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Bruno Duplant // Au Hasard des Cercles TAPE
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{"id":5817541918885,"title":"Alvin Lucier \/\/ Vespers LP","handle":"alvin-lucier-vespers-lp","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e1950年代後半から1960年代にかけて誕生した戦後前衛第2世代の中でもとりわけ過激で影響力のあったAlvin Lucier。彼が1969年に制作したVespersは、\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e演奏者とその空間という2つの対等な存在によって生み出された作品で、\u003cmeta charset=\"utf-8\"\u003e短く鋭いパルス音を壁にぶつけ、そのエコーの変化を観賞するというもの。\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eイタリア\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eDie Schachtelの現代音楽部門傘下Blumeが2020年5月にLPで出版しました。\u003c\/span\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2132599228\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003ca href=\"https:\/\/editionsblume.bandcamp.com\/album\/vespers\"\u003eVespers by Alvin Lucier\u003c\/a\u003e\u003c\/iframe\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003eSince its advent within the broader of movement of modernism during the early years of the 20th century, avant-garde music has almost always struggled to reach the audience for which it was conceived. It is a diverse creative territory, forward thinking and radical by nature, that pursues the unknown, attempting to create new forms of organized sound that are more democratic, accessible, and open than those of the past. Emerging during the late 1950s and across the 1960s, the second generation of the post-war avant-garde can be regarded as a representational return to the ideologies that define the practice. As a result, they collectively created what is arguably the most revolutionary body of thought and action within 20th century music. Despite the persistence of the definitions and perceptions cemented by their predecessors, these artists and their work —Éliane Radigue, Pauline Oliveros, Alvin Curran, Takehisa Kosugi, Frederic Rzewski, David Behrman, Terry Riley, Robert Ashley, Steve Reich, La Monte Young, Tony Conrad, Gordon Mumma, and\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ecountless others have yielded unparalleled influence.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAmong the most important, influential, and radical of this generation is Alvin Lucier, a towering figure in the field. Already active on the scene for a number of years, Lucier’s entrance into the public and creative consciousness occurred in 1966 at the now legendary ONCE Festival, in Ann Arbor, Michigan, where, as a member of the newly formed Sonic Arts Union, a collective founded with fellow composers, David Behrman, Gordon Mumma, and Robert Ashley, he performed his groundbreaking work, Music for a Solo Performer, composed the year before.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"Vespers\" (1969) and \"Chambers\" (1968), the two works featured on this LP, witness Lucier rethinking the material and conceptual possibilities of music at every turn. First released as Lucier's contribution to the Sonic Arts Union's lone LP, Electronic Sound, in 1972, \"Vespers\" is a work generated by two equal actors —the performers and the space that they occupy. Conceived following a chance encounter with hand-held echolocation technology —the Sondol™, a pulse oscillator that emits short, sharp pulses at variable repetition speeds, producing echoes from the reflecting walls of a space to register relative location and orientation— it stands as one of the first works in history within which the decisions made during the performance are solely based on acoustics, allowing sound to be equally the content and structural determiner.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWritten as a poetic \"prose score\", for the realization of \"Vespers\", each performer is equipped with a Sondol™ and asked to move blindfolded within a defined space, moving from one point to the next using only echolocation, taking what Lucier describes as \"sound photographs\" that reveal discrete details of the given area. As the recording unfolds, the aptitude of this image becomes increasingly clear. While an aesthetic relationship to the movement of musical minimalism, embarked upon by a number of his peers, has often presented itself within Lucier's work, of all of them this is arguably most present within \"Vespers\". Despite the radical leap it presented within the history of the sonic arts, \"Vespers\" was not the first of Lucier's works that began to specifically address the relation between sound, perception, and space. Notably \"Chambers\", composed the year before in 1968 and embedded with the wry humor which lingers below much of the composer’s output, explored the theme on a brilliantly miniature scale.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs a total work, \"Chambers\" contends with the relationship between the knowing and understanding of what we hear, our perception of the source of a sound, and its relation to space. When viewed in the immediate context of \"Vespers\", as it is here, it presents as an unexpected inversion of what was to come. While it plays on the relation of sight and the sonic actor, here what is seen and unseen takes on a dynamically different role. Equally, there is not one space to perceive, but many. For the realization of \"Chambers\", battery-operated radios, tape recorders, and various kinds of electric toys are hidden in paper bags, shoes, kettles, a suitcase, and other small resonant spaces, which not only limit the perception of these object to their sounds alone, but take on the role of acoustic actors on the sounds within, each space becoming as individual and distinct as the object it contains. Taking it one step further, rather than being static, these \"\"Chambers\"\" are carried by performers into larger ones —those in which the work is performed— further altering the sounds which occupy them, drawing the ear, once again, to the action of that which contains a body of sound.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBecause the works of Alvin Lucier have occupied a seminal place in the landscape of avant-garde sound for more than half a century, their materiality forming the bedrock on which so many have subsequently built, there can be a natural tendency to focus on their immediate forms, each springing from a radical and forward thinking approach to the generation of sound —what the sounds are and what makes them, rather than how they operate and why they were made. This, at least in some part, underscores the importance of this reissue of the two works before us now. Like most of Lucier's efforts from the 1960s, there is a purity to discover them in recorded form that draws the ear toward the remarkable territories of conceptualism and ideology that lay at their core. Not only are they a crucial window into Lucier's early years and less acknowledged efforts, but they activate a more dynamic awareness, philosophically, of the broad creative paradigm and context in which he has continuously worked. These are works which belong to a movement which sought to rejoin the avant-garde with the society it was conceived to serve. A human music of expanded consciousness, to be occupied, tapping the fundamental need to communicate and understand through sound.