Morgan Garrett // Purity LP [BLACK/COLOR] / TAPE
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Morgan Garrett // Purity LP [BLACK/COLOR] / TAPE
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アメリカ・ペンシルベニアのポストインダストリアル作家Morgan Garrettが、2024年5月に同国オハイオのエレクトロニックレーベルOrange Milkからリリースしたアルバムです。
実験ノイズ・ロック〜ノイズ・ブルース10曲を収録。
※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ
レーベルその他作品はこちら /// Click here to see more Orange Milk Records releases available at Tobira.
----------------------
Ask us for digital files. Available on 12" black vinyl, 12" opaque pink vinyl, or cassette in norelco case.
Tracklist:
1. Alive 03:15
2. Tearful LIfe 02:24
3. Suck 02:55
4. Want to Know 03:48
5. Slow to Nothing 03:18
6. Cost of Living 02:53
7. Sick and Sad 03:05
8. Spirit of Mind 03:35
9. I've Already Died 04:03
10. SOM II 02:16
Orange Milk:
"Purity was created in response to finding a neighbor’s dead body. The experience eviscerated my sense of safety and my feeling of home. This record is an attempt at grappling with the stress of the situation and unfolding events, honoring and documenting its effects on my mind and life. Alex Nagle and I worked closely, weekly, to create Purity. The music is maximal and precise. The songs are spacious and free. The sound and production is unreal, I have no true reference for it."
Artist : Morgan Garrett
Label : Orange Milk Records
アメリカ・ペンシルベニアのポストインダストリアル作家Morgan Garrettが、2024年5月に同国オハイオのエレクトロニックレーベルOrange Milkからリリースしたアルバムです。
実験ノイズ・ロック〜ノイズ・ブルース10曲を収録。
※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ
レーベルその他作品はこちら /// Click here to see more Orange Milk Records releases available at Tobira.
----------------------
Ask us for digital files. Available on 12" black vinyl, 12" opaque pink vinyl, or cassette in norelco case.
Tracklist:
1. Alive 03:15
2. Tearful LIfe 02:24
3. Suck 02:55
4. Want to Know 03:48
5. Slow to Nothing 03:18
6. Cost of Living 02:53
7. Sick and Sad 03:05
8. Spirit of Mind 03:35
9. I've Already Died 04:03
10. SOM II 02:16
Orange Milk:
"Purity was created in response to finding a neighbor’s dead body. The experience eviscerated my sense of safety and my feeling of home. This record is an attempt at grappling with the stress of the situation and unfolding events, honoring and documenting its effects on my mind and life. Alex Nagle and I worked closely, weekly, to create Purity. The music is maximal and precise. The songs are spacious and free. The sound and production is unreal, I have no true reference for it."
Artist : Morgan Garrett
Label : Orange Milk Records
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{"id":8705946517754,"title":"Gia Margaret \/\/ There's Always Glimmer TAPE","handle":"gia-margaret-theres-always-glimmer-tape","description":"\u003cp\u003eアメリカ・シカゴのインディーポップ〜インディーフォークレーベルOrindal Records諸作を入荷しました。\u003c\/p\u003e\n\u003cp\u003e本作は、同国シカゴのインディーフォーク作家Gia Margaretが、2018年にリリースしたデビューアルバムです。\u003c\/p\u003e\n\u003cp\u003eベッドルーム・ドリームポップ〜アンビエント・フォーク12曲を収録。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/Ls1KpW_omiI\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e \u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=83205102\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=642\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=83205102\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=642\/tracklist=false\/artwork=small\/track=2492209161\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003ehere\u003c\/a\u003e to see more Orindal Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAll songs written, performed and produced by Gia Margaret\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRecorded and mixed by Nicholas Papaleo and Gia Margaret at Inside Voice, in Gia's bedroom and at Decade Studios\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSmoke and West recorded and mixed by Doug Saltzman\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSugar recorded by Scott Jacobson at Soundhole Studios\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAdditional musicians:\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eBrendan Losch — additional guitar + backing vocals (2)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJohn Morton — backing vocals (2), drums (2, 3)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eScott Jacobson — additional guitar (10)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIvan Pyzow — trumpet (3)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eQuinn Tsan — additional vocals (7)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eBob Buckstaff — bass (2, 5)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eNicholas Papaleo — bass (6, 10), additional keys (2, 5, 10)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMolly Rife — cello (4)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDoug Saltzman — drum production (4, 12)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eChris Dye — drum production (10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Gia Margaret\u003c\/p\u003e\n\u003cp\u003eLabel : Orindal Records\u003c\/p\u003e","published_at":"2025-01-22T06:59:20+09:00","created_at":"2025-01-22T06:58:34+09:00","vendor":"Tobira Records","type":"","tags":["folk \/ left-field pop","new","orindal","recommended","tape"],"price":229000,"price_min":229000,"price_max":229000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47068645851386,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Gia Margaret \/\/ There's Always Glimmer TAPE","public_title":null,"options":["Default