My collaboration album with Taku Unami, Wovenland, is truly experimental. Recording of physical vibrations is more radical than that of musical instruments and electronic sounds. For this album, we decided to weave a world by letting different sound sources interact, like hitting against each other. It means that we tried to re-weave the normal stereo sounds into a new form. So the title is Wovenland, a world which was woven.
Track 1 is The Farthest Land #1. We overlaid two sound sources that were recorded separately by two of us, with a long distance between the locations. So it created a bit unnatural feel of distance in the recorded sounds. In fact, we were surprised to know that it turned out to be more dramatic than we expected, which was totally beyond our intention. We recommend you to listen to it with headphones.
Track 2 is Park Cleaning / Crickets Chirping, in which the sound of two park cleaners who were cleaning the part with brooms and the quiet sound of the chirps of crickets are crashed against each other. We set the volume of the cleaners not to exceed a certain level by programming. When the volume of the cleaners fell below a certain level, the sound source was switched to the chirps of crickets. These two sound sources were not blended. Taku Unami did the max programming.
Track 3 is In The Park, in which small fragments of silences were inserted in between noises of the park in Nakano. We would like you to listen to the consecutive feel of the stereo which emerged from the sounds in chopped up pieces.
Track 4 is In The City, Fire Sirens. We changed the playback speed of the fire sirens that we recorded in the city to 8.5 % (normal speed is 100%). You will hear some chirps of birds toward the end.
Track 5 is The Farthest Land #2. We wanted to record the sounds of the farthest land in this track. The farthest land could be anywhere, so we did recording at a terminal station of a local railway. This track was recorded as false stereo using reversed-phase signals of the sound sources, just like Track 1.
Track 6, Crickets Chirping - Water Fountain In A Park, is the most interesting piece for me. Taku Unami did the max programming. In this piece, we controlled the amplitude and the frequencies of the recordings of the crickets near the water fountain in the park in Nakano. The sounds of the water fountain are hidden. What you hear is the chirps of the crickets, but you can also hear the sounds of the water fountain area, since the chirps of the crickets change according to the amplitude and the frequencies of the sounds of the water fountain. You may think you hear something like a child's voice or running noises, but what you hear actually is just the chirps of the crickets.
In Track 7, Parking Lot for Bicycles / The Library, and in Track 8, Shorefront of a Lake / Commercial Space, we mixed segments of different frequencies (high and low pitches) alternately as seen in the attached illustration. Two sound sources were simultaneously mixed, but the frequency spectra of both did not overlap with each other.
The duration of both Track 7 and 8 is six minutes long, and the first 3 minutes and the last 3 minutes have different frequency spectra.
Track 9, In a Farmland, was recorded in the same method as in the Track 3. In the last half, Taiwanese squirrels are screaming out.
Track 10, From The Rooftop, Railway Terminal Station, the playback speed of the stereo sound source is 924%. We recorded it on the rooftop of a building, facing a train station.
Track 11, The Farthest Land #3, is environmental sounds recorded with double stereo. We set up two microphones on the ground horizontally, and two other microphones on the ground vertically.
We are thinking of developing and deepening our project in the future, to make something which will convey the meaning of processing. This is the first work of the series. For our future works, we are thinking of adding some ideological aspects, too.
- Toshiya Tsunoda
released March 27, 2018
recorded and edited by Toshiya Tsunoda and Taku Unami
max program by Taku Unami
mastered by Taku Unami
produced by Jon Abbey and Yuko Zama
design by Yuko Zama
6 drone tracks that make my stomach sick with dread. This is the soundtrack to the documentary that has all the answers to our suffering, just to find out the answers reveal a truth so horrifying and revolting you cannot stand to live in this world anymore from your newly found disgust for humanity. The last few minutes of We All Get It In The End is your death. UntitledKirk
To me, this album sounds like a dying planet that was once full of life, but is now mostly desert with a few pockets of water. This music creates such specific pictures like that, and that's why I enjoy it so much. ggrimes65