津田貴司『湿度計』2020年度リイシュー盤。

リリース元：PNdB atelier
定価：￥2,420（税込み）
品番：hoflicd14

ⓒ 2008 Takashi Tsuda All Rights Reserved
originally released by STARNET MUZIK as STARNET MUZIK 014
executive producer : Kohshi Baba
reissued by PNdB atelier
jacket design : Kaname Kawamoto
ⓟ 2020 Takashi Tsuda All Rights Reserved

湿度計 trailer

▼ Spotify
https://open.spotify.com/album/1xb1zCzxCmNEMc6g8gnHU4?si=uSweRkboTRqeyG8gXNUhxQ

▼ Apple Music
https://music.apple.com/jp/album/instruments-2-ep/1692986963

▼ bandcamp
https://miyauchiyuri.bandcamp.com/album/instruments-2

This is the second in the "Instruments" series of experimental works focusing on the sounds of musical instruments. This time, I experimented with gut guitar (classical guitar) sounds and processed them in various ways to see how far I could go in musical expression. This project is a kind of training to increase the number of ideas while enjoying the production.

Instruments 2

Buy & Streaming

Inst. 6 - Guitar

▼ Spotify
https://open.spotify.com/intl-ja/album/3yasH4QnUfC1tbSFePU4tv?si=Z7jwSXi0QVucWfY32yu35A

▼ Apple Music
https://music.apple.com/jp/album/yoti-d-single/1702680132

▼ bandcamp
https://miyauchiyuri.bandcamp.com/track/d

This music is a collaborative project with designer/collage artist Hiromi Sato. I created the music and she created the artwork collage. It was improvised at her atelier “yoti".

余地 | yoti
yoti.jp

Yoti d

余地d

Journey to Tranquil Horizons: The Serene Landscapes of 'A Path to Open Air II

Introducing 'A Path to Open Air II,' the evolution of Tobias Wilden’s 2013 album, 'A Path to Open Air.' This latest offering continues the introspective journey initiated by its predecessor, delving even deeper into Wilden's perception of nature and music. Through meticulously crafted multitrack compositions, Wilden conveys a profound connection to the environment, capturing the yearning for tranquility found in remote locales and the ambiance far removed from urban confines through atmospheric acoustic soundscapes.

Inspired by nature and landscapes, Wilden masterfully weaves together complex ideas and emotions. His pastoral ambient instrumentals gently unfold, employing acoustic/classical elements, from guitar, cello, double-bass, to even the Japanese traditional instrument Sanshin to create impressionistic musical sketches. Wilden seamlessly integrates orchestral and electronic elements to enrich his melodic storytelling. Wilden's style effortlessly oscillates between melodic allure and dissonant intrigue, challenging categorization. His intricate technicality is balanced by a delicate demeanor, engaging listeners with contemplation and depth.

From tracks like “Beneath the Stones” to “Encounters,” Wilden probes deep into hazy nostalgia with each subsequent piece. Through evocative playing, he paints aural landscapes existing between seasons and shifting moods, from the elegiac tones of “Spring Nomad” to the melancholia of “Tidelands.” Wilden's craftsmanship emerges prominently in every composition as he pushes the boundaries of acoustic guitar music, experimenting with layers of guitar to achieve a full sound without relying on alternate tunings—a notable departure from the album’s predecessor.

As the album unfolds, "A Path to Open Air II" emerges not merely as a collection of songs. Through Wilden’s use of tone and texture, he invites listeners to explore the quiet, resonating moods that lie beneath the surface of sound.

"A Path to Open Air II" will be available on LP, CD, and digital formats, set to release on May 31, 2024, via KITCHEN. LABEL. Gen Tanabe mastered this record at Studio Camel House in Japan.

Tobias Wilden - On The Surface (A Path to Open Air II)

More information http://www.kitchen-label.com/catalogue/ki005

ironomi - 時色 (sketch, 2010)

In the final month of 2024, Meitei arrived in Beppu, a city long steeped in vapor, myth, and mineral memory, invited to create Onsen (hot spring) music commemorating the city’s 100th anniversary through sound. Known for his Lost Japan (Shitsu-nihon) works, which weave together vanished eras with the ambient residue of the past, Meitei took residence in the warehouse of Yamada Bessou, a century-old inn perched near the bay.

Over two weeks, Meitei listened to steam, stone, and history. The resulting work, Sen’nyū, traces the spirit of onsen culture. Like water seeking its path, the music unfolded with natural inevitability, shaped by Meitei’s synesthetic sensibility and deep reverence for place. Equipped with a microphone, he ventured into Beppu’s famed sites: Takegawara Onsen, Bouzu Jigoku, Hebin-yu, and the private baths of Yamada Bessou — capturing bubbling earth, hissing vents, wind over bamboo, and the voices of regular visitors. These field recordings became the bones of the composition, an attempt to sonify even the rising mist and subtle temperature shifts felt on the skin.

Sen’nyū unfolds as a single, continuous piece. Meitei’s score moves like fog through sulfur and stone, traversing the veiled madness of Bouzu Jigoku, the spectral hum of Yamada Bessou’s inner bath, and the voices and atmosphere of Takegawara Onsen. At its heart is a gesture of quiet reverence — for water’s patience, for the land’s memory, and for the hands that have bathed here across generations.

Meitei has always expressed his own views on things and events that are self-evident to the Japanese people but are now perceived as subtle impressions. On this occasion, however, he does not create music based on his own unique themes of Japan. Instead, he launches music into the world that has been created in actual places of Japan, music that can be felt with the hands.

