Sarine // Asas Terrenas LP
Sarine // Asas Terrenas LP
¥4,233
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ブラジル・サンパウロのパーカッショニストSarineが、2024年9月にベルギーの実験レーベルFutura Resistenzaからリリースしたレコードです。
エキゾチックなストレンジビーツ5曲を収録。
※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ
レーベルその他作品はこちら /// Click here to see more Futura Resistenza releases available at Tobira.
-------------------------------------
Ask us for digital files.
12" black vinyl.
Tracklist:
A1. Asas Terrenas (Exordium)
A2. Amuse-Hanches (Gangorra)
A3. … Of Midnight Delights (Terminus)
B1. Les Yeux De La Route
B2. Mato (A Call Beyond)
From the artist:
"These songs are the result of some organ themes recorded by me with the help of Felipe Pato, by the end of 2019, with the rest of the instruments being added throughout 2020 and 2021. These were my first recordings as Sarine."
Mariano Melo, aka Marian Sarine, is a Brazilian multi-instrumentalist based in São Paulo, specializing in percussion and drums. Known for his drumming with the band DEAFKIDS and his solo work as Sarine, Mariano's latest album, Asas Terrenas, features his first recordings under this moniker. The album began with organ themes recorded with Felipe Pato at the end of 2019, with additional instruments added throughout 2020 and 2021. As Sarine himself says, "Asas Terrenas is sonic mixture that moves the feet and lifts the soul—creating an experience that is both pristine in sound and transcendental on the dancefloor."
The music is built on a modal approach, using scales as a launchpad to create free-flowing, rhythmic improvisations over dynamic interplay between notes and percussion.
Inspired by artists like Charanjit Singh, who blended traditional North-Indian ragas with electronic music, as well as African organists and synth players such as Hailu Mergia, Mammane Sani, and Hama, it combines old and new sounds, merging spiritual feelings with energetic rhythms."
Artist : Sarine
Label : Futura Resistenza
cat no : RESLP034
ブラジル・サンパウロのパーカッショニストSarineが、2024年9月にベルギーの実験レーベルFutura Resistenzaからリリースしたレコードです。
エキゾチックなストレンジビーツ5曲を収録。
※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ
レーベルその他作品はこちら /// Click here to see more Futura Resistenza releases available at Tobira.
-------------------------------------
Ask us for digital files.
12" black vinyl.
Tracklist:
A1. Asas Terrenas (Exordium)
A2. Amuse-Hanches (Gangorra)
A3. … Of Midnight Delights (Terminus)
B1. Les Yeux De La Route
B2. Mato (A Call Beyond)
From the artist:
"These songs are the result of some organ themes recorded by me with the help of Felipe Pato, by the end of 2019, with the rest of the instruments being added throughout 2020 and 2021. These were my first recordings as Sarine."
Mariano Melo, aka Marian Sarine, is a Brazilian multi-instrumentalist based in São Paulo, specializing in percussion and drums. Known for his drumming with the band DEAFKIDS and his solo work as Sarine, Mariano's latest album, Asas Terrenas, features his first recordings under this moniker. The album began with organ themes recorded with Felipe Pato at the end of 2019, with additional instruments added throughout 2020 and 2021. As Sarine himself says, "Asas Terrenas is sonic mixture that moves the feet and lifts the soul—creating an experience that is both pristine in sound and transcendental on the dancefloor."
The music is built on a modal approach, using scales as a launchpad to create free-flowing, rhythmic improvisations over dynamic interplay between notes and percussion.
Inspired by artists like Charanjit Singh, who blended traditional North-Indian ragas with electronic music, as well as African organists and synth players such as Hailu Mergia, Mammane Sani, and Hama, it combines old and new sounds, merging spiritual feelings with energetic rhythms."
Artist : Sarine
Label : Futura Resistenza
cat no : RESLP034
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As the sound begins to run, my body grows lighter and lighter, and silence returns, blurring the boundaries of my individuality. It is a\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e space like prayer without a specific deity, a place of profound depth.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe second track, ‘shizukana_hikari,’ is a song that exudes even more warmth, creating a sense of floating in the forest, as if emerging from daily life. The sound, which transforms unpredictably yet flows with underlying coherence, accepts chaos, contradictions, and even incomprehensibility. Michiko Ogawa is also my older sister. From a young age, she imagined a world where no one was left after the end of the world and cried, and felt uneasy about dividing humans into numbers, treating them with arithmetical division. She had a straight-forward strength that transcended the boundaries between people. This became a kind of difficulty in living, and it may have brought her a versatile personal space through music, where she gained the freedom to be brave, fierce, and compassionate.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe sound of the shō she plays seems like a device that warps and expands time and space. I listen to this album on the carpet in the morning, amidst the noise outside, or curled up under a blanket before bed. The sounds recorded in the suburbs of Berlin or Joshua Tree National Park in California feel distant yet intimately personal. No matter where I am, her music connects me to the tactile fragments of memory and helps me focus on the emotions and intentions I truly want to prioritise. I felt it possessed such energy.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eJust as the title suggests, it is an album like a moon floating in the darkness—gentle, filling the listener with the innocent anticipation of adventure, like countless lights spreading out at one's feet.