#taku unami

[noak-esbjornsson-art]

I am currently working on no less than three albums set to release at some point, this or next year. Two are more or less completely finished, one I just started working on yesterday. After many, many back and forwards I’ve finally landed on these three covers. 

From the top, left to right: A non-peculiar Spectre, Rävgryt, and Etude.

The music is influenced by a wide range of experimental musicians and composers, the materials are basically all love letters to music I love. Keith Rowe, Taku Unami, Michael Pisaro-Liu, Devin DiSanto among others, were/are all important in the development of the music. 

I hope to release at least one album through a label, the other two we’ll see.

Hopefully they’ll be available asap and I hope they are of interest to someone out there. 

#musique concrete #keith rowe #michael pisaro #taku unami #devin disanto #experimental music #sound collage #album #new album #album art #album cover #cover art

[opalid]

Radu Malfatti: trombone

recorded on September 11, 2011 by Taku Unami at AMPLIFY 2011: stones at The Stone in NYC

#radu malfatti #taku unami #eai #reductionism

[thomasmartinnutt]

Chance Encounters #001

Thomas Martin Nutt, Francesco Fabris and Ben Frost, Taku Unami, Guy Vandromme, Luciana Elizondo, Adriaan Severins, Fabio Gionfrida, Niko-Matti Ahti, Ruth Anderson, The Caretaker, Christian Marclay, Unknown Recordist, Wendy Carlos, William Shatner, Mark Barrott, Denis Dufour, Jaimie Branch, Mabe Fratti, Clint Mansel, Morton Subotnik, Laurie Spiegel, Olivia Block, Kronos Quartet, Jean Luc Godard, Fred Frith, Max Eastley, Graham Halliwell, Evan Parker & Mark Wastell, Ensemble

#Youtube

[dustedmagazine]

Listed: Al Karpenter

Al Karpenter was originally Álvaro Matilla (from Barakaldo). In 2014, Mattin started to collaborate with him and in 2022, Marta Sainz and Enrique Zaccagnini from Santander joined. They’ve spent the years post-COVID in a fever pitch of noise collaboration, working with fellow experimenters Sunik Kim, Dominic Coles and Triple Negative on their album The Forthcoming and with CIA Debutante on another self-titled disc. Jennifer Kelly reviewed both in August, writing that, “Al Karpenter swamps threads of song in seething banks of noise and dissonance. You find yourself focusing on blaring surface noise, while sense and melody percolates somewhere underneath.” Here Mattin picks ten boundary-pushing favorites.

El Inquilino Comunista — “Cruel Off” (1992)

This track was actually in their first tape, which for me, was probably the best thing to come out of Getxo Sound, a small noise rock scene that happened in my hometown around the early 1990s. I remember getting this cassette and being blown away. I got inspired to see that there were bands doing things like this in my surroundings. Then I found out about other great bands like Cancer Moon, La Secta, Lord Sickness and Pop Crash Colapso. Now some of the members of El Inquilino Comunista play in other bands like Basurita and Trampas (where my very good friends Piji and Pablo play).

Hanne Boenisch — A Journey to the North Pole: A documentary about the Scratch Orchestra and Cornelius Cardew. (1971)

This documentary portrays the last tour of the Scratch Orchestra and the heated debates that they were going through, but also it documents the amazing experiments and street concerts that they were doing. After this tour, a split happened between the more Maoist-influenced section called the ideological group around Cardew, John Tilbury and Keith Rowe and the more anarchist and performative tendency that went into forming the Slippery Merchants. The tension between the artistic and ideological parts and their split reminds me of the division that occurred with Situationist International in 1961, in Gothenburg, where all the artists were expelled from the group.

Junko — Sleeping Beauty (2002)

I heard this record at Taku Unami’s house when I was on tour in Japan for the first time in 2004. I knew Junko from Hijokaidan, but this solo recording really cut through everything that I listened to before. It could be said to be concrete poetry or noise, but for me is something else that takes an existential level. What are we as humans when communication becomes only lubrication for commodification? This is not a form of primal scream but rather an expression of the impossibility of meaningful existence under capitalism.

Parmentier — Luxsound: 5 Untitled (1998)

Rosy Parlane and Dion Workman formed Parmentier when Thela — the New Zealand noise rock they both had with Dean Roberts — disbanded after a legendarily chaotic concert in New York in 1997. Parlane and Workman left their rock instruments and started an excellent electronic label called Sigma Editions and their band Parmentier. I saw them live in 1999 at the Sprawl in London, and I was so moved by this amazingly precise electronic music but made with a New Zealand noisy attitude which gave it a very warm character. I ended up becoming very good friends with Rosy, Dion and Dean and collaborating with all of them on different occasions.

