - present an operatic double for human action and thought. From deep, fog like banks of minimalist long tone, to industrial clamors left as tracks in the mud, or the collisions of shifting pulses, overtones, and textures - captured from across the murky, drone laden waters between the acoustic and synthetic realms - moody, howling cries and tense meditations merge in ambient sheets, capturing a fleeting image of where decomposition gives way to new growth.\u003cbr\u003e\u003cbr\u003eA remarkably intimate and forward-thinking aural balm, bristling with complex beauty, Shelter press is overjoyed to present Kassel Jaeger’s Swamps \/ Things. Two immersive, intoxicating sides overflowing with humanity and ideas.\u003c\/span\u003e \"\u003c\/em\u003e\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\"\u003eArtist statement by Francois Bonnet (Kassel Jaeger):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\"\u003cem\u003eAs a child, almost every Sunday, I was wandering in the countryside, and usually, I was finding myself in my favorite spot: a swamp. Air was different. Trees were dead, but not really dead. Soil was swaying of clear water, and an everlasting mist was suspended all over the place. No one was there and nothing could happen even if some animal tracks were here to prove me I was wrong. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMuch later, one of my masters made always this joke about my music. He said I was composing swamps, I guess because of the lack of demonstrative musical shapes and articulations. At the same time, he was acknowledging that I was building a “climate”.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eIt took me then almost 30 years to understand why I was so fond of swamps. It’s because a swamp is an intermediary space of the organic becoming and the blurry space suspending the cycle of the utilities, which is the cycle of history. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSwamps \/ Things has been conceived as an opera. An opera without characters, without text, but not without story. The story, here, is only an arc. Because what is an opera, if not an arc? And the arc, here, is the simplest. It’s walking through the swamp. Approaching it, leaching into it, becoming it. The Swamp is us. Our own disappearance, populated by all the beasts we have turned into, by\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e the places we have haunted, and by the time we have consumed. We are traces in an always intermediate state. Animals tracks in the sodden earth of the Swamp\u003c\/em\u003e.\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Kassel Jaeger\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press\u003c\/span\u003e\u003c\/p\u003e"}
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過去にEditions MegoやSenufo Editionsなどから多数発表しているフランスの実験音楽家Kassel Jaegerが、2020年にフランス・パリの実験レーベルShelter Pressからリリースした2枚組レコード。淡いアンビエントドローン〜立体的なドローン10曲を収録。 レーベルその他作品はこちら /// Click here to see more Shelter Press / Recollection GRM / Ideologic...
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{"id":7450434207994,"title":"Okkyung Lee \/\/ Yeo-Neun LP","handle":"okkyung-lee-yeo-neun-lp","description":"\u003cp\u003e過去にOpen MouthやTzadik、The Tapewormなどから発表している韓国のネオクラシカル作家Okkyung Leeが、2020年にフランス・パリの実験レーベルShelter Pressからリリースした8枚目のフルアルバムです。\u003c\/p\u003e\n\u003cp\u003eハープとピアノ、ベースによる五臓六腑に染み入るネオクラシカル10曲を収録。\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1259952549\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 500.\u003c\/p\u003e\n\u003cp\u003eText by \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eSpringing from a decades deep body of work, defined by a rigorously singular and adventurous approach to sound, cellist, composer, and improvisor, Okkyung Lee, returns with Yeo-Neun, her first outing with Shelter Press, and arguably her most groundbreaking and unexpected album to date.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eA vital, present force in the contemporary global landscape of experimental music, Okkyung Lee is widely regarded for her solo and collaborative improvisations and compositions, weaving a continuously evolving network of sonority and event, notable for its profound depth of instrumental sensitivity, exacting intellect, and visceral emotiveness. Yeo-Neun, recorded by Yeo-Neun Quartet - an experimental chamber music ensemble founded in 2016 and led by Lee on cello, featuring harpist Maeve Gilchrist, pianist Jacob Sacks, and bassist Eivind Opsvik - represents the culmination of one of longest and most intimate arcs in her remarkable career. A radical departure from much of the experimental language for which she has become widely known, it is equally a fearless return.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eYeo-Neun loosely translates to the gesture of an opening in Korean, presenting window into the poetic multiplicity that rests at the album’s core. Balanced at the outer reaches of Lee’s radically\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e forward thinking creative process, its 10 discrete works are born of the ambient displacement of musician’s life; intimate melodic constructions and deconstructions that traces their roots across the last 30 years, from her early days spent away from home studying the cello in Seoul and Boston, to her subsequent move to New York and the nomadism of a near endless routine of tours. At its foundation, lay glimpses of a once melancholic teen, traces of the sentimentality and sensitivity (감성 \/ Gahmsung) that underpins the Korean popular music of Lee’s youth, and an artist for whom the notions of time, place, and home have become increasingly complex.