Track artwork

"une histoire de bleu"excerpt/tomonari nozaki(invisible birds/oiseaux003)

UNKNOWNjp on June 02, 2013 03:57

Stats for this track

This Week Total
Plays 9 1172
Comments 44
Favoritings 42

Uploaded by

  • Report copyright infringement

    Released by

    In 6 Sets

    View all

    In 16 Groups

    View all

    More tracks by UNKNOWNjp

    Richat Structure(tomonari nozaki/2014)

    "Sol Levit / Adansonia Remixes" Excerpt (EUS / Tomonari Nozaki)

    To One in Paradise(tomonari nozaki/2014)

    Blue Cave(tomonari nozaki/2014)

    Neo Aestheticism(tomonari nozaki/2014)

    View all

    Excerpt from the invisible birds release.
    http://invisiblebirds.org/catalogue/oiseaux003.html

    a release of mr. tomonari nozaki. abstract sound projections & melodies using destruction techniques discovered with reel to reel tape-loopsplicings and other analogue romanticisms. mr. nozaki has beginnings in minimal techno and experimental music, and after a slight pausefrom music, has returned in 2012 with some transcendental experimentations into the rarely visited places of "liminality" and "the sublime".

    Written and Produced by Tomonari Nozaki
    Artwork and Photography by Matthew Swiezynski

    the video of Chapter III (Excerpt)
    video made by Ans van de Sluis

    [Reviews]
    SANTA SANGRE
    http://santasangremagazine.wordpress.com/2013/06/23/tomonari-nozaki-une-histoire-de-blue-englishpolish/
    ENG: In any film, you’ll come across one or perhaps two moments where the director’s vision burns right out of the celluloid and into your mind. Depending on how effective the said director is at integrating those beats into the rest of the proceedings will determine how good of a production you’re watching. These fleeting, frozen frames are elusive at the very best and illusory at worst. Tomonari Nozaki has, with his album, made the auditory equivalent of a movie that is nothing but those intensely smoldering cinematic yearnings. Each second is an expansive, intuitive descent into what makes our blood curdle, boil and run cold all at once.
    Une Histoire de Blue is a profoundly sad, forlorn piece of work. Each chapter a series of regrets, every thunderous wave which breaks upon your ears is a lamentation. What once was, what could have been, where things stand now, the one who never requited what was given them. I hear this kind of artistry rarely in my line of work, it is all too easy to just thrown down a couple layers of formless drone then tinker in a few random noises and call it good. But this release here contains fully-formed, extremely articulate compositions where the field recordings flow imperceptibly into what Nozaki has channeled out of his machinery
    Loss is the main arena Nozaki is working within, all of his sounds and structures contain a slowly decaying core; the soundtrack of a satellite descending out of orbit with the lifeless, inert crew forever frozen in place at their stations. Watching. Waiting. Wailing. I cannot help but come away from hearing this with a very heavy heart. The tantalized memories of one person’s understanding of what the color blue can mean. Is this in reference to the film? I could not tell you but the sense of cataclysm and sudden rupture from life are undeniable. We may have both a meditation on all the different meanings of what it is to exist in this realm and also an alternate score to a movie which was easily the strongest act to a three film epic that resonates to this day.
    No matter, however, let us return to what Mr. Nozaki has given us. It is described as an excursion into the sublime, which is pretty close to the mark. There are much much more than simple synonymic anagrams going on within these four chapters (the four stages of life? the four cycles of civilization? the four seasons on the calendar?)I’ll leave that with the listeners fortunate enough to hear this… for me they are four exquisitely designed, shape-shifting takes on the very nature of reality. Everything is transitory, this will give you something to hold on to.

