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Path of the Wind | Eisuke Yanagisawa<\/a><\/strong> <\/p>\n The Aeolian Harp (also called Wind Harp) is a string instrument that is played by natural wind. It sounds like layered feedback or drones with rich harmonic textures that will change continuously according to the wind direction, strength and consistency. One day, I bought the materials at the local DIY store and built a small Aeolian Harp. I brought the harp outside on windy days, but it made no sound at all. Through trial and error, by altering the string materials, tension, and the angle against the wind, it finally produced a sound.<\/p>\n <\/p>\n The harp resonates with the surrounding environment, changing from place to place. I put two lavalier microphones into each of its two holes to clearly record the tiny resonant sounds, without too much wind interference. What is intriguing to me is that the recording will inevitably include environmental sounds from near and far which are condensed and slightly modulated by the harp. In a way, I use the harp as a kind of transducer as well as sounding body to interact with the environment through the forces of the wind. The recordings themselves are ecological, meteorological and geomorphological observations at a certain time and place.<\/p>\n <\/p>\n <\/p>\n 1. Ferry Passing <\/p>\nngg_shortcode_1_placeholder\n <\/p>\n 2. Seagull <\/p>\n MP3<\/a><\/p>\n <\/p>\nngg_shortcode_2_placeholder\n <\/p>\n 3. In a Park <\/p>\nngg_shortcode_3_placeholder\n <\/p>\n 4. Old Camellia Tree <\/p>\nngg_shortcode_4_placeholder\n <\/p>\n 5. Ridge Line <\/p>\nngg_shortcode_5_placeholder\n <\/p>\n 6. Hegurajima <\/p>\n MP3<\/a><\/p>\n <\/p>\nngg_shortcode_6_placeholder\n <\/p>\n 7. Kinshozan <\/p>\n MP3<\/a><\/p>\n <\/p>\nngg_shortcode_7_placeholder\n <\/p>\n <\/p>\n <\/p>\n 7 Tracks (41\u203214\u2033) <\/p>\n All the recordings are unprocessed field recordings using Aeolian Harps of our own making. Recorded in the Kyoto, Hyogo, Fukui, Ishikawa and Gifu prefecture, Japan from September 2014 to November 2017. <\/p>\n Thanks to: Akitsugu Maebayashi, Haruka Suzuki, Johann Dietrich, John Grzinich, Kosuke Nakagawa, Ryohei Iwaki, Sebastian Scherer, Taiki Yuzawa, Yusuke Gushiken<\/p>\n <\/p>\n www.eisukeyanagisawa.com<\/a><\/p>\n <\/p>\n Field Recording Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Ed Pinsent | The Sound Projector<\/a><\/strong> <\/p>\n Eisuke has built his own models, positioned them in various parts of Japan over the last few years, and gathered in the enclosed recordings. In the sleeve notes, he expends a paragraph or two explaining the precision of his thinking as regards optimal microphone placement, which is but one of many indexes to the thoroughness of his thought and execution; I have no doubt it extends to all of his projects. Some of the recordings allow background details, like the cry of a seagull or a passing ferry, to glide into the picture, and other pieces refer to aspects of the landscape, such as an ancient tree or the \u201cridge line\u201d. Mostly it\u2019s this gorgeous natural unobtrusive drone sound, moving at an unhurried rate, which is guaranteed to induce feelings of inner calm and fulfilment without being tarnished by soppy \u201cnew age\u201d ideas about healing and relaxing.<\/p>\n <\/p>\n The locations are photographed and annotated, in highly concise form; at one time, this label used to spend a lot of money on production of colour booklets of images and notes, but perhaps Eisuke Yanagisawa is just naturally a person of few words. Very good. <\/p>\n Duncan Simpson | Musique Machine<\/a><\/strong> <\/p>\n Mirroring the investigatory style of his work as an ethnographer, Yanagisawa has given these seven pieces simple descriptive titles denoting either the location of the recording – Hegurajima, In a Park – or some element particular to the sounds, for example Seagull and Ferry Passing. The latter piece opens the record and we are immediately confronted by the strange otherworldly harmonics of the harp, which are a world away from the familiar plucked sound of a traditional harp. the sound is something like a combination of feedback harmonics and pure sine tones which vary in intensity and frequency depending on what the wind is doing. On Ferry Passing the microphones mounted on the harp also pick up sounds of waves breaking against the shore of the uninhabited Narugashima island where the harp was placed.<\/p>\n <\/p>\n Seagull, titled after the bird which makes a cameo appearance continues the shoreline theme, this time at a busy beach. The harp is more muted here, emitting a range of lower frequency metallic sounds which leave space for the sounds of passersby, the waves and the aforementioned seagull, which the harp almost seems to respond to; raising its pitch and volume as it passes overhead. Being entirely dependent upon natural wind power for its sounds lends the Aeolian harp a romantic, even spiritual quality that has inspired many literary works. Coleridge dedicated two poems to the instrument during a period when the harp was a common household instrument in more affluent circles. The idea of an ancient natural or mystical music coming through the instrument has inspired many an interpretation upon the harp. There are several monumental versions of the instrument located at sites across the world.