Kate Carr // A Field Guide To Phantasmic Birds CD
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Kate Carr // A Field Guide To Phantasmic Birds CD
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イギリス・ロンドンの実験／物音レーベルFlaming Pines主宰Kate Carrが、2023年11月にオーストラリアの実験レーベルroom40からリリースしたCDです。
フィールドレコーディング・ドローン〜物音コラージュ4曲を収録。
レーベルその他作品はこちら /// Click here to see more Room40 releases available at Tobira.
----------------------------
CD in matte-laminate and monochrome printed sleeve.
Tracklist:
- Unlikely to be heard
- A loud hissing screech which drops in pitch halfway
- Usually Concealed In Dense Foliage 06:17
- Shy, typically alone or in pairs
Artist : Kate Carr
Label : Room40
イギリス・ロンドンの実験／物音レーベルFlaming Pines主宰Kate Carrが、2023年11月にオーストラリアの実験レーベルroom40からリリースしたCDです。
フィールドレコーディング・ドローン〜物音コラージュ4曲を収録。
レーベルその他作品はこちら /// Click here to see more Room40 releases available at Tobira.
----------------------------
CD in matte-laminate and monochrome printed sleeve.
Tracklist:
- Unlikely to be heard
- A loud hissing screech which drops in pitch halfway
- Usually Concealed In Dense Foliage 06:17
- Shy, typically alone or in pairs
Artist : Kate Carr
Label : Room40
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{"id":8601072533754,"title":"Zimoun \/\/ Guitar Studies I-III CD+BOOKLET","handle":"zimoun-guitar-studies-i-iii-cd-booklet","description":"\u003cp\u003eスイスの実験音楽家Zimounが、2022年5月にオーストラリアの実験レーベルRoom40からリリースしたCDです。レーベルオーナーLawrence Englishとの対談や写真を掲載したブックレットが付属。\u003c\/p\u003e\n\u003cp\u003e以下、作家による解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eこの「Guitar Studies」シリーズでは、ギターが発する音やノイズだけを扱ってきました。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eギターを手で弾くというオーソドックスな方法もありますが、それよりも小型のDCモーターで作動させたりすることの方が多かったです。レコーディングには様々なマイクを使用し、ピックアップの接触も緩く、アンプも様々なものを使用しました。部分的に欠陥のある小さなおもちゃのアンプから、60年代のアナログトレモロ付きの美しいマグナトーンアンプ、10歳の時に初めてギターと一緒に買った古いフェンダーアンプなどです。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eまた、録音した音を段ボールの筒の中や広さの違う部屋など、様々な環境で再生して、録音し直しました。そうすることで、音に自然な響きや空間性を持たせることができました。また、テーブルの上に置いた裸のスピーカー膜にギターの信号を送り、膜の上に砂を載せて歪ませた音も作りました。膜と砂の摩擦によって、さまざまな形の歪みが生まれます。ギターをどのように変形させるか、様々な反復のプロセスを試したのです。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eどの作品でもループは使っていません。各作品の各レイヤーについて、約1時間の間、私が探っていたものをすべて録音しました。このようにして、私は数え切れないほどの時間の音をまとめました。ほとんど無限に続くオーバーレイと長い録音時間によって、私はある種の活気を達成しようとしました。全く同じということはないけれど、どこかに行ってしまうということもない。そういう意味で、これらの作品は彫刻的な要素も強く持っています。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eこのプロセスの後、私は録音の微細構造について作業を始めました。例えば、いくつかの曲でイコライザーをゆっくりずらしながら録音していきました。また、これらを様々なコントローラーやアナログ・イコライザーを使ってライブ演奏しました。このアプローチによって、個々の周波数が長い時間をかけて存在感を増したり、他の周波数と混ざり合ったりするようになりました。比喩的に言えば、これはランプ（または様々なランプ）を使って彫刻を様々な角度から照らしたり、光の緩やかな変化を作り出し、彫刻の知覚に影響を与えるのと似ています。また、異なる音のステージでは、これはさらに音響心理学的な現象を引き起こすことができます。これらの方法を通して、私は音の微細な構造とその展開に複雑さを生み出そうとしました。\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3900595271\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003ehere\u003c\/a\u003e to see more Room40 releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIncludes insert card featuring exclusive reductions of the pieces + a book featuring an in conversation between Zimoun and Lawrence English, plus archival documentation and photographs examining Zimoun's work across mediums.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e***\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist statement:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eWith the Guitar Studies series I’ve dealt solely with noises and sounds produced by guitars.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003ePartly I played the guitars by hand in a more conventional way, but more often I prepared them, or activated them by using small DC motors. I used various microphones for the recordings, as well as the loose contact of a pickup and many different amps; from a small toy amp that was partially defective to a beautiful Magnatone amp with analogue tremolo from the sixties and an old Fender Amp I bought together with my first guitar when I was 10 years old.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eI also played recorded sounds back in different environments, for example inside a cardboard tube or in different rooms with various sizes, and then recorded them again. This way I added natural resonate and spatiality to the sounds. I also created a distorted sounds by sending the signal of the guitar to a naked speaker membrane lying on the table, and then put some sand on the membrane itself. The friction between the membrane and the sand then created various forms of distortion. I was trying to test various processes of iteration to discover how transformed the guitar might\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e become.