#Tashi Wada

[radiophd]

tashi wada -- flame of perfect form

[ruinedholograms]

(2016-2019)

• Solange - A Seat At The Table

• Angel Olson - My Woman

• Andy Stott - Too Many Voices

• Suzanne Ciani + Kaitlyn Aurelia Smith - Sunergy

• David Bowie - Nothing Has Changed

• Oneohtrix Point Never - Good Time

• Tim Hecker - Love Streams

• The Knife - Live At Terminal 5

• Visible Cloaks - Lex

• Tashi Wada + Yoshi Wada + Julia Holter - Nue

• Kaitlyn Aurelia Smith - Ears

• Galcher Lustwerk - Information

• Roy Montgomery - Headquarters

• Tim Hecker - Konoyo

• Demdike Stare - Wonderland

• Visible Cloaks + Yoshio Ojima + Satsuki Shibano - Serenitatem

• Ryuichi Sakamoto - Plankton

• Daniel Lopatin - Uncut Gems

[sinceileftyoublog]

Julia Holter Album Review: Something in the Room She Moves

(Domino)

BY JORDAN MAINZER

Over the past decade and a half, Julia Holter has consistently made left turns. From the drones and baroque stylings of her 2011 debut Tragedy and 2012 breakout Ekstasis, to the urban, Hollywood, oceanside chamber pop of first Domino entrants Loud City Song and Have You in My Wilderness, to the epic experimentalism of 2018 opus Aviary, Holter has found ways to shift the focus of her sonic explorations and focused curiosities, all while maintaining a cohesive artistic voice. Her 6th album, March's Something in the Room She Moves, continues Holter's penchant for malleability, though more than any of her previous albums, it exudes an air of spontaneity. During COVID, just beforehand having had to focus on film score work, Holter experienced a bout of writer's block--understandably so, as she gave birth to her daughter in 2020 and wasn't able to consistently take in her usual cures of books and films. Instead, she overcame her stasis through a mix of what was right in front of her and her imagination. The songs on Something in the Room She Moves cull from Holter's perspectives and observations, stemming from experiences watching Hayao Miyazaki's Ponyo with her daughter and devouring Peter Jackson's Get Back documentary about The Beatles. But they also dare to dive into the corporeal, evoking sounds from inside the body and mind, filtered through a surreal lens.

Listening to Something in the Room She Moves, you feel that Holter wished to encapsulate a childlike spirit but was careful to avoid the pretense of forcing too much chaos into the songs. Opening track "Sun Girl" does start like you've been dropped in the middle of the it, amidst clattering percussion, and introduces a smorgasbord of instrumentation, such as Devra Hoff's fretless bass, Tashi Wada's bagpipes, and Sonjia Denise Hubert Harper's picolo and flute. It's removed from the pop of Holter's previous records, but it moves with some discernible structure, consistent in its tempo changes, vocal layering, and arpeggios. "Place me, drag me, move me, Sun Girl," Holter sings, instructional text as if to remind the listener that this isn't someone randomly banging away at instruments. Like the best surrealist paintings, or even an unintentionally humorous mistranslation, Something in the Room She Moves always has one or two moments at a time that are off-kilter, made all the more eerie by the order around them.

The album's abnormal quality extends into Holter's lyrics and song titles, too, as she subverts traditional grammar. "These morning get sunrise / Tall fjord, some time lost / Brush aside any words sinking to the abyss ago," she sings on "These Morning". The record title itself, which Holter came up with as a play on the first line of The Beatles' "Something", adheres to sentence compositional rules but is only sensible from an emotional, not physical, denotation; a line on the title track clarifies that Holter does, indeed, mean for the wordplay to be uncanny: "Then standing there he said / I love the way you move / When you move the time line." At the same time, Holter's vocals do move, her melisma traveling along with the song's woodwind instruments as the track builds up in volume. And to the best of her ability, she messes with your linear sense of time. Songs like the title track, "Spinning", and "Talking to a Whisper" dip to the point where you think they're going to end, but they shoot back up. Minimal vocal exercises like "Materia" and "Meyou" toy with divergence. On the former, Holter sings, "Of love it's a matter of / Of love it's a matter of love," an imperfect circle of a verse. The latter harks back to Holter's Meredith Monk-esque ambient days, the chorus of voices repeating "me" and "you" together acting as a pulsating instrument. It's as jarring to hear for the first time as it was to hear the same Holter who released Tragedy and Ekstasis cover "Hello Stranger".

