Archive for August, 2012

Now available again from Infraction Records!

Press release:

This is where it all began in a sorts for Celer. This was their first properly issued release (after a handful of achingly rare CDR releases). One of our favorite all-time acts. Originally released in 2008, remastered 2012 by Chihei Hatakeyama. All music by Will Long & Danielle Baquet-Long, featuring each of the tracks on the first issue, with an expanded version of “The Separation of the Two-phased Apple Blossoms” and includes a previously unreleased track “Retranslating the Upside-down Mountain” which was from the ‘Discourses…’ sessions. Cover image is a photo by Danielle, and a re-design by Rutger Zuydervelt (Machinefabriek). Reissue is in an edition of 500 copies. 

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I, Anatomy

My friend, 103 years old, sat across the room from me, a small gas heater nearby, with photos of family and Martin Luther King, Jr., and we talked for a few hours in the late morning. I had brought him a plant a few years before, and planted it in the front yard, but it had died the winter before.

A carnival in Costa Mesa, California. Kids screaming on the rollercoasters, the sound of balloons popping, machinery spinning, with smells of beer and popcorn all over the ground.

In an airplane flying over Papeete, the safety and welcome announcement CD skipped at such a point that the voices became a looped choir, as the plane coasted in circles around the edges of beaches, and the stewardess ran in the tipping plane in heels to fix the CD.

We made a box of tape loops in the Malibu Motel, from strings and pianos, and an old reel to reel tape of Sinatra. From the top of the cliffs, the view was completely clear, and even in a completely black and starless night, nothing stirred.

A few stories, put together with no previous purpose, than having their own place and time. In being put together, something new is formed. This was the basis for I, Anatomy. There wasn’t any intention, it was just a diary. These things happened, and became the source material, finding their directions from what was before directionless, and become the whole. Going back to these moments and memories, I, Anatomy isn’t a story, it’s one hundred stories.

The original I, Anatomy also included the EPs All At Once Is What Eternity Is and The Die That’s Caste, now together in a single edition as they were originally intended, with artwork by Christoph Heemann.

Limited edition 2xLP, available direct from Streamline via Drag City

Для каждой из двадцати четырех частей, сплетенных в натянутый канат этого альбома «Celer» Уилл Лонг заботливо придумал название, разместив их все на развороте digipack`a. При этом разделить семьдесят минут «Tightrope» на какие-то четко очерченные фрагменты попросту невозможно: музыкант не просто отправляет их в странствие друг за другом, он переплетает их между собой, не оставляя зазоров для тишины, отщепляет от основной массы звуки и вытягивает их, изменяя структуру привычных и порой совершенно не мелодичных шумов повседневности до загадочного марева очень минималистического и нереально красивого эмбиента.

В ноябре 2010 года Уилл отправился в Токио, чтобы продвигать свой совместный альбом с Юи Онодера «Genetic City», а также участвовать в перфомансах и выступлениях его друзей. Видимо, уже тогда у него родилась идея переехать в Японию на постоянное жительство, да и вообще, наверняка при таких переменах в жизни в голове музыканта ютились тысячи мыслей, порой неподконтрольных сознанию. Вот почему, говоря об этом альбоме, он называет его сплетенным из обрывков воспоминаний, всего того, чтобы было уловлено в реальности и на грани сна, что было записано в повседневном окружении Лонга. Он перечисляет все, что оставило свой след на «Tightrope»: фортепиано, акустическая гитара, дробящийся лед, шум машины, рингтон телефона, монотонные сигналы медицинского оборудования и многое другое, к чему смог прикоснуться контактный микрофон, передавая полученные записи на лэптоп музыканта. Записи эти растянулись, исказились, превратились в бесконечно долго гаснущие вспышки далеких вечерних огней или проникающие друг в друга звуковые нити, чуть напряженно подрагивающие застывшим басом. Замечу, что дремотная музыка «Celer», создаваемая теперь, по известным причинам, только Уиллом, тяготеет к более (ЕЩЕ более) обтекаемым формам, обходясь без участия срывающихся на очень высокие и сильно резонирующие частоты элементов. Так что «Tightrope» предлагает нам встречу с очень комфортными, искренними, туманно-абстрактными эмбиентными пейзажами, создающими особое настроение у слушателя, даже если звучат они в фоновом режиме.

