My Favorite 30 Works of 2020

色々と大変な一年でしたね。皆さまお元気でしょうか。
今年はBandcamp Fridayもあり、世界的にかなりハイペースなリリース/リイシュー年間だった感じがします。こちらは追いかけるのに必死で、聴き込む時間は圧倒的に足りなかった印象です。そのなかでも、気になって、気に入って、何度も聴いたものを30作品ピックアップしてみました。順位はつけられないので、アルファベット順で。
It was a really tough year, right? Hope all friends are well. Cause of Bandcamp Friday etc, I felt that the releases / reissues were at a really high pace worldwide this year. I tried to listen to music as much as possible, but in my impression the time to listen was overwhelmingly short. Among them, I picked up 30 works that I was interested in, liked, and listened to many times. The (Japan-styled) alphabetical order.

Andrea Ermke, Chris Abrahams, Marcello Busato, & Arthur Rother [Sink]
(Mikroton / 2019)

去年試聴したけど、そのときは引っかからなかった作品。思い出すように聴いてみて、いいなと思った。絶妙にクリアーで絶妙にローファイ。パーカッションや変な電子音などがやかましくごみごみとしているけれど、ギターをシンセは音楽的に鳴っていて独特な調性もとれている。全体的にどう形容したらいいのかわからない不思議なテクスチャーに覆われていて面白い。
I listened to it a bit last year, but it didn't get me hooked at that time. It just crossed my head by chance and listened to it again, and then I felt it was great. It's exquisite hi-fi but exquisite lo-fi. Percussion and strange electronic sounds are cluttered noisily. However, a synth and a guitar are played musically, and there has a unique tonality as a whole. It's quite interesting because it's covered with a mysterious texture that hard to describe.

Bára Gísladóttir [Hīber]
(Dacapo / 2020)

重くゆっくりと軋むコントラバスの弦。時には自然の音も使われているけれど、基本的にはコントラバスの演奏で構成されている。アンビエント的なときもあるけれど、鉄板をこすっているかのような鋭利な音が中心で、全体をとおして強い緊張感がある。ところで本作、どうしてデジタルでの販売だけなんだろう。好みだったのでCDかレコードで買いたかったな。
A heavy and slow creaking double-bass strings. Sometimes environmental sounds are used, but mainly there're only double-bass sounds. Sometimes it sounds like ambient music, but there're mainly sharp sounds there and full of strong tension. By the way, why did it released as a digital album only? Since I really enjoyed listening to it, I'd like to own as a CD or a vinyl...

Ben Goldberg [Good Day for Cloud Fishing]
(Pyroclastic / 2019)

ディーン・ヤングの詩をもとに曲を書き、どの詩から書いたかを明かさずにヤング本人に曲を聴いてもらい、そこからふたたび詩を書いてもらう、という作品。音だけ取り出してみると、街角で聞こえてくる音楽のようだったり、あるいはジム・ジャームッシュ監督作品のようなゆるい雰囲気も感じられたり、余計な情報を抜きにしても面白く聴けた。
Songs were written based on Dean Young's poems, and Young himself listens to these songs without being told which poem each songs based on, and then he wrote the poems again. Excluding that concept and taking out only sounds, they sounds like music heard on the street corner, or it felt moods like Jim Jarmusch's films. It was really fun even without extra information.

Jim Jarmusch "Night on Earth (ナイト・オン・ザ・プラネット)" - Trailer  https://www.youtube.com/watch?v=F1m6GlPyOSU

Bill Nace & Graham Lambkin [The Dishwashers]
(Open Mouth / 2020)

Bill Nace & Graham Lambkin - The Dishwashers

ギター片手に裏庭を散歩しながら録音・演奏したままの音のような、人為的なものがいろいろと介入しているフィールド録音。鳥の鳴き声や2人の声や優しくつま弾かれるギターの音。そういうのは好みでない人もいると思うけれど、その人のセンスがあらわれるというのか、僕はむしろそういう作品のほうが好きだ。普遍的な風景に小さな物語が生まれていて好みだった。
Field recordings full of various man-caused interventions like they recorded while walking in the backyard with a guitar. The sounds of birds, the voices of two, and the sounds of a gently played guitar. Some may not like that kind, but I like it. I think that there is sense of recording person inside the sounds. A small story was born in the ordinary landscapes and I was drawn into it.