    PL: W każdym filmie natrafić można na jeden albo dwa momenty, kiedy wizja reżysera przepływa z taśmy celuloidowej wprost do naszego umysłu. Umiejętność reżysera scalania tych ulotnych fragmentów z resztą filmu determinuje jak dobra jest produkcja, którą właśnie oglądasz. Te zwiewne, zatrzymane klatki filmowe w najlepszym przypadku bywają nieuchwytne, w najgorszym iluzoryczne. Płyta Tomonari Nozakiego to dźwiękowy ekwiwalent filmu, właśnie takiej intensywnie się tlącej kinowej tęsknoty. Każda sekunda to ekspansywne, lecz również intuicyjne zejście w stronę tego czegoś, co sprawia, że nasza krew się ścina, gotuje i zamarza jednocześnie.
    Une Histoire de Blue to głęboko smutne, rozpaczliwe wręcz dzieło. Każdy rozdział to seria rozczarowań, każda grzmiąca fala, która przetacza się przez uszy jest w istocie lamentem. Co było kiedyś, co mogło być, na czym teraz stoję, co nie zostało oddane. Rzadko słucham tego rodzaju artystycznej ekspresji, bo to zbyt łatwe, wrzucić kilka warstw bezkształtnych dronów, pomajstrować potem przy nich przypadkowymi hałasami i uznać, że to jest dobre. Ale to wydawnictwo zawiera w pełni ukształtowane, konkretnie wyrażone kompozycje, w których nagrania terenowe niepostrzeżenie wplywają w to, co Nozaki wyciąga ze swojej maszynerii.
    Przegrana jest areną, na której operuje Nozaki, wszystkie jego dźwięki i struktury zawierają powoli rozkładający się rdzeń; soundtrack dla satelity zstępującej z orbity, z martwą, bezwładną załogą na zawsze zamrożoną w miejscu jej stacjonowania. Obserwując. Czekając. Łkając. Słucham tego z ciężkim sercem i nic nie mogę na to poradzić. To dręczące wspomnienie prób zrozumienia przez pewną osobę jakie jest znaczenie koloru niebieskiego. Czy to odniesienie do filmu? Tego wam nie powiem, ale poczucie swego rodzaju kataklizmu, nagłego przerwania linii życia jest tu niezaprzeczalne. Możemy tę płytę traktować zarówno jako medytację nad tym jak egzystować w tym królestwie, jak i alternatywną ścieżką dźwiękową do pewnego filmu będącego najmocniejszym punktem pewnej epickiej trylogii, która oglądana jest i dyskutowana do dnia dzisiejszego.
    Nieważne, wróćmy do tego, co podarował nam pan Nozaki. Określono to jako podróż w wysublimowane, co generalnie jest dość bliskie prawdy. W tych czterech rozdziałach dzieje się o wiele więcej, niż może się wydawać (cztery etapy życia? cztery cykle cywilizacji? cztery pory roku?). Zostawiam to słuchaczom, którzy będą mieli szczęście zapoznać się z tą muzyką… dla mnie to cztery wspaniale zaprojektowane, zmieniające kształt ujęcia jądra natury rzeczywistości. Wszystko przemija, ale dzięki tej muzyce będziecie mieli się czego trzymać.

    ____________________________________________________________________________________
    Vital Weekly 888
    http://modisti.com/13/2013/06/25/vital-weekly-888/
    According to the website of Invisible Birds, “mr. nozaki has beginnings in minimal techno and experimental music, and after a slight pause from music, has returned in 2012 with some transcendental experimentations into the rarely visited places of “liminality” and “the sublime”.” I am not sure, but this might be my first encounter with his music. The music here is announced as
    “abstract sound projections & melodies using destruction techniques discovered with reel to reel tape-loop splicings and other analogue romanticisms”, which is actually not far from the truth. Not the reel to reel thing, as that is not easy to check upon, but the romantic aspect of the music. I was thinking there is some classical music on those tapes, as a kind of residue (maybe he got the ones from dear departed father?), which he loops around and by adding sound effects makes them a bit more alienated. It reminds me of Jorge Mantis’ The Beautiful Schizophonic with its looped classical music from the 19th century – the romantic era in that music. Occasionally there is a hiccup which I couldn’t figure to be a glitch in the tape, the stretching of samples (so, maybe it includes computers?), or the burning to CDR? These four long and one short pieces work very fine on a grey day: stretched out fields of sounds, passing like slow clouds in the sky, with the occasional crackle being the summer rain drop. Dark but full of hope and light.
    Music by Thomas Bel has found its way to here before – see Vital Weekly 663 – when I thought he hadn’t found his own voice yet. Now, a few years later, I hear something new from him, a work that was originally recorded live June 21st 2011 – which is actually exactly two years ago from the day this was written – but ‘re-arranged and edited’ in May of this year. It’s one long piece, of thirty-three minutes and thirty-three seconds, and it sounds like an outdoor concert: rain is pouring down (no doubt on tape and not live), while Bel plays his guitar in a very minimal way. I never know – not being a guitarist myself – if this actually played, or one of those loop devices, but it’s surely very minimal with a bunch of small changes. As the piece evolves there is the addition of some feedback like sounds, and the guitar – now indeed looped – doubles and triples. Blues music? Yes, it could be. It has that dark, laidback Americana blues feeling of desperation and solitude, even when it’s brought to a mighty crescendo in which all air is sucked into the sound effects before its escape towards the end. A fine good solid piece, as dark perhaps as the Nozaki one, but with less light and more despair. In both cases: if you like Machinefabriek or William Basinski, then this is surely worth checking out. (FdW)

