Taku Unami biography, Taku Unami discography
As is customary with this scene, microscopic sounds and a nearly Feldmanian attention to space are key indicators of the path taken (and of those not taken, of course).AMM sense), dedicated to the slow accretion and reduction of sound.With extreme patience, he coaxes the music into a somewhat busier space, allowing glimmers of dialogism (a glitch responding to a thud, etc.There is variety in the noises Unami summons, and he is more willing to use long tones on this piece, but the overall intent is still to avoid compositional logic or patterns.Cagean than that sounds, but like a lot of the most provocative creations to come out of Tokyo of late, Unami seems happy to approach music as a way of posing perceptual problems than via any concern for its content.Name:Taku UnamiProfile:Unami is from Japan and uses laptop and guitar in his mainly improvised work.Shiryo No Computer (CDr)
W.ONJO (CD)
Orange Was The Color O...Add Release: Click this button to add a release to this artist's discography.My Discogs
Submissions
Watchlist
Drafts
Collection
Wantlist
more...Help
Contributing to Discogs
Quick Start Guide
Buying
Selling
Help Forums
more...Recorded and Edited by Bhob Rainey
Greg Kelley has performed throughout the United States, Europe, Japan and Argentina at numerous festivals, in clubs, outdoors, in living rooms, in a bank, and at least once on a vibrating floor.Recorded by Sean Meehan
Sean Meehan became musically active in the late 80's at the Amica Bunker series for improvised music which was then housed at ABC No Rio in New York City.Concert activities, both at home and away, are generally divided between playing in conventional settings for experimental music and in seeking out unique locations that are often in the unobserved and unconsidered corners of the city.Meehan's recordings document some of his collaborations and solo work.Other contributions to the material world include the construction of performance objects that serve as "compositional things."Included in this are the pieces "Gift III" which musically activated a sink full of dishes; "Gift IV" for woodblock; and audio, a boxed set of four cassettes to be played in the mind.Track notes: The roomy sound of this recording is an indication of Meehan's predilection towards open, city spaces.The striking use of silence, especially at the beginning of the track, sensitizes the listener towards the subtly emerging and declining sounds and their gentle relationship to each other.Recorded by Charles Curtis
Charles Curtis is a cellist.He has worked closely with La Monte Young and Marian Zazeela, Alvin Lucier, and Eliane Radigue, all of whom have made solo pieces expressly for him.He has been a guest of artists and groups such as Alan Licht, Michael J.He teaches contemporary music performance at the University of California, San Diego.Combinations of bowing technique and carefully tuned harmonies excite an improbably complex timbre from the cello, rendered even more lively by the multiple tracks.Recorded by Bhob Rainey
Bhob Rainey's music has become a model in the world of experimental sound.Collaborations with musicians such as Ralf Wehowsky, Le Quan Ninh, Gunter Mueller, and Lionel Marchetti, dancers Nicole Bindler and Yukiko Nakamura, and filmmakers Loren Boyer, Harvey Benschoter, and William Pisarri highlight Rainey's broad experience and outline a complex body of work that continues to expand and surprise.Festival appearances have included Musique Action, Instal, Amplify, Densites, Fruits d'Mhere, High Zero, and Improvised and Otherwise.Rainey has always adamantly opposed purely technical readings of his music, and the sometimes pure, medieval qualities of this track help direct attention away from the mechanics of its production and towards the more oblique mysteries revealed in its unfolding.Recorded by Taku Unami
Taku Unami plays objects with the vibarations generated by various speakers and motors steered by subsonic frequencies generated electronically.The airiness of the recording emphasizes the acoustic nature of the sounds produced, but the mechanical rhythms and apoetic structure belie the electronic source of the music.The uneasy marriage of these two elements evokes a kind of enchanted world of personified utensils that is as likely to produce a Duchampian smirk as a stargazer's awe.He brings formidable power and elegance to the kit, and has, like fellow percussionists Sean Meehan and Le Quan Ninh, developed a hitherto unheard approach to drumming and its role in ensemble and solo settings.Edited by Bhob Rainey
