From: Wesley (wesleyhongkong@earthlink.net)
Date: Sun Dec 22 2002 - 22:40:25 CET
[Sound :: Lounge] http://groups.yahoo.com/group/SoundLounge
-------- Original Message --------
Subject: Reviews :: Tujiko Noriko, Oka & Kamaziki, Susumu Yokota, John
Beltran
Date: Sat, 21 Dec 2002 14:56:30 -0800
From: Wesley <wesleyhongkong@earthlink.net>
To: Sound*Lounge <soundlounge@yahoogroups.com>
Reviews :: Tujiko Noriko, Oka & Kamaziki, Susumu Yokota, John Beltran
source: Overload Media
2002-08-28 - Single OKA & KAMAZIKI 'Cake' (Dark House Music)
Hard-edged three-tracker from the Dark House stable, with label faves
Kenichi Oka and Yoshinori Yamazaki at the helm. On the A-side, Londonfs
long-serving slave to the rhythm, Mark Broom (Ben Simsf collaborator
and owner of Pure Plastic), hits home with a lengthy loop-based tool of
tribal techno shenanigans, remixing eHot Cakef into a lingering
dancefloor movement ? sure testament that Mark is still one of the
finest exponents of the style. The flip features two dark, driving DJ
cuts from Jap duo - eHot Cakef is a thick sweaty stomper with
dynamically punctuated percussion, whilst eTrojanf drops swirling keys
into a whirlpool of Millsian percussion. Itfs the Broom track thatfll
see the most rotation here though - that's one badass groove. DJ
2002-09-24 - Single NORIKO TUJIKO 'I Forgot The Title' (Mego)
This is a reissue of four tracks from her very obscure first album
'Shojo Toshi', plus one live recording on the experimental Mego label
that has been home to legendary genre ignorers such as Farmers Manual,
Fennesz and Jim O'Rourke. Opening very promisingly with lots of strong
sustained piano and a real dramatic feel, the next thing to hit you is
her fantastic voice, kind of like a Japanese Bjork, that really acts
like an extra instrument on these tracks. The A-side makes most use of
this with the first track really standing out to me - an orchestral and
captivating piece of work. The other side has more basic, toytown
melodies plus the live track. MH
2002-09-12 - Album JOHN BELTRAN 'Americano' (Exceptional)
John Beltran, the press release assures us, leads a equiet but athletic
lifef. I found myself speculating on what this might mean. A secluded
cottage in Cornwall fitted out with a gymnasium? Quiet, secluded sprints
along country lanes? I remember a compilation called e313f or
something similar from the early 90fs, where Beltran figured either
under his own name or as Placid Angles. His minimal electronic house
sound was suffused with a generous, airy warmth assisted by string
chords that sounded like a jet cruising through an icy morning sky,
trailing chilly vapour skeins, the sun coming up over the horizon.
Whereas in the early days, the jazz, Latin and funk influences were
implied, and the sense of forcing a personal vision out of minimal
equipment was palpable, now those influences are more explicit ? even
sampled. This reminds me of similar progressions in the music of
Nightmares on Wax and Kirk DeGiorgio. Is it such a good thing to doff
your lid to the past like this, so self-consciously? To manifest overtly
what was already manifesting unconsciously? I donft really know.
Something is gained, something lost. The subtle desperation that is at
the very heart of classic house music is still present in Beltranfs new
album, as it was in his earlier material. There is also an element of
styling which is merely chic. No matter, the warmth of feeling of the
man behind this music positively leaps out of the speakers, and thatfs
enough. AR
2002-08-21 - Album SUSUMU YAKOTA 'The Boy And The Tree' (The Leaf
Label)
With more than a couple of albums under his belt (well, approximately
25), one could be forgiven for thinking that Yokota may have run out of
ideas. However, that is not the case, and this new venture for The Leaf
Label is another wonderful release from the Japanese genius. An album of
textures, thoughts, visions and soundscapes, 'The Boy And The Tree' is a
strikingly beautiful representation of Yokota's fascination with nature.
'Live Echo' sees reverbing crashed metallic drums take centre stage,
while attractive keys, growing guitars and heavily altered vocals add an
extra dimension. 'Secret Garden' is an unspoilt hideaway known only to
Yokota, and the place can be visualised courtesy of floated airy synths,
refined Japanese keys, medieval spiritual vocals and earth moving
percussion. 'Red Swan' shows the influence of other parts of Asia on
Yokota's sound, as shaked bells, an elegant minor keyed melody and a
pained siren invokes apparitions of a bustling far eastern market.
'Future Tiger' looks to India for its lazy melody, while intricate
horns, screeching birds and praising vocals combine beguilingly well.
Yokota is a true master of ambience, who thinks nothing of baring his
soul and sharing intimate secrets with his listeners. JF
http://www.overloadmedia.co.uk/
-- ECLECTIC Japan [Sound :: Lounge] http://groups.yahoo.com/group/SoundLounge
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