- asuna

Minoru Sato (m/s, SASW) + ASUNA

"Texture in glass tubes and reed organ"

元WrKの佐藤実さんとASUNAによる共作アルバムがSPEKKよりリリースされました。ガラス管を用いた自然共鳴周波数を増幅する佐藤さんのシステムと、ASUNAによるリードオルガンの固体振動と空気振動をそれに共鳴させた作品です。

■ shop

SPEKK - (http://www.spekk.net/mailorder/orders_jp.html)　

ontonson - (http://ontonson.com/index.php?main_page=product_music_info&products_id=1437)

warszawa - (http://www.warszawa.jp/cgi-bin/user/detail/detail.cgi?GID=45609)

■ review

■ 佐藤実 + ASUNA　　"texture in glass tubes and reed organ"

〈物理現象〉をテーマに活動するアーティストの佐藤実と、ASUNAのユニット。彼らが披露するのは、空気オルガンとガラス管を用い、その空間の状態によって変化する物理現象を音楽として捉えたアンビエント・ドローン・ミュージックだ。通常のライヴなどとは異なり、今作には音源を再構築して楽曲化した全2曲を収録。風が向きを変えるように、彼らの出す音＝空気の振動も意志を持たず、ただただ自由に拡散していく。

□ 望月慎之輔
『bounce』2007年11月号 292号 誌上より転載。

■ Minoru Sato + Asuna　　"Texture in glass tubes and reed organ"

In Minoru Satos Arbeiten geht es um das Horbarmachen physikalischer Vorgange, oft in Installationen, und immer bestrebt, die Konstruktion der resultierenden Stucke auch verstehbar zu machen. Musik im landlaufigen Sinn ist das meist nicht. Hier schon. Denn er tut sich mit Asuna (Naoyuki Arashi) zusammen, dessen Instrument das Harmonium ist. Thema der CD sind Resonanztexturen, die sich aus einem Aufbau ergeben, der verschiedene Frequenzen von Harmoniumakkorden durch, zum Mitschwingen angeregte Glasrohren verstarken lasst. Die zwei langen Stucke sind sehr ruhig (keinerlei Bruche), aber mit schillernden, langsam changierenden Obertonen, und trotz ihrer oberflachlichen Ereignislosigkeit sehr angenehm zu horen. Klassische Minimal Music, mit einem Schuss majestatische Ruhe des Anorganischen.

□ DE:BUG
『DE:BUG』119010208 誌上より転載。

■ MINORU SATO + ASUNA　　"TEXTURE IN GLASS TUBES AND REED ORGAN"

国内外で活躍しているアーティスト、佐藤実とアスナの2組によるコラボレーション・アルバム。空気オルガンとガラス管の音の物理的な現象に着目して制作されたという今作は、一見単調なようで奥深く、難解のようで親しみやすい、とても心地の良いドローン・サウンドを作り上げている。真っ直ぐに伸びる音が幾つか重なって揺れる音の波。考え込まずに聴けば聴くほど、音楽は理屈じゃないと再確認できる、とにかくひたすら気持ちの良い作品です。

□ 星野真人
『COOKIE SCENE』2008年1月号 VOL.58 誌上より転載。

■ Minoru Sato (m/s,SASW) + Asuna　　"Texture In Glass Tubes And Reed Organ"

Truly one of the best drone editions I've heard in many years.

□ LAWRENCE ENGLISH
『ROOM40』(http://www.room40.org/)

■ Minoru Sato + Asuna　　"Texture In Glass Tubes and Reed Organ"

I due sound artist giapponesi suonano glass tubes e reed organ autocostruiti dando vita a un'ora di musica minimalista dalle ridottissime variazioni. L'insieme pare - prevedibilmente - come due o tre note d'organo accavallate ai suoni circolari prodotti da bicchieri di vetro accarezzati sul bordo con i polpastrelli delle dita. Cui prodest?

□ Stefano I. Bianchi
『BLOW UP』115 誌上より転載。

■ MINORU SATO (m/s, SASW) + ASUNA　　"Texture in Glass Tubes and Reed Organ"

Comme son titre I'indique, le nouvel album des Tokyoites Minoru Sato (qui evolue, selon les sorties, sous differentes declinaisons de son identite, ici Minoru Sato (m/s, SASW) et Naoyuki Arashi (Asuna)) est un album d'etude. Une confrontation entre le son d'un harmonium et des tubes en verre, I'ensemble s'organisant autour des resonances que le premier suscite chez les seconds. Un postulat de depart on ne peut plus analytique, a partir duquel le duo construit deux longues pieces, deux drones dont l'immensite (trente-huit et vingt et une minutes tout de meme) revele dans ses evolutions minimales toute l'ampleur et la rigueur de la composition. Ainsi, devoilant son processus (et poussant meme le luxe d'integrer des graphiques sur la pochette pour le rendre plus clair encore), le duo superpose-t-il sur la premiere piece cinq resonances, cinq "etats harmoniques" meticuleusement assembles a des intervalles de temps regulier, avant, sur la seconde, d'isoler sept frequences distinctes et de les combiner. Ce pourrait etre aussi austere et soporifique qu un cours de trigonometrie a la fin d'une journee de cours, c'est juste magnifique et limpide, les deux comparses parvenant a rendre belle l'abstraction et le concept mathematique comme personne d'autre avant eux...