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eElegantly binding modern classical composition and freely improvised music with the emotive drama of Korean traditional music and popular ballads, the expanse of Yeo-Neun pushes toward the palpably unknown, as radical for what it is and does, as it for its approachability. In Lee’s hands, carried by a body of composition that rests beyond the prescriptive boundaries of culture, genre, geography, and time, a vision of the experimental avant-garde emerges as a music of experience, humanity, and life. Meandering melodies, from the deceptively simple to the tonally and structurally complex, slowly evolve and fall from view, the harp, piano, and bass forming an airy, liminal non-place, through which Lee’s cello and unplaceable memories freely drift.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRemarkably honest, unflinchingly beautiful, and creatively challenging, Shelter Press is proud to present Yeo-Neun, an album that takes one the most important voices in contemporary experimental music, Okkyung Lee, far afield into an unknown future, bound to her past.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMastered and cut by Rashad Becker, housed in reversed-board printed inner and outer sleeve with artwork by American photographer Ron Jude.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Okkyung Lee\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-11-18T01:41:51+09:00","created_at":"2021-11-15T15:58:06+09:00","vendor":"Tobira Records","type":"","tags":["lp","neo classical","shelter press"],"price":315000,"price_min":315000,"price_max":315000,"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":42057897246970,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Okkyung Lee \/\/ Yeo-Neun LP","public_title":null,"options":["Default Title"],"price":315000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ne1_9366fecd-cc61-428c-8148-ae83cca5c343.jpg?v=1636959487","\/\/tobirarecords.com\/cdn\/shop\/products\/ne2_c067c4c5-7e36-4c82-9695-9b5cc2c75f71.jpg?v=1636959488"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ne1_9366fecd-cc61-428c-8148-ae83cca5c343.jpg?v=1636959487","options":["Title"],"media":[{"alt":null,"id":26931147374842,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ne1_9366fecd-cc61-428c-8148-ae83cca5c343.jpg?v=1636959487"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ne1_9366fecd-cc61-428c-8148-ae83cca5c343.jpg?v=1636959487","width":700},{"alt":null,"id":26931147407610,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ne2_c067c4c5-7e36-4c82-9695-9b5cc2c75f71.jpg?v=1636959488"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ne2_c067c4c5-7e36-4c82-9695-9b5cc2c75f71.jpg?v=1636959488","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e過去にOpen MouthやTzadik、The Tapewormなどから発表している韓国のネオクラシカル作家Okkyung Leeが、2020年にフランス・パリの実験レーベルShelter Pressからリリースした8枚目のフルアルバムです。\u003c\/p\u003e\n\u003cp\u003eハープとピアノ、ベースによる五臓六腑に染み入るネオクラシカル10曲を収録。\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1259952549\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 500.\u003c\/p\u003e\n\u003cp\u003eText by \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eSpringing from a decades deep body of work, defined by a rigorously singular and adventurous approach to sound, cellist, composer, and improvisor, Okkyung Lee, returns with Yeo-Neun, her first outing with Shelter Press, and arguably her most groundbreaking and unexpected album to date.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eA vital, present force in the contemporary global landscape of experimental music, Okkyung Lee is widely regarded for her solo and collaborative improvisations and compositions, weaving a continuously evolving network of sonority and event, notable for its profound depth of instrumental sensitivity, exacting intellect, and visceral emotiveness. Yeo-Neun, recorded by Yeo-Neun Quartet - an experimental chamber music ensemble founded in 2016 and led by Lee on cello, featuring harpist Maeve Gilchrist, pianist Jacob Sacks, and bassist Eivind Opsvik - represents the culmination of one of longest and most intimate arcs in her remarkable career. A radical departure from much of the experimental language for which she has become widely known, it is equally a fearless return.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eYeo-Neun loosely translates to the gesture of an opening in Korean, presenting window into the poetic multiplicity that rests at the album’s core. Balanced at the outer reaches of Lee’s radically\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e forward thinking creative process, its 10 discrete works are born of the ambient displacement of musician’s life; intimate melodic constructions and deconstructions that traces their roots across the last 30 years, from her early days spent away from home studying the cello in Seoul and Boston, to her subsequent move to New York and the nomadism of a near endless routine of tours. At its foundation, lay glimpses of a once melancholic teen, traces of the sentimentality and sensitivity (감성 \/ Gahmsung) that underpins the Korean popular music of Lee’s youth, and an artist for whom the notions of time, place, and home have become increasingly complex.