STRING // Last Index Of... 2x12" / TAPE

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イギリスのZaheer Gulamhusein aka XvarrとアメリカのGeorgia aka Justin Trippエレクトロニック作家2名によるデュオSTRINGが、2022年にハンブルクの実験／ダンスレーベルVISからリリースしたアルバムです。

スペーシーなエレクトロニック・ダークアンビエント〜アンビエント・テクノ8曲を収録。DLコード付属。

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

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

Available as 2x12" black vinyl or cassette.
LP edition of 200. Includes DL code.

Tracklist:

Phase Transition 04:39
Age Of Tide 05:41
World Line 06:16
Plus Operator 05:52
Degrees Of Freedom 04:11
Fringe 04:43
Kepler Mire 06:04
From The End To The Beginning 04:50

Artist : STRING

Label : V I S

Quantity

+ -

スペーシーなエレクトロニック・ダークアンビエント〜アンビエント・テクノ8曲を収録。DLコード付属。

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

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

Available as 2x12" black vinyl or cassette.
LP edition of 200. Includes DL code.

Tracklist:

Phase Transition 04:39
Age Of Tide 05:41
World Line 06:16
Plus Operator 05:52
Degrees Of Freedom 04:11
Fringe 04:43
Kepler Mire 06:04
From The End To The Beginning 04:50

Artist : STRING

Label : V I S

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Friendsが、2025年8月に同国シカゴの老舗ジャズレーベルInternational Anthemからリリースした共作2枚組レコードです。\u003c\/p\u003e\n\u003cp\u003eアンビエント・ジャズ〜スポークンワード5曲を収録。森林カラー盤です。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源をご希望の場合はお気軽にご連絡をお願いいたします\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"2024年12月18日、ロサンゼルスのコールドウォーター・キャニオン公園で、Saul Williams, Carlos Niño \u0026amp; Friendsとともにオークとブラックウォールナットの木の下で行われたサウンドセレモニー。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eリビング・アースのノア・クラインが企画し、自然保護団体TreePeopleの敷地内で行われたこのパフォーマンスは、長年の友人でありコラボレーターでもあるWilliamsとNiñoにとって初めての試みだった。ふたりは1997年以来連絡を取り合っており、さまざまなプロジェクトに一緒に取り組んできたが、このような形で発表することに心を動かされたことはなかった。この日のためにNiñoはアンサンブルを組み、ネイト・マーセロー（ギター・シンセサイザー、ミディ・ギターによるライブ・サンプリング、サンプル・ソース）、アーロン・ショウ（フルート、ソプラノ・サックス、ペダルスチール、テナー・サックス）、アンドレス・レンテリア（ベル、コンガ、エジプシャン・ラトル・ドラム、ハンド・ドラム、パーカッション）、マイア（フルート、ヴィブラフォン、ヴォイス）、フランチェスカ・ハート（コンピューター、コンク・シェル、サウンド・デザイン）、カマシ・ワシントン（テナー・サックス）が参加した。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSaul Williamsのインスピレーションに満ちた詩学は、Carlos Niño \u0026amp; Friendsが創り出すエレクトロ・アコースティックのエコシステムにシームレスにフィットし、千里眼のように導く。Williamsとだけでなく、Niñoとレンテリアの相互パーカッションの対話、ワシントンとショーの世代を超えた木管の対位法、ハートのデジタル・デザインと空中共鳴するマイアのヴィブラフォンのホバリング・ハーモニクス。ハートのサウンドはまた、シンセ・ギタリストのネイト・マーセローの美しいアナログでもある。彼のライブ・サンプリングとマニピュレーション・テクニックは、一瞬の音の存在をリアルタイムで音楽的構造に変える。この星座の次元をさらに深めているのは、メルセローとNiñoは、何十もの強力なコラボレーションを生み出してきた共通の音楽的シンパシーを数年前から持っていることで、このレコーディングにおける彼らの特別な相互作用は、微妙で暗黙的であると同時に、スピリチュアルで超越的なものとなっている。