Taken from "VAMOSU（バモス）" released on 1st September 2023 from Sweet Dreams Press, Tokyo.

作詞・作曲：竹下慶
Written by Kei Takeshita

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演奏：竹下慶（ボーカル、ギター）、カメイナホコ（キーボード、コーラス）、松本一晃（ドラムス）
Performed by Kei Takeshita (Vo., G), Nahoko Kamei (Key., Cho), Kazuaki Matsumoto (Drums)

録音：MOON FACE BOYS
Recorded, Mixed and Mastered by MOON FACE BOYS

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ディスタント・サマー

緩慢なスピードで　止まって見える刻一刻
新しい子午線沿いに　スカイラインが流れれば
ガレージにこもりがち　アウトサイダーズの治外法権
そこのみにて光り　輝けるサバービアン

手を伸ばしたら　届く距離感
お近付けないの　しばしニアミス・イット

陽が長くなって　影がようやく届くかも
引っ越してきてマイ・ファースト・サマー　アロハはじめました
自転車で　周遊できるくらいの小さい街
同じ場所をいつでも　ぐるぐるまわってる

未開の機会に　期待できない
お近づきの　印無印
こんな禍中じゃ　しばし停滞
進展しないの　そんなディスタント・サマー

MOON FACE BOYS - ディスタント・サマー

~ LAAPS 035 ~ [SEQ.05 - LP35]

artist : Masaya Ozaki
album : Mizukara
duration : 43.48 mn
date : April 29th, 2024

edition :
-  vinyl : limited to 250 copies / total clear LP / selective UV varnish / hand numbered 
- cd : limited to 150 copies / pantone / hand numbered + handcrafted, sealed

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pre-order : April 05th, 2024 / official release : April 29th, 2024
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Composed and produced by Masaya Ozaki
In collaboration with: 
Ferdinand Ledoux: concepts (Evening Regions)
Stijn Brinkman: violin and field recordings (Evening regions)
Eyrún Úa: Flute and objects (Opið Rými)
Lindy Lin: voice, poem, and electronics (Siskin) 
Asalaus: guitar, voice and electronics (Frá Vatni)
Guomundur Arnalds: electronics (Skerpla)

Recorded in Reykjavík, Iceland, between 2023 and 2024

Mastered by Taylor Deupree
Artwork by Jenni Toivonen
Design by Sprflxgrfzm
 
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Links :
https://laaps.bandcamp.com/music
https://www.instagram.com/iikki_laaps/
https://www.masayaozaki.com/
https://masayaozaki.bandcamp.com/music

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℗ & © 2 0 2 4 - L A A P S - L A A P S 0 3 5

Mizukara

Masaya Ozaki - Skerpla

~ LAAPS 036 ~ [SEQ.05 - LP36]

artist : Dalton Alexander
album : Almost Home If I'm Still Alive
duration : 40.46 mn
date : June 06th, 2024

edition :
-  vinyl : limited to 150 copies / green transparent LP / selective UV varnish / hand numbered 
- cd : limited to 150 copies / pantone / hand numbered + handcrafted, sealed

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pre-order : Mai 20th, 2024 / official release : June 06th, 2024
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Recorded in forests, fields, backyards, streets, and rooms between 2016 - 2023.

Dalton Alexander - Guitars, Synthesizer, Field Recordings.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                        Anne-Julie Royer - Vocals ("Réuni de Toutes Parts »).

Mastered by Giuseppe Ielasi
Artwork by Margaret Durow
Design by Sprflxgrfzm
 
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Links :
https://laaps.bandcamp.com/music
https://www.instagram.com/iikki_laaps/
https://daltonalexander.bandcamp.com/

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℗ & © 2 0 2 4 - L A A P S - L A A P S 0 3 6

Dalton Alexander - Spring Doesn't Remember Me

~ IIKKI 024 ~

music : Tomotsugu Nakamura
artwork : Simone Kappeler
album : For A Fleeting Moment
duration : 35.10 mn
date : July 01st 2024

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All sounds produced by Tomotsugu Nakamura. 
Recorded between March 2024 and April 2024

Mastered by Taylor Deupree 
Artwork by Simone Kappeler 
Design by Sprflxgrfzm

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edition :
• vinyl: limited to 250 copies / hand numbered  / selective UV varnish / black inner
• cd: limited to 150 CD / hand numbered, hand-made / pantone
• book: limited to 700 copies / hand numbered / embossed / selective UV varnish / hand stamped / 

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pre-order : May 28th, 2024 / official release : July 01st, 2024

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Links :
https://iikki.bandcamp.com/music
https://www.iikki-books.com/
https://www.instagram.com/iikki_laaps/
https://tomotsugu.bandcamp.com/

For A Fleeting Moment

Tomotsugu Nakamura - Reflections

The very first Buchla synthesiser performance by revolutionary composer Suzanne Ciani finally makes its fifty year journey from its switch-on New York art gallery to its long deserved and discerning global phonographic audience.