Constant Pain — Demon Lover

Another band from New Zealand with Cameron Bain, Greg Cairns and Roddy Pain.

Cameron lived in London and used to play in the bands The Mean Streaks and Heliogabalus with Matthew Hyland (of Triple Negative). Roddy also had a short-lived band called Evil with Liz Matthews and David Mitchel, which was simply incredible. Both Cameron and Roddy took the rock spirit seriously, unfortunately to its ultimate consequences. Noise rock made with love and integrity.

Roberta Settels — “Landscape With 3 Tape-recorders And…” (1985)

I got this record, Isolation! Meinhof In Memoriam, when I was living in Stockholm, and I thought it was the coolest record ever. Settles self-published it on her label Music in Crisis after Caprice Records — an institutional label part of Musikverket (Swedish Performing Arts Agency) — refused at the last minute to publish it because they were scared of the political message of the record. Some of it reminds me of what the composer Bernhard Günter was doing in the 1990s but without any of the esoteric connotations. For me, this is a great example of how avant-garde music can meet radical politics.

Batile Alake — The Waka Queen

When Xabier Erkizia and I got to Lagos in 2014 to record Billy Bao’s Lagos Sessions, the first thing that we did was to go to Jazzhole record shop. The owner Kunle Tejuoso started to play us all these amazing records of Sakara, Apala and Waka Music at full volume, and Alake really struck a chord in us. For some reason, later on, Kunle would not tell the name of Alake as if she were some sort of sacred secret. Somehow, we managed to find out who she was, and since then, we have been in love with her.

Petrona Martinez — Le bullerengue (1998)

After that experience in Lagos, I have been searching for similar sounds that focus on percussion and voice in other places by tracing Afro-Caribbean music. The first thing that I got into it was Cuban rumba, especially Muñequitos de Matanzas. A couple of years ago, I was hearing a DJ session of Amuleto Manuela, an incredible Colombian DJ based in Berlin, and she played Petrona Martinez which is bullerengue from Colombia, and this got me into similar forms of music like Puerto Rican Bomba of el tambor from Venezuela.

Gérard Lockel — Gwo Ka Modènn (A.D.G.K.M - 1988)

Another interesting musical genre from the Caribbean is Gwo Ka from Guadalupe.

I discovered Gérard Lockel when I was researching Bèlènou, a fascinating group from Martinique mixing traditional Bèlè with avant-garde approaches. Bèlènou was founded by Edmond Mondésir and Léon Bertide, and I read that they were influenced by Gérard Lockel, so I went to the source, and it was life-altering. I quickly found out that I was not the only one deeply touched by his music, his records cost between 300 and 600 euros on Discogs.

Elvin Brandhi — Shelf Life (2019)

My friend Miguel Prado mentioned Elvin Brandhi, and she is doing some of the best stuff that I heard lately. She is collaborating with incredible artists and travelling all the time. A noise nomad and a fantastic improviser. The first time that I saw her was with Yeah You — the group that she has with her father — at an empty shopping mall in Glasgow as part of the extraordinary Counterflows festival, and it was magnificent. As far as I know, this is her only solo record.

#dusted magazine #listed #al karpenter #mattin #El Inquilino Comunista #Hanne Boenisch #cornelius cardew #scratch orchestra #junko #parmentier #constant pain #roberta settels #batile alake #petrona martinez #gérard lockel #elvin brandhi #Youtube

[riseofthecommonwoodpile]

Back at it again, another round, this one an absolute fucking banger with seven 9's and 9.5's. Especially good time for ambient music here.

Art Ensemble of Chicago- Reese And The Smooth Ones (8.0/10)

Autopsy- Mental Funeral (9.0/10)

Bill Dixon- Son of Sisyphus (9.0/10)

Birchville Cat Motel- Beautiful Speck Triumph (9.5/10)

Brutal Truth- Need to Control (9.0/10)

Busdriver & Radioinactive with Daedelus- The Weather (8.0/10)

Chu Ishikawa- Tetsuo (7.5/10)

Creeper- Sex, Death & The Infinite Void (7.0/10, deleted from library)

Crossed Out- 1990-1993 (8.5/10)

Daniel Menche- Feral (7.0/10)

Dave Burrell- Echo (8.5/10)

Dean Blunt- Babyfather (8.0/10)

DeepChord- Sommer (8.5/10)

diSEMBOWELMENT- Transcendence Into the Peripheral (8.5/10)

The Ex & Brass Unbound- Enormous Door (7.5/10)