そしてもうひとつ、注目すべきつながりがある。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eセットの後半、Williamsは、オランダ東インド貿易会社、マナハッタ島の先住民レナペ族、ウォール街の起源、そして帝国の終焉への祈りについての考察を延々と語りながら、アンサンブルの壮大なクレッシェンドを煽る。Williamsが詩人のアジャ・モネにバトンタッチし、彼女のノートから「The Water Is Rising 」という黙示録的な詩を朗読する。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eモネが詩を読み終えて身を引くと、Williamsは彼女の不吉な言葉に続いて、厳粛に希望に満ちた言葉を返す。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3100501460\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; 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The two have been in contact since 1997 and have worked on a variety of projects together, but had never been moved to present in this way. For the occasion, Niño assembled and directed an ensemble of frequent collaborators including Nate Mercereau (Guitar Synthesizer, Live Sampling with Midi Guitar, Sample Sources), Aaron Shaw (Flute, Soprano Saxophone with Pedals, Tenor Saxophone), Andres Renteria (Bells, Congas, Egyptian Rattle Drum, Hand Drums, Percussion), Maia (Flute, Vibraphone, Voice), Francesca Heart (Computer, Conch Shell, Sound Design), and Kamasi Washington (Tenor Saxophone).\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWilliams’ inspired poetics both fit seamlessly and guide clairvoyantly the electro-acoustic ecosystem created by Niño \u0026amp;\u003cspan class=\"bcTruncateMore\"\u003e Friends – a constellation of deep connections and intersecting linkups from complementary sound makers. There’s the dialogue between not just Niño \u0026amp; Williams but Niño and Renteria’s reciprocal percussions; the intergenerational woodwind counterpoint between Washington and Shaw; the hovering harmonics of Maia’s vibraphone in aerial resonance with Heart’s digital designs. Heart’s sounds also make a beautiful analogue to synth-guitarist Nate Mercereau, whose live sampling and manipulation techniques turn fleeting moments of sonic presence into musical architecture in real time. Deepening the dimensionality of this constellation, Mercereau and Niño are several years into a shared musical simpatico that has yielded dozens of powerful collaborations, making their particular interaction on this recording as spiritual and transcendent as it is subtle and implicit. 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※8/28リリースですアメリカのラッパーSaul Williamsと当店おなじみCarlos Niño & Friendsが、2025年8月に同国シカゴの老舗ジャズレーベルInternational Anthemからリリースした共作2枚組レコードです。アンビエント・ジャズ〜スポークンワード5曲を収録。森林カラー盤です。 ※デジタル音源をご希望の場合はお気軽にご連絡をお願いいたします "2024年12月18日、ロサンゼルスのコールドウォーター・キャニオン公園で、Saul Williams, Carlos Niño &...

