Lionmilk Quartet // O.T.S. 2xLP / TAPE

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Leaving Recordsなどから発表しているアメリカ・LAのジャズピアニストLionmilk率いるLionmilk Quartetが、2021年10月に同市Preference Recordsよりリリースしたライブアルバム。

会場の暖かい雰囲気とライブの熱気がひしひしと伝わる14曲を収録。レコードはゲートフォルド仕様、30本限定カセットは3種類異なるアートワークです。（ランダムにお送りします）DLコード付属。

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

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

Edition of 30. Three different covers made.

Text by Moki :

"OTS, short for On The Spot, was a monthly installment at the local underground event Backbeat LA. Every first Wednesday we gathered friends in the LA community to showcase experimental improvisation. It was a place where artists were encouraged to play a set perpendicular to their usual performance material.

Improvisation was the magnetic pull of the show.

The Lionmilk house band was sometimes a trio, a duet, or a quintet. In this occasion, the Lionmilk Quartet was formed with homegrown Los Angeles musicians and dear friends Diego Gaeta, Caleb buchanan and Will Logan. True Homies are able to create without fear, trust in each other’s fonk you know? We let that trust speak for itself.

That day, everything was “slightly” behind and late, in great LA fashion. The handful of people that showed up on time didn’t really mind either, they came and hung out with us while we were setting up. I took my time to setup the speakers, chairs, dj booth, gear…

I even went to grab Vietnamese noodles for Caleb and Diego. When I came back with the food, Pax was starting the night, strumming his guitar and singing his song…"

Artist : Lionmilk Quartet

Label : Preference Artefacts

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

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

Edition of 30. Three different covers made.

Text by Moki :

Artist : Lionmilk Quartet

Label : Preference Artefacts

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Time of Waves (Live in Miami FL) 07:18\u003cbr\u003e2. What Does it Mean to be American (Live in Forest Hills NY) 06:43\u003cbr\u003e3. The Dream of Waking (Live in St Augustine FL) 04:10 video\u003cbr\u003e4. Something About Living (Live in Richmond VA) 06:59 video\u003cbr\u003e5. What I Owe (Live in Chesterfield MO) 06:55\u003cbr\u003e6. Renaissance 2.0 (Live in Chesterfield MO) 04:43\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eText excerpt by Orindal Records:\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"Something About Living is an album of live recordings by experimental jazz composer\/multi-instrumentalist Robert Stillman. The music was captured over the course of Stillman’s time as the solo support act for The Smile (Thom Yorke, Jonny Greenwood, Tom Skinner). The album weaves excerpts from various theater and arena shows along the tour’s North American routing into a seamless whole, creating a 40-minute program that represents an expanded version of Stillman’s ever-transforming live set.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eSomething About Living is the product of a steady, on-stage evolution that happened over the course of the nearly 60 shows opening for the Smile across the EU, UK, US, Canada and Mexico. However, the creative origins of the set began in relative isolation during the pandemic, through Stillman’s work on projects like his multi-media installation Unseen Forces and his monthly broadcast for Margate Radio, both of which drew upon solo improvisation using saxophone, cassettes, Yamaha DX7 synthesizer, and effects.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : ROBERT STILLMAN\u003c\/p\u003e\n\u003cp\u003eLabel : Orindal Records\u003c\/p\u003e\n\u003cp\u003eCAT NO : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eORD79\u003c\/span\u003e\u003c\/p\u003e"}

アメリカ出身イギリス在住のアンビエント・ジャズ作家Robert Stillmanが、2024年10月にアメリカ・シカゴのインディーレーベルOrindal Recordから500部限定でリリースしたライブ録音レコードです。 The Smile（トム・ヨーク、ジョニー・グリーンウッド、トム・スキナー）のツアー60公演の前座を務めたセットの中から抜粋した6曲を収録。DLコード付属。前作もオススメです。以下、レーベルによる解説です。 "Something About Livingは、実験的ジャズ作曲家／マルチ・インストゥルメンタリストRobert Stillmanのライヴ録音アルバムである。この音楽は、StillmanがThe Smile（トム・ヨーク、ジョニー・グリーンウッド、トム・スキナー）のソロサポートアクトを務めていた期間に収められたものだ。このアルバムは、北米ツアーで行われた様々な劇場やアリーナ公演からの抜粋をシームレスな全体の中に織り込み、変貌を続けるStillmanのライブセットの拡大版とも言える40分のプログラムを作り上げている。 Something About...

