Nala Sinephro - Space 1.8 (Full Album) 528hz

GGB-032LP
Maya Ongaku - Approach to Anima

Pillow Song

Rakusui

itgetlonely (prod. mercenarychild)

Artist: Masayoshi Fujita & Jan Jelinek
Album Title: Schaum
Format: 12" LP/CD/DL
Label#: Faitiche13/Faitiche13cd 
Release Date: September 9th 2016

Masayoshi Fujita & Jan Jelinek: Schaum

Faitiche is very pleased to announce the release of a new album by Masayoshi Fujita & Jan Jelinek (faitiche13). Since their debut (Bird, Lake, Objects, faitiche03, 2010) they have played improvised concerts around the world. Japanese vibraphonist Masayoshi Fujita prepares his instrument with various percussion elements as well as metal objects and toys, while Jan Jelinek layers loops made using small-scale electronic devices. Schaum (German for froth, foam) is the duo’s second album.
The river, forcing its way through veins between the outposts of the forest, was a great heart. Placidly as it flowed, gently as its descent beat against its vague banks, it brought and gathered sustenance for the busily mediating humus that swelled sunwards in the strangest cell configurations, trees, plants, animals. The silence all round was uncanny and stuck on the ear. Spasmodic squelches, a gurgling in the muddy hollows of the bank beneath overhanging shagginess, the slurping of ominous cavities, that shot out now and again between the long-spun threads of time, like something detonating, testified to the steady monotony of the process. From the forest itself came a crackling rhythm. There the mighty Pan could still be heard to rumble.
from the novel Tropics by Robert Müller (translated by N. Grindell)

Dear Masayoshi Fujita,
Many thanks for the audio files. Your additional vibraphone recordings go wonderfully with the material we have already. Preparing the vibraphone with more percussion instruments was the right decision. Combined with my tightly woven synthesizer and sample loops, the result is a fragmented sense of space. I have taken the liberty of manipulating certain recordings. One might now say that our joint recordings are both a basis for further processing and new pieces in their own right.
While listening through our improvisations, I noticed a tendency towards atmospheric sounds. I am almost tempted to call them tropical. This has strengthened my resolve to work with dense background textures – among others, I’m using material produced in connection with my radio pieces Kennen Sie Otahiti? (Do you know Otahiti? SWR2, 2012) and Dialoge zur Anthropologie (Dialogs on Anthropology, SWR2, 2013): artificial field recordings, jungle and rain forest settings that do not hide their staged, fictional character. They are synthetic and speculative. As you know, I have long been obsessed with the tropics. This obsession involves a mental image of a specific quality of landscape: deliriously extravagant unstructuredness, hostile to life but also excessively productive. I am fascinated by the idea of installing clear minimalist forms amid such luxuriant tropical growth. Perhaps my image of the city of Brasilia is a good example: the utopia of elegant and ascetic modernism, surrounded by rampant vegetation. Lianas and concrete: that’s exactly how our music should be!
Corresponding to this, I would like to expand our liner notes to include a quotation from Robert Müller’s novel Tropics – an expressionist travelogue published in Germany in 1915. It goes without saying that this work cannot be wholeheartedly embraced: its imperialistic fantasies of omnipotence and its “master race” posturing, characteristic of that time and place, are, of course, intolerable. Please excuse my casually dismissing this, but it is not what I am interested in here. Tropics is fascinating as a nervous jungle phantasm that openly indulges in exoticism at the same time as deconstructing it. In this way, the main character’s adventure becomes a journey into the subjective. It resembles a feverish inner delirium, exposing exoticism as a simulated, utopian perspective. What it boils down to is insubstantial, nothing but foam and froth.
With best regards, Jan Jelinek, Berlin 2016

Masayoshi Fujita & Jan Jelinek: Vague, yet

Despite his status as a key figure in the history of Japanese ambient music, Hiroshi Yoshimura's music remains tragically under-known outside of his home country. Empire of Signs – a new imprint co-helmed by Maxwell August Croy and Spencer Doran – is proud to reissue Yoshimura's debut Music for Nine Postcards for the first time outside Japan in collaboration with Hiroshi's widow Yoko Yoshimura, with more fully licensed reissues of Hiroshi's work to follow in the future.

