mAtter: The Other Side of 'Geomancy'

We here are Floor Sugar highly recommend that all check out this special from mAtter, 'The Other Side of Geomancy'.

See this special here: http://www.matter.jp/


Please take a look at this excellent sample from Andy Graydon's 'Geomancy' DVD, too. 

Andy Graydon - Surroundings

Floor Sugar interview @ Tokafi

http://www.tokafi.com/news/floor-sugar-specialist-store-asian-sound-art/

Yui Onodera 'Entropy'

Yui Onodera 'Entropy'

Trumn T02

'Entropy', by Japanese artist Yui Onodera, is the second release by the new label Trumn. It was released simultaneously with T01, Tamaru's 'Figure', but explores an entirely different scope of artistry through listening and composition. Packaged in a tall, 3-panel vertical case, with heavy cardboard, and high-quality printing, these are more than just albums, they are reminders of just how beautiful and special the full spectrum of experiencing an album can be. With cover photography by Erica Lai, spanning the entire front and back of the album, and design by Ricks Ang and April Lee of Kitchen, the artwork is another testament to the superb quality of design.

'Entropy' was originally released on Yui Onodera's own label, Critical Path, in 2005. It was his first release, and was created when he was only 22 years old. While the original release on Critical Path sold out very quickly, Trumn has given it a larger, and more expansive focus these 4 years later. One remarkable and surprising fact about 'Entropy', is that it was not changed in any way from the original that was released in 2005. Even though the option to remaster, change or tweak was available, it was decided that it would remain the same. In these current times when there are so many re-mixes, re-masters, or small changes that artists use to improve their works, it is refreshing to see an album remain in its original, untouched form. A classic remains so.

From the first sounds that appear in 'Entropy', in Track 01 (all tracks are untilted), I am reminded of the unique reactions that I have each time I listen to a release by Yui Onodera. These sounds glide into audibility with a gentleness and grace that remind me of snapshots of moments from another world, somewhere isolated and distant, and void of decipherable notions. Track 01 is no exception, creating a dark and grey open expanse, characterized by a whirring chorus of faint voice-like sound, undercurrents of rising high-pitch particles, and swelling motions that eclipse vision and leave the track in a faint, distant echo.

Track 02 represents an altogether different phase of inversed reality, presenting field recordings that have a recollection of truth, but also the crisp and altered misrepresentation of imagination. The sounds have a contained extent, as if inside of a rusted-over kitchen crawling with crisp dysfunction, and an almost insect-like frequency of movement. Track 03 opens with a gentle hum, reminiscent of an outdoor sound of humming industries nearby. Wallowed waves of guitar glide inside, opening up a glistening but completely pure harmonic stream that pulls tightly to the sounds, expanding but restrained to the final moments of silence. This track represents examples of Onodera's unique compositional methods, where multiple movements enter the whole of music at different stages, allowing for evolution of a buildup, but while remaining direct and entirely emotive. Alternations are omnipresent, and gliding.

Track 04, a particular favorite, continues in a similar, yet more gentle form from Track 03. With its full bell-like tone throughout, the gentle stream is never broken, and travels gently and solely across a barren space of time, with small sparkles of pops and purrs beneath the surface, while the main tone rises and with a turn, displays such a moment of emotional impact that its almost impossible to listen on repeat. The turns happen before you are aware, and with precision that leaves you with questions. Complication is so impressive, here. In Track 05, there is a domination of bubbling pops, far-off echoes, and a whistling that highly mimics a train passing in the distance, separated by buildings. If I was to imagine another scene, it would be the greyness of empty city streets, hidden by the haze of the afternoon, with trains passing in the distance, their lights the sole illumination from a single apartment window. The perfect soundtrack for the futurism of modernity.

Track 06 is a full flush of beauty, with an inner exploration of deep organs, channeling lopping feedback of high frequency static, playing with corners of the stereo field. Nature makes rings of sound here, transporting those brilliant deep pools of sound further into the deepest tunnels of the city. The last time I listened to this, was on a subway train. It seemed to last for the duration of each station to station, and to match the shakes of the car. With an almost airy sound, Track 07 floats through its entire length with a peacefulness of perception and humanity. Sounds are given great care for duration, and for circumstance. There is attention given to tenderness, and it is most apparent here. Laying down a depth similar to Track 06, Track 08 pushes the listener into an even deeper, full environment of pulsing tones, smoothed deep sounds, almost bubbling and exploding in distant earshot. The melodies are slowly approaching, and always changing with a stretched fervor.