¥3,450

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Edition of 90. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. HMMM 04:23\u003cbr\u003e2. GEORDIE SPICE (ft. Gwilly Edmondez) 05:51\u003cbr\u003e3. GLASS BASTARD (ft. Teresa Winter \u0026amp; Bobby Glew) 09:48\u003cbr\u003e4. it COULD be jazz (ft. Bobby Glew) 03:18\u003cbr\u003e5. BURNING LIKE FUCK 03:40\u003cbr\u003e6. MARIAMBA (ft. Lukas Koenig) 04:41\u003cbr\u003e7. IDIOTIS MUSIC PEOPLE CUNTS 01:38\u003cbr\u003e8. I WANT U 2 (ft. Alya-Al-Sultani) 04:32\u003cbr\u003e9. SHORTIE SHORTS 02:10\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eHeat Crimes:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAward-winning composer, turntablist and performer Mariam Rezaei approaches turntablism with an openness that's not just progressive, it's surprisingly optimistic. On 'BOWN', the central part of a triptych alongside 'BLUD' and 'SKEEN' (both released on Graham Dunning's Fractal Meat Cuts imprint), Rezaei reconsiders the established logic of turntable-based music, blurring expectations and persistently reaching into the unknown. In her capable hands the decks become chameleonic, imitating an arsenal of instruments that she subsequently bends into uncanny forms. Rezaei sees turntablism as a continuum rather than a fixed style, and she invites a carefully picked crew of collaborators - Theresa Winter, Luka Koenig, Alya Al-Sultani, Bobby Glue and Gwily Edmondez - to help distort genre hallmarks until they're completely unrecognizable; vocals become sputtering oscillators, drums are turned into walls of sheet noise and acidic electronics mutate into unstable, foggy drones.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eRezaei started DJing when she was just 15 years old, developing her skills in the competitive and male-dominated hip-hop battle arena. She began to realize that even in this fast-paced environment, the turntable was too often used as a vehicle to exercise a sequence of customary tropes. Inspired by art from across the\u003cspan class=\"bcTruncateMore\"\u003e genre spectrum, she developed her own unique language with the instrument, bringing in ideas from free improv and extreme noise to extend her palette. So she doesn't ask a question on 'it COULD be jazz', but makes a statement, replying tersely to a colleague's barbed comment after a performance at London Jazz Festival last year. Transforming wild horn squeaks into time-stretched gasps and scrubbed, chattering voices, and garbling drums from Guttersnipe's Bobby Glue into ratcheting whirrs, she assures listeners that jazz too is far more than a predetermined set of aphorisms. \"How can I make the turntable sound as extreme as Roscoe Mitchell or Peter Brötzmann?\" she wondered during an interview with Wire magazine in April.\u003cbr\u003e\u003cbr\u003eYEAH YOU's Gwily Edmondez throws his self-styled \"wild pop\" vocalizations into Rezaei's continuum on 'GEORDIE SPICE', so she replies by juxtaposing his insectoid rasps with garbled West Asian chants and microscopic radio pop bleeps and beats. And traces of Grouper's vaporous articulations hang gently over unstable dancefloor vibrations on 'BURNING LIKE FUCK', situating the track a few steps from the club, outside in the smoking area or a nearby restroom. On 'I WANT U 2' meanwhile, Rezaei taps London-based soprano Alya Al-Sultani, scratching her operatic cries until they become chirps and cutting them into an abstracted conversation about the role of women in civilization. 