contemporary / sound poetry
クイックビュー
{"id":7062746923173,"title":"Pamela Z \/\/ A Secret Code CD","handle":"pamela-z-a-secret-code-cd","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1338356602\/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\/neuma\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/neuma\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/neuma\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/neuma\"\u003ehere\u003c\/a\u003e to see more Neuma Records releases 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\"\u003eNeuma Records:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eEveryday experience is never far from Pamela Z’s musical world. Whether it be a typewriter, birdcall, checking in at the airport, or a mess on the street, her creatively quirky imagination transforms it into a moment of profound questioning and wonder. From sonic trifles to complex numbers, the works on A Secret Code – only her third solo album after Echolocation (1988), and A Delay is Better (2004) – span two decades of redefining song.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eAs fellow composer Annea Lockwood writes in the album notes, “I have long treasured Pamela Z’s work for its vigor, inexhaustible ideas, fluid intricacy of texture, and for its sheer joyousness. An infectious, often surreal humor runs through the whole album, brilliantly upending everyday experience. The letter she is typing disintegrates, flare stains on a road become animate, and in Unknown Person even the TSA’s mundane but weighted questions are subverted, and disintegrate in the hilarious list of packed garments and hopes which follows. Voice, the most intimate of instruments, is a shape-shifter in her hands, transformed by gestural control and electronics in her performances and mutating, time-stretched and compressed as Timepiece Triptych, and throughout her work, with a dazzling compositional virtuosity.”\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eIncluding works made for dance, for Kronos Quartet, as\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e well as for Z’s own live-sampled concert performance with bel canto, bubblewrap, and tuning fork options, A Secret Code is not as esoteric as it may sound. Besides, as the ever-philosophical TSA so often asks, “What is the purpose of your travel?”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSan Francisco-based composer\/performer and media artist Pamela Z works primarily with voice, live electronic processing, sampled sound, and video. A pioneer of live digital looping techniques, she processes her voice in real time to create dense, complex sonic layers. Her solo works combine experimental extended vocal techniques, operatic bel canto, found objects, text, digital processing, and wireless MIDI controllers that allow her to manipulate sound with physical gestures\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Pamela Z\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNeuma Records\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-09-24T17:39:38+09:00","created_at":"2021-09-24T15:46:12+09:00","vendor":"Tobira Records","type":"","tags":["cd","contemporary \/ sound poetry","neuma records"],"price":198000,"price_min":198000,"price_max":198000,"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":40868341055653,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Pamela Z \/\/ A Secret Code CD","public_title":null,"options":["Default Title"],"price":198000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/pa1_a31bdcb9-4a97-478f-84e7-a529b871a1e1.jpg?v=1632465974","\/\/tobirarecords.com\/cdn\/shop\/products\/pa2_4a20a8a8-9a77-4d49-a1a0-2ad35c5094a5.jpg?v=1632465974"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/pa1_a31bdcb9-4a97-478f-84e7-a529b871a1e1.jpg?v=1632465974","options":["Title"],"media":[{"alt":null,"id":23819387928741,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/pa1_a31bdcb9-4a97-478f-84e7-a529b871a1e1.jpg?v=1632465974"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/pa1_a31bdcb9-4a97-478f-84e7-a529b871a1e1.jpg?v=1632465974","width":700},{"alt":null,"id":23819387961509,"position":2,"preview_image":{"aspect_ratio":0.75,"height":1200,"width":900,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/pa2_4a20a8a8-9a77-4d49-a1a0-2ad35c5094a5.jpg?v=1632465974"},"aspect_ratio":0.75,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/pa2_4a20a8a8-9a77-4d49-a1a0-2ad35c5094a5.jpg?v=1632465974","width":900}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e \u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1338356602\/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\/neuma\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/neuma\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/neuma\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/neuma\"\u003ehere\u003c\/a\u003e to see more Neuma Records releases 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\"\u003eNeuma Records:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eEveryday experience is never far from Pamela Z’s musical world. Whether it be a typewriter, birdcall, checking in at the airport, or a mess on the street, her creatively quirky imagination transforms it into a moment of profound questioning and wonder. From sonic trifles to complex numbers, the works on A Secret Code – only her third solo album after Echolocation (1988), and A Delay is Better (2004) – span two decades of redefining song.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eAs fellow composer Annea Lockwood writes in the album notes, “I have long treasured Pamela Z’s work for its vigor, inexhaustible ideas, fluid intricacy of texture, and for its sheer joyousness. An infectious, often surreal humor runs through the whole album, brilliantly upending everyday experience. The letter she is typing disintegrates, flare stains on a road become animate, and in Unknown Person even the TSA’s mundane but weighted questions are subverted, and disintegrate in the hilarious list of packed garments and hopes which follows. Voice, the most intimate of instruments, is a shape-shifter in her hands, transformed by gestural control and electronics in her performances and mutating, time-stretched and compressed as Timepiece Triptych, and throughout her work, with a dazzling compositional virtuosity.”\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eIncluding works made for dance, for Kronos Quartet, as\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e well as for Z’s own live-sampled concert performance with bel canto, bubblewrap, and tuning fork options, A Secret Code is not as esoteric as it may sound. Besides, as the ever-philosophical TSA so often asks, “What is the purpose of your travel?”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSan Francisco-based composer\/performer and media artist Pamela Z works primarily with voice, live electronic processing, sampled sound, and video. A pioneer of live digital looping techniques, she processes her voice in real time to create dense, complex sonic layers. Her solo works combine experimental extended vocal techniques, operatic bel canto, found objects, text, digital processing, and wireless MIDI controllers that allow her to manipulate sound with physical gestures\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Pamela Z\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNeuma Records\u003c\/span\u003e\u003c\/p\u003e"}
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レーベルその他作品はこちら /// Click here to see more Neuma Records releases available at Tobira. -------------------------------- Text by Neuma...
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{"id":7062746136741,"title":"Juraj Kojs \/\/ Imagine CD","handle":"juraj-kojs-imagine-cd","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1966164947\/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\/neuma\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/neuma\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/neuma\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/neuma\"\u003ehere\u003c\/a\u003e to see more Neuma Records releases 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\"\u003eNeuma Records:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eJuraj Kojš’s musical imagination is as wide ranging as his life journey, from his native Slovakia through Denmark, Virginia, and Miami, where he now lives, makes music and art, and teaches. In Imagine – this album of three far-reaching, exploratory ensemble works – traditional, contemporary and experimental ideas converge in a musical amalgam.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eFeaturing an eclectic array of performers including Eric Umble (clarinet), Adam Marks (piano), [Switch~ Ensemble], Splinter Reeds, and Kojš himself (electronics and spoken word), and with its easy lines interweaving through complex structures, the music traverses a range of Postmodern and Postclassical expressions. Recounting imaginary stories based on reality, reinterpreting field recordings and enabling open platforms for performers to become creators, the composer’s transformational processes are reminiscent of Magical Realism, in which writers knit their narratives with reality-derived – yet often fantastic – characters, situations, and places.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eAs Kojš puts it, “I wrote this music out of pure love for life, nature, people, and music itself. From the Hawaiian soundscape instrumentale to original poetry scores and Peter-and-the-Wolf-like storytelling, the music demanded visiting some\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e far outposts of expression. Each piece exhibits its own multiple time structures, expanding spheres of pitch, and timbral ecosystems. Some music was scored with utmost precision and some invited extensive decision-making from the performers. Thus, my collaborators were essential in creating this labyrinth of connected threads and pulses; a true living sonic organism: unique, sacred and real.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eImagine is dedicated to pianist Adam Marks, a long-time friend, collaborator and musician per excellence who passed over suddenly in May 2021.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e~\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cem\u003eFace Forward. Hawaii “reflects the subtle nuances present in the fantastical ecology of Hawaii.”\u003c\/em\u003e– Adam Marks, pianist\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe ecological inspiration for the work [Face Forward. Hawaii] and its sonic results provide both performer and audience the opportunity to reflect on the human experience juxtaposed and intertwined with our natural world.”\u003c\/em\u003e – Eric Umble, clarinetist\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe performance [of under the blanket of your lullabies] was one of those special moments that lingers in one’s memory long after the last note.”\u003c\/em\u003e – Zach Sheets, flutist, [Switch~ Ensemble]\u003cbr\u003e\u003cbr\u003e“\u003cem\u003e…his whimsical Where You Are takes the listener through a programmatic tale that is neither fact nor fiction.”\u003c\/em\u003e – Dana Jessen, bassoonist, Splinter Reeds.