“yui onodera” entries in album descriptions

very peaceful + harmonic ambience, the most mellow and lulling you can imagine, spreading a light melancholic mood in the way of FABIO ORSI, LOSCIL, TOR LUNDVALL (without lyrics), or YUI ONODERA...- " I often thought about the manner in which the sounds and patterns that form a piece of music are brought in to existence from nothingness. They drift into the listener's space, evolve over time, and drift off like clouds on the wind." - lim. 100 CD in cardboard discbox slider

very peaceful + harmonic ambience, the most mellow and lulling you can imagine, spreading a light melancholic mood in the way of FABIO ORSI, LOSCIL, TOR LUNDVALL (without lyrics), or YUI ONODERA...- " I often thought about the manner in which the sounds and patterns that form a piece of music are brought in to existence from nothingness. They drift into the listener's space, evolve over time, and drift off like clouds on the wind." - vinyl version lim. 100 copies only

totally suspended ambience & very soft dissolving amorph drone clouds by this Japanese project... "the sensation of being lost deep inside the endless distance of a great between"; comparable to CELER, YUI ONODERA, etc.. comes with 16p full colour booklet

slowly moving huge bubbles filled with warm multi-layered ambience from Japan, extremely warm and sensitive acoustic clouds, based on guitar meditations and loops, music of a timeless beauty.. think of VIDNA OBMANA, CELER, YUI ONODERA.... specially low priced CD version

another discovery from Japan on Taalem - smooth & melancholic, shimmering beauty-drones with enough variation, in the way of MIRROR, CELER, YUI ONODERA, PAUL BRADLEY... one long one-tracker, about 20 min. length

the so far only, overlooked CD for this US-American synth ambient project (from Houston, TX), a kind of 'best of' culled from previous digital releases, described as a soundtrack for slowly moving clouds ("these towering creatures we normally refer to a clouds"), very lonely and introspective.. for fans of VIDNA OBMANA, OÖPHOI, CELER, or YUI ONODERA.. comes with nice 16p. full colour booklet

benefit sampler project that was planned immediately after the Tsunami-catastrophe in Japan; 36 artists have taken part, for example: EMIL BEAULIEAU, MICHAEL BARTHEL, YUI ONODERA, PRURIENT, FRANS DE WAARD, DAVE PHILLIPS, ANLA COURTIS, SUDDEN INFANT, CHRISTIAN DERGARABEDIAN, HER NAME IS CALLA, THE HATERS, RUDOLV EB.ER, etc. etc.. 5 Euro from every sold copy goes to the Red Cross and to the "heart on coin-kizuna" project in Japan

absolute lovely Japanese ambient compilation curated by YUI ONODERA presenting various atmospheric acts from experimental to minimal, from known to unknown, all exclusive material by 15 sound artists: STEVE RODEN, SIMON SCOTT (SLOWDIVE), YUI ONODERA, JANEK SCHAEFER, TROUM, DALE LLOYD, KIM CASCONE, JOHN GRZINICH, LAWRENCE ENGLISH, etc.. long tracks & extensive 16p. booklet

Es gibt wohl zur Zeit nur wenig ambient / drone Musik, die subtiler, zarter und fragiler daherkommt als die Kompositionen des Japaners YUI ONODERA. Auf "Le Jardin" werden weich wallende Klänge von Gitarre & Violine und tieffrequent pulsierende Synths verwendet, aber auch solche die durch "electroanalysis sound of water" entstanden sind (was immer das genau sein mag). 4 Stücke die eine besondere Atmosphäre hervorzaubern, die im Kern auf die totale Stille & Ruhe zu veweisen scheint.. So viel authentische Schönheit & Transzendenz verträgt man kaum... "minimal & melodic drones composed by this japanese artist who's just released a 7" in the Drone Records series. full-colour printed 3" cd-r with artwork by cyril herry." [label info] label: www.taalem.com

Wiederveröffentlichung des ersten ONODERA-Albums von 2005 (als CDR erschienen auf seinem eigenen kleinen Label), zu dem wir vermerkten: "A new project from Tokyo with minimal “concrete” & drone-compositions....extremely nice & dense......hyper-subtle stuff.... ..derived from field recordings, guitar-sounds, electronics. Definitely Recommended ! 10tracks/total time 47m11s." "A new label from Japan, this Trumn and the presentation is nice: sturdy card stock, like a small folder. The first one is by Yui Onodera, no stranger in the land of the weekly (see for instance the weeklies 590, 608 and 611), with his carefully constructed sonic silence. He uses field recordings, electric guitars and computer processing for his music - lots of computer processing. The result is a work in ten parts, all untitled, all flowing right into eachother. Each is a block by itself - static without many moving around and each has a similar built up, fade in, fade in and stays where it is, so small gaps of silence appear between the songs, but essentially, I think, its a one unified work. Highly microsound, and nothing new as such in that particular line of music, but Onodera does things pretty well, I think. 'Entropy', in all its silence-ness is a great work." [FdW / Vital Weekly] www.trumn.com

