Giuseppe Ielasi // The Prospect CD

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This is the latest album released by Giuseppe Ielasi, the president of the Italian experimental label Senufo Editions, on the ambient label 2022k in New York, USA in June 6.

Includes two improvisational songs recorded with only an electric guitar and an amplifier.Digipak and shrink specifications.

Labels and other worksClick here for more information. ///Click here to see more 12k releases available at Tobira.

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

12k:

"Giuseppe Ielasi is back following his 2020 release Five Wooden Frames. There he returned to the guitar exploring shifting and modulating loops and the interplay of tuning and drifting to create five stark yet ethereal pieces. in a much more pure form. Each of the two pieces consists of parallel electric guitar lines recorded simply through a tube amplifier free of studio tricks or heavy editing.

Like much music written over the past few years The Prospect is reflective and personal. Created during a time of tragic family loss there is clear melancholy in the stark arrangements where spaces between notes become the sounds of searching. Ielasi's haunting guitar brings us along to a new phase in his life that is as unknown to us as it is to him. "

Artist: Giuseppe Ielasi

Label: 12k

This is the latest album released by Giuseppe Ielasi, the president of the Italian experimental label Senufo Editions, on the ambient label 2022k in New York, USA in June 6.

Includes two improvisational songs recorded with only an electric guitar and an amplifier.Digipak and shrink specifications.

Labels and other worksClick here for more information. ///Click here to see more 12k releases available at Tobira.

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

12k:

Artist: Giuseppe Ielasi

Label: 12k

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Just the right amount of these vignettes find their way in and around the beautifully performed rehearsal, adding to the story of the captured moment.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e[ THE ORIGINAL PRESS RELEASE FROM MOSS, 12K2020)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMoss, is a live recording from a unique collaboration by sound artists\/musicians Molly Berg, Olivia Block, Steve Roden and Stephen Vitiello. This was a midnight concert at the beautiful Trinity Cathedral in San Jose, CA which was part of the 01SJ Biennial. Olivia and Steve had performed solo sets on the previous nights. The final night was meant to be a duo with Molly and Stephen but the opportunity to play with musicians\/friends who we admire so much called out\u003cspan class=\"bcTruncateMore\"\u003e for an invitation to play together. As the set was entirely improvised, the billing really changed in our minds from being a duo with guests to becoming a quartet. The church itself was certainly inspiring, it’s dark wood and clean dry acoustics. There was a very small but dedicated audience. No one slept and the church crew were able to, amazingly, quiet the rowdy revelers on the street for the duration of their set.\u003cbr\u003e\u003cbr\u003eAnyone familiar with any of the four musicians involved in this recording will know the level of craftsmanship and attention to sonic tactility that can be found within. They each exercise such incredible restraint, a feat difficult to pull off in an impromptu improvised session where musicians are often found competing for space, and allow for a sense of place to work its way through the quiet recording. “Moss” breathes like a living being lying down to sleep — a delicate wave of hushed field recordings, tape tracks and subtle electronics provides a bed for which Molly Berg’s clarinet and voice (joined at times by Steve Roden) ebb and sway, allowed center- stage, in movements across the piece’s 24+ minutes. Steve Roden and Stephen Vitiello provide guitar (lap steel and electric, respectively) while Olivia Block manipulates the tapes, field recordings and electronics.\u003cbr\u003e\u003cbr\u003eMoss is a perfect example of how four like-minded friends and musicians can come together at a moment’s notice and create, unrehearsed, a captivating and beautiful sonic landscape. 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This cassette was released by American drone jazz band Moss in March 2021 on the ambient label 3k in New York. Includes two songs recorded at the Trinity Cathedral in San Jose at midnight in September 12. DL code included. Molly Berg: clarinet and voiceOlivia Block: field recordings, tapes and electronics Steve Roden: ...

