Hideki Umezawa
"Music for Installation Works"

https://ho-lm.bandcamp.com/album/music-for-installation-works

01.  Structures of Liquidity
02. Strata 1 - Ancient Chichibu Bay
03. Strata 2 - Sedimentation of the Mind
04. Strata 3 - Modernity
05. Strata 4 - Entropy Made (in)Visible
06. 沈潜  Sinking into Silence

Track.1 - Structures of Liquidity (2021)
"Open Space 2021: New Flatland" at NTT InterCommunication Center, Tokyo
30 Oct - 19 Dec 2021 , Japan

Track.2-5 - Desiring Unspeakable Entropy (2019)
“Desire: A Revision from the 20th Century to the Digital Age” at Irish Museum of Modern Art, Dublin 
21 Sep 2019 - 22 Mar 2020, Ireland

Track. 6 - 沈潜 Sinking into Silence (2018)
“Lively in-between” at Aomori Contemporary Art Centre, Aomori
23 Nov 2019, Japan


Label - hōlm
Edition - CD, 200 copies
Date - 5 Dec 2021
Artwork - Koichi Sato
Design - Tadao Kawamura
Mastering - Makoto Oshiro

Additional Book (ltd.50)
Text - Minoru Hatanaka, Seiha Kurosawa
Translation - Tomoko Hojo

Music for Installation Works

Hideki Umezawa  - Music for Installation Works (excerpt)

Taken from the album 'Toxic Cosmopolitanism' released as LP / Download

Kassel Jaeger 'Exposure Scales — Sunlight' (eMEGO 183)

Collaboration with Japanese sound designer Haruo Okada, titled Genkai 限界, released by LINE.
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“Listening through headphones allows to grasp the sense of this work in all its substance and depth […] as a real sculptural work of sound art.” — Leandro Pisano, Blow Up (IT)

“In its highly tactile passages of susurrant ambient noise [...] and long stretches of near-silence it becomes something admirable for the patient smoothness of its beauty”  — Matthew Sweeney, Foreign Accents (US)

“To a large extent it’s an empty vessel” — Nathan Thomas, Fluid Radio (UK)

“Within this sonic environment it is the small gestures that are truly celebrated. Pure perfection” 
— Beach Sloth (US)

“Fine document in electronic minimalism and musique concrete”  — Philippe Blache, Igloo Magazine (US)

“Genkai is an immersive powerful experience, to those who like the subtle vibes of the complex art of sound environment” — Andrea Prevignano, Rumore (IT)
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Watch the video teaser: https://vimeo.com/169772192
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Haruo Okada: field recordings
Fabio Perletta: digital processing, composition

Genkai (Japanese 限界, meaning limit, boundary) is the second collaboration between Italian sound artist Fabio Perletta and Japanese sound designer for Pioneer, Haruo Okada.

The work was born out of the purpose to limit the elements employed in the process of composing. It comes up in the form of micro compositions created by following strict rules of juxtaposing elements: ‘and/or’, ‘just one’, ‘maximum three’, ‘duration’. An attempt of creating independent systems of electro-acoustic combinations, mixing abstract electronics and concrete recordings through an ever changing auditory field.

All sound recorded by Haruo Okada between 2008 and 2016 in various locations around the world including a cave, a small factory, several airport lobbies, and a recording room. Digitally processed and composed by Fabio Perletta in Berlin between January and February 2016. 

Photo by Fabio Perletta taken at Ryōan-ji Zen temple in Kyoto on April 7, 2015.

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http://www.lineimprint.com/editions/digital/line_080

Genkai 限界

Haruo Okada + Fabio Perletta — Genkai 限界 (LINE_080)

'7456. Live at Human Resources, Los Angeles' summarizes Fabio Perletta’s recent works 'Genkai' (in collaboration with sound designer for Pioneer Haruo Okada) and 'Ichinen', both released by LINE imprint, in 2016 and 2017 respectively. As it blends the two albums’ distinctive approaches, it reveals their contrasts in terms of hi dynamic range and aesthetics of hesitation, silence and instability. This live recording marks the end of a cycle of works initiated with 'Kaikō' (collaboration with Haruo Okada, 901 Editions, 2014), which ruminates on notions of presence, limitation, contemplation, patience and humility. 

Like the photograph on the cover, the music explores distance, proximity and the necessity to be emotionally detached to achieve balance. It is impossible to enjoy a flower if it’s viewed too closely, it will appear blurry. Like the photograph, the music doesn’t change, instead it exists in potentially infinite variations through its exposure to each listener unique memories, experiences, and perceptions. '7456. Live at Human Resources, Los Angeles' thus asks the questions: is there and where is truth? Are artworks really finished? Do artworks which artists create belong to them? Duality, inconsistency, impermanence, and paradoxes are themes Fabio Perletta is questioning and enjoys his inability or need to solve. 

“The notes fade, but they don’t necessarily stop. They echo into infinity, at once trapped inside the deep trenches of the past and in turn shaping things that have yet to arrive. Harmony and silence are one and the same”. — James Catchpole on Ichinen for A Closer Listen. 