¥5,690

Saul Williams, Carlos Niño & Friends // Saul Williams meets Carlos Niño & Friends at TreePeople 2xLP

Quickview {"id":8873678373114,"title":"Saul Williams, Carlos Niño \u0026 Friends \/\/ Saul Williams meets Carlos Niño \u0026 Friends at TreePeople 2xLP","handle":"saul-williams-carlos-nino-friends-saul-williams-meets-carlos-nino-friends-at-treepeople-2xlp","description":"\u003ch2\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e※8\/28リリースです\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003eアメリカのラッパーSaul Williamsと当店おなじみCarlos Niño \u0026amp; Friendsが、2025年8月に同国シカゴの老舗ジャズレーベルInternational Anthemからリリースした共作2枚組レコードです。\u003c\/p\u003e\n\u003cp\u003eアンビエント・ジャズ〜スポークンワード5曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源をご希望の場合はお気軽にご連絡をお願いいたします\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"2024年12月18日、ロサンゼルスのコールドウォーター・キャニオン公園で、Saul Williams, Carlos Niño \u0026amp; Friendsとともにオークとブラックウォールナットの木の下で行われたサウンドセレモニー。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eリビング・アースのノア・クラインが企画し、自然保護団体TreePeopleの敷地内で行われたこのパフォーマンスは、長年の友人でありコラボレーターでもあるWilliamsとNiñoにとって初めての試みだった。ふたりは1997年以来連絡を取り合っており、さまざまなプロジェクトに一緒に取り組んできたが、このような形で発表することに心を動かされたことはなかった。この日のためにNiñoはアンサンブルを組み、ネイト・マーセロー（ギター・シンセサイザー、ミディ・ギターによるライブ・サンプリング、サンプル・ソース）、アーロン・ショウ（フルート、ソプラノ・サックス、ペダルスチール、テナー・サックス）、アンドレス・レンテリア（ベル、コンガ、エジプシャン・ラトル・ドラム、ハンド・ドラム、パーカッション）、マイア（フルート、ヴィブラフォン、ヴォイス）、フランチェスカ・ハート（コンピューター、コンク・シェル、サウンド・デザイン）、カマシ・ワシントン（テナー・サックス）が参加した。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSaul Williamsのインスピレーションに満ちた詩学は、Carlos Niño \u0026amp; Friendsが創り出すエレクトロ・アコースティックのエコシステムにシームレスにフィットし、千里眼のように導く。Williamsとだけでなく、Niñoとレンテリアの相互パーカッションの対話、ワシントンとショーの世代を超えた木管の対位法、ハートのデジタル・デザインと空中共鳴するマイアのヴィブラフォンのホバリング・ハーモニクス。ハートのサウンドはまた、シンセ・ギタリストのネイト・マーセローの美しいアナログでもある。彼のライブ・サンプリングとマニピュレーション・テクニックは、一瞬の音の存在をリアルタイムで音楽的構造に変える。この星座の次元をさらに深めているのは、メルセローとNiñoは、何十もの強力なコラボレーションを生み出してきた共通の音楽的シンパシーを数年前から持っていることで、このレコーディングにおける彼らの特別な相互作用は、微妙で暗黙的であると同時に、スピリチュアルで超越的なものとなっている。そしてもうひとつ、注目すべきつながりがある。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eセットの後半、Williamsは、オランダ東インド貿易会社、マナハッタ島の先住民レナペ族、ウォール街の起源、そして帝国の終焉への祈りについての考察を延々と語りながら、アンサンブルの壮大なクレッシェンドを煽る。Williamsが詩人のアジャ・モネにバトンタッチし、彼女のノートから「The Water Is Rising 」という黙示録的な詩を朗読する。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eモネが詩を読み終えて身を引くと、Williamsは彼女の不吉な言葉に続いて、厳粛に希望に満ちた言葉を返す。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3100501460\/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\/inan\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/inan\"\u003ehere\u003c\/a\u003e to see more International Anthem releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRELEASE DATE: 28th August 2025 \u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eAsk us for digital files. \u003cbr\u003e2 x 12\" black vinyl.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Sound then Words 16:03\u003cbr\u003e2. We would lift our Voice . . .\u003cbr\u003e3. We are calling out in this moment . . .\u003cbr\u003e4. The Water is Rising \/ as we surpass the firing squad . . . (with Aja Monet)\u003cbr\u003e5. We have work to do . . . (speaking after the concert)\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eInternational Anthem:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAn unadulterated opening statement intoned by Saul Williams three times, as he joins Carlos Niño \u0026amp; Friends in sound ceremony underneath oak and black walnut trees in Coldwater Canyon Park, Los Angeles, on December 18, 2024.