Neti-Neti // Impermanence LP

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Lo-FiストレンジビーツデュオNeti-Netiが、2022年9月にアメリカ・LAの実験／物音レーベルDinzu Artefactsから100本限定でリリースしたカセットです。

パーカッションとエレクトロニクスによる土着ストレンジビーツ3曲を収録。DLコード付属。

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

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

Includes DL code. Edition of 100.

Dinzu Artefacts:

" Neti-Neti is the lo-fi ritual music duo of Matt Evans (drums/electronics) and Amirtha Kidambi (vocals/electronics) that formed amidst their mutual experiences surrounding grief after the death of loved ones. The duo shapes a vessel for processing this loss using hazy rhythmic interplay, dredging piles of noise, and serene moments of ethereal melodic counterpoint. Neti-Neti, translated as “It is not this, it is not that” from Sanskrit, is a contemplation on the nature of reality, life, death, birth and rebirth extracted from the Hindu text of rituals The Upanishads. This meditation serves as distillation of the duo’s relationship that emerged from the viscera of a year and a half of exchanging thoughts on the nonlinear nature of grief and its chaotic emotional trajectory, the abstraction of a person without physical form, and the trauma of one’s foundations being shattered, necessitating a total spiritual rebirth. Having never played together, the two met up for the first time in 2020 and recorded their first improvisations which became the source material for their first release Impermanence.

Impermanence is a crumpled, lo-fi collection of collaged improvisations for feedback drumkit and pedal manipulated vocals that follow the unpredictable and nonlinear process of grief like an abstracted improvisational “score”. Neti-Neti perform this music as a “mourning ritual” that extends beyond themselves to the audience, creating a space to hold and be present with loss in all its forms, personal and universal. The language of Evans’ and Kidambi’s improvisations is a primal, noisey, rhythmic, and melodic music that resonates in the ancient combination of voice and percussion.

Matt Evans is a drummer and composer known for his collaborative projects in the new music sphere with bands Tigue and Bearthoven, and as an occasional collaborator with Deerhoof, OHYUNG, and Ayano Elson. His solo-work presents concept driven embodied improvisational performance through an eco-fictional lens and is the basis for his large ensemble Big Spin featuring Amirtha Kidambi on vocals and saxophone. This duo is Evans’ first fully free improvised foray, finding a natural partner in Kidambi who is deeply immersed in the world of free improv and free jazz.

Amirtha Kidambi is the bandleader of incendiary protest group Elder Ones, and has duos with improvisers including Luke Stewart, Darius Jones, Matteo Liberatore and Maria Grand, and is a performer and collaborator in Mary Halvorson’s Code Girl, various projects with William Parker and in Robert Ashley’s “New Band”.

Artist : Neti-Neti

Label : Dinzu Artefacts

Lo-FiストレンジビーツデュオNeti-Netiが、2022年9月にアメリカ・LAの実験／物音レーベルDinzu Artefactsから100本限定でリリースしたカセットです。

パーカッションとエレクトロニクスによる土着ストレンジビーツ3曲を収録。DLコード付属。

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

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

Includes DL code. Edition of 100.

Dinzu Artefacts:

