Yann Leguay // Ground TAPE
Yann Leguay // Ground TAPE
¥ 1,380
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Belgian acoustic artist Yann Leguay, who has released works from Vlek and others, has released it from Tanuki, Belgium.It is out of print.
Artist: Yann Leguay
Label: Tanuki Records
Belgian acoustic artist Yann Leguay, who has released works from Vlek and others, has released it from Tanuki, Belgium.It is out of print.
Artist: Yann Leguay
Label: Tanuki Records
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{"id":6129334681765,"title":"Judith Hamann \/\/ Music for Cello and Humming CD","handle":"judith-hamann-music-for-cello-and-humming-cd","description":"\u003cp\u003eオーストラリアのチェロ奏者Judith Hamannのデビュー作品。題の通り、チェロと対峙した際の直感的感覚をハミングで表現しており、彼女のうっすらとした声がチェロと融合した8曲を収録。DLコード付属。\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2178117103\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/blankformseditions.bandcamp.com\/album\/music-for-cello-and-humming\"\u003eMusic for Cello and Humming by Judith Hamann\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. 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From inner pulse to more macrocosmic quaking, Hamann’s alternative conception of shaking rejects measurement and regularity, order and control, instead alluding to a more responsive and intuitive mode of convulsive sounding.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJudith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ein a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. 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From inner pulse to more macrocosmic quaking, Hamann’s alternative conception of shaking rejects measurement and regularity, order and control, instead alluding to a more responsive and intuitive mode of convulsive sounding.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJudith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ein a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. 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{"id":6129327210661,"title":"Judith Hamann \/\/ Shaking Studies LP","handle":"judith-hamann-shaking-studies-lp","description":"\u003cp\u003eオーストラリアのチェロ奏者Judith Hamannのデビュー作品。題の通り、自身の左手の震えの速度とその結果として生じるチェロとの共振周波数を音楽的に表現した作品。ミクロ=マクロな全4曲を収録。DLコード付属。\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2317036613\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/blankformseditions.bandcamp.com\/album\/shaking-studies\"\u003eShaking Studies by Judith Hamann\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. 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From inner pulse to more macrocosmic quaking, Hamann’s alternative conception of shaking rejects measurement and regularity, order and control, instead alluding to a more responsive and intuitive mode of convulsive sounding.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJudith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ein a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. 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Her LP, \"Shaking Studies,\" is a collection of iterative cello performance that foregrounds shaking as a generative subject. In addition to an arsenal of techniques for registrable shaking, Hamann’s conception of the term emphasizes micro and macro pulsing, including tremors, vibrato, wolf tones, and complex partial activity. Hamann begins with a sphygmological reading of the pulse of her cello, inciting it to shake audibly and visually as a symbiotic basis for determining the rate of her own left hand’s tremor and consequent direction of resonant frequencies. Following a thorough harmonic investigation of her shaking practice in two parts, she directs us to look outwards, combining beating chordal structures with electronics and recordings of real world shaking. From inner pulse to more macrocosmic quaking, Hamann’s alternative conception of shaking rejects measurement and regularity, order and control, instead alluding to a more responsive and intuitive mode of convulsive sounding.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJudith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ein a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. 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The debut work of Australian cellist Judith Hamann.As the title suggests, this is a musical expression of the speed of the tremor of one's left hand and the resulting resonance frequency with the cello.Contains all 4 micro-macro songs. DL code included. Shaking Studies by Judith Hamann For her first album releases as a soloist, ...
