[WL-025] DrumLoop, by Wataru Naruse + nzworkdown (Waveform Laboratory)
https://waveformlaboratory.bandcamp.com/album/wl-025-drumloop
Scream Against The Sky
Scream Against The Sky, by nzworkdown
https://nzworkdown.bandcamp.com/track/scream-against-the-sky
Date / Sense, by mashiroa + nzworkdown
Date / Sense, by mashiroa + nzworkdown
https://mashiroa.bandcamp.com/album/date-sense
mashiroa
https://twitter.com/omispduser
nzworkdown
https://nzworkdown.bandcamp.com
Cover Photo by Ryuji Sakai, a.k.a. hatsumu
https://ryujisakai.net
Koya (時の崖_tokinogake)
Koya, by nzworkdown (時の崖_tokinogake)
https://tokinogake.bandcamp.com/album/koya
I have been thinking about this for the past two years and want to make music like an abandoned hut collapsing and assimilating with nature. This release is the result of one such obsession of mine.
Thank you to artiom_constantinov for mastering, Yu Kawa Shizuka for providing the cover artwork, and the tokinogake staff.
nzworkdown
https://nzworkdown.bandcamp.com
Mastering – artiom_constantinov
https://linktr.ee/artiom_constantinov
Cover artwork – Yu Kawa Shizuka
https://cucuruss.bandcamp.com
Kevin Drumm
Kevin Drumm(ケヴィン・ドラム)の『Relief』に強い感銘を受ける。まるで電子音による激しい乱気流の中に突入したかのような、36分51秒に渡る轟音ドローン。
Fe
Fe, by nzworkdown
https://nzworkdown.bandcamp.com/album/fe
The View From Here
The View From Here, by nzworkdown
https://nzworkdown.bandcamp.com/album/the-view-from-here
It is a collection of ambient pieces scattered throughout my catalog. I am always looking out from this little world.
感受
「音楽を聴く」って、その人の発する音をその人自身がどう感じたのか? を追体験する行為でもあるし、それは聴く側の共通感覚の為せる技でもありますよね。制作といってもまずは何かの音にじっと感じ入るところからスタートするわけですし。この「感受する」という部分こそが全ての根幹な気がします。
森
森の中を歩いているときに聞こえる音のような、ノンリニア(非線形)で、かつ音それぞれが呼吸をするように立ち上がるような、そんな音楽を意識的に作ってみたい。どこか矛盾するようだけど、ずっとそんな音楽を夢見ている。
Dave Skipper ライブ
高円寺Oriental Forceへ。Dave Skipperのライブ。お世辞抜きで最高にクールだった。
旅先の海で拾ってきたという大きな木片や石、木の枝などを机の上にゴロゴロと並べ、モジュラーのスイッチを入れてスタート。今回は3つのパートに分かれており全体で2時間ほどの長さ。
まるでどのような音が鳴るのか確かめるかのようにゴツッ、ゴツッと石に石を投げつけたり、木の枝をポキポキ、バキッと折ったり、ときには鬼気迫る様相でノコギリやナイフをギコギコと激しく動かしながら木片を切断したり、そういったパフォーマンス性の高いライブだった。
私が思ったのは音のマテリアルを用意するパートはかなり静的で、それらのマテリアルをモジュラーで増幅させ執拗なフィードバックによって爆音ノイズを奏でるパートは圧倒的に動的だということ。その対比と抑揚の効いた展開は流石という感じ。
下の写真は石で石を叩くDave。箱に詰めた落ち葉をガサガサと揺さぶったり混ぜたりもしていた。シンプルに物と物との摩擦で音が発されるというプリミティブさにも私は強い感銘を受ける。
—
I went to Oriental Force, a live house in Koenji, Japan, to experience Dave Skipper live. It was cool as hell.
Dave had found large pieces of wood, rocks, and tree branches on his desk, which he had picked up from the ocean on his travels, and he switched on his modular synthesizer to begin the live performance. This time, the show was divided into three parts, and the whole thing lasted about two hours.
Dave threw rocks at rocks as if to see what kind of sound they would make, snapped and snapped branches, and cut pieces of wood with saws and knives, sometimes with a devil-may-care look on his face. It was such a highly performative live show.
I thought that the part where Dave prepares the sound materials was quite static, and the part where he amplifies those materials with modular synthesizers and plays blasting noise with relentless feedback was overwhelmingly dynamic. The contrast between the two and the effective development of intonation is a masterpiece.
In the photo below, Dave is pounding rocks with a stone, and also shaking and mixing fallen leaves packed in a box. I was very impressed by the primitiveness of the sound produced by the simple friction between objects.
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