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eartist : Alvin Lucier\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003cspan data-mce-fragment=\"1\"\u003elabel : \u003c\/span\u003e\u003c\/div\u003e","published_at":"2020-10-22T11:12:21+09:00","created_at":"2020-10-22T11:12:13+09:00","vendor":"Tobira Records","type":"","tags":["contemporary \/ sound poetry","Die Schachtel","lp","monooto","new","strange beats"],"price":298000,"price_min":298000,"price_max":298000,"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":36834620539045,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Alvin Lucier \/\/ Vespers LP","public_title":null,"options":["Default Title"],"price":298000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/0020093482_10.jpg?v=1603332734"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/0020093482_10.jpg?v=1603332734","options":["Title"],"media":[{"alt":null,"id":12562984599717,"position":1,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/0020093482_10.jpg?v=1603332734"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/0020093482_10.jpg?v=1603332734","width":1200}],"content":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e1950年代後半から1960年代にかけて誕生した戦後前衛第2世代の中でもとりわけ過激で影響力のあったAlvin Lucier。彼が1969年に制作したVespersは、\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e演奏者とその空間という2つの対等な存在によって生み出された作品で、\u003cmeta charset=\"utf-8\"\u003e短く鋭いパルス音を壁にぶつけ、そのエコーの変化を観賞するというもの。\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eイタリア\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eDie Schachtelの現代音楽部門傘下Blumeが2020年5月にLPで出版しました。\u003c\/span\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2132599228\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003ca href=\"https:\/\/editionsblume.bandcamp.com\/album\/vespers\"\u003eVespers by Alvin Lucier\u003c\/a\u003e\u003c\/iframe\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003eSince its advent within the broader of movement of modernism during the early years of the 20th century, avant-garde music has almost always struggled to reach the audience for which it was conceived. It is a diverse creative territory, forward thinking and radical by nature, that pursues the unknown, attempting to create new forms of organized sound that are more democratic, accessible, and open than those of the past. Emerging during the late 1950s and across the 1960s, the second generation of the post-war avant-garde can be regarded as a representational return to the ideologies that define the practice. As a result, they collectively created what is arguably the most revolutionary body of thought and action within 20th century music. Despite the persistence of the definitions and perceptions cemented by their predecessors, these artists and their work —Éliane Radigue, Pauline Oliveros, Alvin Curran, Takehisa Kosugi, Frederic Rzewski, David Behrman, Terry Riley, Robert Ashley, Steve Reich, La Monte Young, Tony Conrad, Gordon Mumma, and\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ecountless others have yielded unparalleled influence.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAmong the most important, influential, and radical of this generation is Alvin Lucier, a towering figure in the field. Already active on the scene for a number of years, Lucier’s entrance into the public and creative consciousness occurred in 1966 at the now legendary ONCE Festival, in Ann Arbor, Michigan, where, as a member of the newly formed Sonic Arts Union, a collective founded with fellow composers, David Behrman, Gordon Mumma, and Robert Ashley, he performed his groundbreaking work, Music for a Solo Performer, composed the year before.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"Vespers\" (1969) and \"Chambers\" (1968), the two works featured on this LP, witness Lucier rethinking the material and conceptual possibilities of music at every turn. First released as Lucier's contribution to the Sonic Arts Union's lone LP, Electronic Sound, in 1972, \"Vespers\" is a work generated by two equal actors —the performers and the space that they occupy. Conceived following a chance encounter with hand-held echolocation technology —the Sondol™, a pulse oscillator that emits short, sharp pulses at variable repetition speeds, producing echoes from the reflecting walls of a space to register relative location and orientation— it stands as one of the first works in history within which the decisions made during the performance are solely based on acoustics, allowing sound to be equally the content and structural determiner.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWritten as a poetic \"prose score\", for the realization of \"Vespers\", each performer is equipped with a Sondol™ and asked to move blindfolded within a defined space, moving from one point to the next using only echolocation, taking what Lucier describes as \"sound photographs\" that reveal discrete details of the given area. As the recording unfolds, the aptitude of this image becomes increasingly clear. While an aesthetic relationship to the movement of musical minimalism, embarked upon by a number of his peers, has often presented itself within Lucier's work, of all of them this is arguably most present within \"Vespers\". Despite the radical leap it presented within the history of the sonic arts, \"Vespers\" was not the first of Lucier's works that began to specifically address the relation between sound, perception, and space. Notably \"Chambers\", composed the year before in 1968 and embedded with the wry humor which lingers below much of the composer’s output, explored the theme on a brilliantly miniature scale.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs a total work, \"Chambers\" contends with the relationship between the knowing and understanding of what we hear, our perception of the source of a sound, and its relation to space. When viewed in the immediate context of \"Vespers\", as it is here, it presents as an unexpected inversion of what was to come. While it plays on the relation of sight and the sonic actor, here what is seen and unseen takes on a dynamically different role. Equally, there is not one space to perceive, but many. For the realization of \"Chambers\", battery-operated radios, tape recorders, and various kinds of electric toys are hidden in paper bags, shoes, kettles, a suitcase, and other small resonant spaces, which not only limit the perception of these object to their sounds alone, but take on the role of acoustic actors on the sounds within, each space becoming as individual and distinct as the object it contains. Taking it one step further, rather than being static, these \"\"Chambers\"\" are carried by performers into larger ones —those in which the work is performed— further altering the sounds which occupy them, drawing the ear, once again, to the action of that which contains a body of sound.