'BOWN' is a confident, fervid statement from Rezaei that doesn't just burn up turntablism's presumed rulebook, it points a weary finger at an avant-garde landscape that still ignores the work countless women have put in to guide its progress. This is never more evident than on the tongue-in-cheek 'IDIOTIC MUSIC PEOPLE CUNTS', one-and-a-half minutes of garbled noise that throws a middle finger up to the industry, extending a warm embrace to the real ones.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Mariam Rezaei\u003c\/p\u003e\n\u003cp\u003eLabel : Heat Crimes\u003c\/p\u003e","published_at":"2024-11-21T07:47:25+09:00","created_at":"2024-11-16T15:43:06+09:00","vendor":"Tobira Records","type":"","tags":["heat crimes","jazz","monooto","new","strange beats","tape"],"price":213700,"price_min":213700,"price_max":213700,"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":46864904454394,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Mariam Rezaei \/\/ BOWN TAPE","public_title":null,"options":["Default Title"],"price":213700,"weight":60,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/bo1_808ca210-5bd5-48c8-9e47-ac4ac1e1e9ea.jpg?v=1731739282","\/\/tobirarecords.com\/cdn\/shop\/files\/bo2_98e0e2fc-c9ae-4a31-a1c7-49c35da50ee2.jpg?v=1731739282"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo1_808ca210-5bd5-48c8-9e47-ac4ac1e1e9ea.jpg?v=1731739282","options":["Title"],"media":[{"alt":null,"id":35195321712890,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo1_808ca210-5bd5-48c8-9e47-ac4ac1e1e9ea.jpg?v=1731739282"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo1_808ca210-5bd5-48c8-9e47-ac4ac1e1e9ea.jpg?v=1731739282","width":700},{"alt":null,"id":35195321745658,"position":2,"preview_image":{"aspect_ratio":0.865,"height":1200,"width":1038,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo2_98e0e2fc-c9ae-4a31-a1c7-49c35da50ee2.jpg?v=1731739282"},"aspect_ratio":0.865,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/bo2_98e0e2fc-c9ae-4a31-a1c7-49c35da50ee2.jpg?v=1731739282","width":1038}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eイギリスの実験DJ Mariam Rezaeiが、2023年9月にウガンダ・カンパリのレフトフィールド・ダンスレーベルNyege Nyege Tapes傘下Heat Crimesからリリースしたカセットです。\u003c\/p\u003e\n\u003cp\u003e巧みなターンテーブル捌きによるコラージュ・ジャズ〜ストレンジビーツ5曲を収録。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3662678697\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=2981004240\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3662678697\/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\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3662678697\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=861035946\/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\/heatc\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/heatc\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/heatc\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/heatc\"\u003ehere\u003c\/a\u003e to see more Heat Crimes releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e-------------------------------------------\u003c\/p\u003e\n\u003cp\u003eCassette in norelco case. Edition of 90. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. HMMM 04:23\u003cbr\u003e2. GEORDIE SPICE (ft. Gwilly Edmondez) 05:51\u003cbr\u003e3. GLASS BASTARD (ft. Teresa Winter \u0026amp; Bobby Glew) 09:48\u003cbr\u003e4. it COULD be jazz (ft. Bobby Glew) 03:18\u003cbr\u003e5. BURNING LIKE FUCK 03:40\u003cbr\u003e6. MARIAMBA (ft. Lukas Koenig) 04:41\u003cbr\u003e7. IDIOTIS MUSIC PEOPLE CUNTS 01:38\u003cbr\u003e8. I WANT U 2 (ft. Alya-Al-Sultani) 04:32\u003cbr\u003e9. SHORTIE SHORTS 02:10\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eHeat Crimes:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAward-winning composer, turntablist and performer Mariam Rezaei approaches turntablism with an openness that's not just progressive, it's surprisingly optimistic. On 'BOWN', the central part of a triptych alongside 'BLUD' and 'SKEEN' (both released on Graham Dunning's Fractal Meat Cuts imprint), Rezaei reconsiders the established logic of turntable-based music, blurring expectations and persistently reaching into the unknown. In her capable hands the decks become chameleonic, imitating an arsenal of instruments that she subsequently bends into uncanny forms. Rezaei sees turntablism as a continuum rather than a fixed style, and she invites a carefully picked crew of collaborators - Theresa Winter, Luka Koenig, Alya Al-Sultani, Bobby Glue and Gwily Edmondez - to help distort genre hallmarks until they're completely unrecognizable; vocals become sputtering oscillators, drums are turned into walls of sheet noise and acidic electronics mutate into unstable, foggy drones.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eRezaei started DJing when she was just 15 years old, developing her skills in the competitive and male-dominated hip-hop battle arena. She began to realize that even in this fast-paced environment, the turntable was too often used as a vehicle to exercise a sequence of customary tropes. Inspired by art from across the\u003cspan class=\"bcTruncateMore\"\u003e genre spectrum, she developed her own unique language with the instrument, bringing in ideas from free improv and extreme noise to extend her palette. So she doesn't ask a question on 'it COULD be jazz', but makes a statement, replying tersely to a colleague's barbed comment after a performance at London Jazz Festival last year. Transforming wild horn squeaks into time-stretched gasps and scrubbed, chattering voices, and garbling drums from Guttersnipe's Bobby Glue into ratcheting whirrs, she assures listeners that jazz too is far more than a predetermined set of aphorisms. \"How can I make the turntable sound as extreme as Roscoe Mitchell or Peter Brötzmann?\" she wondered during an interview with Wire magazine in April.\u003cbr\u003e\u003cbr\u003eYEAH YOU's Gwily Edmondez throws his self-styled \"wild pop\" vocalizations into Rezaei's continuum on 'GEORDIE SPICE', so she replies by juxtaposing his insectoid rasps with garbled West Asian chants and microscopic radio pop bleeps and beats. And traces of Grouper's vaporous articulations hang gently over unstable dancefloor vibrations on 'BURNING LIKE FUCK', situating the track a few steps from the club, outside in the smoking area or a nearby restroom. On 'I WANT U 2' meanwhile, Rezaei taps London-based soprano Alya Al-Sultani, scratching her operatic cries until they become chirps and cutting them into an abstracted conversation about the role of women in civilization. 'BOWN' is a confident, fervid statement from Rezaei that doesn't just burn up turntablism's presumed rulebook, it points a weary finger at an avant-garde landscape that still ignores the work countless women have put in to guide its progress. This is never more evident than on the tongue-in-cheek 'IDIOTIC MUSIC PEOPLE CUNTS', one-and-a-half minutes of garbled noise that throws a middle finger up to the industry, extending a warm embrace to the real ones.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Mariam Rezaei\u003c\/p\u003e\n\u003cp\u003eLabel : Heat Crimes\u003c\/p\u003e"}