Title"],"price":229000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/al1_002307aa-aea6-4002-87ad-ab4f65ff06ee.jpg?v=1706230462","\/\/tobirarecords.com\/cdn\/shop\/files\/2024-01-269.53.37_c240b92d-630d-4539-b389-9b0cab0ba78e.png?v=1706230462"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/al1_002307aa-aea6-4002-87ad-ab4f65ff06ee.jpg?v=1706230462","options":["Title"],"media":[{"alt":null,"id":33059071918330,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/al1_002307aa-aea6-4002-87ad-ab4f65ff06ee.jpg?v=1706230462"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/al1_002307aa-aea6-4002-87ad-ab4f65ff06ee.jpg?v=1706230462","width":700},{"alt":null,"id":33059071951098,"position":2,"preview_image":{"aspect_ratio":0.667,"height":944,"width":630,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/2024-01-269.53.37_c240b92d-630d-4539-b389-9b0cab0ba78e.png?v=1706230462"},"aspect_ratio":0.667,"height":944,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/2024-01-269.53.37_c240b92d-630d-4539-b389-9b0cab0ba78e.png?v=1706230462","width":630}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカ・シカゴのインディーポップ〜インディーフォークレーベルOrindal Records諸作を入荷しました。\u003c\/p\u003e\n\u003cp\u003e本作は、同国シカゴのインディーフォーク作家Gia Margaretが、2018年にリリースしたデビューアルバムです。\u003c\/p\u003e\n\u003cp\u003eベッドルーム・ドリームポップ〜アンビエント・フォーク12曲を収録。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/Ls1KpW_omiI\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e \u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=83205102\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=642\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=83205102\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=642\/tracklist=false\/artwork=small\/track=2492209161\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003ehere\u003c\/a\u003e to see more Orindal Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAll songs written, performed and produced by Gia Margaret\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRecorded and mixed by Nicholas Papaleo and Gia Margaret at Inside Voice, in Gia's bedroom and at Decade Studios\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSmoke and West recorded and mixed by Doug Saltzman\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSugar recorded by Scott Jacobson at Soundhole Studios\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAdditional musicians:\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eBrendan Losch — additional guitar + backing vocals (2)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJohn Morton — backing vocals (2), drums (2, 3)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eScott Jacobson — additional guitar (10)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIvan Pyzow — trumpet (3)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eQuinn Tsan — additional vocals (7)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eBob Buckstaff — bass (2, 5)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eNicholas Papaleo — bass (6, 10), additional keys (2, 5, 10)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMolly Rife — cello (4)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDoug Saltzman — drum production (4, 12)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eChris Dye — drum production (10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Gia Margaret\u003c\/p\u003e\n\u003cp\u003eLabel : Orindal Records\u003c\/p\u003e"}
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{"id":8704221774074,"title":"Gia Margaret \/\/ Mia Gargaret TAPE","handle":"gia-margaret-mia-gargaret-tape","description":"\u003cp\u003eアメリカ・シカゴのインディーポップ〜インディーフォークレーベルOrindal Records諸作を入荷しました。\u003c\/p\u003e\n\u003cp\u003e本作は、同国シカゴのインディーフォーク作家Gia Margaretが、病気のため歌うことができなかった期間に制作し、2020年にリリースしたアルバムです。\u003c\/p\u003e\n\u003cp\u003eドリーミーなアンビエント・フォーク〜\u003cspan\u003eアンビエント\u003c\/span\u003e11曲を収録。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e以下、作家本人とレーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"「病気でツアーをキャンセルした後、私は1年の半分近く歌うことができませんでした。そのため、自分の殻に閉じこもっているような気分になり、慰めを求めてシンセサイザーに頼りました。これらの作曲は、音楽制作者としてのアイデンティティを持ち続けるのに役立ちました。時にはこの音楽が、セラピーや他のどんなものよりも私の不安を和らげてくれました。」\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e歌や歌詞に焦点を奪われることなく、Mia Gargaretのインストゥルメンタル・トラックは、Gia Margaretのミュージシャン、作曲家、プロデューサーとしてのスキルに光を当てています。シンセサイザー、ピアノ、アコースティック・ギターによる控えめだが没入感のあるアレンジは、同時に痛みや癒しを与え、まるで車窓の風景のように感情の風景を作り上げます。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e「希望に満ちたサウンドを作りたかったのです。私は自分を癒すために音楽を作っていました。アパートの中を歩き回りながらシンセのループをかけ、自分自身の毎日のサウンドトラックを形成していました。」\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMia GargaretはGia Margaretの自己治癒を記録しています。アルバムのオープニングを飾るapathyには、彼女が実際に行ったボーカル・セラピーのエクササイズからの抜粋が含まれています。bodyではイギリスの哲学者アラン・ワッツの講義をサンプリングしています。(このサンプルの使用は、故講師の息子であるマーク・ワッツが、父親についてのドキュメンタリー映画で \"body \"を使用することと引き換えに、個人的に許可したものである）。他のトラックには、足音、教会の鐘の音、パチパチと燃える焚き火の音、湖の波の音など、Giaの日々のフィールドレコーディングが使われていいます。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e「人生の中で本当に不思議な時間を過ごした時の感覚を、完全に忘れてしまいたいと思いながらも捉えたかったのです。このプロセスは、自分自身について何かを理解するのに役立ちました。」\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eMia Gargaretは、Giaの歌声をフィーチャーしたアルバム唯一の曲、lessonで終わります。この短い曲は、2021年に予定されている、より伝統的なソングライティングに回帰したGia Margaretの次のアルバムに期待できることを予告しています。それまでの間、Mia Gargaretは、ゴージャスな実験作として、また音楽の癒しの力についての記憶に残る瞑想曲として聴くことができます。\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3074600684\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=979\/tracklist=false\/artwork=none\/track=217592702\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e \u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3074600684\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=979\/tracklist=false\/artwork=none\/track=2253347094\/transparent=true\/\"\u003e\u003c\/iframe\u003e \u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3074600684\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=979\/tracklist=false\/artwork=none\/track=588464783\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003ehere\u003c\/a\u003e to see more Orindal Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. Cassette in norelco case. