もし映画「アメリ」の舞台が、スコットランドやアイルランドだったら？ まるでヤン・ティルセンがケルトミュージックを作曲したかのような新感覚 ロシアの作曲家/ピアニスト/マルチインストゥルメンタリストAndrew Jasinskiによる、美しいポストクラシカルアルバム「Sea」 2014年12月2日、全世界リリース！ ピアノ、ギター、ハープ、ドラムといった、一般的な西洋楽器を始め、フルート（様々な国の）ダラブッカ（アラブのパーカッション）ブズーキ（ギリシャの弦楽器）バグパイプ（ケルトミュージックの代表的な楽器）といった様々な楽器を1人で使いこなす、ロシアの若き作曲家にして、マルチインストゥルメンタリストAndrew Jasinski（アンドリュー・ヤシンスキ）による、初の全世界流通アルバム「Sea」がついに登場！その多彩な才能は、映画「アメリ」の音楽を担当したフランスの作曲家であり、同じくマルチインストゥルメンタリストとして世界的アーティストとなったYann Tiersen（ヤン・ティルセン）を彷彿とさせる。 アルバム「Sea」の中心となるのは、Tr.1「Sea」やTr.4「Your Eyes」やTr.13「Wind」といった、センチメンタルなメロディーが涙を誘う静かなピアノソロ楽曲。そして、Tr.2「В лесу родилась ёлочка...」やTr.8「Kastarvat」やTr.12「Breton Dance (Andro)」といった、世界中の民族楽器を使用しつつも、その若い感受性でポストクラシカルやエレクトロニカの要素を取り入れた、爽やかで、時にアグレッシブな楽曲。 前述のヤン・ティルセンを始め、坂本龍一、キース・ケネフ、ハウシュカ、高木正勝などのファンにも激プッシュしたい、冬を彩る名作アルバムです。

Yann Tiersen首张个人钢琴独奏作品集《EUSA》！本作录制于英国伦敦著名的Abbey Road录音室，十首钢琴独奏曲对应着这位艺术家的住处——法国阿申特岛(Ushant Island)上的十处地点，并有对应的实地录音作为曲目音效背景。 Tiersen表示：“法国阿申特岛(Ushant Island)不仅仅是一处家园，更成为了我的一部分。这张作品的意图是为这个小岛绘一张音乐地图，或者更广义的，通过钢琴独奏描述表达真我。一开始，我筛选出岛上的十处地点，在每个地方都实地录音。以此为基础，进行谱曲并最终命名。每首曲子都有精确的GPS坐标，还有Emilie Quinquis帮忙拍摄的实景照片。 ”

Lilies for a bridal bed -- Roses for a matron's head -- Violets for a maiden dead -- Pansies let my flowers be: On the living grave I bear Scatter them without...

Hildur Guðnadóttir is a cellist and composer. Best known for her collaborations with múm and guest appearances with Pan Sonic, she has a rich catalogue of collaborations and varied projects behind her. Guðnadóttir began playing cello as a child, entered the Reykjavík Music Academy and then moved on to musical studies/composition and new media at the Iceland Academy of the Arts and Universitat der Kunste in Berlin. As a composer she has written music for plays, dance performances and films, pieces for chamber orchestras, various instruments, voices and electronics. Guðnadóttir likes to explore the nature and movement of sound, and often turns her experiments into sound and visual installations. She recently co-composed a live soundtrack to Derek Jarman's 1980 film In The Shadow of The Sun with legends Throbbing Gristle, arranged choir for performances by them in Austria and London. Rebels in Control have designed her new website, launched in support of her second solo album (and her first for Touch), "Without Sinking". The website runs on a CMS spine, so Hildur can update the contents herself. Its design features the beautiful landscape photography of Jon Wozencroft, used on the album's packaging.

映像や映画のための楽曲制作、アート作品や空間のためのサウンドデザインを手がける山梨在住の音楽家Kosuke Anamizuによるアンビエント&クラシカルプロジェクトmoshimossの9年ぶりとなるフルアルバム。 これまでに発表されてきたアンビエントやギターを基調とした 作品イメージから一新され、2020年、21年とリリースを重ねたEPシリーズの続編として、ピアノや弦楽器にフォーカスを当てたシンプルな構成やメロディによる普遍的なモダンクラシカルを軸に、moshimossの真骨頂である壮大なスケールを感じさせる深く儚いサウンドスケープが加わった、moshimossが描く架空の物語のためのサウンドトラック集。 ゲストプレーヤーにASA-CHANG&巡礼やTRIORAのメンバー、森山直太朗やSEKAI NO OWARIのサポート等で精力的に活躍するバイオリン奏者、須原杏が参加。 マスタリングは東岳志（山食音）、ジャケット写真はフォトグラファーの吉田周平が担当。 本作はデジタル、アナログレコードとしてリリースされます。

