kwanyin 023 AMPANMAN – 木管潮 wood wind tide

cd; paper sleeve; 2007

微店; bandcamp

AMPANMAN = Richard Scott + Clive Bell

Clive Bell(英国)是欧洲最优秀的尺八演奏者之一,也是乐评人和作曲家。Richard Scott 用电子设备,实时处理尺八的演奏。

Clive Bell (UK) is one of the out-standing shakuhachi players in Europe. as well as a music critic and composer. Richard Scott processing Bell’s playing in realtime via “old fashioned” hardware. the processing sounds proceed an evolution from shakuhachi. it increased the nihility and beauty of spiritual tradition.

设计 | design:西西 | Xi Xi

01,潮 2’08 | Tide
02,筏子客 5’04 | Rafter
03,飕飕 1’51 | Sough
04,巴斯克人 6’48 | Basque
05,舒芙蕾甜点 6’44 | Soufflé
06,2051 7’23 | 2051
07,风 4’55 | Wind
08,一刀 1’54 | Quire
09,蜂巢 7’13 | Hive
10,峡谷 5’36 | Gorge
11,木 2’48 | Wood

Clive Bell
Richard Scott

长笛演奏家 Clive Bell 曾经在2005年作为作为英国文化协会(英国大使馆文化教育处)在北京举办的“都市发声”项目中的4个英国参与者中的一员(其他参与者还包括 Brian Eno 等)首次来到北京。在录音方面,Bell有很多有趣的创意,包括从商店以及餐馆中收集中国流行歌曲,然后再把经过重新制作的版本放回这些商店去播放。
在北京之外,Bell 是一个著名的尺八演奏家,同时,也是著名尺八大师宫田耕八郎的学生。尺八是一种竹管乐器,演奏者均为普化宗的虚无僧(修习禅宗的僧人)。这样,这张专辑是颜峻的观音唱片的一个惊喜。它很容易让人误以为这53分钟是点缀在“神秘,难以捉摸的”东方元素上的笔记本循环氛围音乐。相反,整个专辑每一个单一的声音都是来自尺八。负责音效处理的音乐家Richard Scott 选取 BEell 的乐器的声音片段,使用处理器和调音台混制出新声音到乐器原音之中 。虽然尺八本身听上去带一点一点苦修者的单调味道,但 Scott 处理过的声音元素的添加了音乐的纹理与多样性,以达到乐器那种“通过一点而给人以启迪”的意境。
——Venus Lau

Clive Bell (the flute player, not the art critic) first came to Beijing in 2005 as one of four English musicians invited to participate in the British Council’s Sound and the City project (which also included Brian Eno, Who went on to work with Re-TROS).
Bell’s funremodeling idea was to record covers of Chinese pop songs taken from shops and restaurants, then returning his new versions of the music to those shops to play.
Oustside of Beijing, however, Bell is better known as a famous Western performer of the shakuhachi-the bamboo flute played for enlightenment by the Komuso (monksbelonging to the Fuke sect of Zen Buddhism)-and a student of the master Kohachiro Miyata. As such, this album is an unexpected surprise from Yan Jun’s Kwanyin Records; it’s easy to expect yet another 53 minutes of typical ambient laptop loops adorned with “mysterious, elusive” oriental elements. Instead, every single sound on the whole album is derived from shakuhachi. Effector musician Richard Scott picks up Bell’s bamboo flute sound fragments, using processors and mixers to overlap new sounds onto the original instrumentals. Though the shakuhachi itself can sound a bit ascetic or monotonous, Scott’s processed sound elements add texture and variety to the instrument that is said to “enlighten through one note.”Yet for an instrument whose tradition stresses the importance of space patterns as well as sound, the digital reorganizing and re-harmonizing discomfits the elegantvoids.Still,they generate possibilities for the simple-structured instruments (which styles itself on the sefl-completeness of karesansui, or Japanese rock gardens). People have said that experimental ambient music resembles the soundtracks of thrillers; if so, this album is one that matches the tragic ghost story of Mizoguchi’s ugetsu Monogatari (1953). (Venus Lau)