Artist : Neti-Neti

Label : Dinzu Artefacts

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クイックビュー {"id":8669111582970,"title":"Aki Onda \/\/ 99 Cent Dreams TAPE","handle":"aki-onda-99-cent-dreams-tape","description":"\u003cp\u003e日本の実験音楽家Aki Ondaが、2024年11月にアメリカ・LAの実験レーベルDinzu Artefacts\u003cspan data-mce-fragment=\"1\"\u003eからリリースしたカセットです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e物音コラージュスケープ2曲を収録。DLコード付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e以下、作家本人による解説です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"私は1998年から2003年にかけて、キャナル・ストリートから14番街まで、そしてバワリー（3番街）からイーストリバーまで続くニューヨークのロウアーイーストサイド（LES）周辺で、これらの音の断片を録音した。カセットテープの練習を始めた頃、私はレコーダーを持って歩き回り、まるで写真を撮るかのように、時には1秒にも満たないような短い音の断片を録音したり、深く聴き入ったりする習慣があった。これらの録音は、磁気テープに濃密なコラージュを刻み、私は約20年前にそれらをキャプチャしたのと同じ編集スタイルで、ここに音を提示する。\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\"\u003e当時、LESは憧れの場所だった。この界隈には多くのアーティスト、映画制作者、ミュージシャンが住み、本物のボヘミアン・コミュニティの雰囲気があった。地域の大部分はランドマーク委員会によって保護され、家賃安定ビルも多かった。ジェントリフィケーション（高級化）により、LESに長年住んでいた人たちの一部はウィリアムズバーグやブルックリンの他の地域に移り住んだが、それ以外の人たちは家賃が安定した住戸に住み続け、何十年もそこに住み続けている。19世紀以来、この地域にはイタリア人、ユダヤ人、プエルトリコ人などの移民コミュニティが次々と居住してきた。イースト・リバー沿いのアルファベット・シティ（LESのうち、大通りに番号ではなく文字が振られている部分）には、昔も今もラテン系コミュニティが多い。これらすべての特徴が混在することで、街の他のどの地域とも異なる多文化的で控えめな雰囲気が生まれた。\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e私は、2番街とセカンド・アベニューの角にあるアンソロジー・フィルム・アーカイブス（AFA）で数え切れないほどの時間を過ごした。1998年、私はAFAの共同設立者の一人であるジョナス・メカスと知り合いになった。90年代に東京で彼の『\u003cspan class=\"bcTruncateMore\"\u003eReminiscences of a Journey to Lithuania\u003c\/span\u003e』（1972年）を初めて観た私は、メカスの作品に強い影響を受けたので、彼を訪ねたのは自然な成り行きだった。当時のAFAは、もっとカオスでアンダーグラウンドな場所だった。私たちは、ジョナスが写真スタジオを持っていた地下室にたむろしていた。他の部屋にはリトアニア人の友人が数人いた。ジョナスは私にフィルムカルチャー誌をくれた。私たちは近くのイタリアンレストランで昼食をとり、ジョナスのオフィスの延長のような、1番街と2番街の角にあるゴミゴミしたマーズバーに立ち寄った。AFAの上映会に無料でアクセスし、私は前衛映画のエッセンスを吸収した。私のお気に入りは \u003cspan class=\"bcTruncateMore\"\u003eWilliam Klein's 『Muhammad Ali the Greatest』(1969); Ken Jacobs's 『Blonde Cobra』(1963); Michael Snow’s 『Rameau’s Nephew by Diderot』 (1974); Harry Smith's 『Mahagonny』 (1980) and 『Heaven and Earth Magic』 (1962); Bruce Conner’s 『The White Rose』 (1965); Milton Moses Ginsberg's 『Coming Apart』 (1969); Béla Tarr’s 『The Outsider』 (1981)\u003c\/span\u003eなどだ。映画の映像と音の混合に没頭することは、私の作品に滲み出る強烈な経験の蓄積となった。私はサウンドトラックをよく録音し、そのカセットテープは映画製作者の音に対するアプローチを研究する手段となった。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eつまり、これらは単なる環境音でもなければ、私の個人的な生活の聴覚的記録でもない。私のフィールドレコーディングの実践は、LESの歴史、文化、精神と私を結びつけるツールなのだ。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2711281190\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/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\/da\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/da\"\u003ehere\u003c\/a\u003e to see more Dinzu Artefacts releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e-------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. Cassette in norelco case. Edition of 110. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Part I 17:47\u003cbr\u003e2. Part II 18:26\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eArtist statement by Aki Onda:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"\u003cem\u003eI recorded these sound fragments between 1998 and 2003 in and around the Lower East Side (LES), an area in New York City that extends roughly from Canal Street up to 14th Street and from the Bowery (3rd Avenue) to the East River. In the formative years of my cassette practice, I had a habit of walking around with my recorder and capturing very short snippets of sound – at times less than a second, as if taking a photo – as well as some longer segments of deep listening. These recordings carved a dense collage on the magnetic tapes, and I am presenting the