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe performance, which was organized by Noah Klein of Living Earth on the grounds of longstanding conservationist organization TreePeople, was the first of its kind for longtime friends and collaborators Williams and Niño. The two have been in contact since 1997 and have worked on a variety of projects together, but had never been moved to present in this way. For the occasion, Niño assembled and directed an ensemble of frequent collaborators including Nate Mercereau (Guitar Synthesizer, Live Sampling with Midi Guitar, Sample Sources), Aaron Shaw (Flute, Soprano Saxophone with Pedals, Tenor Saxophone), Andres Renteria (Bells, Congas, Egyptian Rattle Drum, Hand Drums, Percussion), Maia (Flute, Vibraphone, Voice), Francesca Heart (Computer, Conch Shell, Sound Design), and Kamasi Washington (Tenor Saxophone).\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWilliams’ inspired poetics both fit seamlessly and guide clairvoyantly the electro-acoustic ecosystem created by Niño \u0026amp;\u003cspan class=\"bcTruncateMore\"\u003e Friends – a constellation of deep connections and intersecting linkups from complementary sound makers. There’s the dialogue between not just Niño \u0026amp; Williams but Niño and Renteria’s reciprocal percussions; the intergenerational woodwind counterpoint between Washington and Shaw; the hovering harmonics of Maia’s vibraphone in aerial resonance with Heart’s digital designs. Heart’s sounds also make a beautiful analogue to synth-guitarist Nate Mercereau, whose live sampling and manipulation techniques turn fleeting moments of sonic presence into musical architecture in real time. Deepening the dimensionality of this constellation, Mercereau and Niño are several years into a shared musical simpatico that has yielded dozens of powerful collaborations, making their particular interaction on this recording as spiritual and transcendent as it is subtle and implicit. And there is yet another connection to be highlighted still.\u003cbr\u003e\u003cbr\u003eLate in the set, Williams shares an extended reflection on the Dutch East India Trade Company, the indigenous Lenape people on the island of Manahatta, the origins of Wall Street, and a prayer for the end of empire as he incites an epic crescendo from the ensemble, swirling behind the twin winds of Shaw and Washington, spirited by his repeated call “I’ve seen enough.” The smoke has only begun to clear from this emotional apex as Williams passes the torch to poet Aja Monet, who arrests the atmosphere with a soft apocalyptic reading of a piece from her notebook, “The Water Is Rising.”\u003cbr\u003e\u003cbr\u003eAs Monet finishes her poem and steps aside, Williams follows her foreboding words with a solemnly hopeful return – closing the ceremony with a parable about a firing squad, where one member's dilemma is a \"system of belief\" allowing for humanity in the heart of an oppressor.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Saul Williams, Carlos Niño \u0026amp; Friends\u003c\/p\u003e\n\u003cp\u003eLabel : International Anthem\u003c\/p\u003e\n\u003cp\u003ecat no : IARC0102\u003c\/p\u003e","published_at":"2025-07-31T16:55:04+09:00","created_at":"2025-07-31T16:02:11+09:00","vendor":"Tobira Records","type":"","tags":["ambient","contemporary \/ sound poetry","international anthem","jazz","lp","new","recommended"],"price":545000,"price_min":545000,"price_max":545000,"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":47566758510842,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Saul Williams, Carlos Niño \u0026 Friends \/\/ Saul Williams meets Carlos Niño \u0026 Friends at TreePeople 2xLP","public_title":null,"options":["Default