Charlie Haden [Liberation Music Orchestra (The Montreal Tapes)]
(Verve / 1999)

The Montreal Tapes - Charlie Haden & the Liberation Music Orchestra | Songs, Reviews, Credits | AllMusic

Charlie Haden率いるLiberation Music Orchestraによるライブ録音。もちろんジャズとしての盛り上がりはあるが、それとあわせて知らない国の伝統音楽のような雰囲気もあり、交響曲のようなダイナミックな展開もあり。でもなにより楽しそうなノリが伝わってくるのがいい。スタジオ録音での名作[Liberation Music Orchestra]と比べて個人的にはこちらのほうが好みでした。
Live recordings by Liberation Music Orchestra led by Charlie Haden. Of course, there is excitement as jazz, but at the same time, there is an atmosphere like traditional music of unknown countries, and there is also a dynamic development like a symphony. But above all, I felt they played with fun, and that's what I really love. I personally preferred this to the masterpiece "Liberation Music Orchestra" recorded in the studio.

Charlie Haden "Liberation Music Orchestra"
https://www.allmusic.com/album/liberation-music-orchestra-mw0000204501

Christina Kubisch [La Ville Magnétique (The Magnetic City)]
(Ville De Poitiers / 2008)

この前年に発表された[Five Electrical Walks]と比較すると、かなり音のバリエーションがあるように思えた。けれどごちゃごちゃした感じはせず、ミニマルな領域をはみ出さないように巧くまとめられた印象。数多くの種類の音をコントロールして「ミニマル」という枠組みに抑えこむこの人のテクニックやセンスは本当に素晴らしい。
Compared to the "Five Electrical Walks" released a year before, this work seemed to have a lot of sonic variation. However, it feels no busy, well mixed, and does not go beyond the minimalism. Her sense and technique of controlling many kinds of sounds and keeping them in a "minimal" framework are completely wonderful.

Christina Kubisch "Five Electric Walks"  https://www.allmusic.com/album/invisible-inaudible-5-electrical-walks-mw0000490775

Cool Quartet (with Lina Nyberg feat. Éric La Casa) [Dancing in Tomelilla]
(hibari / 2012)

前半の'September in Tomelilla'と後半の楽曲演奏の、2部構成のような作り。特に前半部のほうにすごく惹かれた。録音の定位が次々と移り変わって、楽器の音や歌声、車の音、演奏中の物音などが四方八方、それも変な位置やタイミングで現れては消えていく。Éric La Casaによるところが大きいのかな。頭のなかをぐわんぐわん色々な音が駆け抜けていって楽しかった。
This work consists of two parts, 'September in Tomelilla' in the first half and music performances in the second half, and I was particularly attracted to the first half. The points of the recordings change steadily, and the sounds of musical instruments, singing voices, car sounds, noises during performances, etc appear and disappear in strange directions and strange timings. I thought that it is contributed greatly by the operation of Éric La Casa. It was fun to hear various sounds running through my head.

Costis Drygianakis & Matt Atkins [Last April]
(Coherent States / 2020)

お互いが素材を交換し合って作ったコラージュ的作品集(Costis Drygianakisが”C”を、Matt Atkinsが”M"を担当)。音響的な加工を多用して不穏な空間を演出するC側に対し、M側は微細な物音を中心として小さなストーリーを展開させる作風。似て非なる両者の個性を感じ取れる作品。Matt Atkinsといえば、今年MASSの4名で発表した[A Softer Collison]も興味深い作品だった。
A collection of collage-like works created by exchanging materials with each other (Costis Drygianakis is on "C" side, and Matt Atkins is on "M" side). On "C" side uses a lot of acoustic processing to create a disturbing space, while "M" side develops small stories with microtonal sounds mainly. I felt their both individualities that are similar but different. Speaking of Matt Atkins, "A Softer Collison", which was released by four members of MASS this year, was also an interesting work.