The light shines in the darkness, and the darkness has not overcome it.” KITCHEN. LABEL presents haruka nakamura PIANO ENSEMBLE’s new album entitled “Hikari” in a special 2CD box set edition to be released on 8th August 2017. “Hikari” is the final set of the trilogy of albums (Ongaku No Aru Fuukei and CURTAIN CALL) to feature the current PIANO ENSEMBLE lineup before they go on a indefinite hiatus after their last show at the grand St Mary’s Cathedral in Tokyo on 21st July 2017. Since the release of “Ongaku No Aru Fuukei” in 2014, haruka nakamura PIANO ENSEMBLE has held a tour with 17 concerts in Japan and 4 around Asia, with high profile and sold-out concerts at venues such at Memorial Cathedral of World Peace in Hiroshima, Meguro Persimmon Hall in Tokyo and Hyogo Performing Arts Center in Kobe among others. Recorded in late 2016 and early 2017, “Hikari” includes a new suite of pieces from evolved and fully-formed versions of the group’s favourites and also previously unrecorded items from its concert programs. The album’s repertoire is the ensemble’s most complete yet and documented at the peak of the ensemble’s form. Part one of “Hikari” begins with music recorded once again at the acoustically profound sonorium hall in Tokyo. As ever, haruka nakamura’s attention to the purity and precision of each and every note is matched by counterparts ARAKI Shin (Saxophone and Flute), Akira Uchida (Saxophone), Rie Nemoto (Violin) and Isao Saito (Drums). haruka nakamura’s piano melodies might appear uncomplicated, but this transparency of sound creates a mesmerising cumulative effect with “SIN” representing the ensemble at its most buoyant. Part two and the centrepiece of the album features 3 extended tracks recorded at Meguro Persimmon Hall (Tokyo), Waseda Scott Hall (Tokyo) and Lutheran Church (Fukuoka). 9-piece female choir group CANTUS, baobab and 14 year old vocalist Urara all took part in these recordings where the pieces “CURTAIN CALL” and title-track “Hikari” showcase the album’s collection of sacred hymns and spiritual high points. The ensemble is also joined by long time associate AOKI,Hayoto (Guitars & Harmonica) along with Hiroki Chiba (Contrabass), Sakanoshita Norimasa (Guitar) and Ami Misawa (Cello). The album ender and new piece “Todai”, thereby closing a divine circuit with its concluding distances. If music is meant to be a transporting experience, then the album “Hikari” is haruka nakamura PIANO ENSEMBLE at their transcendent and luminescent best. This album is recorded by Katsunori Fukuoka (Flysound) and is mixed and mastered by Gen Tanabe (studio camel house). “Hikari” is packaged in a hardcase box and features a 36 page book containing exclusive photos, liner and composer’s notes (In Japanese). The album also includes a digital download for 2 bonus tracks Hajimari No Sanbika (Waseda Scott Hall) and Yuube No Inori (sonorium). Total runtime: 85 mins.

そこはかとない音楽家としての才能と、 しなやかで神秘的な“女性像”を秘めた、 静謐に紡がれる、美しい指先の短編集。 ドイツ人女性作家 nunu のピアノアルバム。

Invisible Island’ sees Berlin-based Japanese pianist and sound designer Midori Hirano explore a subtly unsettling, frayed nerve strain of neo-classical ambience upon her return to Sonic Pieces Following up the imaginative, playful scope of 2016’s ‘Minor Planet’, Midori’s new side is best defined by its bittersweet edge and queasy textural/atmospheric backdrops that create an absorbing, quizzical gulf of detachment between the notes and the textures. While ostensibly working with clean, simple piano phrasing, the devil really lies in Midori’s filigree post-production that makes everything appear slightly unsteady and seemingly lost to its own thoughts while we listen in. The experience of ‘Invisible Island’ almost feels voyeuristic, as though we’re watching from a distance a play of emotions fleeting across someone else’s silent face, morphing from melancholic introspection to pangs of cutting anguish and, eventually on the B-side, a sense of breezy relief and resolution that comes through as the bitterness of the A-side subsides like night to morning. Really, the difference between the impending feel of opener ‘Ocean’s Disconnect’ and the resolution of ‘Invisible Island’ at the end could hardly be starker, with the magic lying in the way Midori very stealthily transitions between these shades of mood.

心地良いミニマル、風景を喚起する音を追求。 大阪を中心にライブ活動を行っている。

为川口春奈出演的隐形眼镜CREO的电视广告创作的广告曲。