Various Artists // Moving Music: Sounds From the Rocking Chair CD

Various Artists // Moving Music: Sounds From the Rocking Chair CD

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A compilation CD released in February 2020 by the Dutch experimental label Moving Furniture Records. Contains 2 songs.Digipak and shrink specifications.

Labels and other worksplease use this form. ///Click here to see more Moving Furniture Records releases available at Tobira.

-----------------------

Edition of 200.

Description by Description by Moving Furniture Records:

"In December 2019 we had a crowdfunding campaign to support us into the year 2020. For this we asked several of our musicians If they could contribute to this campaign. From this the compilation Moving Music: Sounds From The Rocking Chair grew. In total 24 musicians submitted their creativity to make a total of 16 tracks. Aside from some exclusive solo tracks there are also 10 collaborations with unique combinations of musicians. few: TVO & Jos Smolders, Radboud Mens & BJ Nilsen, Matthijs Kouw & Gagi Petrovic, and many more.

And aside from the great music that came from this, also new future collaborations are to be expected. While each musician really has their own background in music the result is surprisingly consistent, while also showing the diversity Moving Furniture Records stands for. compositions by Codesira1 to the minimalist ambient drones by Freiband & Orphax to the inspiring sounds by Phillipp Bückle & Cinema Perdu.

A great way to discover Moving Furniture Records and the wide range of musicians. "

Artist: Various Artists

Label: Label: Moving Furniture Records

Quantity

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A compilation CD released in February 2020 by the Dutch experimental label Moving Furniture Records. Contains 2 songs.Digipak and shrink specifications.

Labels and other worksplease use this form. ///Click here to see more Moving Furniture Records releases available at Tobira.

-----------------------

Edition of 200.

Description by Description by Moving Furniture Records:

