ENGLISH TEXT FOLLOWS

Auf der CD "Sprühweißquellgold verleih mir Flügel" (Eigenverlag, 2022)

Weitere Veröffentlichung der Komposition auf der CD "Lautgedicht" (Musique moléculaire label, August 2024)

https://musiquemoleculaire.bandcamp.com/album/lautgedicht

Programmnotiz
Im Sommer 2015 verbrachte ich zwei Monate (Juli und August) in der NES Artist Residency in Skagaströnd, Island. Jetzt, sechs Jahre später, habe ich ein elektroakustisches Stück komponiert, das ein wenig von Island inspiriert ist. Die Komposition besteht aus bearbeiteten Perkussionsklängen und unbearbeiteten Klängen (nur wenige Sekunden) von der CD „Duo Svanni – RÆTUR“ von Hildur Wågsjö Heimisdóttir und Júlia Traustadóttir Kondrup und der CD „Sounds of Island“ von Hafdis Bjarnadóttir.
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On the CD "Sprühweißquellgold verleih mir Flügel" (Eigenverlag, 2022)

Further publication of the composition on the CD "Lautgedicht" (Musique moléculaire label, August 2024) 

https://musiquemoleculaire.bandcamp.com/album/lautgedicht

Program Note
In summer 2015 I spent two months (July and August) at the NES Artist Residency in Skagastrrönd, Iceland. Now, six years later, I created an electroacoustic composition, which is a little bit inspired by Iceland. The composition consists of edited percussion sounds and unedited sounds (just a few seconds) of the CD „Duo Svanni – RÆTUR“ by Hildur Heimisdottir and Julia Traustadottir and of the CD "Sounds of Iceland" by Hafdis Bjarnadottir.

I finished this work in January 2022

Sprühweißquellgold verleih mir Flügel

Electroacoustic Music 2022

On the CD Sprühweißquellgold verleih mir Flügel, 2022

Adagio

Pour ce deuxième épisode du podcast Electrodoc, nous avons le plaisir de recevoir Hans Tutschku qui présente un carte blanche pour Musiques & Recherches le mercredi 29 mars 2023 au Senghor à Bruxelles.

Toutes les infos: https://www.musiques-recherches.be/fr/agenda/concert-acousmatique/item/5730-2022-11-10-15-42-50

pièces présentes dans le podcast:
Hans Tutschku "Remembering Japan, Immersion"
Francis Dhomont "Frankenstein Symphony, Allegro"
Annette Vande Gorne "FIgures d'espace"
Ingrid Drese "Voix de l'aurore"
Manuel Viallet (alias Scarabj) "Crocs"

Acheter l'album "Remembering Japan" de Hans Tutschku:
https://electrocd.com/fr/album/6390/hans-tutschku/remembering-japan

Pour en savoir plus sur Hans Tutschku: https://tutschku.com/

au micro: Sophie Delafontaine
réalisation: Jean-Baptiste Zellal

Electrodoc #2 - La mémoire avec Hans Tutschku

THROUGH GLASS
by MAX DEVEREAUX & KAZUYA ISHIGAMI

released July 15, 2025

Digital Album  $2 USD  or more
edition of 25 Cassette  $6 USD or more 

1.FRIED GRASSHOPPERS 03:53
2.GALVANIZED STEEL TUB 03:10
3.PARTICULATES 04:33
4.SHED FESTIVAL 05:03
5.RIVER OF RAZORS 02:17
6.CORRUPT WIND-UP 04:48
7.THROUGH GLASS 05:54
8.THE LOWEST CHAMBER 05:29
9.WORKING TO RETURN 06:09

Side A : 1-5
Side B : 6-9


Through Glass is the result of a deeply collaborative and cross-continental experiment between Japanese electroacoustic composer Kazuya Ishigami and American multidisciplinary artist Max Devereaux. Rooted in contrasting yet complementary approaches, the project unfolds as a dialogue between structured sound design and spontaneous sonic exploration.