<\/p>\n <\/p>\n Yanagisawa may be tapping into some of this antiquity on Old Camellia Tree which locates the harp near a 1200 year old tree, deep in the Yosano-cho valley. The wind speed down into the valley must have been steady as the harp intones consistently, wavering and hovering around the mid range with minimal variation, mimicking the tree’s eons of slow growth. Ridge Line, in contrast, displays more variation as the harp is given almost exclusive pride of place in the recording. There are sharp peaks and troughs in the volume and tone of the harp as gusts of wind pass across its strings. There is little background sound of the environment halfway up Mt.Oeyama, which sounds like quite a remote windy place. Yanagisawa says it took a lot of trial and error to get the harp to produce any sound at all. Varying the string materials, as well as finding the optimum angles to place the instrument, eventually yielded the results we now hear.<\/p>\n <\/p>\n The last two pieces are the longest, each at over seven minutes. The extended length affords the listener more time to appreciate the extraordinary range in harmonic texture produced by the harp. On Hegurajima the progression of the sound and the way it artfully shifts across different tonal registers suggests some alien composer at work. It’s hypnotic, not owing to any rhythmic element or sustained meditation on a single frequency, but rather the effect is like watching flames, or the way water flows around rocks in a stream. The harp is a mediator of natural processes, rendering them into a language we might better understand. It seems appropriate then that on Hegurajima the artist located the harp next to shrine of a God, in this case the God of epidemic prevention. The final piece Kinshozan leave us with thoughts about nature and the passing of time. The harp was placed at the watch tower on the mountain of Kinshozan, around which many fossils are located and mining for limestone takes place. Limestone of course is made from the millions of years old remains of marine organisms. We can hear the faint sounds of machinery at work below as the harp tones glide, from one harmonic texture to another. Music of the eternal wind bears witness to the harvest of time’s bounty. <\/p>\n textura<\/a><\/strong> <\/p>\n The forty-one-minute release by Yanagisawa, an ethnographer, field recordist, university professor, and filmmaker based in Kyoto, provides a remarkable illustration of the music-generating capacity of a natural element, in this instance wind. To explore the phenomenon, he first built a small Aeolian Harp using materials from a local store and then brought it outside to test it out; when no sound resulted, he adjusted the string materials and tension until a better outcome was achieved (two microphones were also adjoined to the harp to record the sounds produced). Delicate harmonic textures are generated that modify according to alterations in wind direction, strength, and consistency.<\/p>\n <\/p>\n Based on unprocessed field recordings recorded between 2014 and 2017 in different parts of Japan, Path of the Wind presents seven settings of subtly contrasting character. When the harp interacts with the surrounding area, it becomes a transducer in the way it picks up environmental sounds; in the opening piece, for example, the reverberant, hollowed-out tones of the harp merge with low-pitched shimmer and warble originating from nearby ferries passing each other. When in the subsequent track the piercing cry of a seagull appears amidst the mutating drone of the harp recording and the sound of waves crashing ashore, it can’t help but startle. In general, the wind tones produce a sound reminiscent of the ebbing-and-flowing hum of electrical wires, which makes for a stark contrast when heard alongside the burble of a water source or bird cry; the final setting, \u201cKinshozan,\u201d even introduces an eerie, sci-fi dimension to the release, despite the fact that the title refers to a small mountain and the tiny clattering sounds derive from drilling at a nearby mine. Yanagisawa’s sound portraits are sometimes so lulling, it’s easy to lose sight of the fact that much of what’s presented are undoctored documents of nature’s handiwork. <\/p>\n \u0141ukasz Kom\u0142a | Nowamuzyka.pl<\/a><\/strong> <\/p>\n Nagrania z \u201ePath of the Wind\u201d powsta\u0142y mi\u0119dzy wrze\u015bniem 2014 a listopadem 2017 roku w prefekturze Kioto, Hyogo, Fukui, Ishikawa i Gifu. Materi\u0105, kt\u00f3ra pos\u0142u\u017cy\u0142a do wygenerowania d\u017awi\u0119k\u00f3w, okaza\u0142a si\u0119 harfa eolska stworzona dodatkowo przez samego Yanagisawa. Wystawia\u0142 j\u0105 wielokrotnie na wiatr, lecz pocz\u0105tkowo nie przynosi\u0142o to \u017cadnych efekt\u00f3w. Musia\u0142 przerobi\u0107 pewne elementy konstrukcyjne a\u017c w ko\u0144cu zacz\u0119\u0142a gra\u0107, poniewa\u017c harfa rezonuje z otaczaj\u0105cym j\u0105 \u015brodowiskiem.