frozen ship

The attempt to stretch the concept of irama by exploring the liminality between pulse and noise is at the heart of this piece. This idea, coming from Central Javanese gamelan, organizes the temporal density within a piece; starting from irama lancar with one saron panerus beats per balungan notes, to irama rangkep with sixteen saron panerus beats per balungan notes. Hyperkembangan is based on a central question: what would the sound of an extremely high level of irama be, where the balungan notes is imperceivably sparse, while the elaboration is extremely dense? This hypothetical situation leads me to conceptualize a piece based on a progression from pulse, to complex sound (represented by spectral harmonies), to noise—noise here functions as a representation of an overload in the elaborative part. The piece is played with two gendèrs with pair tuning consists of customized 14-notes system that could accommodate spectral harmonies (based on the spectra of note 1 in gendèr struck with hard mallet) and its various manipulations. The "X" in the title—as well as a reference to Boulez's "Polyphonie X"—suggests a kind of cultural defacing, where new content is imposed on the cultural memory of the music, yet still maintains parts of those memories; a form of a musical palimpsest.

Perfomers - Sandikala Ensemble
Gendèr I - Yustiawan Paradigma Umar
Gendèr I - Suseno Setyo Wibowo
Gendèr II, Rebab I - Roni Driyastoto
Gendèr II, Rebab II - Mustika Garis
Percussion - Daniel O'Connor
Gong and electronics - Dion Nataraja

Mixing and Mastering - Luke Taylor
Recording - Adnan

Hyperkembangan X

Shingo Inao "NiMal" PFCD104 2021.11.10 release http://www.progressiveform.com

Shingo Inaoはあわい＝間のアーティストだ。
音楽とアートのあわい。
soundとartのあわい。
ピアノと非ピアノのあわい。
楽音と自然音のあわい。
日本語とドイツ語のあわい。
音と沈黙のあわい。
坂本龍一

01. Opened Segments
02. Fullmoon Willow And Water's Surface
03. Bergson
04. Nacht 2312
05. Movement Of The Particles (Between Living And Non-living)
06. Klavierstück II
07. Piano Curve


◆【NiMal】紹介文

2000年に活動を開始、2009年よりベルリンを拠点に独自のセンサ楽器システム（センサーによる電子楽器 / バーチャル楽器）によって鍵盤楽器を拡張した表現を中心に追求する音楽家/美術家のShingo Inaoによる壮大な初のフルアルバム『NiMal』が完成。

全編に渡り様々な豊かな表情や感情が蠢き、ピアノを中心とした実に繊細かつ上品な楽曲がちりばめられた本作のタイトルについて、Inaoは「NiMal（ニマル）は《20》の日本語読みとドイツ語の《niemals（ニーマルス）》から作られた造語です。これは、niemals（英語でnever）という言葉からes（英語でit）を抜くことで、即興演奏の一回性と抽象性を意図しながらも、日本語とドイツ語の間に浮かぶような響きを求めて名付けました」と語る。1980年生まれのShingo Inaoは2000年にセンサーを使ったインスタレーション制作を開始し、ドイツにおける現在のセンサ楽器演奏活動につなげた後、それまで録りためたものを2020年にまとめた。そこには常に《20》という数字が横たわる。

マーク・ロスコの抽象絵画を思わせるようなM1「Opened Segments」の淡い電子音の明滅と静謐なピアノに始まり、M6「Klavierstück II」では久石譲のジブリ曲を彷彿とさせるテイストも感じられ、近年稀に見る上質かつ美しいアルバムに仕上がっている。