※当店限定販売ですスペイン・バルセロナのハイライフ・サイケ・アフロ作家J.G.G主宰Ediciones Populares諸作を入荷しました。本作は、同国クラリネット奏者Edu Ponsが、2024年11月に25本限定でリリースしたカセットです。アンビエント・スピリチュアルジャズ4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 Ediciones Populares releases available...

¥2,445

クイックビュー {"id":8663926014202,"title":"Andrea Belfi \u0026 Jules Reidy \/\/ dessus oben alto up LP","handle":"andrea-belfi-jules-reidy-dessus-oben-alto-up-lp","description":"\u003cp\u003eイタリア出身ドイツ在住のパーカッショニストAndrea Belfiとオーストラリア出身ドイツ在住のギタリストJules Reidyが、2024年11月にカナダのストレンジビーツレーベルMarionetteからリリースした共作レコードです。\u003c\/p\u003e\n\u003cp\u003eミニマル・ポストロック〜アンビエント・ジャズ〜エレクトロアコースティック・ストレンジビーツ4曲を収録。180g重量盤です。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"マリオネットは、Andrea Belfi \u0026amp; Jules Reidyによる初のコラボレーションレコーディング『dessus oben alto up』を発表する。ReidyとBelfiは、オーストラリアとイタリアという異なる出身地でありながら、ともに長年ベルリンに住んでおり、そのアプローチには多くの共通点がある。19世紀の機械工場を改装したベルリンの芸術施設カリーズのサウンドスタジオに滞在していた2人（マルコ・アヌッリがデスクを担当）は、ギターとエレクトロニクスのきらめく靄の中を、美しく録音されたBelfiのドラムのパーカッシブな透明感が通り抜ける、広がりのある4つの作品を作り上げた。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eオープニングの「dessus」は、Belfiの繊細なブラシワークとバスドラムのアクセントの上で揺らめく、Reidy独特のジャストインテッド・ギターで始まる。最近のReidyの作品と同様、ギターは、馴染みのないチューニングと電子的な処理によって、決まりきったものから捻じ曲げられている。曲の大部分はほとんど聴こえないほどバックで流れていたが、最後には合成音のラッシュが前面に押し寄せてくる。「oben」は、ピッキングされたギターのアルペジオの運動パターンで構成され、Belfiのドラムと不規則なグルーブにロックされる。ドラムは、エレガントなロールやシンバルのパタパタから、ドライヴするクローズド・ハイハットや爆発的なロック・イントロダクションへと変化する。伝統的な楽器の周りやステレオ・フィールドの向こう側では、電子音が渦を巻いており、ヴィンテージのアナログ・シンセの破壊とグリッチのハーモニーを思わせる太陽の光を浴びたサウンドスケープの中で、発泡したり弾けたりしている。「alto」は似たような領域から始まるが、一段とレベルアップし、最終的にはドラムのアクセントの移り変わり、12弦アコースティックのマニアックなかき鳴らし、うごめくシンセ・コードが織り成す6\/8の推進力のあるグルーヴに落ち着く。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eB面は15分の「up」で、他の作品で採用された戦略が、よりリラックスした、ゆっくりと展開する叙事詩に活かされている。終始安定したパルスに支えられたこの作品では、キメのあるギター、ダビングされたベース・ライン、絶えず調整されるパーカッシブなディテールが組み合わされ、複雑な音の束となっている。変化はとても繊細でありながら常に存在するため、リスナーはどの瞬間にも、自分がそこにどうやってたどり着いたのか、まったく分からなくなる。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1254513280\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/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\/mrn\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/mrn\"\u003ehere\u003c\/a\u003e to see more Marionette releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. dessus 05:34\u003cbr\u003e2. oben 10:14\u003cbr\u003e3. alto 08:34\u003cbr\u003e4. up 15:07\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eMarionette:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eMarionette is pleased to present dessus oben alto up, the first collaborative recording by Andrea Belfi and Jules Reidy. Hailing from different ends of the globe (Australia and Italy) but both longtime residents of Berlin, Reidy and Belfi’s approaches have much in common, bringing together compositional precision and electroacoustic rigour with improvisation freedom, the immediate gratifications of rhythmic pulse, and an overtly lyrical sensibility. Working together during a residency at the sound studio of Berlin’s Callie’s, an arts institution housed in a 19th century machine factory, the pair (with Marco Anulli manning the desk) have conjured up four expansive pieces where the beautifully recorded percussive clarity of Belfi’s drums threads through a sparkling haze of guitars and electronics.