Artist: Various Artists

Label: Label: Moving Furniture Records

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Quickview {"id":7529020981498,"title":"Claudio F. Baroni \u0026 Dario Calderone \/\/ Ursae Minoris CD","handle":"claudio-f-baroni-dario-calderone-ursae-minoris-cd","description":"\u003cp\u003eイタリアの音響作家Claudio F. Baroniとダブルベース奏者Dario Calderoneが、2021年11月にオランダMoving Furnitureからリリースした共作アルバムです。\u003c\/p\u003e\n\u003cp\u003eアコースティックドローン3曲を収録。デジパック、シュリンク仕様です。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2493993926\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/mfr\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/mfr\"\u003ehere\u003c\/a\u003e to see more Moving Furniture Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e-----------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 300.\u003c\/p\u003e\n\u003cp\u003eText by \u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eAlbert HC Manders:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eSoLo VII - Ursae Minoris (2016-2021)\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eA constellation is a construct of perspective. Unfathomable fireballs ripping apart and reconstituting atoms, separated by millions of light years in all directions, are flattened into two dimensions by the human eye. From the slightest suggestion of line and form, the mind gathers them together into objects, seeing in them figurative outlines or distinct cultural reference points. Depending on one’s geographic location and culture, these groupings and their associated imagery can vary wildly. Despite being completely outside of human time and dimension, the stars are minimized and abstracted by distance and then reconstituted by social construct. This act of mental agility serves to make some small sense of the darkness around us and to serve as a memory aid so as to keep a grip on our place in the world.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eAs musical beings we might also wonder: What does a constellation sound like? Would we also find some meaning or a sense of place in this sound? How does a change in our observation change our reality?\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWith his Ursae Minoris, Claudio F. Baroni does not strive to give us direct answers to these questions. He begins to employ this process of perspective transformation, aurally converting a two\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cem\u003e dimensional abstraction of stars into points on a grid and then using this ‘data’ to generate the music, which leaves the final step of recontextualizing to the performer and the audience.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe title refers to the constellation Ursa Minor, which was ‘created’ by the Greeks around 600 BCE out of a portion of another constellation. In Latin and in the colloquial names in many European languages it means Lesser or Little Bear. It is commonly referred to as the Little Dipper in North America. Pointing the way to the North Star, this is one of the most important and well known constellations in the Northern Hemisphere.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eUrsae Minoris, meaning ‘of Ursa Minor’, is the title of this work because in this album we encounter this constellation not as a singular instance but as an evolution of multiple perspectives to ruminate upon. As our view of the stars changes with time and place, the three movements of this piece each offer a different aural interpretation.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWhile working on his string quartet Perpetuo Motum, Baroni happened upon the diaries of Ciriaco d’Ancona (1391-1455), an Italian humanist, textile trader, and antiquarian. Within these diaries are maps of constellations that d’Ancona used to navigate at sea. He is sometimes called the ‘father of archaeology’ as he was one of the first Europeans to collect objects from ancient cultures systematically. Driven by his curiosity, he decided to depart from southern Italy across the Mediterranean to Egypt, Greece and throughout the Aegean Sea. D’Ancona relied upon Ursa Minor to locate the North Star in these travels.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe score of Ursae Minoris is based upon a celestial map centered around Ursa Minor. Using a similar process to one he used in writing Perpetuo Motum, the musical material was determined by a direct ‘transcription’ of the points on this map into predefined variables such as pitch and volume, transforming the stars into musical ‘events’. With the pitch material settled, Baroni explored other musical aspects.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eEach movement focuses upon a specific technique of sound production. The first consists of short percussive sounds, especially those produced by tapping the metal end of the bow (called the screw) upon one of the strings. Constantly adjusting the placement of the screw and the length of the string, we are treated to a richly nuanced catalog of these tiny explosions. In the second movement, constant slow glissandi (pitch-sliding along the string) are played up and down on one of the strings as if orbiting around the gravitational pull of its neighboring string, which holds steady to one pitch. The last movement is entirely constructed of one long and shifting bowed tremolo (a shaking of the bow) resembling a trembling comet appearing out of silent space, grazing the ears with a roaring distance and disappearing back into the void.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWhile his single-minded use of instrumental technique can be uncompromising, Baroni leaves room for spontaneity in other aspects. Continuing the journey metaphor, the score consists of variable paths from which the performer can choose whichever routes and sidetracks they fancy in the moment, rendering each performance unique. Also striking is Baroni’s use of electronics as a way to deepen and refract the natural sounds of the instrument. The subtle use of a loop station gives rise to many layers of the already existing acoustic sound world, expanding it without injecting outside influences. This leaves one quite often wondering if there is just one bassist making all that sound or if there is a sky full of them.