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Juraj Kojs\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNeuma Records\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-09-24T17:40:04+09:00","created_at":"2021-09-24T15:44:16+09:00","vendor":"Tobira Records","type":"","tags":["cd","contemporary \/ sound poetry","neuma records"],"price":198000,"price_min":198000,"price_max":198000,"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":40868336828581,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Juraj Kojs \/\/ Imagine CD","public_title":null,"options":["Default Title"],"price":198000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/im1_fb2c97bd-a5d6-4ea8-8f21-5ff6abc01820.jpg?v=1632465858","\/\/tobirarecords.com\/cdn\/shop\/products\/im2_4388de6f-aa2f-4bc2-935d-b2ff45ed32b6.jpg?v=1632465858"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/im1_fb2c97bd-a5d6-4ea8-8f21-5ff6abc01820.jpg?v=1632465858","options":["Title"],"media":[{"alt":null,"id":23819362140325,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/im1_fb2c97bd-a5d6-4ea8-8f21-5ff6abc01820.jpg?v=1632465858"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/im1_fb2c97bd-a5d6-4ea8-8f21-5ff6abc01820.jpg?v=1632465858","width":700},{"alt":null,"id":23819362173093,"position":2,"preview_image":{"aspect_ratio":0.75,"height":1200,"width":900,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/im2_4388de6f-aa2f-4bc2-935d-b2ff45ed32b6.jpg?v=1632465858"},"aspect_ratio":0.75,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/im2_4388de6f-aa2f-4bc2-935d-b2ff45ed32b6.jpg?v=1632465858","width":900}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e \u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1966164947\/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\/neuma\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/neuma\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/neuma\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/neuma\"\u003ehere\u003c\/a\u003e to see more Neuma Records releases 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\"\u003eNeuma Records:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eJuraj Kojš’s musical imagination is as wide ranging as his life journey, from his native Slovakia through Denmark, Virginia, and Miami, where he now lives, makes music and art, and teaches. In Imagine – this album of three far-reaching, exploratory ensemble works – traditional, contemporary and experimental ideas converge in a musical amalgam.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eFeaturing an eclectic array of performers including Eric Umble (clarinet), Adam Marks (piano), [Switch~ Ensemble], Splinter Reeds, and Kojš himself (electronics and spoken word), and with its easy lines interweaving through complex structures, the music traverses a range of Postmodern and Postclassical expressions. Recounting imaginary stories based on reality, reinterpreting field recordings and enabling open platforms for performers to become creators, the composer’s transformational processes are reminiscent of Magical Realism, in which writers knit their narratives with reality-derived – yet often fantastic – characters, situations, and places.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eAs Kojš puts it, “I wrote this music out of pure love for life, nature, people, and music itself. From the Hawaiian soundscape instrumentale to original poetry scores and Peter-and-the-Wolf-like storytelling, the music demanded visiting some\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e far outposts of expression. Each piece exhibits its own multiple time structures, expanding spheres of pitch, and timbral ecosystems. Some music was scored with utmost precision and some invited extensive decision-making from the performers. Thus, my collaborators were essential in creating this labyrinth of connected threads and pulses; a true living sonic organism: unique, sacred and real.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eImagine is dedicated to pianist Adam Marks, a long-time friend, collaborator and musician per excellence who passed over suddenly in May 2021.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e~\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cem\u003eFace Forward. Hawaii “reflects the subtle nuances present in the fantastical ecology of Hawaii.”\u003c\/em\u003e– Adam Marks, pianist\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe ecological inspiration for the work [Face Forward. Hawaii] and its sonic results provide both performer and audience the opportunity to reflect on the human experience juxtaposed and intertwined with our natural world.”\u003c\/em\u003e – Eric Umble, clarinetist\u003cbr\u003e\u003cbr\u003e“\u003cem\u003eThe performance [of under the blanket of your lullabies] was one of those special moments that lingers in one’s memory long after the last note.”\u003c\/em\u003e – Zach Sheets, flutist, [Switch~ Ensemble]\u003cbr\u003e\u003cbr\u003e“\u003cem\u003e…his whimsical Where You Are takes the listener through a programmatic tale that is neither fact nor fiction.”\u003c\/em\u003e – Dana Jessen, bassoonist, Splinter Reeds.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Juraj Kojs\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNeuma Records\u003c\/span\u003e\u003c\/p\u003e"}
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レーベルその他作品はこちら /// Click here to see more Neuma Records releases available at Tobira. -------------------------------- Text by Neuma...
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{"id":7062741024933,"title":"David Dunn \/\/ Verdant CD","handle":"david-dunn-verdant-cd","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1015851558\/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\/neuma\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/neuma\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/neuma\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/neuma\"\u003ehere\u003c\/a\u003e to see more Neuma Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e--------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"As a composer, David Dunn is probably best known for his interdisciplinary work that crosses the boundaries between art and science. This has included the fields of acoustic ecology, bioacoustics, interspecies communication and scientific sonification while creating a body of innovative sound work that has contributed to projects as diverse as sensory enhancement of healthcare environments and intervention strategies for forest and agricultural pests. He has invented microphones to record such phenomena as the sounds of bark beetles in trees, underwater invertebrates in freshwater ponds, and the ultrasonic communication of bats.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIn Verdant, Dunn has returned to some of his more traditional musical roots to compose an exploration much closer to home, literally his backyard in Santa Fe, New Mexico. The aural complexity of this urban soundscape is ordinarily masked by layers of ambient city noise but the combination of the Easter Sunday holiday and Covid-19 pandemic shutdown allowed otherwise suppressed sounds to become readily audible. On top of this semi-wild soundscape (recorded at very high resolution), multiple sonic layers have been added that explore and accentuate the unedited ambient recording. Electronic drones and melodies are combined with\u003cspan class=\"bcTruncateMore\"\u003e harmonically rich patterns played by two electric violins. This creates a dense aural fabric interwoven with the prerecorded soundscape as distinct time streams move at different rates but interact with each other through shifting foreground\/background dynamics.\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cbr\u003e\u003cbr\u003eOn its surface Verdant probably seems, in its extreme embrace of tonality, reminiscent of much late 20th century music (Tenney, Riley, Oliveros, Behrman, Budd, Feldman, etc.) and many popular “ambient” genres. However, beneath this veneer there are possibly some other, less familiar ideas. The intent may have more to do with the idyllic and elegiac affect sought by the English Pastoral composers after the violence of World War I and not merely a Post-modern conceit. While the motivation for Verdant was largely a response to the dark circumstances of 2020, it hopefully speaks to a more optimistic future and the favorable attention to that which we might otherwise take for granted. \"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : David Dunn\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNeuma Records\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-09-24T17:43:38+09:00","created_at":"2021-09-24T15:34:50+09:00","vendor":"Tobira Records","type":"","tags":["ambient","cd","contemporary \/ sound poetry","neuma records"],"price":198000,"price_min":198000,"price_max":198000,"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":40868303012005,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"David Dunn \/\/ Verdant CD","public_title":null,"options":["Default Title"],"price":198000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ve1_ffc87cb5-1115-486f-8787-17cd11c11ed8.jpg?v=1632465291","\/\/tobirarecords.com\/cdn\/shop\/products\/ve2_f2d7fe47-4ce5-494d-902b-b7630f057b9d.jpg?v=1632465291"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ve1_ffc87cb5-1115-486f-8787-17cd11c11ed8.jpg?v=1632465291","options":["Title"],"media":[{"alt":null,"id":23819253055653,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ve1_ffc87cb5-1115-486f-8787-17cd11c11ed8.jpg?v=1632465291"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ve1_ffc87cb5-1115-486f-8787-17cd11c11ed8.jpg?v=1632465291","width":700},{"alt":null,"id":23819253088421,"position":2,"preview_image":{"aspect_ratio":0.75,"height":1200,"width":900,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ve2_f2d7fe47-4ce5-494d-902b-b7630f057b9d.jpg?v=1632465291"},"aspect_ratio":0.75,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ve2_f2d7fe47-4ce5-494d-902b-b7630f057b9d.jpg?v=1632465291","width":900}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e \u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1015851558\/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\/neuma\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/neuma\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/neuma\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/neuma\"\u003ehere\u003c\/a\u003e to see more Neuma Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e--------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"As a composer, David Dunn is probably best known for his interdisciplinary work that crosses the boundaries between art and science. This has included the fields of acoustic ecology, bioacoustics, interspecies communication and scientific sonification while creating a body of innovative sound work that has contributed to projects as diverse as sensory enhancement of healthcare environments and intervention strategies for forest and agricultural pests. He has invented microphones to record such phenomena as the sounds of bark beetles in trees, underwater invertebrates in freshwater ponds, and the ultrasonic communication of bats.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIn Verdant, Dunn has returned to some of his more traditional musical roots to compose an exploration much closer to home, literally his backyard in Santa Fe, New Mexico. The aural complexity of this urban soundscape is ordinarily masked by layers of ambient city noise but the combination of the Easter Sunday holiday and Covid-19 pandemic shutdown allowed otherwise suppressed sounds to become readily audible. On top of this semi-wild soundscape (recorded at very high resolution), multiple sonic layers have been added that explore and accentuate the unedited ambient recording. Electronic drones and melodies are combined with\u003cspan class=\"bcTruncateMore\"\u003e harmonically rich patterns played by two electric violins. This creates a dense aural fabric interwoven with the prerecorded soundscape as distinct time streams move at different rates but interact with each other through shifting foreground\/background dynamics.\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cbr\u003e\u003cbr\u003eOn its surface Verdant probably seems, in its extreme embrace of tonality, reminiscent of much late 20th century music (Tenney, Riley, Oliveros, Behrman, Budd, Feldman, etc.) and many popular “ambient” genres. However, beneath this veneer there are possibly some other, less familiar ideas. The intent may have more to do with the idyllic and elegiac affect sought by the English Pastoral composers after the violence of World War I and not merely a Post-modern conceit. While the motivation for Verdant was largely a response to the dark circumstances of 2020, it hopefully speaks to a more optimistic future and the favorable attention to that which we might otherwise take for granted. \"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : David Dunn\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNeuma Records\u003c\/span\u003e\u003c\/p\u003e"}
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レーベルその他作品はこちら /// Click here to see more Neuma Records releases available at Tobira. -------------------------------- "As a...