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBecause the works of Alvin Lucier have occupied a seminal place in the landscape of avant-garde sound for more than half a century, their materiality forming the bedrock on which so many have subsequently built, there can be a natural tendency to focus on their immediate forms, each springing from a radical and forward thinking approach to the generation of sound —what the sounds are and what makes them, rather than how they operate and why they were made. This, at least in some part, underscores the importance of this reissue of the two works before us now. Like most of Lucier's efforts from the 1960s, there is a purity to discover them in recorded form that draws the ear toward the remarkable territories of conceptualism and ideology that lay at their core. Not only are they a crucial window into Lucier's early years and less acknowledged efforts, but they activate a more dynamic awareness, philosophically, of the broad creative paradigm and context in which he has continuously worked. These are works which belong to a movement which sought to rejoin the avant-garde with the society it was conceived to serve. A human music of expanded consciousness, to be occupied, tapping the fundamental need to communicate and understand through sound.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eartist : Alvin Lucier\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e\u003cspan data-mce-fragment=\"1\"\u003elabel : \u003c\/span\u003e\u003c\/div\u003e"}
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1950年代後半から1960年代にかけて誕生した戦後前衛第2世代の中でもとりわけ過激で影響力のあったAlvin Lucier。彼が1969年に制作したVespersは、 演奏者とその空間という2つの対等な存在によって生み出された作品で、短く鋭いパルス音を壁にぶつけ、そのエコーの変化を観賞するというもの。 イタリア Die Schachtelの現代音楽部門傘下Blumeが2020年5月にLPで出版しました。Vespers by Alvin Lucier Since its advent within the...
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![[pre-order] Akio Suzuki & Aki Onda // gi n ga CD](http://cdn.shopify.com/s/files/1/0305/1637/9780/products/XX-II-ginga_medium.jpg?v=1603270725)
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{"id":5813386117285,"title":"[pre-order] Akio Suzuki \u0026 Aki Onda \/\/ gi n ga CD","handle":"pre-order-akio-suzuki-aki-onda-gi-n-ga-cd","description":"\u003cp\u003e※10月25日リリースです。試聴はリリース日にアップします。\u003c\/p\u003e\n\u003cp\u003eこれまでに数々のコラーボレーションを行ってきた2人による新作。本作はベルリン、アテネ、オランダ\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFlanders Festivalで行ったライブ音源をGiuseppe Ielashiがマスタリングし、インドネシア物音レーベルHasana EditionsがCDでリリース。鈴木氏のAnalaposを含む多数の自作楽器や石笛、テープレコーダー、木片、釘、ハンマー、その他拾い物などで見事なサウンドスケープを奏でています。純粋に音の楽しみを感じる全3曲。6パネルデジパック、300部限定です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAkio Suzuki and Aki Onda have been collaborating extensively in recent years. Though differ in generation and \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eperformance practice, these Japanese sound artists share an astonishingly inventive, open-ended, and in situ approach to the\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003einfinite and variegated possibilities of sound. Suzuki and Onda often utilize self-made instruments (Suzuki’s famous \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eAnalapos), stone flute, tape recorders, wood pieces, nails, hammer, and other found objects among others. gi n ga brings a\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ecollection of some important documentation from their extensive collaboration in the last decade with recording pieces \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003efrom a performance space in Berlin, an event during documenta 14 in Athens, and a performance at Flanders Festival in\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eKortrijk. Each of them is an extensive investigation on sound in relation to the specific site, architecture, acoustics, and \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eenergy of the performance space, creating corresponding topographies, perceiving sound as space.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eConcrete volume XX-II:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLimited Edition CD. Hand-numbered edition of 300.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6-page digipak with silver foil stamp, packed in hand-assembled glassine paper with hand-stamped seal.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReleases October 25, 2020\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCredits:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAkio Suzuki: ANALAPOS – a \u0026amp; b, reed pipe, stone flute, one hole bamboo flute, wood piece, nails, hammer, plastics\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003emuddlers\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAki Onda: field recordings, tape recorders, electronics, cymbals, bells, slide bamboo flutes, daily objects\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTrack 1 was recorded at Ausland, Berlin on June 19th, 2014\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTrack 2 was recorded by Yorgos Yergiou at Athens Conservatoire (Odeion) in documenta 14, Athens on April 18th, 2017\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTrack 3 was recorded by Stijn Demeulenaere at Budascoop in Flanders Festival Kortrijk, Kortrijk on May 10th, 2014\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMixed by Aki Onda in New York, 2020\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMastered by Giuseppe Ielasi\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCalligraphy by Akio Suzuki\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePhoto by Goran Vejvoda\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAbout the artists\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSince the 1960s, sound art pioneer Akio Suzuki has been investigating the acoustic quality of selected locations and creating\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ecorresponding topographies. His intensive involvement with the phenomena of pulse and echo led him to develop his own\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003einstruments in the 1970s. One of these is the spiral echo instrument Analapos. It consists of a coil spring and two iron\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ecylinders that function as resonating chambers, and is played with the voice or by hand. Starting from the 90s, his\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003esoundwalk project, oto-date, which means, respectively, \"sound\" and \"point\" in Japanese, finds listening points in the city,\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eand playfully invites the audience to stop and listen carefully at given points on the map. Suzuki has been also active in the\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eimprovised music scenes in different continents, and has collaborated with Takehisa Kosugi, Derek Bailey, Peter Brötzmann,\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSteve Lacy, George Lewis, David Toop, and John Butcher.