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eBaroni has spent the last 10 years sounding out the depths of personal instrumental expression with his SoLo compositions. Ursae Minoris is the seventh piece in this ongoing series, each of which focuses on the unique qualities of a different instrument. Central to his process in this series is an extended collaboration with the performer to discover distinctive sounds from the instrument. He is not interested in fresh instrumental techniques for their own sake, simply to sound new or shocking, but because this is the terrain where there are more layers still to be explored. Baroni worked extensively with bassist Dario Calderone over a long period, taking time to form each movement of Ursae Minoris. Calderone’s complete commitment to this kind of music is evident in the intensity and detail of his playing. For example, in order to endure the brutal, endless tremolo of the 3rd movement, Calderone had to reinvent his bowing technique. Throughout the piece he latches onto the essence of the music and gives it a constant drive.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eForget for a moment the title and all of this background information. One doesn’t need to know anything about this composition’s connection to the stars to hear the force of the music or to feel the determined searching of the exposed performer. Baroni studiously avoids making specific aesthetic or cultural references in his music. He creates a closed sound universe with its own scale and physics wherein we can surrender to being propelled through this singular abstraction.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eIn the end we may be left to wonder: Where are the lines between natural phenomena, sound as sound, fragile and situated perception, and conscious interpretation? How much does each of us feel the urge to find some recognizable form and meaning in the sounds of these little points on a graph? Or we may just go along for the journey, leaving our mind’s universe behind.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Claudio F. Baroni \u0026amp; Dario Calderone\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMoving Furniture Records\u003c\/span\u003e\u003c\/p\u003e","published_at":"2022-01-31T16:00:15+09:00","created_at":"2022-01-31T14:27:39+09:00","vendor":"Tobira Records","type":"","tags":["cd","drone","moving furniture records"],"price":158000,"price_min":158000,"price_max":158000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":42379875909882,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Claudio F. Baroni \u0026 Dario Calderone \/\/ Ursae Minoris CD","public_title":null,"options":["Default Title"],"price":158000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/mi1_e4db1315-eceb-4c46-b02e-9e7d1fb51757.jpg?v=1643606860","\/\/tobirarecords.com\/cdn\/shop\/products\/mi2_5582fcec-b8d9-485f-8f3b-9cc2572164fe.jpg?v=1643606861"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/mi1_e4db1315-eceb-4c46-b02e-9e7d1fb51757.jpg?v=1643606860","options":["Title"],"media":[{"alt":null,"id":29084056879354,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/mi1_e4db1315-eceb-4c46-b02e-9e7d1fb51757.jpg?v=1643606860"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/mi1_e4db1315-eceb-4c46-b02e-9e7d1fb51757.jpg?v=1643606860","width":700},{"alt":null,"id":29084056912122,"position":2,"preview_image":{"aspect_ratio":1.402,"height":856,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/mi2_5582fcec-b8d9-485f-8f3b-9cc2572164fe.jpg?v=1643606861"},"aspect_ratio":1.402,"height":856,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/mi2_5582fcec-b8d9-485f-8f3b-9cc2572164fe.jpg?v=1643606861","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eイタリアの音響作家Claudio F. Baroniとダブルベース奏者Dario Calderoneが、2021年11月にオランダMoving Furnitureからリリースした共作アルバムです。\u003c\/p\u003e\n\u003cp\u003eアコースティックドローン3曲を収録。デジパック、シュリンク仕様です。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2493993926\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/mfr\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/mfr\"\u003ehere\u003c\/a\u003e to see more Moving Furniture Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e-----------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 300.\u003c\/p\u003e\n\u003cp\u003eText by \u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eAlbert HC Manders:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eSoLo VII - Ursae Minoris (2016-2021)\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eA constellation is a construct of perspective. Unfathomable fireballs ripping apart and reconstituting atoms, separated by millions of light years in all directions, are flattened into two dimensions by the human eye. From the slightest suggestion of line and form, the mind gathers them together into objects, seeing in them figurative outlines or distinct cultural reference points. Depending on one’s geographic location and culture, these groupings and their associated imagery can vary wildly. Despite being completely outside of human time and dimension, the stars are minimized and abstracted by distance and then reconstituted by social construct. This act of mental agility serves to make some small sense of the darkness around us and to serve as a memory aid so as to keep a grip on our place in the world.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eAs musical beings we might also wonder: What does a constellation sound like? Would we also find some meaning or a sense of place in this sound? How does a change in our observation change our reality?\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWith his Ursae Minoris, Claudio F. Baroni does not strive to give us direct answers to these questions. He begins to employ this process of perspective transformation, aurally converting a two\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cem\u003e dimensional abstraction of stars into points on a grid and then using this ‘data’ to generate the music, which leaves the final step of recontextualizing to the performer and the audience.