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Японские музыканты Минору Сато и Атсуо Огава взяли из «спагетти-вестернов» не только название «Il Grande Silenzio» для своего дуэта, но и очень известный, хотя и далеко не всеми любимый и воспринимаемый без иронии инструмент банджо. На нем играет Огава, добавляя иногда звучание своего голоса (как правило, неразборчивое бормотание или тихое завывание), в то время, как Сато извлекает звуки из самодельного, существующего в единственном экземпляре инструменте «RP3M», или же «roll paper punching program machine» – не сильно удивлюсь, если это каким-то хитрым образом переработанный факс или принтер. Для дуэта этот альбом стал дебютным, но его участники довольно известны в мире экспериментальной музыки, а появлению диска на свет способствовало их знакомство и совместные перфомансы с проживающим ныне в Японии Уиллом Лонгом («Celer»), который и издал «Il Grande Silenzio» своем лейбле «Two Acorns».

Я как-то стал замечать за собой (минутка объективности), что с годами все труднее воспринимаю японскую импровизационную музыку. Видимо, разница менталитетов или наращиваемый, надеюсь, с годами опыт слушателя, делают нас, простого россиянина и сынов страны Восходящего Солнца, все дальше друг от друга в эстетическом плане. Гарантией хорошо проведенного времени в компании с этой музыкой для меня стало участие Лонга хотя бы в качестве издателя и полное доверие его вкусу – но, о вкусах не спорят даже с очень уважаемым музыкантом, так что придется констатировать, что та грань реальности, на которой эксперименты японского дуэта представляют хоть какой-то интерес, находится от меня на некотором отдалении. Что же здесь происходит? Как звучит музыка, которую сами авторы посвятили навсегда ушедшим от нас вещам, еле слышные звуки которых еще доносятся до нас эхом? Совсем не так, как это звучало бы у тех же «Celer». С первых же минут фантазия рисует заброшенный, но, надо отдать должное, светлый и заботливо ухоженный пустой сарайчик где-то на пересечении пыльных дорог безграничной прерии. В нем и сидят два человека, один из которых очень монотонно перебирает струны банджо, периодически оглашая замкнутое пространство тихим, бессвязным напевом или обрывками фраз, а второй издает с помощью неведомой машины разные шумы. Шумы цикличные и довольно миролюбивые, как правило, это позвякивание в такт колокольчиков или дребезжащие звуки, не заполняющие все пространство и оставляющие много места для тишины. Не забыта и акустика помещения, очень точно переданы скрипучие шаги, шарканье, блуждание ветра за тонкими деревянными стенами. Сказать, что помимо этого в мирке «Il Grande Silenzio» происходит что-то очень интересное в творческом и культурном плане я не могу, это импровизация «под настроение», видимо, нужно быть немного японцем (любящем итальянские вестерны), чтобы понять всю суть происходящего. Заторможенность музыки прорывается только один раз, в «Rust», когда шумы на несколько минут позволяют себе заполнить все вокруг своим клокотанием, показывая, что и здесь что-то может меняться и развиваться.

Одним словом, материал на любителя. Любители восточной импровизационной и экспериментальной музыки – обратите внимание на «Il Grande Silenzio».

