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Tsumetai Tsuki -EXTRACT-.mp3
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Tsumetai Tsuki -EXTRACT-.mp3
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Released: Sep 4, 2010
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General Info

  • Location Rhône-Alpes, FR

    Profile Views: 45784

    Last Login: 3/12/2012

    Member Since 10/3/2008

    Website http://www.msplinks.com/MDFodHRwOi8vd3d3LmVudHJhY3RlLmNvLnVr

    Type of Label Unsigned

  • Bio

    Forthcoming-5th album "Triptyque de l'oeil"(entr'acte records)______________________________________________________________ NOW ON SALE "Pétrole"(entr'acte records)__________________________________ co-composition de Lionel MARCHETTI et Yôko HIGASHI "Une musique concrète composée en 2007-2009. Tension - détente, ruptures à ras la membrane, tapisserie horizontale, cinéma pour l'oreille... toutes les caractéristiques marchettiennes sont là avec les climats de pop décalée de Yoko Higashi. À l'image de la couverture, cette pièce est sombre comme de l'huile de vidange, effrayante comme un polar, érotique comme les vibrations d'un moteur de Harley Davidson. "______Reviewed by JérômeNoetinger(METAMKINE)________________________________________________ 4th album (vynil) SHASO -train window- _ Presented in "Atelier de la Creation Radiophonique" ,programme of radio FRANCE CULTURE in April 2009.________________________________________________________________________________________________________ Check it up also-: http://www.hapax-magazine.fr/?p=333 _______________________________________________________________________ http://phonophoto.tracelab.com_______________________________________________________________________________ http://www. entracte. co. uk/E61. mp3------------------------------------------------------- _______________________________________________________________________________________________________ http://www. entracte. co. uk/E48. mp3---------------------------------------------------------------------------------------------------------------------------------------------------- "Le Train Muet"(from Ygun-n9-) is selected by Nicolas Catalano as THE BEST RECORDS OF THE YEAR, will be published on BLOW UP magazine,january 2009, Italy._____________________________________________________________________________________________________ "...Higashi strips pop melody to the bones and gives it a dark redressing in rags of sound. like multi-coloured shards spilling free of a broken kaleidoscope, sub-bass drops,skeletal electronic punctuations, autumnal piano, cello and resonant guitar fuzz all flicker in and out of a sound field dominated by a voice that can slip in a moment from sinister to utterly desolate. it's an open-ended but original sound, a form of digital chanson with reduced vibrato. scott walker's angular diminished chords or the abrasive gloom of nico's 'the marble index' are possible comparisons, but the quotient of chaos here isdefinitely higher..." ReviewedbySamDavies-TheWIREmagazine,march2008____________________________________________________________ "Here we go again with this Japanese girl, Yôko Higashi, captured in full-karate attitude in a superb black and white photo on the folded poster that acts as sleeve. In the 38 minutes of this CD, Higashi confirms (and betters) what she had let us glimpse in "4/29" on this same imprint. A lot of things indeed: dramatic vocalizations amidst field recordings, a chain of samples that enhance the affecting qualities of the music, a sense of action-packed consecutiveness perceivable all the way through, a penchant for detecting when enough is enough, a gazillion sounds layered one upon another, absorbing collages that won't necessarily secure nerve-shattering to the listener. Maybe. Lionel Marchetti is once more an integral part of the work but Hamayôko is definitely walking with her own legs: you might love or hate the stuff (difficult to remain in the middle in this case), yet at all times be sure that it doesn't sound like anything else: an absurdist punkish theatre, flooded by acousmatic streams, in which meanings must be dug out from singular settings, the sources ranging from ping-pong balls to looped voices, the whole absolutely un-beautiful - at least according to the current canons of "beauty" - and mostly great. In actuality, not for the faint-brained. A major step forward from the previous outing, and I'm more than happy for this improvement. The young woman is indeed strong." Reviewed by Massimo Ricci - TOUCHING EXTREMES, august2008 _______________________________________________________________________ _________________Questa seconda uscita per Entr’acte è disorientante quanto la prima, perché vi si trova di nuovo un’inedita combinazione di musica concreta, rumorismo, elettronica più accessibile e sperimentazioni vocali. A proposito di musique concrète, dal 2003 Yoko collabora con Lionel Marchetti (che le dà una mano anche in questo disco) per le esibizioni dal vivo, nelle quali unisce la danza ai suoni del francese: un modo molto intelligente - mediante la beneamata "performance" - di tenere alta l’attenzione del pubblico, che in quel momento sta ascoltando qualcosa di molto ostico. Marchetti, dunque, può essere una strada per entrare nel mondo composito della Highashi. Però, siccome questa ragazza – se non si fosse capito - è giapponese, parla giapponese e talvolta fa riferimento anche alla cultura giapponese, una recensione (e una fruizione) occidentale probabilmente non sarà mai del tutto onesta e completa. Ci sono alcune tracce che restituiscono subito la complessità e la follia di Ygun –n9-: "Dr. Asperger", tra noise, sussurri, grida e squarci di beats electro, "Maudy –In" (e "Maudy –Out-"), con la ritmica quasi da ultimissimi Black Dice e la nenia di Yôko immerse in un oceano di suoni e micro-suoni, e "Le Train Muet", i cui campioni iniziali ovviamente ci accomodano nello scompartimento di un treno, tra un violino, rumori di passi e nuovi deliri vocali (sempre con qualche punto di contatto col teatro e la recitazione). L’ambient per palline da ping pong (sic) di "Fiamme, Sang, Perle" sembra poi togliere ogni dubbio sul fatto che - anzitutto - qui si giochi, quasi in spregio di qualsivoglia seriosità sperimentale, anche se qualcuno parlerà di presa in giro. Destano interesse anche momenti più semplici, come il drone spettrale e il lamento di Yôko in "Trazita" oppure il trucchetto di "800james", con l’organo che periodicamente si fa breccia nel muro di suono gentilmente messo a disposizione da Marchetti. Reviewed by Fabrizio Garau - AUDIODROME

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