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eI did not work with loops in any of the compositions. For each layer in each piece, I recorded whatever I was exploring over the whole period of about an hour. In this way, I put together countless hours of sounds. Through the almost endless overlaying and long recording takes, I have tried to achieve a kind of liveliness, even if at the same time no major changes happen in the composition. It’s never exactly the same, but never going somewhere else either. In that sense these compositions also have a strong sculptural component.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAfter this process, I started working on the microstructures of the recordings. For example, I recorded slow equalizer shifts in some of these tracks over the whole period of time. I also played these live via various controllers and analogue equalizers. This approach allowed the individual frequencies to become more present over long periods of time or mix with others. Figuratively speaking, this is similar to using a lamp (or various lamps) to illuminate a sculpture from different perspectives, or to create slow changes in light, which affects our perception of the sculpture. At different sonic stages, this can also provoke additional psychoacoustic phenomena. Through these methods I have tried to create a complexity in the microstructures of the sounds and their evolutions.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAll three compositions last about an hour each. Digitally, they are released in their full length, while the CD contains shortened versions.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Zimoun\u003c\/p\u003e\n\u003cp\u003eLabel : Room40\u003c\/p\u003e","published_at":"2024-08-19T10:14:28+09:00","created_at":"2024-08-19T10:13:51+09:00","vendor":"Tobira Records","type":"","tags":["cd","drone","new","room40"],"price":334000,"price_min":334000,"price_max":334000,"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":46581165064442,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Zimoun \/\/ Guitar Studies I-III CD+BOOKLET","public_title":null,"options":["Default Title"],"price":334000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/gu1_686eb952-1d8b-4b53-bdd6-4b8b5e8105ea.jpg?v=1657500106","\/\/tobirarecords.com\/cdn\/shop\/products\/gu2_77161ccf-5435-4863-b8ea-eae410f54e03.jpg?v=1657500105"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/gu1_686eb952-1d8b-4b53-bdd6-4b8b5e8105ea.jpg?v=1657500106","options":["Title"],"media":[{"alt":null,"id":30094769127674,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/gu1_686eb952-1d8b-4b53-bdd6-4b8b5e8105ea.jpg?v=1657500106"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/gu1_686eb952-1d8b-4b53-bdd6-4b8b5e8105ea.jpg?v=1657500106","width":700},{"alt":null,"id":30094769160442,"position":2,"preview_image":{"aspect_ratio":1.412,"height":850,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/gu2_77161ccf-5435-4863-b8ea-eae410f54e03.jpg?v=1657500105"},"aspect_ratio":1.412,"height":850,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/gu2_77161ccf-5435-4863-b8ea-eae410f54e03.jpg?v=1657500105","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eスイスの実験音楽家Zimounが、2022年5月にオーストラリアの実験レーベルRoom40からリリースしたCDです。レーベルオーナーLawrence Englishとの対談や写真を掲載したブックレットが付属。\u003c\/p\u003e\n\u003cp\u003e以下、作家による解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eこの「Guitar Studies」シリーズでは、ギターが発する音やノイズだけを扱ってきました。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eギターを手で弾くというオーソドックスな方法もありますが、それよりも小型のDCモーターで作動させたりすることの方が多かったです。レコーディングには様々なマイクを使用し、ピックアップの接触も緩く、アンプも様々なものを使用しました。部分的に欠陥のある小さなおもちゃのアンプから、60年代のアナログトレモロ付きの美しいマグナトーンアンプ、10歳の時に初めてギターと一緒に買った古いフェンダーアンプなどです。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eまた、録音した音を段ボールの筒の中や広さの違う部屋など、様々な環境で再生して、録音し直しました。そうすることで、音に自然な響きや空間性を持たせることができました。また、テーブルの上に置いた裸のスピーカー膜にギターの信号を送り、膜の上に砂を載せて歪ませた音も作りました。膜と砂の摩擦によって、さまざまな形の歪みが生まれます。ギターをどのように変形させるか、様々な反復のプロセスを試したのです。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eどの作品でもループは使っていません。各作品の各レイヤーについて、約1時間の間、私が探っていたものをすべて録音しました。このようにして、私は数え切れないほどの時間の音をまとめました。ほとんど無限に続くオーバーレイと長い録音時間によって、私はある種の活気を達成しようとしました。全く同じということはないけれど、どこかに行ってしまうということもない。そういう意味で、これらの作品は彫刻的な要素も強く持っています。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eこのプロセスの後、私は録音の微細構造について作業を始めました。例えば、いくつかの曲でイコライザーをゆっくりずらしながら録音していきました。また、これらを様々なコントローラーやアナログ・イコライザーを使ってライブ演奏しました。このアプローチによって、個々の周波数が長い時間をかけて存在感を増したり、他の周波数と混ざり合ったりするようになりました。比喩的に言えば、これはランプ（または様々なランプ）を使って彫刻を様々な角度から照らしたり、光の緩やかな変化を作り出し、彫刻の知覚に影響を与えるのと似ています。また、異なる音のステージでは、これはさらに音響心理学的な現象を引き起こすことができます。これらの方法を通して、私は音の微細な構造とその展開に複雑さを生み出そうとしました。