Geinoh Yamashirogumi / Symphonic Suite AKIRA 2016
Формат записи/Источник записи: [DSD][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2016
Жанр: Stage & Screen
Издатель (лейбл): Invitation
Продолжительность: 70:29
Наличие сканов в содержимом раздачи: Только обложка альбома
Треклист:
01 金田 Kaneda 3:10
02 クラウンとの闘い Battle Against Clown 3:37
03 ネオ東京上空の風 Winds Over Neo-Tokyo 3:17
04 鉄雄 Tetsuo 10:18
05 ぬいぐるみのポリフォニー Doll's Polyphony 2:57
06 唱名 Shohmyoh 10:13
07 ケイと金田の脱出 Exodus From the Underground Fortress 3:19
08 回想 Illusion 14:03
09 変容 Mutation 5:15
10 未来 Requiem 14:20
Контейнер: DFF (*.dff)
Тип рипа: tracks
Разрядность: 256(11,2MHz/1 bit)
Формат: DSD
Количество каналов: 2.0
Лог проверки качества
foobar2000 1.5.3 / Dynamic Range Meter 1.1.1
log date: 2020-04-21 20:30:45
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Analyzed: Geinoh Yamashirogumi / Symphonic Suite AKIRA 2016
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DR Peak RMS Duration Track
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DR12 -3.51 dB -20.28 dB 3:11 01-金田 KANEDA
DR11 -8.80 dB -22.57 dB 3:38 02-クラウンとの闘い BATTLE AGAINST CLOWN
DR12 -8.71 dB -27.15 dB 3:18 03-ネオ東京上空の風 WINDS OVER THE NEO-TOKYO
DR13 -3.56 dB -22.81 dB 10:18 04-鉄雄 TETSUO
DR10 -12.46 dB -29.25 dB 2:58 05-ぬいぐるみのポリフォニー DOLLS' POLYPHONY
DR12 -7.25 dB -24.87 dB 10:13 06-唱名 SHOHMYOH
DR13 -4.93 dB -21.02 dB 3:19 07-ケイと金田の脱出 EXODUS FROM THE UNDERGROUND FORTRESS
DR16 -4.45 dB -26.66 dB 14:04 08-回想 ILLUSION
DR13 -3.78 dB -21.22 dB 5:16 09-変容 MUTATION
DR12 -6.12 dB -23.71 dB 14:21 10-未来 REQUIEM
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Number of tracks: 10
Official DR value: DR12
Samplerate: 11289600 Hz / PCM Samplerate: 44100 Hz
Channels: 2
Bits per sample: 1
Bitrate: 22579 kbps
Codec: DSD256
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Доп. информация: HyperSonic Hi-Res remaster of the original release.
Источник (релизер): http://www.shaodts.net/yinyue/sacd/5316.html
Состав
Composed By, Conductor – Yamashiro Shoji
Cover – Norihiro Uehara
Drums – Hideo Yamaki
Executive Producer – Hiroyuki Iwata
Flute [Noh] – Junzo Miyamasu, Kiyoshi Yamazaki, Noboyuki Shirasaka, Yukihiro Isso
Guitar – Tsuyoshi Kon
Keyboards – Tadashi Namba, Tokihiko Morishita
Music Director – Takafumi Muraki
Music Director [Engineering] – Heizo Yoda
Percussion – Nobu Saito
Performer – Geinoh Yamashirogumi
Supervised By – Suda Hideaki
Technician [Sound Architect] – Keishi Urata, Yamashiro Shoji
Vocals [Balinese Tantra] – Ida Bagus Sugata
Об исполнителе
芸能山城組 [Geinoh Yamashirogumi]
Geinoh Yamashirogumi (芸能山城組) are a unique phenomenon in "world" music. In Japan they have been gaining a high reputation, over the last two decades, for the study and performance of the musical arts of many cultures around the world. At the same time they have developed their own original compositions of hi-tech ethnic fusion, having the resources and imagination to create and re-invent from what they have studied on the highest intellectual level. Despite their high reputation at home, it is indeed surprising (and yet all too typical) that they have received almost no recognition outside Japan.
The mastermind behind Geinoh Yamashirogumi, acting as composer, arranger, producer and "sound architect" is Shouji Yamashiro who took over the running of the group in 1966. At that formative time, emphasis was on destroying the accepted values in the world of choral music. Then followed the introduction of Bulgarian styled vocal music, as well as kecak (ritual choral patterns of Bali) into their repertoire. In 1974, the name was changed to Geinoh Yamashirogumi (The Yamashiro Art Group) This proved to be the birth of a new era for their music.