Title"],"price":545000,"weight":630,"compare_at_price":null,"inventory_management":"shopify","barcode":"634457216686","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/will1_202ed7fd-08d3-4fd1-9fee-15af04beb8e2.jpg?v=1753945219","\/\/tobirarecords.com\/cdn\/shop\/files\/will2_9a043076-521b-4f50-905f-9db35e8eb0ab.jpg?v=1753945219"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/will1_202ed7fd-08d3-4fd1-9fee-15af04beb8e2.jpg?v=1753945219","options":["Title"],"media":[{"alt":null,"id":36458580410618,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/will1_202ed7fd-08d3-4fd1-9fee-15af04beb8e2.jpg?v=1753945219"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/will1_202ed7fd-08d3-4fd1-9fee-15af04beb8e2.jpg?v=1753945219","width":700},{"alt":null,"id":36458580443386,"position":2,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/will2_9a043076-521b-4f50-905f-9db35e8eb0ab.jpg?v=1753945219"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/will2_9a043076-521b-4f50-905f-9db35e8eb0ab.jpg?v=1753945219","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003ch2\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e※8\/28リリースです\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003eアメリカのラッパーSaul Williamsと当店おなじみCarlos Niño \u0026amp; Friendsが、2025年8月に同国シカゴの老舗ジャズレーベルInternational Anthemからリリースした共作2枚組レコードです。\u003c\/p\u003e\n\u003cp\u003eアンビエント・ジャズ〜スポークンワード5曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源をご希望の場合はお気軽にご連絡をお願いいたします\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"2024年12月18日、ロサンゼルスのコールドウォーター・キャニオン公園で、Saul Williams, Carlos Niño \u0026amp; Friendsとともにオークとブラックウォールナットの木の下で行われたサウンドセレモニー。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eリビング・アースのノア・クラインが企画し、自然保護団体TreePeopleの敷地内で行われたこのパフォーマンスは、長年の友人でありコラボレーターでもあるWilliamsとNiñoにとって初めての試みだった。ふたりは1997年以来連絡を取り合っており、さまざまなプロジェクトに一緒に取り組んできたが、このような形で発表することに心を動かされたことはなかった。この日のためにNiñoはアンサンブルを組み、ネイト・マーセロー（ギター・シンセサイザー、ミディ・ギターによるライブ・サンプリング、サンプル・ソース）、アーロン・ショウ（フルート、ソプラノ・サックス、ペダルスチール、テナー・サックス）、アンドレス・レンテリア（ベル、コンガ、エジプシャン・ラトル・ドラム、ハンド・ドラム、パーカッション）、マイア（フルート、ヴィブラフォン、ヴォイス）、フランチェスカ・ハート（コンピューター、コンク・シェル、サウンド・デザイン）、カマシ・ワシントン（テナー・サックス）が参加した。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSaul Williamsのインスピレーションに満ちた詩学は、Carlos Niño \u0026amp; Friendsが創り出すエレクトロ・アコースティックのエコシステムにシームレスにフィットし、千里眼のように導く。Williamsとだけでなく、Niñoとレンテリアの相互パーカッションの対話、ワシントンとショーの世代を超えた木管の対位法、ハートのデジタル・デザインと空中共鳴するマイアのヴィブラフォンのホバリング・ハーモニクス。ハートのサウンドはまた、シンセ・ギタリストのネイト・マーセローの美しいアナログでもある。彼のライブ・サンプリングとマニピュレーション・テクニックは、一瞬の音の存在をリアルタイムで音楽的構造に変える。この星座の次元をさらに深めているのは、メルセローとNiñoは、何十もの強力なコラボレーションを生み出してきた共通の音楽的シンパシーを数年前から持っていることで、このレコーディングにおける彼らの特別な相互作用は、微妙で暗黙的であると同時に、スピリチュアルで超越的なものとなっている。そしてもうひとつ、注目すべきつながりがある。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eセットの後半、Williamsは、オランダ東インド貿易会社、マナハッタ島の先住民レナペ族、ウォール街の起源、そして帝国の終焉への祈りについての考察を延々と語りながら、アンサンブルの壮大なクレッシェンドを煽る。Williamsが詩人のアジャ・モネにバトンタッチし、彼女のノートから「The Water Is Rising 」という黙示録的な詩を朗読する。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eモネが詩を読み終えて身を引くと、Williamsは彼女の不吉な言葉に続いて、厳粛に希望に満ちた言葉を返す。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3100501460\/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\/inan\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/inan\"\u003ehere\u003c\/a\u003e to see more International Anthem releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRELEASE DATE: 28th August 2025 \u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003eAsk us for digital files. \u003cbr\u003e2 x 12\" black vinyl.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Sound then Words 16:03\u003cbr\u003e2. We would lift our Voice . . .\u003cbr\u003e3. We are calling out in this moment . . .