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe title refers to the constellation Ursa Minor, which was ‘created’ by the Greeks around 600 BCE out of a portion of another constellation. In Latin and in the colloquial names in many European languages it means Lesser or Little Bear. It is commonly referred to as the Little Dipper in North America. Pointing the way to the North Star, this is one of the most important and well known constellations in the Northern Hemisphere.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eUrsae Minoris, meaning ‘of Ursa Minor’, is the title of this work because in this album we encounter this constellation not as a singular instance but as an evolution of multiple perspectives to ruminate upon. As our view of the stars changes with time and place, the three movements of this piece each offer a different aural interpretation.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWhile working on his string quartet Perpetuo Motum, Baroni happened upon the diaries of Ciriaco d’Ancona (1391-1455), an Italian humanist, textile trader, and antiquarian. Within these diaries are maps of constellations that d’Ancona used to navigate at sea. He is sometimes called the ‘father of archaeology’ as he was one of the first Europeans to collect objects from ancient cultures systematically. Driven by his curiosity, he decided to depart from southern Italy across the Mediterranean to Egypt, Greece and throughout the Aegean Sea. D’Ancona relied upon Ursa Minor to locate the North Star in these travels.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe score of Ursae Minoris is based upon a celestial map centered around Ursa Minor. Using a similar process to one he used in writing Perpetuo Motum, the musical material was determined by a direct ‘transcription’ of the points on this map into predefined variables such as pitch and volume, transforming the stars into musical ‘events’. With the pitch material settled, Baroni explored other musical aspects.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eEach movement focuses upon a specific technique of sound production. The first consists of short percussive sounds, especially those produced by tapping the metal end of the bow (called the screw) upon one of the strings. Constantly adjusting the placement of the screw and the length of the string, we are treated to a richly nuanced catalog of these tiny explosions. In the second movement, constant slow glissandi (pitch-sliding along the string) are played up and down on one of the strings as if orbiting around the gravitational pull of its neighboring string, which holds steady to one pitch. The last movement is entirely constructed of one long and shifting bowed tremolo (a shaking of the bow) resembling a trembling comet appearing out of silent space, grazing the ears with a roaring distance and disappearing back into the void.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWhile his single-minded use of instrumental technique can be uncompromising, Baroni leaves room for spontaneity in other aspects. Continuing the journey metaphor, the score consists of variable paths from which the performer can choose whichever routes and sidetracks they fancy in the moment, rendering each performance unique. Also striking is Baroni’s use of electronics as a way to deepen and refract the natural sounds of the instrument. The subtle use of a loop station gives rise to many layers of the already existing acoustic sound world, expanding it without injecting outside influences. This leaves one quite often wondering if there is just one bassist making all that sound or if there is a sky full of them.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eBaroni has spent the last 10 years sounding out the depths of personal instrumental expression with his SoLo compositions. Ursae Minoris is the seventh piece in this ongoing series, each of which focuses on the unique qualities of a different instrument. Central to his process in this series is an extended collaboration with the performer to discover distinctive sounds from the instrument. He is not interested in fresh instrumental techniques for their own sake, simply to sound new or shocking, but because this is the terrain where there are more layers still to be explored. Baroni worked extensively with bassist Dario Calderone over a long period, taking time to form each movement of Ursae Minoris. Calderone’s complete commitment to this kind of music is evident in the intensity and detail of his playing. For example, in order to endure the brutal, endless tremolo of the 3rd movement, Calderone had to reinvent his bowing technique. Throughout the piece he latches onto the essence of the music and gives it a constant drive.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eForget for a moment the title and all of this background information. One doesn’t need to know anything about this composition’s connection to the stars to hear the force of the music or to feel the determined searching of the exposed performer. Baroni studiously avoids making specific aesthetic or cultural references in his music. He creates a closed sound universe with its own scale and physics wherein we can surrender to being propelled through this singular abstraction.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eIn the end we may be left to wonder: Where are the lines between natural phenomena, sound as sound, fragile and situated perception, and conscious interpretation? How much does each of us feel the urge to find some recognizable form and meaning in the sounds of these little points on a graph? Or we may just go along for the journey, leaving our mind’s universe behind.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Claudio F. Baroni \u0026amp; Dario Calderone\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMoving Furniture Records\u003c\/span\u003e\u003c\/p\u003e"}

