2012
- 17th March
"capture release repeat" CD-R self release limited to 50 copies. More info here.
500JPY
- 3rd March
"lovest" featured on "SEQUENCE3", a free download compilation on future sequence. More info here.
Free download
2011
- 24th April
"Oldham" featured on "Hope For Japan", a Post-Rock/Ambient music compilation aimed towards fund raising for Japan.
http://hopeforjapanmusic.blogspot.com
http://hopeforjapanmusic.bandcamp.com/album/hope-for-japan
- 25th March
"For As Long As I Need You" featured on "Various Artists - Sounds For The Subconscious" on AreW Recordings (RW-035), 2011 - FREE NET RELEASE
- 15th March
"Bottling Cities" featured on "ATPR Mixtape vol II", a two disc mix CD from alternative music forum, After The Post-Rock. CDs available here.
£4.50/5.00EUR/$7.50/500JPY
2010
- 1st November
"Bottling Cities" on heat death records (DEATH002) - SOLD OUT
Friday, January 6, 2012
Tuesday, July 26, 2011
Kashiwa Daisuke / 88
Review posted on beardrock.com
link
I've just submitted my interview with World's End Girlfriend, so it seems fitting that I continue the theme in reviewing another modernclassicalelectronicawithpost-rockinfluenceblahblah Japanese musician. But the fact that Kashiwa Daisuke's music is also hard to classify is not the only thing that ties the two musicians together. Kashiwa is signed to Katsuhiko Maeda's (WEG) label, Virgin Babylon Records.
I was quite interested to hear this, I have been following Kashiwa Daisuke's releases for some years now and had read reviews of others throwing, nonsensical adjectives here there and everywhere in praise, so it looked like something of interest. And when I heard that it was going to be a piano album (the title is based on the 88 keys of a full size piano), I was even more excited to hear where it would take me. So, upon listening the first reaction to this release was that indeed, it is a solo piano affair. The second is that unfortunately, it's not a very interesting one.
I'm not saying he's not an accomplished pianist, I'm not saying it was badly recorded, I just felt like I could well have been listening to a musician in a hotel bar. The fact that included it the “good ol' classic” from The Sound Of Music, “Favourite Things” merely cemented that image in my mind. By the fourth track, the aptly named “Swan Song”, I was resisting the urge to hit the skip button.
One track that really stood out for me though was “The Night of the Kentaurus Festival”. Clocking in at a just over seven minutes, the track takes you on a journey and for a brief period, you can really feel the emotion in what is being played. Finally, after 23 minutes, a track to get your blood pumping.
The album continues with some sporadic gems. The following track “Albireo” has some promising moments and is really quite a touching composition, “Good-bye” is a sentimental sounding piece with a melody that ticks over quite pleasantly, and the last two minutes of final track “In the Lake” really finish off the album well. Yet overall, despite these redeeming features, there is still something lacking and I got the feeling it was all too little, too late. Although I'm setting myself up against a legion of people who do/will enjoy '88', the fact is this; With so many musicians sitting at the piano, all vying for top dog, you have to pull something better out of the hat than an album that Ryuichi Sakamoto surpassed decades ago.
Writer: endote
link
I've just submitted my interview with World's End Girlfriend, so it seems fitting that I continue the theme in reviewing another modernclassicalelectronicawithpost-rockinfluenceblahblah Japanese musician. But the fact that Kashiwa Daisuke's music is also hard to classify is not the only thing that ties the two musicians together. Kashiwa is signed to Katsuhiko Maeda's (WEG) label, Virgin Babylon Records.
I was quite interested to hear this, I have been following Kashiwa Daisuke's releases for some years now and had read reviews of others throwing, nonsensical adjectives here there and everywhere in praise, so it looked like something of interest. And when I heard that it was going to be a piano album (the title is based on the 88 keys of a full size piano), I was even more excited to hear where it would take me. So, upon listening the first reaction to this release was that indeed, it is a solo piano affair. The second is that unfortunately, it's not a very interesting one.
I'm not saying he's not an accomplished pianist, I'm not saying it was badly recorded, I just felt like I could well have been listening to a musician in a hotel bar. The fact that included it the “good ol' classic” from The Sound Of Music, “Favourite Things” merely cemented that image in my mind. By the fourth track, the aptly named “Swan Song”, I was resisting the urge to hit the skip button.
One track that really stood out for me though was “The Night of the Kentaurus Festival”. Clocking in at a just over seven minutes, the track takes you on a journey and for a brief period, you can really feel the emotion in what is being played. Finally, after 23 minutes, a track to get your blood pumping.
The album continues with some sporadic gems. The following track “Albireo” has some promising moments and is really quite a touching composition, “Good-bye” is a sentimental sounding piece with a melody that ticks over quite pleasantly, and the last two minutes of final track “In the Lake” really finish off the album well. Yet overall, despite these redeeming features, there is still something lacking and I got the feeling it was all too little, too late. Although I'm setting myself up against a legion of people who do/will enjoy '88', the fact is this; With so many musicians sitting at the piano, all vying for top dog, you have to pull something better out of the hat than an album that Ryuichi Sakamoto surpassed decades ago.