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eText by Orindal Records:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eMia Gargaret is an ambient, (mostly) instrumental album by Chicago, IL singer, songwriter, multi-instrumentalist \u0026amp; producer Gia Margaret.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMia Gargaret was not the follow-up album that Gia intended to release after the critical success of her 2018 debut, There’s Always Glimmer. But after she suddenly found herself without use of her primary instrument, she had to rethink her methods, at least temporarily.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eGia explains:\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“After having to cancel tours because of illness, I was unable to sing for nearly half of the year. This left me feeling like a shell of myself, so I turned to my synthesizer for comfort. These compositions helped me hold onto my identity as a music maker. At times this music helped soothe my anxiety more than therapy or anything else could.”\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWithout singing or lyrics to steal the focus, the instrumental tracks on Mia Gargaret shine a light on Gia Margaret’s skills as a musician, composer \u0026amp; producer. Spare but immersive arrangements of synthesizer, piano \u0026amp; acoustic guitar simultaneously ache \u0026amp; soothe, building emotional landscapes that rise \u0026amp; recede like scenery through a train window.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“I wanted to make something that sounded hopeful, which\u003cspan class=\"bcTruncateMore\"\u003e is a little ironic because I felt essentially hopeless during the entire process. I was making music to self-soothe. I had synth loops going while I walked around my apartment, forming my own daily soundtrack.”\u003cbr\u003e\u003cbr\u003eMia Gargaret documents Gia Margaret’s self-healing. Album opener “apathy” includes an excerpt from her actual vocal therapy exercises. “body” samples a lecture from British philosopher Alan Watts, a continuous source of comfort \u0026amp; perspective for Gia in times of confusion. (Permission to use the sample was personally granted by Mark Watts, son of the late lecturer, in exchange for the use of “body” in his documentary film about his father.) Other tracks feature the sounds of footsteps, church bells, crackling fires, lake waves \u0026amp; other field recordings from Gia’s day-to-day.\u003cbr\u003e\u003cbr\u003e“I wanted to capture the feeling of a truly strange time in my life, even though I would prefer to forget it altogether. This process helped me understand something about myself, \u0026amp; hopefully it can help others, too.”\u003cbr\u003e\u003cbr\u003eMia Gargaret ends with “lesson,” the album’s only track to feature Gia’s singing voice. The short song teases at what we can expect from the next Gia Margaret album, a return to more traditional forms of songwriting, due in 2021. In the meantime, Mia Gargaret stands as a gorgeous experiment \u0026amp; a memorable meditation on the healing power of music.\u003cbr\u003e\u003cbr\u003eMia Gargaret was composed, performed \u0026amp; recorded at home by Gia Margaret during the summer \u0026amp; fall of 2019, with guest performances by Emily Cross (clarinet on “ash”), Stephen Steinbrink (vocals, organ \u0026amp; guitar on “lesson”) \u0026amp; There’s Always Glimmer collaborator Doug Saltzman (electronic drum production to on “body” \u0026amp; “lesson”).\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Gia Margaret\u003c\/p\u003e\n\u003cp\u003eLabel : Orindal Records\u003c\/p\u003e","published_at":"2025-01-19T08:24:48+09:00","created_at":"2025-01-19T08:23:37+09:00","vendor":"Tobira Records","type":"","tags":["ambient","folk \/ left-field pop","new","orindal","recommended","tape"],"price":228000,"price_min":228000,"price_max":228000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47061987557626,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Gia Margaret \/\/ Mia Gargaret TAPE","public_title":null,"options":["Default Title"],"price":228000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/gi1_dab51cde-2826-4b2a-a4da-ee11db31fd07.jpg?v=1713429768","\/\/tobirarecords.com\/cdn\/shop\/files\/ashiuhs.webp?v=1737242702"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/gi1_dab51cde-2826-4b2a-a4da-ee11db31fd07.jpg?v=1713429768","options":["Title"],"media":[{"alt":null,"id":33779119849722,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/gi1_dab51cde-2826-4b2a-a4da-ee11db31fd07.jpg?v=1713429768"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/gi1_dab51cde-2826-4b2a-a4da-ee11db31fd07.jpg?v=1713429768","width":700},{"alt":null,"id":35445341257978,"position":2,"preview_image":{"aspect_ratio":1.0,"height":600,"width":600,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ashiuhs.webp?v=1737242702"},"aspect_ratio":1.0,"height":600,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ashiuhs.webp?v=1737242702","width":600}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカ・シカゴのインディーポップ〜インディーフォークレーベルOrindal Records諸作を入荷しました。\u003c\/p\u003e\n\u003cp\u003e本作は、同国シカゴのインディーフォーク作家Gia Margaretが、病気のため歌うことができなかった期間に制作し、2020年にリリースしたアルバムです。\u003c\/p\u003e\n\u003cp\u003eドリーミーなアンビエント・フォーク〜\u003cspan\u003eアンビエント\u003c\/span\u003e11曲を収録。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e以下、作家本人とレーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"「病気でツアーをキャンセルした後、私は1年の半分近く歌うことができませんでした。そのため、自分の殻に閉じこもっているような気分になり、慰めを求めてシンセサイザーに頼りました。これらの作曲は、音楽制作者としてのアイデンティティを持ち続けるのに役立ちました。時にはこの音楽が、セラピーや他のどんなものよりも私の不安を和らげてくれました。」\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e歌や歌詞に焦点を奪われることなく、Mia Gargaretのインストゥルメンタル・トラックは、Gia Margaretのミュージシャン、作曲家、プロデューサーとしてのスキルに光を当てています。シンセサイザー、ピアノ、アコースティック・ギターによる控えめだが没入感のあるアレンジは、同時に痛みや癒しを与え、まるで車窓の風景のように感情の風景を作り上げます。