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High Tones for the Winter Fashion
Textile
There's no denying the quality of individual tracks on this disc ofimprovised electro-acoustic music, but I am reluctant to recommend it.This is because I am really not sure what the disc actually is, or whatit is intended to be. Perhaps I should list its contents, in order ofappearance: two brief pieces by a duo called Alma Fury, who play moogand sampler. One lengthy quartet piece by Alma Fury joined by YasuhiroOtani (computer player whose appearance on the "Four Focuses" compturned my head pleasantly a few years ago) and turntablist OtomoYoshihide. Then two pieces by multi-instrumentalist Xavier Charles, ashort duo by Charles and Otomo, and two more short solo improvisationsby Charles. Now I ask you: is this a compilation? The reappearance ofOtomo on two tracks suggests that some larger framework is in place,though what that could be is unclear. So is it a group withinterchanging members, like the great "Four Focuses" CD? Maybe, butthen we never hear Charles with Alma Fury, and Otani only appears onone piece. It could be that this is a document of a single concert,which would explain the variousness of the disc's contents but, alas,such a possibility is never addressed in the package. That a date andlocation is only supplied for the quartet track implies that the otherrecordings were made at some other date and place, so my theory hasthat hole in it. Is it a meeting of Japanese and French musicians? Ifso, then why are we not presented with solo pieces by Otani and Otomo?I just can't tell what unites these pieces of sound into An Album, so Iam left to describe the music by itself.
High tones are, as the title clearly states, in fashion. Sachiko Mplays them exclusively, TV Pow employ them often, Toshimaru Nakamuraseems to live mostly in the uppermost frequency range, and on and onwith the hordes of late-comers and hangers-on. The sine tone is asobvious and self-explainatory a noise as white static, or 60-cycle hum,or feedback, and as such must be used very intentionally in order to beat all effective. Whatever their relation to each other might be, allperformances on this album use sine tones as a key element. Thankfully,all the muscians are dextrous enough improvisers and sensitive enoughlisteners to create more than a mere demonstration of a trend. AlmaFury (aka Claude Besnard and Vonick Moccoli) seems to be an especiallyexciting duo, whose pieces leap and dive gracefully among gravel growlsand piercing highs. The trio recording covers much territory in its 21minutes, and made me wonder why an entire album was not devoted to thisgroup. When it changed subject to Xavier Charles afterwards, I felt asif I had cold water thrown on me; I was just enjoying the many placesthat this quartet could take me, when suddenly they were gone, thesubject abruptly changed. Not that Charles' solo tracks are bad; theyare not, though the use of recognizable radio fragments has never beento my taste. To me, as soon as an improviser turns on a radio, puresound is brought crashing down to a reference that it cannot recoverfrom; I find myself too aware of the process and attempting to tunethat part out (no pun intended). The Charles/Otomo duo is lesssuccessful than the quartet, if only because they each seem to be doingtheir own thing at the same time, in the same room. I would have likedto hear the possiblilities of their instrumentaion explored in moredepth (could this have been a full duo CD?). The inclusion of twoadditional Charles solo pieces is fine, if (for the reasons alreadydescribed) somewhat puzzling.
There's no denying the quality of individual tracks on this disc ofimprovised electro-acoustic music, but I am reluctant to recommend it.This is because I am really not sure what the disc actually is, or whatit is intended to be. Perhaps I should list its contents, in order ofappearance: two brief pieces by a duo called Alma Fury, who play moogand sampler. One lengthy quartet piece by Alma Fury joined by YasuhiroOtani (computer player whose appearance on the "Four Focuses" compturned my head pleasantly a few years ago) and turntablist OtomoYoshihide. Then two pieces by multi-instrumentalist Xavier Charles, ashort duo by Charles and Otomo, and two more short solo improvisationsby Charles. Now I ask you: is this a compilation? The reappearance ofOtomo on two tracks suggests that some larger framework is in place,though what that could be is unclear. So is it a group withinterchanging members, like the great "Four Focuses" CD? Maybe, butthen we never hear Charles with Alma Fury, and Otani only appears onone piece. It could be that this is a document of a single concert,which would explain the variousness of the disc's contents but, alas,such a possibility is never addressed in the package. That a date andlocation is only supplied for the quartet track implies that the otherrecordings were made at some other date and place, so my theory hasthat hole in it. Is it a meeting of Japanese and French musicians? Ifso, then why are we not presented with solo pieces by Otani and Otomo?I just can't tell what unites these pieces of sound into An Album, so Iam left to describe the music by itself.High tones are, as the title clearly states, in fashion. Sachiko Mplays them exclusively, TV Pow employ them often, Toshimaru Nakamuraseems to live mostly in the uppermost frequency range, and on and onwith the hordes of late-comers and hangers-on. The sine tone is asobvious and self-explainatory a noise as white static, or 60-cycle hum,or feedback, and as such must be used very intentionally in order to beat all effective. Whatever their relation to each other might be, allperformances on this album use sine tones as a key element. Thankfully,all the muscians are dextrous enough improvisers and sensitive enoughlisteners to create more than a mere demonstration of a trend. AlmaFury (aka Claude Besnard and Vonick Moccoli) seems to be an especiallyexciting duo, whose pieces leap and dive gracefully among gravel growlsand piercing highs. The trio recording covers much territory in its 21minutes, and made me wonder why an entire album was not devoted to thisgroup. When it changed subject to Xavier Charles afterwards, I felt asif I had cold water thrown on me; I was just enjoying the many placesthat this quartet could take me, when suddenly they were gone, thesubject abruptly changed. Not that Charles' solo tracks are bad; theyare not, though the use of recognizable radio fragments has never beento my taste. To me, as soon as an improviser turns on a radio, puresound is brought crashing down to a reference that it cannot recoverfrom; I find myself too aware of the process and attempting to tunethat part out (no pun intended). The Charles/Otomo duo is lesssuccessful than the quartet, if only because they each seem to be doingtheir own thing at the same time, in the same room. I would have likedto hear the possiblilities of their instrumentaion explored in moredepth (could this have been a full duo CD?). The inclusion of twoadditional Charles solo pieces is fine, if (for the reasons alreadydescribed) somewhat puzzling.