sounds here with the same editing style as I captured them almost 20 years ago. \u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eBack then, the LES was the place to be. The neighborhood was home to many artists, filmmakers, and musicians, and there was a vibe of genuine bohemian community. A large portion of the area was protected by the Landmarks Commission, and there were many rent-stabilized buildings. Gentrification eventually priced out some of the long-time residents of the LES, who moved to Williamsburg and other parts of Brooklyn, but the rest held on to the rent-stabilized units and have been residing there for decades. Since the 19th century, the area has been inhabited by a succession of immigrant communities, including Italians, Jews, and Puerto Ricans. Toward the East River\u003cspan class=\"bcTruncateMore\"\u003e in Alphabet City (the part of the LES where the avenues are lettered rather than numbered), it was, and still is, a largely Latinx community. The mixture of all of these characteristics created a multicultural and low-key atmosphere that was different from any other part of the city. \u003cbr\u003e\u003cbr\u003eI spent countless hours at Anthology Film Archives (AFA) on the corner of 2nd Street and Second Ave. In 1998, I became acquainted with one of AFA’s co-founders, Jonas Mekas. I first watched his Reminiscences of a Journey to Lithuania (1972) in Tokyo in the '90s, and Mekas’s work became a strong influence on me, so it was a natural consequence to visit him. AFA was a more chaotic, underground place back then. We would hang out in the basement, where Jonas had a photography studio. A few of his Lithuanian friends occupied the other rooms. Jonas gave me copies of Film Culture magazines, which were excellent resources to trace film history. We would have lunch at an Italian restaurant nearby and end up stopping by the trashy Mars Bar on the corner of 1st Street and Second Ave, which was almost like an extension of Jonas's office. With free access to AFA’s screenings, I absorbed the essence of avant-garde cinema. My favorites were: William Klein's Muhammad Ali the Greatest (1969); Ken Jacobs's Blonde Cobra (1963); Michael Snow’s Rameau’s Nephew by Diderot (1974); Harry Smith's Mahagonny (1980) and Heaven and Earth Magic (1962); Bruce Conner’s The White Rose (1965); Milton Moses Ginsberg's Coming Apart (1969); Béla Tarr’s The Outsider (1981), and so on. Immersing myself in cinema’s mixture of visual and sound became a powerful accumulation of experiences that bled into my work. I often taped the soundtracks, and those cassettes became a way to study filmmakers' approaches to sounds. \u003cbr\u003e\u003cbr\u003eSo, these are not just environmental sounds nor are they aural documentation of my personal life. My field recording practice is a tool to connect me to the history, culture, and psyche of the LES, which exists as much in the realm of the imagination as it does in the coordinates of topology.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Aki Onda\u003c\/p\u003e\n\u003cp\u003eLabel : Dinzu Artefacts\u003c\/p\u003e","published_at":"2024-11-22T18:15:25+09:00","created_at":"2024-11-22T17:48:18+09:00","vendor":"Tobira Records","type":"","tags":["dinzu artefacts","monooto","new","tape"],"price":213800,"price_min":213800,"price_max":213800,"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":46883432136954,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Aki Onda \/\/ 99 Cent Dreams TAPE","public_title":null,"options":["Default