The process began with Kazuya Ishigami, who created a series of intricate sound materials, merging electroacoustic textures, noise fragments, and ambient field recordings. These materials were then sent to Max Devereaux, who layered, reinterpreted, and expanded upon them through improvisation, using field recordings, found objects, contact microphones, and modular synthesizers. Max's additions reflect his tactile and often textural approach, combining environmental sounds and lo-fi textures with gestures that evoke both intimacy and sweeping activity.

The recordings passed once more into Ishigami's hands, where he carefully deconstructed and reassembled the sound elements into finished compositions. His final edits shaped the album into a cohesive whole, blending raw improvisation with composed electroacoustic precision. He also oversaw the mastering process.

The album’s title was chosen by Devereaux, reflecting a feeling he has carried for much of his life as an artist, especially one working within the avant-garde. To him, creating art often feels like living behind glass: present but removed, able to observe and reflect the world with clarity, yet never fully immersed in it. This invisible barrier separates the artist from society, allowing vision without contact, insight without belonging. The music on the album, with its delicate, translucent textures and fleeting glimpses of human presence, seemed to embody this sensation perfectly, like watching life unfold just beyond reach.


WORKING TO RETURN

Sequenz für Streichquartett. Entstehungsjahr: 2014. 
Armida Quartett - Livemitschnitt

Sequenz für Streichquartett / Sequence for string quartet

SCREE is a multi-channel electroacoustic piece referencing the various forms of weathering that, together with the forces of gravity, lead to the amassing of loose rocks and talus on the side of a mountain or cliff.

Awarded the First Prize for Composition of Autonomous Art of Electroacoustic Music, Musica Nova 2017, Society for Electroacoustic Music of Czech Republic (Prague).

SCREE

She's One Brave Lady

image music - narita airport -

dirty points

Tacks

Adumbration: to suggest, disclose, or outline partially; to foreshadow vaguely; overshadow, obscure.

Adumbrations goes through a series of statements towards a sensibility of ideals and shadows, utilizing female voices reciting a series of tongue twisters that iterate sibilant, fricative, and bilabial sounds. If spoken incorrectly, the sound qualities of these tongue twisters are heard as curse words. Therefore, there needs to be consistency in the process of speaking these tongue twisters explicitly. In the English language curse words can function as multiple parts of speech, and as the saying goes, people who curse more frequently are more honest. 

This piece explores the dichotomous relationship between certain ideals and shadows, i.e. consistencies and inconsistencies, actuality and potentiality, and the explicit and the honest, as it goes through a series of musical adumbrations that “halo” the process of these tongue twisters. Through these adumbrations, the contradictory can be either one or the other of the ideals or shadows turning on itself, and at times the appearance of the clarity and the inaccuracy are in an indefinite flux through these halos.  This occurs as inconsistent phonemes are turned from inaccurate iterations of the tongue twisters into something sounding consistent.  The halos are supplementing the voice within varying simultaneous parameters that include shimmering, radiating around the iterations and vice/versa, and existing as a spatial supplement revolving in different stereo planes around and as a process, and out of the immersive comes our personal perception of the contradiction.  One can think of this adumbrated halo, in this sense, as a place where the dichotomous relationship becomes indistinguishable, and laughter for a flawed system. 

This piece is partially inspired by Ingmar Bergman’s movie Persona.

Thank you so much for the wonderful voice recordings:
Elizabeth Gartman
Caroline Mckinzie
Logan Piker

Adumbrations

KAZUYA ISHIGAMI, is composer, sound designer, sound performer and sound engineer born in 1972, in Osaka/JAPAN. He learned electro-acoustic music composition at INA-GRM in 1997. His pieces were performed at DR(DeutschlandRadio/Germnay) ,WDR(westdeutscher rundfunk/Germany), CCMC(Japan), JSEM(Japan), FUTURA(France), MUSLAB(Mexico), SR(Radio Saarbruecken/Germany), HR(Hessischer Rundfunk/Germany), ISCM(Stuttgart/Germany), Spark(USA), NICOGRAPH(Japan), SILENCE(Italy), VII International FKL-Symposium(Italy),  ICMC(2015_USA/TEXAS)  and so on. He has an independent label “NEUS-318”.

WORKING TO RETURN

KAZUYA ISHIGAMI

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