ok... this is sick as hell...beautiful layerd dot organs

Late Night Boss Battles

Improvisation[hana]

Cartaforbicesasso

music : Junya Nishimura（jun)
add no11room
song melody & words & photo：no11room

波の音を描く描く
岸辺にはきみのかげ
夜の海は闇より深く
深く

遠くの街の光を眺めていた 
いつまでも 寄せてはかえす　
重なる呼吸の音

この思いを深く沈めることもできず
ありのままを受け入れる
優しさは きみが教えてくれた

遠く音は途絶え
夜は姿変え
きみのいない海

それでも光は生まれ

far add no11room

誰と誰と誰

from 1st Album "Interior" 

iTunes: https://itunes.apple.com/jp/album/interior/id1226878067
Bandcamp: https://fumin-label.bandcamp.com/album/interior

Spell (from 1st Album "Interior")

From Album "Lucky Static" (epcd 110)
November 2nd 2018 on sale

more info : www.7ep.net/item/epcd110/

I Am Robot And Proud / A Dot In Air

02 西の街

http://flau.jp/releases/je-suis/

„Everything starts with the words: I am – je suis!“

Henning Schmiedt and Marie Séférian, French / German singer of Lebanese descent, team up for a carefully woven, yet fresh and spontaneous collaboration.

Meeting in Henning’s studio Klavierraum in the melting pot Berlin they create this charming post chanson album with a slow music attitude.
Consisting of only first take recordings, it masterfully combines piano, toy piano, harmonium, vocals and electronic textures, resulting in a minimalistic and yet rich and fluid union of sound.

Lyrics are flung into the air like glittering confetti, combining eclectic elements from chanson, Indian vocal scats und jazz with the warmth of the piano and the breathing of the harmonium. The result is a stunning and organic musical interplay.

“Je suis” – I am – everything begins here.

On maison Marie plays a music box that quotes a piece of Henning’s earlier work, nach hause from his release Spazieren, as though to answer and to close the thought’s circle: “I am, I’ve come home.”

nous (Henning Schmiedt + Marie Séférian) - Maison

It began with ‘Kwaidan’, a simmering study on the lost art of Japanese ghost story-telling. Then there was‘Komachi’, baptized in the earthly winds and static that define its comforting sonics.

On ‘Kofū’, Meitei masterfully closes his trilogy of lost Japanese moods with an engaging interrogation of artforms and aesthetics as a provocation — or, as fashioned in the album’s subtitle, a “satire of old Japanese aesthetics”. Each entry’s distinct flavour hasearned Meitei acclaim for conjuring a bygone culture through his transportive form of ambient music. ‘Kofū’ arrives as a deconstruction of this approach. His first release with KITCHEN. LABEL, Meitei has quietly defied expectations set by his previous two albums, while continuing to challenge modern notions of Japanese sounds.

Once again, Meitei resumes his focus on a Japan that has long ceased to be. This time, ‘Kofū’ is deliberately playful in bridging a sensibility that connects this imagined past to the present. Fractured piano chords are the first to greet you on ‘Kintsugi’ before they make way for a spectral elegance that parades the haunted mask of Kwaidan on ‘Man'yō’. 

But like an ambient soothsayer schooled in the art of the 808s, Meitei quickly drives ‘Kofū’ with propulsion on ‘Oiran I’, which shares a sibling in Side B track ‘Oiran II’. On both songs, he builds tension served up by flickering hip-hop rhythms — achieved by carefully processing old drum and metal sounds — with a subversive spirit unforeseen in any of his work thus far.

Dissecting vocal recordings to the point of incomprehensibility, Meitei aims for something stirring beyond- words — not unlike J Dilla and his mountain of cut-up soul samples, or The Caretaker with decaying 78s. He abides by a principle attributed to the master Hayao Miyazaki: “Beyond logic speaks of human nature”.

‘Kofū’ allows full immersion into fragments of the past without the trappings of nostalgia. The tracklist is denoted by prominent (and unseen) figures of this history. Tracks ‘Sadayakko’ and ‘Otojirō’ are named after renowned entertainers from the Meiji era, while ‘Nyōbō’ is dedicated to a long-suffering line of working class women within a patriarchal Japanese society. The sounds of ‘Oiran’, sharing the name of the title bestowed upon courtesans, were sparked after learning about the treatment of red light district workers within this era. It paints a grim picture of baidoku (also known as syphilis) and its ravage spread.

These stories cloud the overall mood of ‘Kofū’, but Meitei takes a Mizoguchi-like approach to mould that unimaginable pain with tenderness. ‘Oiran 1’’s hidden subtitle is Hana, and ‘Oiran II’ is Shiokaze. As Meitei explains, “Hana means gorgeous and glorious. Shiokaze is the sea breeze — for her life.” Tracks like ‘Urameshi-ya’ and ‘Gen'ei’ provide a meditative space amidst the turbulence, while ‘Shōnen’ takes a turn for the cinematic. The eight-minute odyssey is engulfed by shadowy voice loops, mixed best for a headphone experience in a solitary setting.

Meitei bids farewell to an expedition first sparked by a passion for a long-forgotten cultural past. ‘Kofū’ is a definitive conclusion with an open invitation to listeners from Japan and beyond — encouraging continued appreciation of this sacred part of history, wholly untethered from the world at large.

‘Kofū’ will be released on LP, CD and across all digital formats via KITCHEN. LABEL. Chihei Hatakeyama mastered this recording in Tokyo, Japan.

Release Date:
CD, Digital - 25 Sep 2020
LP - 30 Oct 2020

Ⓟ & © 2020 KITCHEN. LABEL

Meitei - Sadayakko (Kofū, 2020)

taken from the forthcoming album 'WAKEN' 

Shedding the fog and haze of dream-pop, Cuushe puts clear outlines on her music with new album WAKEN — a collection of vital, dance floor-ready beats and analog soundcsapes woven with her newly freed voice.
Big, bright and beautiful, ‘Hold Half’ cartwheels into a world of vital sound, warm chords, crashing beats and Cuushe’s voice leaping with newfound energy.

Cuushe - Hold Half

Contact:
undercurrent.lamb (at) gmail.com

Spell (from 1st Album "Interior")

Hiroto Kudo

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