▶ David Toop – Entities Inertias Faint Beings [LP]

david toop lp

音樂家/樂團:David Toop
專輯:Entities Inertias Faint Beings
類型:Electronic, Modern Classical, Ambient
廠牌:Room40
定價$950


十年來全新大作

集聲音藝術/音樂作曲家、教授兼系主任和聲音策展人、專欄樂評、作家等多重身份於一身,2014年來台於北藝大講座及失聲祭演出

Lawrence English領導的澳洲實驗音樂品牌Room40首進駐

Pitchfork 7.5高評

此項商品已完售


“The music existed already, spores maybe or dormant clusters of digital files. Out of three peri- ods of solitude the germination began. The first was in Queensland, on Tamborine Mountain (an aboriginal name), so silent at night that I listened to recorded music – Japanese gagaku, Buddhist ritual from Bhutan, Korean Confucian music – as if drifting into cavernous black space. Stepping into sleep I saw a hypnagogic image – a transparent swimming pool suspended over the mouth
of a volcano. I read Stephen Mansfield’s book on Japanese stone gardens – “Suc-cessful stone arrangements seem almost alive, the elements conversing among themselves with an occult vitality, the call and response that has been noted between well-placed rocks resembling the chanting of Buddhist sutras” ; Daylight listening in chill air, hearing whip birds, butcher birds, noisy mynahs, kookaburra chatter, rainbow lorikeets; catapult elastic, I wrote, radio waves in a kettle, electric buzzers. On Queensland’s Gold Coast I gazed at a distant humpback whale breaching out to sea, watched Yasujiro Ozu’s 1934 silent version of A Story of Floating Weeds, listened to cicadas burst into life as a helicopter flew overhead.

Back into society and driving with Lawrence English I asked him, why would anybody release music in the 21st century? He laid out his philosophy; I was convinced. Then in St Ives, Cornwall, solitary again, drawing, reading Timothy Morton’s Hyperobjects and Clarice Lispector’s Agua Viva (her beautiful sentence: “dry keys echo in the dark and humid early hours”), gazing at ocean flux, music trembling into life from secreted audio files, music becoming living entities. Phantoms rose up out of sea mist, images of black light and blistered skin from photographers (Takuma Nakahira and Tomatsu Shomei), the fermenting of sounds. From a distance I heard voices – the extraordinary painter Mariko Sugano reciting ancient Japanese garden texts on the taboos associated with stone setting; Emi Watanabe’s flute as if a ghost from the Noh; the sounds of underwater creatures in my pond; Sylvia Hallett’s sarangi crying (in cavernous black space); the fervent drumming of Rie Nakajima’s small mechanical beings (like cooking with paper, wire and batteries); John Butcher’s reeds, music as a scientific exploration of the body, the instrument.
Rie talked about the properties of objects, soft or hard. In the Noh play Aoi no Ue, the spirit is compelled with drum and plucked string (the catalpa bow).

In solitude I contemplated death, decay, the gush of life. Back in the car, Lawrence told me, when you die you’ll leave many projects unfinished. I laughed. Unspeakable truths, notes for a language to come, maybe not this world.”

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