Cyclic Defrost
The Japanese label Flau gives a gentle yet thorough internal
investigation of homemade electronica of the poetic sort. With releases
from Cokiyu through to Part-Timer and, more recently, Dale Berning,
the label hosts artists who take concern to transpose the great feverish
crests and sloughs of despond into dark starry fields of wobbly beats,
joyously squelchy synths and mellifous sighs whose lack of turbulence
does not denote a lack of depth. Echod was its first born – a double
album which features fifteen exclusive songs from like-minded groups.
Asides from the aforementioned, Glim, Shuta Hasanuma, Aerosol, Montag,
Aus, The Boats, and Hood turn in contributions, beside a fine crop of
lesser-known artists, many of whom turn in quality material, as well.
Wry, delirious, creative, contemplative, and sometimes simply happy,
the album’s unfolding is a compelling stumble, one that is able to land
short of being terribly precious or twee. Rather, the groups relax and
delight in the details, without squandering a sense of drama along the
way. Pieces remain distinct, but are illuminated by a similar heady
ambience, under which a few notes or a faint shift of emphasis opens
up panoply of layers. Tsukimono centers on benignly purposeful softly
ringing bells, while the piece from Fedaden is well stocked with crisp
beats and spitting noises, and Liz presents a creative splicing of old
swing music, electro-burps, and humorous spoken word samples. Interspersed
with the odd slowcore track – beautifully slow, calm selections drawn
from Britta Persson and others – these movements stir rather than saturate
the senses, and serve as a suitable introduction and enjoyable collection
in its own right.
Textura
If you just can't get enough of the placid, electronic-folk
soundscaping currently pouring forth from all corners of the globe (Japan
seemingly more than any other locale), you'll no doubt want to add Echod
to your library. It bears mentioning, however, that the two-disc set
was created to make Japanese listeners aware of independent artists
from Europe, USA, UK, Australia, and South America, which therefore
helps explain why The Boats, Lori Scacco, Montag, Hulk, Ljudbilden &
Piloten, and Florencia Ruiz are among those contributing. Regrettably,
Flau (curated by Yasuhiko Fukuzono aka aus) issued a mere 100 copies
of this inaugural label release for public consumption so by now they're
most assuredly gone.
Spreading twenty-five songs over two discs (many new and exclusive),
the 100-minute collection includes enough acoustic guitars, pianos,
electronic textures, and natural field elements to keep you mesmerized
for weeks on end. Standouts include Ametsub's immersive “Faint Dazzlings
(short ver.),” Fedaden's (Denis Fedabeille) melancholy wonderland “Grandiose
et Triste,” Liz's lustrous waltz “Adieu L'amour,” MOTORO FAAM's electronically-drenched
pianisms (“Circle Shift”), and Ljudbilden & Piloten's dreamily rustic
“Pen On Paper.” Beguiling instrumental evocations also come from Chipoe,
GLIM (Andreas Berger), Part Timer, Miyauchi Yûri, Shuta Hasunuma, Aerosol
(Rasmus Rasmussen), Bexar Bexar, and Aus, while atmospheric vocal settings
include willowy enchantment from Squares On Both Sides (Daniel Buerkner)
and Britta Persson, dreamy pitter-patter by The Boats (vocals by Chris
Stewart) and HOOD, and Ruiz's hypnotically exotic “Viviré.” Echod isn't
perfect—I hear about ten minutes or so of lesser quality—but 90% is
as good a batting average as one could hope for.
Benzine
Oui, Echod a bientôt un an et ses 100 exemplaires ont disparu
de la circulation depuis belle lurette. Mais est-ce une raison suffisante
pour passer sous silence un si bel acte de naissance ? Non, pas vraiment.
Car ce que Echod nous donne à entendre laisse présager un bel avenir
pour le jeune label nippon Flau, récent pourvoyeur des albums de Cokiyu
et Part timer (tous deux ici présents).
Géré par Yasuhiko Fukozono (aus), ce label possède des accointances
évidentes avec Moteer, ne serait-ce que de part la présence d'artistes
sur les deux catalogues (aus et Part timer). C'est en toute logique
que l'on retrouve sur cette roborative compil des musiciens issus de
l'école The Remote Viewer, comme Chipoe, The boats ou Part timer qui
excellent dans l'art d'élaborer des vignettes électro-acoustiques aux
tons sépia et aux vertus contemplatives. Disséminés ailleurs, on croise
des gens qui, sans pour autant mettre la mélodie en berne, retravaillent
la matière jusqu'à la liquéfier en des drones vaporeux (Glim, Bexar
bexar), ou la maltraitent au point de lui donner un aspect décousu (Offthesky,
Tsukimono, Loup, Semuin). A l'inverse, par des voies plus naturelles,
d'autres s'expriment presque exclusivement à travers leur cordes de
guitare et vocales, nous donnant ainsi à entendre des chansons intimistes
qui vont droit au cœur (Hood, Squares on both sides) ou au contraire
frôlent la mièvrerie (Florencia Ruiz ou plus encore le timbre sucré
de Britta Persson). Toujours dans des registres très acoustiques, certains
livrent des épisodes de réflexion façon Mountains (les traitements digitaux
et fields recordings en moins - Lori Scacco), ou des petites plages
ludico-pastorales (Miyauchi Yûri, Montag, Ljudbilden & Piloten).
On croise sur notre chemin des cas plus isolés, mais à ne pas négliger,
comme Ametsub explorant les ambiances obscures de Murcof ; Fedaden et
Liz s'éprenant de cordes amples et cinématographiques ; ou encore Motora
Faam, à rapprocher du génial Kazumasa Hashimoto, dans sa manière de
catapulter le piano classique dans un monde digital.
Une vaste palette de couleurs à même de dresser un joli tableau, et
décidément un bel acte de naissance pour la famille Flaü. - Sébastien
Radiguet
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