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{"id":7036850634917,"title":"Illuminated Paths \/\/ Okinawa Rycom Crystal Hotel Late Night Cable Guide 1989 TAPE","handle":"illuminated-paths-okinawa-rycom-crystal-hotel-late-night-cable-guide-1989-tape","description":"\u003cp\u003eアメリカ・フロリダのヒップホップ〜ヴェイパーウェーブレーベルIlluminated Pathsを大量入荷しました。\u003c\/p\u003e\n\u003cp\u003e本作は、当レーベルによる25本限定ヴェイパースクリュー作品です。コピーライトなんて関係ない180曲を収録。\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDLコード付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e※リサイクルケースを使用するコンセプチュアルレーベルのため、ケースに多少のダメージがあるものもございます。ご了承くださいませ。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1275770565\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\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\/illpat\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/illpat\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/illpat\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/illpat\"\u003ehere\u003c\/a\u003e to see more Illuminated Paths releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 25.\u003c\/p\u003e\n\u003cp\u003eArtist : Illuminated Paths\u003c\/p\u003e\n\u003cp\u003eLabel : Illuminated Paths\u003c\/p\u003e","published_at":"2021-09-10T16:31:39+09:00","created_at":"2021-09-09T17:04:28+09:00","vendor":"Tobira Records","type":"","tags":["contemporary \/ sound poetry","hiphop \/ funk","illuminated paths","tape"],"price":148000,"price_min":148000,"price_max":148000,"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":40780584091813,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Illuminated Paths \/\/ Okinawa Rycom Crystal Hotel Late Night Cable Guide 1989 TAPE","public_title":null,"options":["Default Title"],"price":148000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ok1.jpg?v=1631174669","\/\/tobirarecords.com\/cdn\/shop\/products\/ok2.jpg?v=1631174670"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ok1.jpg?v=1631174669","options":["Title"],"media":[{"alt":null,"id":23660845269157,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ok1.jpg?v=1631174669"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ok1.jpg?v=1631174669","width":700},{"alt":null,"id":23660845301925,"position":2,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ok2.jpg?v=1631174670"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ok2.jpg?v=1631174670","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカ・フロリダのヒップホップ〜ヴェイパーウェーブレーベルIlluminated Pathsを大量入荷しました。\u003c\/p\u003e\n\u003cp\u003e本作は、当レーベルによる25本限定ヴェイパースクリュー作品です。コピーライトなんて関係ない180曲を収録。\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDLコード付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e※リサイクルケースを使用するコンセプチュアルレーベルのため、ケースに多少のダメージがあるものもございます。ご了承くださいませ。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1275770565\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\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\/illpat\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/illpat\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/illpat\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/illpat\"\u003ehere\u003c\/a\u003e to see more Illuminated Paths releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 25.\u003c\/p\u003e\n\u003cp\u003eArtist : Illuminated Paths\u003c\/p\u003e\n\u003cp\u003eLabel : Illuminated Paths\u003c\/p\u003e"}
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アメリカ・フロリダのヒップホップ〜ヴェイパーウェーブレーベルIlluminated Pathsを大量入荷しました。 本作は、当レーベルによる25本限定ヴェイパースクリュー作品です。コピーライトなんて関係ない180曲を収録。DLコード付属。 ※リサイクルケースを使用するコンセプチュアルレーベルのため、ケースに多少のダメージがあるものもございます。ご了承くださいませ。 レーベルその他作品はこちら /// Click here to see more Illuminated Paths releases available at Tobira. ...
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{"id":7001538855077,"title":"Seiji Nagai \/\/ Electronic Works CD \/ CD+POSTER","handle":"seiji-nagai-electronic-works-cd-cd-poster","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e日本のサイケバンドタージマハル旅行団オリジナルメンバー\u003cmeta charset=\"utf-8\"\u003e永井清治の発掘作品がこの度CDリリースされました。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e1979年夏に開催された1週間に\u003cwbr data-mce-fragment=\"1\"\u003eわたるイベント「第五列週間！」\u003cmeta charset=\"utf-8\"\u003eのポスター復刻版（20%縮刷）が付属する限定版もございます。\u003c\/wbr\u003e\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\u003e永井清治は1969年のタージマハル旅行団結成時のオリジナルメンバーの一人である。タージマハル以後の1970年代後期からはインド音楽に傾倒し、本場でシタールを習得したが、同時期にコンピューターでの音楽制作も始めていた。この作品は交流があった岩手・盛岡在住の即興演奏家ONNYKが保管していた、その当時の作品である。パソコン自体はあったとはいえ、現代の洗練された音楽制作環境とは程遠い状況で作られた30分もの長尺の2曲《ミディアム》と《海》は、彼自身のコンピューター音楽の原点といえるもの。永井氏ほか関係者からの聞き取りを反映したONNYKによるライナーに加え、永井氏も参加した彼の企画のイベントの写真や資料など、それ自体70-80年代実験音楽シーンの一部でもある。\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/1112631547\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" height=\"166\" width=\"100%\" allow=\"autoplay\" frameborder=\"no\" scrolling=\"no\"\u003e\u003c\/iframe\u003e\n\u003cdiv style=\"font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;\"\u003e\n\u003ca style=\"color: #cccccc; text-decoration: none;\" title=\"tobirec4\" href=\"https:\/\/soundcloud.com\/user-249530843\" target=\"_blank\"\u003etobirec4\u003c\/a\u003e · \u003ca style=\"color: #cccccc; text-decoration: none;\" title=\"OP0017 - A\" href=\"https:\/\/soundcloud.com\/user-249530843\/op0017-a\" target=\"_blank\"\u003eOP0017 - A\u003c\/a\u003e\n\u003c\/div\u003e\n\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/1112631640\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" height=\"166\" width=\"100%\" allow=\"autoplay\" frameborder=\"no\" scrolling=\"no\"\u003e\u003c\/iframe\u003e\n\u003cdiv style=\"font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;\"\u003e\n\u003ca style=\"color: #cccccc; text-decoration: none;\" title=\"tobirec4\" href=\"https:\/\/soundcloud.com\/user-249530843\" target=\"_blank\"\u003etobirec4\u003c\/a\u003e · \u003ca style=\"color: #cccccc; text-decoration: none;\" title=\"OP0017 - B\" href=\"https:\/\/soundcloud.com\/user-249530843\/op0017-b\" target=\"_blank\"\u003eOP0017 - B\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cem\u003eBorn in Tokyo in 1948, Nagai studied drums in a music class when he was in junior high school. He opened his eyes to free jazz and improvisation, started an improvisation concert with Tokio Hasegawa in 1967, and played the trumpet as a member of the \"Taj Mahal Travelers\" in 1969.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eAfter that, Mr. Nagai studied sitar at an music school in India. After he returned to Japan, he performed sitar concerts all over Japan.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eHe started composing on a computer around 1979, so this time his works will be introducing works at that time. Two pieces were recorded on each side of cassette tape, which are written only as Medium and Sea, are a minimalist, floating sound composed mainly of synthesizer refrains, with ambiguous beginnings and endings. The sound of real waves is added to the Sea. From that time on, he was interested in environmental sounds.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eThe two works revealed this time are regarded by Mr. Nagai himself as \"these are the origin of my synthesizer and computer music.\" - from liner note by ONNYK\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Seiji Nagai\u003c\/p\u003e\n\u003cp\u003elabel : Edition Omega Point\u003c\/p\u003e","published_at":"2021-08-26T01:30:10+09:00","created_at":"2021-08-26T01:30:08+09:00","vendor":"Tobira Records","type":"","tags":["asia","cd","contemporary \/ sound poetry","monooto"],"price":180000,"price_min":180000,"price_max":270000,"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":40658243387557,"title":"CD","option1":"CD","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Seiji Nagai \/\/ Electronic Works CD \/ CD+POSTER - CD","public_title":"CD","options":["CD"],"price":180000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]},{"id":40658243420325,"title":"CD+POSTER","option1":"CD+POSTER","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Seiji Nagai \/\/ Electronic Works CD \/ CD+POSTER - CD+POSTER","public_title":"CD+POSTER","options":["CD+POSTER"],"price":270000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/OP-0017.jpg?v=1629909011","\/\/tobirarecords.com\/cdn\/shop\/products\/OP-0017SP1-L.jpg?v=1629909011","\/\/tobirarecords.com\/cdn\/shop\/products\/OP-0017SP1.jpg?v=1629909011"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/OP-0017.jpg?v=1629909011","options":["Format"],"media":[{"alt":null,"id":23494273171621,"position":1,"preview_image":{"aspect_ratio":1.009,"height":450,"width":454,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/OP-0017.jpg?v=1629909011"},"aspect_ratio":1.009,"height":450,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/OP-0017.jpg?v=1629909011","width":454},{"alt":null,"id":23494273204389,"position":2,"preview_image":{"aspect_ratio":1.0,"height":945,"width":945,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/OP-0017SP1-L.jpg?v=1629909011"},"aspect_ratio":1.0,"height":945,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/OP-0017SP1-L.jpg?v=1629909011","width":945},{"alt":null,"id":23494273237157,"position":3,"preview_image":{"aspect_ratio":0.775,"height":512,"width":397,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/OP-0017SP1.jpg?v=1629909011"},"aspect_ratio":0.775,"height":512,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/OP-0017SP1.jpg?v=1629909011","width":397}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e日本のサイケバンドタージマハル旅行団オリジナルメンバー\u003cmeta charset=\"utf-8\"\u003e永井清治の発掘作品がこの度CDリリースされました。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e1979年夏に開催された1週間に\u003cwbr data-mce-fragment=\"1\"\u003eわたるイベント「第五列週間！」\u003cmeta charset=\"utf-8\"\u003eのポスター復刻版（20%縮刷）が付属する限定版もございます。\u003c\/wbr\u003e\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\u003e永井清治は1969年のタージマハル旅行団結成時のオリジナルメンバーの一人である。タージマハル以後の1970年代後期からはインド音楽に傾倒し、本場でシタールを習得したが、同時期にコンピューターでの音楽制作も始めていた。この作品は交流があった岩手・盛岡在住の即興演奏家ONNYKが保管していた、その当時の作品である。