\u003cbr\u003e4. The Water is Rising \/ as we surpass the firing squad . . . (with Aja Monet)\u003cbr\u003e5. We have work to do . . . (speaking after the concert)\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eInternational Anthem:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAn unadulterated opening statement intoned by Saul Williams three times, as he joins Carlos Niño \u0026amp; Friends in sound ceremony underneath oak and black walnut trees in Coldwater Canyon Park, Los Angeles, on December 18, 2024.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe performance, which was organized by Noah Klein of Living Earth on the grounds of longstanding conservationist organization TreePeople, was the first of its kind for longtime friends and collaborators Williams and Niño. The two have been in contact since 1997 and have worked on a variety of projects together, but had never been moved to present in this way. For the occasion, Niño assembled and directed an ensemble of frequent collaborators including Nate Mercereau (Guitar Synthesizer, Live Sampling with Midi Guitar, Sample Sources), Aaron Shaw (Flute, Soprano Saxophone with Pedals, Tenor Saxophone), Andres Renteria (Bells, Congas, Egyptian Rattle Drum, Hand Drums, Percussion), Maia (Flute, Vibraphone, Voice), Francesca Heart (Computer, Conch Shell, Sound Design), and Kamasi Washington (Tenor Saxophone).\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWilliams’ inspired poetics both fit seamlessly and guide clairvoyantly the electro-acoustic ecosystem created by Niño \u0026amp;\u003cspan class=\"bcTruncateMore\"\u003e Friends – a constellation of deep connections and intersecting linkups from complementary sound makers. There’s the dialogue between not just Niño \u0026amp; Williams but Niño and Renteria’s reciprocal percussions; the intergenerational woodwind counterpoint between Washington and Shaw; the hovering harmonics of Maia’s vibraphone in aerial resonance with Heart’s digital designs. Heart’s sounds also make a beautiful analogue to synth-guitarist Nate Mercereau, whose live sampling and manipulation techniques turn fleeting moments of sonic presence into musical architecture in real time. Deepening the dimensionality of this constellation, Mercereau and Niño are several years into a shared musical simpatico that has yielded dozens of powerful collaborations, making their particular interaction on this recording as spiritual and transcendent as it is subtle and implicit. And there is yet another connection to be highlighted still.\u003cbr\u003e\u003cbr\u003eLate in the set, Williams shares an extended reflection on the Dutch East India Trade Company, the indigenous Lenape people on the island of Manahatta, the origins of Wall Street, and a prayer for the end of empire as he incites an epic crescendo from the ensemble, swirling behind the twin winds of Shaw and Washington, spirited by his repeated call “I’ve seen enough.” The smoke has only begun to clear from this emotional apex as Williams passes the torch to poet Aja Monet, who arrests the atmosphere with a soft apocalyptic reading of a piece from her notebook, “The Water Is Rising.”\u003cbr\u003e\u003cbr\u003eAs Monet finishes her poem and steps aside, Williams follows her foreboding words with a solemnly hopeful return – closing the ceremony with a parable about a firing squad, where one member's dilemma is a \"system of belief\" allowing for humanity in the heart of an oppressor.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Saul Williams, Carlos Niño \u0026amp; Friends\u003c\/p\u003e\n\u003cp\u003eLabel : International Anthem\u003c\/p\u003e\n\u003cp\u003ecat no : IARC0102\u003c\/p\u003e"}