<\/p>\n <\/p>\n Do ka\u017cdego z dw\u00f3ch otwor\u00f3w w\u0142o\u017cy\u0142 dwa mikrofony, aby wyra\u017anie nagra\u0107 rozunuj\u0105ce d\u017awi\u0119ki, ale bez zbytniego wp\u0142ywu wiatru. Jak sam przyznaje artysta, u\u017cywa harfy jako pewnego rodzaju przetwornika czy te\u017c brzmi\u0105cego cia\u0142a. Zaskakuj\u0105ca z\u0142o\u017cono\u015b\u0107 harmonii o kszta\u0142cie ambientowych fal, mikrod\u017awi\u0119k\u00f3w \/ -dron\u00f3w oraz drobnych sprz\u0119\u017ce\u0144 wprawia w trans, tym samym zapraszaj\u0105c nas do innego kontaktu z odg\u0142osami natury, bli\u017cszymi d\u017awi\u0119kom wszech\u015bwiata. \u201ePath of the Wind\u201d znakomicie si\u0119 sprawdza powiewaj\u0105c na pograniczu jawy i snu. <\/p>\n Denis Boyer | FEARDROP<\/a><\/strong> <\/p>\n J\u2019ai, il y a plusieurs ann\u00e9es, consacr\u00e9 un num\u00e9ro entier de Fear Drop \u00e0 l\u2019esth\u00e9tique musicale du vent. Je n\u2019ai pas peur d\u2019employer pour le vent cette \u00e9pith\u00e8te, musicale, d\u2019autant que j\u2019insiste fr\u00e9quemment sur la s\u00e9paration entre documentaire et musique.<\/p>\n <\/p>\n La musique que rapporte Eisuke Yanagisawa n\u2019est pas encore celle de l\u2019Aeolian String Ensemble de David Kenny qui retraita admirablement les sons de sa propre harpe \u00e9olienne dans un \u00e9lan m\u00e9lancolique et romantique mesur\u00e9 sur deux disques, mais elle sent encore le bois et l\u2019humus, le roc et le fer, comme une mise au jour du geste po\u00e9tique que Jean Giono, dans Le Serpent d\u2019\u00e9toiles, d\u00e9crit avec la m\u00e9lop\u00e9e quasi tellurique de la harpe \u00e9olienne tendue au pin lyre par les bergers. Un geste comme un porte-voix : l\u2019artiste japonais nous apprend que sa harpe a d\u00fb \u00eatre modul\u00e9e plusieurs fois pour \u00ab sonner \u00bb, qu\u2019ensuite il lui a fallu trouver chaque fois la bonne place, l\u2019orientation convenable, suivre le chemin du vent. Il y a ici, incontestablement, une premi\u00e8re intervention, qui descend plus loin que le simple cadrage. La musique du vent, soit, mais avec un traducteur amplificateur de talent : \u00e0 la charni\u00e8re donc, et pr\u00e9cis\u00e9ment, entre l\u2019indistinct et le geste artistique, qui d\u00e9j\u00e0 articule l\u2019\u00e9motion. <\/p>\n Brian Olewnick | Just outside<\/a><\/strong> <\/p>\n Lutz V\u00f6ssing | skug<\/a><\/strong> <\/p>\n Rigobert Dittmann | Bad Alchemy Magazin<\/a> (100)<\/strong> <\/p>\n TJ Norris| Toneshift<\/a><\/strong> <\/p>\n We are still on the sea once his Seagull begins. The atmosphere is sparse as the bird makes its call and the water laps back\/forth, the harp captures the radiance and curve of the wind. It\u2019s a spectacular wave in and of itself amid the foamy waters. It ranges from harmonic to atonal but remains moving as if its drawing its austere acoustics, as if the artist is capturing an invisible voice, decoding it. Throughout In a Park its somewhat of a reverberating levitating act where the tonal range just continues bending until the ambient noise is reduced to a soft gurgle in the end.<\/p>\n <\/p>\n One would speculate that this instrument has its tendencies to, at times, not do much at all, and this is heard on Ridge Lane. However, what does come through is an amazing understated minimalism without compromising its silences, those we experience we when take the time to observe the world around us, especially when outside major cities. There\u2019s a meditative stillness-inducing sensibility, a centering, right here. This, for me, is the standout track, because of its most stripped down clarity. Yanagisawa says it was: \u201cRecorded in the morning at the Kaetsu Soho Park located half way up Mt. Oeyama in Yosano-cho. Nature and objects on the mountainside fade in and out as the place where the sunlight shines gradually changes.\u201d<\/p>\n <\/p>\n In the final stretch Hegurajima shimmers in pitch and subtlety. It\u2019s more like the continuous after-effect of striking a gong than any harp I\u2019ve ever heard. The tone almost has a glare at certain times. Lastly we have Kinshozan which kickstarts with a fairly quiet rattle and reverb. The striations of tone rise up and become bright spots, again an interesting nod to old school sci-fi soundtracks and life beyond our perception. The voice of the wind is striking to consider as a dialect, as Yanagisawa has done here, allowing for its whispers as well as its ranging contortions. <\/p>\n Beach Sloth<\/a><\/strong> <\/p>\n Frans de Waard | VITAL WEEKLY<\/a><\/strong> <\/p>\n Path of the Wind<\/a> | Eisuke Yanagisaw<\/a> @ BBC Radio 3 – Late Junction<\/a><\/strong> <\/p>\n To Alaska and the Arctic Tundra, on the wind<\/em> <\/p>\n Path of the Wind<\/a> | Eisuke Yanagisaw<\/a> @ PEOPLE\u2019S CHOICE \u2013 BEST OF 2018<\/a><\/strong> <\/p>\n Holger Adam | testcard<\/a><\/strong> Path of the Wind | Eisuke Yanagisawa Gruen 182 | Audio CD + Digital > [order] Reviews The Aeolian Harp (also called Wind Harp) is a string instrument that is played by natural wind. It sounds like layered feedback or drones with rich harmonic textures that will change continuously according to the wind […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-16674","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/16674","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=16674"}],"version-history":[{"count":40,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/16674\/revisions"}],"predecessor-version":[{"id":17434,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/16674\/revisions\/17434"}],"wp:attachment":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=16674"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nGruen 182 | Audio CD + Digital > [order<\/a>]
\nReviews<\/a><\/p>\nngg_shortcode_0_placeholder\n