パソコン自体はあったとはいえ、現代の洗練された音楽制作環境とは程遠い状況で作られた30分もの長尺の2曲《ミディアム》と《海》は、彼自身のコンピューター音楽の原点といえるもの。永井氏ほか関係者からの聞き取りを反映したONNYKによるライナーに加え、永井氏も参加した彼の企画のイベントの写真や資料など、それ自体70-80年代実験音楽シーンの一部でもある。\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/1112631547\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" height=\"166\" width=\"100%\" allow=\"autoplay\" frameborder=\"no\" scrolling=\"no\"\u003e\u003c\/iframe\u003e\n\u003cdiv style=\"font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;\"\u003e\n\u003ca style=\"color: #cccccc; text-decoration: none;\" title=\"tobirec4\" href=\"https:\/\/soundcloud.com\/user-249530843\" target=\"_blank\"\u003etobirec4\u003c\/a\u003e · \u003ca style=\"color: #cccccc; text-decoration: none;\" title=\"OP0017 - A\" href=\"https:\/\/soundcloud.com\/user-249530843\/op0017-a\" target=\"_blank\"\u003eOP0017 - A\u003c\/a\u003e\n\u003c\/div\u003e\n\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/1112631640\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" height=\"166\" width=\"100%\" allow=\"autoplay\" frameborder=\"no\" scrolling=\"no\"\u003e\u003c\/iframe\u003e\n\u003cdiv style=\"font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;\"\u003e\n\u003ca style=\"color: #cccccc; text-decoration: none;\" title=\"tobirec4\" href=\"https:\/\/soundcloud.com\/user-249530843\" target=\"_blank\"\u003etobirec4\u003c\/a\u003e · \u003ca style=\"color: #cccccc; text-decoration: none;\" title=\"OP0017 - B\" href=\"https:\/\/soundcloud.com\/user-249530843\/op0017-b\" target=\"_blank\"\u003eOP0017 - B\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cem\u003eBorn in Tokyo in 1948, Nagai studied drums in a music class when he was in junior high school. He opened his eyes to free jazz and improvisation, started an improvisation concert with Tokio Hasegawa in 1967, and played the trumpet as a member of the \"Taj Mahal Travelers\" in 1969.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eAfter that, Mr. Nagai studied sitar at an music school in India. After he returned to Japan, he performed sitar concerts all over Japan.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eHe started composing on a computer around 1979, so this time his works will be introducing works at that time. Two pieces were recorded on each side of cassette tape, which are written only as Medium and Sea, are a minimalist, floating sound composed mainly of synthesizer refrains, with ambiguous beginnings and endings. The sound of real waves is added to the Sea. From that time on, he was interested in environmental sounds.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eThe two works revealed this time are regarded by Mr. Nagai himself as \"these are the origin of my synthesizer and computer music.\" - from liner note by ONNYK\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Seiji Nagai\u003c\/p\u003e\n\u003cp\u003elabel : Edition Omega Point\u003c\/p\u003e"}
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日本のサイケバンドタージマハル旅行団オリジナルメンバー永井清治の発掘作品がこの度CDリリースされました。 1979年夏に開催された1週間にわたるイベント「第五列週間！」のポスター復刻版（20%縮刷）が付属する限定版もございます。 以下、レーベル解説です。 永井清治は1969年のタージマハル旅行団結成時のオリジナルメンバーの一人である。タージマハル以後の1970年代後期からはインド音楽に傾倒し、本場でシタールを習得したが、同時期にコンピューターでの音楽制作も始めていた。この作品は交流があった岩手・盛岡在住の即興演奏家ONNYKが保管していた、その当時の作品である。パソコン自体はあったとはいえ、現代の洗練された音楽制作環境とは程遠い状況で作られた30分もの長尺の2曲《ミディアム》と《海》は、彼自身のコンピューター音楽の原点といえるもの。永井氏ほか関係者からの聞き取りを反映したONNYKによるライナーに加え、永井氏も参加した彼の企画のイベントの写真や資料など、それ自体70-80年代実験音楽シーンの一部でもある。 tobirec4 · OP0017 - A tobirec4 · OP0017 - B...
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{"id":6986893099173,"title":"Elizabeth Chin, Anetude \"Zaza\" Geffrard, Casey Anderson \/\/ yon ti vizit 12\"","handle":"elizabeth-chin-anetude-zaza-geffrard-casey-anderson-yon-ti-vizit-lp","description":"\u003cp\u003eアメリカ・LAの実験レーベルA Wave Press主宰のサウンドアーティストCasey Andersonが、\u003cspan data-mce-fragment=\"1\"\u003eカリブ海に浮かぶ島ハイチ・ゴナーブ島に継承されるヴードゥー教の霊媒儀式を収録したフィールドレコーディング作品です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eB面はエッチングが施されている、180g重量レッドヴァイナルです。不思議な魅力を感じるミステリアスな一枚。DLコード付属。以下、レーベル解説です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"2019年7月、ハイチのラ・ゴナヴェ島の小さな村、マテヌワで、エリザベス・チンと私は友人のアネチュード・\"ザザ\"・ゲフラールの家で、パーティーが始まるのを待っているところです。このパーティーには地元のヴードゥー・ドラマーが参加しているので、彼らの演奏を録音しようと思ってフィールドレコーダーを持ってきたのです。祖父の家はクモの巣に覆われていて、彼女の家の裏手にあります。私たちは、彼女の娘（ロザリンダ）と幼い息子（ビリー・グラハム、収録の冒頭で泣いている子）を連れて、薄い木の扉から家に入った。子供たちが追い払われた後、ザザは自分の祭壇を見せたいと言って、祭壇の前で祈りを始める。その後すぐに精霊（Ogou Feray）が彼女のところにやってきて、ちょっとしたお参りをする (Yon ti vizit)”\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2093205976\/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 data-mce-fragment=\"1\"\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/awp\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/awp\"\u003eこちら\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/awp\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/awp\"\u003ehere\u003c\/a\u003e to see more A Wave Press releases available at Tobira. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e----------------------------\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEdition of 300.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDeluxe single-sided LP pressed on 180g red vinyl in a red 12\" jacket. A-side is the recording, B-side features etchings designed by Steven Ziadie. \u003cstrong\u003eNote: do not try to play the B-side on your turntable!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e----\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eDesription by \u003cmeta charset=\"utf-8\"\u003eA Wave Press:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003eIt's July, 2019 in Matènwa, a small village on the island of La Gonâve, Haiti, and Elizabeth Chin and I are hanging out at our friend Anetude \"Zaza\" Geffrard's house while we wait for a party to start. This party involves local voudou drummers so I'm carrying my field recorder in the hopes of recording some of their performance later. As we wait Zaza asks us if we want to see her Grandfather's house, an older structure covered in cobwebs tucked behind hers that we didn't know was there. We walk over with her daughter (Rosalinda) and infant son (Billy Graham, crying at the beginning of the recording) and enter the two room house through a thin, wooden door. Once inside, and after the kids have been shooed away, Zaza says she wants to show us her altar and begins praying in front of it. Shortly thereafter a spirit (Ogou Feray) comes to her and we have a little visit (yon ti vizit).\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eArtist : Elizabeth Chin, Anetude \"Zaza\" Geffrard, Casey Anderson\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eA Wave Press\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-08-19T11:06:33+09:00","created_at":"2021-08-19T10:05:17+09:00","vendor":"Tobira Records","type":"","tags":["a wave press","contemporary \/ sound poetry","field recording","lp","monooto"],"price":485000,"price_min":485000,"price_max":485000,"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":40611541811365,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Elizabeth Chin, Anetude \"Zaza\" Geffrard, Casey Anderson \/\/ yon ti vizit 12\"","public_title":null,"options":["Default Title"],"price":485000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/yo1_80dd631a-126a-4667-8aa9-5fdbc8178c86.jpg?v=1629335119","\/\/tobirarecords.com\/cdn\/shop\/products\/yo2_db97f8dd-b11b-483d-962b-f9156d2f8535.jpg?v=1629335119","\/\/tobirarecords.com\/cdn\/shop\/products\/yo3.jpg?v=1629335121"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/yo1_80dd631a-126a-4667-8aa9-5fdbc8178c86.jpg?v=1629335119","options":["Title"],"media":[{"alt":null,"id":23411330547877,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/yo1_80dd631a-126a-4667-8aa9-5fdbc8178c86.jpg?v=1629335119"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/yo1_80dd631a-126a-4667-8aa9-5fdbc8178c86.jpg?v=1629335119","width":700},{"alt":null,"id":23411330580645,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/yo2_db97f8dd-b11b-483d-962b-f9156d2f8535.jpg?v=1629335119"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/yo2_db97f8dd-b11b-483d-962b-f9156d2f8535.jpg?v=1629335119","width":1200},{"alt":null,"id":23411330613413,"position":3,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/yo3.jpg?v=1629335121"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/yo3.jpg?v=1629335121","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカ・LAの実験レーベルA Wave Press主宰のサウンドアーティストCasey Andersonが、\u003cspan data-mce-fragment=\"1\"\u003eカリブ海に浮かぶ島ハイチ・ゴナーブ島に継承されるヴードゥー教の霊媒儀式を収録したフィールドレコーディング作品です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eB面はエッチングが施されている、180g重量レッドヴァイナルです。不思議な魅力を感じるミステリアスな一枚。DLコード付属。以下、レーベル解説です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"2019年7月、ハイチのラ・ゴナヴェ島の小さな村、マテヌワで、エリザベス・チンと私は友人のアネチュード・\"ザザ\"・ゲフラールの家で、パーティーが始まるのを待っているところです。このパーティーには地元のヴードゥー・ドラマーが参加しているので、彼らの演奏を録音しようと思ってフィールドレコーダーを持ってきたのです。祖父の家はクモの巣に覆われていて、彼女の家の裏手にあります。私たちは、彼女の娘（ロザリンダ）と幼い息子（ビリー・グラハム、収録の冒頭で泣いている子）を連れて、薄い木の扉から家に入った。子供たちが追い払われた後、ザザは自分の祭壇を見せたいと言って、祭壇の前で祈りを始める。その後すぐに精霊（Ogou Feray）が彼女のところにやってきて、ちょっとしたお参りをする (Yon ti vizit)”\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2093205976\/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 data-mce-fragment=\"1\"\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/awp\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/awp\"\u003eこちら\u003c\/a\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/awp\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/awp\"\u003ehere\u003c\/a\u003e to see more A Wave Press releases available at Tobira. \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e----------------------------\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEdition of 300.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDeluxe single-sided LP pressed on 180g red vinyl in a red 12\" jacket. A-side is the recording, B-side features etchings designed by Steven Ziadie. \u003cstrong\u003eNote: do not try to play the B-side on your turntable!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e----\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eDesription by \u003cmeta charset=\"utf-8\"\u003eA Wave Press:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003eIt's July, 2019 in Matènwa, a small village on the island of La Gonâve, Haiti, and Elizabeth Chin and I are hanging out at our friend Anetude \"Zaza\" Geffrard's house while we wait for a party to start. This party involves local voudou drummers so I'm carrying my field recorder in the hopes of recording some of their performance later. As we wait Zaza asks us if we want to see her Grandfather's house, an older structure covered in cobwebs tucked behind hers that we didn't know was there. We walk over with her daughter (Rosalinda) and infant son (Billy Graham, crying at the beginning of the recording) and enter the two room house through a thin, wooden door. Once inside, and after the kids have been shooed away, Zaza says she wants to show us her altar and begins praying in front of it. Shortly thereafter a spirit (Ogou Feray) comes to her and we have a little visit (yon ti vizit).\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eArtist : Elizabeth Chin, Anetude \"Zaza\" Geffrard, Casey Anderson\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eA Wave Press\u003c\/span\u003e\u003c\/p\u003e"}