Yui Onodera's work is patient. He invites a sense of dwelling with his pieces, an encouragement to pause and to allow sound to swell up around you. On Too Ne, he charts out a very specific sonic exploration. Across these five works he creates a lilting passage of sound, a liquidous flow that confirms the adage of ambient music existing as constant, but never solid. Too Ne also invites a sensing of the self, in that the works ask you to examine our own memories as a way to unlocking a deeper resonance within the work. Onodera has created an incredibly generous and open sound field here, one in which you might find yourself dwelling, deeply. From Yui Onodera: "These pieces are what can be described as almost static ambient tracks. They are about a recognition of perceived stillness, even when there is change in the sounds' relationships with each other, and with the listener. 'Too Ne' is an old Japanese word that refers to a sound that is sounding from far away. It is about distance, and also perhaps about reaching out to those sounds that seem to exist far away from us. 'Too Ne' is a word that is not often used in modern Japan, but it has a long history, and can be found in the oldest extant collections of Japanese waka (poetry in Classical Japanese), such as 'Manyoshu'. It is sometimes understood that there are many sounds that appear in people's minds here, when they think of an imagined landscape. Sounds as memory markers, but also as devices to help us imagine more deeply the places we visit and recollect with our minds. Here, I recall in my mind the distance of static sounds like vague clouds, delicate sounds like a state where cherry blossoms whirl in the wind and resemble snow falling. https://yuionodera.bandcamp.com/album/too-ne / https://room40.org/edition/too-ne/

https://yuionodera.bandcamp.com/album/kiso-three-rivers Exploring the water engineering relationship between Japan and the Netherlands across a trilogy of experimental releases, the third and final part of Field Records' Waterworks series is courtesy of Yui Onodera. Pairing delicate synthesis and instrumentation with field recordings and negative space, the accomplished artist and sound architect examines the impact of water engineering on Japan's Kiso Three Rivers. The location refers to the confluence of the Kiso, Nagara and Ibi rivers on the Nōbi plain in Gifu prefecture. In the late 19th century, Japanese authorities collaborated with Dutch engineer Johannes de Rijke to separate the three rivers at the lower part of the Kiso delta. These extensive improvements, which were finalized in 1912, successfully shielded the city of Nagoya from regular flooding. Onodera's minimalist palette and detailed approach to spatial sound design balances microscopic field recordings and tonally-rich traditional instruments, which he applies with stark focus to the subject of the Kiso Three Rivers across eight extended pieces of music arranged into two distinct parts. The A side's shorter tracks are delicately sculpted miniatures interweaving chiming bell tones, treated guitar impressions and hushed pads. The B side's two longer suites are more overtly minimal in nature, emphasizing sampled water sources accented with patient brush strokes of synthesis. This project is supported by the Embassy of the Kingdom of the Netherlands in Tokyo, Japan. Recorded and produced by Yui Onodera. Mastered by Stephan Mathieu. Artwork by ZEDZ. Published by Field Records (Field 36).

" 'Generic City' is the debut release for Two Acorns, a new label/publisher curated by Will Long of Celer. 'Generic City' is presented in a custom-designed CD package, created by mondii, with photography by Danielle Baquet-Long, and mastered by Taylor Deupree. 'For this collaboration work, I made a lot of field recordings. Songs of migratory birds that come to a big lake only in winter, the sound of breaking ice, frozen on a lake, the peal of huge bells in a temple, voices in prayer to the Buddha, footsteps in the subway, on the ground, made by coming and going people, machine sounds at a construction site, rain flowing into a steel pipe with a hard sound, the oscillation sound of rubbing iron which was recorded through a contact mic set on steel, the conversation of people walking in the city, noise of vehicles and trucks, kids voices from an elementary school, and so on. Like a time trip to transcend places, these sound-scapes are presented as a imaginary tale. To collaborate with foreign artists became a chance for facing Japan again for me. Reflecting on each of our localities to compose let us be aware anew of the vernacular which has been lost in the global world. Artists can't be unrelated to the characteristics (culture) of places (surroundings) where they live, and they are influenced obliviously in some way. By watching our everyday surroundings closely, we can engender a most realistic language of where we live, and how we think. I sense that peculiar, unfamiliar cultures and customs are invaluable wealth in human history.' - Yui Onodera 'In this collaboration work with Yui Onodera, we contributed many instrument sounds, and field recordings such as the streets of Los Angeles, rain on our doorstep, water draining into the gutter, cars passing on wet and slippery streets, people walking on their way home from work, talking in an airport baggage claim, crosswalks, airliners flying over, taxi rides, riding bikes through traffic, conversations in restaurants, the Metro Link train in Los Angeles, and walking on quiet streets. In our part of mixing, since we were working with someone's instrument sounds and field recordings from a city that we haven't visited, much was left to our imagination to re-create an environment and city setting for the piece. Trying to keep a balance between the heavily processed material and the entirely unprocessed material, created a natural bridge of movement inside the city. Processed elements became backdrops and scores to real activity, sometimes simply drifting away from the daily life, or the finding the soul of the pieces. When these two entirely different cities came together, it created an all new way of looking at, and hearing the city's movements around us. Cultures parallel one another, with the views of the skylines and empty streets left the only visible evidence of similarity.' - Danielle Baquet-Long, Will Long " [label info] www.thesingularwe.org/twoacorns "Two Acorns is a new label started by Will Long, one half of Celer. He deals with 'things you can hold in your hand, or keep on your bookshelf, to keep these feelings, memories, and experiences. There is no replacement for the smell of a book, the spin of a CD player starting'. Hear hear. The label starts of with a collaborative release of his band Celer (which was Long and his partner Danielle Baquet-Long, who passed away) and Yui Onodera. The latter provides field recordings, electronics, guitar, violin, piano and musical box, while Celer holds the mixing board, cello, violin, piano, field recordings, theremin, electronics and ocarina. I am not sure but I don't recall seeing many collaborations of Celer, but the result, four lengthy pieces work out quite well. Its probably everything you would expect from such a collaboration (you could debate wether that is good or bad), but the gentle, sustaining, of course drone - a word that can't be avoided when talking about Celer nor Onodera - like atmospherics work quite well, but what seems interesting is that many of the field recordings go unprocessed into the mix. Lots of rain, water, animals, street sounds, stuff that seems to be picked up with contact microphones and such like, and they bathe quite well in the string of sounds woven together on the various instruments. They add a great spice to the music, which doesn't stick that much in the world of 'just' drones too much. Beautifully ringing overtones, 'heavy' street sounds, air traffic and crackling of leaves: together they create a mighty fine aural landscape. Beautiful." [FdW/Vital Weekly]

