#richardpinhas

[oratrism]

Super soirée le 05/05/22 W/ Mr. #orenambarchi & Richard Pinhas (#heldon ) énorme MERCI à #plege (@leciel.grenoble ) #goodvibes , #GreatNoise & #AlwaysArts

[zef-zef]

R. Pinhas & Merzbow - Coda from: R. Pinhas & Merzbow - Coda (Bam Balam, 2022)

[undermythumblr]

Richard Pinhas ‎– Rhizosphere LP. Bureau B, 2018. Originally released 1977 on Cobra. #richardpinhas #rhizosphere #bureaub #bureaubrecords #cobra #moogmodular #spacerock #electronic #records #lp #vinyl #recordcollection #vinylgram #vinylcover #vinylcommunity #vinyligclub #vinylcollection #vinylcollectionpost #nowspinning #nowplaying #instavinyl #vinyloftheday #recordcollector #albumcoverart #albumcover

[randomrecordreview]

Birthday vinyl haul! 🙌🏼 Headphones on for these beauties 🎧 Thanks @fitzrovianfella for the GY!BE - listening now! #richardpinhas #merzbow #basilkirchin #roedelius #godspeedyoublackemperor #heldon #sunraarkestra #vinyl #recordcollection #randomrecordreview https://www.instagram.com/p/CLjf-4eMr5P/?igshid=k67s4vveystg

[eildotcom]

RICHARD PINHAS L'Ethique. 1982 UK 9-track LP on Pulse, Pinhas' great final solo album before his musical retirement in the eighties, showcasing the short-lived Richard Pinhas Band. This group featured a great cast of musicians who had all previously played in Magma: Clement Bailly [drums], Patrick Gauthier [synthesizer] [also of Heldon & Weidorje], Bernard Paganotti [bass] [also of Weidorje] & Richard on electronics, synthesizers & guitar. The picture sleeve shows only light edgewear and the vinyl appears near 'as new'. Available from https://eil.com/shop/moreinfo.asp?catalogid=234927 #eildotcom #eil #records #vinyl #rarerecords #rarelps #cratedigging #vinyljunkie #vinylcollection #recordcollection #vinylporn #instavinyl #richardpinhas

[one-track-daily]

Richard Pinhas A Piece For Duncan (1977)

From the album: Rhizosphere (Cobra / Bureau B)

[tizianomazzilli]

TIKKUN #richardpinhas #orenambarchi #experimentalmusic #electronicmusic #nowspinning (at London, United Kingdom) https://www.instagram.com/p/CDt9YvPniIm/?igshid=1b3k35clhkdih

[mymogwai]

昨日に続いてのリシャール・ピナス…! デュオ、トリオの組み合わせで 奏者が入れ替わる毎に 音の流れや重さ、様態が シームレスに変遷する絵巻に 没入→陶酔→後半は半ば 瞑想状態だったぎ 最後に4人でプレイした際の 熱量が凄まじく、、、 全意識が覚醒するかのようだった… アンコールはピナスのソロ! 繊細且つダイナミック…! あまりの美しさに 幻獣が動き、 時空を超えたエネルギーが 降り注ぐかのように感じてしまった…! #richardpinhas #灰野敬二 #吉田達也 #武田理沙 (秋葉原 CLUB GOODMAN) https://www.instagram.com/p/B2whpfUDbWs/?igshid=153g4d87nmt80

[tommygunnsixx]

#RichardPinhas #Rhizosphere #ClaireP. #electronic #ElectronicMusic #Progressive #ProgressiveElectronic #ProgressiveElectronicMusic #ProgressiveMusic #1960s #1970s. (at Glenelg, South Australia) https://www.instagram.com/p/B1OWuqllST5/?igshid=lin6uwbzqhqd

[rory-johnson]

Into the vortex

[sexy-sexy-boy]

now playing ! #richardpinhas #merzbow #japanoise #experimental #avantgarde #freeimprovisation #noisemusic powerelectronics

[cometsovcupid]

Today’s travel tunes #Richardpinhas #spacemusic #iceland https://ift.tt/2PZcXs8

[randomrecordreview]

Having a short break from #randomrecordreview so here instead is a fairly random selection of new, old and new-old records I’ve bought in 2020. #randomrecordreviewoftheyear #richardpinhas #iceland #electronicmusic #darkambient #nowlistening #nowplaying #recordcollection #vinyl https://www.instagram.com/p/CJa7O99MrmN/?igshid=j9s2efkvm58a

[mymogwai]

強烈に引き込む 大宇宙との共振!!! いやー素晴らしかった…! #richardpinhas #ホッピー神山 #吉田達也 (シルバーエレファント) https://www.instagram.com/p/B2t-OXoDwVU/?igshid=1bjfgr3kqaj3v

[gnozo]

Takashi Hattori and the Ottoman Empire

Osaka-based musician Takashi Hattori has favored the human world with his first album. Inspired by a wide variety of sound-derived practices, he represents a new trend in of japanese experimental music.