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAki Onda is an artist and composer currently based in Mito, Japan after living in New York for two decades. He is\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eparticularly known for his “Cassette Memories”—works compiled from a “sound diary” of field-recordings collected by\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eusing portable cassette recorder over a span of last three decades. Radio is another medium Onda loves and often uses for\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ecreating compositions and performances. Onda has presented his work at numerous institutions and festivals such as\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003edocumenta 14, Louvre Museum, Pompidou Center, Palais de Tokyo, Fondation Cartier, Présences électronique, Argos,\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBozar, ICA London, Counterflow, International Film Festival Rotterdam, The Kitchen, MoMA, REDCAT, Time-Based Art\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFestival, and Nam June Paik Art Center. He has collaborated with a diverse range of artists such as Ken Jacobs, Michael\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSnow, Paul Clipson, Raha Raissnia, Annea Lockwood, Loren Conners, Alan Licht, David Toop, Rie Nakajima, and Nao\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNishihara.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eartist : \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eAkio Suzuki \u0026amp; Aki Onda\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003elabel : Hasana Editions\u003c\/span\u003e\u003c\/p\u003e","published_at":"2020-10-21T17:58:53+09:00","created_at":"2020-10-21T17:58:43+09:00","vendor":"Tobira Records","type":"","tags":["cd","monooto","new"],"price":198000,"price_min":198000,"price_max":198000,"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":36821138407589,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"[pre-order] Akio Suzuki \u0026 Aki Onda \/\/ gi n ga CD","public_title":null,"options":["Default Title"],"price":198000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/XX-II-ginga.jpg?v=1603270725"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/XX-II-ginga.jpg?v=1603270725","options":["Title"],"media":[{"alt":null,"id":12508852453541,"position":1,"preview_image":{"aspect_ratio":1.0,"height":2021,"width":2022,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/XX-II-ginga.jpg?v=1603270725"},"aspect_ratio":1.0,"height":2021,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/XX-II-ginga.jpg?v=1603270725","width":2022}],"content":"\u003cp\u003e※10月25日リリースです。試聴はリリース日にアップします。\u003c\/p\u003e\n\u003cp\u003eこれまでに数々のコラーボレーションを行ってきた2人による新作。本作はベルリン、アテネ、オランダ\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFlanders Festivalで行ったライブ音源をGiuseppe Ielashiがマスタリングし、インドネシア物音レーベルHasana EditionsがCDでリリース。鈴木氏のAnalaposを含む多数の自作楽器や石笛、テープレコーダー、木片、釘、ハンマー、その他拾い物などで見事なサウンドスケープを奏でています。純粋に音の楽しみを感じる全3曲。6パネルデジパック、300部限定です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAkio Suzuki and Aki Onda have been collaborating extensively in recent years. Though differ in generation and \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eperformance practice, these Japanese sound artists share an astonishingly inventive, open-ended, and in situ approach to the\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003einfinite and variegated possibilities of sound. Suzuki and Onda often utilize self-made instruments (Suzuki’s famous \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eAnalapos), stone flute, tape recorders, wood pieces, nails, hammer, and other found objects among others. gi n ga brings a\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ecollection of some important documentation from their extensive collaboration in the last decade with recording pieces \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003efrom a performance space in Berlin, an event during documenta 14 in Athens, and a performance at Flanders Festival in\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eKortrijk. Each of them is an extensive investigation on sound in relation to the specific site, architecture, acoustics, and \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eenergy of the performance space, creating corresponding topographies, perceiving sound as space.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eConcrete volume XX-II:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLimited Edition CD. Hand-numbered edition of 300.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e6-page digipak with silver foil stamp, packed in hand-assembled glassine paper with hand-stamped seal.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eReleases October 25, 2020\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eCredits:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAkio Suzuki: ANALAPOS – a \u0026amp; b, reed pipe, stone flute, one hole bamboo flute, wood piece, nails, hammer, plastics\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003emuddlers\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAki Onda: field recordings, tape recorders, electronics, cymbals, bells, slide bamboo flutes, daily objects\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTrack 1 was recorded at Ausland, Berlin on June 19th, 2014\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTrack 2 was recorded by Yorgos Yergiou at Athens Conservatoire (Odeion) in documenta 14, Athens on April 18th, 2017\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTrack 3 was recorded by Stijn Demeulenaere at Budascoop in Flanders Festival Kortrijk, Kortrijk on May 10th, 2014\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMixed by Aki Onda in New York, 2020\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMastered by Giuseppe Ielasi\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCalligraphy by Akio Suzuki\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePhoto by Goran Vejvoda\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAbout the artists\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSince the 1960s, sound art pioneer Akio Suzuki has been investigating the acoustic quality of selected locations and creating\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ecorresponding topographies. His intensive involvement with the phenomena of pulse and echo led him to develop his own\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003einstruments in the 1970s. One of these is the spiral echo instrument Analapos. It consists of a coil spring and two iron\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ecylinders that function as resonating chambers, and is played with the voice or by hand. Starting from the 90s, his\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003esoundwalk project, oto-date, which means, respectively, \"sound\" and \"point\" in Japanese, finds listening points in the city,\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eand playfully invites the audience to stop and listen carefully at given points on the map. Suzuki has been also active in the\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eimprovised music scenes in different continents, and has collaborated with Takehisa Kosugi, Derek Bailey, Peter Brötzmann,\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSteve Lacy, George Lewis, David Toop, and John Butcher.