Label: Experimental Rooms

尺八とコンピュータで呼応する、新潟の親子が交わした「時間と音」の記録を巡る福島家の電子音響ダイアリー。

1990年代に佐渡での村松流尺八との出会いをきっかけに尺八奏者として演奏・即興を始めた福島麗秋。その彼の息子であり、リアルタイムなコンピュータ処理によって奏者との対話的かつ未知なる電子音響の可能性を探求する福島諭。今作は新潟の父と子からなる親子ユニットの記録として綴られた初の＜アルバム＞作品。深い息遣いをみせる身体的な尺八の演奏をコンピュータで分解・加工処理で即時応答し、現在に過去を進行形で重ね、未だ見ぬ新たなる音像を多層的に創出していく。過去と現在、身体と機械、分解と構築、間と動作、作曲と即興。相反するふたつの事象／現象を行き交い、やがてその境界線で根を張り、まるで艶やかで柔らかな花びらが開花するように、電子音響レイヤードは凛と美しく、未来へと眩しい輝きを放っているかのようである。
(版元解説)





An electro-acoustic diary of the Fukushima family that records the "time and sound" exchanged between a parent and child in Niigata, using shakuhachi and a computer to respond.

Reishu Fukushima began performing and improvising as a shakuhachi player after encountering the Muramatsu-style shakuhachi on Sado in the 1990s. His son, Satoshi Fukushima, explores the possibilities of interactive and unknown electronic acoustics with players through real-time computer processing. This work is the first "album" of the unit consisting of a father and son from Niigata. The physical shakuhachi performance, which shows deep breathing, is instantly responded to by being disassembled and processed using a computer, and the past is layered over the present in a progressive manner, creating a new, never-seen-before sonic image in a multi-layered manner. past and present, body and machine, decomposition and construction, betweenness and movement, composition and improvisation. The electro-acoustic layering is dignified and beautiful, moving between two contradictory events/phenomena, and eventually taking root at the border between them, like the blooming of glossy, soft petals. It is as if they are shining brightly into the future.