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e「希望に満ちたサウンドを作りたかったのです。私は自分を癒すために音楽を作っていました。アパートの中を歩き回りながらシンセのループをかけ、自分自身の毎日のサウンドトラックを形成していました。」\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMia GargaretはGia Margaretの自己治癒を記録しています。アルバムのオープニングを飾るapathyには、彼女が実際に行ったボーカル・セラピーのエクササイズからの抜粋が含まれています。bodyではイギリスの哲学者アラン・ワッツの講義をサンプリングしています。(このサンプルの使用は、故講師の息子であるマーク・ワッツが、父親についてのドキュメンタリー映画で \"body \"を使用することと引き換えに、個人的に許可したものである）。他のトラックには、足音、教会の鐘の音、パチパチと燃える焚き火の音、湖の波の音など、Giaの日々のフィールドレコーディングが使われていいます。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e「人生の中で本当に不思議な時間を過ごした時の感覚を、完全に忘れてしまいたいと思いながらも捉えたかったのです。このプロセスは、自分自身について何かを理解するのに役立ちました。」\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eMia Gargaretは、Giaの歌声をフィーチャーしたアルバム唯一の曲、lessonで終わります。この短い曲は、2021年に予定されている、より伝統的なソングライティングに回帰したGia Margaretの次のアルバムに期待できることを予告しています。それまでの間、Mia Gargaretは、ゴージャスな実験作として、また音楽の癒しの力についての記憶に残る瞑想曲として聴くことができます。\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3074600684\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=979\/tracklist=false\/artwork=none\/track=217592702\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e \u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3074600684\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=979\/tracklist=false\/artwork=none\/track=2253347094\/transparent=true\/\"\u003e\u003c\/iframe\u003e \u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3074600684\/size=large\/bgcol=ffffff\/linkcol=0687f5\/license_id=979\/tracklist=false\/artwork=none\/track=588464783\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003ehere\u003c\/a\u003e to see more Orindal Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. Cassette in norelco case. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eText by Orindal Records:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eMia Gargaret is an ambient, (mostly) instrumental album by Chicago, IL singer, songwriter, multi-instrumentalist \u0026amp; producer Gia Margaret.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMia Gargaret was not the follow-up album that Gia intended to release after the critical success of her 2018 debut, There’s Always Glimmer. But after she suddenly found herself without use of her primary instrument, she had to rethink her methods, at least temporarily.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eGia explains:\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“After having to cancel tours because of illness, I was unable to sing for nearly half of the year. This left me feeling like a shell of myself, so I turned to my synthesizer for comfort. These compositions helped me hold onto my identity as a music maker. At times this music helped soothe my anxiety more than therapy or anything else could.”\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWithout singing or lyrics to steal the focus, the instrumental tracks on Mia Gargaret shine a light on Gia Margaret’s skills as a musician, composer \u0026amp; producer. Spare but immersive arrangements of synthesizer, piano \u0026amp; acoustic guitar simultaneously ache \u0026amp; soothe, building emotional landscapes that rise \u0026amp; recede like scenery through a train window.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“I wanted to make something that sounded hopeful, which\u003cspan class=\"bcTruncateMore\"\u003e is a little ironic because I felt essentially hopeless during the entire process. I was making music to self-soothe. I had synth loops going while I walked around my apartment, forming my own daily soundtrack.”\u003cbr\u003e\u003cbr\u003eMia Gargaret documents Gia Margaret’s self-healing. Album opener “apathy” includes an excerpt from her actual vocal therapy exercises. “body” samples a lecture from British philosopher Alan Watts, a continuous source of comfort \u0026amp; perspective for Gia in times of confusion. (Permission to use the sample was personally granted by Mark Watts, son of the late lecturer, in exchange for the use of “body” in his documentary film about his father.) Other tracks feature the sounds of footsteps, church bells, crackling fires, lake waves \u0026amp; other field recordings from Gia’s day-to-day.\u003cbr\u003e\u003cbr\u003e“I wanted to capture the feeling of a truly strange time in my life, even though I would prefer to forget it altogether. This process helped me understand something about myself, \u0026amp; hopefully it can help others, too.”\u003cbr\u003e\u003cbr\u003eMia Gargaret ends with “lesson,” the album’s only track to feature Gia’s singing voice. The short song teases at what we can expect from the next Gia Margaret album, a return to more traditional forms of songwriting, due in 2021. In the meantime, Mia Gargaret stands as a gorgeous experiment \u0026amp; a memorable meditation on the healing power of music.\u003cbr\u003e\u003cbr\u003eMia Gargaret was composed, performed \u0026amp; recorded at home by Gia Margaret during the summer \u0026amp; fall of 2019, with guest performances by Emily Cross (clarinet on “ash”), Stephen Steinbrink (vocals, organ \u0026amp; guitar on “lesson”) \u0026amp; There’s Always Glimmer collaborator Doug Saltzman (electronic drum production to on “body” \u0026amp; “lesson”).\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Gia Margaret\u003c\/p\u003e\n\u003cp\u003eLabel : Orindal Records\u003c\/p\u003e"}