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eOpener ‘dessus’ begins with Reidy’s distinctive just-intoned guitar figures, shimmering over a delicate substratum of Befli’s brushwork and bass drum accents. As in all of Reidy’s recent work, the guitar is twisted out of cliché by the unfamiliar tuning and electronic processing. Hanging almost inaudibly in the background for much of the piece, a rush of synthetic tones surges into the foreground to end it. ‘oben’ is built from kinetic patterns of picked\u003cspan class=\"bcTruncateMore\"\u003e guitar arpeggios, locking into irregular grooves with Belfi’s drums, which move from elegant rolls and cymbal patter to driving closed hi-hats and explosive rock interjections. Around the traditional instruments and across the stereo field, electronic sounds swarm and swirl, fizzing and popping in a sun-drenched soundscape that at points suggests both vintage analogue synth destruction and glitching harmonies. ‘alto’ begins in similar territory but turned up a notch, eventually settling into a propulsive 6\/8 groove of shifting drum accents, manically strummed 12 string acoustic, and burbling synth chords.\u003cbr\u003e\u003cbr\u003eThe B side is dedicated to the fifteen-minute ‘up’, where the strategies adopted on the other pieces are put in the service of a more relaxed, slowly unfolding epic. Anchored by a steady pulse throughout, the piece combines chiming guitars, dubbed-out bass lines and constantly adjusted percussive details into a complex flux of sound. Change is at once so subtle and so ever-present that, at any given moment, the listener can never be entirely sure quite how they got there.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Andrea Belfi \u0026amp; Jules Reidy\u003c\/p\u003e\n\u003cp\u003eLabel : Marionette \u003c\/p\u003e\n\u003cp\u003eCAT no : Marionette25LP\u003c\/p\u003e","published_at":"2024-11-14T07:27:00+09:00","created_at":"2024-11-13T13:12:30+09:00","vendor":"Tobira Records","type":"","tags":["ambient","jazz","lp","marionette","new","strange beats"],"price":419800,"price_min":419800,"price_max":419800,"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":46854368198906,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Andrea Belfi \u0026 Jules Reidy \/\/ dessus oben alto up LP","public_title":null,"options":["Default Title"],"price":419800,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/oben1.jpg?v=1731471087","\/\/tobirarecords.com\/cdn\/shop\/files\/oben2.jpg?v=1731471087"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/oben1.jpg?v=1731471087","options":["Title"],"media":[{"alt":null,"id":35181770834170,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/oben1.jpg?v=1731471087"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/oben1.jpg?v=1731471087","width":700},{"alt":null,"id":35181770866938,"position":2,"preview_image":{"aspect_ratio":1.5,"height":800,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/oben2.jpg?v=1731471087"},"aspect_ratio":1.5,"height":800,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/oben2.jpg?v=1731471087","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eイタリア出身ドイツ在住のパーカッショニストAndrea Belfiとオーストラリア出身ドイツ在住のギタリストJules Reidyが、2024年11月にカナダのストレンジビーツレーベルMarionetteからリリースした共作レコードです。\u003c\/p\u003e\n\u003cp\u003eミニマル・ポストロック〜アンビエント・ジャズ〜エレクトロアコースティック・ストレンジビーツ4曲を収録。180g重量盤です。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"マリオネットは、Andrea Belfi \u0026amp; Jules Reidyによる初のコラボレーションレコーディング『dessus oben alto up』を発表する。ReidyとBelfiは、オーストラリアとイタリアという異なる出身地でありながら、ともに長年ベルリンに住んでおり、そのアプローチには多くの共通点がある。19世紀の機械工場を改装したベルリンの芸術施設カリーズのサウンドスタジオに滞在していた2人（マルコ・アヌッリがデスクを担当）は、ギターとエレクトロニクスのきらめく靄の中を、美しく録音されたBelfiのドラムのパーカッシブな透明感が通り抜ける、広がりのある4つの作品を作り上げた。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eオープニングの「dessus」は、Belfiの繊細なブラシワークとバスドラムのアクセントの上で揺らめく、Reidy独特のジャストインテッド・ギターで始まる。最近のReidyの作品と同様、ギターは、馴染みのないチューニングと電子的な処理によって、決まりきったものから捻じ曲げられている。曲の大部分はほとんど聴こえないほどバックで流れていたが、最後には合成音のラッシュが前面に押し寄せてくる。「oben」は、ピッキングされたギターのアルペジオの運動パターンで構成され、Belfiのドラムと不規則なグルーブにロックされる。ドラムは、エレガントなロールやシンバルのパタパタから、ドライヴするクローズド・ハイハットや爆発的なロック・イントロダクションへと変化する。