During the project, Meitei also conceived a two-day public sound installation at Takegawara Onsen, culminating in a live performance on the final day. Bathers immersed themselves in hot spring water while listening to the piece through speakers embedded inside the bathhouse — a ritual fusion of body, place, and sound.

The album marks Meitei’s first work centered entirely on onsen, and also introduces a new phase of his Lost Japan project under the title “失日本百景” (One Hundred Lost Views of Japan) — a series focused on existing places of longing, still breathing within contemporary Japan. Alongside the album, Meitei will release his first-ever photo book, a visual documentation of this journey. A new layer is added to the world he has built through sound alone until now.

Sen’nyū continues Meitei’s devotion to Japan as subject, while opening new terrain: both ritual and remembrance, an immersion into the mineral soul of Beppu.

The album will be released on 25 July 2025 on 180g LP and CD, with mastering by Stephan Mathieu.


Sen'nyū - Yon-no-yu

Sen'nyū - Ichi-no-yu

The focal point in these elided consecutive excerpts from a continuous dawn recording is the dawn duet and solo singing of the Kangaroo Island subspecies (lashmari) of the Western Whipbird (Psophodes nigrogularis), also known as the White-bellied Whipbird (Psophodes leucogaster).** Background species include: Crescent Honeyeater, Galah, Grey Shrike-thrush, Kangaroo Island subspecies (KI) Crimson Rosella, KI Grey Currawong, KI Superb Fairy-wren, among others. The recording was made near the edge of a waterfall that was completely dry, overlooking a deep valley winding down to the ocean just over a kilometre away.

When listening to this recording (and viewing the accompanying track photograph taken at the location), it is important to embrace in mind that one is listening to an ecosystem soundscape recorded at dawn only five years after untypically catastrophic bushfires (the 'Black Summer' bushfires of 2019-2020) - an untypicality that is scientifically attributable to anthropically-caused climate change. This an ecosystem still in early stages of a struggling recovery (exacerbated by the continuation of the drought that initially catalysed the 'Black Summer' bushfires), and the focal birds that one is listening to were listed, in 2021, according to the IUCN Red List classification, as 'Endangered'. The following is a quotation from the Australian government environmental report that advised this classification:

"The main factor that made the subspecies eligible for listing in the Endangered category was the severe (>50%) reduction in population size in the previous 10 years. This major reduction in population was caused by the largest recorded wildfire on Kangaroo Island that burned for six weeks from late December 2019 to early February 2020. The subspecies’ extent of occurrence is estimated at 5,300 km2 (stable trend), and the area of occupancy is estimated to be 540 km2 (contracted). The population is estimated to have declined to 1,000 mature individuals in the wild due to the Kangaroo Island 2019/2020 bushfires, however this decline is probably not continuing. An analysis by a team from the National Environmental Science Program Threatened Species Recovery Hub shows that a large proportion of the range of Kangaroo Island Western Whipbird was affected by these fires: 51% was burnt in high to very high severity fire, and a further 11% was burnt in low to moderate severity fire. A structured expert elicitation process was used to estimate the proportional population change for this species from pre-fire levels to immediately after the fire and then out to three generations/10 years after the fire, when exposed to fires of varying severity. These results, combined with the spatial analyses of fire overlap, suggest that one year after the fire, the species has experienced an overall decline of 44% from pre-fire levels, but that the decline could be as large as 62% (bound of 80% confidence limits). After 10 years, the estimate for the overall population decline relative to the pre-fire population is predicted to be 33%, but potentially as much as 58% (bound of 80% confidence limit). For comparison, experts also estimated the population change over time in the absence of fire; by 10 years, the overall population of Kangaroo Island Western Whipbird after the fire was estimated to be 30% lower than it would have been, had the 2019/2020 fire not occurred."

Reference: https://www.environment.gov.au/biodiversity/threatened/species/pubs/81024-conservation-advice-14122021.pdf

**A note of thanks to the amazing Marc Anderson for identifying a clip from this bird's song on xeno-canto.

2025.04.08 White-bellied Whipbird. Dawn Songs. Kangaroo Island. Autumn.

2025.09.14 Tawny-crowned Honeyeaters near my Tent at Dawn. Ngarkat. Early Spring.

Log_20251019（demo）

PADDLE series "PDL001"

buy full version.
https://www.bgmlab.com/store

PDL001 (teaser edit)

𝔈𝔵𝔭𝔩𝔬𝔯𝔦𝔫𝔤 ℌ𝔢𝔞𝔯𝔦𝔫𝔤, 𝔱𝔥𝔢 ℌ𝔢𝔞𝔯𝔞𝔟𝔩𝔢, 𝔞𝔫𝔡 𝔱𝔥𝔢 ℌ𝔢𝔞𝔯𝔢𝔯, 𝔞𝔰 𝔞𝔫 𝔈𝔳𝔢𝔫𝔱, 𝔞 𝔐𝔬𝔡𝔢, 𝔞𝔫𝔡 𝔞 𝔇𝔦𝔪𝔢𝔫𝔰𝔦𝔬𝔫 𝔬𝔣 𝔅𝔢𝔦𝔫𝔤.

2025.04.08 White-bellied Whipbird. Dawn Songs. Kangaroo Island. Autumn.

𝕳𝖊𝖆𝖗𝖎𝖓𝖌 𝕭𝖊𝖎𝖓𝖌𝖘

Recent comments

AeroBlueSounds

Related tracks