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Masayuki Akamatsu
01. foxtrot
02. slowtransition
03. metastable
04. halfhalt
05. briskwalk
Kazuya Ishigami
06. for Sir Dhomont
07. spiritual one-eye
08. Master save me from Scummy life
09. return to scumbag
10. return to scumbag II
11. dilemma
12. Master save me again
Sunao Inami
13. Sometimes I get so lonely
14. Still more
15. Sometimes I get nowhere
16. Can you hear me?
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赤松正行、稲見淳、石上和也の3人によるスプリットCD。
MAX/MSP、Kyma、Reaktorなどを使用し、
3人の実験的かつエレクトロアコースティックな個々の作品がおよそ20分ずつ収録されている。
Official sites:
Masayuki Akamatsu
http://www.iamas.ac.jp/￣aka/
Sunao Inami
http://www.cavestudio.com
Kazuya Ishigami
http://www.neus318.com
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Review:
CHAIN D.L.K.
archive: http://www.chaindlk.org/reviews/reviews.php3?id=1323%00
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.
eighth nerve || News from Kyma Users ||2002.08.02
archive: http://www.symbolicsound.com/eighth-news.html
Sunao Inami has released a new album with Masayuki Akamatsu and Kauya Ishigami called SPL-22001 on the electr-ohm label,
featuring the three composers kneeling shrine-like before their laptops on the cover (http://cavestudio.com/electr-ohm/index_E.html).
Living up to its billing as "massive DSP based experimental computer music", the album features about 20 minutes of each composer using Powerbook G4s with MAX/MSP, Kyma, and Reaktor to generate an amazing range of timbres.
Inami's work emphasizes delicate, highly resonant filters just on the edge of breaking into oscillation punctuated with silences and crackling,
sustained pads with resonant details popping in and out, and shimmering reverberated pads of sustained pitches along with with what sounds like a massively granulated train whistle.
The sounds are imaginative and varied, sometimes (but not always) with a slow pulsing beat. |
