MUSIC

極上です。この人の最高傑作に当たる作品ではないでしょうか。Loris S.SaridやGreen-Houseとも並ぶ「植物のためのアンビエント」な大名作『Moss King』(Omni Gardens)という未曾有のヒットを放ったこともまだまだ記憶に新しいポートランドの名門〈Moon Glyph〉からは、〈Not Not Fun〉に秀逸なアンビエント/ニューエイジ作品を残すロシアのAlexander Sirenkoによるソロ名義Coral Clubによる3本目のカセット・アルバムが登場。2020年の閉鎖期間中の荒れ果てた都市の中心部からインスピレーションを受けて制作された作品。時間とエントロピーの中で失われ、ほとんど跡形もなく消え去った時代と文化を思い起こさせる深遠なコスミッシェ・アンビエント・ミュージック！

Vic Bang is the artist, composer and sound designer Victoria Barca from Buenos Aires, Argentina. Her work captures the micro-sounds of the world, simultaneously crystalline and organic, carefully composed into unique and distinctive sound sculptures. On her latest album, “Burung”, the songs are increasingly airy and colorful, playfully bopping around one moment and releasing a digital exhale the next. Barca’s handling of percussion, texture and melody is sophisticated while always retaining the light-hearted exuberance of a fresh experimentalist. “Burung” is the sound of precise, beautiful computer music crafted with the fallible human touch.

Matthew Linares aka Hidden Rung makes his solo debut on Good Morning Tapes. Having previously released on the label as a member of Pataphysical, Matthew is no stranger to the wizardry of GMT. "Happier" charts into uncanny territory, with it's deep, dubby sonics and fleeting spoken dialogue treading the line somewhere between a familiar land and a new and slightly unnerving horizon. Really lovely stuff. We can't get enough. Highly recommended every time!

Jin Mu is taken from the Chinese Zodiac and translates to the elements of Metal (Jin) and Wood (Mu). this is essentially the concept of this record.. Tucceri plays a selection of wooden and metal flutes and Zeitgeist plays drums and cymbals. In this sense it's a musical connection to the natural elements and spirits embodied in these instruments. Having worked together for several years on the project ‘Zeitgeist Freedom Energy Exchange’ Zeitgeist and Tucceri come together here in a very intimate and vulnerable setting. This recording offers a place of reflection and healing amongst an ever imposing and disposable pop culture. In a time where we fight for each others attention in 10 second social media grabs. The duo offer something of the opposite. An opportunity to tap out of the technological bombardment and allow the listener the place to reflect, to ponder, to imagine. This record is especially poignant at a time of rising tensions in Australia about the acknowledgment and rights of the indigenous peoples and an ongoing fight for the settlement of refugees in what is essentially a nation of immigrants.

Af Ursin, a project of Timo Van Luijk, who also works with Andrew Chalk in the units Elodie and Mirror, and organizer of La Scie Dorée, released this work in 2017. The work is a masterpiece in which his worldview is deployed without regret, with improvisations that gradually build up heat with an unobtrusive yet drone-like energy, and sound works that have the feel of In Camera/Mirror. The natural analog soundtrack further enhances the perfection of the piece.

Elodie is the first full-length album by Andrew Chalk, a solitary musician, and Timo van Luijk of Belgium, who also shows his talent in Af Ursin and In Camera. The sound is a mix of field recordings of birdsong and murmuring rivers, and performances of various instruments (bagpipes, guitar, koto, percussion, synths, etc.) and non-instrumentalists, resulting in a very varied sound, but still stateless. Like the works of both artists, it is a small and compact worldview, but all of the sounds, including quiet and beautiful drones, abstract playing with/without melody, and improvisation, are wonderful, reaching the realm of meditation. The sense of time, similar to that of Andrew Chalk's work, is clearly alive here as well, as one forgets the passage of time. This is an ideal type of music. I think you will experience a very fresh sensation. Daisuke Suzuki and Ian Middleton also participated. The artwork is as wonderful as ever and sounds just like this.