The latest work released by experimental musician Gagi Petrovic, who is also a teacher of computer music at the Utrecht School of the Arts in the Netherlands, on the Dutch experimental label Moviung Furniture in September 2021.Includes 9 electro-acoustic-collage drone songs.Digipak and shrink specifications.Click here to see more Moving Furniture Records releases available at ...

¥1,850

Philipp Bückle & Martijn Pieck // Field Reports CD

Quickview {"id":7086811545765,"title":"Philipp Bückle \u0026 Martijn Pieck \/\/ Field Reports CD","handle":"philipp-buckle-martijn-pieck-field-reports-cd","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eドイツの実験レーベルTarkovsky Green主宰Philipp Bückleと、Audio. Visuals. Atmosphere.などから発表している作家Martijn Pieckが、2021年9月にオランダの実験レーベルMoving Furnitureから200部限定でリリースした共作CD。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eフィールドレコーディングをコラージュしたサウンドスケープ7曲を収録。デジパック、シュリンク仕様です。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1664462800\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/mfr\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/mfr\"\u003ehere\u003c\/a\u003e to see more Moving Furniture Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e-----------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 200.\u003c\/p\u003e\n\u003cp\u003eText by \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMoving Furniture Records\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003e\u003cspan lang=\"en-GB\"\u003eField Reports is the first collaboration album of Philipp Bückle and Martijn Pieck. After they were chosen to collaborate on an exclusive track for moving music, the Moving Furniture Records fundraiser compilation, they decided to stick together for a while and created an album’s worth of music that was finally finished in mid-2020.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePhilipp Bückle released several records under his Teamforest moniker before dropping it for his own name in the 2010’s. Since then he had numerous albums released by Moving Furniture Records, Awkward Silence And Null\/\/Zone. Martijn Pieck is best known for his work as Cinema Perdu and has released several albums on Moving Furniture Records.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eField Reports is a collage of found sounds, field recordings and heavily treated modular synths. It’s basically a musical rendering of a fictitious urban world that just lingers on the other side of your door. It is a curious soundwalk through an environment that doesn’t exist.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eYou will come across landmarks, briefly meet people, hear the sounds of machines and glide through empty hallways mirroring the muffled sound of the outside world.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eField Reports never declines into a reality that is purely dark. It might be uninviting, broken or decayed yet there are always sparks of light and hope.\u003cbr\u003eIt is almost impossible to hear the album on the outside, wearing headphones, without real life sounds spilling into the music. But that is a fact the both artists were very aware of. It is a fluid and open-minded journey between fact and fiction. The reality is flexible in here.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ca href=\"http:\/\/www.vitalweekly.net\/1298.html\" target=\"_blank\"\u003eVital Weekly\u003c\/a\u003e:\u003cem\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Come to think of it, a lot of the releases on Moving Furniture Records are the result of collaborations. Recently it was Jim O’Rourke and Jos Smolders, here it is Philip Bückle and Martijn Pieck. Both had releases on this label (Pieck under the name of Cinema Perdu) and they were teamed together for a piece for a label promotion compilation, ‘Moving Music – Sounds From The Rocking Chair’ (Vital Weekly 1217) and apparently, that was with mutual satisfaction and so the worked on some more material. I would think I know Pieck’s work better than Bückle’s, who works with a variety of instruments on the one album I heard of his. Pieck is a man of modular electronics and field recordings. It seems that on this collaborative effort, the instrument range is limited to the use of modular electronics for both composers and relying heavily on the use of field recordings. As such we see the title to be the program here; these are field reports of two men going on a fictitious world, combining sounds that may not belong together, both electronic and from the outside, colliding together or simply going alongside together, just because it is possible. The modular synthesizer produces sounds that one can also find outside, the whirring and buzzing of electricity, gas escaping or power lines, and they mix it up with the sound of people talking, taped from an odd angle, further alienating the origin. It is full of sound, but not always full of life; this is a rather empty world, in which just a few elements sound aloud. A sort of science fiction music, life on a different planet in a distant future; that is the sort of feeling I had with this music. I can’t figure out if this planet is clean and beautiful, as some of this has a ‘dirty’ feeling, like some edges around the music proofs. This is an excellent exercise in collaboration and the results are most satisfying; it fits the soundtrack to an arty science fiction film.