Fragments
by Satoshi Takeishi
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1. |
Corrugated Realm
05:49
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2. |
Dust-Dirge
04:55
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3. |
Futura
05:50
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4. |
If I See You Again…
05:59
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5. |
Initiation
01:56
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6. |
Futura Reprise
01:27
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7. |
Fragment I
04:53
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8. |
El Diablo
03:29
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9. |
Unfolding
04:11
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10. |
Fragment II
04:41
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about
Fragments is the conclusion of my triptych electronics works started in 2016 with Dew Drops (clang040) and followed 2017 by Premonition (clang050). Although these three works differs in texture, there are a few rules that I stuck with when I was working on them. One was that all the pieces were to be constructed from improvised performance. Another one was that each projects were directed to achieve a specific feeling I wanted to express in my personal association with ‘electronic music’ that had an strong influence on me.
The pieces in Fragments connects to the feeling of my memories trapped in the old recorded materials I accumulated over the years. The earlier recordings were made with non-professional cassette recorder with a build-in microphone and I recorded anything related to music from rehearsals to ambient sounds to radio broadcast to private music lessons, etc… After a few recycled use of the same tape, I unintentionally created my own Musique Concréte master pieces, only to be thrown away when cassette tape became obsolete and unwanted. But a few survived in a shoe box sitting in my closet. When I listened back to these mish-mash of recordings, I realized that not only the subject of the recording, but the inevitable limitations of the medium and the recording equipment used, and a variety of unintended factors all contributed to tell a story from fragmented moments of my life. I was very much attracted to the ‘intimacy’ of these recordings and wanted to create a small pieces to express that feeling without using the actual recordings from the past.
The making process of Fragments was quite simple (as in my previous triptych works). I gathered various not-so-professional musical instruments and electronic gadgets sitting around in my apartment and recorded a few rounds of improvisations for each instrument. I set myself to stay out of any particular musical style or pattern, and try to focus on getting the sound of the instrument to ‘tell a simple story’. Then using a low-bit sampler software, I performed another round of improvisations using the previously recorded improvisation materials. Some of them went thru cassette recorder and toy sampler keyboard for further audio manipulation. I spent most of my time choosing and mixing the right passages and phrases to construct the final structure.
Thank you always for listening – Satoshi Takeishi
The pieces in Fragments connects to the feeling of my memories trapped in the old recorded materials I accumulated over the years. The earlier recordings were made with non-professional cassette recorder with a build-in microphone and I recorded anything related to music from rehearsals to ambient sounds to radio broadcast to private music lessons, etc… After a few recycled use of the same tape, I unintentionally created my own Musique Concréte master pieces, only to be thrown away when cassette tape became obsolete and unwanted. But a few survived in a shoe box sitting in my closet. When I listened back to these mish-mash of recordings, I realized that not only the subject of the recording, but the inevitable limitations of the medium and the recording equipment used, and a variety of unintended factors all contributed to tell a story from fragmented moments of my life. I was very much attracted to the ‘intimacy’ of these recordings and wanted to create a small pieces to express that feeling without using the actual recordings from the past.
The making process of Fragments was quite simple (as in my previous triptych works). I gathered various not-so-professional musical instruments and electronic gadgets sitting around in my apartment and recorded a few rounds of improvisations for each instrument. I set myself to stay out of any particular musical style or pattern, and try to focus on getting the sound of the instrument to ‘tell a simple story’. Then using a low-bit sampler software, I performed another round of improvisations using the previously recorded improvisation materials. Some of them went thru cassette recorder and toy sampler keyboard for further audio manipulation. I spent most of my time choosing and mixing the right passages and phrases to construct the final structure.
Thank you always for listening – Satoshi Takeishi
credits
released October 26, 2018
All pieces composed and performed by Satoshi Takeishi
Recorded by Satoshi Takeishi Nov 2016 – Sep 2017
Mixed and Mastered by ORC, Brooklyn, NY. 2018
Satoshi Takeishi used Broken Autoharp, Old Log Drum, Really Broken Toy Piano, Thumb Piano and African Marimba from Gift Shop, Glockenspiel for Children, Prepared Banjo, Prepared Hammered Dulcimer, SONY Handheld Cassette Recorder, Yamaha VSS30 as Sampler, Various Audio Processing Softwares.
Cover Art by Satoshi Takeishi
All pieces composed and performed by Satoshi Takeishi
Recorded by Satoshi Takeishi Nov 2016 – Sep 2017
Mixed and Mastered by ORC, Brooklyn, NY. 2018
Satoshi Takeishi used Broken Autoharp, Old Log Drum, Really Broken Toy Piano, Thumb Piano and African Marimba from Gift Shop, Glockenspiel for Children, Prepared Banjo, Prepared Hammered Dulcimer, SONY Handheld Cassette Recorder, Yamaha VSS30 as Sampler, Various Audio Processing Softwares.
Cover Art by Satoshi Takeishi
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clang Denmark
The Denmark-based clang label and booking agency was initiated January 2013. Its most important purpose is take adventurous music to a wider community.
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