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Michiko Ogawa\u003c\/p\u003e\n\u003cp\u003eLabel : Futura Resistenza\u003c\/p\u003e\n\u003cp\u003ecat no : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eRESLP037\u003c\/span\u003e\u003c\/p\u003e","published_at":"2025-11-23T13:03:55+09:00","created_at":"2025-11-23T09:29:08+09:00","vendor":"Tobira Records","type":"","tags":["ambient","drone","futura resistenza","lp","new"],"price":469000,"price_min":469000,"price_max":469000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47998049353978,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Michiko Ogawa \/\/ Pancake Moon LP","public_title":null,"options":["Default Title"],"price":469000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/pan1_a428daa1-3de7-4214-b11c-28f6fcbad280.jpg?v=1763857631","\/\/tobirarecords.com\/cdn\/shop\/files\/pan2_d2983693-f3d7-49b4-981c-715631b8b08e.jpg?v=1763857631","\/\/tobirarecords.com\/cdn\/shop\/files\/pan3_88a3256e-ae50-4077-86de-f44ede8c1a53.jpg?v=1763857631"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/pan1_a428daa1-3de7-4214-b11c-28f6fcbad280.jpg?v=1763857631","options":["Title"],"media":[{"alt":null,"id":37589847769338,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pan1_a428daa1-3de7-4214-b11c-28f6fcbad280.jpg?v=1763857631"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pan1_a428daa1-3de7-4214-b11c-28f6fcbad280.jpg?v=1763857631","width":700},{"alt":null,"id":37589847802106,"position":2,"preview_image":{"aspect_ratio":1.494,"height":803,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pan2_d2983693-f3d7-49b4-981c-715631b8b08e.jpg?v=1763857631"},"aspect_ratio":1.494,"height":803,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pan2_d2983693-f3d7-49b4-981c-715631b8b08e.jpg?v=1763857631","width":1200},{"alt":null,"id":37589847834874,"position":3,"preview_image":{"aspect_ratio":1.494,"height":803,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pan3_88a3256e-ae50-4077-86de-f44ede8c1a53.jpg?v=1763857631"},"aspect_ratio":1.494,"height":803,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pan3_88a3256e-ae50-4077-86de-f44ede8c1a53.jpg?v=1763857631","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eベルリンとLAを拠点に活動しているクラリネット奏者Michiko Ogawaが、2025年11月にベルギーの実験レーベルFutura Resistenzaからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eシンセによるロングフォームなアンビエントドローン〜ドローン2曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2041948012\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/futres\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/futres\"\u003ehere\u003c\/a\u003e to see more Futura Resistenza releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e-------------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eAsk us for digital files.\u003cbr\u003e12\" black vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. ashimoto no uchuu 18:05\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e2. shizukana hikari 20:15\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eText written by\u003cspan class=\"bcTruncateMore\"\u003e Tomoko Ogawa, via the label :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"The opening of the album’s first track, ‘ashimoto_no_uchu,’ reminded me of the moment of death or birth that repeats itself. The transparent sounds of synthesizers and pianos, the nostalgic, gritty resonance of a used Farfisa organ, and the deep overtones of the shō intertwine, evoking memories that flash by like a dying person's final moments. Eventually, light pierces the pitch-black darkness, and I felt a strange sensation of being reborn, as if my eyes were opening anew. Memories of summer, when I didn't yet know how to swim and clung to my strong mother's back for comfort. The path I walked with my father and sister, lost in time and playing in the snow. The loneliness of when my older childhood friend no longer wanted to play with me. The sense of alienation I felt throughout my school days. As I passed through an era of tender sensitivity, my body gradually strengthened its outer defences as the world expanded. The sound progresses, simultaneously revealing the past I have traversed and the countless pasts I might have chosen, moving toward an open future. As the sound begins to run, my body grows lighter and lighter, and silence returns, blurring the boundaries of my individuality. It is a\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e space like prayer without a specific deity, a place of profound depth.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe second track, ‘shizukana_hikari,’ is a song that exudes even more warmth, creating a sense of floating in the forest, as if emerging from daily life. The sound, which transforms unpredictably yet flows with underlying coherence, accepts chaos, contradictions, and even incomprehensibility. Michiko Ogawa is also my older sister. From a young age, she imagined a world where no one was left after the end of the world and cried, and felt uneasy about dividing humans into numbers, treating them with arithmetical division. She had a straight-forward strength that transcended the boundaries between people. This became a kind of difficulty in living, and it may have brought her a versatile personal space through music, where she gained the freedom to be brave, fierce, and compassionate.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe sound of the shō she plays seems like a device that warps and expands time and space. I listen to this album on the carpet in the morning, amidst the noise outside, or curled up under a blanket before bed. The sounds recorded in the suburbs of Berlin or Joshua Tree National Park in California feel distant yet intimately personal. No matter where I am, her music connects me to the tactile fragments of memory and helps me focus on the emotions and intentions I truly want to prioritise. I felt it possessed such energy.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eJust as the title suggests, it is an album like a moon floating in the darkness—gentle, filling the listener with the innocent anticipation of adventure, like countless lights spreading out at one's feet.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Michiko Ogawa\u003c\/p\u003e\n\u003cp\u003eLabel : Futura Resistenza\u003c\/p\u003e\n\u003cp\u003ecat no : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eRESLP037\u003c\/span\u003e\u003c\/p\u003e"}
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ベルリンとLAを拠点に活動しているクラリネット奏者Michiko Ogawaが、2025年11月にベルギーの実験レーベルFutura Resistenzaからリリースしたレコードです。 シンセによるロングフォームなアンビエントドローン〜ドローン2曲を収録。 ※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ レーベルその他作品はこちら /// Click here to see more Futura Resistenza...