'7456. Live at Human Resources, Los Angeles' was recorded live on June 11, 2017, as part of Fabio Perletta’s VOLUME residency. His appearance was made possible with support from DE.MO./MOVIN’UP, II session 2016. MOVIN’UP II session 2016 was promoted by Ministry of Cultural Heritage and Activities and Tourism, General Directorate for Contemporary Art and Architecture and Urban Suburbs, General Directorate for Performing Arts and GAI – Association for the Circuit of the Young Italian Artists.

7456. Live at Human Resources, Los Angeles

Fabio Perletta — 7456. Live At Human Resources, Los Angeles (Excerpt)

Seigo Aoyama : Ac. Piano, Melodica, Fairlight CMI, Synthesizers, E. Guitar, Dictaphone, Sample, Collage


© 2018 Seigo Aoyama

Far North

recorded in 2017 / composed in 2018
François Baschet's sound sculpture - Katsuhara Phone
Originally made for EXPO'70 (1970) - Restored in 2017

Still | Steel (excerpt)

a track made for a broadcast show, featuring my favorite clay cup and a walkman.

Yoake - J27

blossom

After a longer delay than I would have liked, the Sound Propositions podcast is back. I’m very pleased to finally share this conversation with Bruno Stucchi, graphic designer and co-founder of the Die Schachtel label. Stucchi reflects upon the evolution of the label, the suppressed history of Italian experimental music, and the continued importance of big ideas.

Die Schachtel is a partnership between Bruno Stucchi and Fabio Carboni, who met online during the peak of eBay record collecting, before Discogs and social media convinced us that there is nothing new under the sun. (Not that these two will ever stop looking....) They exchanged records and, more importantly, they exchanged ideas, culminating in an ambitious excavation of the lost history of Italian experimentalism. The label debuted in 2003, and has since built a strong reputation for their meticulous editions, unquestionably one of the guiding lights of the current flourishing of experimental music in Milan and Italy more broadly.

Interview recorded in Stucchi’s studio in Milan, May 2019
Produced and mixed in Montreal, October 2020

Read more at www.acloserlisten.com
patreon.com/soundpropositions

TRACKLIST
ARTIST – “TITLE” (ALBUM, LABEL, YEAR)

Luciano Cilio – “Liebsleid Fragment” (Dell'Universo Assente, Die Schachtel, 2004)
Pietro Grossi – “Progetto 2/3”  (Musicautomatica, Die Schachtel, 2003)
FIELD-RECORDING – grandine fuori 
Franca Sacchi – “Quando Mi Hanno Ucciso, Se Così Posso Dire, E Quindi Rinasco” [1972] – (En, Die Schachtel,2004)
Enore Zaffiri – “Tr/e.54.IV” (Musica Reticolare, Die Schachtel, 2004) 
Keith Fullerton Whitman – “Modena” (Playthroughs, Kranky, 2002)
Roland Kayn – “V. Invarianten” (Simultan, Die Schachtel, 2018)
Yes – “Roundabout” (Fragile, Atlantic, 1971)
Fabio Selvafiorita – “Untitled 7” (...A Gift For (°!°)..., Grey Sparkle, 2006)
Marino Zuccheri – Parete (Parete 1967 Per Emilio Vedova, Die Schachtel, 2005) [field recording on the site of the Italian Pavillion by J. Sannicandro]
Nuova Consonanza – “Concreto 1” (Azioni, Die Schachtel, 2006)
A Spirale – “Untitled 1” (Musica Improvvisa – Viande, Die Schachtel/ZEIT, 2010)
Area – Omaggio a Gianni Sassi
Christina Kubisch – “Listen Through The Walls” (On Air, Die Schachtel, 2004)
Gruppo NPS – “Insiemi” (Nuove Proposte Sonore 1965-1972, Die Schachtel, 2011)
Insiememusicadiversa – Untitled (Insieme Musica Diversa, Die Schachtel, 2004) 
Giuseppe Chiari – “La Luce” [1966] (Tempo Reale, 2019)
Valerio Tricoli – “Error” (Miseri Lares, PAN, 2014)
Marino Zuccheri – “Plastico, 1961” (Milan Rai Studio di Fonologia Musicale 1955-83, Die Schachtel, 2018)
Luigi Nono – “Non Consumiamo Marx” (Musica Manifesto N. 1 Di Luigi Nono, Die Schachtel, 2018)
François Bayle – “Espaces Inhabitables, V.” (Tremblement De Terre Très Doux, Ina-GRM, 1979)
Lino Capra Vaccina – “Canti delle Sfere” (Antico Adaggio, Die Schachtel, 2014)
Andrea Belfi – “Cera Persa 1” (Cera Persa, Latency, 2016)
Battiato – “I cancelli della memoria” (Clic, Bla Bla, 1974)
Tony Schwartz – “Wimoweh” (New York 19, Folkways, 1954)
Giuseppe Ielasi – “09” (Aix, 12k, 2009) 
Piero Milesi – “Between the Scale and the Apple” (The Nuclear Observatory of Mr. Nanof, Cuneiform, 1984)
FIELD-RECORDING – hammering somewhere in the building
Franco Evangelista – Die Schachtel (Die Schachtel, Deutsche Grammophon, 1971)
FIELD-RECORDING - Parco musicisti Milano, 2017

SP* Episode 13: OUTSIDE THE BOX - with Die Schachtel [podcast]

Sound/installation artist, curator, professor.
Runs 901 Editions.

Haruo Okada + Fabio Perletta — Genkai 限界 (LINE_080)

Fabio Perletta

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