Three introspective instrumental compositions for English horn, flute, percussion, double bass, Hammond organ. Performed, recorded and mixed by Timo van Luijk at Kulta Saha, 2010-2012. Remastered May 2020.

オリジナル盤カセットは最早入手不可能にも近い一枚！配給元最終ストック。ウクライナ出身の作曲家、映像作家、ライターであり、70年代中盤から90年代にかけてスペイン・マドリッドの前衛音楽シーンで絶大な影響を誇っていたIury Lechが同国地下実験音楽の聖地〈Hyades Arts〉より1989年に発表した1作目のアルバム『Otra Rumorosa Superficie』が〈Utopia Records〉からアナログ・リイシュー。〈Grabaciones Accidentales〉の〈El Cometa De Madrid〉（マドリッドの彗星）シリーズで紹介されたアクトを筆頭に筆頭に独創的なアーティストたちが世界でも類を見ないクリエイティヴなシーンを興隆させたマドリッド音響派周辺のシーンを代表する１枚。先に再発されていた次作同様、天上風景を醸すモダン・クラシカルの傑作ですが、こちらにはよりアヴァンギャルドかつ仄暗い影を滲ませており、深い内省を感じさせる一枚となっています。そこ知れず幽玄にして幻影的なモダン・クラシカルの傑作。180g重量盤。限定300部。

Brokeback is Douglas McCombs. Douglas may be familiar to many of you as the bassist for Eleventh Dream Day, Tortoise and Pullman. During the last two years Brokeback has released two singles and played numerous live dates throughout the U.S. and Europe. Through Brokeback, Douglas has sought to explore something not as densely structured as his other musical outings with a focus on rhythm and texture. The idea with Brokeback is to keep things simple and let the melodies hang in the air. By the nature of this decision the music is sparse, but not without sounding full and realized. Field Recordings From The Cook County Water Table is the most actualized offering of the Brokeback experience to date, whether it be recorded or live. Field Recordings… features contributions from Noel Kupersmith (Chicago Underground Orchestra) and Josh Abrams (Sam Prekop Band/Town and Country), whose versatile bass playing helped Douglas achieve the textural depth for this debut and first in-depth documentation of Brokeback. Noel has been a frequent collaborator in Brokeback's live setting. Rob Mazurek (Chicago Underground Orchestra/Isotope 217) plays cornet on the opening track, "after the internationals" and Mary Hansen (Stereolab) lends her angelic voice to the song, "the great banks". Both John Herndon and John McEntire contributed their percussive talents, while McEntire handled the recording duties by himself. However at the heart of Brokeback lies the vision and playing of Doug McCombs. In Douglas' own words: "Brokeback wouldn't exist without the Fender six-string bass. I consider myself a bass player, and though I have dabbled with slide instruments (lap steel and dobro) I was never really interested in moving into the higher register until I became aware of this instrument and its perfect blend of twang and low tone. I began planning this album years before I could even afford to purchase one. It may seem ridiculous to give so much credit to the instrument, but most of these melodies practically wrote themselves, and they were exactly what I wanted."

Discovered by Stapleton of Nurse With Wound, Robert Haigh, a famous British writer and pianist known for his work on United Dairies and his activities as Sema and Omni Trio, has released a new album from Seal Pool by John Podeszwa, one of the world's leading collectors of NWW. In 2007, Robert Haigh, a famous British writer/pianist known for his work with Omni Trio and Omema, released his first album on Seal Pool, a label run by John Podeszwa, one of the world's leading collectors of NWW. Through the use of many different names and participation in multiple groups, Haigh has returned to his early modern classical style from his post-90s worldview, which included house, drum 'n' bass, and even ambient, and has made a miraculous comeback under his own name for the first time since "A Waltz In Plain C" in 1989. This is a monumental work that marked his miraculous return under his own name since "A Waltz In Plain C" in 1989. This is a monumental album that marks his miraculous return under his own name since "A Waltz In Plain C" in 1989. It presents a unique worldview among Robert Hay's works, with a certain heat in the pretty sound that is connected to the post-minimalist lineage. Digipak edition. Limited to 400 copies.