¥4,690
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{"id":9009653580026,"title":"Machine Listening \/\/ Environments 12: New Concepts In Acoustic Enrichment LP","handle":"machine-listening-environments-12-new-concepts-in-acoustic-enrichment-lp","description":"\u003cp\u003eオーストラリアの実験グループMachine Listeningが、2025年6月にベルギーの実験レーベルFutura Resistenzaからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eサウンドポエトリー〜物音15曲を収録。ゲートフォルド仕様です。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"『Environments 12』は、かつて人気を博した『Environments』シリーズへの新たな思索的追加作品である。このシリーズは1969年から1979年にかけて発表された11枚のレコード群で、気分を変える自然音録音の大衆市場を先取りしたものだった。今や惑星規模の計算が日常化した時代において、更新されているのは環境そのものである。音響景観の再現・合成・管理は普遍化され自動化された。サイバネティック生態学の名のもとに、スピーカーとマイクが生物圏全体に張り巡らされている。アーティスト兼研究者ショーン・ドックレイ、ジェームズ・パーカー、ジョエル・スターンにより2020年に設立されたMachine Listeningは、共同研究と芸術的実験のためのプラットフォームである。この集団は、執筆、インスタレーション、キュレーション、ソフトウェア、ラジオ、教育、パフォーマンスなど、多様なメディアと制作手法を横断して活動している。そしてこれが彼らがリリースした初のLPである。これは人新世のための心をひっくり返す台本だ：ポスト歴史的なフィールドレコーディング。攻撃的に無遠慮で、思慮深く狡猾な、あなたの内耳をくすぐる一枚。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eこの作品は、歴史的、現代的、そして空想的な一連の場面で展開され、声のパフォーマーたち（フランシス・プラニ、ジェニー・ヒッキンボサム、デヴィッド・チェズワース、キャサリン・ライアン、ジャスパー・ドックレイ、ロスリン・オルランド）とその生成的な声のクローンたちによって語られる。この人間以上の合唱団が、心理的に究極の海岸、サンゴ礁の子守唄、動物園の囲いのために設計された自然の交響曲、クジラやカラスのための大規模な言語モデルなどの物語を語り、繰り返し語る。このレコードは、生物圏、人間、テクノロジーの境界がほぼ完全に曖昧になった世界を想像する。有機物が、生命を呼び起こすために、それ自体の合成的な再現にさらされなければならない、レプリカの複製という仮説上の空間である。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e『Environments 12』は現実の停止を伴い、あるいは要求する。これは実在の声の合唱か、それとも複製か？動物はマイクに敵意を抱くのか？フィールドレコーディングが文化的遺物として扱われ、音響生物学者が収集した「データ」の中に補間される時、それは何を意味するのか？真実と抽象化を区別する物差しはここには存在しない。そしてその効果は不可解な中毒性を帯びている：子守唄のような歌声がゆっくりと完全な拡張状態へと回転し、海の音を模倣するアンサンブルが輝かしい旋律でまねをし、壊れた声がワイヤーの中でハミングする破片から構築された夢の和音。\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEnvironments 12 は、物語的に、容易に識別できる現実から切り離されているのと同じように、音的にも、ある特定のジャンルに分類されることを拒否している。その効果は、ウォルター・マイオリ、フレッド・ゲイルズ、そしてサウンド・レポーターズの一団が、デジタル・ゴリラの囲いの中に放り込まれたような、あるいは、ロバート・アシュリーの『ドン』がリンダを離れて、代わりに大阪の水族館に行ってイルカの声を聞くような、そんな感じであろう。この作品のパレットは、ポール・デマリニスの『Songs Without Throats』や、ロン・クイヴィラとニコラス・コリンズの『Going Out With Slow Smoke』の、その愛らしい音楽スタイル（特定できるサウンドというよりもアプローチ）のファンに間違いなく合うだろう。しかし、そのドラマチックさには非常に不調和な部分もある。レトロフューチャーというよりも、まったく独自の連続体の中にあり、それゆえにさらに魅惑的である。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e要するに、『Environments 12』は、深く困惑させ、美しく派手で、そのグロテスクさすべてに抑制できない喜びがある。ハイコンセプトと不遜な不条理のバランスをこれほど巧みに取っているレコードはめったにない。ましてや、明確な感情的な核心を維持しながら、という条件を加えるとさらに稀である。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3117061715\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/futres\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/futres\"\u003ehere\u003c\/a\u003e to see more Futura Resistenza releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e-------------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eAsk us for digital files.\u003cbr\u003e12\" black vinyl in gatefold sleeve. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Acoustic enrichment (prelude) 00:19\u003cbr\u003e2. Environments 1 02:21\u003cbr\u003e3. Psychologically ultimate seashore 01:03\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e4. But they weren't perfect 02:44\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e5. I like to think 02:59\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e6. Reef mega mix 01:18\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e7. Reef lullaby 03:17\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e8. That is a beautiful memory 01:09\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e9. Dream chord \/ be in 03:32\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e10. Round and round 02:40\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e11. Conversations we can't understand 02:24\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e12. Gorilla Tropics 01:39\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e13. Symphony Natura 02:46\u003cbr\u003e\u003c\/span\u003e14. Reef lament 04:24\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e15. Planetary computer 02:25\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFutura Resistenza:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e‘Is it difficult to reproduce the sounds of nature?’\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEnvironments 12 is a new, speculative addition to the once-popular Environments series: a sequence of 11 records released between 1969 and 1979 that anticipated a mass-market in mood-altering nature recordings. Now, in the era of planetary scale computation, it is the environment itself that’s being updated. The reproduction, synthesis and management of soundscapes has become ubiquitous and automated. Loudspeakers and microphones are laced through the biosphere, all in the name of a cybernetic ecology.