\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3900595271\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003ehere\u003c\/a\u003e to see more Room40 releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eIncludes insert card featuring exclusive reductions of the pieces + a book featuring an in conversation between Zimoun and Lawrence English, plus archival documentation and photographs examining Zimoun's work across mediums.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e***\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist statement:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eWith the Guitar Studies series I’ve dealt solely with noises and sounds produced by guitars.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003ePartly I played the guitars by hand in a more conventional way, but more often I prepared them, or activated them by using small DC motors. I used various microphones for the recordings, as well as the loose contact of a pickup and many different amps; from a small toy amp that was partially defective to a beautiful Magnatone amp with analogue tremolo from the sixties and an old Fender Amp I bought together with my first guitar when I was 10 years old.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eI also played recorded sounds back in different environments, for example inside a cardboard tube or in different rooms with various sizes, and then recorded them again. This way I added natural resonate and spatiality to the sounds. I also created a distorted sounds by sending the signal of the guitar to a naked speaker membrane lying on the table, and then put some sand on the membrane itself. The friction between the membrane and the sand then created various forms of distortion. I was trying to test various processes of iteration to discover how transformed the guitar might\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e become.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eI did not work with loops in any of the compositions. For each layer in each piece, I recorded whatever I was exploring over the whole period of about an hour. In this way, I put together countless hours of sounds. Through the almost endless overlaying and long recording takes, I have tried to achieve a kind of liveliness, even if at the same time no major changes happen in the composition. It’s never exactly the same, but never going somewhere else either. In that sense these compositions also have a strong sculptural component.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAfter this process, I started working on the microstructures of the recordings. For example, I recorded slow equalizer shifts in some of these tracks over the whole period of time. I also played these live via various controllers and analogue equalizers. This approach allowed the individual frequencies to become more present over long periods of time or mix with others. Figuratively speaking, this is similar to using a lamp (or various lamps) to illuminate a sculpture from different perspectives, or to create slow changes in light, which affects our perception of the sculpture. At different sonic stages, this can also provoke additional psychoacoustic phenomena. Through these methods I have tried to create a complexity in the microstructures of the sounds and their evolutions.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAll three compositions last about an hour each. Digitally, they are released in their full length, while the CD contains shortened versions.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Zimoun\u003c\/p\u003e\n\u003cp\u003eLabel : Room40\u003c\/p\u003e"}
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スイスの実験音楽家Zimounが、2022年5月にオーストラリアの実験レーベルRoom40からリリースしたCDです。レーベルオーナーLawrence Englishとの対談や写真を掲載したブックレットが付属。 以下、作家による解説です。 この「Guitar Studies」シリーズでは、ギターが発する音やノイズだけを扱ってきました。ギターを手で弾くというオーソドックスな方法もありますが、それよりも小型のDCモーターで作動させたりすることの方が多かったです。レコーディングには様々なマイクを使用し、ピックアップの接触も緩く、アンプも様々なものを使用しました。部分的に欠陥のある小さなおもちゃのアンプから、60年代のアナログトレモロ付きの美しいマグナトーンアンプ、10歳の時に初めてギターと一緒に買った古いフェンダーアンプなどです。また、録音した音を段ボールの筒の中や広さの違う部屋など、様々な環境で再生して、録音し直しました。そうすることで、音に自然な響きや空間性を持たせることができました。また、テーブルの上に置いた裸のスピーカー膜にギターの信号を送り、膜の上に砂を載せて歪ませた音も作りました。膜と砂の摩擦によって、さまざまな形の歪みが生まれます。ギターをどのように変形させるか、様々な反復のプロセスを試したのです。どの作品でもループは使っていません。各作品の各レイヤーについて、約1時間の間、私が探っていたものをすべて録音しました。このようにして、私は数え切れないほどの時間の音をまとめました。ほとんど無限に続くオーバーレイと長い録音時間によって、私はある種の活気を達成しようとしました。全く同じということはないけれど、どこかに行ってしまうということもない。そういう意味で、これらの作品は彫刻的な要素も強く持っています。このプロセスの後、私は録音の微細構造について作業を始めました。例えば、いくつかの曲でイコライザーをゆっくりずらしながら録音していきました。また、これらを様々なコントローラーやアナログ・イコライザーを使ってライブ演奏しました。このアプローチによって、個々の周波数が長い時間をかけて存在感を増したり、他の周波数と混ざり合ったりするようになりました。比喩的に言えば、これはランプ（または様々なランプ）を使って彫刻を様々な角度から照らしたり、光の緩やかな変化を作り出し、彫刻の知覚に影響を与えるのと似ています。また、異なる音のステージでは、これはさらに音響心理学的な現象を引き起こすことができます。これらの方法を通して、私は音の微細な構造とその展開に複雑さを生み出そうとしました。 レーベルその他作品はこちら /// Click here to see more Room40 releases available at Tobira....