Title"],"price":213800,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/aki1_4a485df7-f013-4344-9002-6fd94f105209.jpg?v=1732265231","\/\/tobirarecords.com\/cdn\/shop\/files\/aki2_5b883530-02be-4e76-a0b0-518c3e9fc9d1.jpg?v=1732265231"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/aki1_4a485df7-f013-4344-9002-6fd94f105209.jpg?v=1732265231","options":["Title"],"media":[{"alt":null,"id":35217535140090,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/aki1_4a485df7-f013-4344-9002-6fd94f105209.jpg?v=1732265231"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/aki1_4a485df7-f013-4344-9002-6fd94f105209.jpg?v=1732265231","width":700},{"alt":null,"id":35217535172858,"position":2,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/aki2_5b883530-02be-4e76-a0b0-518c3e9fc9d1.jpg?v=1732265231"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/aki2_5b883530-02be-4e76-a0b0-518c3e9fc9d1.jpg?v=1732265231","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e日本の実験音楽家Aki Ondaが、2024年11月にアメリカ・LAの実験レーベルDinzu Artefacts\u003cspan data-mce-fragment=\"1\"\u003eからリリースしたカセットです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e物音コラージュスケープ2曲を収録。DLコード付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e以下、作家本人による解説です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"私は1998年から2003年にかけて、キャナル・ストリートから14番街まで、そしてバワリー（3番街）からイーストリバーまで続くニューヨークのロウアーイーストサイド（LES）周辺で、これらの音の断片を録音した。カセットテープの練習を始めた頃、私はレコーダーを持って歩き回り、まるで写真を撮るかのように、時には1秒にも満たないような短い音の断片を録音したり、深く聴き入ったりする習慣があった。これらの録音は、磁気テープに濃密なコラージュを刻み、私は約20年前にそれらをキャプチャしたのと同じ編集スタイルで、ここに音を提示する。\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\"\u003e当時、LESは憧れの場所だった。この界隈には多くのアーティスト、映画制作者、ミュージシャンが住み、本物のボヘミアン・コミュニティの雰囲気があった。地域の大部分はランドマーク委員会によって保護され、家賃安定ビルも多かった。ジェントリフィケーション（高級化）により、LESに長年住んでいた人たちの一部はウィリアムズバーグやブルックリンの他の地域に移り住んだが、それ以外の人たちは家賃が安定した住戸に住み続け、何十年もそこに住み続けている。19世紀以来、この地域にはイタリア人、ユダヤ人、プエルトリコ人などの移民コミュニティが次々と居住してきた。イースト・リバー沿いのアルファベット・シティ（LESのうち、大通りに番号ではなく文字が振られている部分）には、昔も今もラテン系コミュニティが多い。これらすべての特徴が混在することで、街の他のどの地域とも異なる多文化的で控えめな雰囲気が生まれた。\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e私は、2番街とセカンド・アベニューの角にあるアンソロジー・フィルム・アーカイブス（AFA）で数え切れないほどの時間を過ごした。1998年、私はAFAの共同設立者の一人であるジョナス・メカスと知り合いになった。90年代に東京で彼の『\u003cspan class=\"bcTruncateMore\"\u003eReminiscences of a Journey to Lithuania\u003c\/span\u003e』（1972年）を初めて観た私は、メカスの作品に強い影響を受けたので、彼を訪ねたのは自然な成り行きだった。当時のAFAは、もっとカオスでアンダーグラウンドな場所だった。私たちは、ジョナスが写真スタジオを持っていた地下室にたむろしていた。他の部屋にはリトアニア人の友人が数人いた。ジョナスは私にフィルムカルチャー誌をくれた。私たちは近くのイタリアンレストランで昼食をとり、ジョナスのオフィスの延長のような、1番街と2番街の角にあるゴミゴミしたマーズバーに立ち寄った。AFAの上映会に無料でアクセスし、私は前衛映画のエッセンスを吸収した。私のお気に入りは \u003cspan class=\"bcTruncateMore\"\u003eWilliam Klein's 『Muhammad Ali the Greatest』(1969); Ken Jacobs's 『Blonde Cobra』(1963); Michael Snow’s 『Rameau’s Nephew by Diderot』 (1974); Harry Smith's 『Mahagonny』 (1980) and 『Heaven and Earth Magic』 (1962); Bruce Conner’s 『The White Rose』 (1965); Milton Moses Ginsberg's 『Coming Apart』 (1969); Béla Tarr’s 『The Outsider』 (1981)\u003c\/span\u003eなどだ。映画の映像と音の混合に没頭することは、私の作品に滲み出る強烈な経験の蓄積となった。私はサウンドトラックをよく録音し、そのカセットテープは映画製作者の音に対するアプローチを研究する手段となった。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eつまり、これらは単なる環境音でもなければ、私の個人的な生活の聴覚的記録でもない。私のフィールドレコーディングの実践は、LESの歴史、文化、精神と私を結びつけるツールなのだ。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2711281190\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/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\/da\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/da\"\u003ehere\u003c\/a\u003e to see more Dinzu Artefacts releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e-------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. Cassette in norelco case. Edition of 110. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Part I 17:47\u003cbr\u003e2. Part II 18:26\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eArtist statement by Aki Onda:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"\u003cem\u003eI recorded these sound fragments between 1998 and 2003 in and around the Lower East Side (LES), an area in New York City that extends roughly from Canal Street up to 14th Street and from the Bowery (3rd Avenue) to the East River. In the formative years of my cassette practice, I had a habit of walking around with my recorder and capturing very short snippets of sound – at times less than a second, as if taking a photo – as well as some longer segments of deep listening. These recordings carved a dense collage on the magnetic tapes, and I am presenting the sounds here with the same editing style as I captured them almost 20 years ago. \u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eBack then, the LES was the place to be. The neighborhood was home to many artists, filmmakers, and musicians, and there was a vibe of genuine bohemian community. A large portion of the area was protected by the Landmarks Commission, and there were many rent-stabilized buildings. Gentrification eventually priced out some of the long-time residents of the LES, who moved to Williamsburg and other parts of Brooklyn, but the rest held on to the rent-stabilized units and have been residing there for decades. Since the 19th century, the area has been inhabited by a succession of immigrant communities, including Italians, Jews, and Puerto Ricans. Toward the East River\u003cspan class=\"bcTruncateMore\"\u003e in Alphabet City (the part of the LES where the avenues are lettered rather than numbered), it was, and still is, a largely Latinx community. The mixture of all of these characteristics created a multicultural and low-key atmosphere that was different from any other part of the city. \u003cbr\u003e\u003cbr\u003eI spent countless hours at Anthology Film Archives (AFA) on the corner of 2nd Street and Second Ave. In 1998, I became acquainted with one of AFA’s co-founders, Jonas Mekas. I first watched his Reminiscences of a Journey to Lithuania (1972) in Tokyo in the '90s, and Mekas’s work became a strong influence on me, so it was a natural consequence to visit him. AFA was a more chaotic, underground place back then. We would hang out in the basement, where Jonas had a photography studio. A few of his Lithuanian friends occupied the other rooms. Jonas gave me copies of Film Culture magazines, which were excellent resources to trace film history. We would have lunch at an Italian restaurant nearby and end up stopping by the trashy Mars Bar on the corner of 1st Street and Second Ave, which was almost like an extension of Jonas's office. With free access to AFA’s screenings, I absorbed the essence of avant-garde cinema. My favorites were: William Klein's Muhammad Ali the Greatest (1969); Ken Jacobs's Blonde Cobra (1963); Michael Snow’s Rameau’s Nephew by Diderot (1974); Harry Smith's Mahagonny (1980) and Heaven and Earth Magic (1962); Bruce Conner’s The White Rose (1965); Milton Moses Ginsberg's Coming Apart (1969); Béla Tarr’s The Outsider (1981), and so on. Immersing myself in cinema’s mixture of visual and sound became a powerful accumulation of experiences that bled into my work. I often taped the soundtracks, and those cassettes became a way to study filmmakers' approaches to sounds. \u003cbr\u003e\u003cbr\u003eSo, these are not just environmental sounds nor are they aural documentation of my personal life. My field recording practice is a tool to connect me to the history, culture, and psyche of the LES, which exists as much in the realm of the imagination as it does in the coordinates of topology.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Aki Onda\u003c\/p\u003e\n\u003cp\u003eLabel : Dinzu Artefacts\u003c\/p\u003e"}