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eElegantly binding modern classical composition and freely improvised music with the emotive drama of Korean traditional music and popular ballads, the expanse of Yeo-Neun pushes toward the palpably unknown, as radical for what it is and does, as it for its approachability. In Lee’s hands, carried by a body of composition that rests beyond the prescriptive boundaries of culture, genre, geography, and time, a vision of the experimental avant-garde emerges as a music of experience, humanity, and life. Meandering melodies, from the deceptively simple to the tonally and structurally complex, slowly evolve and fall from view, the harp, piano, and bass forming an airy, liminal non-place, through which Lee’s cello and unplaceable memories freely drift.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRemarkably honest, unflinchingly beautiful, and creatively challenging, Shelter Press is proud to present Yeo-Neun, an album that takes one the most important voices in contemporary experimental music, Okkyung Lee, far afield into an unknown future, bound to her past.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMastered and cut by Rashad Becker, housed in reversed-board printed inner and outer sleeve with artwork by American photographer Ron Jude.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Okkyung Lee\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press\u003c\/span\u003e\u003c\/p\u003e"}
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過去にOpen MouthやTzadik、The Tapewormなどから発表している韓国のネオクラシカル作家Okkyung Leeが、2020年にフランス・パリの実験レーベルShelter Pressからリリースした8枚目のフルアルバムです。 ハープとピアノ、ベースによる五臓六腑に染み入るネオクラシカル10曲を収録。 レーベルその他作品はこちら /// Click here to see more Shelter Press / Recollection GRM /...
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{"id":7450430570746,"title":"PDP III \/\/ Pilled Up on a Couple of Doves LP","handle":"pdp-iii-pilled-up-on-a-couple-of-doves-lp","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBritton Powellを中心にLucy RailtonとBrian Leeds(Huerco S)が音を重ねていくプロジェクトPDP IIIが、\u003c\/span\u003e2021年4月にフランス・パリの実験レーベルShelter Pressからリリースしたレコード。\u003c\/p\u003e\n\u003cp\u003eディープリスニング系のエレクトロニック・アンビエント5曲を収録。\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=492068840\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eText by \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003ePilled Up on a Couple of Doves is the debut full-length by PDP III, who fell into alignment in December of 2018 amid a handful of immersive and improvisatory recording sessions held at Gary’s Electric Studio in Brooklyn, New York. The trio is a collaboration between composer\/producer Britton Powell and two Berlin-based artists, the British composer\/cellist Lucy Railton and the electronic artist Brian Leeds (Huerco S).\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eAt the outset of these sessions Powell presented a series of compositional sketches anchored around multi-tracked electronics and acoustic percussion. These concepts were then used as the framework for collective improvisation, with the musicians working on instinct and layering as many as eight separate takes across a track. A portion of the record also reflects moments that are purely spontaneous – in-the-moment invention with Railton on electronics and cello and Powell and Leeds working on laptop computers.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe composition process involved little in the way of overt instruction, instead favoring discussion on more abstract notions of feel and energy. As a result, the final product was a bit surprising to all involved. “I don’t think the three of us had any idea how heavy and physical this thing was going to feel,” reflects\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e Powell.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSubsequently reduced, edited, and collaged by Powell over the next two years, Pilled Up on a Couple of Doves presents a succession of alien moods. Gauzy textures are buoyed by extreme low end pressure. Serene industrial hum illuminates the rhythmic beating of waveforms. The sounds frequently evoke opposing emotions -- tenderness and anxiety, claustrophobia and transcendence.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe record culminates in 20-minute closer “49 Days,” where gradually unfurling textures for cello and electronics mirror the overtones of a ringing gong. It’s unsettling, but deeply meditative.\u003cbr data-mce-fragment=\"1\"\u003eA map of liminal space. Music to get lost to. “One thing that’s important in relation to my work with music is to access a place outside of physical space,” says Powell. “To pursue music as a tool to reach a place outside of physical existence.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“There's something really simple, innocent, and timeless about working with acoustic percussion instruments,” explains Powell.\u003cbr data-mce-fragment=\"1\"\u003e“I think that they allow for a very true examination of sound. It feels vulnerable and really powerful at the same time.