Liz Tonne is a sound artist inspired by the unorthodox use of the human voice.She is both an improvisor and an interpreter of contemporary composition who reconfigues the traditional role of a singer.Presently, she is a member of the BSC, a large ensemble of the Boston area's finest electroacoustic musicians led by Bhob Rainey.She is also a member of undr quartet, one of the pioneering ensembles of Boston's lowercase sound, formed with James Coleman, Greg Kelley and Vic Rawlings in 1998.And yet, we all recognize at some level, even on recording, that the human voice is involved.The nightmare is our own, and, when confronted, offers a window to the sublime.The bread in my toaster fails to become toast.Witness the misbehavior in Greg Kelley's "Thistlalia."It is too easily noticeable, too likely to define the music as something merely novel.It hides a more troubling disconnect between music as such and the sounds here presented as music.On this compilation are artists whose strengths lie both in the novelty of their performance techniques and, more significantly, in their ability to force a broader definition of music through the compelling nature of their works.There is an internal logic in all of their music that plays a chicken and egg game with the sonic material, and this immanence of structure and sound ultimately prevents the extraction of one or the other as the music's dominant quality.It breaks and bleeds in hypnotic swirls and unimagined colors.Who wouldn't want things to go wrong in this way?The musicians on this compilation undermine prescribed ideas of music not by attacking its dominant manifestations, but by working with all that is dear to music sans the aid of conventional musical expression.Music, as it breaks, is timely; its reinvention is timeless.Taku Unami (computer and electronic devices) in duo, and in trio with American composer and musician Gene Coleman (bass clarinet).Despite this overall abstract form, and the organic mixture of acoustic and electronic sounds, the music has an open quality to it, as sonic references and images seep in through the cracks and drift overhead.In May 2005, Nakamura, Taku Unami and Gene Coleman played their first concert together in Tokyo.Onkyo, a Japanese word meaning 'reverberation of sound', places much more emphasis on sound texture than on musical structure, distilling elements of techno, noise, and electronic music into a unique hybrid.Since 1998, he's been exploring the possibilities of his instrument in contexts ranging from solo to collaborations with Taku Sugimoto, Keith Rowe, and the duo project Repeat with drummer Jason Kahn.The Improvisation Meeting at Bar Aoyama, a monthly concert series in Tokyo.Four tracks, which have the same title as the album, 'I Was', but are followed respectively by one, two, three and four ellipses, almost to stress the ethereal and serial nature of this work, made of small insisted variations, reminiscent of a certain improvisational experimentation that, as an analytical application, explores all the possible combinations of elements and effects in real time.This weblog is licensed under a
Creative Commons License.Taku Unami
Intransigent towards the detectives of capital
w.Basque laptop player Mattin, the sounds of objects were mixed with thir
own feedback noises, and the laptop was "performed" in the strict sense
of the word.DTM
software led to Unami to give dynamic performance that were clearly
different from sound installations.Taku Unami is, but on this limited CDR he is
credited for playing 'computer'.But it starts out with a
lot of silent stuff.For seconds and seconds nothing seem to be
happening, and then occassionally there is a few sounds.There are moments
when maybe two or three sounds can be heard, which are the most
active bits here.The second and final
piece uses the same sort of structure as the first piece, but here
the sounds are louder, of course when they do sound at all.If you
like silent music, here is your thing.As is customary with this scene, microscopic sounds and a nearly
Feldmanian attention to space are key indicators of the path taken (and
of those not taken, of course).AMM sense), dedicated to the slow
accretion and reduction of sound.With extreme
patience, he coaxes the music into a somewhat busier space, allowing
glimmers of dialogism (a glitch responding to a thud, etc.This is simply a soundtrack for the
late nights alone in your room, listening to the world around you.Cagean than that sounds, but like a lot of the most
provocative creations to come out of Tokyo of late, Unami seems happy
to approach music as a way of posing perceptual problems than via any
concern for its content.Here the question is whether decontextualized
fragments or remains stripped of all references and freed from
narrative flow can constitute anything akin to a form.Cologne)
Der Japaner Taku Unami hat im Nobember 2003 eine Festplattenkomposition
mit unmoglichem Titel (s.Knirschgerauschen nur ein gewisses Grundrauschen zu horen
ist.You did not enter a search term.Michi is a short, very sparse duo performance by trumpeter Masafumi Ezaki and electronicist Taku Unami.Write a ReviewYour TakeTell the world what you think about Taku Unami!AEC One Stop Group, Inc.Hiromichi Hosoma, Kazushige Kinoshita, Kanji Nakao, and Taku Unami) at Baus Theater, Kichijoji, Tokyo.Koharu Yanagiya and Taku Unami at Enban, Koenji, Tokyo.ONJO (Otomo Yoshihide, Kahimi Karie, Masahiko Okura, Taisei Aoki, Ko Ishikawa, Sachiko M, Taku Unami, Kumiko Takara, Hiroaki Mizutani, Yasuhiro Yoshigaki, and Yoshiaki Kondo), Tadasu Takamine, and others at Yamaguchi Center for Arts and Media (YCAM), Yamaguchi.
|
