夢枯記028 Gary Karr | J. S. Bach : Solo Suites-Complete

contrabass solocdking record2005

Yumegareki 028
It is not just a unique sound of Bach. It’s a performance of a powerful fermentation of the mass of memories, rushing toward now, depriving its space, and scattering it to all directions. Gary Karr recorded this album in his home studio. His performance of Bach demonstrates a refined sense of freedom and pleasure supported by the origin of a natural and happy time. I was able to listen to it by immersing myself in the relationship between the people and the world.
Vladimir Jankélévitch said in his book titled “
De La Musique Au Silence - Fauré Et L'inexprimable” that music is something that goes beyond words and that its appeal is a longing for eternity. I was embraced by an indescribable attraction of music and its unique aroma. I felt solitary and a subtle happiness as I secretly explored this nameless world. I went back to the moments when I was with my daughter in a nearby mountain village and when we went out to see a Kabuki performance played by children in a shrine. The world around us must be dense but remains mystery to us. Still, it embraces the inexpressible musical virtue at its bottom. 
I finished listening to the last piece, No. 6. Before I knew it, the sky had changed its color to red and winds were blowing through the bamboo trees. In this glorious moment, I was standing at the intersection between eternity and moment. It is such a wonderful place created by time through a continuous fermentation of music. My daughter sometimes asks me why the earth rotates. I cannot answer to her question, but I feel delighted. This is also quite difficult to express in words. No. 6 and each allemande are filled with such musical mystery.

「私がバッハから教えられたことを最もよく表現できる場所は、私の家である。私のスタジオの窓や海や島々、そして雪をかぶった山々を眺める時には、世界と、そしてバッハとひとつになったと感じる。それが、この穏やかな周辺に面した私自身の家で、この組曲を録音することにきめた理由である。」 Gary Karr
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夢枯記027 Adam Linson | cut and continuum

contrabass solo, processing, samplingcdpsi records2006

Yumegareki 027
As a whole, I perceived the Human-Computer interaction. It is well designed in expressing the concept of time by reconfirming it philosophically through music. Its title and the names of some pieces are the quotes from Cinema II by Gilles Deleuze. It places time through contrabass at the junction between philosophical consideration and electronics music. This is a bold challenge to jump to the new dimension where time and image are exchanged. Interoperation of these sound effects creates a sterical image of time.
On the other hand, the embodiment of the future through a critical reflection of the modern times may be shielded by both the mental processing of the sounds and the excessive sound effects. Sound opens up a mistrial temporal experience that goes beyond the interpretation with words, demonstrating the acoustic vertical variation of the intricate nature projected directly from the body of the performer. But his performance seems to limit these variations and retreat from such a direct experience. 
This approach of recompiling sonic pieces of the body through computer, a virtual brain, demonstrates the issues related to the alienation of our body in modern days. This album dares to offer a glimpse of this fundamental dimension of our animalistic survival instinct by posing a question of how our body can survive in this world. Although Deleuze committed suicide, he must have tried to recover a sense of trust in this unbearable world through philosophical body. I want to label this album as a token of such a desperate act.

全体の印象としてはコントラバスのエレクトリックな音と、エレクトロニクスそのものとの対話のような音楽で、Human-Computer interactionという形が聴き取れる。いつもとは違う感じでスピーカーと妙に相性のよい音がする。エレクトロニックの音はいくら爆音でなってノイズに満ちているような感じがしても、どこか澄んでいてきれいな音にきこえるのはなぜだろうか。すでに僕の耳はさまざまな電気音に毒されているとはいえ、それでも、それが深い身体的次元から遠のいたサンプリングの電気的変換であり、どんなに凝って制作され工夫されていたとしても、結果としてはいつも聴いているスピーカーの膜面の効果音としての側面が強調されるにすぎないと短絡的に認識してしまうや否や、僕のなかで音楽を聴く欲求が減退していくのはどうしたらよいことか。アンプで拾い、コンピュータのプロセスを通じた音は無限の音量を持ちうるが、音質のバラエティは著しく制限されるように聴こえる。ある意味において音はのっぺらぼうで、どんな細かくダイナミック…もっと読む...