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : PDP III\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-11-17T17:31:33+09:00","created_at":"2021-11-15T15:55:55+09:00","vendor":"Tobira Records","type":"","tags":["ambient","lp","monooto","shelter press"],"price":315000,"price_min":315000,"price_max":315000,"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":42057887842554,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"PDP III \/\/ Pilled Up on a Couple of Doves LP","public_title":null,"options":["Default Title"],"price":315000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/co1_1df6ac9b-9c42-4ef6-8fe7-b026470a8914.jpg?v=1636959356","\/\/tobirarecords.com\/cdn\/shop\/products\/co2_b9ac655f-89da-480b-8942-54ee72f2c7e8.jpg?v=1636959357"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/co1_1df6ac9b-9c42-4ef6-8fe7-b026470a8914.jpg?v=1636959356","options":["Title"],"media":[{"alt":null,"id":26931134431482,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/co1_1df6ac9b-9c42-4ef6-8fe7-b026470a8914.jpg?v=1636959356"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/co1_1df6ac9b-9c42-4ef6-8fe7-b026470a8914.jpg?v=1636959356","width":700},{"alt":null,"id":26931134464250,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/co2_b9ac655f-89da-480b-8942-54ee72f2c7e8.jpg?v=1636959357"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/co2_b9ac655f-89da-480b-8942-54ee72f2c7e8.jpg?v=1636959357","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBritton Powellを中心にLucy RailtonとBrian Leeds(Huerco S)が音を重ねていくプロジェクトPDP IIIが、\u003c\/span\u003e2021年4月にフランス・パリの実験レーベルShelter Pressからリリースしたレコード。\u003c\/p\u003e\n\u003cp\u003eディープリスニング系のエレクトロニック・アンビエント5曲を収録。\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=492068840\/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\/shelter\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press \/ \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecollection GRM\u003c\/span\u003e \/ Ideologic Organ\u003cspan\u003e \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003ereleases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eText by \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003ePilled Up on a Couple of Doves is the debut full-length by PDP III, who fell into alignment in December of 2018 amid a handful of immersive and improvisatory recording sessions held at Gary’s Electric Studio in Brooklyn, New York. The trio is a collaboration between composer\/producer Britton Powell and two Berlin-based artists, the British composer\/cellist Lucy Railton and the electronic artist Brian Leeds (Huerco S).\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eAt the outset of these sessions Powell presented a series of compositional sketches anchored around multi-tracked electronics and acoustic percussion. These concepts were then used as the framework for collective improvisation, with the musicians working on instinct and layering as many as eight separate takes across a track. A portion of the record also reflects moments that are purely spontaneous – in-the-moment invention with Railton on electronics and cello and Powell and Leeds working on laptop computers.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe composition process involved little in the way of overt instruction, instead favoring discussion on more abstract notions of feel and energy. As a result, the final product was a bit surprising to all involved. “I don’t think the three of us had any idea how heavy and physical this thing was going to feel,” reflects\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e Powell.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSubsequently reduced, edited, and collaged by Powell over the next two years, Pilled Up on a Couple of Doves presents a succession of alien moods. Gauzy textures are buoyed by extreme low end pressure. Serene industrial hum illuminates the rhythmic beating of waveforms. The sounds frequently evoke opposing emotions -- tenderness and anxiety, claustrophobia and transcendence.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe record culminates in 20-minute closer “49 Days,” where gradually unfurling textures for cello and electronics mirror the overtones of a ringing gong. It’s unsettling, but deeply meditative.\u003cbr data-mce-fragment=\"1\"\u003eA map of liminal space. Music to get lost to. “One thing that’s important in relation to my work with music is to access a place outside of physical space,” says Powell. “To pursue music as a tool to reach a place outside of physical existence.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“There's something really simple, innocent, and timeless about working with acoustic percussion instruments,” explains Powell.\u003cbr data-mce-fragment=\"1\"\u003e“I think that they allow for a very true examination of sound. It feels vulnerable and really powerful at the same time.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : PDP III\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press\u003c\/span\u003e\u003c\/p\u003e"}
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Britton Powellを中心にLucy RailtonとBrian Leeds(Huerco S)が音を重ねていくプロジェクトPDP IIIが、2021年4月にフランス・パリの実験レーベルShelter Pressからリリースしたレコード。 ディープリスニング系のエレクトロニック・アンビエント5曲を収録。 レーベルその他作品はこちら /// Click here to see more Shelter Press / Recollection...