    [Art into Life product review]
    http://www.art-into-life.com/product/3571
    Invisible Birdsの限定100部"oiseaux"シリーズの第三弾。テープスプライシングを中心としたアナログの手法にて制作を行う日本人作家Tomonari Nozaki。1曲目は波しぶきを加工した(?)ノイジーなループに始まり(コレがカッコイイ)、その後はテープ独特のヨレた持続音が続くアンビエントな作品集。青ベースのジャケットが美しい。インサート入り。
    third release of the limited 100 edition "oiseaux" series of invisible birds. japanese artist tomonari nozaki produces a method of production in analog
    with reel to reel tape-loop splicings. first track starts with a noisy loop that has been modified the sea spray (this is cool). then a collection of
    ambient tracks with a persistent kink unique tape followed. blue packaging is beautiful

    [Aquarius records product review]
    Invisible Birds introduces us to another exceptional composer through their ongoing series of limited edition hand-fabricated cd-rs, where we had been previously graced by the langous tones of Arthur De Eriomem and got a brilliant full length out of Thomas Bel. Here, the imprint offers us an album from the Japanese ambient composer Tomonari Nozaki who started out in the techno scene, but grew fascinated with the purely analogue forms of tape loops and and synthesizers. A sense of rhythm and timing is definitely at play in his work, alluding to the beatless Pop Ambient sensibility that Wolfgang Voigt inspired through his classic Gas albums; but the placid, cinematic grandeur of Nozaki's sources harken more to The Caretaker and William Basinski's emotionally laden scores of forgotten dreams. The four lengthy tracks could endlessly cycle through their maudlin melodies that are stretched and swept as if carried away the currents of a cold, gray ocean. Like Basinski, Nozaki is not averse to including the dusty crackle, ferric drop-outs, and tape machined errors in with his composition. They do come across with a greater deal of randomness than on the aggregated decomposition of Basinski's Disintegration Loops; but all of the wooziness and gauzy ambience makes for a beautifully spellbinding listen. Limited to 100 copies.

    [Igloo magazine review]
    http://igloomag.com/reviews/tomonari-nozaki-une-histoire-de-bleu-invisible-birds

    Prefacing the four, quarter-hour “chapters” of Tomonari Nozaki’s Une histoire de bleu are one hundred and sixty four seconds of ocean waves lapping at an empty beach. Or it could be the never-ending storm on top of Saturn. And it could be made out of surging static electricity. Either way, it is an irenic head-clearer with which to allow his story of blue to unfold. Its description as “abstract sound projections and melodies using destruction techniques discovered with reel to reel tape-loop splicings and other analogue Romanticisms” immediately calls (or shouts) to mind the work of William Basinski and his disintegration loops, and there certainly is shared ground in reaching for the sublime through retrogression.

    Like Basinski, Nozaki succeeds magnificently, though without having his tapes dandruff into obscurity in the making, even though they do occasionally and artfully fail. The first chapter of Une histoire de bleu has that classic, far-away Brian Eno sway, while the second is ghostly and desolate as Rapoon. The third chapter has an orchestra sweep, a deep pathos, a cozy autumnal sadness. It is reminiscent of one of the rolling, pastoral landscapes of Andrew Deutsch’s Loops Over Land, just as it leans toward Samuel Barber’s “Adagio for Strings.” “Chapter Four” recalls Basinski with the greatest clarity, graceful and ever falling, ever falling.

    Five möbius strips curving into ambient eternity.

    Released by: invisible birds
    Release/catalogue number: oiseaux003
    Release date: Jun 13, 2013

    44 Comments

    44 timed comments and 0 regular comments

    Add a new comment

    You need to be logged in to post a comment. If you're already a member, please or sign up for a free account.

    Share to WordPress.com

    If you are using self-hosted WordPress, please use our standard embed code or install the plugin to use shortcodes.
    Add a comment 0 comments at 0.00
      Click to enter a
      comment at
      0.00