Exhumed- Slaughtercult (8.0/10)

Gnaw Their Tongues- Reeking Pained And Shuddering (7.5/10)

Graham Lambkin / Jason Lescalleet- Air Supply (8.5/10)

Grave- Into the Grave (7.5/10)

Hallmark '87- E P H E M E R A L D R E A M S (8.0/10)

Home&Office- Love What You Do (7.5/10)

Hype Williams- Dior EP (7.5/10)

Hype Williams- High Beams EP (7.0/10)

Incapacitants- The Tongue (8.0/10)

James Ferraro- Sushi (6.5/10, might delete, unsure)

Jeph Jerman- Clothesline / Yard Installation (9.0/10)

Jeph Jerman- Metal Wire & Grass / Beargrass (8.0/10)

The Jesus Lizard- Lash (7.5/10)

Jóhann Jóhannsson- Virðulegu Forsetar (8.5/10)

Junior Kimbrough- God Knows I Tried (8.5/10)

La Monte Young- 31 VII 69 10:26-10:49 PM / 23 VIII 64 2:50:45-3:11 AM [The Black Record] (9.0/10)

Laura Veirs- July Flame (7.5/10)

Lightwave- Mundus Subterraneus (7.5/10)

Luxury Elite- TV Party (6.0/10, deleted from library)

Michael Pisaro- Asleep, Street, Pipes, Tones (8.5/10)

Meshuggah- None (7.5/10)

Miss High Heel- The Family's Hot Daughter (8.5/10)

Neutral Milk Hotel- Ferris Wheel on Fire (7.5/10)

Nmesh / t e l e p a t h テレパシー能力者- ロストエデンへのパス (9.5/10)

Photek- Form & Function (8.0/10)

Prurient- Mater Dolorosa (7.0/10)

Radu Malfatti / Taku Unami- Goat vs. Donkey (8.0/10)

Rorschach- Autopsy (8.5/10)

Slogun- Bloody Roots (8.0/10)

Tom Waits- Small Change (8.0/10)

Ulthar- Providence (8.5/10)

Wasteland Jazz Unit- Drained Vault (7.5/10)

Young American Primitive- Young American Primitive (8.0/10)

仮想夢プラザ- 永遠の視線 (7.5/10)

#music project

[hirokichiba]

Profile

千葉広樹(Bassist,Violinist,Composer)

1981年岩手県盛岡市生まれ、東京在住の音楽家。 ベーシスト/ヴァイオリニストとしてシームレスに数多くのミュージシャンとの共演を重ねているが、2017年より本格的にソロ活動をスタート。 コントラバスによるクラシカルなサウンドと、アトモスフェリックな電子音によって奏でられる幽玄なサウンドスケープにより、独自の世界観のある壮大なパフォーマンスを繰り広げ、これまでに４枚のアルバムをリリース。

2019年には、東京都現代美術館で行われたファッションブランド”ミナ ペルホネン”のショーの音楽を担当。また、Youtubeチャンネル「With Ensemble」にて崎山蒼志のストリングスアレンジや、山本卓率いる劇団”範宙遊泳”の舞台音楽、CM音楽など様々な音楽を手掛けている。

現在ではサンガツ、蓮沼執太フィル、優河with魔法バンド、スガダイロートリオのメンバーとしても活動する他、渡邊琢磨、原摩利彦、古川麦、角銅真実、王舟、Julia Shortreed、Corey Fullerなど様々なアーティストのサポートも手掛ける。

また、SSWの優河や湯川潮音、荒内佑(cero)のプロデュースの他、Julia Shortreed、原摩利彦、渡邊琢磨、Beatniks(鈴木慶一、高橋幸宏)、大友良英、YUKI、吉澤嘉代子、王舟、古川麦、小野リサ、関取花、前野健太、吉田省念、松下マサナオ、VIDEOTAPE MUSIC、Kie Katagi(Jizue)など、数多くのレコーディングに参加。

過去にはベースとドラムよるリーダーユニット"Kinetic"にて活動し、OMSB、K-BOMB、志人をフィーチャーしたアルバム「db」をBlack Smoker Recordsよりリリース。

これまでのライヴサポートや共演者は、矢野顕子、UA、ラヴサイケデリコ、柳原陽一郎、mouse on the keys、坂本美雨、Kyoka、haruka nakamura、ベル＆セバスチャン、keishi tanaka、阿部芙蓉美、石橋英子、中島ノブユキ、ジムオルーク、口ロロ、mmmなど多岐に渡る。

主なリリースは 「Hiroki Chiba + Saidrum」(2008) 「Eine Phantasie im Morgen」(2017) 「Nokto」(2018) 「Asleep」(2019)

-------------------------------------------------------------------------------------------

【Hiroki Chiba / 千葉広樹】

Starting to play the violin early in his life, Hiroki Chiba launched his career as a bass player in 2004.  Since then he has worked in a variety of  musical contexts and regularly performs with Sangatsu, Shuta Hasunuma Philharmonic Orchestra. He usually performs with doublebass and electronics in various shows and exhibitions. He has launched four albums with doublebass and electronics. "Eine Phantasie im Morgen"(2017), "Nokt"(2018), "Asleep"(2019). 