With a slowly cascading opening, Track 09 enters similarly to Track 06, but instead opening to lightness, through beautiful harmonics. Pressures are released, and the scratching sounds of field recordings are apparent below, but always soundtracked by that climbing melody of expansion. It is lifting, transcendent, and indeterminate. With Track 10, we come to the finale, and for this it was perfectly picked. With a gently rising melody of guitar, the sound is most entrancing, absolutely warming, and as emotive as ever. To say it is beautiful through optimism is too much, because of the gentle tenderness that is present, and seems just as representative of sadness. What comes to mind to me, is the word entropy, through my own interpretations, and relations here. How do we fit in these situations and lives that we have? In a way, to me, 'Entropy' is more about understanding the divisions, and how we continue and experience passing these barriers.

Coming Soon: CHINA

Wang Fan - Sound of Meditation Within the Body (Subjam)

Ronez - Try It On For Size (Subjam)

ISMU (Intelligent Shanghai Mono University)

Huan Qing, Chen Zhiqipeng, Yan Jun - The Other Two Comrades + Yan Jun live in Guangzhou (Subjam)

Altar - Altar II (Subjam)

Other Two Comrades + Yan Jun + Topfloor Circus - Live in Shanghai (Kwanyin)

718 - An (Kwanyin)

Wu Quan - Microwave (Kwanyin)

Tie Guan Yin Duo - Live at Cubic Art Center (Kwanyin)

Tie Guan Yin Duo - Viva La Vaches (Kwanyin)

Pisces Iscariots - Live at 2Pl Festival (Kwanyin)

Zbigniew Karkowski, Li Chin Sung, Wang Fan, Fannullone - Live at Waterland Kwanyin (Kwanyin)

PEI - Normality Envision (Kwanyin)

VA: Background, Chinese Sound Art (Kwanyin)

Peter Cusack - Favorite Beijing Sounds (Kwanyin)

Bai Tian, Relapxych.0, Anders Peterson, The Loop Orchestra, Shizi - Yaji 1 (Yaji)

Jean Jacques Palix, David Coulter, Yan Jun - Yaji 2 (Yaji)

Rice Corpse - Mrs Rice (Kwanyin)

DDV - Live In China (Kwanyin)

Yan Jun - Qiu Jiang Lu

FM3 - Buddha Machine I

FM3 - Buddha Machine II

FM3 & Dou Wei - Hou Guan Yin (Lona)

Coming this summer : )

Tamaru 'Figure'

Tamaru 'Figure' 

Trumn T01

Trumn is a new label from Tokyo, Japan, run by Hideho Takemasa. Trumn releases are featured in a taller, 3-panel vertical case, made with heavy cardboard, and printed with cold lamination film coating and matte varnish, with transparent ink. The artwork, by designer and artist April Lee, is a flushing and ghostly array of photography, brilliantly arranged and eerily fitting for Tamaru’s music. Considering the amount of thought, time, and quality that is represented through the packaging, the resulting releases of equally high-quality music in such an art-edition format makes the albums of Trumn pure, and timeless.

The first release of Trumn is by Tamaru, a well-known figure of solo-improvisation in Japan. He is also a member of the band Installing, with Keiichi Sugimoto and Tadahiko Yokogawa. His album on Trumn, 'Figure', is his second album using his solo bass guitar technique, after 'Basso Continuo' on his own label 1050 from 2000. Included in one of the inner panels of the release is an explanation of style and method, which is an enlightening insight into the thoughts and ideas of Tamaru.

The most imperative detail about Tamaru's music is improvisation, and the will to allow sounds to extend in their own ways, in controlled orders, sequences of senses of beats, and the overture of continuous sounds. Using only a bass guitar, delay processors, and a volume pedal (each controlled by his left and right foot), 'Figure' succeeds in creating an audio map of the progression of harmonies, tonal/atonal/microtonal positions, and the natural evolution of a controlled while still expressive and adventurous sound.

