AKAMATSU / INAMI / ISHIGAMI — same
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Hervorragendes Material hier von drei neuen japanischen Experimental-Klangkünstlern: MASAYUKI AKAMATSU klingt wie digitalisierter ROLAND KAYN und bewegt sich zwischen mächtigen Rausch-Drones & organischer Elektro-Akustik & sowas wie harmonischen Noise-Loops, KAZUYA ISHIGAMI (Neus 318 / DARUIN / BILLY?) zeigt ein weites Spektrum von sanften Drones über minimalen Microunds bis hin zu industriellen Maschinen- & Roboter-Klängen, bei SUNAO INAMI breiten sich am Ende auf vier Stücken mysteriöse Drones aus mit futuristisch-elektronischen Sprengseln, sowie obskurste reptitiv-Samples ... Sehr abwechslungsreiche 16 Stücke, für Entdecker!
“It's called Split CD of Masayki Akamatsu, Sunao Inami and Kazuya Ishigami.They recorded about 20min per each,They used Powerbook G4 with MAX/MSP,Kyma,Reaktor etc.. About the sounds, it massive DSP based experimental computermusic.“ [label info]
“A nice 3-way split for these Japanese laptoppers, featuring different souls and approaches to MAX/MSP and DSP sound manipulation. Masayuki Akamatsu opens with an exhilarating rhythm ("foxtrot"), like Philip Jeck gone digital, then switches to elegiac drones ("slowtransition"), menacing electroacoustic unrest ("metastable"), sinewaves and scattered voices ("halfhalt"), and more Jeck-ian crunches and iterations ("briskwalk"). Kazuya Ishigami (also in Daruin, Billy?, Clock Rock Localocks, and owner of Neus318/C.U.E. Records) offers a minimal droning piece ("for Sir Dhomont"), one of quiet minimal loops ("spiritual one-eye"), then in the following 5 tracks goes more brutal with dry-as-a-bone electroacoustic manipulations, a kind of lyophilized Japanoise or L-ne sound gone amok. The demented improv samples work really well in "return to scumbag II". Sunao Inami aptly closes the cd with more subdued drones, gentle crackles, 12k-sounding watercolours ("Still more"), minimal clicks ("Sometimes I get nowhere"). A succesfull release, not because everything here is a masterpiece, but rather because the three performers' excursions cover a spectrum of interesting sounds, and manage to keep the listener's attention focused throughout.” [CHAIN D.L.K.]
“It's called Split CD of Masayki Akamatsu, Sunao Inami and Kazuya Ishigami.They recorded about 20min per each,They used Powerbook G4 with MAX/MSP,Kyma,Reaktor etc.. About the sounds, it massive DSP based experimental computermusic.“ [label info]
“A nice 3-way split for these Japanese laptoppers, featuring different souls and approaches to MAX/MSP and DSP sound manipulation. Masayuki Akamatsu opens with an exhilarating rhythm ("foxtrot"), like Philip Jeck gone digital, then switches to elegiac drones ("slowtransition"), menacing electroacoustic unrest ("metastable"), sinewaves and scattered voices ("halfhalt"), and more Jeck-ian crunches and iterations ("briskwalk"). Kazuya Ishigami (also in Daruin, Billy?, Clock Rock Localocks, and owner of Neus318/C.U.E. Records) offers a minimal droning piece ("for Sir Dhomont"), one of quiet minimal loops ("spiritual one-eye"), then in the following 5 tracks goes more brutal with dry-as-a-bone electroacoustic manipulations, a kind of lyophilized Japanoise or L-ne sound gone amok. The demented improv samples work really well in "return to scumbag II". Sunao Inami aptly closes the cd with more subdued drones, gentle crackles, 12k-sounding watercolours ("Still more"), minimal clicks ("Sometimes I get nowhere"). A succesfull release, not because everything here is a masterpiece, but rather because the three performers' excursions cover a spectrum of interesting sounds, and manage to keep the listener's attention focused throughout.” [CHAIN D.L.K.]