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eEstablished in 2020 by artist-researchers Sean Dockray, James Parker, and Joel Stern, Machine Listening is a platform for collaborative research and artistic experimentation. The collective works across diverse media and modes of production, including writing, installation, curation, software, radio, pedagogy, and performance. And this is the first LP they’ve released. It is a mind-inverting libretto for the anthropocene: a post-historical field recording; aggressively brash and thoughtfully devious, one for the curling of your inner ear.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eUnfolding across a series of historical, contemporary, and speculative scenes, the work is narrated by an ensemble of vocal\u003cspan class=\"bcTruncateMore\"\u003e performers - Francis Plagne, Jenny Hickinbotham, David Chesworth, Catherine Ryan, Jasper Dockray, Roslyn Orlando - and their generative voice clones. Together, this more-than-human chorus tells and retells stories of ‘psychologically ultimate seashores’, reef lullabies, natural symphonies designed for zoo enclosures, and large language models for whales and crows. The record imagines a world in which the biosphere, human and technology are blurred almost entirely: a hypothetical space in which organic matter has to be exposed to synthetic renditions of itself in order to summon life, a reproduction of a replica.\u003cbr\u003e\u003cbr\u003eEnvironments 12 involves, or demands, a suspension of reality. Is this a chorus of real voices or a facsimile? Are animals hostile to microphones? What does it mean when field recordings are treated by as cultural artefacts, interpolated amongst ‘data’ gathered by acoustic biologists? There is no yardstick here with which to discern what is true and what is an abstraction thereof. And the effect is bafflingly addictive: sing-song lullabies slowly spinning into states of total dilation, miming ensembles mimicking ocean sounds in resplendent strains, dream chords built of broken voice humming within the wires.\u003cbr\u003e\u003cbr\u003eIn the same way that Environments 12 feels narratively unmoored from any easily identifiable reality, it also refuses to pigeonhole itself sonically. The effect is something like Walter Maioli, Fred Gales and the Sound Reporters gang being set upon a digital gorilla enclosure, or perhaps Robert Ashley’s Don leaving Linda and instead going to the Osaka Aquarium to listen to dolphins. The palette here is definitely one for fans of the lovely music style (an approach more than an identifiable sound) of Paul DeMarinis’ ‘Songs Without Throats’ or Ron Kuivila and Nicolas Collins’ ‘Going Out With Slow Smoke’. But it’s also supremely off kilter in its dramatics. Not retrofuturist so much as off in its own continuum entirely, and all the more entrancing for it.\u003cbr\u003e\u003cbr\u003eIn sum, Environments 12 is deeply perplexing, beautifully garish, and an unbridled pleasure for all its grotesqueries. Rarely do records strike so deft a balance between high-conceptualism and irreverent absurdity, much less while maintaining a distinct emotional core.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Machine Listening (Sean Dockray, James Parker, and Joel Stern)\u003c\/p\u003e\n\u003cp\u003eLabel : Futura Resistenza\u003c\/p\u003e\n\u003cp\u003ecat no : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eRESLP038\u003c\/span\u003e\u003c\/p\u003e","published_at":"2025-11-23T13:13:37+09:00","created_at":"2025-11-23T09:24:30+09:00","vendor":"Tobira Records","type":"","tags":["contemporary \/ sound poetry","field recording","futura resistenza","lp","monooto","new"],"price":482200,"price_min":482200,"price_max":482200,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47998048469242,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Machine Listening \/\/ Environments 12: New Concepts In Acoustic Enrichment LP","public_title":null,"options":["Default Title"],"price":482200,"weight":530,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/new1_9006af94-b1a8-477f-9449-6f58b39b8e0f.jpg?v=1763857302","\/\/tobirarecords.com\/cdn\/shop\/files\/new2_922cf106-ed5a-458f-9d6d-2ad854eedc0a.jpg?v=1763857302"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/new1_9006af94-b1a8-477f-9449-6f58b39b8e0f.jpg?v=1763857302","options":["Title"],"media":[{"alt":null,"id":37589823652090,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/new1_9006af94-b1a8-477f-9449-6f58b39b8e0f.jpg?v=1763857302"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/new1_9006af94-b1a8-477f-9449-6f58b39b8e0f.jpg?v=1763857302","width":700},{"alt":null,"id":37589823684858,"position":2,"preview_image":{"aspect_ratio":1.494,"height":803,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/new2_922cf106-ed5a-458f-9d6d-2ad854eedc0a.jpg?v=1763857302"},"aspect_ratio":1.494,"height":803,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/new2_922cf106-ed5a-458f-9d6d-2ad854eedc0a.jpg?v=1763857302","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eオーストラリアの実験グループMachine Listeningが、2025年6月にベルギーの実験レーベルFutura Resistenzaからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eサウンドポエトリー〜物音15曲を収録。