#taku sugimoto

[radiophd]

taku sugimoto -- improvisation

[buttererer]

Tetuzi Akiyama & Taku Sugimoto

Hanegi Park April 11, 2023

[rfl-updates]

love this composition. really curious how this is notated.

[opalid]

"If we define a particular sound that has a particular pitch as the sound that contains a corresponding frequency, we can mathematically prove the fact that (for example) a C note can be in harmony with an E note and a G note by comparing the frequencies of the three. This data can be trusted in regard to the consonance of sounds, but when perceiving consonance phenomena as sensuous impressions, can this sensuous value be absolute? Conceivably, the fact that the notes C, E and G are consonant with each other could be an incidental event. There might have been a chance that these three notes would not be regarded as the consonant sounds or a chord or the sounds with pitches. There might also have been a possible chance that some completely different set of notes - whatever it was - became the consonant sounds, which could have been proved to be consonant mathematically by means of some different method (or could be the same method in a narrow sense) of reading the frequencies. If that had happened, the music would be a completely different form as it is now. Perhaps within the possibilities, some new form of expression that is not regarded as music today could be included, and it might not be impossible to perform a stunt to aggressively insist that this is music. But in order to justify this statement, we need a common concept on what can be defined as music as an initial  premise. In fact, the notes C, E and G are considered to be consonant sounds in the premise we share today, and the other sets of notes that have no relation with each other do not gain important positions in today's world of consonant sounds. That is because any thought experiment regarding music has to be carried out using the foundation of the present situation of music. On the other hand, the aggressive statement, to insist that some form of expression can be regarded as music even when it seems far away from the conventional form of music, naturally derives from the current situation surrounding the music. It should be possible enough to recognize a particular sound as something different from how it was identified in the past."

— Taku Sugimoto, A Philosophical Approach to Silence (tr. Yuko Zama)

[pruzzels]

8952

No one records my ad infinitum what i am trying to pull away what permits my materiality pins down my tongue my captors fly their nets i swear it i saw it the silent subjecting its saber x makes cheap.

[z-zzzzzzz]

[eraseer]

otomo yoshihide "anode"

tzadik 2001

scans from discogs

[buttererer]

Minami Saeki - glico (version for voice and tenor guitar) (2023)

composed by Minami Saeki

Minami Saeki: voice

Taku Sugimoto: tenor guitar

June 3, 2023 Izumi-Tamagawa, Tokyo

[nintendocompositions]

WHO ELSE HAS BEEN HYPE FOR THE MVC COLLECTION ON SWITCH?! I've been hyperfocusing on this high energy fighting game house nonstop music mix for the past four days and I'm SUPER excited to share this with everyone! no matter your play level these tracks will get you MOVING!!

anyway, this is a track from the mix now on soundcloud and youtube!!

https://on.soundcloud.com/hfJFU1GMtixHPmGK8

[opalid]

"Is an E note more special than a D note? Is the start-up sound of a computer more interesting than the sound of rain? If it were possible for us to hear sound in such a simple manner, any of these sounds would not be more than any other sound. When we listen to a series of sounds, aren't we evaluating the information each sound delivers in relation with other elements? I think that every sound - like an E note, the start-up sound of a computer or the sound of rain - obtains a nature as a unique sound by its relations with each other."

— Taku Sugimoto, A Philosophical Approach to Silence (tr. Yuko Zama)

[of-chitin-wrought-peering]

Taku Sugimoto Onkyo Botched Assassination Burger🥂

[thomasmartinnutt]

Chance Encounters #012

https://www.mixcloud.com/thomasmartinnutt/

Alexandra Spence, Christian Mirande, Dau, Sean McCann, Stuart Dempster, N.Racker, Kim Cascone, Danny McCarthy, Li Jianhong, Lyn Hejinian, Nuno Canavarro, Burkhard Stangl and Taku Sugimoto, Hans Abrahamsen, Steven Ball, Jon Hassell, Utah Kawasaki, Toshimaru Nakamura & Tetuzi Akiyama, Rubbish Music, Natasha Barrett, Jaspal Singh Bhogal, Roj and Wolfram Wire, Eliane Radigue, Jan Bang & Erik Honore, Erkki Kurenniemi, Liima, Intersystems, Alvin Curran, The Beatles, Lieutenant Caramel, Wyndham Lewis, Zenker Brothers, Soundwalk Collective, Sherwood & Pinch, Surgeon, Andy Fairley

[himeraturku]

Spring Roll: Félicie Bazelaire ja Lauri Hyvärinen - Luurankouni

Konsertti Nykytaidetila Kutomolla osana Spring Roll -festivaalin ohjelmaa la 10.5. klo 21

Liput: 10/5 € Osta lippuja

Luurankouni on ranskalaisen elektronimuusikko-kontrabasisti Félicie Bazelairen ja sähkökitaristi Lauri Hyvärisen duo. Nimi on lainattu 1400-luvun japanilaisen runoilijan Ikkyūn runokokoelman suomenkielisestä käännöksestä, ja se heijastaa duon pyrkimystä kuoria pois pintaa paljastaakseen olennaisen, kaikessa sen kammottavuudessaan. Ikkyūn kuolevaisuuden, katoavaisuuden ja aistillisuuden teemoista inspiroituneena duo tutkii läsnäolon ja poissaolon haurasta kahtiajakoisuutta äänessä.