¥3,340
クイックビュー
{"id":8601072075002,"title":"Aki Onda \/\/ Brisbane September 25 2004 TAPE","handle":"aki-onda-brisbane-september-25-2004-tape","description":"\u003cp\u003e過去にDinzu Artefactsなどから発表している日本の実験音楽家\u003cspan data-mce-fragment=\"1\"\u003eAki Ondaが、2021年10月にオーストラリア・メルボルンの音響作家Lawrence English主宰レーベルRoom40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コラージュ〜ドローン46分を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2415128320\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" 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\/room40\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003ehere\u003c\/a\u003e to see more Room40 releases available at Tobira.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eMatte laminate and embossed outer sleeve, three panel monochrome fold out insert, soft poly-carb case. Includes an 18 page long form in conversation between Aki Onda and Lawrence English, plus archival photographs etc.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRoom40:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eIt may sound implausible now, but in the early 2000s Australia felt a long way away from the rest of the world. Brisbane, where I still live today, felt even further removed. This remoteness had its challenges, but also its charms.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eIn 2001, Zane Trow then director of the Brisbane Powerhouse invited me to perform at an Open Day for the centre with my trio I\/O3 and DJ Olive. I didn’t realise it at the time, but this engagement would spark a number of connections that tie directly into this edition. Following that live performance (released as Powerhouse Sessions in 2002), I was invited to curate a performance series, Fabrique, focused on new and emergent musics for Brisbane Powerhouse. At the same time, DJ Olive mentioned that he had started a new imprint, Phonomena, with Toshio Kajiwara and one of the first releases they were planning was from Aki Onda, whom Olive described as using a set of Walkmans that make a whole universe. I was intrigued.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe following year, Aki Onda not only produced Cassette Memories Volume I ‘Ancient And Modern' for Phonomena, but a few months later released a second volume ‘Bon Voyage!’ with the always inspiring Improvised Music From Japan label. Both of these editions marked out overlapping territories relating to tape\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e music, field recordings and most of all perceptions of memory (how it is lost and then found again, how it can constructed and deconstructed - sometimes simultaneously). In early 2004, I wrote to Aki and invited him to Australia for a series of performances including two in Brisbane; one at Fabrique and another as part of NineHoursNorth, a dedicated program of Japanese music I was curating at the Judith Wright Centre Of Contemporary Art.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEach of Aki’s performances typified the expansive nature of his practice. Although the medium and tools may have been identical (cassettes, Walkmans, delay pedals and fender twin amps), the focus of each performance was markedly different. For NinehoursNorth, Aki deployed the approach he presented on 'Bon Voyage!’, long-form field recordings were re-amped and in the process of their unfolding a perception of time being bent in and out of shape emerged. There was a sense of the strange familiar, as bird songs, city scapes, voices, instruments and various environments were melted together and reconfigured through the intense volume produced by the amplifiers.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFor Fabrique, the recording collected on this edition, Aki undertook a more performative method that reflected the sense of pacing and movement collected on ‘Ancient And Modern’. What surprised me most about his performance was how closely it resembled the compositional sensibilities captured on the record. In my mind’s ear I had heard ‘Ancient And Modern’ as a highly orchestrated work, a process of layering and transformation. Upon hearing Aki’s performance, it became clear what was captured in that recording was a transcription of an experimental and utterly personal performative language that had unfastened the walkman from its conceptual bounds as a device for linear acoustic playback.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn performance (and his recordings as I now realised) Aki Onda sought to bend, and break, expectations of time and linearity. In doing so he opened up new ways of appreciating themes of texture, pulse, rhythm and repetition. William S. Burroughs often wrote of the cut-up as a device for causing a rupture in time and that certain new ways of knowing and understanding might ooze out from these cuts, to my ears Aki Onda’s sounds were doing just this. He was taking elements from the world we collectively knew and he was refocusing them, cutting into them and removing their sense of ‘natural’ time, in doing so he allowed us all to forgo our desire for the familiar in favour of something unknown and perhaps even unknowable.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTo revisit this performance nearly two decades on, I am struck by this same sense of reaching out into something that is not altogether clear, but maintains a deep invitational attraction, an acoustic allure that remains as compelling today as it did then…perhaps even more so.