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Gu-N (群) [LP]

価格: 4,807円(税込)
数量:
Label: An'archives

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激激高内容!!フランスAn'archivesの偉業!!限定385部!!1994年に小堺文雄氏、高橋幾郎氏、金田秀信氏、沢田守秀氏、長久保隆一氏により結成されたジャパニーズ・フリーサウンドクインテット"GU-N"。日本のアンダーグラウンドものを数多く手掛けるAn'archivesより、このグループの1998年までの録音を纏めた未発表音源がLPフォーマットで登場!!当時残した作品はPataphysique Recordsより発表したCD1枚のみである為、まさに貴重と言える大変有難い出版物。容赦のないマッシブな持続音に合わせ、チェロ、ブズーキ、ドラムによる歪な超濃密セッションが繰り広げられる非常に強靭且つクールな演奏記録。これは凄まじい一枚です。お馴染みの美しいシルク刷りジャケット、茶色と白の2種の帯、インサート、ポストカード付きの豪華仕様。

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LP 12” ltd to 385 Silkscreened chipboard jacket with obi (tan & white),
inserts and a postcard

On their latest release, An’archives dives into the past, disinterring a revelatory collection of recordings from Japanese free-sound quintet Gu-N.
Formed in 1994 by Fumio Kosakai (Incapacitants, Hijokaidan, C.C.C.C.) and Hidenobu Kaneda (Yuragi), alongside Ikuro Takahashi (Fushitsusha, Kousokuya, LSD March), Ryuichi Nagakubo (C.C.C.C., Yuragi), and Morihide Sawada (Yura Yura Teikoku, Marble Sheep), Gu-N played regularly at Plan-B in Tokyo, but released little during their relatively short time together. Hazy and hypnotic, their laminar improvisations, four of which appear on this untitled album, are compelling, oneiric visions for the ear.
In his liner notes for the album, Michel Henritzi writes that these Gu-N recordings situate the group within a broader trajectory of free improvisation and collective sound within Japan –Taj Mahal Travellers, East Bionic Symphonia, Marginal Consort, each of whom sprung, in many ways, from the radical vision and creativity of Takehisa Kosugi. But there’s a unique spirit here that aligns Gu-N with these predecessors, while also marking out singular territory.
Kosakai’s background in noise, via his participation in Hijokaidan and Incapacitants, can be heard in the unrelenting oscillations and heavyweight drones that purr throughout each of these four tracks. Both Kosakai and Nagakubo were members of C.C.C.C., perhaps the clearest precursors to Gu-N in their psychedelic density, though Gu-N trade in C.C.C.C.’s volcanic energy fora more tempered, sensuous exploration of tone and time.There’s also a brutish element to Gu-N’s improvisations –see the saturated spectrum, rumbling and phasing throughout the album, and the crushing, almost Amon Düül-esque drum tattoos that Takahashi pounds out on the
second track (recorded in 1998), punctuating the music from deep inside its hallucinatory murk. Elsewhere, as on the third track (one of three recorded in 1994), Kosakai’s cello scrapes out armfuls of buzz-tone as Sawada’s bouzouki trillsout, elastic and vibrant, across spindrift electronics and lung-spun winds.What’s most impressive here, though, is the way each player, formidable musicians in their own right, defers to the might of the communal and the collective. The quintet broke up in 1998, leaving behind scant recorded evidence –just one, self-titled CD, on Pataphysique, released in 1995. This LP is a most welcome addition to the small but blissful body of recorded work made public by this mysterious quintet of spirit channelers.