Other releases include rabbitoo's "national anthem of unknown country" (Naive) and Tomasz Dabrowski's "Ninjazz" (Fortune). 

His past performances include with Jim O’Rourke, Kyoka (Raster-noton), FilFla with Keiichi Sugimoto (minamo, Fourcolor), Akiko Yano, Eiko Ishibashi, Giovanni di Domenico, Taku Unami, Tenniscoats, Yoshihide Otomo, Axel Dorner, Tetuzi Akiyama, Tatsuhisa Yamamoto, Seiichi Yamamoto, Taku Sugimoto, and ASUNA.

He has launched four albums with double bass and electronics. Other releases include rabbitoo's "national anthem of unknown country" (Naive) and Tomasz Dabrowski's "Ninjazz" (Fortune).

[ballooneedle]

Rope Editions presents: Negative Space at THIRD HAND

https://www.instagram.com/ropeeditions/

10월 7일 토요일 연희동에 위치한 목공 스튜디오 THIRD HAND에서 공연을 기획합니다. 이번 공연은 내년에 미국 뉴저지 기반의 Erstwhile Records 에서 발매될 최준용 / 데빈 디산토의 앨범 녹음을 준비하기 위한 자리이기도 하며, 스페셜 게스트로 일본의 타쿠 우나미가 함께 합니다. 데빈 디산토는 작년 로프 에디션스의 음반에도 참여했었던 만큼 이번 공연이 더욱 뜻 깊은 자리가 되지 않을까 싶습니다. 수용 가능한 인원에 제한이 있어 티켓은 사전 예매로만 진행 할 예정입니다. 참석을 원하시는 분들은 프로필에 표기된 구글 폼을 통해 신청서를 제작해 주세요. 연주 중 소음을 유발할 수 있는 핸드폰이나 카메라 사용을 자제할 것을 부탁드립니다. 

Rope Editions presents:  Negative Space at THIRD HAND (Third Hand_Seoul)

⌁ Choi Joonyong ⌁ Devin DiSanto ⌁ Taku Unami ⌑ 티켓: 사전 예매 25,000원 (현매 X) ⌑ 일자: 2023년 10월 7일 오후 8시 ⌑ 장소: 서울시 서대문구 홍연길 87 지하 1층

[vomitandtear]

new album "Sun Plaza" out now

Thanks to Taku Unami and Hong Chulki.

#vomit&tear #Bandcamp

[theodorakatz]

THEODORA KATZ 1st album "HENRY'S POCKET" release💐 theodora katz by me. now bandcamp only. all songs written and performed by maho iitani #6 drums by kazuki ubukata(from ieha) #8 drums by kurumi kadoya(from HYPER GAL) #1,#2,#4,#5,#7,#8 mixed by maho iitani #3,#6 mixed by maho iitani and yuji sakatani masterd by taku unami thank you💟

[imjustseventeen]

2022年7月24日（日）

真夜中にハーゲンダッツ買ってきて濱マイク観ながら食ったのと音楽聴きながらアイコン画像digってた以外の記憶がない。 今日聴いたもの： 1. Suicide『Suicide: Alan Vega · Martin Rev』 2. 相対性理論『TOWN AGE』 3. Diego Schissi Quinteto『TE』 4. Ipek Gorgun『Ecce Homo』 5. Boards Of Canada『Twoism』 6. Boards Of Canada 『In A Beautiful Place Out In The Country』 7. 空色絵本『シグナル』 8. Taku Unami『Stardust』 9. Caterina Barbieri『Spirit Exit』 10. Elephone『Elephone』 11. EXTRUDERS『Bootleg 02』 12. Wechsel Garland『Wechsel Garland』

[doomandgloomfromthetomb]

David Grubbs & Taku Unami - Comet Meta

Like me, you probably know David Grubbs from his pioneering work with Squirrel Bait, Bastro and Gastr del Sol, not to mention his long, varied solo career. Japanese musician Taku Unami, on the other hand, is new to these ears — though judging from his Discogs page, he’s got a similarly vast catalogue to explore. Regardless of their respective backgrounds, this Comet Meta collab is a total delight, with the pair’s crystalline guitars melting together on the lengthy title track or Grubbs’ moody piano drifting over Unami’s soundscapes on “Mirror Auction at Echo Door.” Like much of Grubbs’ previous work, this is understated stuff that encourages deep listening — brainy and quizzical at times, perhaps, but with a friendly undercurrent running throughout. Check it out ... 