Working initially as a conceptual artist, the musical side of Yoshimura's artistic practice came to prominence in the post-Fluxus scene of late 1970s Tokyo alongside Akio Suzuki and Takehisa Kosugi, taking many subsequent turns within Japan’s bubble economy afterward. His sound works took on many forms - commissioned fashion runway scores, soundtracking perfume, soundscapes for pre-fab houses, train station sound design - all existing not as side work but as logical extensions of his philosophy of sound. His work strived for serenity as an ideal, and this approach can be felt strongly on Music for Nine Postcards.

Home recorded on a minimal setup of keyboard and Fender Rhodes, Music for Nine Postcards was Yoshimura’s first concrete collection of music, initially a demo recording given to the Hara Museum of Contemporary Art to be played within the building's architecture. This was not mere background music in the prior Japanese “BGM” sense of the word, but “environmental” music, the literal translation of the Japanese term kankyō ongaku [環境音楽] given to Brian Eno’s “ambient” music when it arrived in late 70's Japan. Yoshimura, along with his musical co-traveler Satoshi Ashikawa, searched for a new dialog between sound and space, a new way of listening: sound not as an absolute, but as something that interlocks with a physical environment and shifts the listener’s experience within it. Erik Satie's furniture music, R. Murray Schafer's concept of the soundscape and Eno’s ambience all greatly informed their work,  but the specific form of tranquil stasis presented on releases like Nine Postcards is still difficult to place within a specific tradition, remaining elusive and idiosyncratic despite the economy of it's construction. This record offers the perfect introduction to Hiroshi's unique and beautiful worldview: it's one that can be listened to - and lived in - endlessly.

Music for Nine Post Cards

Hiroshi Yoshimura (吉村弘) - "Dream" from Music for Nine Post Cards (EOS01) OUT 11/17/2017

Originally assembled for BBC 6 Music and aired on Stuart Maconie's FREAK ZONE tribute to the passing of CAN drummer Jaki Liebezeit this EASY CAN LAZY mixtape sequences both CAN rarities and klassik cuts as an EASY introduction to the bands expansive discography. Mixed and compiled by CAN FAN, completist and friend and collaborator to various CAN members, Andy Votel, using all original German Vinyl Pressings. Uploaded here via Finders Keepers in tribute to the tragic loss of another legendary CAN pioneer HOLGER CZUKAY who passed away in early September 2017. R.I.P.

Andy Votel - Easy Can Lazy(BBC6 CAN Tribute Mixtape)

Hiroshi Yoshimura - Green [1986] [Full Album]

Mix of Japanese new-age/ambient/minimalist music, mostly emanating from the corporate infrastructure of the 1980s asset bubble. FM synthesis, prefab "lifestyle" soundscapes and the illusion of nature in a hyper-urban environment.

Tracklist:
Hiroshi Yoshimura - "Water Planet" from Soundscape 1: Surround
Toshifumi Hinata - "Colored Air" from Reality in Love
Midori Takada - "Mr. Henri Rousseau's Dream" from Through the Looking Glass
Yas Kaz - "Jungle Book/Windscape" from Jomon-Sho
Yutaka Hirose - "Nova" from Sound Scape 2: Nova
Shiho Yabuki ‎– "Tomoshibi" from The Body Is A Message Of The Universe 
Inoyama Land ‎– "Mizue" from Danzindan-Pojidon 
Yoshio Ojima ‎– "Sealed" from Une Collection Des Chainons II: Music For Spiral 
Yoichiro Yoshikawa ‎– "Nube" from Cyprus 
Interior ‎– "Park" from Interior 
Yasuaki Shimizu - "Kono Yo Ni Yomeri #2" from Kakashi
Hiroshi Yoshimura ‎– "Water Copy" from Music For Nine Post Cards 
Yoichiro Yoshikawa - "Crater on the Moon" from Miracle Planet
Haruomi Hosono - "(In-store background music for Muji storefront)" from Muji BGM
Kenji Furukawa - "(Untitled Water Recording) from Sound Stream: Mizu

Music Interiors

Mountain Dub

Takashi Kokubo (小久保隆) - Oasis Of The Wind II ～ A Story Of Forest And Water ～ (1993) [Full Album]

I do not own this music. This Entire Album is made by Takashi Kokubo.

Takashi Kokubo (小久保隆) - Oasis Of The Wind II ～ A Story Of Forest And Water ～ (1993) [Full Album]

Guruguru Brain is an independent music label focusing on feel-good sounds across Asia.

Rakusui

Guruguru Brain

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