ゲートフォルド仕様です。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"『Environments 12』は、かつて人気を博した『Environments』シリーズへの新たな思索的追加作品である。このシリーズは1969年から1979年にかけて発表された11枚のレコード群で、気分を変える自然音録音の大衆市場を先取りしたものだった。今や惑星規模の計算が日常化した時代において、更新されているのは環境そのものである。音響景観の再現・合成・管理は普遍化され自動化された。サイバネティック生態学の名のもとに、スピーカーとマイクが生物圏全体に張り巡らされている。アーティスト兼研究者ショーン・ドックレイ、ジェームズ・パーカー、ジョエル・スターンにより2020年に設立されたMachine Listeningは、共同研究と芸術的実験のためのプラットフォームである。この集団は、執筆、インスタレーション、キュレーション、ソフトウェア、ラジオ、教育、パフォーマンスなど、多様なメディアと制作手法を横断して活動している。そしてこれが彼らがリリースした初のLPである。これは人新世のための心をひっくり返す台本だ：ポスト歴史的なフィールドレコーディング。攻撃的に無遠慮で、思慮深く狡猾な、あなたの内耳をくすぐる一枚。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eこの作品は、歴史的、現代的、そして空想的な一連の場面で展開され、声のパフォーマーたち（フランシス・プラニ、ジェニー・ヒッキンボサム、デヴィッド・チェズワース、キャサリン・ライアン、ジャスパー・ドックレイ、ロスリン・オルランド）とその生成的な声のクローンたちによって語られる。この人間以上の合唱団が、心理的に究極の海岸、サンゴ礁の子守唄、動物園の囲いのために設計された自然の交響曲、クジラやカラスのための大規模な言語モデルなどの物語を語り、繰り返し語る。このレコードは、生物圏、人間、テクノロジーの境界がほぼ完全に曖昧になった世界を想像する。有機物が、生命を呼び起こすために、それ自体の合成的な再現にさらされなければならない、レプリカの複製という仮説上の空間である。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e『Environments 12』は現実の停止を伴い、あるいは要求する。これは実在の声の合唱か、それとも複製か？動物はマイクに敵意を抱くのか？フィールドレコーディングが文化的遺物として扱われ、音響生物学者が収集した「データ」の中に補間される時、それは何を意味するのか？真実と抽象化を区別する物差しはここには存在しない。そしてその効果は不可解な中毒性を帯びている：子守唄のような歌声がゆっくりと完全な拡張状態へと回転し、海の音を模倣するアンサンブルが輝かしい旋律でまねをし、壊れた声がワイヤーの中でハミングする破片から構築された夢の和音。\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEnvironments 12 は、物語的に、容易に識別できる現実から切り離されているのと同じように、音的にも、ある特定のジャンルに分類されることを拒否している。その効果は、ウォルター・マイオリ、フレッド・ゲイルズ、そしてサウンド・レポーターズの一団が、デジタル・ゴリラの囲いの中に放り込まれたような、あるいは、ロバート・アシュリーの『ドン』がリンダを離れて、代わりに大阪の水族館に行ってイルカの声を聞くような、そんな感じであろう。この作品のパレットは、ポール・デマリニスの『Songs Without Throats』や、ロン・クイヴィラとニコラス・コリンズの『Going Out With Slow Smoke』の、その愛らしい音楽スタイル（特定できるサウンドというよりもアプローチ）のファンに間違いなく合うだろう。しかし、そのドラマチックさには非常に不調和な部分もある。レトロフューチャーというよりも、まったく独自の連続体の中にあり、それゆえにさらに魅惑的である。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e要するに、『Environments 12』は、深く困惑させ、美しく派手で、そのグロテスクさすべてに抑制できない喜びがある。ハイコンセプトと不遜な不条理のバランスをこれほど巧みに取っているレコードはめったにない。ましてや、明確な感情的な核心を維持しながら、という条件を加えるとさらに稀である。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3117061715\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/futres\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/futres\"\u003ehere\u003c\/a\u003e to see more Futura Resistenza releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e-------------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eAsk us for digital files.\u003cbr\u003e12\" black vinyl in gatefold sleeve. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Acoustic enrichment (prelude) 00:19\u003cbr\u003e2. Environments 1 02:21\u003cbr\u003e3. Psychologically ultimate seashore 01:03\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e4. But they weren't perfect 02:44\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e5. I like to think 02:59\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e6. Reef mega mix 01:18\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e7. Reef lullaby 03:17\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e8. That is a beautiful memory 01:09\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e9. Dream chord \/ be in 03:32\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e10. Round and round 02:40\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e11. Conversations we can't understand 02:24\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e12. Gorilla Tropics 01:39\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e13. Symphony Natura 02:46\u003cbr\u003e\u003c\/span\u003e14. Reef lament 04:24\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e15. Planetary computer 02:25\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFutura Resistenza:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e‘Is it difficult to reproduce the sounds of nature?’\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEnvironments 12 is a new, speculative addition to the once-popular Environments series: a sequence of 11 records released between 1969 and 1979 that anticipated a mass-market in mood-altering nature recordings. Now, in the era of planetary scale computation, it is the environment itself that’s being updated. The reproduction, synthesis and management of soundscapes has become ubiquitous and automated. Loudspeakers and microphones are laced through the biosphere, all in the name of a cybernetic ecology.