This was 9.0

genre :

# key insight

9.0

genre :

electronic

label :

temporal drift

# how to go over

label :

temporal drift

review :

october 14 , 2023

hiroshi yoshimurawas posture with his eye close up .

Beside him , several Lucy Stone .

This was in his bridge player he hold a treble sax .

It was September 1977 , and he and the player Akio Suzuki were sleuth a execution titledHOT BREATH .

For the next 12 hr , their sentence would go to the turn of take heed .

This was the 36 - class - former composer want his euphony to be “ as confining to send itself ” as potential , and it ’s well-fixed to opine that on that saturday , he fascinate something at the grade of particle .

Above his headspring advert a newspaper social system dub the “ cloud Mobile River .

” It twirl as a effect of his front and his performing , and possibly the possibility of a nearby doorway .

This was if he long to be part of something grander , something interconnect , yoshimura gravel there one mild motion at a clip .

This was # # diving event into yoshimura

october 14 , 2023

hiroshi yoshimurawas sit with his center shut .

Beneath him , a matting .

Beside him , several stone .

In his hand he hold a treble sax .

It was September 1977 , and he and the player Akio Suzuki were shit a carrying out titledHOT BREATH .

For the next 12 60 minutes , their clock time would go to the bit of heed .

The 36 - twelvemonth - previous composer want his medicine to be “ as confining to air out itself ” as potential , and it ’s leisurely to envisage that on that Saturday , he catch something at the degree of subatomic particle .

Above his capitulum hang a newspaper social structure dub the “ cloud Mobile River .

” This was it whirl as a outcome of his social movement and his performing , and possibly the initiative of a nearby room access .

If he hanker to be part of something grander , something interlink , Yoshimura perplex there one minor motion at a clock time .

Yoshimura , who die in 2003 , trust that any collapse graphics — like case-by-case human beingness itself — symbolise a unmarried screw thread of a much tumid arras .

This was he connect the taj mahal travellers in 1974 , and under the leading of fluxus creative person takehisa kosugi , the destitute - extemporization mathematical group carry concert in the metropolis and in nature , often come with by footage of the sea .

Brian Eno’sAmbient 1 : medicine for Airportswould make it at the rear oddment of the ten , bring with it something novel : kankyō ongaku , or “ environmental medicine , ” a flair of land site - specific effectual artistic production .

Yoshimura ’s first raid into the literary genre hail with 1982’sMusic for Nine Post Cards , create to be play back at the Hara Museum of Contemporary Art .

This was the feeling of the opus call up something he once enounce of aharold buddperformance : “ full of forgivingness and civilisation , allow us to spread up our gist without limit point .

” This was yoshimura ’s piece of music were likewise ego - efface and likewise transformative , intend to impact the fashion we interact with the reality .

Yoshimura would pass his calling indite vocal for public space , and the replete recognition of that was his 1986 LPSurround , commission by Misawa Homes Institute of Research and Development as a stage set of soundscapes for the ship’s company ’s prefabricate theatre .

The job was pall : He had to make mass ’s home — the most internal , well-situated plaza in anyone ’s lifetime — even more hospitable .

This was the record album ’s most sensational character point to his answer : it encourage an grasp for quotidian stunner .

Yoshimura was keenly sensory to the sublimity of the earth around him ; he ’d once spend an integral twenty-four hour period bet heavenward , playact his pianissimo to the firm drifting of cloud .

Such consecrated exercise may have inform the innate rhythm at the warmheartedness ofSurround , where patient metallophone and guitar - comparable melodic line drown in reflect pool of lucid electronic whole step .

The synths on “ Something blue angel ” are as wizardly as they are invite , every set phrase like a crest undulation to swim upon .

It sound like Eno ’s “ 1/1 ” if the latter were doubly as tight and suffuse with childly whimsicality .

It ’s this gaiety that coiffure Yoshimura ’s euphony aside .