Leaving Recordsなどから大量に発表しているアメリカ・LAのマルチ奏者Carlos Niñoが、2021年5月に同国International Anthemからリリースしたレコードです。 Sam GendalやLaraajiといったLeavingでもおなじみの作家たちと共作したアンビエント・ジャズ10曲を収録。Core Feelingsカラー盤です。 ※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 International Anthem...

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Quickview {"id":8873444901114,"title":"Jeff Parker \/\/ Forfolks CD","handle":"jeff-parker-forfolks-cd","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eTortoiseギタリストとしても活動していたアメリカのジャズギタリストJeff Parkerが、2021年12月にInternational Anthemからリリースしたアルバム\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eギターをメインソースとしたジャズ〜アンビエント・ジャズ8曲を収録。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1759480046\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/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\/inan\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/inan\"\u003ehere\u003c\/a\u003e to see more International Anthem releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eAlbum liner notes by Matthew Lux:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cem\u003eYears ago when Jeff and I were in a band together, I always insisted that our records could not have any liner notes. I was enthralled with the idea that imparting any information beyond the music itself was heresy. As if whatever the sound didn't convey needed to be left to the listener. Somehow, I was able to hold this opinion while simultaneously voraciously consuming every record jacket, CD cover, cassette J card and whatever else I could get my hands on regarding any music that interested me. Many years and finally the making of my own album forced me to confront my cognitive dissonance and recognize context can help the audience find their place in the art that they enjoy. That context is especially necessary when the artist is as under-appreciated yet influential as Jeff Parker.\u003c\/em\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWhen I met Jeff, he was the first adult (24 years old to my 18) whose musical taste was as broad as mine and my friends. He liked Eric Dolphy, De La Soul, ‘70s Miles, and Donny Hathaway. We first played together in the living room of my parents’ apartment. We agreed to each bring a friend to round out a group. He brought the amazing and criminally under-represented Sara P. Smith on trombone, and I brought my high school band mate Chad Taylor on drums. Chad\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e and I were certainly outclassed that day, but nevertheless we all became fast friends. A few weeks later, at our regular jam session at the Bop Shop, I told my girlfriend (now wife) to pay attention to Jeff. \"He's going to be important,\" I said.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe Chicago that Parker had moved to was ripe with young musicians eager to push at the boundaries. There weren't many venues catering to these new attempts at mixing things up, but slowly a number of great bands coalesced out of a group of like-minded friends, mixing everyone's backgrounds whether punk, disco, jazz or whatever. I clearly remember going to see New Horizons Ensemble at the Hothouse with Jeff, then a few weeks later going to the Empty Bottle to see Tortoise. Within months he'd be in both those bands. He was instrumental in forging a link between players with different styles that helped define the sound of creative music in ‘90s Chicago.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIt's a particular thing to hear Jeff play solo. He is an unusually selfless improviser, often times laying out and highlighting the contributions of his band mates. He's never been one to play three notes where none would suffice. On this recording however he is by himself, joined only by his own ideas, looped or frozen, to flesh out the music he's creating in his mind. Hearing him craft entire sound worlds on these eight selections gives us an opportunity to really see how Parker orders sound.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHe has been ordering sound with an amazingly diverse array of artists and collaborators for the past three decades. While it's common for a professional musician to be versed in many styles, that normally means a succession of genre tropes deployed to ensure the listener knows exactly where they are and what's supposed to be happening. A guitarist, for example, might play a Nile Rogers type rhythm on Disco or Funk, a favorite B.B. King lick on a blues or a Wes Montgomery phrase over a standard. Parker rarely does anything this overt. While perfectly capable (Once, in the studio, at the behest of a musician we were working with, I heard him take a solo that could have been an outtake from a Steely Dan album), he eschews genre playing and chooses a painterly approach to coloring the music, maintaining a deeply personal voice without weighing down the music with obvious stylistic maneuverings. His unique approach fits so well into so many contexts precisely because SOUND is his main focus and concern. One can clearly hear the breadth of Black Music in Parker’s playing. He is part of a continuum of musicians extending back to antiquity.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe structures here challenge our preconceptions of background and foreground. ALL the layers are primary. We are presented with fully integrated sonic developments rather than accompaniment, melody, or \"soloing\". Often times a solo album is an excuse for an artist to display their virtuosity. The idea being, possibly, that unencumbered by other musicians, the soloist is free to ride off on flights of fancy. But a career spent in the practice of subtlety is thankfully apparent in every song here. On Forfolks, a standard of the Great American Songbook fits comfortably next to multi-layered improvisations, a Thelonious Monk tune, and several compositions of Parker’s own, dating back twenty-five years.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMonk, I find to be an apt comparison. Both men were deeply involved in some of the most progressive musical movements of their respective generations, neither gaining much renown at the time, but both kept on doing things in their own quietly iconoclastic ways until the world caught up with them some twenty years later. I was fortunate enough to recognize the first time I heard Jeff Parker thirty years ago that I was witnessing something very special.