OMEGA POINT
Fumio Itabashi - EARLY ELECTRONIC WORKS - Japan CD
Fumio Itabashi - EARLY ELECTRONIC WORKS - Japan CD
CD
Jazz
January 17, 2020
Will usually ship within 1~5 business days of receiving cleared payment.
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Catalog No.: OP-0016
JAN/ISBN: 2050268311538
Number of Discs: 1
Country/Region of Manufacture: Japan
Credits:
Fumio Itabashi
Description:
He is a well-known fixer in the world of improvised music in Tohoku, and a heavyweight who has been active since the 1970s under the name "Fifth Column" and other names. We have previously introduced a CD on his Allelopathy label, but he is currently in the process of sorting through the vast amount of records of his performances, including those with performers from other countries. The earliest electronic music unearthed in this process has been released! The cheap electronic sounds, which are produced with simple equipment that has nothing to do with academism, are purely interesting because of that. I was 18 years old when a friend, who has since passed away, lent me a Roland SH1000, one of the first consumer synthesizers made in Japan. For those of us who wanted to make "weird sounds," synths were gospel. In this sense, I spent day and night researching how to make strange sounds from ordinary instruments and everyday items, much to the annoyance of my family. I began experimenting with a boombox that could record multiples only once. I also liked to feedback the microphone with multiple effectors connected to it at the time. By manipulating the effectors, the feedback would change in a pattern.Thus, he made many cassettes of ping-pong recordings of synthesizers with only single notes and howling patterns. Track 1 is a mix of them, but I did it when I was 20-21 years old. The sound of the completely different left and right tracks was an easy idea, because we didn't have a mixer, so we could put different sounds on the left and right channels of one recorder at the same time and listen to them in mono. Track 2 is a loop of effectors that I did again in the 80's. I had more equipment, so I was able to manipulate it. I had more equipment, so I had more control. I stopped using microphones. I could get a "clean" sound because I was recording on the line. However, the subtle changes in microphone position and angle that occurred with the previous method were lost. Even the difference in his position and posture caused a change. At that time, everything was analog equipment. Even to make a loop, it would change depending on how the effectors were connected. I explored how to create complex changes by changing the order of connections. Effects loop has two elements: one is a performance and the other is an installation. Fiddling with effector knobs is a "performance," and it is the latter that never ends even if you leave it alone. But even if you don't touch it, it will change on its own.That would still depend on the drain on the batteries. There is such a way to "appreciate" it.
Tracklisting:
1.Electronnyk 1976
2.Electronnyk 1983
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