Discreet Music (1975) is the fourth studio album by the British musician Brian Eno. While his earlier work with Robert Fripp (No Pussyfooting) and several selections from Another Green World feature similar ideas, Discreet Music marked a clear step toward the ambient aesthetic Eno would later codify with 1978's Ambient 1: Music for Airports. It is also Eno's first album to be released under his full name "Brian Eno" as opposed to his previous rock albums released simply under the name "Eno".

In the afterglow of her acclaimed 2020 album *Silver Ladders* (a year-end favorite of NPR, Pitchfork, The New Yorker, and others), Los Angeles-based harpist and composer Mary Lattimore returns with a culminating counterpart release, *Collected Pieces: 2015-2020*, out January 14, 2022. The limited-edition LP sequences selections from her two rarities collections, *Collected Pieces I* (2017) and *Collected Pieces II* (2020), bringing archive highlights and fan favorites to vinyl and CD for the first time. Lattimore has described the process of arranging these releases as akin to “opening a box filled with memories,” and here that box continues to populate, accessible for both the artist and fans. Evocative material separated by years, framed as a portrait of an instrumental storyteller who rarely pauses, recording and often sharing music as soon as it strikes her. Seemingly in constant forward motion for the last five years since her Ghostly debut, Lattimore glances back for a breath, inviting new chances to live in these fleeting moments and emotions; all the beauty, sorrow, sunshine, and darkness housed within. 

A familiar harp sequence opens the set, making its first vinyl appearance is “Wawa By The Ocean,” Lattimore’s ode to her favorite convenience store, Wawa #700 in Ship Bottom, New Jersey. “Twelve summers of solo trips to Ship Bottom and it hasn't really changed. I'll always visit it in my dreams,” Lattimore said upon its initial release, and surely that beachside landmark still appears each time this delightful pattern unfolds, hoagies and all. Next is a newer single, “We Wave From Our Boats,” which she improvised after walking her neighborhood during the early days of lockdown in 2020, and shared on her Bandcamp. “I would just wave at neighbors I didn't know in a gesture of solidarity and it reminded me of how you’re compelled to wave at people on the other boat when you’re on a boat yourself, or on a bridge or something. The pull to wave feels very innate and natural.” The heart of the track is a somber loop, over top which Lattimore’s synth notes ruminate, each a gentle shimmer of optimism in the most anxious and absurd of days. 

Also recorded in 2020, “What The Living Do” is inspired by Marie Howe’s poem of the same name, which reflects on loss through an appreciation for the mundane messiness of being human. The echoed, slow-marching track has a distant feel to it, as if the listener is outside of it, watching life play out as a film. “Princess Nicotine (1909)” scores actual footage, a dream sequence Lattimore imagined for J. Stuart Blackton’s surreal silent film *(link: www.youtube.com/watch?v=_UvG5ItVzxc&feature=youtu.be text: Princess Nicotine; or, the Smoke Fairy)*. She adopted the same approach for “Polly of the Circus,” explaining it was the name of one of the old silent films discovered in permafrost in the Yukon [featured in the documentary *Dawson City: Frozen Time*], “the only copy that survived and it kind of warped in the aging process.” 

“Mary, You Were Wrong” mirrors an author’s bout with a broken heart. “It’s about how you have to keep on going even if you make some mistakes,” she says. The bittersweet refrain cycles throughout, a little brighter every time, slowly, like the way time tends to heal. 

