|http://www.metamkine.com/index.php/Default.aspx?monlabelrec=1411||Masayuki Imanishi est un artiste sonore japonais aux frontières de la musique concrète et d'une approiche plus plastique du son. Il travaille avec du papier, un micro, une radio, des enregistrements de terrain et divers objets.
'Tone' regroupe sept pièces autant abstraites qu'intimes, très proche d'une démarche expérimentale en écho aux arts plastiques. On semble écouter des phénomènes naturels transformés par la captation.
Calme, austère et énigmatique !
Brecht Ameel (Brlâab, Razen)
Drew McDowall “Collapse” (Dais Records)
Masayuki Imanishi: Tone
That Japanese sound artist Masayuki Imanishi is credited on Tone's back cover with radio, paper, and field recordings (apparently debris and other objects also were involved) says much about the kind of experimental material featured on the seven-track vinyl album (250 hand-numbered copies); it's also noteworthy that the accompanying press release includes the following point of clarification: “All clicks, pops, and shuffles are intended.” Thirty minutes of enigmatic sound art explorations, each one pitched at a subdued volume level and speckled with detail, are spread across its vinyl sides.
Softly burbling microbes of alien, amorphous sound emerge in the opening track, in addition to radio noise that intrudes upon the sound field. Other settings suggest the amplified activity of an insect colony and the swirl of noisemaking that might appear on a field recording of a night-time forest; one piece could even pass for a sound portrait of Imanishi assembling something in his workshop, considering the abundance of hammering and whirring included in the piece. It's suggested that Tone should be filed next to releases by Steve Roden, Bernhard Günter, and Asmus Tietchens, a detail that in itself makes clear the kind of zone Imanishi's inhabiting on the recording.
|http://still-single.tumblr.com/post/153875828566/masayuki-imanishi-tone-lp-iniitu||Seven tracks of distant directional disturbance and amniotic drone float by Japan’s Masayuki Imanishi, working curiously with no more than “radio, paper, [and] field recordings.” Gotta be some sleight of hand there, as the end result can obtain this microscopic lushness, like on the final track. One might question how the mic is used against these sources, as the amount of looping and delay factored into the end result has a bit of a heavy hand against the minimal pond chirp and wavering sound activity going on within. (http://www.iniitu.net)
review by FdW
Despite his collaborative work with Leif Elggren, Kouhei Matsunaga, Vampilia and The Body