The opening track, titled 'Torso', begins with hopping melodies from the bass, bouncing away slowly, before quickly feeding into a deep and solid funnel of swirling hums, and thunderous momentum. Extending into microscopic progressions, the track grades away finally with a sole, fading echo. 'Plateau' picks up well from the intensity of the first track, immediately pushing into a deep and buzzing realm, where the physical movements appear more as having already passed, than audibly heard, like in the first track. It is an exercise in extension, suspension, and intensity.

'Stream' begins on yet another level of formation, as wavering, smooth, bass notes sway and ebb with upward harmonies, lower-level dips, and with a movement almost comparable to a small boat being tossed side-to-side on the ocean. With an always-deep undercurrent, the higher notes seem to climb with an almost playful, swinging intent.

Inducing yet a different form, 'Matter' begins with a heavily-woven, near-industrial sound to it, highly reminiscent of gritty field recordings, but instead of revealing a locale, it changes. Heavy layers of underlying static circulate through the sound field, with a disjointed bass mumble becoming clearer, and in just a short 3 minutes building to a warm and harmonic flush, with a sudden entrance to clear air and silence.

'Cathedral' begins similarly to the first track, with audible bass movements, but in a much more gentle and patient way. Echoes begin forming, squiggly high frequencies uncurl and drift off, and a re-occurring structure of bass notes becomes apparent through the duration of the track; evolving, and remaining present in faithfulness to structure, and response to the unpredictable. This track's title actually fits perfectly when given thought. For myself, it even brought back memories of seeing a performance of Charlemagne Palestine at a church in Los Angeles. I remember hearing sounds as they were first played, then hearing them return again amidst new sounds as they circulated through the room, and returned to my ears. Tamaru creates a similar and highly engaging atmosphere with 'Cathedral', all inside of a grandiose 10+ minute track. While the structure may appear consistent throughout, the end becomes a metallic, streamlined delta, leading away from the restraint of confines.

Next, everything is taken to a far deeper level. 'Thought' is an incredible example of the true depth and the insinuated-activity that is possible in music. Throughout the track, the listener is surrounded by heavily pulsing bubbles of bass, having the effect of bubbles rising from deep water, changed by the fluid texture of water, unpredictable in size and movement, but only predictable in form. From deep bass bubbles, 'Juju' begins with the deep characteristics of earlier tracks like 'Plateau', but in the form of a slow evolution into a darker, slower form, similar to 'Stream'. While it may be similar, it is no less engaging, and gives only further exploration of the possibilities of the deep-seated physicality and 'human-flow' to this music. All the while, undeterred bubble streams reminiscent to echoes of ‘Thought’ brew underneath, barely in audibility, but utilizing a continuing theme of improvisational transformation.

As the closing track, 'Room' represents an entirely stripped and held-back feel, seeming as if the music is enclosed. Pulses rise from nowhere, fade away softly, or disappear completely. With sparse sounds rising, and such an incredible variety of harmonies appearing from 'Room', it is difficult to define, but that is also what makes it so interesting. It is the kind of track that a listener could leave playing on repeat for hours in a room, and you would never know when it began, or ended. This mystery, and stripped-away compositional method gives the closing track a gentle and alluring attention to detail, that could easily be lost in a heavy or climactic finale, but instead it is memorable and mysterious.

Displaying a tremendous amount of variety, skill, and individuality, Tamaru's 'Figure' is a masterpiece of depth through simplicity, and a fine debut for Trumn. Highest possible recommendation.

Will Thomas Long / Floor Sugar

Coming soon:

Chihei Hatakeyama - 'Saunter' (Room40)

and

Maps

Thanks for stopping by! This blog will represent a more archived version of Floor Sugar news and developments, featuring small tidbits that are too small for the email list, as we don't want to bug people to death with tiny updates.

Also included in these pages will be the quite rare additions of reviews of specific titles. We'd love to be able to review everything that we sell, but it just wouldn't be possible right now. However we will try to include some reviews as we are able to.

As always, Floor Sugar remains a specialized store. While constantly expanding to new places that are seldom-found in the Americas and Europe, we stay true to our belief that we will only sell the music we love.

Thank you for your support!
Will & Dani