伝統的な楽器の周りやステレオ・フィールドの向こう側では、電子音が渦を巻いており、ヴィンテージのアナログ・シンセの破壊とグリッチのハーモニーを思わせる太陽の光を浴びたサウンドスケープの中で、発泡したり弾けたりしている。「alto」は似たような領域から始まるが、一段とレベルアップし、最終的にはドラムのアクセントの移り変わり、12弦アコースティックのマニアックなかき鳴らし、うごめくシンセ・コードが織り成す6\/8の推進力のあるグルーヴに落ち着く。\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eB面は15分の「up」で、他の作品で採用された戦略が、よりリラックスした、ゆっくりと展開する叙事詩に活かされている。終始安定したパルスに支えられたこの作品では、キメのあるギター、ダビングされたベース・ライン、絶えず調整されるパーカッシブなディテールが組み合わされ、複雑な音の束となっている。変化はとても繊細でありながら常に存在するため、リスナーはどの瞬間にも、自分がそこにどうやってたどり着いたのか、まったく分からなくなる。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1254513280\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/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\/mrn\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/mrn\"\u003ehere\u003c\/a\u003e to see more Marionette releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"MsoNormal\"\u003e1. dessus 05:34\u003cbr\u003e2. oben 10:14\u003cbr\u003e3. alto 08:34\u003cbr\u003e4. up 15:07\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eMarionette:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eMarionette is pleased to present dessus oben alto up, the first collaborative recording by Andrea Belfi and Jules Reidy. Hailing from different ends of the globe (Australia and Italy) but both longtime residents of Berlin, Reidy and Belfi’s approaches have much in common, bringing together compositional precision and electroacoustic rigour with improvisation freedom, the immediate gratifications of rhythmic pulse, and an overtly lyrical sensibility. Working together during a residency at the sound studio of Berlin’s Callie’s, an arts institution housed in a 19th century machine factory, the pair (with Marco Anulli manning the desk) have conjured up four expansive pieces where the beautifully recorded percussive clarity of Belfi’s drums threads through a sparkling haze of guitars and electronics.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eOpener ‘dessus’ begins with Reidy’s distinctive just-intoned guitar figures, shimmering over a delicate substratum of Befli’s brushwork and bass drum accents. As in all of Reidy’s recent work, the guitar is twisted out of cliché by the unfamiliar tuning and electronic processing. Hanging almost inaudibly in the background for much of the piece, a rush of synthetic tones surges into the foreground to end it. ‘oben’ is built from kinetic patterns of picked\u003cspan class=\"bcTruncateMore\"\u003e guitar arpeggios, locking into irregular grooves with Belfi’s drums, which move from elegant rolls and cymbal patter to driving closed hi-hats and explosive rock interjections. Around the traditional instruments and across the stereo field, electronic sounds swarm and swirl, fizzing and popping in a sun-drenched soundscape that at points suggests both vintage analogue synth destruction and glitching harmonies. ‘alto’ begins in similar territory but turned up a notch, eventually settling into a propulsive 6\/8 groove of shifting drum accents, manically strummed 12 string acoustic, and burbling synth chords.\u003cbr\u003e\u003cbr\u003eThe B side is dedicated to the fifteen-minute ‘up’, where the strategies adopted on the other pieces are put in the service of a more relaxed, slowly unfolding epic. Anchored by a steady pulse throughout, the piece combines chiming guitars, dubbed-out bass lines and constantly adjusted percussive details into a complex flux of sound. Change is at once so subtle and so ever-present that, at any given moment, the listener can never be entirely sure quite how they got there.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Andrea Belfi \u0026amp; Jules Reidy\u003c\/p\u003e\n\u003cp\u003eLabel : Marionette \u003c\/p\u003e\n\u003cp\u003eCAT no : Marionette25LP\u003c\/p\u003e"}