アメリカ・LAのトロンボーン奏者Mattie Barbierが、2024年11月に同国LAの実験レーベルDinzu Artefactsからリリースしたカセットです。プリペアード・ユーフォニアムによるミニマルなドローン2曲、1時間を収録。DLコード付属。レーベルその他作品はこちら /// Click here to see more Dinzu Artefacts releases available at Tobira....

¥2,138

クイックビュー {"id":8669105324282,"title":"Alma Laprida \/\/ Pitch Dark and Trembling TAPE","handle":"alma-laprida-pitch-dark-and-trembling-tape","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eアルゼンチンの音響作家Alma Lapridaが、2024年10月にアメリカ・ワシントンDCの実験レーベルOutside Timeから150本限定リリースしたカセットです。\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e物音コラージ・ドローン4曲を収録\u003c\/span\u003e。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3368529060\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e--------------------------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. Cassette in norelco case. Edition of 150. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. A Thick Event 06:39\u003cbr\u003e2. Trembling 09:21\u003cbr\u003e3. Vibra 10:42\u003cbr\u003e4. Trust Me 03:56\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eOutside Time:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAlma Laprida is a seeker. When she touches the bow to her tromba marina (an instrument with origins in medieval Europe), Laprida uses its two strings to clear a path through a thicket of indefinite musical possibilities. Before moving to Washington, DC, the Argentinian improvisor and sound artist was a central figure in the tight-knit avant-garde scene of Buenos Aires, where she became enamored with the possibilities of nontraditional instruments and everyday soundmakers. With a simple set of tools, she creates spontaneous music that at first seems austere, but with examination reveals intricately aligned fields of inquiry.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSince relocating to the U.S., Laprida has developed a distinctive, methodical style of improvisation on the tromba marina that uses amplification and subtle electronic processing to expand the textural possibilities of the instrument. Pitch Dark and Trembling extends that practice. Recorded live at Bard College in June of 2023, the album documents a pivotal moment in an ongoing exploration of low frequencies and vibrational phenomena. By modulating her instrument’s signal with a cranked 18-inch subwoofer and an array of effects pedals, the typically light sound of the tromba marina becomes massive and unwieldy, laden with roars of\u003cspan class=\"bcTruncateMore\"\u003e feedback and ghostly wisps of rumbling bass. Shaken to its core, the room itself becomes audible, as the walls vibrate sympathetically with each expulsion of sound.\u003cbr\u003e\u003cbr\u003eAfter feeling the way in which the speaker’s low frequencies interacted with objects in their direct vicinity, Laprida was reminded of a traumatic experience of a late night earthquake in Bolivia a decade and a half prior. She recalled the fear and confusion of being woken up, the oncoming roll of sound that preceded the shaking of her room, and the clattering of her belongings while she remained in bed, frozen in place. She leaned into that association, collecting exciters from deconstructed speakers and placing them inside boxes and trash cans where they would audibly shake as she played through the subwoofer. We hear the quiver of these exciters on “Trembling,” its title highlighting not only the sounds’ effects on the objects, but also the feeling they elicit. Following the live performance documented on Pitch Dark and Trembling, several listeners approached Laprida to express the strange mixture of unease and enthrallment they felt as they became enveloped by the vibrations.\u003cbr\u003e\u003cbr\u003eFear and attentiveness come hand in hand, often accompanied by a strange sense of wonderment. As Laprida processes the sounds of an instrument she holds close to her chest through the unpredictable swells of the subwoofer, she works through the terror of the world’s volatility. There are no easy answers here, and only ambiguous resolutions. Pitch Dark and Trembling requires a recalibration of the listener’s ear, and at times a dash of imagination. Laprida points to the cacophony of oncoming trains and the boom of faraway thunder as everyday reference points for the work on this release. Billowing, groaning, and at times even whispering, the album probes at the margins of disquiet, always curious and never certain. If music is a way of processing the mysterious nature of existence, Laprida lets the enigma ride.