MASS "A Softer Collision"
https://mrmrecordings.bandcamp.com/album/a-softer-collision

Deep Sea Diver [Impossible Weight]
(Ato / 2020)

Sharon Van Etten経由でこのグループを知った。全体をとおしてクランチ気味に歪んだギターと軽いリズム感があって、そのあっさり聴ける感じが気分にあったのだと思う。この一年ですごくよく聴いた。思い返してみて、ストレスフルな生活のなかで本作にはかなり助けられた気がする。
I found this group because Sharon Van Etten was featured. Throughout the album, there were crunch-distorted guitar sounds and light rhythmic feelings, and I could listen to it with being relaxed. This year I listened to it so many times. I appreciate this work because it supported me in a stressful life.

Eric Anders Benson [Cow’s Broken English]
(No Rent / 2020)

テープのローファイな質感と環境音によるぼんやりとしたムード。いくつかのトラックに分かれているものの、全体をとおしてシームレスにつながっていて、物語性が感じられた。時に場面転換のようなことが起きるところから先述したような雰囲気を感じたのかも。聴いていてタル・ベーラ監督の「ニーチェの馬」やアンドレイ・タルコフスキー監督の「ノスタルジア」などを想起した。
The obscure moods cause of the lo-fi texture of tapes and environmental sounds. Although it is divided into some tracks, it is seamlessly connected throughout, and I felt it like a long story. Perhaps I felt that way from sometimes being changed the scenes. While listening to this, I remembered "The Turin Horse" directed by Béla Tarr or "Nostalgia" by Andrei Tarkovsky.

Béla Tarr "The Turin Horse (ニーチェの馬)" - Trailer 　　　　　https://www.youtube.com/watch?v=KYBCNTzQ31c

Andrei Tarkovsky "Nostalgia (ノスタルジア)" - Trailer    　　https://www.youtube.com/watch?v=QDax5tf2aqo

Eva Kierten [The Shattered Vessel]
(Other Forms of Consecrated Life / 2019)

聴いていると、その場にずぶずぶと沈み込んでしまいそうになる。どんな場所でこんな残響を聴けるだろう？耳をくっつけながらピアノを弾くとか？打鍵のひとつひとつが雫の形になって、水たまりのなかに落ちていくような感じ。臨死体験のよう。天国の音ともまた違う不思議な感覚だった。
I can't stop feeling like sinking into the deep when I listen to it. How should we able to hear this kind of reverb? Playing the piano with putting our ears onto? Anyway, it feels like each keystroke is in the shape of a drop and falls into a puddle. It was a mysterious feeling like a near-death experience and that was also different from the sound of heaven.

Idles [Ultra Mono]

(Partisan / 2020)

「パンク」というスタイルがなんとなく古いものに思えていた自分の耳に飛び込んできた彼らの音は、まったく古びていない「パンク」だった。世界への怒り、それでもどこかに希望があって、世界を良くしようとする姿勢。現在だからこそ、本作はひときわ輝いて聞こえた。「諦めずに、怒りと希望をもって立ち向かおう。」そんなメッセージやアティテュードを感じた。
Personally I think 'punk' is an old style, but this band's songs jumped into my ears were exactly 'punk', and which was not old at all. Anger for the world, some hope, and the attitude of trying to make the world better. In this day and age, this work sounded outstandingly shining. "Never give up and let's stand up with having anger and hope." I felt such messages and attitudes.