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eEstablished in 2020 by artist-researchers Sean Dockray, James Parker, and Joel Stern, Machine Listening is a platform for collaborative research and artistic experimentation. The collective works across diverse media and modes of production, including writing, installation, curation, software, radio, pedagogy, and performance. And this is the first LP they’ve released. It is a mind-inverting libretto for the anthropocene: a post-historical field recording; aggressively brash and thoughtfully devious, one for the curling of your inner ear.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eUnfolding across a series of historical, contemporary, and speculative scenes, the work is narrated by an ensemble of vocal\u003cspan class=\"bcTruncateMore\"\u003e performers - Francis Plagne, Jenny Hickinbotham, David Chesworth, Catherine Ryan, Jasper Dockray, Roslyn Orlando - and their generative voice clones. Together, this more-than-human chorus tells and retells stories of ‘psychologically ultimate seashores’, reef lullabies, natural symphonies designed for zoo enclosures, and large language models for whales and crows. The record imagines a world in which the biosphere, human and technology are blurred almost entirely: a hypothetical space in which organic matter has to be exposed to synthetic renditions of itself in order to summon life, a reproduction of a replica.\u003cbr\u003e\u003cbr\u003eEnvironments 12 involves, or demands, a suspension of reality. Is this a chorus of real voices or a facsimile? Are animals hostile to microphones? What does it mean when field recordings are treated by as cultural artefacts, interpolated amongst ‘data’ gathered by acoustic biologists? There is no yardstick here with which to discern what is true and what is an abstraction thereof. And the effect is bafflingly addictive: sing-song lullabies slowly spinning into states of total dilation, miming ensembles mimicking ocean sounds in resplendent strains, dream chords built of broken voice humming within the wires.\u003cbr\u003e\u003cbr\u003eIn the same way that Environments 12 feels narratively unmoored from any easily identifiable reality, it also refuses to pigeonhole itself sonically. The effect is something like Walter Maioli, Fred Gales and the Sound Reporters gang being set upon a digital gorilla enclosure, or perhaps Robert Ashley’s Don leaving Linda and instead going to the Osaka Aquarium to listen to dolphins. The palette here is definitely one for fans of the lovely music style (an approach more than an identifiable sound) of Paul DeMarinis’ ‘Songs Without Throats’ or Ron Kuivila and Nicolas Collins’ ‘Going Out With Slow Smoke’. But it’s also supremely off kilter in its dramatics. Not retrofuturist so much as off in its own continuum entirely, and all the more entrancing for it.\u003cbr\u003e\u003cbr\u003eIn sum, Environments 12 is deeply perplexing, beautifully garish, and an unbridled pleasure for all its grotesqueries. Rarely do records strike so deft a balance between high-conceptualism and irreverent absurdity, much less while maintaining a distinct emotional core.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Machine Listening (Sean Dockray, James Parker, and Joel Stern)\u003c\/p\u003e\n\u003cp\u003eLabel : Futura Resistenza\u003c\/p\u003e\n\u003cp\u003ecat no : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eRESLP038\u003c\/span\u003e\u003c\/p\u003e"}
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オーストラリアの実験グループMachine Listeningが、2025年6月にベルギーの実験レーベルFutura Resistenzaからリリースしたレコードです。 サウンドポエトリー〜物音15曲を収録。ゲートフォルド仕様です。 ※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ 以下、レーベルによる解説です。 "『Environments 12』は、かつて人気を博した『Environments』シリーズへの新たな思索的追加作品である。このシリーズは1969年から1979年にかけて発表された11枚のレコード群で、気分を変える自然音録音の大衆市場を先取りしたものだった。今や惑星規模の計算が日常化した時代において、更新されているのは環境そのものである。音響景観の再現・合成・管理は普遍化され自動化された。サイバネティック生態学の名のもとに、スピーカーとマイクが生物圏全体に張り巡らされている。アーティスト兼研究者ショーン・ドックレイ、ジェームズ・パーカー、ジョエル・スターンにより2020年に設立されたMachine Listeningは、共同研究と芸術的実験のためのプラットフォームである。この集団は、執筆、インスタレーション、キュレーション、ソフトウェア、ラジオ、教育、パフォーマンスなど、多様なメディアと制作手法を横断して活動している。そしてこれが彼らがリリースした初のLPである。これは人新世のための心をひっくり返す台本だ：ポスト歴史的なフィールドレコーディング。攻撃的に無遠慮で、思慮深く狡猾な、あなたの内耳をくすぐる一枚。 この作品は、歴史的、現代的、そして空想的な一連の場面で展開され、声のパフォーマーたち（フランシス・プラニ、ジェニー・ヒッキンボサム、デヴィッド・チェズワース、キャサリン・ライアン、ジャスパー・ドックレイ、ロスリン・オルランド）とその生成的な声のクローンたちによって語られる。この人間以上の合唱団が、心理的に究極の海岸、サンゴ礁の子守唄、動物園の囲いのために設計された自然の交響曲、クジラやカラスのための大規模な言語モデルなどの物語を語り、繰り返し語る。このレコードは、生物圏、人間、テクノロジーの境界がほぼ完全に曖昧になった世界を想像する。有機物が、生命を呼び起こすために、それ自体の合成的な再現にさらされなければならない、レプリカの複製という仮説上の空間である。 『Environments 12』は現実の停止を伴い、あるいは要求する。これは実在の声の合唱か、それとも複製か？動物はマイクに敵意を抱くのか？フィールドレコーディングが文化的遺物として扱われ、音響生物学者が収集した「データ」の中に補間される時、それは何を意味するのか？真実と抽象化を区別する物差しはここには存在しない。そしてその効果は不可解な中毒性を帯びている：子守唄のような歌声がゆっくりと完全な拡張状態へと回転し、海の音を模倣するアンサンブルが輝かしい旋律でまねをし、壊れた声がワイヤーの中でハミングする破片から構築された夢の和音。 Environments 12...