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Aki Onda\u003c\/p\u003e\n\u003cp\u003eLabel : Room40\u003c\/p\u003e","published_at":"2024-08-19T10:09:58+09:00","created_at":"2024-08-19T10:09:17+09:00","vendor":"Tobira Records","type":"","tags":["drone","monooto","new","room40","tape"],"price":218000,"price_min":218000,"price_max":218000,"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":46581162705146,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Aki Onda \/\/ Brisbane September 25 2004 TAPE","public_title":null,"options":["Default Title"],"price":218000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ak1_94a6976c-5f91-4559-9b2a-30646e01da13.jpg?v=1641450487","\/\/tobirarecords.com\/cdn\/shop\/products\/ak2_0f940ad8-b1e1-4c66-840e-1e11334dd778.jpg?v=1641450487"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ak1_94a6976c-5f91-4559-9b2a-30646e01da13.jpg?v=1641450487","options":["Title"],"media":[{"alt":null,"id":28965875024122,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ak1_94a6976c-5f91-4559-9b2a-30646e01da13.jpg?v=1641450487"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ak1_94a6976c-5f91-4559-9b2a-30646e01da13.jpg?v=1641450487","width":700},{"alt":null,"id":28965875056890,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ak2_0f940ad8-b1e1-4c66-840e-1e11334dd778.jpg?v=1641450487"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ak2_0f940ad8-b1e1-4c66-840e-1e11334dd778.jpg?v=1641450487","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e過去にDinzu Artefactsなどから発表している日本の実験音楽家\u003cspan data-mce-fragment=\"1\"\u003eAki Ondaが、2021年10月にオーストラリア・メルボルンの音響作家Lawrence English主宰レーベルRoom40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コラージュ〜ドローン46分を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2415128320\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" 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\/room40\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003ehere\u003c\/a\u003e to see more Room40 releases available at Tobira.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eMatte laminate and embossed outer sleeve, three panel monochrome fold out insert, soft poly-carb case. Includes an 18 page long form in conversation between Aki Onda and Lawrence English, plus archival photographs etc.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRoom40:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eIt may sound implausible now, but in the early 2000s Australia felt a long way away from the rest of the world. Brisbane, where I still live today, felt even further removed. This remoteness had its challenges, but also its charms.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eIn 2001, Zane Trow then director of the Brisbane Powerhouse invited me to perform at an Open Day for the centre with my trio I\/O3 and DJ Olive. I didn’t realise it at the time, but this engagement would spark a number of connections that tie directly into this edition. Following that live performance (released as Powerhouse Sessions in 2002), I was invited to curate a performance series, Fabrique, focused on new and emergent musics for Brisbane Powerhouse. At the same time, DJ Olive mentioned that he had started a new imprint, Phonomena, with Toshio Kajiwara and one of the first releases they were planning was from Aki Onda, whom Olive described as using a set of Walkmans that make a whole universe. I was intrigued.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe following year, Aki Onda not only produced Cassette Memories Volume I ‘Ancient And Modern' for Phonomena, but a few months later released a second volume ‘Bon Voyage!’ with the always inspiring Improvised Music From Japan label. Both of these editions marked out overlapping territories relating to tape\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e music, field recordings and most of all perceptions of memory (how it is lost and then found again, how it can constructed and deconstructed - sometimes simultaneously). In early 2004, I wrote to Aki and invited him to Australia for a series of performances including two in Brisbane; one at Fabrique and another as part of NineHoursNorth, a dedicated program of Japanese music I was curating at the Judith Wright Centre Of Contemporary Art.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEach of Aki’s performances typified the expansive nature of his practice. Although the medium and tools may have been identical (cassettes, Walkmans, delay pedals and fender twin amps), the focus of each performance was markedly different. For NinehoursNorth, Aki deployed the approach he presented on 'Bon Voyage!’, long-form field recordings were re-amped and in the process of their unfolding a perception of time being bent in and out of shape emerged. There was a sense of the strange familiar, as bird songs, city scapes, voices, instruments and various environments were melted together and reconfigured through the intense volume produced by the amplifiers.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFor Fabrique, the recording collected on this edition, Aki undertook a more performative method that reflected the sense of pacing and movement collected on ‘Ancient And Modern’. What surprised me most about his performance was how closely it resembled the compositional sensibilities captured on the record. In my mind’s ear I had heard ‘Ancient And Modern’ as a highly orchestrated work, a process of layering and transformation. Upon hearing Aki’s performance, it became clear what was captured in that recording was a transcription of an experimental and utterly personal performative language that had unfastened the walkman from its conceptual bounds as a device for linear acoustic playback.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn performance (and his recordings as I now realised) Aki Onda sought to bend, and break, expectations of time and linearity. In doing so he opened up new ways of appreciating themes of texture, pulse, rhythm and repetition. William S. Burroughs often wrote of the cut-up as a device for causing a rupture in time and that certain new ways of knowing and understanding might ooze out from these cuts, to my ears Aki Onda’s sounds were doing just this. He was taking elements from the world we collectively knew and he was refocusing them, cutting into them and removing their sense of ‘natural’ time, in doing so he allowed us all to forgo our desire for the familiar in favour of something unknown and perhaps even unknowable.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTo revisit this performance nearly two decades on, I am struck by this same sense of reaching out into something that is not altogether clear, but maintains a deep invitational attraction, an acoustic allure that remains as compelling today as it did then…perhaps even more so.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Aki Onda\u003c\/p\u003e\n\u003cp\u003eLabel : Room40\u003c\/p\u003e"}
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過去にDinzu Artefactsなどから発表している日本の実験音楽家Aki Ondaが、2021年10月にオーストラリア・メルボルンの音響作家Lawrence English主宰レーベルRoom40からリリースしたカセットです。 コラージュ〜ドローン46分を収録。 レーベルその他作品はこちら /// Click here to see more Room40 releases available at Tobira....