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAki Onda is an artist and composer currently based in Mito, Japan after living in New York for two decades. He is\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eparticularly known for his “Cassette Memories”—works compiled from a “sound diary” of field-recordings collected by\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eusing portable cassette recorder over a span of last three decades. Radio is another medium Onda loves and often uses for\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ecreating compositions and performances. Onda has presented his work at numerous institutions and festivals such as\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003edocumenta 14, Louvre Museum, Pompidou Center, Palais de Tokyo, Fondation Cartier, Présences électronique, Argos,\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBozar, ICA London, Counterflow, International Film Festival Rotterdam, The Kitchen, MoMA, REDCAT, Time-Based Art\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFestival, and Nam June Paik Art Center. He has collaborated with a diverse range of artists such as Ken Jacobs, Michael\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSnow, Paul Clipson, Raha Raissnia, Annea Lockwood, Loren Conners, Alan Licht, David Toop, Rie Nakajima, and Nao\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNishihara.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eartist : \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eAkio Suzuki \u0026amp; Aki Onda\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003elabel : Hasana Editions\u003c\/span\u003e\u003c\/p\u003e"}
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※10月25日リリースです。試聴はリリース日にアップします。 これまでに数々のコラーボレーションを行ってきた2人による新作。本作はベルリン、アテネ、オランダFlanders Festivalで行ったライブ音源をGiuseppe Ielashiがマスタリングし、インドネシア物音レーベルHasana EditionsがCDでリリース。鈴木氏のAnalaposを含む多数の自作楽器や石笛、テープレコーダー、木片、釘、ハンマー、その他拾い物などで見事なサウンドスケープを奏でています。純粋に音の楽しみを感じる全3曲。6パネルデジパック、300部限定です。 Akio Suzuki and Aki Onda have been collaborating...
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{"id":5808430842021,"title":"Raven Chacon \/\/ An Anthology of Chants Operations LP ","handle":"raven-chacon-ouidah","description":"\u003cp\u003eイタリア実験レーベルDie Schachtel傘下Ouidahからの2作目は、ニューメキシコ州を拠点に活動するパフォーマー、即興演奏家、作曲家、サウンドアーティストのRaven Chaconの最新LP『An Anthology of Chants Operations』です。本作は、彼が過去10年間で制作したライブパフォーマンス、インスタレーション、作曲を収録した9つの楽曲から構成されています。国立公園で行ったインスタレーションでは、彼自身で作った太陽光で動くウインドハープなど使用しており、それぞれの歴史や場所、環境への深い好奇心が表現されています。三角形の特殊ジャケットに収納されています。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/914124514\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=\"tobirarecs\" href=\"https:\/\/soundcloud.com\/user-198195096\" target=\"_blank\"\u003etobirarecs\u003c\/a\u003e · \u003ca style=\"color: #cccccc; text-decoration: none;\" title=\"Raven Chacon An Anthology Of Chants Operations\" href=\"https:\/\/soundcloud.com\/user-198195096\/raven-chacon-an-anthology-of-chants-operations\" target=\"_blank\"\u003eRaven Chacon An Anthology Of Chants Operations\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e**Edition of 200. Triangular cover**\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en-US\"\u003eWhile often laying unobserved below a landscape of the seemingly unfamiliar, experimental music is the imagining of the future, embedded in a quest for fundamental truth. It is a music that attempts to speak of who we are, fueled by curiosity and formed into creative languages that seek new relationships to meaning and communication through organizations of sound. New Mexico based performer, improvisor, composer, and sound artist\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eRaven Chacon\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e’s latest LP,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eAn Anthology of Chants Operations\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, the second outing from\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eOuidah\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cspan\u003e \u003c\/span\u003e- a new imprint in the\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eBlume Editions\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cspan\u003e \u003c\/span\u003efamily, dedicated to ambitious artists working in often overlooked geographies - is a shimmering window into the rigour, hope, and beauty of these pursuits; a body of recordings drawn from across the last decade of his output, that weaves the elemental and topical into startling abstract forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003eRaised in Fort Defiance, Navajo Nation, Arizona, and a student of\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eJames Tenney\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eMorton Subotnick\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eMichael Pisaro\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eWadada Leo Smith\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cspan\u003e \u003c\/span\u003eat CalArts, for the last 20 years Raven Chacon has bridged the creative realms of chamber music, noise, site specific installation, and performance, building a body of singular solo efforts, as well as critically heralded collaborative works within the collective\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003ePostcommodity\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003eDeeply introspective, Chacon’s work rests at the root meaning and intention of experimental practice. It is the outcome of an action that, at its inception, responds to a question for which\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en-US\"\u003ethe answer is unknown. In his hands, sound is a raw, democratic material, with a near infinite number of possibilities and sources - sometimes found and encountered, others self-generated - reformed into an image that refract the notions of humanity and being outside of themselves.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eAn Anthology of Chants Operations\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cspan\u003e \u003c\/span\u003ecomprises a body of 9 recordings created by Chacon between 2010 and 2020, capturing live performance, installation, and composition. Offering an expansive cross-section of the cohesive diversity that defines his practice, each is a free-standing encounter, drawing on the artist’s deep sense of curiosity about the meaning that develops through a relation to history, happening, place, and environment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eSinging Toward the Wind Now \/ Singing Toward the Sun Now\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cspan\u003e \u003c\/span\u003eis a work that documents an installation staged at Canyon de Chelly National Monument in Chinle, Arizona in 2012, for which Chacon created 4 metal sculptures that function as musical instruments - 2 wind harps and 2 solar-powered oscillators - played by the natural elements. Encountered here as a tapestry of drone, subtle electronic beating, and environmental sound, the work forms part of a multidimensional image, alluding to their unseen forms and countless experiences and phenomena, across the millennia, of the land where it was staged.