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アメリカ・シカゴのインディーポップ〜インディーフォークレーベルOrindal Records諸作を入荷しました。 本作は、同国シカゴのインディーフォーク作家Gia Margaretが、病気のため歌うことができなかった期間に制作し、2020年にリリースしたアルバムです。 ドリーミーなアンビエント・フォーク〜アンビエント11曲を収録。DLコード付属。 以下、作家本人とレーベルによる解説です。 "「病気でツアーをキャンセルした後、私は1年の半分近く歌うことができませんでした。そのため、自分の殻に閉じこもっているような気分になり、慰めを求めてシンセサイザーに頼りました。これらの作曲は、音楽制作者としてのアイデンティティを持ち続けるのに役立ちました。時にはこの音楽が、セラピーや他のどんなものよりも私の不安を和らげてくれました。」歌や歌詞に焦点を奪われることなく、Mia Gargaretのインストゥルメンタル・トラックは、Gia Margaretのミュージシャン、作曲家、プロデューサーとしてのスキルに光を当てています。シンセサイザー、ピアノ、アコースティック・ギターによる控えめだが没入感のあるアレンジは、同時に痛みや癒しを与え、まるで車窓の風景のように感情の風景を作り上げます。「希望に満ちたサウンドを作りたかったのです。私は自分を癒すために音楽を作っていました。アパートの中を歩き回りながらシンセのループをかけ、自分自身の毎日のサウンドトラックを形成していました。」Mia GargaretはGia Margaretの自己治癒を記録しています。アルバムのオープニングを飾るapathyには、彼女が実際に行ったボーカル・セラピーのエクササイズからの抜粋が含まれています。bodyではイギリスの哲学者アラン・ワッツの講義をサンプリングしています。(このサンプルの使用は、故講師の息子であるマーク・ワッツが、父親についてのドキュメンタリー映画で "body "を使用することと引き換えに、個人的に許可したものである）。他のトラックには、足音、教会の鐘の音、パチパチと燃える焚き火の音、湖の波の音など、Giaの日々のフィールドレコーディングが使われていいます。「人生の中で本当に不思議な時間を過ごした時の感覚を、完全に忘れてしまいたいと思いながらも捉えたかったのです。このプロセスは、自分自身について何かを理解するのに役立ちました。」Mia Gargaretは、Giaの歌声をフィーチャーしたアルバム唯一の曲、lessonで終わります。この短い曲は、2021年に予定されている、より伝統的なソングライティングに回帰したGia...
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{"id":8788553924858,"title":"Stephen Whittington \/\/ Final Fragments - piano music of David Kotlowy LP","handle":"stephen-whittington-final-fragments-piano-music-of-david-kotlowy-lp","description":"\u003cp\u003eオーストラリア・アデレイドの実験音楽家Stephen Whittingtonが、2021年にアデレイドの実験レーベルde la Catessenからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eミニマルなピアノ独奏12曲を収録。廃盤です。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2766948113\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/delaca\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/delaca\"\u003ehere\u003c\/a\u003e to see more de la Catessen releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e----------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl.\u003cbr\u003e2nd edition of 50. \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. piano 25-7-94 11:17\u003cbr\u003e2. Well-Fed Preludes - Half Asleep 02:37\u003cbr\u003e3. Well-Fed Preludes - Winter Warmth 02:00\u003cbr\u003e4. Well-Fed Preludes - Da Lontano 04:12\u003cbr\u003e5. piano 26-7-93 04:22\u003cbr\u003e6. piano 25-7-93 04:29\u003cbr\u003e7. piano 27-7-93 04:28\u003cbr\u003e8. final fragments - one 01:57\u003cbr\u003e9. final fragments - two 01:40\u003cbr\u003e10. final fragments - three 01:38\u003cbr\u003e11. final fragments - four 01:08\u003cbr\u003e12. final fragments - five 01:55\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eText excerpt written by \u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\"\u003eJon Dale, via the label: \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e“...\u003cem\u003eThe music in this LP comprises some of my early post-graduate work,” Kotlowy says, reflecting on the works compiled here. “Finding my own way through the spell of John Cage, Japanese aesthetics, and process music... My musical ethos was, and continues to be informed by Japanese musical aesthetics, particularly the desire to produce a maximum effect from a limited amount of material, and the principles of honkyoku shakuhachi.” From these constituent elements, guided by such principles, Kotlowy has navigated his way to a composer’s voice that admits limitation as inspiration, restriction as the spur to invention, and finds a way to reflect its forebears without ever being beholden to their voices.\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eListening to these pieces, I can hear a gentle steeliness in their repose; these works are uninterested in excess, rather locating a sturdy eloquence in saying only what need be said. Adelaide composer, and De la Catessen label head, Luke Altmann recalls meeting Kotlowy at 2000’s Barossa International Music Festival, where the latter was a guest speaker in a student workshop. “At a time when many young composers were looking for ways to sound more impressive through filling in all the gaps in their scores, David’s gave counter-intuitive but sage advice: to look for things to leave out. Not to develop ideas, but to reduce them until only their essence remained, and that in itself would be your music.” Reflecting on the implications of this approach, Altmann concludes, “It seemed radically austere.”\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIt is also radically beautiful, and perhaps, most of all, radically human. This may come, at least in part, from Kotlowy’s interest in breath as a compositional tactic. The mid ‘90s pieces use breath to determine tempo and duration. “This is a direct influence of honkyoku shakuhachi music,” Kotlowy says, drawing parallels with the twelfth-century tradition that is associated with Zen Buddhism, “and is quite simple: relaxed inhalation at a bar line, then breathe out, playing the notes in the bar for the duration of the exhalation. Structurally, the breath phrasing acts like flexible time frames, and so, with musical duration intimately linked to a performer’s breath, the music achieves an elasticity and unpredictability that expresses the individuality of each musician and the singularity of each performance... The breath- based works are the heart (or perhaps the lungs) of my compositional output for the twenty years from 1990 to 2010.”\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eElsewhere, there are the gorgeous Well-Fed Preludes, which Kotlowy reflects are “a clear acknowledgment of the music of Erik Satie, and America's West Coast minimalists,” and there’s a homage in the titling of 2003’s Final Fragments, drawing as it does from the titles\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eof two Morton Feldman pieces, Last Pieces (1959) and Turfan Fragments (1980). “The sonic palette is larger than the earlier pieces,” Kotlowy acknowledges, “but the music is still restrained. I was aiming for a ‘beauty without biography’, a phrase Feldman used to describe his music.” Throughout, I am struck by the music’s poetics, its capacity to still the moment, and its ability to balance rigour of praxis with gentleness of touch. This surely is also down to Whittington’s masterful, beguiling performances...