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\nRecorded on the seashore of the uninhabited island called Narugashima in the Hyogo Prefecture, where stiff winds blew intermittently. The sustained low-pitch sounds come from the ferries passing each other off the coast.<\/p>\n
\nRecorded on the Kehi no Matsubara, a quiet and scenic beach with many pine trees. You can hear the seagull screaming and people chatting while strolling. The beach is located at the foot of the Tsuruga Peninsula where seven nuclear power plants are currently in operation.<\/p>\n
\nRecorded at the Nodagawa Shinsui Park in Yosano-cho, Kyoto Prefecture. Yosano-cho is a rural town on the alluvial fan surrounded by the mountains; the park itself is located along the Noda River.<\/p>\n
\nRecorded near the 1,200-year-old Camellia tree (Camellia japonica, ‚Kurotsubaki‘) located deep in the valley in Yosano-cho. The height and branch spread of the tree is about 10m, presumably one of the biggest and oldest of its kind.<\/p>\n
\nRecorded in the morning at the Kaetsu Soho Park located half way up Mt. Oeyama in Yosano-cho. Nature and objects on the mountainside fade in and out as the place where the sunlight shines gradually changes.<\/p>\n
\nHegurajima is a small island located in the Sea of Japan at the far north of the Ishikawa Prefecture. There are various small shrines and cairns on the island. I set up the harp near the Yasaka shrine in which the god of epidemic prevention is enshrined.<\/p>\n
\nKinshozan is a small mountain located in Ogaki, Gifu Prefecture. The mountain is famous for its abundance of fossils like corals, bivalves and snails which inhabited it about 250 million years ago. People started exploiting its high quality limestone and marble during the Edo period, and the mining-activities are still going on today. I set up the newly-made harp at the watchtower of the mountain where I could see the whole mining area. The intermittent sounds come from the drilling of rocks under the cliff.<\/p>\n
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\nCD (300 copies)<\/p>\n
\nRecording, Edit, Texts: Eisuke Yanagisawa
\nAudio Mastering: Lasse-Marc Riek
\nPhotography: Shin Tukinaga
\nArtwork: Takamitsu Ohta<\/p>\n
\nGermany \/ 2018 \/ Gruen 182 \/ LC 09488 \/ GEMA \/ EAN 4050486131473<\/p>\n
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\nWind Deities – Eisuke Yanagisawa it was who used a bat detector to create an interesting record of bat-frequency sounds around 2011 or 2012. Now this Japanese film-maker and researcher has made Path Of The Wind (GRUENREKORDER GRUEN 182), a lovely record featuring the sounds of the Aeolian harp, also called the wind-harp. Long a favourite with people who love the weather and the environment, these devices (not much more than a resonating box and some strings to be blown by the wind) have a history going back to the 17th century and have even featured in classical composition and poems from the romantic era.<\/p>\n
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\nThe Aeolian harp is a stringed instrument – usually hand crafted – which produces a range of harmonic tones when wind passes across it. It has a long history – imbued with romanticism and mysticism – stretching back to antiquity, from where it derives its name from Aeolus, the Greek God of the wind. For Path of the Wind – Eisuke Yanagisawa’s third record for Gruenrekorder – the Japanese film maker and field recordist constructed his own Aeolian harp, mounting two microphones into its sounding board. He then recorded the tones produced at a variety of locations across Japan.<\/p>\n
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\nEvery six months or so, new items appear on Lasse-Marc Riek and Roland Etzin’s Gruenrekorder imprint that present innovative treatments of field recordings-based work. Three recent projects exemplify the imaginative sensibilities artists bring to the label’s output, in this case releases by Eisuke Yanagisawa, Gregory B\u00fcttner, and Michael Lightborne (all three are available in digital form, the first two also as CDs and Lightborne’s in vinyl). As an indication of the breadth of the label’s projects, Yanagisawa’s Path of the Wind focuses on sounds generated by the Aeolian Harp, a string instrument \u2018played‘ by nature, whereas Lightborne’s Sounds of the Projection Box has to do with ambient sounds originating from UK-based cinema projection booths. Each of the three releases fascinates in different ways.<\/p>\n
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\nEisuke Yanagisawa to japo\u0144ski etnograf, scenarzysta i filmowiec z Kioto. Swoj\u0105 uwag\u0119 skupia na s\u0142uchaniu i rejestrowaniu brzmie\u0144 oraz rezonans\u00f3w z poszczeg\u00f3lnych miejsc, a tak\u017ce na odkrywaniu d\u017awi\u0119k\u00f3w z perspektywy kulturowej, ekologicznej, geograficznej, akustycznej i historycznej. Proces ten obejmuje obserwowanie i rejestrowanie ma\u0142ych, ukrytych i nies\u0142yszalnych d\u017awi\u0119k\u00f3w przy u\u017cyciu r\u00f3\u017cnych typ\u00f3w mikrofon\u00f3w. Od wielu lat Yanagisawa interesuje si\u0119 kultur\u0105 gong\u00f3w mniejszo\u015bci etnicznych zamieszkuj\u0105cych Centralne Wy\u017cyny Wietnamu.<\/p>\n
