~ LAAPS 011 ~ [SEQ.02 - LP11]

artists : Stijn Hüwels + Tomoyoshi Date
album : 遠き火、遠き雲 (A Distant Fire, A Distant Cloud)
durations : 34.12 mn
 date : May 27th, 2021

edition :
-  vinyl : limited to 200 copies / grey colored vinyl / hand numbered 
- cd : limited to 200 copies / hand numbered + handcrafted, sealed

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pre-order : May 07th, 2021 / official release : May 27th, 2021
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All music and sounds by Tomoyoshi Date & Stijn Hüwels. 
Recorded 2020/2021 in Japan and Belgium.

Tomoyoshi Date: piano, harmonium, synths, field recordings. 
Stijn Hüwels: guitar, pedals.

Mixed by Tomoyoshi Date.
Mastered by Chihei Hatakeyama.
Artwork by Lynn Pollard
Design by Sprflxgrfzm

Tōki hi, tōki kumo 遠き火、遠き雲’ (A distant fire, a distant cloud) is a poem by Tadahito Ichinoseki.

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Links :
https://laaps-records.com/
https://www.facebook.com/laaps.records
https://stijnhuwels.bandcamp.com/

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℗ & © 2 0 2 1 - L A A P S - L A A P S 0 1 1

Stijn Hüwels + Tomoyoshi Date - 朝空に閃く光の粒子（Particles Of Light Flashing In The Morning Sky)

Isik Kural - film festival

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film festical

Isik Kural - film festival

Picture Music

Evening

https://towheadrecordings.bandcamp.com/album/floor-9

Floor 9

Forest Management - Synonymy

Cicada Lite

Mourning Dove

Aesthetics of Inequality Triangles

Pottery Frog

Diagrams of Thought

Vig Ase

Akari is the third album from Tokyo duo Illuha. Following 2011’s debut Shizuku (12k1067) and 2013’s Interstices (12k2028), Akari takes the next artistic step for the band. While Shizuku was recorded in the US and completed separately by the artists, Interstices captured the duo creating their exceptionally detailed music together live during a Japaneses tour. Akari, in turn, is the first studio album where Illuha recorded and mixed together, throughout the entire process. The beautiful st-robo studio in Tokyo put a collection of amazing equipment at their fingertips, from vintage mics and outboard gear to a vast collection of instruments, both acoustic and electronic. Their writing sessions were numerous and long with details meticulously obsessed over for nearly a year. The result is the most bewildering music Illuha have created to date. An album swimming with the most delicately tactile sounds and instrumentation that draws the listener in with hushed, motionless attention.

While Illuha’s Corey Fuller and Tomoyoshi Date are often drawn to the most sparse notes of Rhodes and Wurlitzer electric pianos, acoustic grand piano and guitar, the breadth of instrumentation is partially what makes Akari so abosrbing. They have succeeded in creating their own universe of sound, so beautifully recorded, where each element not only has its own space but connects and interacts so fluidly with the other sounds. It is as if they are placed perfectly by nature, the compositions are fluid and organic, a far cry from anything calculated or structured. It is this open space that the music exists in which in turn defines the music itself. There is ample room to breathe within this forest of gentle tines, bubbling analogue synthesizers, clicking percussion and quiet field recordings. This is subtlety at its most refined; hushed without being saccharine, distant without being morose.

Akari is the Japanese word for light. Conceputally the duo used this word as a guide, as if they were searching through the dark, trying to keep the light alive, as if one is cradling a candle doing everything in their power to keep it alight in a storm. It is this almost visceral sense of sheltering, of protection, that gives Akari a very human and personal sound whose intensely deep focus is as impressive as it is arresting.

Akari

Structures Based on the Plasticity of Sphere Surface Tension

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Structures Based On The Plasticity Of Sphere Surface Tension

In the wet heat of a Japanese summer, legendary musician Ryuichi Sakamoto was joined on stage by Taylor Deupree and the duo of Corey Fuller and Tomoyoshi Date, known as Illuha. The Yamaguchi Center for Arts and Media hosted the event as part of their 10 year anniversary which also included a captivating installation by Sakamoto called Forest Symphony. The days surrounding the concert brought the artists together for food, talk and exploration. Informal but meaningful moods that prepared them for performing together.

The performance, an improvised set for piano, guitar, pump organ, and synthesizers, ended up affecting the artists in a deep way. The four, having never played all together before, were taken aback by the level of listening and restraint that flowed between them. The audience sat in a breathless silence, the music offering a respite from the thick July air. As the last hushed note faded into blackness the artists knew right away it had been a deep journey.

It is a fortunate event when a moment like this is captured, as this concert was ( recorded in high quality DSD). Perpetual, named for the eternal and ageless quality of the music, is presented in three movements that traverse from soft layers of synthesizer and processed guitar, to open, airy sections of prepared piano and silence, to finally coming to rest in a most hauntingly delicate lullaby of lonely piano, crackling found objects and field recordings and tones suspended like mists.

Perpetual not only surrounds us and stretches through time but collects that expanse into a single memory, a record of a brief moment where time stood still and four musicians merged into one.

Perpetual

Movement, 3

shimmer

Taken from the upcoming album Both Lines Will Be Blue, out July 12th on Smalltown Supersound. Produced by Carmen Villain. Flute performed by Johanna Scheie Orellana. Mastered by Matt Colton.

Pottery Frog

Multi-Surface