A trove of pieces are collected here, most recorded in the moment, just Lattimore and her Lyon and Healy Concert Grand Harp, contact mics, and pedals. There’s the one about the late Twin Peaks actress Margaret Lanterman (“We Just Found Out She Died”), the American astronaut’s homecoming (“For Scott Kelly, Returned To Earth”), the joke about the cannibal’s wife (“The Warm Shoulder”), the Charlie Chaplin-like character who lost their glasses (“Be My Four Eyes”), and the high school kids driving their shiny cars in a parking lot (“Your Glossy Camry”). Like her most affecting work, these songs showcase Lattimore’s gifts as an observer, able to shape her craft around emotional frequencies and scenes. Her power as a musician is rooted in how she sees the world: in vivid detail, profoundly empathic, with deep gratitude for nature and nuance. 

Modern Obscure Music turns to Japan for inspiration. Suemori debuts on the Barcelona based imprint with an album of striking textures and sounds. From the first track, you can feel the influence of the Far East in both the melodies and rhythms created by Suemori. The music is complemented by Mayte Nicole Esteban’s impressive artwork. Suemori’s real name is Yoshinobu Hoshina. He previously recorded as Hoshina Anniversary. Under this alias, Hoshina released music on labels such as Boysnoize Records and ESP Institute. As Suemori he released the Maebashi album earlier in 2021 on Elena Colombi’s Osàre! Editions imprint. Tawamure is an album of richly textured compositions. Pianos and electronics are equally important. Some tracks are beatless and others have an unorthodox approach to percussion. We begin with the playful yet sombre pianos and strings of Mou Aenaindesune もう会えないんですね. Honshin 本心 has a magical beauty and Konton 混沌 Chaos is as chaotic as you would expect. There is so much to explore on this wonderful album from Suemori.

Everything Pale Blue is the first collection of ambient music by New York City-based composer and Au Revoir Simone keyboardist Annie Hart. Performed on analog synthesizers and processed through daisy chains of delay, reverb and loop effects, Everything Pale Blue’s warm, sonorous tones and trance-like, minimalist arrangements recall the work of pioneering electronic music composers Wendy Carlos, Éliane Radigue and Brian Eno, as well as German Kosmische Musik groups of the 70’s like Kraftwerk, Cluster and Tangerine Dream.

Throughout Everything Pale Blue, Hart’s gentle arpeggios and playful melodic figures echo the harmonies and rhythms of our natural world, from the cycles of flora, fauna and weather patterns to the orbits of celestial bodies. Everything Pale Blue’s four gorgeously expansive instrumental tracks reward patient listeners seeking calm, melody and meditation.

Annie Hart explains:

“I began composing Everything Pale Blue in November 2020 at an artist’s residency near Oneonta, New York called Aunt Karen’s Farm, which was funded through a grant from the Sustainable Arts Foundation, whose mission is to support arts created by people with children. Normally, it’s a hub of activity, but due to COVID, it was just me, and for part of the time, my family, sharing an open, empty farm space; a true retreat. At first I was a bit bored by the same scenery every day in such a gloomy, wet, gray season, but after a while I started seeing the minute daily changes in the nature around me. Every day I went on walks through fallow fields spiked with mown straw, sometimes wet with mud, sometimes caked with snow, and on some magical days, encased in crystalline ice. I started seeing the trees around the farm as individuals, with their own personalities. I saw the leaves change on the ground from yellow and brown, to dry brown blowing ones, to wet, dark brown precursors to soil that would then nurture the same trees they came from. Obviously, in New York City, we see trees every day, but it is incredibly rare to witness their symbioses with each other and the soil and animals. I started noticing the differences in the bird songs of each species and their various moods.

“At the start of my residency, I visited Green Toad Bookstore in Oneonta where I was drawn to the 33 1/3 book on Another Green World by Geeta Dayal. She’s a great writer and laid Eno’s processes and philosophies out in an incredibly tangible way. I savored that book and bought AGW on iTunes and would listen on repeat while I ate my suppers. I had intended to use my time at the farm to finish recording a pop record, but I soon started sliding out of the typical song structure mentality and sliding into a playing/listening mentality. And I mean “play” in the childish sense. I brought my Oblique Strategies cards that I got for my birthday and I started just going to the recording studio I’d set up in the farmhouse’s living room and doing wild experiments.