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{"id":7450424213754,"title":"Andrew Pekler \u0026 Giuseppe Ielasi \/\/ Palimpsests LP","handle":"apgi","description":"\u003cp\u003eドイツの音響作家Andrew Peklerと、イタリアの実験レーベルSenufo Editions主宰Giuseppe Ielasiが、2021年10月にフランスの実験レーベルShelter Pressからリリースした共作レコード。\u003c\/p\u003e\n\u003cp\u003eフロア棒立ち系テクノ〜コラージュ・ストレンジビーツ〜アンビエント9曲を収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2580139545\/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\/shelter\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 500.\u003c\/p\u003e\n\u003cp\u003eText by Shelter Press:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eBoth noted for strikingly forward-thinking bodies of solo work dating back to the 1990s, the duo of Andrew Pekler \u0026amp; Giuseppe Ielasi - collaborators for the better part of a decade - reemerge with 'Palimpsests’, their first outing with Shelter Press. Built from deconstructed layers of texture, tone, and arrhythmic percussiveness, the album’s 2 sides distill 6 years of work into 9 splintered, airy reimaginings of minimalism - each surprising, creatively rigorous, and startlingly beautiful - that rest at the outer reaches of contemporary electroacoustic practice and musique concrète.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eBased in Berlin and Milan respectively, Andrew Pekler and Giuseppe Ielasi have individually carved singular paths across numerous disciplines within experimental music for more than 20 years, each deploying sampling, synthesis, and acoustic sources to weave their own, distinct worlds of sonorous abstraction. Brought together by years of friendship and a shared devotion to layered texture and complex, fractured structure, the pair first joined their creative energies in 2013, a collaboration that culminated as the LP, ‘Holiday For Sampler’, issued by Planam.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e'Palimpsests’, the duo’s second outing, draws its material from a series of improvisations made by the Pekler and Ielasi in\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e Milan during 2015. Over the ensuing six years, those recordings would undergo various transformations - cut, reworked, sampled, and added to by each artist, working at geographic distance between Berlin, Kyoto and Monza - before culminating, like the album’s title suggests, as a unique manifestation of musical palimpsest; “an object reused and altered, while still bearing visible traces of its earlier form”.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWith each of the album’s compositions nodding toward a city with which Pekler and Ielasi hold biographical connections, 'Palimpsests’ constructs sound as poetic metaphor; a series of ghosts - traces of memory, image, and action - cut and reassembled, in cycling permutations, before been set into action at a glacial pace with layered, transparent forms.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDefined by remarkable restraint and pointillistic precision, across the album’s two sides Pekler and Ielasi weave the fractured remnants of their sessions - reduced to glitches and warbling fragments of texture and tonality - into pulsing expanses of spatial ambiance that defy imagism, blur the boundaries between the synthetic and organic - reducing their sources to a series of unknowns - recast the boundaries of electroacoustic practice on markedly singular terms.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eShelter Press is thrilled to present 'Palimpsests’, another brilliant outing from the duo of Andrew Pekler and Giuseppe Ielasi. Issued in a limited edition of 500 copies on black vinyl, with artworks on printed inner and outer sleeves by Traianos Pakioufakis.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Andrew Pekler \u0026amp; Giuseppe Ielasi\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-11-15T15:55:55+09:00","created_at":"2021-11-15T15:47:55+09:00","vendor":"Tobira Records","type":"","tags":["ambient","lp","monooto","shelter press","strange beats","techno \/ house"],"price":328000,"price_min":328000,"price_max":328000,"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":42057868509434,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Andrew Pekler \u0026 Giuseppe Ielasi \/\/ Palimpsests LP","public_title":null,"options":["Default Title"],"price":328000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/pa1_ac98e139-ab23-4c6f-8b1b-62654d8ba1cb.jpg?v=1636958877","\/\/tobirarecords.com\/cdn\/shop\/products\/pa2_36e270ad-206b-4da7-bcaf-990b105ee168.jpg?v=1636958877"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/pa1_ac98e139-ab23-4c6f-8b1b-62654d8ba1cb.jpg?v=1636958877","options":["Title"],"media":[{"alt":null,"id":26931095273722,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/pa1_ac98e139-ab23-4c6f-8b1b-62654d8ba1cb.jpg?v=1636958877"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/pa1_ac98e139-ab23-4c6f-8b1b-62654d8ba1cb.jpg?v=1636958877","width":700},{"alt":null,"id":26931095306490,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/pa2_36e270ad-206b-4da7-bcaf-990b105ee168.jpg?v=1636958877"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/pa2_36e270ad-206b-4da7-bcaf-990b105ee168.jpg?v=1636958877","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eドイツの音響作家Andrew Peklerと、イタリアの実験レーベルSenufo Editions主宰Giuseppe Ielasiが、2021年10月にフランスの実験レーベルShelter Pressからリリースした共作レコード。