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\nLe label allemand Gruenrekorder a b\u00e2ti sa r\u00e9putation sur une s\u00e9lection exigeante et originale d\u2019enregistrements de terrain \u2013 field recordings \u2013 r\u00e9partis en trois s\u00e9ries de CD ou de vinyles : field recordings purs, soundscapes et sound art, marquant la progression de l\u2019implication humaine dans le produit sonore final. La premi\u00e8re s\u00e9rie, \u00e0 vocation principalement documentaire, h\u00e9berge cette fois un disque de l\u2019artiste japonais Eisuke Yanagisawa qui aurait pu ais\u00e9ment se placer dans l\u2019une des deux autres tant les qualit\u00e9s harmoniques qui le parcourent sont manifestes. Pourtant\u2026 pourtant, formellement il s\u2019agit de field recordings purs, intouch\u00e9s, \u00ab unprocessed \u00bb nous affirme Eisuke Yanagisawa. Il faut dire qu\u2019il a concentr\u00e9 ici des pi\u00e8ces r\u00e9alis\u00e9es autour d\u2019une unique mais riche mati\u00e8re sonore : le vent. Une harpe \u00e9olienne de sa propre fabrication, tendue dans divers lieux qui intitulent chaque pi\u00e8ce, munie de micros sensibles, et le registre d\u2019un vent changeant, aux directions, forces et intensit\u00e9s variables, s\u2019ouvre pour quelques dizaines de minutes. Les harmoniques, le drone \u2013 sans conteste \u2013 les subtiles att\u00e9nuations de la luminosit\u00e9 cr\u00e9ent dans la repr\u00e9sentation musicale du vent une seconde respiration. L\u2019amplitude, du souffle t\u00e9nu \u00e0 la concavit\u00e9 m\u00e9tallique imp\u00e9tueuse, dessine un paysage aussi changeant dans ses spires que dans les cr\u00eates, arbres ou habitations qui les d\u00e9corent (de loin en loin, des sons des diff\u00e9rents environnements qu\u2019Eisuke Yanagisawa a \u00e9lus viennent festonner discr\u00e8tement la trame vibrante et miroitante, oiseaux, ferry, amalgam\u00e9s \u00e0 ce fredonnement primordial comme le coup de dent contre la langue). J\u2019ai vu et entendu bien des musiciens qui, avides d\u2019une forme \u00e9l\u00e9gante aux fronti\u00e8res de la texture, rendent \u00e0 l\u2019aide de gongs, de cordes, de lames de bois, de laptops, l\u2019image sonore d\u2019une musique en \u00e9closion en tout point pareille \u00e0 celle-ci. Car il faut bien l\u2019admettre, si le musicien des bourdons s\u2019aventure parfois aux abords de la grille fondamentale et parvient \u00e0 y demeurer artiste, ma\u00eetre de son geste et dompteur de la forme sonore primordiale, celle-ci, \u00e0 son tour, s\u2019en approche quand elle est prononc\u00e9e de l\u2019autre c\u00f4t\u00e9 de la fine paroi, par les gisements de musiques premi\u00e8res que sont l\u2019eau ou le vent ; alors la confusion est totale, et la conformit\u00e9 \u00e0 s\u2019y m\u00e9prendre.<\/p>\n
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\nYanagisawa crafted a homemade Aeolian harp, then took it to various locations where it interacted with the environment, natural and manmade. The harp created the eerie, quavering tones that these instruments tend to do and both blends in and offsets the surrounding sound-world very effectively, whether that world is made up of low horns of passing ferries, waves and seagull cries, drilling from a local mine or much subtler contributions. The minute fluctuations in the character of the harp are quite intriguing as are the various environs and the interpenetration of the two. Yanagisawa evinces great sensitivity in his choices. While perhaps more over than, say, Toshiya Tsunoda’s recordings, fans of his work will find much to enjoy here.
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\nDer japanische Filmemacher und Feldrekorder Eisuke Yanagisawa trat in der Vergangenheit bereits mit Aufnahmen in Erscheinung, welche einen Teil des Ortes, an dem er seine Technik installiert hatte, einfangen sollten. In einer dieser Aufnahme, \u00bbUltrasonic Scapes\u00ab (2011), wurden den Menschen umgebende, aber mit freiem menschlichem Geh\u00f6r oft nicht wahrnehmbare Kl\u00e4nge, wie das Surren von Zikaden, das Rufen von Flederm\u00e4usen oder auch das Brummen von Ampeln, mit Hilfe eines Ultraschallmikrofons zum Teil verst\u00e4rkt, dokumentiert. Auf \u00bbPath of the Wind\u00ab bedient er sich selbstgebauter \u00c4olsharfen, das sind Saitenkonstrukte, die, vom Wind angetrieben werden und von selbst \u2013 je nach Windst\u00e4rke und -richtung \u2013 ein hohes Leiern oder Dr\u00f6hnen fabrizieren. Das Mikrofon wandelt dann den Wind in die T\u00f6ne des Instruments um. Doch auch die f\u00fcr Japan so typischen Alltagsger\u00e4usche, etwa Meeresrauschen mit Seev\u00f6geln, spazierende Menschen, eine ankommende F\u00e4hre oder am Schluss des Albums die Arbeiten in einem Steinbruch, an dem Yanagisawa Station macht, scheinen in den Aufnahmen durch. Dort ist es besonders windig, und dementsprechend sind die Drones von einer hohen Intensit\u00e4t, man sp\u00fcrt den Wind \u00fcber diese besonderen Orte und Szenerien hinwegfegen und ihre jeweilige Essenz \u00fcber die Saiten fegen und sich verdichten: eine \u00fcber 1.200 Jahre alte japanische Kamelie in Yosano-cho, ein Strand, ein Park oder sieben in der N\u00e4he befindliche Kernkraftwerke. Die Harfe wandelt all das Leben in Betrachtungen des Ortes um, ihrer spezifische \u00d6kologie, Geologie und ihre Geomorphologie. Nach Vorschrift des Labels sind diese Aufnahmen g\u00e4nzlich unbearbeitet. Yanagisawa ist also weniger Musiker als vielmehr Dirigent oder Kurator. Er stellt das Instrumentarium und w\u00e4hlt aus, l\u00e4sst die Natur ihre Lieder singen.