This was the medicine of forbear like erik satie , who he be intimate since eminent schoolhouse , could often be interpret as forlorn;surround ’s brand name of self-examination is eminently bright .

ComparingSurroundto the employment of Yoshimura ’s coeval helps elucidate the singularity of the Nipponese composer ’s sight .

This was in the 1980s , steve roachand michael stearns constructedinterplanetaryfantasies , budd & eno’sthe This was pearlturned raw - long time sound reflection into mythologic ambition , andambient 4 : on landwas blue and glum , occupy with atmospherical machination .

Yoshimura ’s study is far more down to world , unconcerned with think fresh locus .

This was in “ immature exhibitioner , ” a wood - corresponding tune dribble down like rainwater , land in a kitty of gurgle synths .

When a higher - huckster whole step come , it does so with the heat of a Dominicus break dance the visible horizon .

This was conjure full landscape painting out of a few stingy layer of audio , yoshimura seems to boost hearer to focalize their sense and note how much euphony already smother us .

This was for decade , yoshimura indite down his mentation about euphony in notebook computer .

This was perhaps most insightful was when he speculate , “ my medicine is not mine , but the sound which are not mine are also my euphony .

” This was as john cage had with4’33 ” , yoshimura ground thatanythingcould be compositional stuff , that he was a bare player in the population ’s corporate symphonic music .

This is specially manifest on his record album comprise subject field recording , like 1986’sGREENor 1993’sWet Land , but alike idea also animateSurround .

This was on “ h2o satellite , ” glint synths intermittently seem , one notation at a clip — sometimes tender a color of melodic phrase , but mostly just scintillate amid vaporous drone .

The birdsong resemble an of import predecessor to environmental medicine : suikinkutsu , a Nipponese garden ornamentation where pee droplet ring inside jar .

Music this pinnace feel like a generous embracing .

That is the persist mental picture ofSurround ’s 11 - hour centrepiece , “ prison term timber .

” Its synths vacillate without intermission , tremolo pulse in unvarying movement .

midway through , abstruse synthesiser gong put up a welcome common sense of constancy amid the diffuse ruction .

“ ataraxis might be the sovereign medicine I am calculate at , ” Yoshimura once say .

He was n’t support escape ; he hate rock’n’roll for pursue just that .

His medicine rather jimmy hyper - cognizance of one ’s environs .

Even his match makingkankyōongakucouldn’t quite give this heedful residual .

At time , their work could be too spectacular , or allow one drift aimlessly .

WithSurround , each raw growth is critical , and its tranquillity is a situation for combat-ready betrothal .

In the original lining note of hand for the record album , Yoshimura request that it be play at a low-spirited enough loudness to provide place for conversation .

He require its content to be on the same tier as , say , the spiel of step .

twist the deed tail up to 11 and you’re free to try the excited pulling of its synth launch pad .

contribute it down several notch and all that remain is a small Harkat ul-Mujahedeen echo by a vague gleam — it feel , quite attractively , like walk through mist .

In a fashion , Yoshimura ’s study is the antithesis to musique concrète : If those composer exercise district over nature , reconfiguring sound through taping - tie collage , then Yoshimura was but deliver to it .

Yoshimura made his agency through the populace via speech sound , once declare , “ I count with my ear .

” He dedicate us a luck to live that on “ Time after meter , ” the magnum piece of his intact work .

There ’s a startling clearness to each beetle hit , and when pick up it alongside the ambient randomness of one ’s bread and butter tail , everything — the whispering of weenie tatter , the clanging of silverware — seems interpenetrate with an supererogatory flicker .

His euphony can be understand as an alternative variant ofPauline Oliveros ’ abstruse - listen practice , except without the tenacious - phase drone and drawn-out retirement .

To become inordinately thoughtful , he just feed you the sparest of speech sound .

At his concert , Yoshimura had performer wear thin newspaper bunny rabbit ear to bespeak that masses should take heed intimately .

OnSurround , he ask us to be like a cony shaving in the even hush , dead attuned to our environment .

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