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Its been a while since I last heard something by Minoru Sato, who is best known from the highly conceptual label WrK which he ran from 1994 to 2006. They released musical works in a scientific context, from installations and such like, and dealt usually with one ‘thing’ per release. Later on he released a CD with Asuna on the Spekk label (see Vital Weekly 601), but then it was quiet again. Here he teams up with one Atsuo Ogawa, who draws and paints, but also plays the banjo and ‘provides voice’, at least on this disc. while Sato plays a self-built instrument, mysteriously named ‘RP3M’, and I have no clue what it is. They named themselves after a spaghetti western. All of the seven pieces were played through improvisation, and the shortest is just over two minutes and the longest close to nineteen. All of the pieces are played in the same slow tempo, and consist every time of the same thing: plucking the strings of the banjo, deep sighs (every now and then) and the obscure rattle coming from Sato’s instrument, which seems to me some kind of electronic thing, but at the same time I wouldn’t be surprised to know its something acoustic. Pieces sound strikingly similar at times, and one doesn’t know a new piece has started. Very much like a lot, if not all, of the previous work of mister Sato this has a strong conceptual edge, but whereas that previous work was almost drone like in approach, exploring sound phenomena, this one is from a more musical perspective and it doesn’t work too well for me. Well into the third, say about twenty minutes into this CD, I know what it is about, and then I find out that the whole thing is over fifty-five minutes; but I already know what it sounds like, so I don’t need to hear the entire release that extensively, save perhaps for ‘Rust’ and ‘Kettle’, two short ones in which, all of a sudden Sato’s instrument sound distinctly different, longer sustaining and drone like. Why not explore that a bit more? Thus one is left behind, bemused and puzzled, but perhaps not entirely satisfied.

“I remember photos and negatives of sun-scorched Nepal scattered around the floor, notebooks written in randomly and seeming empty, and the evening lights of the outside night that seemed like they wouldn’t ever darken. We drove to Santa Ana over the 405 freeway to record the cars going by, but ended up watching the lights, buying whisky, and sitting the car listening to scratched Joanna Newsom CDRs and Eno’s Discreet Music. When the night was finally asleep and quiet, everything seemed still and the streets seemed dead, except for the swaying palm trees, and the glow from the kitchen light that was never turned off. Even the things that don’t exist anymore are still there, even if they aren’t apparent and obvious as much as they once were”.

Now available for the first time on CD in an edition of 222 copies as the inaugural release of DRONARIVM, it includes photography by Danielle Baquet-Long, and design by Rutger Zuydervelt (Machinefabriek).

Available here

A feel-good sense of liberty rises in the air of Lightness & Irresponsibility, exhaling a state of tranquility that is just as irresponsible and free of care as a delightful breeze playing in abandon. As this irresponsibility, this innocence in music and in play, stirs upon our face, so too does Celer stir creamy, sublime textures of ambience, releasing them into the air where they may fall with grace. Lightness & Irresponsibility is the iridescent brilliance of a gorgeously lit afternoon, one where the hours may unfurl in their own delayed irresponsibility, sleepily, to the relaxed passing of the day. It’s an afternoon that may only feel like seconds, until a change in the light is observed.

Just as these days remain long after they have departed, the sedate feelings experienced when listening to Celer’s music may also remain, if they would like to. They needn’t ask. The shy nature of the music creates an introverted circle of contentment and joy, surrounded by drones so sublime they become almost heart-wrenching, glinting soft, prismatic rainbows that illuminate whoever may listen.

Celer’s ambience remains in a constant motion despite the minimal nature of the two pieces gracing the album, and Will Long’s prolific rate and output of music doesn’t seem to limit him in scope or result in a decreased level of quality, as he is seemingly capable of releasing freshly-scented ambient flavours with every new musical endeavour and without any sign of risk. Lightness & Irresponsibilityis possibly one of Celer’s quietest releases. It is also a stand-out in terms of utterly gorgeous texture, only just rising above a hush on the breeze and straying close to the ground without ever displaying a desire to go higher; it’s fine where it is. Will Long’s ambience is now completely refined, perhaps more clearly and deliberately than any other release in his past, and he continues to display a complete understanding of the drone and its artistry. It is clear that Long is an artist with not only the experience and the maturity to effectively calm, nurture and slowly soak his ambient textures; he also has the feel of ambient music down, in that he never demands attention. There is a level of care in the music that reveals a love for the style, and of ambient textural development. The music remains introverted and shy, and yet still captures the heart.

Lightness & Irresponsibility may feature an increase of quiet reservation due to its Japanese setting. Recorded in Tokyo, the drones which hover have an air of Japanese civility, politely circling around a single pitch with a respect for their development and a courtesy towards their environment of Japanese grace. The drones remain understated, while gently rising currents of lower drones add a depth, resembling a concealed intensity underneath still waters. On the surface, the pitch never seems to stray, and this is the ultimate beauty of the music.