¥2,180
![Loren Connors & David Grubbs // Evening Air LP [BLACK / COLOR]](http://tobirarecords.com/cdn/shop/files/a2607373059_16_medium.jpg?v=1724029250)
クイックビュー
{"id":8601070633210,"title":"Loren Connors \u0026 David Grubbs \/\/ Evening Air LP [BLACK \/ COLOR]","handle":"loren-connors-david-grubbs-evening-air-lp-black-color","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003eアメリカのギタリストLoren Connorsとマルチ奏者David Grubbs (Gastr del Sol)が、2024年8月にオーストラリアの実験レーベルroom40からリリースした共作レコードです。\u003c\/p\u003e\n\u003cp\u003eピアノとギターを交互に弾いたアンビエント6曲を収録。DLコード付属。 \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1065803012\/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\/room40\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003ehere\u003c\/a\u003e to see more Room40 releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. Available on 12\" black vinyl or 12\" clear vinyl. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Evening Air\u003cbr\u003e2. Choir Waits in the Wings\u003cbr\u003e3. The Pacific School \u003cbr\u003e4. Enjoyment of Ruins\u003cbr\u003e5. It’s Snowing Onstage\u003cbr\u003e6. Child \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eText by Lawrence English:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Evening Air is the result Loren Connors and David Grubbs’s first trip to the recording studio in the two decades since their first duo album, Arborvitae (Häpna). Arborvitae stood out for its spellbinding, utterly unhurried meshing of electric guitar (Connors) and piano (Grubbs).\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWith this long-awaited return, Connors and Grubbs take turns trading off on piano and guitar, with Grubbs at the keyboard for the two gently expansive pieces on the first side and Connors taking over the instrument for three gorgeous miniatures on the flip, including an album-closing and perfectly heart-stopping version of Connors’s and Suzanne Langille’s “Child.” The album’s wildcard is “It’s Snowing Onstage,” which finds the two locking horns with two electric guitars before Loren blew the minds of all present in the studio by unexpectedly switching to drums.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLoren Connors is one-of-a-kind, one of a handful of deservedly storied musical greats gracing us with their presence, and with Evening Air David Grubbs again demonstrates that he’s a stellar musician who also ranks among the most simpatico of collaborators.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA cover painting by Connors—another wordless signalling—sets the tone for this most beguiling of seances.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Loren Connors \u0026amp; David Grubbs\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLabel : Room40\u003c\/p\u003e\n\u003cp\u003eCat no : RM4226LP\u003c\/p\u003e","published_at":"2024-08-19T10:01:09+09:00","created_at":"2024-08-19T09:52:26+09:00","vendor":"Tobira Records","type":"","tags":["ambient","lp","new","recommended","room40"],"price":374000,"price_min":374000,"price_max":376000,"available":true,"price_varies":true,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":46581149597946,"title":"Black Vinyl","option1":"Black Vinyl","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Loren Connors \u0026 David Grubbs \/\/ Evening Air LP [BLACK \/ COLOR] - Black Vinyl","public_title":"Black Vinyl","options":["Black Vinyl"],"price":374000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]},{"id":46581149630714,"title":"Clear Vinyl","option1":"Clear Vinyl","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Loren Connors \u0026 David Grubbs \/\/ Evening Air LP [BLACK \/ COLOR] - Clear Vinyl","public_title":"Clear Vinyl","options":["Clear Vinyl"],"price":376000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/a2607373059_16.jpg?v=1724029250","\/\/tobirarecords.com\/cdn\/shop\/files\/0036030991_10.jpg?v=1724028827","\/\/tobirarecords.com\/cdn\/shop\/files\/0036031001_10.jpg?v=1724028827"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/a2607373059_16.jpg?v=1724029250","options":["Color"],"media":[{"alt":null,"id":34731496505594,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a2607373059_16.jpg?v=1724029250"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a2607373059_16.jpg?v=1724029250","width":700},{"alt":null,"id":34731488379130,"position":2,"preview_image":{"aspect_ratio":1.412,"height":850,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0036030991_10.jpg?v=1724028827"},"aspect_ratio":1.412,"height":850,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0036030991_10.jpg?v=1724028827","width":1200},{"alt":null,"id":34731488411898,"position":3,"preview_image":{"aspect_ratio":1.412,"height":850,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0036031001_10.jpg?v=1724028827"},"aspect_ratio":1.412,"height":850,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0036031001_10.jpg?v=1724028827","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003c\/span\u003eアメリカのギタリストLoren Connorsとマルチ奏者David Grubbs (Gastr del Sol)が、2024年8月にオーストラリアの実験レーベルroom40からリリースした共作レコードです。