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アメリカ・LAの実験レーベルA Wave Press主宰のサウンドアーティストCasey Andersonが、カリブ海に浮かぶ島ハイチ・ゴナーブ島に継承されるヴードゥー教の霊媒儀式を収録したフィールドレコーディング作品です。 B面はエッチングが施されている、180g重量レッドヴァイナルです。不思議な魅力を感じるミステリアスな一枚。DLコード付属。以下、レーベル解説です。 "2019年7月、ハイチのラ・ゴナヴェ島の小さな村、マテヌワで、エリザベス・チンと私は友人のアネチュード・"ザザ"・ゲフラールの家で、パーティーが始まるのを待っているところです。このパーティーには地元のヴードゥー・ドラマーが参加しているので、彼らの演奏を録音しようと思ってフィールドレコーダーを持ってきたのです。祖父の家はクモの巣に覆われていて、彼女の家の裏手にあります。私たちは、彼女の娘（ロザリンダ）と幼い息子（ビリー・グラハム、収録の冒頭で泣いている子）を連れて、薄い木の扉から家に入った。子供たちが追い払われた後、ザザは自分の祭壇を見せたいと言って、祭壇の前で祈りを始める。その後すぐに精霊（Ogou Feray）が彼女のところにやってきて、ちょっとしたお参りをする (Yon ti vizit)” レーベルその他作品はこちら /// Click here to see more...
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{"id":6983067304101,"title":"Teletopa \/\/ Tokyo 1972 3xLP","handle":"teletopa-tokyo-1972-3xlp","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eオーストラリア・シドニーの実験音楽家\u003cmeta charset=\"utf-8\"\u003eDavid Ahern率いる即興グループTeletopaの秘蔵音源が40年の月日を経て初めて3枚組レコードにてリリース。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eDavid AhernはドイツにてStockhausenに師事し、Cornelius CardewとともにLa Monte Youngの演奏を行った人物で、70年代オーストラリアの実験音楽シーンに多大な影響をもたらしました。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e本作は、NHKにて行われたインプロパフォーマンスを収録した特大ボリュームの3枚組レコードです。インサート付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3548018686\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eレーベルその他作品は\u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/splre\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/splre\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/splre\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/splre\"\u003ehere\u003c\/a\u003e\u003cspan\u003e to see more - releases available at Tobira.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e--------------------\u003c\/p\u003e\n\u003cp\u003eAccompanying descrition by Splitrec:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eIn 1968 the young Sydney composer David Ahern studied in Germany with Stockhausen where he met Cornelius Cardew. The next year he travelled onto London attending Cardew’s classes in ‘Experimental Music’ at Morley College and – in a mammoth seven-hour concert at the Roundhouse on 4 May – participated (with Cardew) in performances of La Monte Young’s String Trio and also took part in the realisation of Paragraph 2 of Cardew’s The Great Learning which proved to be the catalyst for the formation of the Scratch Orchestra. These were revolutionary and defining moments in C20th music.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eReturning to Sydney in 1970, one of his aims was to set up an electro-acoustic improvisation group - Teletopa was founded in Sydney in late 1970 by Ahern, Peter Evans and Roger Frampton.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eTokyo 1972 - The Triple LP or Double CD release - features two 50min improvisations from a radio session at NHK studios Tokyo. The group was Ahern, Frampton, Evans and Geoffrey Collins and they were completing a 1972 world tour. The group broke up on their return to Sydney. Only a small example of their work has ever been released before.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eLiner notes are a manifesto by Ahern from a 1971 pamphlet, and a newly penned Potted History of Teletopa by Geoffrey\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e Barnard, who had been a member of the group from September 1971 until July 1972.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe tapes have sat in boxes for 42 years - with this release we can hear that Sydney in the early 1970's had a group at the forefront of musical experimentation with a unique take on free improvisation.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis document is not just important for Australian music – it should establish them posthumously as one of the most interesting developments in experimental music anywhere in the world at this time.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e------\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003eA Potted History of Teletopa:\u003cbr\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"The electro-acoustic improvisation group Teletopa was founded in Sydney in late 1970 by David Ahern, Peter Evans and Roger Frampton and was one of two sub-groups to emerge out of the parent organisation AZ Music during the period 1970-72. (The other group was the Sunday Ensemble which was formed in mid-1971 comprised of both ‘trained’ and ‘untrained’ musicians, initially to perform such works by Cornelius Cardew as Treatise and Schooltime Special.)\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePhillip L Ryan came up with the name ‘Teletopa’ for the group: ‘topa’, from the Greek tópos, meaning ‘the place of the origin of ideas’; ‘tele’, meaning ‘far, distant, an openness to any ideas whatsoever’.1 In this regard, Ryan contended that the activities of the group could (potentially) extend beyond music,2 while Ahern averred that the prefix ‘tele’ was indicative of the group’s willingness to use sound materials which may be found ‘in every corner of the globe.’3 More recently, Ryan has recalled that, at the time he decided upon the name ‘Teletopa’, he was reading the work of the Japanese philosopher Kitaro Nishida and that the name of the group essentially means ‘distant field’, ‘field’ being apposite for the sound of Teletopa.4\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAhern had been in London in 1969 where he attended Cardew’s classes in ‘Experimental Music’ at Morley College and – in a mammoth seven-hour concert at the Roundhouse on 4 May – participated (with Cardew) in performances of La Monte Young’s String Trio and Terry Jennings’ String Quartet and also took part in the realisation of Paragraph 2 of Cardew’s The Great Learning which proved to be the catalyst for the formation of the Scratch Orchestra.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDuring his stint in London, Ahern had the opportunity to hear the English group AMM (the membership of which then comprised Cardew, Lou Gare, Christopher Hobbs, Eddie Prévost and Keith Rowe). In comparison with other improvisation groups which were formed during the 1960s – in particular the Gruppo di Improvvisazione Nuova Consonanza and Musica Elettronica Viva (Rome) and the Taj Mahal Travellers (Tokyo) – AMM was the clear prototype for Teletopa, not only in regard to the type of improvisation Teletopa promulgated, but to the general ethos of the group as well. In fact, much of what has been said about AMM could apply equally to Teletopa. As Michael Nyman has pointed out, the membership of MEV, for instance, ‘frequently changed according to who happened to be around at any time; other musicians sat in and played with the hard-core members (Frederic Rzewski, Richard Teitelbaum, Alvin Curran, Allan Bryant) and were welcomed more openly than they were by AMM, extremely self-contained and private, basically hostile to “outsiders”.’5\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe membership of Teletopa was no less hostile to ‘outsiders’ than was that of AMM. In this way, the group was able to cultivate an identity which developed over time in which that of each of the individual players was subsumed. As a consequence, a viable, open form of music-making came about which hinged on a strong sense of communality and mutual aid within the group, what John Tilbury has referred to (in relation to AMM) as ‘a uniquely collectivist mode of playing.’6\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhile Ahern, Evans and Frampton were the founder members, Linda Wilson also played with the group for the first three months, mostly on bowed cymbal. This culminated in a performance by Teletopa at the Sydney Town Hall on 16 February 1971, simultaneously with a realisation of Paragraph 2 of The Great Learning by an augmented AZ Music Ensemble, as part of that year’s Prom concert series. As local critic Frank Harris reported, the performance ‘was a disaster. Hundreds walked out in the first fifteen minutes and then the mob took over in a howling opposition which turned the concert into a near-riot.’7\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFrom May 1971 until August that year, Ryan was a member of the group, and on 10 August the line-up of Ahern, Evans, Frampton and Ryan performed at the University of Melbourne’s Melba Hall as part of ‘The State of the Art of Electronic Music in Australia’, the first national seminar on electronic music to be held in Australia. Frampton recalled Ryan’s contribution to the group’s overall sound in glowing terms, stipulating that he ‘was a virtuoso of the radio. His playing of this instrument was stimulating, challenging and confront- ing. His “secret” was his ability to memorise the Radio Guide and to tune in to an appropriate station at just the right time.’8\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn September, I joined the group, primarily to replace Peter Evans, who was about to head off to work in Calgary, Canada for the next ten months in his capacity as a computer programmer; then in March 1972, Geoffrey Collins was added as a member. From 15 to 18 May, the group conducted music workshops at the Australian National University in Canberra in conjunction with the UNESCO seminar on ‘Youth and the Arts: Culture and Counter-Culture’. On 22 July, just prior to setting off on an overseas tour, Teletopa (Ahern, Collins, Frampton and myself) performed in Sydney for the last time at the Cell Block Theatre – two fifteen-minute ‘fragments’ of improvisation – in a concert (‘Action Music Theatre’) organised by the English composer and percussionist Bernard Rands, which also featured a realisation of Cardew’s Memories of You by Roger Frampton.