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\n[…] EISUKE YANIGASAWA ist in Kyoto ein Fieldrecorder, der wie mit der W\u00fcnschelrute zwar nicht Wasser, aber doch dessen Kl\u00e4nge gesucht hat („Scenery of Water“). Bei „Ultrasonic Scapes“ hat er Flederm\u00e4use, Zikaden, automatische T\u00fcr\u00f6ffner und Stra\u00dfenlichter belauscht oder Furin Bells. Der Wind spielt nicht nur diese feinen Glockenspiele, die K\u00fchle suggerieren, er harft nun bei Path of the Wind (Gruen 182) auch auf Yanigasawas Aeolian Harps. Dabei nimmt der Japaner bei seinen Fieldtrips und Windscapes Beifang mit auf: das Fauchen des Windes, das Brummen von F\u00e4hren vor Narugashima, das Krah-krah-krah einer M\u00f6ve am Strand von Kehi no Matsubara, die rauschende Krone einer Camellia japonica, die vage Atmosph\u00e4re von Parks, die noch vagere Aura eines Schreins, die ferne Klangkulisse des Kinshozan-Kalksteinbruchs bei Ogaki. Der Wind erzeugt summende Schwellkl\u00e4nge, t\u00f6nend changierendes Vibrato wie von einem sanften Donnerblech, Fl\u00f6tent\u00f6ne, die leicht an eine Sh\u014d erinnern, an ein Theremin oder an den dr\u00f6hnenden Nachhall einer Steelpan oder Hang. Im Grunde ist der Klang aber schlicht einzigartig.
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\nThe unprocessed field recordings of Eisuke Yanagisawa were made all around Japan (2014-17) using Aeolian Harps (a stringed wind harp). On his fourth solo record since 2009, Path of the Wind includes seven tracks with a run time of over forty minutes, each named after their location or single subject as titled. Kyoto-based Yanagisawa is an ethnographer and filmmaker as well. The recording begins with Ferry Passing. It\u2019s amazing to think that he is basically placing the instrument, in-situ, and it is able to channel the air and natural environment in this way, with only the sounds of the un-manned instrument and the nearby surroundings. It\u2019s a wondrous, peculiar warped processing of waves that sounds more like an alien space craft is arriving, rather than a ferry. I\u2019d imagine he selects settings that are somewhat uninhabited and as remote as possible to channel the undisturbed place, only emitting the circulation of open air.<\/p>\n
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\nEisuke Yanagisawa shows love for their surroundings with the surreal drones of \u201cPath of the Wind\u201d. Infinitely delicate the way that the pieces evolve seems to go for a meditative, fully immersive sort of scenario. By making sure that these field recordings float further and further away from their origins, Eisuke Yanagisawa makes sure that the whole of the scope works wonders in gradually weaving itself into the mind. Hard to precisely pin down, besides the obvious drone influences and environmental elements Eisuke Yanagisawa utilizes elements of classical into the mix ensuring that everything comes together in a grand stream of consciousness style.
\nOpening up the album and setting the tone for what follows \u201cFerry Passing\u201d has a high-pitched, uneasy glimmer to it. Nearly metallic at times, the whole of the piece evolves at a deliberate pace. Further embracing the oddity \u201cSeagull\u201d continues to explore aural underbellies, this one somewhat lightened by the sound of the waves crashing against the shore. Near silence rules over the intimate \u201cIn a Park\u201d. A static drone radiates over the course of the incredibly subtle \u201cOld Camellia Tree\u201d by far the highlight of the album. Strangely beautiful \u201cHegurajima\u201d continues along at its own unique pace. With \u201cKinshozan\u201d Eisuke Yanagisawa brings the entire album to a stunning, oftentimes surprisingly lovely, conclusion, with little snippets of pure bliss hidden amongst the many layers.
\n\u201cPath of the Wind\u201d proves Eisuke Yanagisawa to be a masterful storyteller all without a single word spoken.
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\n[…] This new trio of releases by Germany’s Gruenrekorder all deal with field recordings, yet none in a very traditional way; not your usual ‚let’s tape some bird calls‘ type of thing. First there is ‚Path Of The Wind‘ by Eisuke Yanagisawa, who set up an Aeolian Harp of his own making and recorded the instrument in a bunch of locations. The Aeolian Harp is also known as wind harp and it’s were wind plays the strings attached to it. Yanagisawa learned how to work it, with string s being attached, tension and angles to capture the right amount of wind, which causes the strings to vibrate and thus a rich pattern of harmonic overtones emerge. I must say I can understand his choice of title, as it is the path of the wind that causes these strings to vibrate, but I think it’s also quite a terrible new age like title. That title is the only downside to the album, as the music pieces, all seven of them, are great. The Aeolian Harp is set-up in quiet areas, a beach, a park in a rural town, near a 1200-year old tree and sometimes we hear a bit of the environment through the ringing and singing of the strings; some sea waves, a bird flying over, but it’s the harmonics of the instrument that make the piece. Obviously there is some overlap in sound here and there, yet there is also quite a bit of variation in these pieces; some are sustaining quite a bit, while ‚Ridge Line‘ has a more careful off and on approach. The overall recording quality is excellent; there isn’t any wind that blows down the microphones, so the emphasis lies on the instrument. This I thought is a great release. It’s field recordings, it’s sound art, it’s music and it reminded me of Alvin Lucier’s ‚Music On A Long Thin Wire‘, which I guess is always a thing. […]
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\n16 January 2019 – 1 hour, 30 minutes<\/p>\n
\nGet set for some long-haul musical travel with intrepid itinerant Nick Luscombe tonight.