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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\/12k\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/12k\"\u003ehere\u003c\/a\u003e to see more 12k releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e12k:\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cem\u003eCorey Fuller is one half of the duo Illuha on 12k and Break is his first solo recording for 12k. A crashing wave, the breaking dawn, an impact, the crushing of emotional spirit... the breaking of a storm. These are all relevant ideas behind his choice of a title for this highly emotional abum. Fuller has addressed the universality of human struggle without going into specifics of his own personal waves. The ideas that we as humans all share many of the same difficulties is both a launching point and a message he wishes to share with Break — the catharsis.\u003c\/em\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eWhile Illuha’s music is known for its attention to small sounds and light textures, Break, while equally as fragile, sees Fuller working with much heavier elements. Still highly melodic, the work pulls and churns between harmony and tension, weight and air, the crash of a wave, the pull of the undertoe. The album is focused intensely on melody and harmony, progressions more carefully composed than the serendipitous found sound of his work with Illuha.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe piano is often at the center of these songs, an instrument (his own) that has become much an extension of his own body. His own voice plays an important role as well, sometimes lyrically ethereal and sometimes just a breath signifying the ever-fragile\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e thread of life. Beautifully recorded in his Tokyo studio, the sounds are captured with all of their inherent physical flaws. As Fuller himself states about the piano being “Recorded in a way that you can hear the bones, like an open ribcage, moving contorting…” Everything on Break is there for a reason, not just the sound and soul of the piano but the electronic elements as well, rattling bass tones and dramatic, emotional waves of synthesizer rising and dissolving.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIf a single word can be used to describe Break it is physical. From the instruments and techniques used to produce the album to the concepts of vulnerability of the human body. Break is an emotional riptide where violence and rest struggle to be the last voice.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Corey Fuller\u003c\/p\u003e\n\u003cp\u003eLabel : 12k\u003c\/p\u003e"}

This record was released by Canadian ambient writer Christopher Bissonnette in 2020 on the ambient label 12k in New York, USA.Includes 8 warm ambient songs that combine live instruments and field recording. DL code included.It is a clear board.Click here to see more 12k releases available at Tobira. ---------------------------- 12k :. ..