With this previously unheard vinyl pressing, Finders Keepers Records are proud to present an archival project of ‘art music’ that not only redefines musical history but lays genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we have come to understand it. To describe Italian-American composer Suzanne Ciani’s resurrected Buchla concert records as genuine gamechangers would be a gross understatement. These records represent a musical revolution, an artistic revelation, a scientific benchmark and a trophy in the cabinet of counterculture creativity. This sonic installation album, alongside her recently liberated WBAI / Phill Niblock 1975 sessions (FKR082), are triumphant yardsticks in the synthesiser space race and the untold story of the first woman on the proverbial musical moon. While pondering the early accolades attached to these golden era New York recordings it’s daunting to learn that these records were in fact not even records at all.

What exists on this disc now was a manifesto and a one-time gateway to a new world, which somehow was only partially pushed ajar. Captured here is a genuine live act exploring new territories with a fully performable music instrument. If the unfamiliar, modernistic, melodic pulses, tones and harmonics found on these 1970’s artistic gallery collaborations / live presentations (then soon to be followed by academic grant applications and educational demonstrations) had been placed in a phonographic context alongside the widely marketed work of Morton Subotnick, Walter Carlos or Tomita, then the name Suzanne Ciani and her infectious influence would have already radically changed the shape, sound and gender of our record.

With the light of Buchla and Ciani’s initial flame Finders Keepers continues the journey through the vaults of this increasingly celebrated music legacy, illuminating these ‘non-records’ that evaded the limelight for almost half a century. You can’t write history when you are too busy making it. With fresh ink in the bottomless well, let’s start at the beginning. Again.

Buchla Concert At Galeria Bonino New York April 1974

Buchla Concert At Galeria Bonino New York April 1974 Part One (Excerpt)

Suzanne Ciani Buchla Concert At Galeria Bonino New York April 1974 (Excerpt)

El Feth  6738 (Vinyl 7 inch / 45 RPM)

Ahmed Khelifi خليفي أحمد – El Feth 6738 (Algeria)

Released by sonic pieces on September 30, 2016
sonicpieces.com/sonicpieces024.html

to buy a LP, write an E-mail to info{at}midorihirano.com
(CDs are sold out)

MInor Planet

By The Window

Midori Hirano - Close to Life
From the album “Mirrors in Mirrors”

Release date: 5th March, 2019
Pre-order “Mirrors in Mirrors” here: https://daisart.bandcamp.com
© Daisart / daisart.info

From the liner notes:

If you stand between two mirrors facing each other, you’re faced with a curious and unique visual sensation – endlessly repeating reflections bounce off one another into an infinite, spiralling prism. Any movement from your vantage point derails the point of focus, and transforms the illusion in real-time before your eyes. Light bends, and with it, colours slip in and out of dominance, in an
Escherism of endless space, despite no change to the dimensions you inhabit in that ever so concrete space between two mirrors.

Midori Hirano speaks of “waning lights” and “edges blending into fog” as some of the sensory indicators inspiring Mirrors In Mirrors – her debut on Daisart – and these Impressionistic sentiments are deeply imbued within Hirano’s delicate, restrained compositions. The hallmarks of modern classical, electronica and ambient are adopted as an assemblage to explore nuanced tones and techniques less dictated by those stylistic underpinnings, perhaps somewhere hovering between – but never too far away – keenly aware of form and
function.

An emphasis upon the piano is an immediate point of reference for placing Hirano’s work within a broader context, but important to point out is the subtle and careful use of synthesisers and effects processing throughout the record – sometimes providing a more detailed background terrain, sometimes taking centre stage. Whichever instrument she turns her hands to, Hirano has crafted a record with enough dedicated focus and space to allow the listener to immerse oneself in her devised temporal expanse, an Impressionistic liminal space of Mirrors in Mirrors.


Written, produced, recorded and mixed by Midori Hirano in Berlin, Germany 2017-18. 
Mastered by Sean McCann of Recital Program.



“Mirrors in Mirrors” comes in a first edition of 200 x 12inch 145gm black vinyl (incl. download) with Pantone printed inner and outer
sleeves designed by Jeroen Wille and Rudd Ruttens [ruttens-wille].

Midori Hirano - Close To Life

Out Woods

Alina Kalancea - Salt

This is one of 3 tracks that were made solely by using the analogue synthesizer EMS Synthi 100. For each track, there was a single patch and the material was recorded live in one go. Rhythmical synchronization of the material was done by using the Synthi's sequencer. Simple live manipulations included putting a pin or two in and out and switching on and off the mixer channels. Additional panning of each individual channel was done on a computer. These tracks demonstrate the effect of extremely simplified musical material produced by using the not-so-simple sound tool (for the reference, try figuring out and programming a Synthi 100 sequencer:)). Tracks are named by the number of sequencer steps used in that piece. Recorded live at Electronic Studio - Radio Belgrade.

2019

From the album STEPS: https://svetlanamaras.bandcamp.com/album/steps

Svetlana Maraš©All rights reserved
©SOKOJ

MOON FACE BOYS - ディスタント・サマー

Sweet Dreams Press

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