John Wright [South Side Soul]
(Prestige / 1960)

Prestigeから発表される作品には土臭いブルースの質感があるものが多い気がして、本作も僕の耳にとってはそのうちの一つだった。その音の感じは演奏家たちの人間味を映しているのだろうか。粗野なブロックコードなどにこの人が表れているようで、聴いた途端に好きになってしまった。いくつか聴いたなかで特に本作が気に入った。
I feel that many of the works released on Prestige have an earthy blues texture, and for my ears this work was also one of them. Are these feelings of the sounds reflected the humanity of the performers? I felt that his personality appears in the rough block codes, and it was not so long until I fell in love with his sounds. Of all his works I listened to, I especially liked this.

Johnny Griffin [Change of Pace]
(Riverside / 1961)

なんとも不思議な作品に出会ってしまった。ピアノレスでベースが二本。時にはフレンチホルンも。いつも元気にテナーを吹いている印象のJohnny Griffinも、ここではちょっと雰囲気が違う(いや、本作でも元気だけど)。ベースの演奏のせいか一昔前の怪しげなスパイ映画でも見ているかのようで、アルバムをとおしての流れや物語性も感じられる。
What a mysterious work! No piano but two basses, and sometimes the French horn appears. Johnny Griffin, who in my impression he is always blowing tenor cheerfully, has a slightly different mood here (oh, but he plays also cheerful here). Perhaps by the two bassists' sounds, for my ears, it sounds as if an old spy movie. I felt the flow and story as a whole.

Jon Collin & Demdike Stare [Sketches of Everything]
(DDS / 2020)

詩的に響くギターの音に、ときどき空間をゆがめるような電子音が押し寄せてくる。フォーク的な作品かなと思いながら聴き始めたので、波のように少しずつ押し寄せてくるDemdike Stareの音も衝撃的だった。夢か現実かわからない、白昼夢でも見ているみたい。紹介してくれた友人が使った「ダークサイドに堕ちたLoren Connorsのよう」という例え方、なかなか面白いな。
From behind the poetic guitar sounds, the flood of electronic sounds sometimes distort the space. I started listening to this thinking it was a folk-like work, I was so amazed Demdike Stare's sounds of rushing in like waves. It's very obscure and like seeing a daydream that we can't recognize it's a dream or a reality. Also, the analogy "sounds like Loren Connors who fell into the dark side" that my friend used for introducing me was quite interesting.

Karen Constance [The Junk Merchant]
(Chocolate Monk / 2020)

今年発表された[Still Awake](beartown)と[Still Asleep](moremars)を素材としたコラージュ作品。その両作品はプリミティヴな電子音の反復を中心とした「素材」ぽかったので(もちろんそれはそれで中毒性があって好きなのだけど)、本作での混沌とぐちゃぐちゃした雰囲気に魅了されて聴き入ってしまった。短いのが少し残念だけど、変に長くないほうが潔くていいのかも。
A collage work based on [Still Awake] (beartown) and [Still Asleep] (moremars) released this year. I felt both of them are "materials" consisted mainly on the repetition of primitive electronic sounds (I like both because they are much addictive, of course), so I was fascinated more by the chaotic and complex atmosphere of this work, and I listened many times. It's a little saddening that the recording time is short, but it is much much better than exceedingly long.

Karen Constance "Still Awake" Sample  https://soundcloud.com/beartown_records/karen-constance-still-awake-sample-track

Karen Constance "Still Asleep" sample                 　https://www.youtube.com/watch?v=xYzIdR2876g

Machinefabriek [Amalgaam]
(Zoharum / 2020)

幻想的で瞑想的な電子音(と、声も使われている？)で構成されたサウンドは、約35分と短いながらも、聴き手を未知なる世界へといざなってくれるよう。随所にひそむ雑音のようなサウンドはなんの音だろうか。聴き手の想像力をかき立てる、ディープで素晴らしい作品だと感じた。
Composed of fantastic and meditative electronic sounds (and voice is also used?). Although this work is as short as about 35 minutes, it seems to take the listeners to the unknown world. What are the noise-like sounds hiding everywhere? A deep and wonderful work that stirs the listener's imagination.