◆プロフィール  Shingo Inao

ベルリンを拠点に活動を行うセンサ楽器奏者/美術家。
国立音楽大学在学中よりセンサを使ったサウンドオブジェやインスタレーションの制作を行い、その後2009年にドイツに渡り、自作のセンサ楽器（センサーによる電子楽器／バーチャル楽器）を用いた演奏活動を始める。
ベルリンのトランスメディアーレおよびクラブトランスメディアーレ（2008年、2010年）、南ドイツ・カールスルーエのZKM（2009年）をはじめ、ウィーンやスイス、イタリア、サンクトペテルブルク、カナリア諸島、キプロス島などで演奏を行う。
近年は、鍵盤楽器（ピアノおよびクラヴィコード）を独自のセンサ楽器システムによって拡張した表現を追求する。その活動の焦点は常に「演奏表現の拡張を通して浮き彫りになる身体（性）」にある。また、同時に美術家としての側面を持ち、2008年にベルリンで開催されたGalerie Birgit Ostermeierでの個展以降、米国、スイス、ドイツ、イタリアなどで展示活動を行っている。
「モノと音の関係性」を中心軸として制作される作品群は、空間における鑑賞者の身体と耳を通した知覚や表象について再考を促す。現代美術のフィールドでは、そのほかにエクスペリメンタルな映像作品への楽曲提供も行い、今までにMing Wong、He Xiangyu、Stefano Kantoなどへ提供している。
2018年には、Masaya Hijikataと共にセンサ楽器および鍵盤楽器 +ドラムによる即興演奏ユニットsehnoを結成し、ポーランド・ワルシャワの実験音楽レーベルKaiser Söze Foundationよりアルバム「VITRA」をリリース。
同国を縦断する形でのリリースツアーでは、各地でその場限りの即興演奏を行うという緊張感あふれるプログラムが好評を得た。
分野をまたぐ稲尾の活動目的は、その分野の間にしか存在しないようなファクターや思考を見つけ、拾い上げることだ。楽曲の中に見出される身体の動きが＜聞こえる＞瞬間は、我々の認識の一端をズラすかもしれないと彼は考える。
そして2021年11月、アトリエでひとり内省的に録りためられた楽曲群をセルフディレクションし、1枚のアルバムとしてまとめた本作「NiMal」をPROGRESSIVE FOrMからリリースする。


発売日　　　： 2021年11月10日(水曜日)
アーティスト： Shingo Inao（シンゴ・イナオ）
タイトル　　： NiMal（ニマル）
発売元　　　： PROGRESSIVE FOrM
販売元　　　： ULTRA-VYBE, INC.
規格番号　  ： PFCD104
価格（CD）　： 税抜本体価格￥2,200
収録曲数　　： 7曲
JAN 　　　　： 4526180581567
https://www.amazon.co.jp/NiMal-SHINGO-INAO/dp/B09GCPYSGH/
https://tower.jp/item/5254348/NiMal

NiMal

amazon

Shingo Inao "Opened Segments" from "NiMal" PFCD104

Surfacing by @mmessell is an EP inspired by notions of transitions, cycles & liminalities. Releases 27.11.2021 on @txtcollective.

A video has also been created for one of the tracks as well as the cover-art by queer visual artist and filmmaker, Ingerlise Øllgaard. Her work can be explored further under the alias amplifiedbones on Vimeo.

Purchase: https://texturcph.bandcamp.com/

Credits:
Artwork & video by Ingerlise Øllgaard
Music, mix & master by Martin Messell

Track list:
I 05:56
II 08:12

Additional links:
https://www.instagram.com/textur_cph/
https://www.instagram.com/messellmusik/
https://www.instagram.com/ingerliseoellgaard/
https://vimeo.com/user67157578

Support the label

Premiere - Messell - II (Textur)

This was originally issued in a pic disc LP boxset in an edition of 250 as part of the Prints of Darkness exhibition at Edinburgh Printmakers. This exhibition is still touring and LPs can be purchased from Edinburgh Printmakers.

"People Like Us illuminates this dark visual ride with ‘This Is Light Music’, an exclusive full-length picture-disc album in a limited edition of only 250. This record is available as part of a lavish limited edition boxed-set publication which houses the record and a pull-out poster in a gatefold sleeve, and includes essays by People Like Us and co-curator Norman Shaw. This publication is on sale throughout the exhibition, together with specially commissioned t-shirts and badges by the participating artists."