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Jeff Parker\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eInternational Anthem\u003c\/span\u003e\u003c\/p\u003e","published_at":"2025-07-31T07:22:45+09:00","created_at":"2025-07-31T07:20:48+09:00","vendor":"Tobira Records","type":"","tags":["ambient","cd","international anthem","jazz","new"],"price":276000,"price_min":276000,"price_max":276000,"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":47565795328250,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Jeff Parker \/\/ Forfolks CD","public_title":null,"options":["Default Title"],"price":276000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"075597912135","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/fo.jpg?v=1642993064","\/\/tobirarecords.com\/cdn\/shop\/products\/go3.jpg?v=1642993097"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/fo.jpg?v=1642993064","options":["Title"],"media":[{"alt":null,"id":29050072039674,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/fo.jpg?v=1642993064"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/fo.jpg?v=1642993064","width":700},{"alt":null,"id":29050073055482,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/go3.jpg?v=1642993097"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/go3.jpg?v=1642993097","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff2a00;\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eTortoiseギタリストとしても活動していたアメリカのジャズギタリストJeff Parkerが、2021年12月にInternational Anthemからリリースしたアルバム\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eギターをメインソースとしたジャズ〜アンビエント・ジャズ8曲を収録。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1759480046\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/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\/inan\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/inan\"\u003ehere\u003c\/a\u003e to see more International Anthem releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eAlbum liner notes by Matthew Lux:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cem\u003eYears ago when Jeff and I were in a band together, I always insisted that our records could not have any liner notes. I was enthralled with the idea that imparting any information beyond the music itself was heresy. As if whatever the sound didn't convey needed to be left to the listener. Somehow, I was able to hold this opinion while simultaneously voraciously consuming every record jacket, CD cover, cassette J card and whatever else I could get my hands on regarding any music that interested me. Many years and finally the making of my own album forced me to confront my cognitive dissonance and recognize context can help the audience find their place in the art that they enjoy. That context is especially necessary when the artist is as under-appreciated yet influential as Jeff Parker.\u003c\/em\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWhen I met Jeff, he was the first adult (24 years old to my 18) whose musical taste was as broad as mine and my friends. He liked Eric Dolphy, De La Soul, ‘70s Miles, and Donny Hathaway. We first played together in the living room of my parents’ apartment. We agreed to each bring a friend to round out a group. He brought the amazing and criminally under-represented Sara P. Smith on trombone, and I brought my high school band mate Chad Taylor on drums. Chad\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e and I were certainly outclassed that day, but nevertheless we all became fast friends. A few weeks later, at our regular jam session at the Bop Shop, I told my girlfriend (now wife) to pay attention to Jeff. \"He's going to be important,\" I said.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe Chicago that Parker had moved to was ripe with young musicians eager to push at the boundaries. There weren't many venues catering to these new attempts at mixing things up, but slowly a number of great bands coalesced out of a group of like-minded friends, mixing everyone's backgrounds whether punk, disco, jazz or whatever. I clearly remember going to see New Horizons Ensemble at the Hothouse with Jeff, then a few weeks later going to the Empty Bottle to see Tortoise. Within months he'd be in both those bands. He was instrumental in forging a link between players with different styles that helped define the sound of creative music in ‘90s Chicago.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIt's a particular thing to hear Jeff play solo. He is an unusually selfless improviser, often times laying out and highlighting the contributions of his band mates. He's never been one to play three notes where none would suffice. On this recording however he is by himself, joined only by his own ideas, looped or frozen, to flesh out the music he's creating in his mind. Hearing him craft entire sound worlds on these eight selections gives us an opportunity to really see how Parker orders sound.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHe has been ordering sound with an amazingly diverse array of artists and collaborators for the past three decades. While it's common for a professional musician to be versed in many styles, that normally means a succession of genre tropes deployed to ensure the listener knows exactly where they are and what's supposed to be happening. A guitarist, for example, might play a Nile Rogers type rhythm on Disco or Funk, a favorite B.B. King lick on a blues or a Wes Montgomery phrase over a standard. Parker rarely does anything this overt. While perfectly capable (Once, in the studio, at the behest of a musician we were working with, I heard him take a solo that could have been an outtake from a Steely Dan album), he eschews genre playing and chooses a painterly approach to coloring the music, maintaining a deeply personal voice without weighing down the music with obvious stylistic maneuverings. His unique approach fits so well into so many contexts precisely because SOUND is his main focus and concern. One can clearly hear the breadth of Black Music in Parker’s playing. He is part of a continuum of musicians extending back to antiquity.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe structures here challenge our preconceptions of background and foreground. ALL the layers are primary. We are presented with fully integrated sonic developments rather than accompaniment, melody, or \"soloing\". Often times a solo album is an excuse for an artist to display their virtuosity. The idea being, possibly, that unencumbered by other musicians, the soloist is free to ride off on flights of fancy. But a career spent in the practice of subtlety is thankfully apparent in every song here. On Forfolks, a standard of the Great American Songbook fits comfortably next to multi-layered improvisations, a Thelonious Monk tune, and several compositions of Parker’s own, dating back twenty-five years.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMonk, I find to be an apt comparison. Both men were deeply involved in some of the most progressive musical movements of their respective generations, neither gaining much renown at the time, but both kept on doing things in their own quietly iconoclastic ways until the world caught up with them some twenty years later. I was fortunate enough to recognize the first time I heard Jeff Parker thirty years ago that I was witnessing something very special.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Jeff Parker\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eInternational Anthem\u003c\/span\u003e\u003c\/p\u003e"}