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{"id":6129315315877,"title":"Exotic Sin \/\/ Customer's Copy LP","handle":"exotic-sin-customers-copy-lp","description":"\u003cp\u003eDon Cherryの孫Naima Karlssonと日本人ジャズ奏者Kenichi Iwasaによるデュオの初リリース作品。アナログとデジタル、アコースティックとエレクトリック、自然と非自然のコントラストを好む\u003cmeta charset=\"utf-8\"\u003eKarlssonはピアノ、チェレスタ、ベルに加えてシンセサイザーを、Iwasaは時代錯誤な90年代ヤマハのキーボードとギターレットにコントラバス・リコーダー、ドラムス、カリンバ、そしてDon Cherryオリジナル楽器「Donのやかん」(けたたましい高音が出るため)を取り入れています。ジャズと呼ぶにはアヴァン過ぎる3作を収録。DLコード付属。\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2308381917\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/blankformseditions.bandcamp.com\/album\/customers-copy\"\u003eCustomer's Copy by Exotic Sin\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCustomer’s Copy is the debut LP of contorted cosmic jazz and eccentric minimal electronics by Exotic Sin. The duo of Naima Karlsson and Kenichi Iwasa first came together for a performance celebrating the art and music of Karlsson’s grandparents, Moki and Don Cherry, before continuing as an independent unit that still incorporates some of the Cherrys’ instruments as well as their synergetic integration of music with artistic practice.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePreferring the stark contrast of analog\/digital, acoustic\/electric, and natural\/unnatural sounds, Karlsson contributes synthesizers in addition to piano, celesta, and bells, while Iwasa collides anachronistic 90s Yamaha keyboard and guitaret with contrabass recorder, drums, kalimba, and three of Don Cherry’s instruments: one of his trumpets as well as two of his “zen saxophones,” handmade woodwinds appending reed mouthpieces to plastic plumbing parts, also called Don’s kettles after their high-pitched sound. With such timbral juxtapositions, the spirit of Exotic Sin is reminiscent of a number of leftfield jazz-meets-electronics ‘70s duos from Don Cherry’s maverick collaborations with Jon Appleton and Terry Riley to Anthony Braxton’s work with Richard Teitelbaum, İlhan Mimaroğlu and Freddie Hubbard’s Sing Me a Song of Songmy, and Muhal\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eRichard Abrams’ electronic works. On album opener “Dot 2 Dot,” Karlsson’s measured, monastic piano sets an elegiac stage for kettle bends and absurdist electro-percussive filtering courtesy of Iwasa before a flourish of cascading ebonies and ivories together with restorative circular trumpet motifs bring the sidelong piece to a majestic resolution. Named after the character from Ridley Scott’s 1989 film Black Rain, the schizosphere of “Charlie Vincent” interfaces ominous, dystopian synthesizer with permuted organ swells before album closer “Canis Minor” sets gentle sail for a distant bed of lonesome stars.\u003cbr\u003e\u003cbr\u003eA visual artist as well as an archivist and coordinator for the Cherry estate, Karlsson continues to learn and study Don’s compositions and approach to piano with her uncles Eagle-Eye and David, who were taught by Don himself, and his use of short piano compositions as loose scaffoldings for improvisation is prevalent across the record’s three otherworldly unfurlings. Improvisor and multidisciplinary artist Kenichi Iwasa is also known for his legendary Krautrock Karaoke night, his contribution to Beatrice Dillon’s 2020 album Workaround, and collaborations with visual artists and musicians from Linder Sterling to members of Can, Neu!, Faust, Cluster, and Wire. Recorded and mixed, with additional alto flute, woodwinds, and contrabass recorder by Robbie Lee.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Exotic Sin\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e","published_at":"2021-01-27T13:01:04+09:00","created_at":"2021-01-27T13:01:04+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","jazz","lp","monooto","new"],"price":238000,"price_min":238000,"price_max":238000,"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":37786688258213,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Exotic Sin \/\/ Customer's Copy LP","public_title":null,"options":["Default Title"],"price":238000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a0160732745_16.jpg?v=1611720376"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a0160732745_16.jpg?v=1611720376","options":["Title"],"media":[{"alt":null,"id":16259184001189,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a0160732745_16.jpg?v=1611720376"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a0160732745_16.jpg?v=1611720376","width":700}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eDon Cherryの孫Naima Karlssonと日本人ジャズ奏者Kenichi Iwasaによるデュオの初リリース作品。