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クイックビュー
{"id":8875092836602,"title":"Felix Kubin \/\/ Der Tanz Aller LP","handle":"felix-kubin-der-tanz-aller-lp","description":"\u003cp\u003eドイツの実験音楽家Felix Kubinが、2025年7月にベルギーの実験レーベルFutura Resistenzaからリリースしたレコードです\u003c\/p\u003e\n\u003cp\u003e演劇作品のために制作した10曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/playlists\/2019574452\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=\"450\" width=\"100%\"\u003e\u003c\/iframe\u003e\u003c\/p\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=\"Futura Resistenza\" href=\"https:\/\/soundcloud.com\/futuraresistenza\" target=\"_blank\"\u003eFutura Resistenza\u003c\/a\u003e · \u003ca style=\"color: #cccccc; text-decoration: none;\" title=\"Felix Kubin - Der Tanz Aller (RESLP040) PREVIEW\" href=\"https:\/\/soundcloud.com\/futuraresistenza\/sets\/felix-kubin-der-tanz-aller-reslp040-preview\" target=\"_blank\"\u003eFelix Kubin - Der Tanz Aller (RESLP040) PREVIEW\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/futres\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/futres\"\u003ehere\u003c\/a\u003e to see more Futura Resistenza releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e-------------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl. Ask us for digital files.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Mach Dich frei! 02:41\u003cbr\u003e2. Dämonen der Zerstreuung 06:02\u003cbr\u003e3. Raumstunde Vera Skoronel 04:36\u003cbr\u003e4. Eine Amöbe auf dem Mond 03:32\u003cbr\u003e5. Achtung! Wir schalten um! 00:40\u003cbr\u003e6. Der Tanz Aller 03:20\u003cbr\u003e7. Rotes Lied 02:34\u003cbr\u003e8. Kreuzzug der Maschine 03:19\u003cbr\u003e9. Masse Mensch 02:37\u003cbr\u003e10. Flammende Zeit 05:14\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eFutura Resistenza:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eWhen the performance group LIGNA approached me in 2012 to compose music for a play based on Rudolf von Laban’s revolutionary kinetic theories and so-called ‘Bewegungschöre’ (movement choirs), I thought of a soundtrack that would be both rhythmically engaging, abstract and mechanical. I knew there would be pre-recorded voices talking about his philosophy and guiding the audience via headphones. So, I had to leave some “air” in the arrangements, allowing the visitors to concentrate on the spoken words, while simultaneously becoming dancers. In LIGNA’s conceptual works – just like Laban’s idea of the movement choirs – the audience members become the performers. LIGNA say about their work:\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eTanz aller - that means the dance of all people, but also of all social conditions. Tanz aller - is not a re-enactment of the ‘Laienchöre’ (amateur choirs), but updates the aesthetic questions that the ‘Bewegungschöre’ can pose: What role can mass, what role can dance play today? What does an organization of the masses* beyond representation look like? How do we move from dance to the dance of all relationships?\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe first time I heard of Rudolf von Laban* and his students was in 2008, when I created a Hörspiel (radio play)\u003cspan class=\"bcTruncateMore\"\u003e for Westdeutscher Rundfunk (WDR) about instruction manuals called Wiederhole 1-8 (Repeat 1-8). This piece was composed like an intricate music piece, consisting of many modules layered on top of each other. The driving force underneath was an electronic sequencer that embodied the instruction manuals’ nature of doing everything step by step. In one part of the Hörspiel, I interviewed Christiane Meyer-Rogge-Turner, the daughter of Rudolf von Laban’s famous student Lola Rogge (who founded her eponymous dance school in Hamburg in 1927). Christiane explained Laban’s idea of the ‘Bewegungskugel’, a sphere surrounding every human being. All movements inside this sphere – even the ergonomics at working places – can be described in ‘kinetographic’ symbols based on a notation system (Labanotation) that operates independently from gravity.\u003cbr\u003e\u003cbr\u003eLike in my radio play, I wanted to work with electronic sequences – but this time in combination with acoustic percussion and brass instruments to give it more lively textures and the possibility of polyphony. Inspired by the Orff-Schulwerk, a collection of percussion pieces for children written by German composers Carl Orff and Gunild Keetman in the 1950s, I came up with a number of different musical themes that would accompany the spoken texts and movement instructions. The originally much longer tracks on this record include socialist marches (Flammende Zeit, Rotes Lied), demonstrations (Masse Mensch), experimental exercises in room exploration (Raumstunde Vera Skoronel) and confrontations between proletarians and capitalists in the machine age (Kreuzzug der Maschine, Dämonen der Zerstreuung, Der Tanz Aller). They all refer as much to the visionary but ambiguous ideas, technology and music of the 1920s as to the abstract drawings and kinetic language of Rudolf von Laban and his students, a lot of which can be found in the inlay of this LP.\u003cbr\u003e\u003cbr\u003e* The lines between mass movements and fascism were thin in the 1930s, and they still are. While Laban’s student Martin Gleisner choreographed mass dances for the Social Democratic Party and had to flee after 1933 into exile, Laban (and many other of his students) stayed in national socialist Germany, trying to make movement choirs part of the political system. After that failed, Laban also went into exile. LIGNA and Felix Kubin are trying to salvage the forgotten tradition of choreographed masses before 1933 from oblivion.