Writer: endote
Thursday, July 21, 2011
World's End Girlfriend - Interview
Interview posted on beardrock.com
link
I'm in Tokyo for a month and I'm running late for the one thing I had a set date for. Great...
I'm running around Shibuya (the place with the bloody great big zebra crossing thing) attempting to meet Maeda Katuhiko, aka World's End Girlfriend, in a bar that the locals can't even direct me to. After about 30 minutes of running around the same two streets, I go through a multi-storey car park and arrive. I stumble some words of apologies, get myself a beer and begin...
BR. So, if we could start off with an introduction of what WEG is, directed at someone who has never heard of you or your music before?
It's a question I always have problems answering. Many factors mingle together and when I try to explain about a certain piece of music, it doesn't mean it applies to another, so it becomes confusing. When I write the music I don't really consider the genre, but would agree that when people listen to the music, some would identify it to a genre such as post-rock, electronica or classical because I understand that there are elements of my music that apply to those areas.
BR. As a solo musician, whose music sounds more like that of a a full band when it comes to writing, how to you create your pieces?
When I choose a musician whose instrument I want in the music, I choose a particular musician because I feel that that musician suits that piece and their style can express what I want to create in music, rather than have another player or a sample fill that part. It's more like choosing a tone. I maintain control over everything in that I am aware of how each sound should sound and overall, when writing the piece, I already have in mind how it will sound constructively and how it will be orchestrated.
BR. Are those musician friends and acquaintances, or is it more of a professional affair with session musicians?
Well, it really depends. If I know someone that could create the sound that I am looking for, then I would ask him or her, but otherwise I would go to a studio musician. There are even times that I would go to someone who is not a professional and would still come out with a sound I was looking for.
BR. Being a solo musician who has collaborated with musicians such as Piana and Mono in the past, how does the creative and writing process differ to working alone and did you find that there was more or less freedom and responsibility?
Well, for instance the collaboration with Mono, they are already a band. The have their set-up with guitars, bass, drums and I brought in the other factors such as violin and cello, so my contribution is somewhat limited. However, that limitation is what made it interesting; how much I could add to the music and how much I could change it. So obviously it was a different experience, but very fun.
BR. That's really cool. I can see how that would be a refreshing change. You said you find it hard to classify yourself in a genre, but would you say there are any artists that influence and/or inspire you? Or even outside of the “music world”. Is there something, or someone that inspires you to do what you do?
I think that even the listener could hear that I'm influenced by current artists such as Aphex Twin and Godspeed You! Black Emperor, other than that, the Spanish film director, Víctor Erice and the early works of Truman Capote have both affected the way I look at things and what I want to express through my music, amongst others. I could go on forever...
BR. Speaking now about the Air Doll (空気人形) soundtrack, how did this differ in writing a normal WEG album. I mean, I presume that in writing a soundtrack, there is a “purpose”, in the sense that it was written for something, rather than the wider creative spectrum when writing usually?
Yeah, it's totally different, because like you said, it's purpose is for a film so the music is only a part of what is being expressed. If you listen to the soundtrack, it's a lot more simple. And it should be, because it's lacking the script and the visuals. But as a release it still has to be a complete form of expression in itself.
BR. Is it something you'd like to venture into more? And did you find it opened up your music to a different or broader audience?
If there's a good script, and a good opportunity, it would be something to consider, but I've not really decided one way or the other. Well, I think if someone listened to the soundtrack and liked it and then listened to some of my original work they might feel a little different. (laughs)
BR. You've recently signed to Erased Tapes in Europe. What made you pick them?
One of the reasons is that they have quite different artists to my music on their roster. They tend to have quite clean, mild artists and by joining, I can feel a bit unique and it makes it interesting. Also, Robert is someone I feel I could trust.
BR. And to round up, what do you have planned in the future?
If there’s a good opportunity to tour Europe, I'm very open to it. I think I will just be happy if I can continue to make music, without compromising my sound. I just hope that people are interested in my music.
Writer: endote
link
I'm in Tokyo for a month and I'm running late for the one thing I had a set date for. Great...
I'm running around Shibuya (the place with the bloody great big zebra crossing thing) attempting to meet Maeda Katuhiko, aka World's End Girlfriend, in a bar that the locals can't even direct me to. After about 30 minutes of running around the same two streets, I go through a multi-storey car park and arrive. I stumble some words of apologies, get myself a beer and begin...
BR. So, if we could start off with an introduction of what WEG is, directed at someone who has never heard of you or your music before?
It's a question I always have problems answering. Many factors mingle together and when I try to explain about a certain piece of music, it doesn't mean it applies to another, so it becomes confusing. When I write the music I don't really consider the genre, but would agree that when people listen to the music, some would identify it to a genre such as post-rock, electronica or classical because I understand that there are elements of my music that apply to those areas.
BR. As a solo musician, whose music sounds more like that of a a full band when it comes to writing, how to you create your pieces?
