Ring version


When I read the lyrics for the first time, I felt as if this is Japanese haiku poetry because of the simple tight expressionism. Also by my seeing within something similar to the impermanence of Buddism, I was more and more attracted to the tape.

We had already completed three versions and finished all the work towards this track. However, one day I decided to revisit the unused versions and from them I was inspired to make one more piece from my personal point of view, from which I recycled these unused versions.

At that time I had just lost my mother so I thought I would make this work reflecting upon thoughts and structures of reincarnation. But at the same time I was not the professional of acousmato so I decided to try a different approach from my method of usual music production.

The tape itself is the prototype (substance) of this work. On this tape the time which Mr.Wyatt spent in his room was recorded. I have decided that the timed length of the original tape recording and its surrounding space is the concept of this production.








04.01 The chorale, which covers the whole piece, expresses “emptiness” in sound. Through its existence there is no beginning nor end (though about 5 minutes after the guitar beginning), the sound cascades over and over again eventually produces something I feel is like a waterfall effect.

As a result it formed the ring on the sense of hearing (small reincarnation) which proceeds same lyrics repeating (turning).

04.03 I converted the tape (sound source) to single musical scale by MIDI converter and overdubbed using various synthesizers. Because of this, the tape became incentive, but it is not lost, only withdrawn (something hidden inside the tape), I think.

The old (inaccurate) MIDI converter produced a peculiar movement (music) like an action painting, something which could not be created by human hands.



 04.01 全体に在るコーラスは無を音響(唯物)化したもので、その始まりも終わりもない存在から(ギター序奏から約5分後)テープは何層にも時間をずらしながら滝の様に連なって生まれ出ます。


 04.03 テープ(音源)をMIDI変換器により単一音階に変換。それを様々なシンセサイザー(音色)にて多重録音したものです。これによりテープは動機のみとなりますが、この場合、私は失われたのではなく(テープにある背後のものが)引出されたのだと考えます。




04.05 This take is not converted by machine like the previous ones, this is where I tried to recreate the piece myself (played by human hand). I wanted to create something new and complimentary to the original, and used the original source tape as my inspiration, Thus I created this whilst listening to and working alongside the original tape.

Each take was made and overlaid onto the original tape randomly by overdub at the mix stage. At this time I was inspired by using musical instruments to mimick the sounds of animals.

04.07 This piece is using the long-held image and sound reverberation. I made the original using an analogue tape echo machine and a looping process which I gradually escalated (I see this as the ring process). At the end I also overdubbed the original tape on top.

This (Ring Version) work is not music formatted by using musical scales or instruments. For this work I wanted to try to capture the mind behind the tape more than the music itself.


 04.05 このテイクは前述と違い機器による変換ではなく、本来テープにある音をモニターしながら人の手により演奏されたテイクを基に、前述テイクと同様に原型となるテープ、その不在(抽出)を試みた作品です。


 04.07 予てよりのイメージ、残響(非物質)による作品を試みたものです。アナログテープエコーに原型となるテープをエコー(ループ)させ、ゆっくりと時間を掛け(リング)回転速度を上げ(上昇)、最後に再びテープをオーバーラップする。

 この作品(Ring Version)は、単に音階や楽器による一般形式(表層)的な音楽ではなく、主となるテープ、その背後にある心(非唯物)を形にする事こそが、今回の私の最大の試み(真価)でした。



This work is dedicated to my late mother and the world.





Model / Rinko Photo / Th