#david grubbs #bandcamp monday #taku unami

[noak-esbjornsson-art]

A non-peculiar Spectre

My new album is out today on the Skörd label! 

The music is a mixture of free improvised, prepared guitar a la Keith Rowe, and field recording collages. Taku Unami has been a big influence on how I’ve worked with material. 

The album is free for streaming or download! 

https://skord.bandcamp.com/album/a-non-peculiar-spectre

#music #experimental music #abstract music #eai #field recording #sound collage #guitar #electric guitar #new music #contemporary music #collage #collage music #indeterminacy #skörd #bandcamp

[opalid]

Keith Rowe: guitar, electronics

recorded on September 11, 2011 by Taku Unami at AMPLIFY 2011: stones at The Stone in NYC

#keith rowe #taku unami #eai

[musicmakesyousmart]

Taku Unami & Takahiro Kawaguchi - Teatro Assente

Erstwhile Records

2011

#Taku Unami #Takahiro Kawaguchi #Teatro Assente #Erstwhile Records #2011 #album art #abstract #free improvisation

[dustedmagazine]

Toshiya Tsunoda / Taku Unami — Wovenland 2 (Erstwhile)

Wovenland 2 by Toshiya Tsunoda/Taku Unami

The first words of Toshiya Tsunoda and Taku Unami’s liner notes to the double CD under consideration here are, “Wovenland became a band.” It should be noted that Wovenland was the name of an earlier album by Tsunoda and Unami, the digipak’s spine still credits this recording to the two individuals. And while it is within Unami’s skill set to pick up a guitar and play a song, nothing like that happens on Wovenland 2. The notes continue: “Our band activities are mainly editing in a studio. Our goal is to focus on acoustic experiments. No more and no less.” 

What makes this a band is an overlap of aesthetics and intentions. Both Tsunoda and Unami employ field recordings, and each is quite mindful of the influence that different recording choices exert upon the sound being recorded. But neither treats these concerns as ends. Tsunoda captures essences of place; Unami, who also plays packing materials, synthesizer and guitar in other settings, invites the audience to be aware that they are directing attention to something. Their first recording presented, according to Dusted’s Marc Medwin, “jump-cut juxtapositions of environmental conglomerations, or inter-weavings… with location recordings overlayed or subjected to more radical manipulations.” In other words, the sounds of unrelated places and things were woven together. 

But now that they’re a band, they’ve focused their investigation on the interactions between accurately captured sounds and the human processes that interpret and distort them. The first disc, subtitled Mad Patissier, runs similar inputs through related but contrasting processes. The first two tracks, for example, take the same recording of a fishing spot and runs it through a series of analyses. The variables include changes in sound, who often that change is measured and outputted, and who frequently the output was split into three layers. Maybe your band talks about who gets to solo when; apparently, these guys discuss what numbers go into the equation. Depending what numbers Unami and Tsunoda select, the same source material might reveal pigeons in a birdhouse, or a fine spray of gray noise. A recording of a public event might reveal crowd sounds, or the loudest part of firework explosions. 

The second disc, entitled Speed Freak, captures the band in boys-will-be-boys mode. Readers who grew up with turntables will likely recall the hilarity that ensued when they and their friends started playing records at the wrong speed. Well, imagine the possibilities when you’re working with digital recordings and playback technology. They did. What if you take those fireworks and run them at 64 times the original speed? What happens if you double that? What do you get when you slow down a recording of cicadas grinding out their night songs? These questions are all premises for individual tracks, but the results are not as academic as you might expect. For just as a good song-oriented band doesn’t just play any song any old way if it wants to keep making records, Unami and Tsunoda have only shared the cool sounds on Wovenland 2. It turns out that slowed-down crickets are pretty hypnotic, and that fireworks played at 128 times their original speed still deliver a jolt. 

Bill Meyer

#Toshiya Tsunoda #Taku Unami #wovenland #erstwhile #bill meyer #albumreview #dusted magazine #experimental #electro-acoustic music #field recordings

[radiophd]

david grubbs / taku unami -- failed celestial creatures

#2010s #rock #postrock #guitar #experimental #david grubbs #taku unami