Mark Lyken & Emma Dove [Mirror Lands]
(Time Released Sound / 2015)

映像作家でもある二人による、同名の映像作品のためのサウンドトラック。自然のなかでの人々の営みを切り取った作品のためか、全体的に音は静かで、「場に添える」程度。ピアノなど楽器の音も途中途中に挟まっている環境音のトラックも、あまり主張が強くなくて、聴いていてとても心地よかった。ご厚意で作品を見せていただいたけど、DVDとかにはならないのかな。
A soundtrack for the same-titled film by two filmmakers. The film focuses on the people's activities in nature, sounds are quite beautiful but they don't appeal strongly as a whole, like a garnish for adding to the scene. The sound of musical instruments such as the piano and the environmental sound track that was sandwiched in the middle were not very assertive, and also just as a sound, it was very comfortable to listen to. Mark Lyken kindly showed me the film. I'm looking forward to being released someday as a DVD/Blu-ray, etc..

Mark Lyken & Emma Dove "Mirror Lands"
Trailer 1: https://vimeo.com/87459715
Trailer 2: https://vimeo.com/80682497

Maya Verlaak [All English Music Is Greensleeves]
(Another Timbre / 2020)

聴いていてworld's end girlfriendやアイスランドのmúmとかの音楽を思い出した。トラッドな雰囲気やポップな音の感じ。ミニマルで少しだけアカデミックで現代音楽/室内楽みたいな感じがこのレーベルらしさを思わせるけれど、過去の作品群と比べてどこか違うというか、表現するのが難しい不思議な中毒性があって、12月によく聴いた。冬の雰囲気に合う作品でした。
Listening to this reminded me of music such as 'world's end girlfriend' and Icelandic band 'múm'. A traditional music atmosphere feelings and pop sounds. Minimal, a little academic, and chamber music-like touch makes me feel this label's moods, but I thought it's a little different from the past catalogs. It's a mysterious addictiveness that's hard to express and I listened to it many times in December. It suited the winter atmosphere.

world's end girlfriend / Unspoiled Monster  https://www.youtube.com/watch?v=NDXCYq5YdRk

múm / Nightly Cares                                　https://www.youtube.com/watch?v=1yd0jgpzuGs

Mike Cooper [Playing with Water]
(Room40 / 2020)

ふんわりとしているMike Cooperのギターの音色や電子音などが、アジアで録音された自然の音や雑踏などとうまくミックスされている。その場で演奏したのではないので演奏の録音と環境音では距離感が違うのだけど、2つがあわさることで未知なる桃源郷に足を踏み入れてしまったかのような雰囲気が生まれて、その世界から抜け出せなくなるような感覚が気持ちよかった。
The mysterious Mike Cooper's guitar tone and electric sounds were  well combined with the natural sounds and crowds sounds recorded in Asia. Since each sounds was recorded differently, there have some distances. But the combination of these two created an strange atmosphere that made me feel as if I had stepped into the Shangri-La where never be able to get out again, and it's a fascinating experience for me.

Phil Julian & Ben Owen [Between Landing]
(Auditory Field Theory/Authorised Version / 2014)

聴き始めてしばらく「弱音系の電子音響作品かな？」と思ったけれど、違った。どの音にも極度に圧縮された強靭さがあって、1曲目の途中から徐々に音が牙を剥くような感じがして格好よかった。音の解像度がかなり高いので、ちゃんとした環境である程度音量を出して聴けば、小さなノイズのひとつひとつが強力なエネルギーの要素になっているのがわかる。クール。
For a while after I started listening to it, I was thinking "It must be a microtonal electroacoustic sound." But it was not. From the middle of the first track, every tone gradually appears a extremely compressed toughness, like revealing its fangs. The resolution of the sound is quite high, so if you listen to it in a proper environment with some volumes, you can find that each small noise is a powerful energy element. So cool.