\nJoin multidisciplinary artist NSDOS on an Alaskan expedition, where he uses \u2018bio-feedback\u2019 to turn data into extraordinary textures and rhythms.
\nAnd, experience the environmental sounds of the Arctic Tundra through the responsive composition of Derek Charke and the evocative playing of the Kronos Quartet.
\nWhat means of transport will we use for our journey? Why, the wind of course! Eisuke Yanagisawa channels the airwaves and the weather for his unprocessed field recordings made outdoors in Japan. | Produced by Jack Howson for Reduced Listening.<\/p>\n
\nToneshift: The Future of Music, Today!
\nwww.toneshift.net<\/a><\/p>\n
\nDrau\u00dfen vor der T\u00fcr: Field-Recordings und Sound-Art von Gruenrekorder
\nGruen, gruen, gruen sind alle meine Farben \u2013 bereits zum dritten Mal in Folge eine Gruenrekorder-Kolumne in testcard. Wie immer kommt man aus dem Staunen nicht heraus, wenn man sich die Ver\u00f6ffentlichungen des Frankfurter Labels anh\u00f6rt. Unerschrocken und ohne mit der Wimper zu zucken haben sie die Ger\u00e4usche von laufenden Filmprojektoren auf Vinyl gepresst: Sounds Of The Projection Box<\/a> hei\u00dft das Album von MICHAEL LIGHTBORNE<\/a> und es dokumentiert das Rattern der Maschinen, deren Ger\u00e4usche \u00fcblicherweise nicht aus der Kabine von Filmvorf\u00fchrern hinaus dringen. Ger\u00e4usche, die vom Aussterben bedroht sind, weil Filme ja mehr und mehr digital an Lichtspielh\u00e4user \u00fcbermittelt und dort abgespielt werden. Insofern wird hier akustisches Kulturerbe archiviert, und wer die Platte auflegt, kann sich bei geschlossenen Augen in die Rolle des Filmvorf\u00fchrers imaginieren und zus\u00e4tzlich versuchen, den Tonspuren bzw. -fetzen der ablaufenden Filme ein zus\u00e4tzliches Narrativ abzuringen. \u00c4hnlich abenteuerlich auch die Aufnahmen von GREGORY B\u00dcTTNER<\/a>, der f\u00fcr Voll.Halb.Langsam.Halt<\/a> die Fahrt eines alten Dampfschiffes, eines Eisbrechers dokumentierte, bearbeitete und sein Vorgehen sowie das Ergebnis wie folgt kommentiert: \u201eI had the chance to take a trip on the ship from Rostock to Ru\u0308gen over the Baltic Sea in 2010. The body of the ship is completely built from metal, so it is a big resonant room which sounds very different on each spot which I put my contact mics on (I used two contact mics, so I could record in stereo). I walked around the ship, placing my mics on different areas of the ship and also directly on parts of the steam engine, which is still fired by coal. For the composition I only used the pure recordings without additional sound manipulations, only juxtapositions, transitions and cuts.\u201d Alles klar? Der Kahn bzw. das, was B\u00fcttner aus seinen Ger\u00e4uschen macht, kann locker mit Merzbow mithalten. Harter Stoff. Metallisch k\u00fchl, aber weniger krachend klingt auch Gasworks<\/a> von GERALD FIEBIG feat. EMERGE & CHRISTIAN Z. M\u00dcLLER<\/a>. Der Ort als Resonanzk\u00f6rper f\u00fcr Ger\u00e4usche bildet das Ausgangsmaterial f\u00fcr diese CD. Entsprechend r\u00e4umlich ist in der Tat viel von dem, was es zu h\u00f6ren gibt, organisiert: Echo und Hall spielen eine gro\u00dfe Rolle im Klangbild \u2013 aber auch eine dialekt-gef\u00e4rbte Stimme, die von der industriellen Nutzung des Geb\u00e4udes erz\u00e4hlt, kommt, erg\u00e4nzt um Ger\u00e4usche, zu Wort. So entsteht f\u00fcr das Gaswerk von Augsburg-Oberhausen ein Denkmal. Der gleicherma\u00dfen verspielte und dokumentarische Charakter der musikalischen Arbeiten verwandelt den fr\u00fchindustriellen Arbeitsalltag in eine geisterhafte Klangreise: \u201eDes gibt\u2019s heut\u2018 nimmer.\u201c Bemerkenswert. Maschinenmusik ist auch auf der Slotmachine<\/a>-10\u201c versammelt, einem Projekt von ACHIM ZEPEZAUER<\/a>, der von unterschiedlichen Musiker*innen jeweils 45 Sekunden lange Klangskizzen anfertigen lie\u00df, die in der Logik eines Spielautomaten und nach Zufallsprinzip geleichzeitig aufgerufen werden k\u00f6nnen. Realisiert ist das im Rahmen einer Online-Anwendung, die das Bedienen eines virtuellen Spielautomaten zur Erzeugung der Zufalls-Kompositionen zug\u00e4nglich macht, hier: http:\/\/slotmachine.kuhzunft.com<\/a>. Viel Spa\u00df! (Die 10\u201c dokumentiert nur einen kleinen Teil der gewisserma\u00dfen unendlichen