\u003c\/p\u003e\n\u003cp\u003eピアノとギターを交互に弾いたアンビエント6曲を収録。DLコード付属。 \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1065803012\/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\/room40\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003ehere\u003c\/a\u003e to see more Room40 releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. Available on 12\" black vinyl or 12\" clear vinyl. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Evening Air\u003cbr\u003e2. Choir Waits in the Wings\u003cbr\u003e3. The Pacific School \u003cbr\u003e4. Enjoyment of Ruins\u003cbr\u003e5. It’s Snowing Onstage\u003cbr\u003e6. Child \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eText by Lawrence English:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Evening Air is the result Loren Connors and David Grubbs’s first trip to the recording studio in the two decades since their first duo album, Arborvitae (Häpna). Arborvitae stood out for its spellbinding, utterly unhurried meshing of electric guitar (Connors) and piano (Grubbs).\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWith this long-awaited return, Connors and Grubbs take turns trading off on piano and guitar, with Grubbs at the keyboard for the two gently expansive pieces on the first side and Connors taking over the instrument for three gorgeous miniatures on the flip, including an album-closing and perfectly heart-stopping version of Connors’s and Suzanne Langille’s “Child.” The album’s wildcard is “It’s Snowing Onstage,” which finds the two locking horns with two electric guitars before Loren blew the minds of all present in the studio by unexpectedly switching to drums.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLoren Connors is one-of-a-kind, one of a handful of deservedly storied musical greats gracing us with their presence, and with Evening Air David Grubbs again demonstrates that he’s a stellar musician who also ranks among the most simpatico of collaborators.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA cover painting by Connors—another wordless signalling—sets the tone for this most beguiling of seances.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Loren Connors \u0026amp; David Grubbs\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLabel : Room40\u003c\/p\u003e\n\u003cp\u003eCat no : RM4226LP\u003c\/p\u003e"}
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アメリカのギタリストLoren Connorsとマルチ奏者David Grubbs (Gastr del Sol)が、2024年8月にオーストラリアの実験レーベルroom40からリリースした共作レコードです。 ピアノとギターを交互に弾いたアンビエント6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 Room40 releases available...
¥3,740
クイックビュー
{"id":8556008767738,"title":"Stuart Argabright \u0026 AfterAfter \/\/ LA Drones TAPE","handle":"stuart-argabright-afterafter-la-drones-tape","description":"\u003cp\u003e\u003c!----\u003e\u003c\/p\u003e\n\u003cp\u003eアメリカのポストインダストリアル作家Stuart Argabright \u0026amp; AfterAfterが、2024年3月にオーストラリア・ブリスベンの実験／アンビエントレーベルRoom40からリリースしたカセットです。\u003c\/p\u003e\n\u003cp\u003e悪夢のようなコラージュ・ドローン4曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3417736133\/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\/room40\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003ehere\u003c\/a\u003e to see more Room40 releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eCassette in matte laminate case. Ask us for digital files.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Malibu Waves 07:46\u003cbr\u003e2. Replicants Skip A Rope 11:04\u003cbr\u003e3. Mirror Canyon Sunset 05:47\u003cbr\u003e4. Barefoot Dawn - Part I Monster Mash Parade \/\/ Part II Sentries Chatter 13:38\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eArtist statement by \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eStuart Argabright:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003eI had gone to LA in early summer of 2021 to help produce a mix tape for Stefan. The tracking went well and I began thinking we might get in some time to do some cassette based work while we were hot.\u003cbr\u003e\u003cbr\u003eThis worked out too, we recorded across three or four days. I had brought a selection of tapes with voices on them and Stefan had at least 6 or 8 different decks. Almost all of them could playback slower too.\u003cbr\u003e\u003cbr\u003eOnce we had our tapes loaded we would take off into something else new and in the moment. The result sometimes drifted and blurred, becoming like a kind of pitched down or screwed Lower Broadway jam.\u003cbr\u003e\u003cbr\u003eBlue Dream...Blue Agave, blue neon path, to Whole Foods.\u003cbr\u003e\u003cbr\u003eWe went to Japan Town. Drove across town one evening to the ocean drive up to Malibu and waves were coming in, through a haze.