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAt virtually the same time that Teletopa was formed, the Inhibodress Gallery was established in the inner-Sydney suburb of Woolloomooloo. Inhibodress was the first artist-run space in Australia, initiated, financed and maintained solely by artists,9 and became the primary venue for post-object art10 in Sydney.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFrom the outset, the members of Teletopa were financial members of the Inhibodress co-operative, contributing on a weekly basis towards rent and other overheads. Consequently, for nearly two years, Teletopa played in the gallery virtually every Monday night. Though these improvisatory sessions were private, conducted behind closed doors, in no sense were they rehearsals of any sort; in spite of the absence of an audience, they were nevertheless full-fledged performances. As Cardew maintained, ‘improvisation cannot be rehearsed. Training is substituted for rehearsal, and a certain moral discipline is an essential part of this training.’11\u003cbr data-mce-fragment=\"1\"\u003eIn an essay Ahern wrote prior to the formation of Teletopa, he insisted that ‘music is now able to be not so much “listened to” but “existed in”. One walks into a set of situations (art) just as one walks down the street (life).’12 While this conviction had obvious implications for developments in the areas of sound environments and installations, it was also directly relevant to the type of improvisation Teletopa propagated: the group would invariably play for at least ninety minutes, often longer, at a fairly high level of amplification,13 with audience members free to come and go as they pleased.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIt’s important to bear in mind that Teletopa utilised no electronic technology in performance other than contact microphones, which were used to amplify all sound sources. These sound sources ranged from conventional instruments such as violin (Ahern), saxophone (Frampton) and flute (Collins), to percussive devices such as cymbal (usually bowed or scraped), sheets of tin and masonite, plates of glass, various implements made of plastic, metal or wood and short-wave radio. On his way to Inhibodress, Frampton often collected objects he found lying in the street which he would then use in performance, necessitating the invention of playing methods for these objects. For a time during 1971, Frampton would attach an old alto saxophone to an Electrolux vacuum cleaner and allow the resulting sounds to issue forth unimpededly. In effect, this configuration of saxophone and vacuum cleaner was akin to the addition of another player. The sounds produced ‘were some of the loudest’ Frampton had ever heard. ‘They were completely unpredictable and totally fascinating.’14\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTeletopa’s quest for new or unknown sounds was often fraught with danger, yet such precariousness is an intrinsic part of the very fabric of free improvisation. In a review of Teletopa’s performance at Melba Hall, the Australian composer Ernie Gallagher was compelled to remark that ‘the importance of Teletopa sounds lie not so much with their life but with the nature of their death, their relevancy being moulded by the context in which they are created.\u003cbr data-mce-fragment=\"1\"\u003eThat is, for its purposes, the sound dies after its having been performed – otherwise it would no longer be Improvisation, no longer sound created “at the Instant of Now”.’15\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA little over a week after performing in the concert organised by Rands at the Cell Block Theatre, Teletopa embarked on a two-month overseas tour. The group had been invited by Stanley Lunetta and Arthur Woodbury, editors of the American new music journal SOURCE: music of the avant garde, to participate in ICES, the International Carnival of Experimental Sound, which was held in the UK from 13 to 27 August. However, the group first went to Manila, then to Rome, before linking up with Peter Evans in London, his duties in Calgary having concluded. Teletopa also had non-playing commitments in late August and early September in Munich, Cologne, Kassel, Hamburg and Amsterdam, interacting with composers such as Rzewski, Karlheinz Stockhausen16 and Mauricio Kagel during this time. The group returned to Sydney from Amsterdam via New York and Tokyo.\u003cbr data-mce-fragment=\"1\"\u003eWhile in Manila, Teletopa functioned more as a contemporary ensemble than an improvisation group per se: in a concert at the CCP Little Theatre on 3 August, the group gave performances of Christian Wolff’s Duo for Pianists II and Steve Reich’s Piano Phase (Collins and Frampton, pianos), Ahern’s Stereo\/Mono (Frampton, wind soloist), Frampton’s Things to do for Musicians and Stockhausen’s Set Sail for the Sun (from Aus den Sieben Tagen), in addition to an extended improvisation.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the UK, Teletopa performed at the Cambridge Union on 16 August and the Round- house on 23 August and also took part in events aboard the ‘Music Train’, an actual train which left King’s Cross Station on 21 August en route to Edinburgh with 600 musicians and artists on board. Regrettably, during the group’s time in England, marked tensions developed between Ahern and Frampton. According to Frampton, Ahern wanted to predetermine how the improvisations should flow, whereas he and Evans ‘felt obligated to improvise without regard to “standards”. We felt it was an inherent risk that improvisation would sometimes be more successful than at other times. David wanted to exercise more control, whereas Peter and I deliberately sabotaged David’s attempts to steer the music in a certain direction. Eventually these differences came to a head and Peter and I decided to leave the group on our return to Australia.’17\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTeletopa was in Tokyo from 14 to 26 September. Of major significance during the time spent there were the two studio improvisations featured on this double CD set, along with a performance by Collins and Frampton of Piano Phase, which were recorded by NHK Radio. Just prior to returning to Sydney, the group played in a ‘pub restaurant’, again in its guise as a contemporary ensemble, with realisations of Set Sail for the Sun, Cardew’s Treatise and How to Play the Piano (Frampton, piano solo) by the Australian composer Robert Irving. Sadly, these were the final performances ever given by Teletopa, with the group disbanding upon its return to Sydney.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e1 Phillip L Ryan, in Barry Lowe, ‘Interview with Teletopa’, in Music Now vol 2, no 1 (April 1972), p 21. 2 Ibid. 3 David Ahern, ‘Teletopa’, in Music Now vol 2, no 1 (April 1972), p 20. 4 Ryan, letter to Geoffrey Barnard, 25 October 2011.\u003cbr data-mce-fragment=\"1\"\u003e5 Michael Nyman, Experimental Music: Cage and beyond (London: Studio Vista, 1974), p 109.\u003cbr data-mce-fragment=\"1\"\u003e6 John Tilbury, Cornelius Cardew (1936-1981): a life unfinished (Matching Tye, UK: Copula, 2008), p 289, original emphasis.\u003cbr data-mce-fragment=\"1\"\u003e7 Frank Harris, ‘“Mods” Took a Thrashing’, in The Daily Mirror, Wednesday, 17 February 1971, p 24.\u003cbr data-mce-fragment=\"1\"\u003e8 Roger Frampton, ‘Teletopa, AZ Music, Free Kata and Free Improvised Music in Australia: an Autobiographical Perspective’, in Sounds Australian: Journal of Australian Music no 32 (Summer 1991-92), p 22.\u003cbr data-mce-fragment=\"1\"\u003e9 See David Bromfield, Identities: A Critical Study of the Work of Mike Parr 1970-1990 (Nedlands WA: University of Western Australia Press, 1991), pp 8-9.\u003cbr data-mce-fragment=\"1\"\u003e10 The term ‘post-object art’ is used here to encompass a diverse range of artistic activity, including conceptual art, process art, installations, mixed-media performance, indeterminate composition, free improvisation, concrete and sound poetry, etc.\u003cbr data-mce-fragment=\"1\"\u003e11 Cornelius Cardew, ‘Towards an Ethic of Improvisation’, in Treatise Handbook (London, Frankfurt and New York: Edition Peters, 1971), p xvii, added emphasis.\u003cbr data-mce-fragment=\"1\"\u003e12 David Ahern, ‘Notes on Expansion’, in Other Voices vol1, no 2 (August\/September 1970), p 35.\u003cbr data-mce-fragment=\"1\"\u003e13 The Australian improviser Jim Denley claims that, at the time, it was the loudest music he had experienced: see Jim Denley, ‘Networks, playfulness and collectivity: Improv in Australia, 1972-2007’, in Gail Priest (ed), Experimental Music: Audio Explorations in Australia (Sydney: UNSW Press, 2009), p 137.\u003cbr data-mce-fragment=\"1\"\u003e14 Frampton, op cit, p 22.\u003cbr data-mce-fragment=\"1\"\u003e15 Ernest Gallagher, ‘The State of the Art: Electronic Music Seminar’, in Music Maker (October 1971), p 28. 