Kombinationsm\u00f6glichkeiten.) Auch KATHARINA KLEMENT<\/a> liefert mit Peripheries<\/a>, einem akustischen Portrait der Stadt Belgrad, eine quirlig-nerv\u00f6se und herausfordernde Arbeit ab. Unter Zuhilfenahme des Stadtplans erstellte Klement eine kartographisch inspirierte Partitur. Verschiedene Lokalit\u00e4ten in der Stadt wurden aufgezeichnet und ineinander gemischt. So entsteht ein wahres Klang-Gewimmel, das beizeiten wirklich anstrengend sein kann. Ich empfehle nach Selbstversuch folgendes: Die Aufnahmen auf dem Balkon abspielen und die Balkont\u00fcre offenlassen, w\u00e4hrend man im Zimmer bleibt. So entsteht der Eindruck, drau\u00dfen sei Belgrad! Bei der Gelegenheit gebe ich gerne zu, dass mir im Zweifel die eher ruhigen Aufnahmen aus tropischen Gefilden lieber sind. F. Guyana<\/a> von MARC NAMBLARD<\/a> hilft sich vom Stress in Belgrad zu erholen. Allerlei hypnotisches Summen, Surren und Dr\u00f6hnen der Flora und Fauna von der Nordk\u00fcste S\u00fcdamerikas! Auch DAVID ROTHENBERG<\/a> hat wieder mit allerlei V\u00f6geln Musik gemacht und sich f\u00fcr Nightingale Cities<\/a> auch zus\u00e4tzliche menschliche Instrumentalist*innen dazu geholt. Die in Berlin und Helsinki angefertigten Aufnahmen geh\u00f6ren sicherlich zum zug\u00e4nglichsten Material in dieser Kolumne, die V\u00f6gel sind freundliche Wesen, die Musik ist es auch. Wer noch nie eine Gruenrekorder-Produktion geh\u00f6rt hat, kann vielleicht auf diesem Weg einen sanften Einstieg in den Katalog des Labels finden. Fr\u00fchlingsmusik. Ganz anders und noch besser: die Windharfen-Aufnahmen auf Path Of The Wind<\/a> von EISUKE YANAGISAWA<\/a>. Windharfen, gro\u00dfe Saiteninstrumente in die Brise gestellt, werden buchst\u00e4blich von der Natur gespielt und je nachdem, wo die Windharfen standen mischen sich unterschiedliche Umgebungsger\u00e4usche unter die bet\u00f6renden Kl\u00e4nge der Instrumente. Ambient Drone mit Seem\u00f6ve. Minimal Music mit Meeresrauschen. N\u00e4her an New Age Klanglandschaften waren Gruenrekorder vielleicht nie, und es schadet nicht: Absolutes Highlight! Das Meer rauscht auch auf De Rerum Natura \/ Dance of the Elements<\/a> von MERZOUGA<\/a>, die nichts geringeres als eine Komposition auf Grundlage des Lehrgedichtes von Lucretius\u2018 wagen. Soweit so ambitioniert, aber da muss man sich nicht abschrecken lassen. Musik ist immer Ausdruck von Ideen, hier eben einer dezidiert philosophischen. Und elektronische Musik eignet sich auch nicht erst seit gestern, zur Verdeutlichung, mithin Vermittlung abstrakter Vorstellungen. Und so knistert es kleinteilig, die Atome tanzen unsichtbar aus den Lautsprechern, eine Stimme fl\u00fcstert hier und da Versatzst\u00fccke in englischer und lateinischer aus dem Gedicht usw. \u2013 ein kurzeiliges, abwechslungsreiches und durchaus spannendes H\u00f6rerlebnis, das dem \u00dcberbau entsprechen mag; letztlich aber spielt es zum Genuss der Komposition keine entscheidende Rolle, w\u00fcrde ich meinen. \u00c4hnlich gelagert ist es wom\u00f6glich im Fall von The Secret Life of the Inaudible<\/a> von ANNEA LOCKWOOD und CHRISTINA KUBISCH<\/a> anzuh\u00f6ren. Die beiden Klangk\u00fcnstlerinnen haben sich Soundfiles von an sich bzw. f\u00fcr Menschen nicht h\u00f6rbaren geophysikalischen Ph\u00e4nomenen zur gegenseitigen Bearbeitung vorgelegt: elektromagnetische Wellen, Ultraschallwellen, Sonnenwinde\u2026 akustische Ereignisse also, die zun\u00e4chst technisch in eine f\u00fcr das menschliche Ohr h\u00f6rbaren Frequenzbereich \u00fcberf\u00fchrt werden m\u00fcssen und von Kubisch und Lockwood bearbeitet wurden, und die dann \u2013 wie auch immer das im Detail von Statten ging \u2013 daraus sozusagen dunkle Materie gewannen. Mich w\u00fcrde einmal interessieren, inwiefern, das geologisch-kosmische Quellenmaterial, wo es ohnehin in den h\u00f6rbaren Bereich \u00fcbersetzt und also synthetisiert werden muss, nicht auch anders, also mit weniger Aufwand, generiert werden k\u00f6nnte? Ich nehme behelfsweise an, es w\u00e4re nicht dasselbe! Wie dem auch sei, das Ergebnis fasziniert: Sunn O))) \u2013 Kindergarten dagegen. Finster dr\u00e4uende, pechschwarze Klangfl\u00e4chen. Wahrhaft infernalische Musik aus dem Reich des sonst Nichtwahrnehmbaren. Hervorragend.
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