\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Stephen Whittington\u003c\/p\u003e\n\u003cp\u003eLabel : de la Catessen\u003c\/p\u003e\n\u003cp\u003ecat no : DLC003\u003c\/p\u003e","published_at":"2025-12-01T11:23:47+09:00","created_at":"2025-05-19T13:09:15+09:00","vendor":"Tobira Records","type":"","tags":["contemporary \/ sound poetry","de la catessen","lp","new"],"price":399000,"price_min":399000,"price_max":399000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47324657746170,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Stephen Whittington \/\/ Final Fragments - piano music of David Kotlowy LP","public_title":null,"options":["Default Title"],"price":399000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/fin1_4b5dbd1d-4b12-40a4-9331-a14241865718.jpg?v=1747627531","\/\/tobirarecords.com\/cdn\/shop\/files\/fin2_e66f65b6-a9f2-4b1a-9ced-97b0f19fafe1.jpg?v=1747627531"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/fin1_4b5dbd1d-4b12-40a4-9331-a14241865718.jpg?v=1747627531","options":["Title"],"media":[{"alt":null,"id":36052048281850,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/fin1_4b5dbd1d-4b12-40a4-9331-a14241865718.jpg?v=1747627531"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/fin1_4b5dbd1d-4b12-40a4-9331-a14241865718.jpg?v=1747627531","width":700},{"alt":null,"id":36052048314618,"position":2,"preview_image":{"aspect_ratio":1.412,"height":850,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/fin2_e66f65b6-a9f2-4b1a-9ced-97b0f19fafe1.jpg?v=1747627531"},"aspect_ratio":1.412,"height":850,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/fin2_e66f65b6-a9f2-4b1a-9ced-97b0f19fafe1.jpg?v=1747627531","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eオーストラリア・アデレイドの実験音楽家Stephen Whittingtonが、2021年にアデレイドの実験レーベルde la Catessenからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eミニマルなピアノ独奏12曲を収録。廃盤です。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2766948113\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/delaca\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/delaca\"\u003ehere\u003c\/a\u003e to see more de la Catessen releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e----------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl.\u003cbr\u003e2nd edition of 50. \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. piano 25-7-94 11:17\u003cbr\u003e2. Well-Fed Preludes - Half Asleep 02:37\u003cbr\u003e3. Well-Fed Preludes - Winter Warmth 02:00\u003cbr\u003e4. Well-Fed Preludes - Da Lontano 04:12\u003cbr\u003e5. piano 26-7-93 04:22\u003cbr\u003e6. piano 25-7-93 04:29\u003cbr\u003e7. piano 27-7-93 04:28\u003cbr\u003e8. final fragments - one 01:57\u003cbr\u003e9. final fragments - two 01:40\u003cbr\u003e10. final fragments - three 01:38\u003cbr\u003e11. final fragments - four 01:08\u003cbr\u003e12. final fragments - five 01:55\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eText excerpt written by \u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\"\u003eJon Dale, via the label: \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e“...\u003cem\u003eThe music in this LP comprises some of my early post-graduate work,” Kotlowy says, reflecting on the works compiled here. “Finding my own way through the spell of John Cage, Japanese aesthetics, and process music... My musical ethos was, and continues to be informed by Japanese musical aesthetics, particularly the desire to produce a maximum effect from a limited amount of material, and the principles of honkyoku shakuhachi.” From these constituent elements, guided by such principles, Kotlowy has navigated his way to a composer’s voice that admits limitation as inspiration, restriction as the spur to invention, and finds a way to reflect its forebears without ever being beholden to their voices.\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eListening to these pieces, I can hear a gentle steeliness in their repose; these works are uninterested in excess, rather locating a sturdy eloquence in saying only what need be said. Adelaide composer, and De la Catessen label head, Luke Altmann recalls meeting Kotlowy at 2000’s Barossa International Music Festival, where the latter was a guest speaker in a student workshop. “At a time when many young composers were looking for ways to sound more impressive through filling in all the gaps in their scores, David’s gave counter-intuitive but sage advice: to look for things to leave out. Not to develop ideas, but to reduce them until only their essence remained, and that in itself would be your music.” Reflecting on the implications of this approach, Altmann concludes, “It seemed radically austere.”\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIt is also radically beautiful, and perhaps, most of all, radically human. This may come, at least in part, from Kotlowy’s interest in breath as a compositional tactic. The mid ‘90s pieces use breath to determine tempo and duration. “This is a direct influence of honkyoku shakuhachi music,” Kotlowy says, drawing parallels with the twelfth-century tradition that is associated with Zen Buddhism, “and is quite simple: relaxed inhalation at a bar line, then breathe out, playing the notes in the bar for the duration of the exhalation. Structurally, the breath phrasing acts like flexible time frames, and so, with musical duration intimately linked to a performer’s breath, the music achieves an elasticity and unpredictability that expresses the individuality of each musician and the singularity of each performance... The breath- based works are the heart (or perhaps the lungs) of my compositional output for the twenty years from 1990 to 2010.”