Philip Sulidae [Tupik]
(Dinzu Artefacts / 2020)

レーベル"Hemisphäreの空虚"を運営し良質なリリースを続けるだけでなく、自身もハイペースにリリースを重ねるPhilip Sulidae(年内にUnfathomlessからも発表する予定で、そうなると計5作品出す予定)。彼の作品は毎回ミクロな音をミニマルかつ緻密に組み合わせて独特な世界が構築されていて、本作ではそれが特に顕著。もちろんダイナミクスもあり、電子音が薄く重なるだけで急に映像喚起的になり、聴き手に没入体験を与えてくるところがすごい。
Philip Sulidae, who not only runs the label "Hemisphäreの空虚" and continues to publish good quality works, but also releases works of himself at a high pace (Unfathomless plans to release his work by the end of this year, 5 works will be out in total this year). Throughout the work, every time he creates unique worlds by combining micro sounds finely ar a minimal, and its fact is especially noticeable in this work. Of course, there is also dynamics. And it was amazing for me that the electronic sounds that thinly overlapped become suddenly image-evoking and giving the listener an immersive experience.

Richard Chartier [Continue]
(Moving Furniture / 2020)

それぞれはシンプルな電子音の組み合わせ。それらはどれも静かに鳴っていて、けれども聴いていてリラックスするというよりは、むしろ強い緊張感を覚えた。「木鶏」のようにその場にただ立っているだけで聴き手を圧倒する強烈なパワーがある(それを感じるためにも音量大きめでの再生を推奨します)。過去聴いたことのある彼の作品のなかでも飛びぬけてすごいと思った。
As its structure, it's just a combination of simple electronic sounds and all of them were ringing quietly. But when I listened, I found that this made me feel a heavy tension instead of making me relax. It's like a wooden chicken(*). There is a powerful power that overwhelms the listeners just by sounding (playing this at a louder volume is recommended to feel it). I thought it was the best of all his works I've heard in the past.

wooden chicken(木鶏): In an old Chinese story, it says "The strongest cockfight is like a 'wooden chicken'. Even if other cockfights chirp, it doesn't care at all. It doesn't move and it keeps in a imperturbable calm."

Sam Wilson [Into a Heart (Japan Edition)]
(Muzak / 2020)

過去に[Into a Heart]として発表したEPの曲をすべて録り直し、さらにほかの人の楽曲の演奏も収録したという日本独自企画盤。レコード屋さんで見かけて何の気なしに試聴したんだったと思う。1曲目出だしのギターのトーンを聴くなり、すっかり魅了されてしまった。純粋に好きだった。
This is a Japan only edition that re-recorded all the songs of "Into a Heart EP" released in the past, and in this edition, new recordings of songs written by other jazzmen are also included. Maybe I found this CD at the record store's listening booth and listened without thinking anything. I was completely fascinated by the tone of the guitar as soon as I started listening to the first song. I liked this sound, purely.

Shuta Hiraki [Voicing in Oblivion]
(Rottenman Editions / 2020)

友人の作品ということもあると思う、本作は今年上半期に発表された作品群のなかでも、もっともよく聴いていたものだった。彼のなかに残る過去の記憶の音たちを、砂をすくうように拾っていく音色や展開。複雑なレイヤーのなかでうっすらと聞こえてくるさまざまな音。それらを本人と同じ目線を想像しながら追いかける、その体験そのものに面白さを感じた。
Since it is also my friend's work, this was what I listened to the most in the first half of this year. The sounds of Hiraki's past memories that remain in him are picked up like scooping sand and unfolded gently. Various sounds that can be heard faintly in complex layers. The experience itself is interesting for me and I followed sounds while imagining the same perspective of himself.