Over the next ten years there followed a series of records exploring aspects of traditional music from Japan, other parts of Asia and Africa. Geinoh Yamashirogumi includes professionals in such fields as cultural anthropology, ethnology, molecular biology and information science, and there are even two internal study organizations the Festival Arts Research Institute and the Civilization Sciences Research Institute. This has enabled them to send members out to obscure corners of the globe to conduct research into unknown (and in some cases, almost extinct) music and the people who make it. Consequently, Geinoh Yamashirogumi have been able to master more than eighty different musical systems. They not only use these skills to reproduce faithfully the original pieces (the ethnomusicological approach), they are also able to use them creatively with the most modern musical technology, to create their own unique compositions on many different harmonic planes.
In 1986 there was an important step in their evolution. The release of "RINNE KOHKYOGAKU" (Reincarnated Orchestra), a concept album in four movements based on the eternal cycles of birth, death and rebirth. For this they employed the music of many different cultures and refashioned it into a dynamic, hi-tech fusion of distinctly East Asian character and philosophy. The choral idiom was still dominant. The male vocals often resemble Shohmyoh (dark and mesmerizing Buddhist temple chants), the female vocals possess a pure, rustic beauty (Yamashiro prefers to recruit non-professional vocalists). Then there is the vast range of percussion instruments. That of Nohgaku - the music of Noh drama; the Hiradaiko - thundering Japanese drums, the tuned percussion of the gamulan orchestra, Tibetan instruments, all kinds of metal and wooden objects Synths are also used, further enhancing dynamics and dramatic impact and adding rich synthetic coloration. Sound engineers recreate the acoustic characteristics of temples, caves, mountain gorges, whole landscapes of restless mixing patterns. This is music of huge proportions, both macro-and microcosmic, created by over 200 performer.
Unlike so much "world" music, this takes full advantage of the possibilities of studio technology. This comes in the form of increased reverberation, differential amplification, tape or digital sound processing, the creation of organic/synthetic timbres, a bold use of stereo effects and much more. Yamashiro seems completely unaffected by arguments as to whether electronic music could ever be "spiritual" If anything, the depth and mystery (and therefore spirituality?) is enhanced by the use of these techniques. In Japan, this notion of the "technical demon" impairing the "spirituality" of music doesn't seem to exist (though I could be wrong!)
Soon after this, Yamashiro and his entourage were invited to create the extraordinary "sonic architecture" for the animated science-fiction film "Akira". The Geinoh Yamashirogumi sound was expanded further to take in dialogue and explosive sound effects There are two sound track CO's the original sound track retains the meythem and dialogue, while the 70 minute monster "AKIRA SYMPHONIC SUITE" contains the original un-remixed and complete versions. The film director Katsuhiro Otomo, wanted Yamashiro to compose the music for his film, and asked him to take total control over the contents of the sound track Otomo even suggested that they should record a separate CO independently from the sound track. There was no restriction on the amount of money Yamashiro could spend on producing the music, and it shows. There were no restrictions at all, apart from time, it took about six months to record. Yamashiro came up with some of his most ambitious and intense compositions, involving heavy percussion, complex, driving gamulan rhythmic patterns, authentic sounding church organ, powerful bass synth surges and even freaky guitar solos. There is an almost systemic feel to some pieces, while the atmospheric choral passages combined with oriental gothic chants and explosive percussion venture into realms beyond Popol Vuh's "SET STILL, WISSE ICH BIN". There are also moments of pure tradition as in the form of a performance of highly stylized Noh music Typically, Yamashiro added several huge columns of percussive/synthetic sound to destroy the illusion of a 15th Century theatrical performance! The last 15 minute composition is one of their most exquisite, the centerpiece of which is the extraordinary church organ tones and the warm and sensual chorus melting into inflally.
Yamashiro was next asked to compose music for a water performance system, which was to appear in the center of the grounds at the International Garden and Greenary Exposition, at Osaka in 199Q This project became Geinoh Yamashirogumi's next release ECO-PHONY GAIA. This 70 minute "macrosymphony" is a homage to the Earth's ecosystem. Their now unmistakable techno-gamelan-rock style starts the proceedings, followed by something resembling a tapestry of different musical cultures merging into and overlaying one another together with sounds of nature and subtle electronic music. Mysterious and haunting, with stunning production and sense of virtual space, this vast concept is just about the last word in "world music". If I had choose a CO to represent the Earth's collective musical consciousness to send into the infinite depths of space in the hope that it may be found by intelligent life, this would surely be the one.
Shouji Yamashiro isn't a professional. According to him, professionals are too concerned with money and with things not essential to music. He wants to devote his mind totally to music, in the future, when the value of preserving the treasure house of the world's ethnic music is more appreciated, perhaps Geinoh Yamashirogumi will receive the credit they surely deserve. Until then, all we can do is to urge non- Japanese record companies to wake up to one of the best kept secrets in Japan. Geinoh Yamashirogumi are a fascinating mixture of past, present and future traditions, avant-garde and technical possibilities. In the words of one critic, 'To hear the music of Geinoh Yamashirogumi is to understand the music of the 21st Century'.
-Nigel Harris, 1992
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发表于 2020-12-8 14:36:14
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