アナログとデジタル、アコースティックとエレクトリック、自然と非自然のコントラストを好む\u003cmeta charset=\"utf-8\"\u003eKarlssonはピアノ、チェレスタ、ベルに加えてシンセサイザーを、Iwasaは時代錯誤な90年代ヤマハのキーボードとギターレットにコントラバス・リコーダー、ドラムス、カリンバ、そしてDon Cherryオリジナル楽器「Donのやかん」(けたたましい高音が出るため)を取り入れています。ジャズと呼ぶにはアヴァン過ぎる3作を収録。DLコード付属。\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2308381917\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/blankformseditions.bandcamp.com\/album\/customers-copy\"\u003eCustomer's Copy by Exotic Sin\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCustomer’s Copy is the debut LP of contorted cosmic jazz and eccentric minimal electronics by Exotic Sin. The duo of Naima Karlsson and Kenichi Iwasa first came together for a performance celebrating the art and music of Karlsson’s grandparents, Moki and Don Cherry, before continuing as an independent unit that still incorporates some of the Cherrys’ instruments as well as their synergetic integration of music with artistic practice.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePreferring the stark contrast of analog\/digital, acoustic\/electric, and natural\/unnatural sounds, Karlsson contributes synthesizers in addition to piano, celesta, and bells, while Iwasa collides anachronistic 90s Yamaha keyboard and guitaret with contrabass recorder, drums, kalimba, and three of Don Cherry’s instruments: one of his trumpets as well as two of his “zen saxophones,” handmade woodwinds appending reed mouthpieces to plastic plumbing parts, also called Don’s kettles after their high-pitched sound. With such timbral juxtapositions, the spirit of Exotic Sin is reminiscent of a number of leftfield jazz-meets-electronics ‘70s duos from Don Cherry’s maverick collaborations with Jon Appleton and Terry Riley to Anthony Braxton’s work with Richard Teitelbaum, İlhan Mimaroğlu and Freddie Hubbard’s Sing Me a Song of Songmy, and Muhal\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eRichard Abrams’ electronic works. On album opener “Dot 2 Dot,” Karlsson’s measured, monastic piano sets an elegiac stage for kettle bends and absurdist electro-percussive filtering courtesy of Iwasa before a flourish of cascading ebonies and ivories together with restorative circular trumpet motifs bring the sidelong piece to a majestic resolution. Named after the character from Ridley Scott’s 1989 film Black Rain, the schizosphere of “Charlie Vincent” interfaces ominous, dystopian synthesizer with permuted organ swells before album closer “Canis Minor” sets gentle sail for a distant bed of lonesome stars.\u003cbr\u003e\u003cbr\u003eA visual artist as well as an archivist and coordinator for the Cherry estate, Karlsson continues to learn and study Don’s compositions and approach to piano with her uncles Eagle-Eye and David, who were taught by Don himself, and his use of short piano compositions as loose scaffoldings for improvisation is prevalent across the record’s three otherworldly unfurlings. Improvisor and multidisciplinary artist Kenichi Iwasa is also known for his legendary Krautrock Karaoke night, his contribution to Beatrice Dillon’s 2020 album Workaround, and collaborations with visual artists and musicians from Linder Sterling to members of Can, Neu!, Faust, Cluster, and Wire. Recorded and mixed, with additional alto flute, woodwinds, and contrabass recorder by Robbie Lee.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Exotic Sin\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e"}
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The first release of the duo by Don Cherry's grandson Naima Karlsson and Japanese jazz player Kenichi Iwasa.Karlsson, who likes analog and digital, acoustic and electric, and natural and non-natural contrasts, has synthesizers in addition to pianos, celestas, and bells, and Iwasa has contrabass recorders, drums, and time-honored 90's Yamaha keyboards and guitarlets. It incorporates the double bass and Don Cherry's original instrument "Don's Yakan" (because it produces a loud treble).Includes 3 works that are too avant to be called jazz. DL code included. Customer's Copy by Exotic Sin Customer's Copy is the debut ...
¥ 2,380