in drawing

  • artist: various
  • format: CD
  • release: 20 august, 2005
  • price: 2,100 yen (tax incl)

  • 1. justino [ruidobello] " division_21h30" (10:00)
  • 2. Yasuo Totsuka " La Grande Illusion" (10:00)
  • 3. asuna "condition of air conditioner" (10:30)
  • 4. Takahiro Kawaguchi "white out" (08:42)
  • 5. Ami Yoshida "動" (10:02)
  • 6. Chris Watson " Isla Genovesa" (08:36)
  • Photograph.Yuri Koizumi
フィールドレコーディングは写真を撮ることと同じように、 たとえ同じ場所、同じ時間に録音したとしても人それぞれの感覚によって全く違う表情が現れてきます。このプロジェクトでは、asuna、Chris Watson、justino[ruidobello]、川口貴大、戸塚泰雄、吉田アミといった各方面で活躍しているアーティストがそれぞれの思うフィールドレコーディングを無加工で約10分間での収録というルールの下に行っています。 それぞれの音楽としてのフィールドレコーディングをお楽しみ下さい。


Field recordings are just like taking photographs; even when taken at the same time and same location, each individual will have a different expression. In this project, artists such as asuna, Chris Watson, justino[ruidobello], Takahiro Kawaguchi, Yasuo Totsuka and Ami Yoshida, who flourish in different styles, made music under the rule that it should be an unprocessed, 10 minute field recording.
山形発の新興レーベルcherry music初のCD作品となった本作は、「ノンエディットのフィールド・レコーディング」をテーマに、吉田アミ、クリス・ワトソンら6人のアーティストが それぞれ約10分の“曲”を提供している。「ノンエディットのフィールド・レコーディング」と言えど、結局は個人の意向により特定の場所が選ばれ、一定の 時間マイクロフォンが向けられ録音される。別にノンエディットであるかそうでないかということを問題にしているのではなく、いわゆる“フィールドレコー ディング”と言われるものは一種のフレームワークでもあり、ある固有の場所において任意の音の選択(編集)がなされているのは紛れもない事実であるという ことだ。この点を意識したうえで本作のそれぞれの“曲”を聴いてみると、各々の音楽性の特徴が如実にあらわれているのがわかるだろう。

嵐 直之 (improvised music from japan 2005 より転載)
はじめのjustino[ruidobello] の興味深いトラックから流れる暴風によってたたきつけられる金属音から、今回フィーチャーされた有名なレコーディスト、クリス・ワトソンの、大荒れの潮騒を録った素晴らしいハイドロフォンレコーディング(サイエンスフィクション映画のためにつくられたもののように響く…)の最後まで、慎ましやかで気取らない、まっすぐなフィールドレコーディングのCDリリースにはいくつかの素晴らしい瞬間がある。それは多分、たくさんの熱心なリスナーの不意をつき、驚かせる。

そんな驚きのピークはTakahiro Kawaguchiの優れたトラック、"White Out"にやってくる。 私はあまり細部について語るつもりはない。しかし一言添えるならば、多くの物事は強い力で世界に押し出され、持続する方向へ向かうということだ。

そして、鋭いビープ音とともに、Asunaのトラック(二つの異なる有利な位置から録音したエアコンの音による)の始まりを耳にする。彼は、右のチャンネルで"エアコンの空気の状態"に照らして自身の発する音を、左のチャンネルで"エアコンの固体的状態"をとらえる。おそらく、二つの異なる種類のマイクは同じエアコンにセットされ、同じ時間に録音されたのではないだろうか?もしそうならそれは良いコンセプトで、とりわけフィールドレコーディングの領域では、しばしば挑戦を期待されるものの一つだ。 それはどうも、コンタクトマイクを一つのチャンネルに、レギュラーマイクをもうひとつのチャンネルに使っているようだ。この曲のハイライトは、最後にやってくる。ビープ音とともにユニットが突然停止し、エアコンの、長い、最後の呼気が、聞こえなくなるまで漂う。その瞬間、あなたはこのトラックがすでに終わっていたことに気付く。そして突然のクリック音…。おそらく、このことは私のようなリスナーたちを喜ばせるだろう。

次にやってくるのは"ハウリングボイス"のAmi Yoshidaによる録音。 ここに私たちは、まるで誰もいない駅、あるいは小売りのディスプレイやビデオゲームがならぶショッピングモールに流れるような、遠く無邪気なメロディー、そしてごく身近にある様々な音が同調する中での即興的な演奏を聞くのだ。

そして忘れられないのが、2番目のトラック。Yasuo Totsukaの "La Grande Illusion"である。そこには、レストラン・キッチンのような仕事場で、ロマン派のスタンダードな室内楽を流すラジオのような、小津のような思いやりをもった、愛にあふれる日常の一コマが描かれる。
これは確かに専心的なリスナーのためのリリースである。そして恐らく、そんなに熱心ではない人たちの中にも、このようなリリースを評価してくれる人はいるだろう。


From the intensely wind blown metallic banging of the first interesting track by justino [ruidobello] to the final one featuring renowned recordist Chris Watson's great hydrophone recording of tidal turbulence (sounding very close to sound design for a science fiction film...), this otherwise humble and unassuming CD release of straight-up field recordings has a few fine moments that might surprise and perhaps astonish many a unsuspecting listener. The peak of such astonishment comes from Takahiro Kawaguchi and his excellent track entitled "White Out". I won't go into too much detail, but I will say that many will be hard pressed to figure out what-in-the-world is going on in the course of its duration.