Bazelaire ja Hyvärinen kohtasivat 2019 Laterna Magicassa, Helsingissä esiintyessään kvartettikonsertissa Léo Dupleixin ja Taku Sugimoton kanssa, jossa he improvisoivat ja soittivat toistensa sävellyksiä. Duotyöskentely alkoi 26 Chaises -galleriassa, Pariisissa huhtikuussa 2023. 
Wandelweiserin hengen, kenttä-äänitysten ja drone-musiikin vaikutteiden pohjalta Bazelaire ja Hyvärinen improvisoivat hiljaisesti määritellyssä tilassa. He luovat pelkistettyä ja minimalistista musiikkia, jossa sävyt ja sointivärit rakentavat kerrontaa.

Molemmat muusikot työskentelevät useissa kokeellisen, improvisoidun ja sävellytyn musiikin konteksteissa. Heidän tuotantoaan ovat julkaisseet muun muassa Confront Recordings, Dinzu Artefacts, Edition Wandelweiser Records, Ftarri, Intonema, Hitorri ja NUNC. Heidän yhteistyökumppaneihinsa kuuluvat muun muassa Clara de Asís, Angharad Davies, Léo Dupleix, Seijiro Murayama, Taku Sugimoto, Minami Saeki ja Stefan Thut.

Esiintyjät: Félicie Bazelaire & Lauri Hyvärinen Tuotanto: Félicie Bazelaire & Lauri Hyvärinen, Ehkä-tuotanto ja Himera Kesto: noin 45 min Kuva: Philo Lenglet ja Zsolt Polgar

Félicie Bazelaire soittaa selloa ja kontrabassoa. Klassisten opintojensa jälkeen hän on kiinnostunut avoimista ja kokeellisista taidemuodoista, improvisaatiosta ja omaperäisistä musiikin kirjoittamisen muodoista. Bazelaire säveltää ja improvisoi kappaleita, jotka kyseenalaistavat eleitä ja instrumentin käyttöä. feliciebazelaire.com

Lauri Hyvärinen (s. 1986, Helsinki) käyttää kitaraa pääasiallisena äänilähteenään. Hänen toimintansa on luonteeltaan teoreettista ja käytännöllistä ja improvisaatio on hänen ensisijainen välineensä ja kiinnostuksen kohteensa. Hyvärinen hyödyntää improvisaation, sävellyksen ja minimalististen rakenteiden mahdollisuuksia etsiessään yhteisiä sosiaalisia ja tilallisia rakenteita. laurihyvarinen.com

////

Concert at Contemporary Art Space Kutomo as part of the Spring Roll festival Sat 10.5. at 21

Tickets: 10/5 € Buy tickets

Luurankouni (‘skeleton dream’) is the duo of electronic musician and double bassist Félicie Bazelaire (FR) and electric guitarist Lauri Hyvärinen (FI). Borrowed from a Finnish translation of poems by the 15th-century Japanese poet Ikkyū, the name reflects the duo’s desire to strip away the surface to reveal an essential form, in all its dread. Inspired by Ikkyū’s themes of mortality, impermanence, and sensuality, the duo’s work explores the fragile dualism between presence and absence in sound.

Bazelaire and Hyvärinen initially met during a quartet concert with Léo Dupleix and Taku Sugimoto at Laterna Magica in 2019 in Helsinki where they improvised and played each other’s compositions. Their duo work began at 26 Chaises in Paris in April 2023. Influenced by the spirit of Wandelweiser, field recordings, and drone music, Bazelaire, and Hyvärinen improvise within a tacitly defined space. They create sober, minimalist music, within which discourse is developed through the choice of timbres.


The two musicians work in a variety of experimental, improvisational, and compositional contexts, continuously collaborating and disseminating their work internationally. Their work has been presented by record labels such as Confront Recordings, Dinzu Artefacts, Edition Wandelweiser Records, Ftarri, Intonema, Hitorri and NUNC. Their collaborators include Clara de Asís, Angharad Davies, Léo Dupleix, Seijiro Murayama, Taku Sugimoto, Minami Saeki, and Stefan Thut.

Performers: Félicie Bazelaire & Lauri Hyvärinen Production: Félicie Bazelaire & Lauri Hyvärinen, Ehkä-production and Himera Duration: approx. 45 min Photo: Philo Lenglet and Zsolt Polgar

Félicie Bazelaire is a cello and double bass player. After her classical studies, she is interested in open and experimental artistic forms, improvisation, and unique musical writing. Bazelaire composes and improvises pieces that question gestures and the use of the instrument. feliciebazelaire.com

Lauri Hyvärinen (b. 1986, Helsinki) uses guitar as his main sound source. His sound and music-related activities are of a theoretical and practical nature, of which improvisation remains his primary medium and interest. Hyvärinen utilizes the possibilities of improvisation, compositional, and minimalist structures in search of shared and intensified social and spatial constructions. laurihyvarinen.com