Published simultaneously as the latest Merzbow album (presented as Akita Masami & Eiko Ishibashi’s Kouen Kyoudai), Hattori’s pieces indeed feel like they are on the tracks of a new race: the re-introduction of acoustic instruments in experimental music.

Masami Akita’s work, recorded and produced by Jim O’Rourke, is characterized by the collaboration with Eiko Ishibashi (piano, drums, synth). One thing Merzbow has gotten used to over the years is seemingly endless digital soundscapes, and hectic use of analogue sound production tools such as oscillators, filters, and so forth. 

With more than 360 official releases under the name “Merzbow” and only 9 under his real name, Akita does seem to be going through a new creative phase. His previous release under his real name, a collaboration with senior american noise musician citizen John Duncan, cultivated the fascination for futuristic and random noisy sound compositions.

In the past, Akita used his real name mainly for his writings: theoretical essays about bondage. The affinity between noise music  and eroticism  could hardly be questioned from there on

A PHOTOGRAPHIC HISTORY OF JAPANESE BONDAGE - Masami Akita, ublished by Bibliotheca Nocturna - 1996 - Japan

In the recent past, a number of collaborations with french experimental music legend Richard Pinhas have confirmed Merzbow’s interest in “traditional experimental music”. Guitars, analogue modular synthesizers, work on sound and melody are characteristic elements which describe Pinhas’s music. Yet the fascination for experimentation seemed to be the priority for a long time, and a common denominator with internationally renowned peers.

I had the chance to direct a small documentary-interview project focusing on Pinhas’ 2013 visit to Japan, and his collaborations with Masami Akita, Yoshida Tatsuya and Keiji Haino; the film focuses on how the music is made, that is to say how a collaboration works between musicians who do not share the same idiom. Exclusivity #1: Pinhas Sama, watch now/free/online. You’re welcome.

Merzbow has a very misanthropic attitude. Beyond social awkwardness and a motionless face, he exhales a serious and almost sacred attitude; could he be some kind of modern day priest? After all, we have the whole kit: temples, rituals, offerings by the audience, talismans on sale at the entrance of the temple. If you add to that the unique dance style which emerged in noise concerts, resembling some kind of standing meditation which seems not to require the use of psychedelic drugs...

Much ought to be said about the habits of the free-willed listeners of noise music, but let’s rather focus on the new generation.

Takashi Hattori’s teenage years evoke a fantasy world of early legitimative recognition. As a high school student, a major japanese label allowed him to use their recording equipment freely; when he was only 15, he was accepted as a member of the inaugural class of the Film School of Tokyo’s music course.

A few years later, we get Moon, the album he built around the production of french-japanese produced film Technology, by Maiko Endo is officially inspired by a coverage trip to India. As a result, he describes the album as “a  trip album to India”.

But if we were not granted this label, what would our ears tell us?

First of all, the quality and refinement in the sound collages which give this work an atmospheric feel do relate to the japanese tradition of noise oriented music. Yet, from the first note of the first track, the listener can induce that he’s aboard another airlines. What sounds like a harpsichord is instrumentalized into a semi-demonic, semi-elitistic pittoresque landscape of soundwaves;

The album exploits many a pre-established genre, from jazz to drone, japanese court music (gagaku) to other ethnic music styles.

What stroke me the most, while listening to this album over and over, are the tracks which relate to the practice of “electronic ethnic music” which can be heard throughout the album.

Even though Hattori’s main inspiration seems to be his trip to India, the popular feel of these songs (The Sand Effect, Rickshaw, and Forgive Me) and the rhythmic patterns in use have a definite turkish feel to them. Beyond ethnic labeling and mostly beyond the ever-lasting indian fantasy of alternative and new age streams in first-world-country marketing, what Hattori’s sounds and textures produce is a sense of popular culture.

The quote of badly tuned sounds, un-even rhythmic loop patterns and improvised melodic sequences cannot guarantee the quality of the music. But the experience of Hattori’s music involve intuitive grooves, some intentional flaws and much effort on the overall ambient textures. This leaves us taking our ried, having bought our ticket, on a virtual ship that explores a fantastic representation of orientalism. Moon is a trans-gender cultural object.

Takashi Hattori has acquired  and mastered some typically western representations of otherness and plays them franticly like a 21st century japanese version of Fréderic Chopin tickling his piano keys.