€25,95

Steve Peters & Steve Roden // Not A Leaf Remains As It Was CD

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Quickview {"id":7616959414522,"title":"Steve Peters \u0026 Steve Roden \/\/ Not A Leaf Remains As It Was CD","handle":"steve-peters-steve-roden-not-a-leaf-remains-as-it-was-cd","description":"\u003cp\u003eアンビエント作家Steve PeterとSteve Rodenの共作アルバムです。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3482411358\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/12k\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/12k\"\u003ehere\u003c\/a\u003e to see more 12k releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e12k:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eIn 1995 Steve Peters and Steve Roden toured as a trio with singer Anna Homler; sometimes they would vocalize behind her, and they liked the way their voices blended together. They then spent about 15 years saying that “someday” they should record a voice-based project together. Aside from the physical distance between them, the problem was always: What would we sing? Neither wanted to write or sing lyrics.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eInspiration came in the form of a book of Japanese jisei – poems allegedly written by monks on their death bed – printed in both English translation and Romanized Japanese. Phonetically pronouncing the Japanese reminded Peters of the technique Roden has used of systematically chopping up the syllables in English texts to transform them into sound poems. Since neither of them speaks Japanese, it seemed like a good place to begin.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe two of them applied for a residency at Jack Straw, a non-profit recording facility in Seattle that gives grants of studio time. They had no exact plans other than they intended to avoid electronic instruments, or directly referencing the poems’ literal meaning, or imitating any Japanese musical idioms or “Zen” stereotypes. Culling some of the poems that made references to sound\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e and noting them on 3x5 cards, Peters and Roden sorted the cards into four groups according to the seasons of the year that the poems represented, divided the cards between them, and taped them to their music stands. They then sang random fragments from the various cards - a word here, a line there, maybe backwards, maybe the English translation. They made no effort to keep the poems intact or retain any of their meaning, instead treating the material simply as phonemes to put in their mouths.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAll of the music was improvised in the studio, built up one track at a time. They worked intuitively, with no structural guidelines beyond using the texts. Three days later they emerged from the studio, not quite sure what they had done. After letting the material rest for several months Peters and Roden determined that Doug Haire, who recorded the sessions at Jack Straw, was the obvious choice to do the mixing. The album was completed in the fall of 2011.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e12k is known to be a label of understatement and restraint, however, Not A Leaf Remains As It Was is arguably the most hushed and delicate record in the label’s catalog. Every sound on the album’s four tracks, be it the artists’ voices, a pump organ or melodica hangs by a thread, played ever so slightly, with utmost care. Noises, created from turtle shells, leaves, and bells shuffle and flutter, as if they are quietly alive, in the background providing a textural backdrop to the sublime tones and ghostly voices.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Steve Peters \u0026amp; Steve Roden\u003c\/p\u003e\n\u003cp\u003eLabel : 12k\u003c\/p\u003e","published_at":"2022-06-04T09:39:13+09:00","created_at":"2022-05-23T13:27:35+09:00","vendor":"Tobira Records","type":"","tags":["12k","ambient","cd"],"price":1095,"price_min":1095,"price_max":1095,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":42785258930426,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Steve Peters \u0026 Steve Roden \/\/ Not A Leaf Remains As It Was CD","public_title":null,"options":["Default Title"],"price":1095,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/no1_0203bb6e-b1d4-4f5c-9bc3-24fea6263d5b.jpg?v=1653280057","\/\/tobirarecords.com\/cdn\/shop\/products\/no2_7b030c5c-7b77-444d-91fc-8fbd8df7f364.jpg?v=1653280056"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/no1_0203bb6e-b1d4-4f5c-9bc3-24fea6263d5b.jpg?v=1653280057","options":["Title"],"media":[{"alt":null,"id":29750241362170,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/no1_0203bb6e-b1d4-4f5c-9bc3-24fea6263d5b.jpg?v=1653280057"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/no1_0203bb6e-b1d4-4f5c-9bc3-24fea6263d5b.jpg?v=1653280057","width":700},{"alt":null,"id":29750241394938,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/no2_7b030c5c-7b77-444d-91fc-8fbd8df7f364.jpg?v=1653280056"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/no2_7b030c5c-7b77-444d-91fc-8fbd8df7f364.jpg?v=1653280056","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアンビエント作家Steve PeterとSteve Rodenの共作アルバムです。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3482411358\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/12k\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/12k\"\u003ehere\u003c\/a\u003e to see more 12k releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e12k:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eIn 1995 Steve Peters and Steve Roden toured as a trio with singer Anna Homler; sometimes they would vocalize behind her, and they liked the way their voices blended together. They then spent about 15 years saying that “someday” they should record a voice-based project together. Aside from the physical distance between them, the problem was always: What would we sing? Neither wanted to write or sing lyrics.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eInspiration came in the form of a book of Japanese jisei – poems allegedly written by monks on their death bed – printed in both English translation and Romanized Japanese. Phonetically pronouncing the Japanese reminded Peters of the technique Roden has used of systematically chopping up the syllables in English texts to transform them into sound poems. Since neither of them speaks Japanese, it seemed like a good place to begin.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe two of them applied for a residency at Jack Straw, a non-profit recording facility in Seattle that gives grants of studio time. They had no exact plans other than they intended to avoid electronic instruments, or directly referencing the poems’ literal meaning, or imitating any Japanese musical idioms or “Zen” stereotypes. Culling some of the poems that made references to sound\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e and noting them on 3x5 cards, Peters and Roden sorted the cards into four groups according to the seasons of the year that the poems represented, divided the cards between them, and taped them to their music stands. They then sang random fragments from the various cards - a word here, a line there, maybe backwards, maybe the English translation. They made no effort to keep the poems intact or retain any of their meaning, instead treating the material simply as phonemes to put in their mouths.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAll of the music was improvised in the studio, built up one track at a time. They worked intuitively, with no structural guidelines beyond using the texts. Three days later they emerged from the studio, not quite sure what they had done. After letting the material rest for several months Peters and Roden determined that Doug Haire, who recorded the sessions at Jack Straw, was the obvious choice to do the mixing. The album was completed in the fall of 2011.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e12k is known to be a label of understatement and restraint, however, Not A Leaf Remains As It Was is arguably the most hushed and delicate record in the label’s catalog. Every sound on the album’s four tracks, be it the artists’ voices, a pump organ or melodica hangs by a thread, played ever so slightly, with utmost care. Noises, created from turtle shells, leaves, and bells shuffle and flutter, as if they are quietly alive, in the background providing a textural backdrop to the sublime tones and ghostly voices.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Steve Peters \u0026amp; Steve Roden\u003c\/p\u003e\n\u003cp\u003eLabel : 12k\u003c\/p\u003e"}