16 Ahern had studied with Stockhausen in 1968 at his International New Music Courses in Darmstadt (the Musik für ein Haus project) and Cologne New Music courses. 17 Frampton, op cit, p 23.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Teletopa\u003c\/p\u003e\n\u003cp\u003eLabel : Splitrec\u003c\/p\u003e","published_at":"2021-08-18T17:44:13+09:00","created_at":"2021-08-17T10:43:49+09:00","vendor":"Tobira Records","type":"","tags":["contemporary \/ sound poetry","lp","monooto"],"price":548000,"price_min":548000,"price_max":548000,"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":40598287548581,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Teletopa \/\/ Tokyo 1972 3xLP","public_title":null,"options":["Default Title"],"price":548000,"weight":580,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/to1_fc4908f7-8ac0-4722-98ae-2b26a0f06913.jpg?v=1629164631"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/to1_fc4908f7-8ac0-4722-98ae-2b26a0f06913.jpg?v=1629164631","options":["Title"],"media":[{"alt":null,"id":23384621318309,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/to1_fc4908f7-8ac0-4722-98ae-2b26a0f06913.jpg?v=1629164631"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/to1_fc4908f7-8ac0-4722-98ae-2b26a0f06913.jpg?v=1629164631","width":700}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eオーストラリア・シドニーの実験音楽家\u003cmeta charset=\"utf-8\"\u003eDavid Ahern率いる即興グループTeletopaの秘蔵音源が40年の月日を経て初めて3枚組レコードにてリリース。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eDavid AhernはドイツにてStockhausenに師事し、Cornelius CardewとともにLa Monte Youngの演奏を行った人物で、70年代オーストラリアの実験音楽シーンに多大な影響をもたらしました。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e本作は、NHKにて行われたインプロパフォーマンスを収録した特大ボリュームの3枚組レコードです。インサート付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3548018686\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eレーベルその他作品は\u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/splre\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/splre\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \/\/\/ Click \u003c\/span\u003e\u003ca href=\"https:\/\/tobirarecords.com\/collections\/splre\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/splre\"\u003ehere\u003c\/a\u003e\u003cspan\u003e to see more - releases available at Tobira.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e--------------------\u003c\/p\u003e\n\u003cp\u003eAccompanying descrition by Splitrec:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eIn 1968 the young Sydney composer David Ahern studied in Germany with Stockhausen where he met Cornelius Cardew. The next year he travelled onto London attending Cardew’s classes in ‘Experimental Music’ at Morley College and – in a mammoth seven-hour concert at the Roundhouse on 4 May – participated (with Cardew) in performances of La Monte Young’s String Trio and also took part in the realisation of Paragraph 2 of Cardew’s The Great Learning which proved to be the catalyst for the formation of the Scratch Orchestra. These were revolutionary and defining moments in C20th music.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eReturning to Sydney in 1970, one of his aims was to set up an electro-acoustic improvisation group - Teletopa was founded in Sydney in late 1970 by Ahern, Peter Evans and Roger Frampton.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eTokyo 1972 - The Triple LP or Double CD release - features two 50min improvisations from a radio session at NHK studios Tokyo. The group was Ahern, Frampton, Evans and Geoffrey Collins and they were completing a 1972 world tour. The group broke up on their return to Sydney. Only a small example of their work has ever been released before.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eLiner notes are a manifesto by Ahern from a 1971 pamphlet, and a newly penned Potted History of Teletopa by Geoffrey\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e Barnard, who had been a member of the group from September 1971 until July 1972.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe tapes have sat in boxes for 42 years - with this release we can hear that Sydney in the early 1970's had a group at the forefront of musical experimentation with a unique take on free improvisation.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis document is not just important for Australian music – it should establish them posthumously as one of the most interesting developments in experimental music anywhere in the world at this time.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e------\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003eA Potted History of Teletopa:\u003cbr\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"The electro-acoustic improvisation group Teletopa was founded in Sydney in late 1970 by David Ahern, Peter Evans and Roger Frampton and was one of two sub-groups to emerge out of the parent organisation AZ Music during the period 1970-72. (The other group was the Sunday Ensemble which was formed in mid-1971 comprised of both ‘trained’ and ‘untrained’ musicians, initially to perform such works by Cornelius Cardew as Treatise and Schooltime Special.)\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePhillip L Ryan came up with the name ‘Teletopa’ for the group: ‘topa’, from the Greek tópos, meaning ‘the place of the origin of ideas’; ‘tele’, meaning ‘far, distant, an openness to any ideas whatsoever’.1 In this regard, Ryan contended that the activities of the group could (potentially) extend beyond music,2 while Ahern averred that the prefix ‘tele’ was indicative of the group’s willingness to use sound materials which may be found ‘in every corner of the globe.’3 More recently, Ryan has recalled that, at the time he decided upon the name ‘Teletopa’, he was reading the work of the Japanese philosopher Kitaro Nishida and that the name of the group essentially means ‘distant field’, ‘field’ being apposite for the sound of Teletopa.4\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAhern had been in London in 1969 where he attended Cardew’s classes in ‘Experimental Music’ at Morley College and – in a mammoth seven-hour concert at the Roundhouse on 4 May – participated (with Cardew) in performances of La Monte Young’s String Trio and Terry Jennings’ String Quartet and also took part in the realisation of Paragraph 2 of Cardew’s The Great Learning which proved to be the catalyst for the formation of the Scratch Orchestra.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDuring his stint in London, Ahern had the opportunity to hear the English group AMM (the membership of which then comprised Cardew, Lou Gare, Christopher Hobbs, Eddie Prévost and Keith Rowe). In comparison with other improvisation groups which were formed during the 1960s – in particular the Gruppo di Improvvisazione Nuova Consonanza and Musica Elettronica Viva (Rome) and the Taj Mahal Travellers (Tokyo) – AMM was the clear prototype for Teletopa, not only in regard to the type of improvisation Teletopa promulgated, but to the general ethos of the group as well. In fact, much of what has been said about AMM could apply equally to Teletopa. As Michael Nyman has pointed out, the membership of MEV, for instance, ‘frequently changed according to who happened to be around at any time; other musicians sat in and played with the hard-core members (Frederic Rzewski, Richard Teitelbaum, Alvin Curran, Allan Bryant) and were welcomed more openly than they were by AMM, extremely self-contained and private, basically hostile to “outsiders”.’5\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe membership of Teletopa was no less hostile to ‘outsiders’ than was that of AMM. In this way, the group was able to cultivate an identity which developed over time in which that of each of the individual players was subsumed. As a consequence, a viable, open form of music-making came about which hinged on a strong sense of communality and mutual aid within the group, what John Tilbury has referred to (in relation to AMM) as ‘a uniquely collectivist mode of playing.’6\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhile Ahern, Evans and Frampton were the founder members, Linda Wilson also played with the group for the first three months, mostly on bowed cymbal. This culminated in a performance by Teletopa at the Sydney Town Hall on 16 February 1971, simultaneously with a realisation of Paragraph 2 of The Great Learning by an augmented AZ Music Ensemble, as part of that year’s Prom concert series. As local critic Frank Harris reported, the performance ‘was a disaster. Hundreds walked out in the first fifteen minutes and then the mob took over in a howling opposition which turned the concert into a near-riot.’7\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFrom May 1971 until August that year, Ryan was a member of the group, and on 10 August the line-up of Ahern, Evans, Frampton and Ryan performed at the University of Melbourne’s Melba Hall as part of ‘The State of the Art of Electronic Music in Australia’, the first national seminar on electronic music to be held in Australia. Frampton recalled Ryan’s contribution to the group’s overall sound in glowing terms, stipulating that he ‘was a virtuoso of the radio. His playing of this instrument was stimulating, challenging and confront- ing. His “secret” was his ability to memorise the Radio Guide and to tune in to an appropriate station at just the right time.’8\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn September, I joined the group, primarily to replace Peter Evans, who was about to head off to work in Calgary, Canada for the next ten months in his capacity as a computer programmer; then in March 1972, Geoffrey Collins was added as a member. From 15 to 18 May, the group conducted music workshops at the Australian National University in Canberra in conjunction with the UNESCO seminar on ‘Youth and the Arts: Culture and Counter-Culture’. On 22 July, just prior to setting off on an overseas tour, Teletopa (Ahern, Collins, Frampton and myself) performed in Sydney for the last time at the Cell Block Theatre – two fifteen-minute ‘fragments’ of improvisation – in a concert (‘Action Music Theatre’) organised by the English composer and percussionist Bernard Rands, which also featured a realisation of Cardew’s Memories of You by Roger Frampton.