“I’d brought along a few of my analog synthesizers (a Minimoog Model D, a Sequential Prophet-6, a Yamaha CP-20) plus some delay, reverb and loop effects. I started to think about just how meditative, playful and creative I could be within small parameters. I composed “Somebody Moves, Nobody Talks” like that, with the idea of how to make my own version of Eno’s studio with tape going around the room, looped on pencils.

“It was incredible to see the shift in my mentality over the time at the farm. To go from gripping and holding to just playing; allowing myself the freedom to create without guilt or responsibility, to see the shifts in my abilities as a composer and musician. It was absolutely magical and I consider that month an incredibly formative one that I am so lucky to have been able to attend and appreciate.” 

The 2014 debut solo collection by French wind-walker Baptiste Martin aka Les Halles remains a masterpiece of soft light and subdued yearning, woven from grainy panpipe samples, tape hiss, and spectral delay. Recorded late at night in a tiny room in Montpellier, Invisible Cities quivers like a candle by the sea, its fragile illumination flickering against an expanse of sky, silence, and sorrow. The pieces feel both ancient and immediate, glimpsing currents behind the veil, at the threshold of presence and absence. The track titles evoke similarly transient states of echo, memory, and negative mirrors. This is music of solitude and devotion, of empty streets and unremembered dreams, fleetingly captured via the eternal alchemy of FX pedals and a 4-track. (Britt Brown) All tracks recorded by Baptiste Martin, in Montpellier (France), in late 2013. This collection of tracks is named after Italo Calvino’s Invisible Cities.

Pitchfork gave it a good score of 7.4! Anthony Naples and Jenny Harris are well known for their work on The Trilogy Tapes and Proibito, and are also known for their work on the Harris' "The Trilogy Tapes" and "Proibito" labels.
DJ Python is also known for the smash hit "Dulce Compañia," his 17-year debut LP on Slattery's hot label, Incienso.
DJ Python's second album is an immersive sound that blurs the boundaries between ambient and dance music. The second album from DJ Python, who has been known around the world as "deep reggaeton", is an immersive work that blurs the line between ambient and dance music, updating Jamaican dance sounds from dancehall to reggaeton to dembow with a deep ambient perspective. The preceding single "ADMSDP" (B2), which features poet/performer LA Warman on vocals, is a masterpiece. The soundscape is a complete knockout!

The long-awaited repress! The world's first compilation that covers the miracle of Spanish NEW WAVE-ambient-progressive music, the masterpiece of Finis Africae, and the footprints of 17 years!
This is a must-listen work with a number of spiritual, deep, afro and ambient spiritual organic grooves!

Spiritual Afro, NEW WAVE, Ambient Dance Music! A number of miraculous sound sources that include African music, contemporary music, natural sounds from NEW WAVE and field recording, and even jazz and folklore tastes from Spain. It seems that he was influenced by many music genres, but the music is a beautiful combination of ambient and spiritual extracts, and the track with the synthesizer has a new age that is similar to that of IASOS! Great content that would not have been possible without an aesthetic eye for sharp music. 16P booklet included. Commentary posted in Spanish / English / Japanese.

Meditations super strong recommendation board! The jacket artwork is a 2017 piano solo work by French pianist / composer Melaine Dalibert from elsewhere, a new label launched by Yuko Zama, who is also involved in the management of David Sylvian (!) Erstwhile Records and Gravity Wave. Imposing release! This work is inspired by the work of French media artist Vera Molnar from Hungary, and is inspired by the transition of natural phenomena. Dalibert developed an algorithmic procedure for the composition of this piece. A meditative, layered piece of resonant music by Morton Feldman's mode. A delicate touch that makes you feel ephemeral and powerful, it is finished as a pretty and beautiful piano solo masterpiece that blends well with the clear air of this season. This pure sound just sinks ... Taku Unami is in charge of mastering! Limited to 500 sheets. For those who like Gigi Masin and Satsuki Shibano! It is one of the big, big, big, big, big recommended for all music lovers!