When I choose a musician whose instrument I want in the music, I choose a particular musician because I feel that that musician suits that piece and their style can express what I want to create in music, rather than have another player or a sample fill that part. It's more like choosing a tone. I maintain control over everything in that I am aware of how each sound should sound and overall, when writing the piece, I already have in mind how it will sound constructively and how it will be orchestrated.
BR. Are those musician friends and acquaintances, or is it more of a professional affair with session musicians?
Well, it really depends. If I know someone that could create the sound that I am looking for, then I would ask him or her, but otherwise I would go to a studio musician. There are even times that I would go to someone who is not a professional and would still come out with a sound I was looking for.
BR. Being a solo musician who has collaborated with musicians such as Piana and Mono in the past, how does the creative and writing process differ to working alone and did you find that there was more or less freedom and responsibility?
Well, for instance the collaboration with Mono, they are already a band. The have their set-up with guitars, bass, drums and I brought in the other factors such as violin and cello, so my contribution is somewhat limited. However, that limitation is what made it interesting; how much I could add to the music and how much I could change it. So obviously it was a different experience, but very fun.
BR. That's really cool. I can see how that would be a refreshing change. You said you find it hard to classify yourself in a genre, but would you say there are any artists that influence and/or inspire you? Or even outside of the “music world”. Is there something, or someone that inspires you to do what you do?
I think that even the listener could hear that I'm influenced by current artists such as Aphex Twin and Godspeed You! Black Emperor, other than that, the Spanish film director, Víctor Erice and the early works of Truman Capote have both affected the way I look at things and what I want to express through my music, amongst others. I could go on forever...
BR. Speaking now about the Air Doll (空気人形) soundtrack, how did this differ in writing a normal WEG album. I mean, I presume that in writing a soundtrack, there is a “purpose”, in the sense that it was written for something, rather than the wider creative spectrum when writing usually?
Yeah, it's totally different, because like you said, it's purpose is for a film so the music is only a part of what is being expressed. If you listen to the soundtrack, it's a lot more simple. And it should be, because it's lacking the script and the visuals. But as a release it still has to be a complete form of expression in itself.
BR. Is it something you'd like to venture into more? And did you find it opened up your music to a different or broader audience?
If there's a good script, and a good opportunity, it would be something to consider, but I've not really decided one way or the other. Well, I think if someone listened to the soundtrack and liked it and then listened to some of my original work they might feel a little different. (laughs)
BR. You've recently signed to Erased Tapes in Europe. What made you pick them?
One of the reasons is that they have quite different artists to my music on their roster. They tend to have quite clean, mild artists and by joining, I can feel a bit unique and it makes it interesting. Also, Robert is someone I feel I could trust.
BR. And to round up, what do you have planned in the future?
If there’s a good opportunity to tour Europe, I'm very open to it. I think I will just be happy if I can continue to make music, without compromising my sound. I just hope that people are interested in my music.
Writer: endote
Friday, January 28, 2011
Tim Hecker / Ravedeath, 1972
Review posted on beardrock.com
Previous to receiving the promo, I'd been checking Kranky's site every hour for a pre-order, looking around online for places that I might get to hear a brief sample and swearing at my laptop, basically anything I thought might get me closer to having the damn thing. I am not a music journalist and have no real intention of being one (this is the first review I've ever written), I am a listener. And it was in that frame of mind that I wanted to write this piece.
“Ravedeath, 1972”, the latest release by Canadian musician Tim Hecker, is for many, one of the most anticipated records that will come out this year. I'd already been given a slight idea into the direction this album was going to take at last year's brutal ATP performance, but if anything it merely showed half of the picture.
Hecker has really pulled off something magical here. Opening track “Piano Drop” sets the mood with a surge of overdriven bass gradually giving way to the shards of a looping melody that takes the foreground of the track and focus of the listener. The use of a church organ gives everything a really organic feel and while the original recordings have been manipulated into new forms, nothing strays so far as to forget what lies at the heart. The textures are as much abrasive as they are soothing, the bass notes envelop the listener, whilst the high end keep you on your toes, waiting for the next transition.
And it's the transitions that really make this album for me. The track names are, in the same way as previous offerings “Harmony In Ultraviolet” and “Haunt Me, Haunt Me, Do It Again”, separated into several phases, namely “In The Fog I-III” and “Hatred Of Music I-II” and the movements are so seamless that no sooner have you pressed play, you've reached the end of this 52 minute record, wondering where the time went.
Ben Frost is credited in lending a hand in engineering, as well as performance duties on the album and his presence is really felt on closers “In The Air I-III”. In fact when comparing “Ravedeath, 1972” to another release or artist, Frost might be a good starting point in describing the overall feel of the album, as both seem to have been preoccupied with a vision of using traditional acoustic instrumentation is creating a contemporary sound in recent releases.
I feel a bit cringe-worthy saying this, but for fans of ambient and Hecker's work, this album is faultless. I've listened to it on headphones, a stereo and through the terrible speaker on my laptop and it just seems that every single note was meticulously written in the perfect place. We are only in the second month of 2011 and I already feel like I will be hard pushed to find a better album to come out this year.
Writer: endote
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