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003eThis navigation of the experiential manifestations of history’s contemporary life, carries into\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eMVHS\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, a work constructed from recordings of Navajo high-school students learning to play a 5-hole \"Indian\" flute in their music class. Forced upon them by their teacher as a \"classical\" instrument, despite lacking precedent in their own culture, Chacon unveils an unfolding simulacrum of Native American identity and heritage that amounts to garish cliché, reappropriating it as a raw material to indicate the complex alignment of meaning – both internal and external - connected to a people, place, and the nurture of their truth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003eChacon’s work is bound by the cohesion of his ideas, explorations, and the nature of his responses, rather a tangible loyalty to aesthetic appearance or form. The immersion into the dynamics of this approach, relating to action, place, and meaning that develops at their meeting, continuous to expand as his “Anthology” unfolds, blurring the line between the performative, chance encounter, and the composed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003eThe wondrously beautiful and aptly named\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eStudy for Human-made Bird Calls and Microphone out a Moving Car Window\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eTyuonyi\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, a sound work deploying field recordings at the ruins of Tyuonyi, delve toward radically different depictions of the abstractions that develop between object and the occupation of place, weaving ambience and intervention into unexpected forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eChant\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, one of a larger body of performances for voice;\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eAntler\/Glass\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, capturing a live performance with amplified deer antler and a sheet of glass; and\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003ePinefire Song\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, a piece made from shaken and processed shells from Zuni Pueblo, and a tape loop of a bonfire of pine needles, shift their materiality and actions toward signifier and sign, with Chacon’s body channeling the historical and cultural potency that rests at the conjunction of sound and action.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eMSRC\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, a microtonal, collaborative improvisation with\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eMarc Sabat\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cspan\u003e \u003c\/span\u003eon viola and Chacon on custom-tuned organ, and\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eOperation\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, a chance-composition, through their own distinct notions of musicality, sculpt transient spaces of imagistic sonority, pointing to the depth at their source, given new life in the present by Chacon’s deep sensitively to the effect of the place, and the contained elements and happenings that move him to act, respond, and explore.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003eFilled with life, vitality, and the curiosity that follows, Raven Chacon’s\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eAn Anthology of Chants Operations\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cspan\u003e \u003c\/span\u003epresents a wildly expanded and revitalized notion of experimental practice that stretches far beyond the potentialities within which it is normatively conformed. A deeply human music, asking after the effects of place on who we are. Issued by\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003eOuidah\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e in a beautiful edition of 200 copies on black vinyl, packaged in the label’s signature monochrome triangular sleeve, a Nagaoka anti-static sleeve, and complete with two informative inserts.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003eartist : Raven Chacon\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003elabel : Die Schachtel\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;\" data-mce-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\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","published_at":"2020-10-20T11:23:57+09:00","created_at":"2020-10-20T11:23:54+09:00","vendor":"Tobira Records","type":"","tags":["Die Schachtel","drone","lp","monooto","new"],"price":267000,"price_min":267000,"price_max":267000,"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":36800596377765,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Raven Chacon \/\/ An Anthology of Chants Operations LP ","public_title":null,"options":["Default Title"],"price":267000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/2020-10-2011.12.49.png?v=1603160636","\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/2020-10-2011.13.06.png?v=1603160636","\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/2020-10-2011.13.16.png?v=1603160636"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/2020-10-2011.12.49.png?v=1603160636","options":["Title"],"media":[{"alt":null,"id":12443865612453,"position":1,"preview_image":{"aspect_ratio":1.136,"height":826,"width":938,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/2020-10-2011.12.49.png?v=1603160636"},"aspect_ratio":1.136,"height":826,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/2020-10-2011.12.49.png?v=1603160636","width":938},{"alt":null,"id":12443865645221,"position":2,"preview_image":{"aspect_ratio":1.105,"height":898,"width":992,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/2020-10-2011.13.06.png?v=1603160636"},"aspect_ratio":1.105,"height":898,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/2020-10-2011.13.06.png?v=1603160636","width":992},{"alt":null,"id":12443865677989,"position":3,"preview_image":{"aspect_ratio":1.16,"height":836,"width":970,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/2020-10-2011.13.16.png?v=1603160636"},"aspect_ratio":1.16,"height":836,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/2020-10-2011.13.16.png?v=1603160636","width":970}],"content":"\u003cp\u003eイタリア実験レーベルDie Schachtel傘下Ouidahからの2作目は、ニューメキシコ州を拠点に活動するパフォーマー、即興演奏家、作曲家、サウンドアーティストのRaven Chaconの最新LP『An Anthology of Chants Operations』です。本作は、彼が過去10年間で制作したライブパフォーマンス、インスタレーション、作曲を収録した9つの楽曲から構成されています。