\u003cbr\u003e\u003cbr\u003eNorth to Encino and stayed some nights in Toluca Lake. Then McArthur Park and somewhere else we heard Venice Beach chimes.\u003cbr\u003e\u003cbr\u003eThe Bradbury was in the neighbourhood - that classic set for the interior of JR Sébastien living quarters in the cyberpunk classic Blade Runner … as well as for the Outer Limits episode starring Rau Culp - The Demon with the Glass Hand, written by Harlan Ellison and aired 1963-64-65.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Stuart Argabright \u0026amp; AfterAfter\u003c\/p\u003e\n\u003cp\u003eLabel : Room40\u003c\/p\u003e","published_at":"2024-07-12T10:13:44+09:00","created_at":"2024-07-11T16:30:28+09:00","vendor":"Tobira Records","type":"","tags":["drone","monooto","new","room40","tape"],"price":205000,"price_min":205000,"price_max":205000,"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":46385067884794,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Stuart Argabright \u0026 AfterAfter \/\/ LA Drones TAPE","public_title":null,"options":["Default Title"],"price":205000,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/la1_61d168c8-dfa1-42a8-bfe8-fabe551ac0cd.jpg?v=1720683008","\/\/tobirarecords.com\/cdn\/shop\/files\/la2_0410489b-d87b-4faf-b52f-c2b739ad4d51.jpg?v=1720683008"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/la1_61d168c8-dfa1-42a8-bfe8-fabe551ac0cd.jpg?v=1720683008","options":["Title"],"media":[{"alt":null,"id":34523877966074,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/la1_61d168c8-dfa1-42a8-bfe8-fabe551ac0cd.jpg?v=1720683008"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/la1_61d168c8-dfa1-42a8-bfe8-fabe551ac0cd.jpg?v=1720683008","width":700},{"alt":null,"id":34523877998842,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/la2_0410489b-d87b-4faf-b52f-c2b739ad4d51.jpg?v=1720683008"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/la2_0410489b-d87b-4faf-b52f-c2b739ad4d51.jpg?v=1720683008","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003c!----\u003e\u003c\/p\u003e\n\u003cp\u003eアメリカのポストインダストリアル作家Stuart Argabright \u0026amp; AfterAfterが、2024年3月にオーストラリア・ブリスベンの実験／アンビエントレーベルRoom40からリリースしたカセットです。\u003c\/p\u003e\n\u003cp\u003e悪夢のようなコラージュ・ドローン4曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3417736133\/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\/room40\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/room40\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/room40\"\u003ehere\u003c\/a\u003e to see more Room40 releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eCassette in matte laminate case. Ask us for digital files.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. Malibu Waves 07:46\u003cbr\u003e2. Replicants Skip A Rope 11:04\u003cbr\u003e3. Mirror Canyon Sunset 05:47\u003cbr\u003e4. Barefoot Dawn - Part I Monster Mash Parade \/\/ Part II Sentries Chatter 13:38\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eArtist statement by \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eStuart Argabright:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"\u003cmeta charset=\"utf-8\"\u003eI had gone to LA in early summer of 2021 to help produce a mix tape for Stefan. The tracking went well and I began thinking we might get in some time to do some cassette based work while we were hot.\u003cbr\u003e\u003cbr\u003eThis worked out too, we recorded across three or four days. I had brought a selection of tapes with voices on them and Stefan had at least 6 or 8 different decks. Almost all of them could playback slower too.\u003cbr\u003e\u003cbr\u003eOnce we had our tapes loaded we would take off into something else new and in the moment. The result sometimes drifted and blurred, becoming like a kind of pitched down or screwed Lower Broadway jam.\u003cbr\u003e\u003cbr\u003eBlue Dream...Blue Agave, blue neon path, to Whole Foods.\u003cbr\u003e\u003cbr\u003eWe went to Japan Town. Drove across town one evening to the ocean drive up to Malibu and waves were coming in, through a haze.\u003cbr\u003e\u003cbr\u003eNorth to Encino and stayed some nights in Toluca Lake. Then McArthur Park and somewhere else we heard Venice Beach chimes.\u003cbr\u003e\u003cbr\u003eThe Bradbury was in the neighbourhood - that classic set for the interior of JR Sébastien living quarters in the cyberpunk classic Blade Runner … as well as for the Outer Limits episode starring Rau Culp - The Demon with the Glass Hand, written by Harlan Ellison and aired 1963-64-65.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Stuart Argabright \u0026amp; AfterAfter\u003c\/p\u003e\n\u003cp\u003eLabel : Room40\u003c\/p\u003e"}
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アメリカのポストインダストリアル作家Stuart Argabright & AfterAfterが、2024年3月にオーストラリア・ブリスベンの実験／アンビエントレーベルRoom40からリリースしたカセットです。 悪夢のようなコラージュ・ドローン4曲を収録。 ※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ レーベルその他作品はこちら /// Click here to see more Room40 releases available at...
¥2,050