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Otomo Yoshihide - Anode album mp3

Otomo Yoshihide - Anode album mp3

Performer: Otomo Yoshihide
Title: Anode
Released: 2001
Style: Experimental
Category: Electronic
Album rating: 4.4
Votes: 265
Size MP3: 1594 mb
Size FLAC: 1114 mb
Size WMA: 1548 mb
Other formats: MP1 WMA VOC DMF XM AU MP2

Tracklist Hide Credits

1 Anode 1
Guitar [Electro-acoustic Feedback] – Otomo Yoshihide
10:35
2 Anode 2
Guitar [Electro-acoustic] – Annette KrebsKoto [Prepared 17-string] – Nishi Yoko*Recorded By [Annette Krebs] – Otomo Yoshihide
13:04
3 Anode 3
Guitar [Electro-acoustic] – Annette KrebsKoto [Prepared 17-string] – Nishi Yoko*Recorded By [Annette Krebs] – Otomo Yoshihide
15:03
4 Anode 1 Variation
Guitar [Electro-acoustic Feedback] – Otomo Yoshihide
15:42

Companies, etc.

  • Recorded At – Gok Sound
  • Recorded At – A-102 Studio
  • Mixed At – Gok Sound
  • Mastered At – Foothill Digital

Credits

  • Design – Heung-Heung Chin
  • Electric Guitar – Sugimoto Taku*
  • Electronics [Sine Waves, Contact Microphone] – Sachiko M
  • Executive-Producer – John Zorn
  • Executive-Producer [Associate] – Kazunori Sugiyama
  • Liner Notes – Otomo Yoshihide
  • Mastered By – Allan Tucker
  • Percussion, Crotales – Furuta Mari*
  • Percussion, Crotales, Drums – Itoken
  • Percussion, Drums – Uemura Masahiro*, Yoshigaki Yasuhiro*, Ichiraku Yoshimitsu*
  • Percussion, Vibraphone, Timpani – Takara Kumiko*
  • Photography By [Inlay Photo] – Yokoi Kazue*
  • Photography By [Obi/Booklet Photo] – Toshimitsu Tetsuya*
  • Producer – Otomo Yoshihide
  • Recorded By, Mixed By – Kondo Yoshiaki*
  • Turntables [Without Records], Electronics [Contact Microphone] – Akiyama Tetsuji*

Notes

Tzadik composer series

'Anode' is dedicated to Mr. TM, Soejima Teruto and Shimizu Toshihiko

Recorded and mixed May-June 2001 at Gok Sound, Tokyo
Track 2, 4 (Annette Krebs) recorded June 2001 at A-102 studio, Tokyo
Mastered at Foothill Digital, NYC
K2 Technology by JVC Disc America
Special thanks to all musicians, Kondo Yoshiaki, Heung-Heung Chin, Kazunori Sugiyama and John Zorn

Barcode and Other Identifiers

  • Barcode (On obi): 7 02397 70732 5
  • Matrix / Runout: TZACD7073 2J 11 K
  • Mould SID Code: IFPI 4121
  • Mastering SID Code: IFPI L239


com brings together thousands of 'greatest ever album' charts and calculates an overall ranking. This album At A Glance. Accolades: Top albums of 2001 (2,010th). Top albums of the 2000s (22,634th). Best albums of all time (97,178th).

Track 3 from LMC Festival; mixed at GRID605, Tokyo, December 2007 and January 2008; concert organized by Benedict Drew/London Musicians' Collective. Mastered at GOK SOUND, Tokyo, 23rd January 2008. Cover photo taken in Kichijoji, Tokyo, 1975. Thanks to Koike Nubuo, Kawade Shobo Shinsha, and Fujitaka Ito and Sano Takashi (Gallery 45-8).

Only for completionists (0%).

He spent his teenage years in Fukushima, about 300 kilometers north of Tokyo. Influenced by his father, an engineer, Otomo began making electrical devices such as a radio and an electronic oscillator. This was his first experience creating music. Soon after entering high school he formed a band which played rock and jazz, with Otomo on guitar

From the opening 10 plus minute track to the final track which is almost 16 minutes, I was hooked. I highly recommend it to all you noise fans! Keep beating your ear drums!

Comments:

Armin
Experimental composer/improvisers have long had a fascination with developing systems that manage to combine the two. For example, a system of rules might be applied which constrains players within certain guidelines where, as long as they don't exceed certain boundaries, they are free to improvise. John Zorn' s game pieces such as Cobra come to mind, which he likened to a baseball game where, despite fairly rigid rules being in effect, the outcome is uncertain, although it will always retain the character of baseball. Otomo Yoshihide had a long history of brilliant work in improvised ensembles (as well as rock and jazz groups) and had been devoting much of his time prior to this recording investigating ultra-quiet free improvisation utilizing sine waves and extremely abstract electronics, resulting in delicate music at the very edge of hearing. His previous recording for Tzadik, Cathode, was very much in this area. The listener is quite taken aback, therefore, at the sheer volume and ferocity of the initial composition here, a virtual onslaught of percussion and electronic noise. The instructions to the musicians were to "play loudly and create new sounds before the previous sounds disappear." There is no real chance to listen to the fellow performers, much less react to what they are playing. The result is a giddy, almost neurotic welter of harsh banging whose purpose, contrary to most free improvisation, is not to cohere but to open up a new and difficult space when free improv gets too comfortable. The music thus becomes difficult on a whole other level than normally difficult music. One cannot give Yoshihide too much credit for refusing to play by the rules, even if those rules are supposedly infinitely flexible. Similarly on the two relatively quieter pieces, "Anode 2" and "Anode 3," he instructs his players, "Do not respond to the sound of others," asking for the near-impossible. The works have something in common with the music of groups like AMM, but there is a subtle difference, as if by setting up roadblocks Yoshihide has forced his participants into new and unexplored territory. Anode is a fascinating album and perhaps will be regarded as a major signpost in the continuing history of creative music.

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