□ Jean-Francois Micard
『D-SIDE』44 誌上より転載。

■ Minoru Sato (m/s,SASW) + Asuna　　"Texture In Glass Tubes And Reed Organ"

Minoru Satos Kooperation mit Asuna, ein Argument fur ein solches ware. Handelt es sich hier doch um wunderbare Minimalkompositionen, generiert am Harmonium und Glasrohren. Zwei Tracks reichen den beiden dabei aus, eine volle Stunde Sound bereitzustellen, klare, reine, manchmal zu reine Ambientflachen. Meditation, handgereicht von spekk, diesmal garantiert ohne Beats.

□ JOHANNES SPRINGER
『skug』 誌上より転載。

■ MINORU SATO (m/s, SASW) + ASUNA　　"Texture In Glass Tubes and Reed Organ"

La nuova pubblicazione su Spekk puo avere due distinte chiavi di lettura, quella piu tecnica e quella piu eufonica. Riguardo la prima e lo stesso Minoru sato, titolare del progetto assieme ad Asuna, a spiegare che si tratta della registrazione di 5 differenti stati armonici, ognuno dei quali ottenuto grazie alla relazione fra il suono di un organo e le risonanze di un tubo di verto. Un esperimento uditivo che all'atto pratico prende le forme di una lunga progressione sonora, in cui perdere qualunque contatto con la realta o semplicemente annullarsi; non si puo certo dire che il disco possieda dinamismo o appeal, finendo cosi per mimetizzarsi nel calderone informe delle proposte "estreme". Un risultato, purtroppo, limitante.

□ Michele Casella
『RockeRilla』 誌上より転載。

■ Minoru Sato (m/s,SASW) + Asuna　　"Texture In Glass Tubes And Reed Organ"

Mit einem Harmonium uns ein paar Glasrohren erzeugen die beiden Japaner zwei ungefahr 20 und 40 Minuten lange Tracks und bennenen sie schlicht nach deren Entstehung. Der erste uberlagert funf Harmonien, der zweite verwebt sieben Resonanzen. Liest sich droge nach physikalischer Experimentiererei, ergibt in Wirklichkeit aber wirkungsvoll hypnotischen und damit klassischen Minimalismus.

□ DE:BUG
『DE:BUG』1181207 誌上より転載。

■ Minoru Sato + ASUNA　　"Texture In Glass Tubes and Reed Organ"

Det kan man imidlertid ikke just pasta om Minoru Sato + ASUNA, der i deres formfuldendte, perfekte aestetiske vision, der fungerer upaklageligt pa papiret, tager livet af den musik, der rent faktisk produceres. Texture in Glass Tubes and Reed Organ er indpakket med noter, der grundigt forklarer skabelsesprocessen:

"We have been performing "music" focusing on the materialistic nature (physical phenomena) of sounds by utilizing the reed organ and glass tubes. Our music is constructed in such a way that however the phenomena we use reacts with the circumstances of the space - the situation of the site including the audience - our live performance involves and uses these conditions. Since these compositions are studio recordings however, we decided to exclude acoustic spatial matters and the "one-time-ness" of live performances and instead composed the structure of resonance within certain divisions of time. This is similar to textiles - weaving "resonance", rather than thread, in certain patterns."

Det er ganske rammende, at Sato og ASUNA har valgt at undlade at inddrage et publikum i deres "musik" (og man ma virkelig fremhaeve disse citationstegn), for albummets to kompositioner fremstar fuldstaendig blottet for menneskelig relevans - i den forstand er de virkelig posthumane. Problemet med musikken opstar altsa forst, nar lytteren skal forsoge at interagere med vaerket. Bagsiden af coveret viser et sindrigt diagram af frekvenser af lyd, som lytteren maske kan saette pris pa rent intellektuelt, men den lydlige "materialitet", der rent faktisk formidles er underligt plan, uendelig monoton og pa alle mader intetsigende. 60 minutters blod summen, hverken mere eller mindre.

Projektet fungerer kun i teorien og fascinerer ikke i praksis. Man kunne ogsa lave en gentagen ovelse, hvor man optager lyden af en sko, der faldt til jorden. Disse optagelser ville ogsa afslore forskellige teksturer, men disse teksturer ville ikke nodvendigvis vaere interessante. Texture in Glass Tubes and Reed Organ kan, som kunstnerne gor opmaerksom pa, ganske rigtigt opfattes som en vaevningsproces, men den afgorende pointe er, at monstret, der vaeves, er kejserens nye klaeder: ingenting.