\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eElsewhere, there are the gorgeous Well-Fed Preludes, which Kotlowy reflects are “a clear acknowledgment of the music of Erik Satie, and America's West Coast minimalists,” and there’s a homage in the titling of 2003’s Final Fragments, drawing as it does from the titles\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eof two Morton Feldman pieces, Last Pieces (1959) and Turfan Fragments (1980). “The sonic palette is larger than the earlier pieces,” Kotlowy acknowledges, “but the music is still restrained. I was aiming for a ‘beauty without biography’, a phrase Feldman used to describe his music.” Throughout, I am struck by the music’s poetics, its capacity to still the moment, and its ability to balance rigour of praxis with gentleness of touch. This surely is also down to Whittington’s masterful, beguiling performances...\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Stephen Whittington\u003c\/p\u003e\n\u003cp\u003eLabel : de la Catessen\u003c\/p\u003e\n\u003cp\u003ecat no : DLC003\u003c\/p\u003e"}
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オーストラリア・アデレイドの実験音楽家Stephen Whittingtonが、2021年にアデレイドの実験レーベルde la Catessenからリリースしたレコードです。 ミニマルなピアノ独奏12曲を収録。廃盤です。 レーベルその他作品はこちら /// Click here to see more de la Catessen releases available...
¥3,990
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{"id":9017164300538,"title":"Tristan Louth-Robins \/\/ Borrowed Out Of Time LP","handle":"tristan-louth-robins-borrowed-out-of-time-lp","description":"\u003cp\u003eオーストラリア・アデレイドの実験音楽家Tristan Louth-Robinsが、2024年11月にアデレイドの実験レーベルde la Catessenから150部限定でリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003e物音ドローン4曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2054770455\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/delaca\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/delaca\"\u003ehere\u003c\/a\u003e to see more de la Catessen releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e----------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl.\u003cbr\u003eEdition of 150. \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Conjuring 03:04\u003cbr\u003e2. Memento Trails 14:31\u003cbr\u003e3. Sunken Lodestone 14:40\u003cbr\u003e4. Eternal Exposure 04:04\u003cbr\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\"\u003eText excerpt by Jon Dale, via the label\u003c\/span\u003e\u003cspan\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"...\u003c\/em\u003e\u003cem\u003eTristan is one of those consistent presences within Adelaide’s network of experimental musicians, sound artists, and general refuseniks. I remember him always being around, but at a remove from the circles I was in, and he seemed, at the time, aligned more with sound art and conservatorium practices, though that was a reductive understanding of the complexity of Tristan’s thinking, even two decades ago. It’s been lovely to catch up with his music on Borrowed Out Of Time and get to grips with both the eloquence of the compositional\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e approaches he’s arrived at here, and the sensitivity of his listening and recording; even in MP3 form, this is a lovely record to listen to.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe album itself started with Tristan’s use of remote acoustic recorders. Deploying them to a reef at low tide, near his hometown in Normanville, he found himself empathising with these lonely, passive technological presences: “It was the first time I could remember a profound pang of something for what the technology was experiencing, sensing and ‘feeling'.” A loosely contemporaneous encounter with James Bridie’s Ways Of Being and the concept of unwelt (“the way non-human things sense and experience the world around them”), plus a commission for an installation work for Adelaide Festival’s Neoterica, nudged Tristan further in the album’s direction, thinking through ideas of the uncanny\/unheimlich and interference.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIf that material, plus other recordings sourced from those acoustic recorders, proffers the groundwork for Borrowed Out Of Time, Tristan’s embellishments and extrapolations in his home studio bring other voices to bear – a Tama acoustic guitar; tape hiss; digital noise; cymbals; fence wire; ring modulation; yet more – producing a suite of four works that strike as gently poignant, even as they deal with source material that is sometimes disembodied, denaturalised, or rendered adrift through processes of compositional dislocation. Reflecting on his ways of making, Tristan mentions, “A lot of my compositional process nowadays errs on the side of being very tactile,” and you can definitely hear that in Borrowed Out Of Time, alongside a spatialised dimension to the material that is maybe drawn from other studio practices – “I frequently spread sounds out in the space using many loudspeakers of different sizes, so I can move these around and treat them by covering them with bowls, turning them upside down, or placing them under or within resonant vessels.”\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThroughout, I hear a cussed curiosity and a sharpness in attention, coupled with a compositional ear that’s hitherto been mostly implied; now, though, Tristan’s music has achieved an easeful poetics that has no need to ask you to be enamoured of it. It’s simply there, smartly designed, inviting even at its most austere, ready to welcome you to its world, on its own terms, but with warmth and understated wit.