Yui Onodera // electric violin, electric guitar, field recordings, found objects, processing Stephen Vitiello // acoustic and electric guitar, modular synthesizer, toy piano, field recordings, processing Kenneth Kirschner // (variant’s materials) on Quiver 1 Quiver” continues our subseries of cerebral abstract electronic minimalism after Triac’s “In A Room” and Hanno Leichtmann’s “Minimal Studies”. The word Quiver can speak to an emotional state – “a slight trembling movement or sound”. A quiver is also the word for a kind of container, used for holding arrows, bolts, or darts. They employed a vast array of sound sources for meticulous processing on their computers from electric violins, acoustic and electric guitars, modular synthesizer to toy piano and field recordings. They built music rich with textures, loops, strange structures blurring the lines between foreground and background sounds thus making a complex and mysterious, generous and surprising music. These compositions by Onodera and Vitiello are layered with possibility and will mean something different to each listener. Yui Onodera is a musician and composer based in Tokyo, Japan. After studying music and architecture, he founded the Critical Path. In terms of environmental functions and spacial relationships of sound, he employs materials from various sources ranging from field recordings, electronics, and voices, to various musical instruments, for process-based, restrained electro-acoustic, experimental and ambient pieces.Electronic musician and sound artist Stephen Vitiello transforms incidental atmospheric noises into mesmerizing soundscapes that alter our perception of the surrounding environment. He has composed music for independent films, experimental video projects and art installations, collaborating with such artists as Nam June Paik, Tony Oursler and Dara Birnbaum. In 1999 he was awarded a studio for six months on the 91st floor of the World Trade Center’s Tower One, where he recorded the cracking noises of the building swaying under the stress of the winds after Hurricane Floyd. As an installation artist, he is particularly interested in the physical aspect of sound and its potential to define the form and atmosphere of a spatial environment. 300 copies." "I’ve been a fan of Yui Onodera’s music for some time, but this album surprised me. Rather than his usual stately drones and glacial fluttering, Onodera’s collaboration with New York sound artist Stephen Vitiello is… a pop album? Yes, I think so. The music is tuneful and upbeat, with even the more low-key songs having a melodic element at the forefront. Some of Vitiello’s previous work has moved in this direction, but “Quiver” puts accessibility in the forefront. I enjoyed it very much! Some tracks, such as “Quiver 4” (none of the songs have real titles), feature a skeletal guitar lightly applying Vini Reilly-esque melodic lines over a bedrock of electronic skitter and sometimes a steady (though understated) anchoring pulse. “Quiver 6” is rather lovely, with something sounding like moving water burbling next to a synthetic chorus and dreamlike shoegaze guitar wash that would appeal to fans of Chris Herbert, Cheihei Hatakeyama or even recent 12k releases. After listening through a couple of times, it occurred to me that this collaboration seems as natural and complete as an album by a full-time “band” might be… so I hope these guys pursue the duo further! I wouldn’t mind more of this to spin as the soundtrack to my pleasantly groggy weekend mornings." (HS/Vital Weekly) http://mikroton.net/ mikroton.bandcamp.com/album/quiver

"the first track we heard from POLLYPRAHA was on the compilation the japanese artist YUI ONODERA put out in 2006 on his own CRITICAL PATH label. months later, we were offered this "jule" suite, three tracks between metallic strings sounds and processed field recordings, showing POLLYPRAHA's contemporary music influence (steve reich or gyorgi ligeti for instance)." [label info] www.taalem.com