Lightness & Irresponsibility is both heart-crushing and uplifting, and a beautiful paradox of freedom and tonal confinement. Lighthearted, Long’s ambience is freed from any underlying, deeper drones which may enforce the restrictions of gravity. Long, too, is playful over the running length of forty-two minutes, but he maintains a precise devotion to the drone throughout the two pieces. Lightness & Irresponsibility may also be Long’s most subdued musical work. Just as thin as the breeze, the music is light enough to be knocked permanently off course at the slightest touch. Airy drones lift free in a playful dance, just skimming the surface. Like a thin mist, they hover in a pre-summer haze, settling in a period where spring is not quite done and summer is not quite ready.

Celer’s drones lay under a creamy sky, where white clouds drift as slowly as the music on a hazy afternoon. The two pieces share similar tones, but are entirely different. What makes this more of an ambient skill is that Long maintains an interest throughout the music, even though the changes which occur require splashes of patience; something which a seasoned ambient listener will no doubt have in abundance.

Celer’s daze of irresponsibility opens “An Unforced Cheerfulness”, as delicate and as beautiful as a falling blossom, where colours of cherry and vanilla fall in unison until they are cushioned by descent’s end upon reaching the ground. Mysterious traces enter inside the music, leaving perfect circles of interest for the listener and keeping everything fresh. Organ-deep, the drones may change to an unexpected, darker tone, slightly lifting the veil of innocents’ illusion. Finally, after their fall, the drones revolve around their tonal center until the desired resolution is reached. It acts as a reminder that a slight change is all that is needed to turn the atmosphere cloudier and cooler. ”Involuntary Impromptu” depicts the playful nature of the drones, a loving chase played out over silent thoughts. The drones feel thin, yet they are fragile enough to exist and appreciate, and the whole piece shines like the sun glinting off an airplane’s wing of dull metal.

Anything that has slipped away was something that was previously clasped, even if it was just for a second.  Music by its very nature is playful; she wants to run care-free in the late afternoon light, around the seasonal haze which separates late spring and early summer. This light is a beautiful one, and Celer’s music is at the heart of it; a sublime, blossoming light that remains forever attractive.

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Per Will Thomas Long, l’esile respiro ambientale delle sue composizioni non esaurisce lo spettro delle finalità ad esse sotteso. Ne aveva dato prova, da ultimo, in “Epicentral Examples Of The More Or Less“, nel quale si affacciavano sorprendenti sferzate ritmiche, e lo conferma su una scala ancora più ampia nel corposo “Redness + Perplexity”, poco meno di ottanta minuti di musica ripartita in cinque tracce.

In ”Redness + Perplexity” le tinte della musica di Long si fanno, appunto, colorate e sfaccettate come non mai, pur mantenendo nel proprio substrato quel soffio ipnotico costante e raffinato che caratterizza gran parte delle numerose decine di pubblicazioni a nome Celer. Ci sono le dense stratificazioni del brano iniziale, poi sfocianti in sciabordii sintetico, la pallida quiete inframezzata da field recordings della seconda traccia e le disturbanti saturazioni rumoriste della terza, così come le brillanti scie di tastiere della quarta (la più breve, anche nel titolo: “Sharp Sequel”).

Discorso a parte merita il monolite finale di oltre tre quarti d’ora “A Less-Abrupt, Multi-Colored (But Faded) Ending”, che ripiega sulla forma pura di una quiete decompressa, eppure come sempre prodiga di input neuronali e fragili modulazioni emozionali. Un ideale ritorno al conforto di un (quasi-)silenzio cullante dopo le divagazioni che nei brani precedenti sembravano esservi state semplicemente sovrapposte.

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I was invited by Somehow Recordings to participate in making a track to match an image for the Fogbound compilation. It will be released on September 25th, in an edition of 75 copies only. Other artists are Chihei Hatakeyama, Hakobune, Porya Hatami, Darren Harper, Tomoyoshi Date, and A Bleeding Star. You can hear my track ‘Wind that can’t move wire’ here. The compilation can be ordered directly from Somehow Recordings.