Skeleton Key [Fantastic Spikes through Balloon]
(Capitol / 1997)

Jon Spencer(や前身のPussy Galore)などのようなガレージ・パンクの陽気さやTom Waitsのような気怠さ、そして[Midnite Vultures]の頃にBeckがもっていた実験精神。そのあたりと似た匂いがする。聴いていると体が動き出してしまいそうな楽しさ。90年代のオルタナティヴな作品群のなかでなかなか紹介されず埋もれてしまっているのが惜しい。格好いいのにな。
Smells like the garage punk cheerfulness of 'Jon Spencer Blues Explosion' (and its predecessor 'Pussy Galore'), the laziness moods of Tom Waits, and the experimental spirit of Beck around "Midnite Vultures" era. It's so fun that I can't stop dancing when I listen to it. It is a little regrettable for me that it is rarely introduced us as a masterpiece of the 90's (isn't it?) and buried in the rock scene. Even though it's so cool...!

Jon Spencer Blues Explosion / Lap Dance        https://www.youtube.com/watch?v=NJsJyEpy4G8

Tom Waits / Top of the Hill                            https://www.youtube.com/watch?v=JM-Qlg119C4

Beck / Mixed Biziness                                    https://www.youtube.com/watch?v=OdqKQRhi6qU

Stephen O’Malley [At the GRM Paris]
(Ideologic Organ / 2020)

Iancu DumitrescuとAna-Maria Avramの作品をStephen O'Malleyがギターで演奏したもの。前から「コンピューター作品を彼がギターで弾くとどんな化学変化が起きるのだろう」という期待があった。アートワークに引っ張られているところが無きにしもあらずだけれど、宇宙空間を漂っているかのような不思議な磁場をまとっている。
The guitar performances of Iancu Dumitrescu and Ana-Maria Avram's pieces by Stephen O'Malley. From before I've been curious to know that "what kind of chemical change would occur when he played a computer work on a guitar?" Maybe it is pulled by the artwork, but this has a mysterious magnetic field here as if we were floating in an  outer space.

Torba [Musica Convenzionale]
(Edizioni Aaltra / 2019)

テープをもちいて作られた約40分間のコンクレートな音の濁流にのみ込まれる。全体的にはごつごつとした音を立てつつも、時に鋭利な質感をむき出しにしたり、テープに記録された弦楽器や人の声などの生々しい音が姿を現したり。Wanda Groupとかが好きな人も反応しそう。こういうのすごく好き。
I was swallowed by a stream of concrète sound for about 40 minutes made using tape. Although there is a rugged sound as a whole, sometimes the sharp texture is exposed and sometimes the raw sounds appear such as stringed instruments and human voices recorded on tape. People who like Wanda Group might be likely to react. I really like these kinds.

Wanda Group / No Mouth or Transparency and Variable Curvature  https://www.youtube.com/watch?v=WFVwyBMHcow

Vanessa Rossetto [Self-Care]
(Unfathomless / 2020)

Vanessa Rossettoの作品の多くには本人の記憶や感情が登場するように感じる。なかでも本作はかなり内省的な作りだった。電話の声や独白、交通の騒音などとあわせて聞こえる蛇口から滴り落ちる水の音が催眠術のような表現で、聴き手をその空間に引きずり込む。ショッキングな聴覚体験だった。
I feel that in almost all Rossetto's works memories or emotions what she has experienced appear. Especially, this work has more introspective feeling. The sound of water dripping from the faucet that can be heard in time with the conversations through the telephone, monologue, and traffic noise become hypnotic-like expressions and dragged me into the space. It was a shocking listening experience.

Various [Six Séquences pour Alfred Hitchcock]
(Nato / 1985)

映画監督アルフレッド・ヒッチコックに捧げられた作品集。映画で使われていたかのような楽曲があったり、映画のワンシーンかなにかのような作品もあったり。ラジオドラマやコンクレート系の作品が好きな人もはまってしまうかも(御多分にもれず、僕もその一人です)。
A collection of works dedicated to film director Alfred Hitchcock. Some are songs that seem to have been used in his movies, the others are just sounds that like a scene from a movie. If you are addicted to radio dramas or sound collage works (at least, I am one of them), you might fall in love with this.

それでは皆さん、来年もお元気でお過ごしください。
Thank you for reading. Hope you all be also well next year.