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Felix Kubin\u003c\/p\u003e\n\u003cp\u003eLabel : Futura Resistenza\u003c\/p\u003e\n\u003cp\u003ecat no : RESLP040\u003c\/p\u003e","published_at":"2025-08-03T08:15:39+09:00","created_at":"2025-08-01T11:11:48+09:00","vendor":"Tobira Records","type":"","tags":["contemporary \/ sound poetry","futura resistenza","lp","new","strange beats"],"price":488000,"price_min":488000,"price_max":488000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47571276955898,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Felix Kubin \/\/ Der Tanz Aller LP","public_title":null,"options":["Default Title"],"price":488000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/der1_abca5187-e872-46a6-88b4-1203dd784441.jpg?v=1754014211","\/\/tobirarecords.com\/cdn\/shop\/files\/der2_b188ef52-d719-4db3-a35b-fe9541018243.jpg?v=1754014211"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/der1_abca5187-e872-46a6-88b4-1203dd784441.jpg?v=1754014211","options":["Title"],"media":[{"alt":null,"id":36463238775034,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/der1_abca5187-e872-46a6-88b4-1203dd784441.jpg?v=1754014211"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/der1_abca5187-e872-46a6-88b4-1203dd784441.jpg?v=1754014211","width":700},{"alt":null,"id":36463238807802,"position":2,"preview_image":{"aspect_ratio":1.494,"height":803,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/der2_b188ef52-d719-4db3-a35b-fe9541018243.jpg?v=1754014211"},"aspect_ratio":1.494,"height":803,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/der2_b188ef52-d719-4db3-a35b-fe9541018243.jpg?v=1754014211","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eドイツの実験音楽家Felix Kubinが、2025年7月にベルギーの実験レーベルFutura Resistenzaからリリースしたレコードです\u003c\/p\u003e\n\u003cp\u003e演劇作品のために制作した10曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/playlists\/2019574452\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=\"450\" width=\"100%\"\u003e\u003c\/iframe\u003e\u003c\/p\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=\"Futura Resistenza\" href=\"https:\/\/soundcloud.com\/futuraresistenza\" target=\"_blank\"\u003eFutura Resistenza\u003c\/a\u003e · \u003ca style=\"color: #cccccc; text-decoration: none;\" title=\"Felix Kubin - Der Tanz Aller (RESLP040) PREVIEW\" href=\"https:\/\/soundcloud.com\/futuraresistenza\/sets\/felix-kubin-der-tanz-aller-reslp040-preview\" target=\"_blank\"\u003eFelix Kubin - Der Tanz Aller (RESLP040) PREVIEW\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/futres\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/futres\"\u003ehere\u003c\/a\u003e to see more Futura Resistenza releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e-------------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl. Ask us for digital files.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Mach Dich frei! 02:41\u003cbr\u003e2. Dämonen der Zerstreuung 06:02\u003cbr\u003e3. Raumstunde Vera Skoronel 04:36\u003cbr\u003e4. Eine Amöbe auf dem Mond 03:32\u003cbr\u003e5. Achtung! Wir schalten um! 00:40\u003cbr\u003e6. Der Tanz Aller 03:20\u003cbr\u003e7. Rotes Lied 02:34\u003cbr\u003e8. Kreuzzug der Maschine 03:19\u003cbr\u003e9. Masse Mensch 02:37\u003cbr\u003e10. Flammende Zeit 05:14\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eFutura Resistenza:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eWhen the performance group LIGNA approached me in 2012 to compose music for a play based on Rudolf von Laban’s revolutionary kinetic theories and so-called ‘Bewegungschöre’ (movement choirs), I thought of a soundtrack that would be both rhythmically engaging, abstract and mechanical. I knew there would be pre-recorded voices talking about his philosophy and guiding the audience via headphones. So, I had to leave some “air” in the arrangements, allowing the visitors to concentrate on the spoken words, while simultaneously becoming dancers. In LIGNA’s conceptual works – just like Laban’s idea of the movement choirs – the audience members become the performers. LIGNA say about their work:\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eTanz aller - that means the dance of all people, but also of all social conditions. Tanz aller - is not a re-enactment of the ‘Laienchöre’ (amateur choirs), but updates the aesthetic questions that the ‘Bewegungschöre’ can pose: What role can mass, what role can dance play today? What does an organization of the masses* beyond representation look like? How do we move from dance to the dance of all relationships?\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe first time I heard of Rudolf von Laban* and his students was in 2008, when I created a Hörspiel (radio play)\u003cspan class=\"bcTruncateMore\"\u003e for Westdeutscher Rundfunk (WDR) about instruction manuals called Wiederhole 1-8 (Repeat 1-8). This piece was composed like an intricate music piece, consisting of many modules layered on top of each other. The driving force underneath was an electronic sequencer that embodied the instruction manuals’ nature of doing everything step by step. In one part of the Hörspiel, I interviewed Christiane Meyer-Rogge-Turner, the daughter of Rudolf von Laban’s famous student Lola Rogge (who founded her eponymous dance school in Hamburg in 1927). Christiane explained Laban’s idea of the ‘Bewegungskugel’, a sphere surrounding every human being. All movements inside this sphere – even the ergonomics at working places – can be described in ‘kinetographic’ symbols based on a notation system (Labanotation) that operates independently from gravity.\u003cbr\u003e\u003cbr\u003eLike in my radio play, I wanted to work with electronic sequences – but this time in combination with acoustic percussion and brass instruments to give it more lively textures and the possibility of polyphony. Inspired by the Orff-Schulwerk, a collection of percussion pieces for children written by German composers Carl Orff and Gunild Keetman in the 1950s, I came up with a number of different musical themes that would accompany the spoken texts and movement instructions. The originally much longer tracks on this record include socialist marches (Flammende Zeit, Rotes Lied), demonstrations (Masse Mensch), experimental exercises in room exploration (Raumstunde Vera Skoronel) and confrontations between proletarians and capitalists in the machine age (Kreuzzug der Maschine, Dämonen der Zerstreuung, Der Tanz Aller). They all refer as much to the visionary but ambiguous ideas, technology and music of the 1920s as to the abstract drawings and kinetic language of Rudolf von Laban and his students, a lot of which can be found in the inlay of this LP.\u003cbr\u003e\u003cbr\u003e* The lines between mass movements and fascism were thin in the 1930s, and they still are. While Laban’s student Martin Gleisner choreographed mass dances for the Social Democratic Party and had to flee after 1933 into exile, Laban (and many other of his students) stayed in national socialist Germany, trying to make movement choirs part of the political system. After that failed, Laban also went into exile. LIGNA and Felix Kubin are trying to salvage the forgotten tradition of choreographed masses before 1933 from oblivion.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Felix Kubin\u003c\/p\u003e\n\u003cp\u003eLabel : Futura Resistenza\u003c\/p\u003e\n\u003cp\u003ecat no : RESLP040\u003c\/p\u003e"}
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ドイツの実験音楽家Felix Kubinが、2025年7月にベルギーの実験レーベルFutura Resistenzaからリリースしたレコードです 演劇作品のために制作した10曲を収録。 ※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ Futura Resistenza · Felix Kubin - Der Tanz Aller...
¥4,880