People Like Us - This Is Light Music - "Lavender White"

Although living in separate European countries, Akama (electronics) and Duplant (organ, electronics) have forged a strong musical bond on a handful of collaborative releases, often with titles related to nothingness, which, in turn, mirrors the minimal, contemplative drone pieces contained therein. As its own titling suggests, immobilité (“immobility”) extends their musical concerns, and distills them in an extraordinarily rich way. More textural than event-based, these pieces are exquisitely paced to complement their roomy, crackling palette. Starting from two points—Duplant’s minimal score and his own parts—Akama reaches for more synthetic sounds than she has in the past. Duplant has resisted being labeled as a Wandelweiser composer. There is an element here that’s more personal to this duo, even down to the ticking of a clock. immobilité is a purposeful new statement from two artists who enthusiastically acknowledge their musical kinship.

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Ryoko Akama / electronics
Bruno Duplant / organ, electronics

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Fue Akama - Drawing
Layout by E. Lindorff-Ellery
Printed by Fitzgerald Letterpress

NTR026 - Ryoko Akama & Bruno Duplant - Immobilite - 01 "L'immobilite (n'existe Pas)"

On the long-awaited Exaptations, Toronto-based composer Nick Storring presents two highly textural, side-long pieces. On “Field Lines”, originally composed for Yvonne NG Peck Wan‘s dance piece, Magnetic Fields, a certain fragmented, uncertain openness is conveyed: a series of brief, dreamlike clearings are vignetted by pregnant silences or various levels of waking or sleeping states. Storring plays with a variety of tonal instruments that swell and tumble along while being nipped at by expressive percussion. Organic clusters develop within event-based sequences, stretching attention across multiple timbres and rhythms. On “Yield Criteria”, shifting drones move about like independent layers of ice on a lake in the dead of winter, slowing crumbling, sliding, and cracking in perfect harmony. Storring has written for dance and other interdisciplinary settings, and here he brings the delicate resourcefulness of a skilled accompanist, as well as a narrative sense that belatedly, profoundly blossoms.

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Field Lines:

Composed and recorded October 2013 - May 2014 for Yvonne Ng's dance piece, Magnetic Fields, which premiered in May 2014.

Nick Storring / various percussion and found objects, vibraphone, glockenspiel, balafon, chimes, hand bells, toy pianos, thumb pianos, voice/whistling, electric (NS Designs NXT4) and acoustic cellos, electric bass, electric mandola, violin, hammered dulcimer, Hohner Pianet T, Yamaha CP60M, Hohner Clavinet D6, flutes, harpsicle, strumstick, guitalele, steel pan, harmonica, melodica, pitch pipes, hulosi

Special thanks to Yvonne, Marie-Josée Chartier, Mairead Filgate, Luke Garwood, Christopher Willes. Thank you to Germaine Liu for the use of her vibraphone, and John Farah for the use of his Pianet.

Yield Criteria:

Composed and recorded February - June 2014.

Nick Storring / NS Designs NXT4 electric cello, electric bass, electric mandola, thunder tubes, Yamaha CP60M, toy piano, harmonica, duck call, voice, hand bells, glockenspiel

Elements were used in Eva Kolcze's film, All That Is Solid. Thank you to Eva, Spencer Barclay, Jason Doell, Brandon Valdivia, and Bryan Bray.

Processing and manipulation performed on the above sound sources (and the sound of a blank, chemically-treated 16mm film sound-strip) using combinations of the following: transducer speakers on various resonant chambers, instruments and surfaces; talkbox; spring reverb; recordable cassette walkman; various speakers; (contact) microphones.

Special thanks to Nicole Cultraro for her violin and kalimba, her support and inspiration, and patience with my process. Thanks also to Andrew Zukerman.

Gratitude also to all who listened and offered feedback.

Artwork and layout by E. Lindorff-Ellery
Printed by John Fitzgerald at Fitzgerald Letterpress, New Orleans

NTR042 - Nick Storring - Exaptations "Field Lines"

Amy Glass

250507

Blue Mounds

e/piano sound diary 0901

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