国立公園で行ったインスタレーションでは、彼自身で作った太陽光で動くウインドハープなど使用しており、それぞれの歴史や場所、環境への深い好奇心が表現されています。三角形の特殊ジャケットに収納されています。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/914124514\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=\"tobirarecs\" href=\"https:\/\/soundcloud.com\/user-198195096\" target=\"_blank\"\u003etobirarecs\u003c\/a\u003e · \u003ca style=\"color: #cccccc; text-decoration: none;\" title=\"Raven Chacon An Anthology Of Chants Operations\" href=\"https:\/\/soundcloud.com\/user-198195096\/raven-chacon-an-anthology-of-chants-operations\" target=\"_blank\"\u003eRaven Chacon An Anthology Of Chants Operations\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e**Edition of 200. Triangular cover**\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en-US\"\u003eWhile often laying unobserved below a landscape of the seemingly unfamiliar, experimental music is the imagining of the future, embedded in a quest for fundamental truth. It is a music that attempts to speak of who we are, fueled by curiosity and formed into creative languages that seek new relationships to meaning and communication through organizations of sound. New Mexico based performer, improvisor, composer, and sound artist\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eRaven Chacon\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e’s latest LP,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eAn Anthology of Chants Operations\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, the second outing from\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eOuidah\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cspan\u003e \u003c\/span\u003e- a new imprint in the\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eBlume Editions\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cspan\u003e \u003c\/span\u003efamily, dedicated to ambitious artists working in often overlooked geographies - is a shimmering window into the rigour, hope, and beauty of these pursuits; a body of recordings drawn from across the last decade of his output, that weaves the elemental and topical into startling abstract forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003eRaised in Fort Defiance, Navajo Nation, Arizona, and a student of\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eJames Tenney\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eMorton Subotnick\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eMichael Pisaro\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eWadada Leo Smith\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cspan\u003e \u003c\/span\u003eat CalArts, for the last 20 years Raven Chacon has bridged the creative realms of chamber music, noise, site specific installation, and performance, building a body of singular solo efforts, as well as critically heralded collaborative works within the collective\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003ePostcommodity\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003eDeeply introspective, Chacon’s work rests at the root meaning and intention of experimental practice. It is the outcome of an action that, at its inception, responds to a question for which\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en-US\"\u003ethe answer is unknown. In his hands, sound is a raw, democratic material, with a near infinite number of possibilities and sources - sometimes found and encountered, others self-generated - reformed into an image that refract the notions of humanity and being outside of themselves.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eAn Anthology of Chants Operations\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cspan\u003e \u003c\/span\u003ecomprises a body of 9 recordings created by Chacon between 2010 and 2020, capturing live performance, installation, and composition. Offering an expansive cross-section of the cohesive diversity that defines his practice, each is a free-standing encounter, drawing on the artist’s deep sense of curiosity about the meaning that develops through a relation to history, happening, place, and environment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eSinging Toward the Wind Now \/ Singing Toward the Sun Now\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cspan\u003e \u003c\/span\u003eis a work that documents an installation staged at Canyon de Chelly National Monument in Chinle, Arizona in 2012, for which Chacon created 4 metal sculptures that function as musical instruments - 2 wind harps and 2 solar-powered oscillators - played by the natural elements. Encountered here as a tapestry of drone, subtle electronic beating, and environmental sound, the work forms part of a multidimensional image, alluding to their unseen forms and countless experiences and phenomena, across the millennia, of the land where it was staged.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003eThis navigation of the experiential manifestations of history’s contemporary life, carries into\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eMVHS\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, a work constructed from recordings of Navajo high-school students learning to play a 5-hole \"Indian\" flute in their music class. Forced upon them by their teacher as a \"classical\" instrument, despite lacking precedent in their own culture, Chacon unveils an unfolding simulacrum of Native American identity and heritage that amounts to garish cliché, reappropriating it as a raw material to indicate the complex alignment of meaning – both internal and external - connected to a people, place, and the nurture of their truth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003eChacon’s work is bound by the cohesion of his ideas, explorations, and the nature of his responses, rather a tangible loyalty to aesthetic appearance or form. The immersion into the dynamics of this approach, relating to action, place, and meaning that develops at their meeting, continuous to expand as his “Anthology” unfolds, blurring the line between the performative, chance encounter, and the composed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003eThe wondrously beautiful and aptly named\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eStudy for Human-made Bird Calls and Microphone out a Moving Car Window\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eTyuonyi\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, a sound work deploying field recordings at the ruins of Tyuonyi, delve toward radically different depictions of the abstractions that develop between object and the occupation of place, weaving ambience and intervention into unexpected forms.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eChant\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, one of a larger body of performances for voice;\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eAntler\/Glass\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, capturing a live performance with amplified deer antler and a sheet of glass; and\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003ePinefire Song\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, a piece made from shaken and processed shells from Zuni Pueblo, and a tape loop of a bonfire of pine needles, shift their materiality and actions toward signifier and sign, with Chacon’s body channeling the historical and cultural potency that rests at the conjunction of sound and action.