Friday, 30 July 2021
OVD049 : Pierre Vervloesem / Dead
Wednesday, 28 July 2021
OVX010 : Masakazu Yamamoto / Vexations Vol.10
Friday, 23 July 2021
OUW015 : Helder Wasterlain / Code mémoire - STIB
Wednesday, 21 July 2021
OVX009 : KaoLi / Vexations Vol.9
Friday, 16 July 2021
OJP058 : Kazunori Okuno / Implicit/Explicit
A new album by electro acoustician Japanese composer Kazunori Okuno (see also OJP015 and OJP046).
From Okuno San own words:
This album is a collection of music that expresses what I want, while valuing phrases and sonorities rather than musical methods and structures.
Digital release on the 16th of July 2021.
Wednesday, 14 July 2021
OVX008 : Dmytro Radzetskyi / Vexations Vol.8
Friday, 9 July 2021
OUC033 : John Americus Witt / Solastalgia
Wednesday, 7 July 2021
OVX007 : Shido Izukawa / Vexations Vol.7
Cover art by A.L.
OVX007 : Shido Izukawa / Vexations Vol.7
What Shido says about his proposal:
"At this point in my life as a musician, this recording has become the one I least want people to hear and the one I most want them to hear.
The original plan was to record all the takes in the studio, but after the second take it became difficult to continue playing and the recording had to be stopped. As a result, subsequent recordings were made in the middle of the night in the mountain forest, and I had to try again after a gap of time. The shakuhachi I practice is Zen music, and my shakuhachi is made of 100% natural materials. Perhaps my naturalness as a performer clashed with this work, and I could no longer perform in a highly artificial studio.
In other words, I wanted to enjoy with everyone the fact that the contrived complication of Western music called Vexations clashed violently with the identity of the shakuhachi, a traditional Japanese instrument, and exposed an aspect of the essence of culture, as one of the real pleasures of music. (I had a lot of trouble with the incompatibility of the music and the instruments, and once I almost gave up halfway through due to unexpected problems, but Mr. Iwata helped me out and I was able to finish the recording.)
I also don't know if Satie intended it to go that far, but if he saw a traditional instrumentalist from a far eastern island country struggling to play this piece 100 years after the piece was written, I'm sure he would at least think, "I've got it". I hope that those who listen to this recording will be able to experience the atmospheric sound of the shakuhachi, as well as the bittersweet cultural conflicts, and It would be a great reward for me and the shakuhachi if the listeners could enjoy it as a well-crafted musical composition by Satie.
1. First of all, I tried to record only the theme 40 times in the studio, but after a few blasts, the instrument started to hate it, and the recording became impossible to continue.
2. Since it became impossible to continue recording in the studio, I tried to record outdoors in the mountains late at night and managed to record the theme 37 times.
3. Although, I felt that I had reached my limit at this point and decided that it would be difficult to record the entire piece 40 times and asked to abandon the recording, I received encouragement and advice from
Mr. Iwata and tried to record additional parts other than the theme, aiming to complete 40 times and record this story by editing.
4. After a gap of about two months, I tried again to record in the studio, and succeeded in recording the missing parts, although the performance was less like the original shakuhachi. (Incidentally, the two months gap was due to the lockdown caused by COVID-19 and unexpected construction work at the university studio.)
5. The first priority is to preserve the original sound of the recording as much as possible, and to assemble it in Protools as specified in the score.
*As for the placement work on the DAW, it should be done only once in a row, so to keep the “one-time experienceness” as a shakuhachi player. I did not make any changes afterwards.
2nd to 38th: outdoor recording
Other parts 2nd studio recording
2nd studio recording: SONY C48, ZOOM H4n
Editing: Protools, Reverb is used for THEME only.
SHIDO Izukawa is a Composer, Shakuhachi (Japanese Bamboo Flute) player, PhD in fine art. He graduated from the Osaka University of Arts in music, then studied composition, ethnomusicology and electro-acoustic music at Osaka University of Arts graduate school. He is a member of the Society of Research in Asiatic Music, Information Processing Society of Japan, and Japanese Society for Electronic Music. He is a Junior Associate Professor at the Osaka University of Arts.
Izukawa plays in the style of "Suizen (It means that he enters the world of Zen by blowing shakuhachi)," which is a way of Zen meditation for Myoan Taizan School shakuhachi, and the
sound of Jinashi Shakuhachi called "Neaji (Taste of Sound)." He has taken professional western music education since he was a child, and he has established his own creative policy just as he sought for the unique spirit within Japanese traditional music. He has worked on sound producing which crosses genres. He has put his effort in the development of electro acoustic music.
Friday, 2 July 2021
ODG141 : Mathieu Babinot / Sea