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SATO, MINORU (M/S, SASW) + ASUNA — Texture in glass tubes and reed organ
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"Die Kollaboration von MINORU SATO (m/s, SASW) + ASUNA fr Texture In Glass Tubes and Reed Organ (KK012) folgte akribisch phonologischen
Konzepten, die in den Titeln auch schon angesprochen sind: Superimposing five harmonic states und Weaving seven resonances: with
raw stereo material. Eine musikalische Phnomenologie, fr die das Wort experimentell tatschlich mal zutrifft. Die beiden dabei minutis geschichteten oder verwebten Klangquellen, Glasrhren und Saugwindharmonium, sich klassische Drhner. Sie erzeugen wunderbar harmonische Schwingungen,
die als Wellen im Raum stehen und wabern. Die ebenso raffinierten wie minimalistischen Anordnungen zeitigen idealtypische Resultate - Deep Listening la Pauline Oliveros, Phill Niblock, Osso Extico & Verres Enharmoniques.
Obwohl nichts anderes als Nchternheit und Przision am Werk sind, quellen klangwolkig und sanft schwingend alle nur denk- und fhlbaren
Konnotationen von Sphrenharmonie, Nada Brahma, Meditation und Immersion auf." [Bad Alchemy]
"We have been performing music focusing on the materialistic nature (physical phenomena) of sounds by utilizing the reed organ and glass tubes. Our music is composed and constructed in such a way that however the phenomena we use reacts with the circumstances of the space the situation of the site including the audience our live performance involves and uses these conditions. Since these compositions are studio recordings however, we decided to exclude acoustic spatial matters and the one-time-ness of live performances and instead composed the structure of resonances within certain divisions of time. This is similar to textiles weaving resonances, rather than thread, in certain patterns.
"Superposing five harmonic states" was developed by recording five harmonic states separately. Each of the harmonies was obtained by finding the characteristic sound effects made by the relationship of the chords of the organ and resonances of the glass tube. It was constructed by layering the recordings regularly in certain passages of time. The resonances of the organ and the tubes are left as they were originally recorded and the result is five separate recordings woven into a single piece.
"Weaving seven resonances: with raw stereo material" was developed by recording a state where the resonances keep a subtle balance between the relationship of the organ and the glass tubes. From the originally recorded material we found seven characteristic frequencies and reconstructed them into a piece, by giving each individual volume a transition using optionally assigned periodic variations. Thus this composition, made of a single recording, is like a piece woven by one string.
If our live performances were to be evaluated as music where we are presented with one-time incidents i.e. reflecting the real time phenomena as now and there in the music this CD could be evaluated as music to analyze the sound structure of these phenomena and to make those aspects audible. It is intended to create a narrative about the phenomena which resonate through constructed sounds." [Minoru Sato]
www.spekk.net
Konzepten, die in den Titeln auch schon angesprochen sind: Superimposing five harmonic states und Weaving seven resonances: with
raw stereo material. Eine musikalische Phnomenologie, fr die das Wort experimentell tatschlich mal zutrifft. Die beiden dabei minutis geschichteten oder verwebten Klangquellen, Glasrhren und Saugwindharmonium, sich klassische Drhner. Sie erzeugen wunderbar harmonische Schwingungen,
die als Wellen im Raum stehen und wabern. Die ebenso raffinierten wie minimalistischen Anordnungen zeitigen idealtypische Resultate - Deep Listening la Pauline Oliveros, Phill Niblock, Osso Extico & Verres Enharmoniques.
Obwohl nichts anderes als Nchternheit und Przision am Werk sind, quellen klangwolkig und sanft schwingend alle nur denk- und fhlbaren
Konnotationen von Sphrenharmonie, Nada Brahma, Meditation und Immersion auf." [Bad Alchemy]
"We have been performing music focusing on the materialistic nature (physical phenomena) of sounds by utilizing the reed organ and glass tubes. Our music is composed and constructed in such a way that however the phenomena we use reacts with the circumstances of the space the situation of the site including the audience our live performance involves and uses these conditions. Since these compositions are studio recordings however, we decided to exclude acoustic spatial matters and the one-time-ness of live performances and instead composed the structure of resonances within certain divisions of time. This is similar to textiles weaving resonances, rather than thread, in certain patterns.
"Superposing five harmonic states" was developed by recording five harmonic states separately. Each of the harmonies was obtained by finding the characteristic sound effects made by the relationship of the chords of the organ and resonances of the glass tube. It was constructed by layering the recordings regularly in certain passages of time. The resonances of the organ and the tubes are left as they were originally recorded and the result is five separate recordings woven into a single piece.
"Weaving seven resonances: with raw stereo material" was developed by recording a state where the resonances keep a subtle balance between the relationship of the organ and the glass tubes. From the originally recorded material we found seven characteristic frequencies and reconstructed them into a piece, by giving each individual volume a transition using optionally assigned periodic variations. Thus this composition, made of a single recording, is like a piece woven by one string.
If our live performances were to be evaluated as music where we are presented with one-time incidents i.e. reflecting the real time phenomena as now and there in the music this CD could be evaluated as music to analyze the sound structure of these phenomena and to make those aspects audible. It is intended to create a narrative about the phenomena which resonate through constructed sounds." [Minoru Sato]
www.spekk.net