□ geiger.dk
(http://www.geiger.dk/anmeldelser/anmeldelse.php?id=2877)

■ Minoru Sato (m/s, Saws) + Asuna (Naoyuki Arashi) 　　"Texture in Glass Tubes and Reed Organ"

Il presunto “easy listening” e un vero e proprio campo minato. Prendete, ad esempio, questo Texture in Glass Tubes and Reed Organ. Siamo in Giappone. Siamo in piena sperimentazione. La “tessitura” di questo progetto affonda, infatti, nelle ricerche di Minoru Sato che da anni studia suoni basati su fenomi fisici creati attraverso le sue particolarissime e minimali installazioni. La musica di questo nuovo progetto, che e realizzato insieme a Naoyuki Arashi, si basa su suoni (potrebbe dirsi uno per ognuna delle due tracce) da tubi di vetro, organo ed elettronica. L’easy listening e in sostanza un solo lungo, modulato drone musicale che sviluppa un’infinit? di varianti e sfumature a cui prestare orecchio.
Il consiglio e difficile, ma perche non provare a sprofondare in questo mantra!

□ all about jazz
(http://italia.allaboutjazz.com/php/article.php?id=2335)

■ Minoru Sato + ASUNA 　　"Texture in Glass Tubes and Reed Organ"

Tao francamente quanto lhe e possivel, Texture in Glass and Reed Organ assume-se sem grandes rodeios como exposicao dos resultados obtidos a ensaios sobre determinadas manifestacoes do som, muito mais do que como um suporte musical. Qualificar-se-ia como um disco favoravel a propagacao infinita de um drone ou tapete ambient, tal e a longevidade dos seus dois movimentos, mas nem sequer parece ser essa a intencao de ASUNA e Minoru Sato - artistas japoneses cujo motivo muito passa pela captacao de fenomenos sonoros directamente resultantes do enquadramento acustico de dada ocasiao.

Aqui, encontramo-los meticulosamente debrucados sobre as harmonias e ressonancias que produzem as cordas de um harmonio e de um tubo de vidro em dois contextos diferentes - separadamente estimulados e alinhados em diagrama por cada um dos intervenientes. E claro que existe um valor academico associado a Texture in Glass and Reed Organ, ou, de outra maneira, Minoru Sato nem se daria ao trabalho de detalhar o processo no texto que acompanha o disco da Spekk.

Contudo, todo esse valor de estudo acumulado nao chega sequer a impedir que esta especie de split laboratorial se torne desproporcionalmente enfadonho e repetitivo ao ouvido de quem esteja na privilegiada posicao de poder perder uma hora (40 + 20 minutos) a reparar nas transicoes e nuances que descrevem estas lisas texturas suspensas em jogos esquematicos, que tem no “minimalista” o mais brando dos eufemismos. Entende-se a vontade da Spekk em facultar materia util a investigacao especifica - nao se descobre, porem, qualquer valia alem dessa a mais um disco meramente acessorio.

□ bodyspace.net
(http://www.bodyspace.net/album.php?album_id=1217)

■ MINORU SATO (m/s, SASW) + ASUNA 　　"Textures in glass tubes and reed organ"

There are occasions in which the theoretical explanation behind a music piece is much more complicated than the opus itself. Japanese sound artists Sato and Asuna, who have worked with “pure vibration” in the live installation area under several circumstances and with partners such as Toshiya Tsunoda, justify their artistic act with the will of creating “a narrative about the phenomena which resonate through constructed sounds”. According to this view, the choice of glass tubes and reed organ seems appropriate, in that the resonating frequencies of the sources mesh very well both in a reciprocal sense and across the listening space. Translation: this is a record that should result quite appealing to those who love large rooms filled up with softly dissonant static waves leaving the door ajar until ears and brain do the additional work, i.e. generating imaginary patterns and pulses. Names that spring to mind: Folke Rabe, Jim O’Rourke, Charlemagne Palestine. I know, you were expecting “Phill Niblock” or “Eliane Radigue”, but the undulations heard here lack the corpulent thunder of the sub-basses characterizing the most enthralling offers by the above mentioned stalwarts, instead shifting the focus on the higher register of the organ and the brightest spots of the glass. It might resemble a classic album of meditative trance, yet an attentive look reveals a fine handcraft of interpenetrating textures that definitely pushes this effort towards the next-to-excellence rank.

□ Massimo Ricci - Touching Extremes
(http://spazioinwind.libero.it/extremes/touchinghome.htm)

■ Neue Scheiben: November/Dezember

Minoru Sato/Asuna gehen mitten hinein in den Ganges des ewigen Drone, “Texture In Glass Tubes And Reed Organ" (Spekk/A-Musik) fasziniert durch die wellenformig erzeugte Sogform der beiden langen Stucke, die auf Austesten von Frequenzen wie Resonanzen basieren, in askese gleitend wie der Papiervogel uber die blau-grun schimmernde Oberflache eines Sees.

□ Hair Entertainment
(http://www.hairentertainment.com/NeueScheiben/November)