\u003c\/p\u003e\n\u003cp\u003eフロア棒立ち系テクノ〜コラージュ・ストレンジビーツ〜アンビエント9曲を収録。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2580139545\/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\/shelter\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/shelter\"\u003ehere\u003c\/a\u003e to see more Shelter Press releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 500.\u003c\/p\u003e\n\u003cp\u003eText by Shelter Press:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eBoth noted for strikingly forward-thinking bodies of solo work dating back to the 1990s, the duo of Andrew Pekler \u0026amp; Giuseppe Ielasi - collaborators for the better part of a decade - reemerge with 'Palimpsests’, their first outing with Shelter Press. Built from deconstructed layers of texture, tone, and arrhythmic percussiveness, the album’s 2 sides distill 6 years of work into 9 splintered, airy reimaginings of minimalism - each surprising, creatively rigorous, and startlingly beautiful - that rest at the outer reaches of contemporary electroacoustic practice and musique concrète.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eBased in Berlin and Milan respectively, Andrew Pekler and Giuseppe Ielasi have individually carved singular paths across numerous disciplines within experimental music for more than 20 years, each deploying sampling, synthesis, and acoustic sources to weave their own, distinct worlds of sonorous abstraction. Brought together by years of friendship and a shared devotion to layered texture and complex, fractured structure, the pair first joined their creative energies in 2013, a collaboration that culminated as the LP, ‘Holiday For Sampler’, issued by Planam.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e'Palimpsests’, the duo’s second outing, draws its material from a series of improvisations made by the Pekler and Ielasi in\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e Milan during 2015. Over the ensuing six years, those recordings would undergo various transformations - cut, reworked, sampled, and added to by each artist, working at geographic distance between Berlin, Kyoto and Monza - before culminating, like the album’s title suggests, as a unique manifestation of musical palimpsest; “an object reused and altered, while still bearing visible traces of its earlier form”.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWith each of the album’s compositions nodding toward a city with which Pekler and Ielasi hold biographical connections, 'Palimpsests’ constructs sound as poetic metaphor; a series of ghosts - traces of memory, image, and action - cut and reassembled, in cycling permutations, before been set into action at a glacial pace with layered, transparent forms.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDefined by remarkable restraint and pointillistic precision, across the album’s two sides Pekler and Ielasi weave the fractured remnants of their sessions - reduced to glitches and warbling fragments of texture and tonality - into pulsing expanses of spatial ambiance that defy imagism, blur the boundaries between the synthetic and organic - reducing their sources to a series of unknowns - recast the boundaries of electroacoustic practice on markedly singular terms.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eShelter Press is thrilled to present 'Palimpsests’, another brilliant outing from the duo of Andrew Pekler and Giuseppe Ielasi. Issued in a limited edition of 500 copies on black vinyl, with artworks on printed inner and outer sleeves by Traianos Pakioufakis.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Andrew Pekler \u0026amp; Giuseppe Ielasi\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eShelter Press\u003c\/span\u003e\u003c\/p\u003e"}
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ドイツの音響作家Andrew Peklerと、イタリアの実験レーベルSenufo Editions主宰Giuseppe Ielasiが、2021年10月にフランスの実験レーベルShelter Pressからリリースした共作レコード。 フロア棒立ち系テクノ〜コラージュ・ストレンジビーツ〜アンビエント9曲を収録。 レーベルその他作品はこちら /// Click here to see more Shelter Press releases...
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