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Philipp Bückle \u0026amp; Martijn Pieck \u003c\/p\u003e\n\u003cp\u003eLabel : Moving Furniture Records\u003c\/p\u003e","published_at":"2021-10-04T10:25:41+09:00","created_at":"2021-10-04T10:11:32+09:00","vendor":"Tobira Records","type":"","tags":["cd","drone","monooto","moving furniture records"],"price":158000,"price_min":158000,"price_max":158000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":40937707634853,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Philipp Bückle \u0026 Martijn Pieck \/\/ Field Reports CD","public_title":null,"options":["Default Title"],"price":158000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/fi1_45a48960-40fe-4816-9d44-0f9f8d74d47b.jpg?v=1633309894","\/\/tobirarecords.com\/cdn\/shop\/products\/fi2_e67611bb-17e0-4458-80f5-603560c93e4e.jpg?v=1633309894"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/fi1_45a48960-40fe-4816-9d44-0f9f8d74d47b.jpg?v=1633309894","options":["Title"],"media":[{"alt":null,"id":23945111797925,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/fi1_45a48960-40fe-4816-9d44-0f9f8d74d47b.jpg?v=1633309894"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/fi1_45a48960-40fe-4816-9d44-0f9f8d74d47b.jpg?v=1633309894","width":700},{"alt":null,"id":23945111830693,"position":2,"preview_image":{"aspect_ratio":1.402,"height":856,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/fi2_e67611bb-17e0-4458-80f5-603560c93e4e.jpg?v=1633309894"},"aspect_ratio":1.402,"height":856,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/fi2_e67611bb-17e0-4458-80f5-603560c93e4e.jpg?v=1633309894","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eドイツの実験レーベルTarkovsky Green主宰Philipp Bückleと、Audio. Visuals. Atmosphere.などから発表している作家Martijn Pieckが、2021年9月にオランダの実験レーベルMoving Furnitureから200部限定でリリースした共作CD。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eフィールドレコーディングをコラージュしたサウンドスケープ7曲を収録。デジパック、シュリンク仕様です。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1664462800\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/mfr\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/mfr\"\u003ehere\u003c\/a\u003e to see more Moving Furniture Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e-----------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 200.\u003c\/p\u003e\n\u003cp\u003eText by \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMoving Furniture Records\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003e\u003cspan lang=\"en-GB\"\u003eField Reports is the first collaboration album of Philipp Bückle and Martijn Pieck. After they were chosen to collaborate on an exclusive track for moving music, the Moving Furniture Records fundraiser compilation, they decided to stick together for a while and created an album’s worth of music that was finally finished in mid-2020.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePhilipp Bückle released several records under his Teamforest moniker before dropping it for his own name in the 2010’s. Since then he had numerous albums released by Moving Furniture Records, Awkward Silence And Null\/\/Zone. Martijn Pieck is best known for his work as Cinema Perdu and has released several albums on Moving Furniture Records.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eField Reports is a collage of found sounds, field recordings and heavily treated modular synths. It’s basically a musical rendering of a fictitious urban world that just lingers on the other side of your door. It is a curious soundwalk through an environment that doesn’t exist.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eYou will come across landmarks, briefly meet people, hear the sounds of machines and glide through empty hallways mirroring the muffled sound of the outside world.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eField Reports never declines into a reality that is purely dark. It might be uninviting, broken or decayed yet there are always sparks of light and hope.\u003cbr\u003eIt is almost impossible to hear the album on the outside, wearing headphones, without real life sounds spilling into the music. But that is a fact the both artists were very aware of. It is a fluid and open-minded journey between fact and fiction. The reality is flexible in here.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ca href=\"http:\/\/www.vitalweekly.net\/1298.html\" target=\"_blank\"\u003eVital Weekly\u003c\/a\u003e:\u003cem\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Come to think of it, a lot of the releases on Moving Furniture Records are the result of collaborations. Recently it was Jim O’Rourke and Jos Smolders, here it is Philip Bückle and Martijn Pieck. Both had releases on this label (Pieck under the name of Cinema Perdu) and they were teamed together for a piece for a label promotion compilation, ‘Moving Music – Sounds From The Rocking Chair’ (Vital Weekly 1217) and apparently, that was with mutual satisfaction and so the worked on some more material. I would think I know Pieck’s work better than Bückle’s, who works with a variety of instruments on the one album I heard of his. Pieck is a man of modular electronics and field recordings. It seems that on this collaborative effort, the instrument range is limited to the use of modular electronics for both composers and relying heavily on the use of field recordings. As such we see the title to be the program here; these are field reports of two men going on a fictitious world, combining sounds that may not belong together, both electronic and from the outside, colliding together or simply going alongside together, just because it is possible. The modular synthesizer produces sounds that one can also find outside, the whirring and buzzing of electricity, gas escaping or power lines, and they mix it up with the sound of people talking, taped from an odd angle, further alienating the origin. It is full of sound, but not always full of life; this is a rather empty world, in which just a few elements sound aloud. A sort of science fiction music, life on a different planet in a distant future; that is the sort of feeling I had with this music. I can’t figure out if this planet is clean and beautiful, as some of this has a ‘dirty’ feeling, like some edges around the music proofs. This is an excellent exercise in collaboration and the results are most satisfying; it fits the soundtrack to an arty science fiction film.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Philipp Bückle \u0026amp; Martijn Pieck \u003c\/p\u003e\n\u003cp\u003eLabel : Moving Furniture Records\u003c\/p\u003e"}