Label: Hallow Ground
(予約受付中 - 4月中旬入荷予定 : こちらの商品は現在の版元の郵送状況により大幅に遅れる可能性がございます)
自身も音楽家として活動するRemo Seelandが、完全パーソナルな審美眼で良質な音響やエクスペリメンタル、アンビエント作品を次々と送り出すスイスのレーベルHallow Groundからの出版。11本のパイプからなる自作楽器を用い2019年9~12月にかけて録音された4編からなり、巧みなエアポンプ操作より繰り出される持続音およびリズミカルな動きの相互作用による圧巻の音が聞けます。ホワイトヴァイナル仕様。
"FUJI|||||||||||TA has created a work that operates as a beautiful nexus between the material and immaterial qualities of music. It is a lived-in dreamscape of deep, rich tonality. A remarkable debut."
FUJI||||||||||TA, real name FUJITA Yosuke, is a Japanese sound artist. After countless performances in different contexts either solo or along artists such as Yamantaka Eye of Boredoms and the legendary avant-gardist SUZUKI Akio as well as a slew of solo releases, his LP »iki« (»breath«) for the Swiss-based Hallow Ground label is his first in nine years. On these four pieces, Fujita explores the idiosyncratic sound qualities of the pipe organ he has built all by himself in 2009. This - quite literally unique - instrument features only eleven pipes, an air pump called »fuigo« which was modelled after a traditional blacksmith’s one and has no keyboard. Inspired by traditional gagaku, it was designed to evoke rich landscapes rather function as just another musical instrument. While his previous records saw FUJI||||||||||TA explore various modes of abstraction, »iki« is a highly emotive yet meditative album, musically restrained but full of imagination.
»keshiki« immediately sets the mood for this record with a long sustained note that is punctuated by the soft clicking of Fujita’s air pump. Once Fujita carefully starts bringing melodies into play, the interplay of the drone and the discrete rhythmic element gives way to a fuller harmonic whole. »keshiki« is an intimate piece that perfectly displays the artist’s knack for painting a rich sonic picture with only a reduced palette. »nNami« juxtaposes the sounds of two pipes that are out of tune with each other, creating a hypnotic sensation of ebb and flow (»nami« translates to »wave«) that is full of subtle friction. It’s a staggering artistic interpretation of the instrument’s material characteristics. Clocking in at ten minutes, »osoi« (»slow«) is an overall melancholic piece that explores the relationship between different tone colours through minute changes in pace. Finally, »sukima« (»blank space«) is the shortest and the most rhythmic piece of the four. Composed of only staccati, it is a masterful exploration of the harmonic qualities Fujita’s stunning pipe organ has to offer.
Recorded between September and December of 2019, »iki« marks the culmination of FUJI||||||||||TA’s ten-year-long work with the instrument that he had built without any prior knowledge and started to teach himself to play without a manual in sight. It is, in other words, the unique result of a unique musical mind paying his dues to the uniqueness of his own creation; introspective and welcoming at once.