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eMSRC\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, a microtonal, collaborative improvisation with\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eMarc Sabat\u003c\/strong\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cspan\u003e \u003c\/span\u003eon viola and Chacon on custom-tuned organ, and\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eOperation\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e, a chance-composition, through their own distinct notions of musicality, sculpt transient spaces of imagistic sonority, pointing to the depth at their source, given new life in the present by Chacon’s deep sensitively to the effect of the place, and the contained elements and happenings that move him to act, respond, and explore.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003eFilled with life, vitality, and the curiosity that follows, Raven Chacon’s\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cem\u003eAn Anthology of Chants Operations\u003c\/em\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cspan\u003e \u003c\/span\u003epresents a wildly expanded and revitalized notion of experimental practice that stretches far beyond the potentialities within which it is normatively conformed. A deeply human music, asking after the effects of place on who we are. Issued by\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003eOuidah\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e in a beautiful edition of 200 copies on black vinyl, packaged in the label’s signature monochrome triangular sleeve, a Nagaoka anti-static sleeve, and complete with two informative inserts.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003eartist : Raven Chacon\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003elabel : Die Schachtel\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;\" data-mce-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\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e"}
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イタリア実験レーベルDie Schachtel傘下Ouidahからの2作目は、ニューメキシコ州を拠点に活動するパフォーマー、即興演奏家、作曲家、サウンドアーティストのRaven Chaconの最新LP『An Anthology of Chants Operations』です。本作は、彼が過去10年間で制作したライブパフォーマンス、インスタレーション、作曲を収録した9つの楽曲から構成されています。国立公園で行ったインスタレーションでは、彼自身で作った太陽光で動くウインドハープなど使用しており、それぞれの歴史や場所、環境への深い好奇心が表現されています。三角形の特殊ジャケットに収納されています。 tobirarecs · Raven Chacon An Anthology Of...
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{"id":5803921965221,"title":"Anton Mobin \u0026 Andrew Sharpley \/\/ Vol. #1 TAPE","handle":"anton-mobin-andrew-sharpley-vol-1-tape","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eエレクトロアコースティックのコラボ作品を主としてリリースしている\u003c\/span\u003e\u003cspan\u003e英国steep glossより、フランスAnton MobinとイギリスAndrew Sharpleyの共作がリリース。ASMR的要素を含んでおり耳が気持ち良い作品です。廃盤間近。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3618918894\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"https:\/\/steepgloss.bandcamp.com\/album\/vol-1\"\u003eVol. #1 by Anton Mobin \u0026amp; Andrew Sharpley\u003c\/a\u003e\u003c\/iframe\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor some years now, I wanted to make an album using the macro\/HD sounds of ASMR videos, which seemed like an obvious source material for a kind of semi-improvised Musique Concrète or sound-collage, but after several false starts, I couldy never really find a way in until a chance meeting with Anton Mobin led to this collaboration.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe close-focus tactile quality of his sounds, and the clarity of detail, gestural precision and openness of his playing seemed like a good retort to the somewhat hermetic audio-fetishism of the ASMR videos, and opened a door for me to an easy, natural way of working, like a kind of 'audio-essay' or 'drawing with sound', a half-way house between the musical and the visual. It seems like an interesting place to be.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e- A.S, 08.09.2020\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eartist : Anton Mobin \u0026amp; Andrew Sharpley\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003elabel : steep gloss\u003c\/span\u003e\u003c\/p\u003e","published_at":"2020-10-18T11:10:21+09:00","created_at":"2020-10-18T11:10:20+09:00","vendor":"Tobira Records","type":"","tags":["monooto","new","steep gloss","tape"],"price":138000,"price_min":138000,"price_max":138000,"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":36776552693925,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Anton Mobin \u0026 Andrew Sharpley \/\/ Vol. #1 TAPE","public_title":null,"options":["Default Title"],"price":138000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a3204826640_16.jpg?v=1602987022","\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/0021800893_10.jpg?v=1602987022"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a3204826640_16.jpg?v=1602987022","options":["Title"],"media":[{"alt":null,"id":12415336054949,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a3204826640_16.jpg?v=1602987022"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a3204826640_16.jpg?v=1602987022","width":700},{"alt":null,"id":12415336087717,"position":2,"preview_image":{"aspect_ratio":0.798,"height":1200,"width":957,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/0021800893_10.jpg?v=1602987022"},"aspect_ratio":0.798,"height":1200,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/0021800893_10.jpg?v=1602987022","width":957}],"content":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eエレクトロアコースティックのコラボ作品を主としてリリースしている\u003c\/span\u003e\u003cspan\u003e英国steep glossより、フランスAnton MobinとイギリスAndrew Sharpleyの共作がリリース。ASMR的要素を含んでおり耳が気持ち良い作品です。廃盤間近。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3618918894\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"https:\/\/steepgloss.bandcamp.com\/album\/vol-1\"\u003eVol. #1 by Anton Mobin \u0026amp; Andrew Sharpley\u003c\/a\u003e\u003c\/iframe\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor some years now, I wanted to make an album using the macro\/HD sounds of ASMR videos, which seemed like an obvious source material for a kind of semi-improvised Musique Concrète or sound-collage, but after several false starts, I couldy never really find a way in until a chance meeting with Anton Mobin led to this collaboration.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe close-focus tactile quality of his sounds, and the clarity of detail, gestural precision and openness of his playing seemed like a good retort to the somewhat hermetic audio-fetishism of the ASMR videos, and opened a door for me to an easy, natural way of working, like a kind of 'audio-essay' or 'drawing with sound', a half-way house between the musical and the visual. 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