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAt virtually the same time that Teletopa was formed, the Inhibodress Gallery was established in the inner-Sydney suburb of Woolloomooloo. Inhibodress was the first artist-run space in Australia, initiated, financed and maintained solely by artists,9 and became the primary venue for post-object art10 in Sydney.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFrom the outset, the members of Teletopa were financial members of the Inhibodress co-operative, contributing on a weekly basis towards rent and other overheads. Consequently, for nearly two years, Teletopa played in the gallery virtually every Monday night. Though these improvisatory sessions were private, conducted behind closed doors, in no sense were they rehearsals of any sort; in spite of the absence of an audience, they were nevertheless full-fledged performances. As Cardew maintained, ‘improvisation cannot be rehearsed. Training is substituted for rehearsal, and a certain moral discipline is an essential part of this training.’11\u003cbr data-mce-fragment=\"1\"\u003eIn an essay Ahern wrote prior to the formation of Teletopa, he insisted that ‘music is now able to be not so much “listened to” but “existed in”. One walks into a set of situations (art) just as one walks down the street (life).’12 While this conviction had obvious implications for developments in the areas of sound environments and installations, it was also directly relevant to the type of improvisation Teletopa propagated: the group would invariably play for at least ninety minutes, often longer, at a fairly high level of amplification,13 with audience members free to come and go as they pleased.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIt’s important to bear in mind that Teletopa utilised no electronic technology in performance other than contact microphones, which were used to amplify all sound sources. These sound sources ranged from conventional instruments such as violin (Ahern), saxophone (Frampton) and flute (Collins), to percussive devices such as cymbal (usually bowed or scraped), sheets of tin and masonite, plates of glass, various implements made of plastic, metal or wood and short-wave radio. On his way to Inhibodress, Frampton often collected objects he found lying in the street which he would then use in performance, necessitating the invention of playing methods for these objects. For a time during 1971, Frampton would attach an old alto saxophone to an Electrolux vacuum cleaner and allow the resulting sounds to issue forth unimpededly. In effect, this configuration of saxophone and vacuum cleaner was akin to the addition of another player. The sounds produced ‘were some of the loudest’ Frampton had ever heard. ‘They were completely unpredictable and totally fascinating.’14\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTeletopa’s quest for new or unknown sounds was often fraught with danger, yet such precariousness is an intrinsic part of the very fabric of free improvisation. In a review of Teletopa’s performance at Melba Hall, the Australian composer Ernie Gallagher was compelled to remark that ‘the importance of Teletopa sounds lie not so much with their life but with the nature of their death, their relevancy being moulded by the context in which they are created.\u003cbr data-mce-fragment=\"1\"\u003eThat is, for its purposes, the sound dies after its having been performed – otherwise it would no longer be Improvisation, no longer sound created “at the Instant of Now”.’15\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA little over a week after performing in the concert organised by Rands at the Cell Block Theatre, Teletopa embarked on a two-month overseas tour. The group had been invited by Stanley Lunetta and Arthur Woodbury, editors of the American new music journal SOURCE: music of the avant garde, to participate in ICES, the International Carnival of Experimental Sound, which was held in the UK from 13 to 27 August. However, the group first went to Manila, then to Rome, before linking up with Peter Evans in London, his duties in Calgary having concluded. Teletopa also had non-playing commitments in late August and early September in Munich, Cologne, Kassel, Hamburg and Amsterdam, interacting with composers such as Rzewski, Karlheinz Stockhausen16 and Mauricio Kagel during this time. The group returned to Sydney from Amsterdam via New York and Tokyo.\u003cbr data-mce-fragment=\"1\"\u003eWhile in Manila, Teletopa functioned more as a contemporary ensemble than an improvisation group per se: in a concert at the CCP Little Theatre on 3 August, the group gave performances of Christian Wolff’s Duo for Pianists II and Steve Reich’s Piano Phase (Collins and Frampton, pianos), Ahern’s Stereo\/Mono (Frampton, wind soloist), Frampton’s Things to do for Musicians and Stockhausen’s Set Sail for the Sun (from Aus den Sieben Tagen), in addition to an extended improvisation.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the UK, Teletopa performed at the Cambridge Union on 16 August and the Round- house on 23 August and also took part in events aboard the ‘Music Train’, an actual train which left King’s Cross Station on 21 August en route to Edinburgh with 600 musicians and artists on board. Regrettably, during the group’s time in England, marked tensions developed between Ahern and Frampton. According to Frampton, Ahern wanted to predetermine how the improvisations should flow, whereas he and Evans ‘felt obligated to improvise without regard to “standards”. We felt it was an inherent risk that improvisation would sometimes be more successful than at other times. David wanted to exercise more control, whereas Peter and I deliberately sabotaged David’s attempts to steer the music in a certain direction. Eventually these differences came to a head and Peter and I decided to leave the group on our return to Australia.’17\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTeletopa was in Tokyo from 14 to 26 September. Of major significance during the time spent there were the two studio improvisations featured on this double CD set, along with a performance by Collins and Frampton of Piano Phase, which were recorded by NHK Radio. Just prior to returning to Sydney, the group played in a ‘pub restaurant’, again in its guise as a contemporary ensemble, with realisations of Set Sail for the Sun, Cardew’s Treatise and How to Play the Piano (Frampton, piano solo) by the Australian composer Robert Irving. Sadly, these were the final performances ever given by Teletopa, with the group disbanding upon its return to Sydney.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e1 Phillip L Ryan, in Barry Lowe, ‘Interview with Teletopa’, in Music Now vol 2, no 1 (April 1972), p 21. 2 Ibid. 3 David Ahern, ‘Teletopa’, in Music Now vol 2, no 1 (April 1972), p 20. 4 Ryan, letter to Geoffrey Barnard, 25 October 2011.\u003cbr data-mce-fragment=\"1\"\u003e5 Michael Nyman, Experimental Music: Cage and beyond (London: Studio Vista, 1974), p 109.\u003cbr data-mce-fragment=\"1\"\u003e6 John Tilbury, Cornelius Cardew (1936-1981): a life unfinished (Matching Tye, UK: Copula, 2008), p 289, original emphasis.\u003cbr data-mce-fragment=\"1\"\u003e7 Frank Harris, ‘“Mods” Took a Thrashing’, in The Daily Mirror, Wednesday, 17 February 1971, p 24.\u003cbr data-mce-fragment=\"1\"\u003e8 Roger Frampton, ‘Teletopa, AZ Music, Free Kata and Free Improvised Music in Australia: an Autobiographical Perspective’, in Sounds Australian: Journal of Australian Music no 32 (Summer 1991-92), p 22.\u003cbr data-mce-fragment=\"1\"\u003e9 See David Bromfield, Identities: A Critical Study of the Work of Mike Parr 1970-1990 (Nedlands WA: University of Western Australia Press, 1991), pp 8-9.\u003cbr data-mce-fragment=\"1\"\u003e10 The term ‘post-object art’ is used here to encompass a diverse range of artistic activity, including conceptual art, process art, installations, mixed-media performance, indeterminate composition, free improvisation, concrete and sound poetry, etc.\u003cbr data-mce-fragment=\"1\"\u003e11 Cornelius Cardew, ‘Towards an Ethic of Improvisation’, in Treatise Handbook (London, Frankfurt and New York: Edition Peters, 1971), p xvii, added emphasis.\u003cbr data-mce-fragment=\"1\"\u003e12 David Ahern, ‘Notes on Expansion’, in Other Voices vol1, no 2 (August\/September 1970), p 35.\u003cbr data-mce-fragment=\"1\"\u003e13 The Australian improviser Jim Denley claims that, at the time, it was the loudest music he had experienced: see Jim Denley, ‘Networks, playfulness and collectivity: Improv in Australia, 1972-2007’, in Gail Priest (ed), Experimental Music: Audio Explorations in Australia (Sydney: UNSW Press, 2009), p 137.\u003cbr data-mce-fragment=\"1\"\u003e14 Frampton, op cit, p 22.\u003cbr data-mce-fragment=\"1\"\u003e15 Ernest Gallagher, ‘The State of the Art: Electronic Music Seminar’, in Music Maker (October 1971), p 28. 16 Ahern had studied with Stockhausen in 1968 at his International New Music Courses in Darmstadt (the Musik für ein Haus project) and Cologne New Music courses. 17 Frampton, op cit, p 23.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Teletopa\u003c\/p\u003e\n\u003cp\u003eLabel : Splitrec\u003c\/p\u003e"}
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オーストラリア・シドニーの実験音楽家David Ahern率いる即興グループTeletopaの秘蔵音源が40年の月日を経て初めて3枚組レコードにてリリース。 David AhernはドイツにてStockhausenに師事し、Cornelius CardewとともにLa Monte Youngの演奏を行った人物で、70年代オーストラリアの実験音楽シーンに多大な影響をもたらしました。 本作は、NHKにて行われたインプロパフォーマンスを収録した特大ボリュームの3枚組レコードです。インサート付属。 レーベルその他作品はこちら /// Click here to see more - releases...
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