And with a sharp "BEEP-BEEP", we hear the beginning of a track by Asuna of an air conditioner from two different vantage points. In the right channel he captures, what his notes refer to as, the "air condition of air conditioner"; and in the left channel he captures the "solids condition of air conditioner". Perhaps two different kinds of microphones were set up on the same air conditioner and then recorded at the same time? If so, it's a nice concept and one that needs to be explored more often in the realm of field recording work. It indeed sounds like a contact microphone was used for one channel, while a regular microphone was used for the other. The highlight of this piece is at the end when the unit suddenly stops with a short "BEEP" and then we hear its long final breath trailing out of hearing range, and just when you think the track already ended, you hear a sudden "CLICK". But maybe this takes an esoteric sound geek like myself to appreciate this...

Next comes a playfully serendipitous capture by "howling voice" chanteuse Ami Yoshida. Here we have what sounds like distant childlike melodies being broadcast into an empty train station or shopping mall from some kind of retail display or video game, and unintentionally playing in sync with the various sounds in the immediate vicinity.

And not to be forgotten, the second track by Yasuo Totsuka entitled "La Grande Illusion" lovingly frames a day-to-day moment with Ozu-like attentiveness with what might be a radio playing standard romantic period chamber music at a place of employment like a restaurant kitchen.

Perhaps I've given too much away, but it's certainly a release for dedicated sound geek collectors, and maybe some of the less dedicated might appreciate a release like this as well.

Dale Lloyd (and/OAR)
Inaugura il catalogo della nipponica Cherry Music (in precedenza un paio di CDR ormai fuori stampa) questa bella compilation interamente dedicata alle field recordings. Sei fotografie acustiche commissionate ad altrettanti ricercatori con la sola limitazione della durata (dieci minuti o gi・di l・ e la regola di non alterare o processare in alcun modo quanto repertato. Affascinanti i paesaggi sonori documentati dal maestro Chris Waton, sublime orchestrazione idrico-eolica, e dal californiano Jorge Bachmann in arte Justino [Ruidobello], palpitante istantanea di un non meglio identificato altrove sonoro, cos・come quelli del contingente autoctono (Yasuo Totsuka, Asuna, Takahiro Kawaguchi e Ami Yoshida), tra impalpabili silenzi fuori campo, cori d'animali, ansimare di condizionatori e orchestre registrate in lontananza. Com'・bello e interessante il mondo che respira

Nicola Catalano
The word ‘small' is one I like. For me I always think of something subtle, with shape and a pleasing form that can be held in some way. Of course it can mean ‘without substance' but in terms of music, for me it is a word to be used to convey an piece that fits, that we can take in and does not involve force. Music that communicates without unnecessary elements.

The label' Cherry music' is a small label….one that aims for a creative balance between the music on the disc and the physical object itself. ‘In drawing' is the labels first non cd-r release and it features unprocessed field recordings by 6 artists who clearly find the music in their everyday life is something to be treated with a happy, enjoyable respect.

From an early age I was fascinated by the music that naturally surrounds us. Music that is perhaps the purest form of improvisation, untouched as it is with the constraints of ego or perceived definitions of what it should be. What makes this cd stand out from the countless other collections of field recordings available is that the choices made by the artist remain, for the large part, inspired by the simple joy of finding music. It is a very fine line between a recording that celebrates the sound itself, the wonder of found music and one that exists to illustrate an artist's theoretical outlook. Theory as an expressed statement plays no part in this natural music and that is how it should be.

The pieces on ‘In drawing' are all very different of course. Some contain gentle hums from air conditioners as in the piece by Asuna , the sounds of cafe´ music and crockery that feature in ‘La grande illusion' by Yasuo Totsuka , the water and wind around ‘Isla Genovesa' captured by Chris Watson or (and I'm guessing here) the effects of placing a microphone inside a hollow metal tube on the opening track by Justino (ruidobello) . Only the track by Takahiro Kawaguchi ruffles your ears slightly with animal sounds that are strange and somewhat daunting.

Then there's the track by Ami Yoshida 's who adds to our understanding of her artistic outlook by contributing the quietest piece on this cd. For an artist who is known for her ability to raise the smallest sound into something of amplified detail, her recording is simply impossible to represent in mere words. For me that is the sign of truly inspired and authentic field recordings. If these sounds could be captured in a written language there would be no point in listening to them and sometimes we should put aside our human need for things to have an explanation and simply let them be what they are. The temptation with all of these pieces is to listen in order to try to work out what made these sounds. Do yourself and the artists a favour and resist that temptation because you'll end up missing the music. This is not ‘interesting' sound collection as so much field recording can be, this is pure music and not something to be examined or defined. As someone who has also been recording natural music for many years I can honestly say that Cherry music have approached the concept of field recording in a way that any artist would find a rewarding experience.

All of the pieces on this highly recommended disc should be simply allowed to be what they are: fascinating, rewarding, subtle and therefore powerful pieces of natural music.

Jez Riley