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Alma Laprida\u003c\/p\u003e\n\u003cp\u003eLabel : Outside Time\u003c\/p\u003e","published_at":"2024-11-23T13:04:27+09:00","created_at":"2024-11-22T17:21:00+09:00","vendor":"Tobira Records","type":"","tags":["drone","monooto","new","tape"],"price":239400,"price_min":239400,"price_max":239400,"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":46883397402874,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Alma Laprida \/\/ Pitch Dark and Trembling TAPE","public_title":null,"options":["Default Title"],"price":239400,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/dark1_ae943238-562a-4e7c-b852-43a808d6b5ce.jpg?v=1732263562","\/\/tobirarecords.com\/cdn\/shop\/files\/alma1.jpg?v=1732263562"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/dark1_ae943238-562a-4e7c-b852-43a808d6b5ce.jpg?v=1732263562","options":["Title"],"media":[{"alt":null,"id":35217469767930,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/dark1_ae943238-562a-4e7c-b852-43a808d6b5ce.jpg?v=1732263562"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/dark1_ae943238-562a-4e7c-b852-43a808d6b5ce.jpg?v=1732263562","width":700},{"alt":null,"id":35217469735162,"position":2,"preview_image":{"aspect_ratio":0.928,"height":1200,"width":1114,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/alma1.jpg?v=1732263562"},"aspect_ratio":0.928,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/alma1.jpg?v=1732263562","width":1114}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eアルゼンチンの音響作家Alma Lapridaが、2024年10月にアメリカ・ワシントンDCの実験レーベルOutside Timeから150本限定リリースしたカセットです。\u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e物音コラージ・ドローン4曲を収録\u003c\/span\u003e。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3368529060\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e--------------------------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. Cassette in norelco case. Edition of 150. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. A Thick Event 06:39\u003cbr\u003e2. Trembling 09:21\u003cbr\u003e3. Vibra 10:42\u003cbr\u003e4. Trust Me 03:56\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eOutside Time:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAlma Laprida is a seeker. When she touches the bow to her tromba marina (an instrument with origins in medieval Europe), Laprida uses its two strings to clear a path through a thicket of indefinite musical possibilities. Before moving to Washington, DC, the Argentinian improvisor and sound artist was a central figure in the tight-knit avant-garde scene of Buenos Aires, where she became enamored with the possibilities of nontraditional instruments and everyday soundmakers. With a simple set of tools, she creates spontaneous music that at first seems austere, but with examination reveals intricately aligned fields of inquiry.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSince relocating to the U.S., Laprida has developed a distinctive, methodical style of improvisation on the tromba marina that uses amplification and subtle electronic processing to expand the textural possibilities of the instrument. Pitch Dark and Trembling extends that practice. Recorded live at Bard College in June of 2023, the album documents a pivotal moment in an ongoing exploration of low frequencies and vibrational phenomena. By modulating her instrument’s signal with a cranked 18-inch subwoofer and an array of effects pedals, the typically light sound of the tromba marina becomes massive and unwieldy, laden with roars of\u003cspan class=\"bcTruncateMore\"\u003e feedback and ghostly wisps of rumbling bass. Shaken to its core, the room itself becomes audible, as the walls vibrate sympathetically with each expulsion of sound.\u003cbr\u003e\u003cbr\u003eAfter feeling the way in which the speaker’s low frequencies interacted with objects in their direct vicinity, Laprida was reminded of a traumatic experience of a late night earthquake in Bolivia a decade and a half prior. She recalled the fear and confusion of being woken up, the oncoming roll of sound that preceded the shaking of her room, and the clattering of her belongings while she remained in bed, frozen in place. She leaned into that association, collecting exciters from deconstructed speakers and placing them inside boxes and trash cans where they would audibly shake as she played through the subwoofer. We hear the quiver of these exciters on “Trembling,” its title highlighting not only the sounds’ effects on the objects, but also the feeling they elicit. Following the live performance documented on Pitch Dark and Trembling, several listeners approached Laprida to express the strange mixture of unease and enthrallment they felt as they became enveloped by the vibrations.\u003cbr\u003e\u003cbr\u003eFear and attentiveness come hand in hand, often accompanied by a strange sense of wonderment. As Laprida processes the sounds of an instrument she holds close to her chest through the unpredictable swells of the subwoofer, she works through the terror of the world’s volatility. There are no easy answers here, and only ambiguous resolutions. Pitch Dark and Trembling requires a recalibration of the listener’s ear, and at times a dash of imagination. Laprida points to the cacophony of oncoming trains and the boom of faraway thunder as everyday reference points for the work on this release. Billowing, groaning, and at times even whispering, the album probes at the margins of disquiet, always curious and never certain. If music is a way of processing the mysterious nature of existence, Laprida lets the enigma ride.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Alma Laprida\u003c\/p\u003e\n\u003cp\u003eLabel : Outside Time\u003c\/p\u003e"}