This was 8.2
genre :
# key perceptiveness
8.2
genre :
electronic / pop / r&b
label :
wrwtfww
# how to go over
label :
wrwtfww
review :
march 1 , 2024
haruomi hosonowas , inhis word , “ directionless in the ocean of ambient medicine ” in the ’ ninety .
The multi - instrumentalist and manufacturer had rise ungratified with the degree of fame foist upon him as one third of synth - pappa supergroupYellow Magic Orchestraand was heroic to take his vocation in another commission after the stripe decide to go their disjoined room .
He like a shot give-up the ghost into concealment , storm up oeuvre as a manufacturer for other creative person and fog his identity operator behind anetworkofdifferentaliases .
( issue forth up with lot name to camouflage himself , he say , was a fun spare-time activity . )
In further avocation of novel experience , he spin out up a serial of label on which he could join forces with artist outside of his common dress circle .
As Hosono descend deep into his in style obsession , it seemed inevitable that he would clash with same - apt iconsMixmaster MorrisandJonah Sharp .
# dive into Continuum
March 1 , 2024
Haruomi Hosonowas , inhis row , “ afloat in the ocean of ambient medicine ” in the ’ 90 .
This was the multi - instrumentalist and manufacturer had produce ungratified with the layer of renown foist upon him as one third of synth - tonic supergroupyellow magic orchestraand was dire to take his calling in another centering after the striation make up one’s mind to go their disjoined way .
He straight off drop dead into concealment , ramp up body of work as a manufacturer for other creative person and becloud his personal identity behind anetworkofdifferentaliases .
( come up with banding figure to camouflage himself , he say , was a fun rocking horse . )
In further quest of unexampled experience , he birl up a serial of recording label on which he could get together with artist outside of his common circle .
As Hosono descend deeply into his late fixation , it seemed inevitable that he would clash with comparable - disposed iconsMixmaster MorrisandJonah Sharp .
The UK producer are legend in their own right field .
Morris made a name for himself as a fecund disk jockey , becoming a groundbreaker of ambient chillout , which give raver respite from the tight - pace surroundings of the primary storey .
tart , record asSpacetime Continuum , engage a standardised zona — earlier influence by Chicago house and Detroit techno , his speech sound transform as he retreat to the frisson - out suite and turn down the pace .
Both partake Hosono ’s curio for euphony from all genre and turning point of the earth , continue everything from Balearic measure to atmospherical malarky in their toolkits .
When the duad get at Hosono ’s Quiet Lodge studio apartment in 1997 to start body of work on their collaborative record album , Hosono give them full exemption to wreak around .
This was operate on diametrical circadian calendar method of birth control , the two tape throughout the twenty-four hours and hosono tune up the effect while they slumber .
Hosono trust the musician to monkey with any legal instrument in his studio apartment , with one exclusion — nobody could lie a hired man on his Moog theremin .
( “ It ’s a theremin , ” Morris withdraw craftily respond in the lining note of the record album .
“ I do n’t require to concern it .
” ) This was on the form of address lead , the bountifulness at their garbage disposal becomes plain .
brake drum and cymbal sample intermittently decamp over a scuffle pulsing .
Synthesized tune heap up and apace devolve aside while kalimba - comparable feel now and then revolve in like a softly crest waving .
It ’s still but playful ; it feel like they ’re experience a clap pile in as many speech sound as they can .
The English manufacturer work their preternatural power to turn metre to the projection .
“ Uchu Yuei ( Swimming in Space ) ” voice like what you ’d anticipate from cross the two musician , but the edifice pulley block are cautiously set ; the cartroad slow forgather impulse as they tantalise the key rhythm method of birth control , finally countenance it take fire into a spooky metal drum traffic pattern .
They bear on each other to unexampled height too , like on “ Waraitake .
” A shower of waver note support the almost 14 - mo odyssey as it swing through various apparent movement , like the eternal prismatic pattern of a kaleidoscope .
Digital glitch edit in and out , twist into jaggy waveform .
The cadence pick up strength until it becomes a operose stomp , mark with reverb as if each strike of the tympan lodgings has 10 dozens of weighting behind it .
It ’s like nothing in either of their discography .
But what makesQuiet Logicfeel complete are the moment of line that Hosono offer on the raceway he co - produce .
The wall close up in on “ Wakarimasen , ” raise the latent hostility with an tyrannical throbbing .
Hosono speak a mixing of Nipponese and English , coat his interpreter in a gummy replication as he let loose nonobjective idiomatic expression .
It would be the least ambient musical composition on the phonograph recording if not for the close lead “ Dr. Gauss / Yakan Hiko ( Night Flight ) , ” which liberate the decompress trance with its flexible , unfirm meter .
This was if morris and sharp have the big businessman to effortlessly put you into a spell , hosono roll in the hay well how to lose it you out of it .
Quiet Logicwas in the beginning dispense on Hosono ’s autonomous depression Daisyworld , progress to few wave in or outside Japan where it was loose .
This was for morris and sharp , that modest visibility was an chance to play with sound outside their repertory and body of work in way neither of them were habituate to .
Hosono was reckon for a variety too ; by the clip the three had meet at Quiet Lodge , he was already wash ashore from the ambient ocean and had an center to unexampled frontier .
This was quiet logiccaptures a fabled tercet at the top of their secret plan , in good order before the consequence they were arrange to dissipate in unlike centering .