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Tristan Louth-Robins\u003c\/p\u003e\n\u003cp\u003eLabel : de la Catessen\u003c\/p\u003e\n\u003cp\u003ecat no : DLC017\u003c\/p\u003e","published_at":"2025-12-01T12:08:52+09:00","created_at":"2025-12-01T12:07:16+09:00","vendor":"Tobira Records","type":"","tags":["de la catessen","drone","lp","monooto","new"],"price":399000,"price_min":399000,"price_max":399000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":48048813768954,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Tristan Louth-Robins \/\/ Borrowed Out Of Time LP","public_title":null,"options":["Default Title"],"price":399000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/bo1_1b418853-4a23-44f6-b32e-a9cad81c21da.jpg?v=1747627961","\/\/tobirarecords.com\/cdn\/shop\/files\/bo2_e539fa8a-25d0-497a-9d0b-d334925ea08c.jpg?v=1747627961"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo1_1b418853-4a23-44f6-b32e-a9cad81c21da.jpg?v=1747627961","options":["Title"],"media":[{"alt":null,"id":36052063158522,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo1_1b418853-4a23-44f6-b32e-a9cad81c21da.jpg?v=1747627961"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo1_1b418853-4a23-44f6-b32e-a9cad81c21da.jpg?v=1747627961","width":700},{"alt":null,"id":36052063191290,"position":2,"preview_image":{"aspect_ratio":1.412,"height":850,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo2_e539fa8a-25d0-497a-9d0b-d334925ea08c.jpg?v=1747627961"},"aspect_ratio":1.412,"height":850,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo2_e539fa8a-25d0-497a-9d0b-d334925ea08c.jpg?v=1747627961","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eオーストラリア・アデレイドの実験音楽家Tristan Louth-Robinsが、2024年11月にアデレイドの実験レーベルde la Catessenから150部限定でリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003e物音ドローン4曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2054770455\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/delaca\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/delaca\"\u003ehere\u003c\/a\u003e to see more de la Catessen releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e----------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl.\u003cbr\u003eEdition of 150. \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Conjuring 03:04\u003cbr\u003e2. Memento Trails 14:31\u003cbr\u003e3. Sunken Lodestone 14:40\u003cbr\u003e4. Eternal Exposure 04:04\u003cbr\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\"\u003eText excerpt by Jon Dale, via the label\u003c\/span\u003e\u003cspan\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"...\u003c\/em\u003e\u003cem\u003eTristan is one of those consistent presences within Adelaide’s network of experimental musicians, sound artists, and general refuseniks. I remember him always being around, but at a remove from the circles I was in, and he seemed, at the time, aligned more with sound art and conservatorium practices, though that was a reductive understanding of the complexity of Tristan’s thinking, even two decades ago. It’s been lovely to catch up with his music on Borrowed Out Of Time and get to grips with both the eloquence of the compositional\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e approaches he’s arrived at here, and the sensitivity of his listening and recording; even in MP3 form, this is a lovely record to listen to.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe album itself started with Tristan’s use of remote acoustic recorders. Deploying them to a reef at low tide, near his hometown in Normanville, he found himself empathising with these lonely, passive technological presences: “It was the first time I could remember a profound pang of something for what the technology was experiencing, sensing and ‘feeling'.” A loosely contemporaneous encounter with James Bridie’s Ways Of Being and the concept of unwelt (“the way non-human things sense and experience the world around them”), plus a commission for an installation work for Adelaide Festival’s Neoterica, nudged Tristan further in the album’s direction, thinking through ideas of the uncanny\/unheimlich and interference.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIf that material, plus other recordings sourced from those acoustic recorders, proffers the groundwork for Borrowed Out Of Time, Tristan’s embellishments and extrapolations in his home studio bring other voices to bear – a Tama acoustic guitar; tape hiss; digital noise; cymbals; fence wire; ring modulation; yet more – producing a suite of four works that strike as gently poignant, even as they deal with source material that is sometimes disembodied, denaturalised, or rendered adrift through processes of compositional dislocation. Reflecting on his ways of making, Tristan mentions, “A lot of my compositional process nowadays errs on the side of being very tactile,” and you can definitely hear that in Borrowed Out Of Time, alongside a spatialised dimension to the material that is maybe drawn from other studio practices – “I frequently spread sounds out in the space using many loudspeakers of different sizes, so I can move these around and treat them by covering them with bowls, turning them upside down, or placing them under or within resonant vessels.”\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThroughout, I hear a cussed curiosity and a sharpness in attention, coupled with a compositional ear that’s hitherto been mostly implied; now, though, Tristan’s music has achieved an easeful poetics that has no need to ask you to be enamoured of it. It’s simply there, smartly designed, inviting even at its most austere, ready to welcome you to its world, on its own terms, but with warmth and understated wit.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Tristan Louth-Robins\u003c\/p\u003e\n\u003cp\u003eLabel : de la Catessen\u003c\/p\u003e\n\u003cp\u003ecat no : DLC017\u003c\/p\u003e"}
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オーストラリア・アデレイドの実験音楽家Tristan Louth-Robinsが、2024年11月にアデレイドの実験レーベルde la Catessenから150部限定でリリースしたレコードです。 物音ドローン4曲を収録。 ※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ レーベルその他作品はこちら /// Click here to see more de la Catessen releases...
¥3,990