Something in the Room She Moves is not a concept record, about the body, the technological, childhood, parenthood, or anything else. Instead, it explores those concepts effortlessly and with a sense of self awareness. On the song meant to invoke the hormone oxytocin--called, yes, "Evening Mood"--Wada plays a spacey, almost video game-esque melody before the song takes a turn for the sensual. Elizabeth Goodfellow's mallet drums buoy a bossa nova-like sway, along with Hoff's bendy bass and Chris Speed's jazzy clarinet, and Holter layers her vocals and looks inward: "I was not alone / Thinking how I could wrap / My arms all around / My face, my face / My girl, my girl," she sings. Later on, she recalls, "Daylight hits me / I was not alone / Equinox hide in a beam." She's given us an album where the cosmically impossible seems captivatingly real, where we're better able to understand ourselves and the world by coming to terms with the intangible aspects of our points of view.

[thebowerypresents]

Julia Holter Bathes Webster Hall in Sumptuous New Music on Friday Night

Julia Holter – Webster Hall – May 17, 2024

Some artists dip in and out of your life as you cycle through the ebbs and flows of the day-to-day. I’d followed Julia Holter from her start in the 2010s but for some reason waivered in my attention. When she provided music for the 2020 film Never Rarely Sometimes Always, Holter popped back into my mind, and it made so much sense that soundtracks had become part of her repertoire. She naturally produces soundscapes that envelop your soul from her art-pop sensibilities that flow between ambient and electronic waves.

NPR’s Lars Gotrich describes her best: “Julia Holter’s music exists in tiny universes, colliding in torch songs and bits of cosmic cabaret that are as reverent as they are perverse. The most minute details and the plainest words suddenly form a grandiose spectacle.” Holter continues experimenting with her sixth studio album, Something in the Room She Moves, which dropped in March and offers tinges of jazzy blues notes. On Friday night at Webster Hall, the Los Angeles musician bathed the room in sumptuous melodies.

With Dicky Bahto’s film For Julia Holter (no. 1) projected throughout the night, the stage was set for art school band vibes. Holter opened with “Sun Girl,” with Devin Hoff banging the neck of his bass to provide a percussive, reverbing beat. Longtime collaborator and spouse Tashi Wada played bagpipes on “Silhouette” as the singer released sirenlike howls. Fan-favorite “Marienbad” arrived earlier than intended after Holter prematurely played its opening keys to the crowd’s delight. She went with it, jokingly saying, “This is ‘Feel You’,” which was actually the next song.

The singer-songwriter-composer-producer delighted in the joy of playing in New York City, allowing her to welcome several guests to the stage. Opener Nyokabi Kariũki and singers Gemma Castro and Ana Roxanne joined Holter for an a cappella version of “Meyou,” and in the set’s second half, saxophonist Danny Meyer gave an extra bluesy longing to “These Morning” and “Talking to the Whisper.” The headliner returned to older material on “Sea Calls Me Home,” and drummer Beth Goodfellow provided backing vocals on “I Shall Love 2.” For the encore, Holter did a solo rendition of “Materia” before the band returned to conclude with “Why Sad Song” and crowd-pleaser “Betsy on the Roof.” —Sharlene Chiu | @Shar0c

Photos courtesy of Lexi Yob | @filmbyyobby

[jacobwren]

Tashi Wada - Subaru

[amamaterial]

Running and listening to Tashi Wada and Maria moles

[13melekradyo]

6 Temmuz 2024 tarihli program kaydı.

Güncel drone/ambient kayıtlarından bir seçki // A selection of recent drone/ambient recordings. Download.

01 – Field Lines Cartographer – Fenir In Retrograde 02 – Cowboy Sadness – Second Rodeo 03 – Ohr Hiemis – Catachrony Part 1 04 – Abul Mogard & Rafael Anton Irisarri – Impossibly Distant, Impossibly Close (excerpt) 05 – Tashi Wada – Under The Earth 06 – Chihei Hatakeyama – Thousand Oceans 07 – anthéne – Bramble 08 – Onepointwo – Terre 09 – Hollan Holmes – Temple Of Stones

[zou-pa]

Awe w/ Laurel Halo & Tashi Wada 16th July 2024 | Listen on NTS

[dustedmagazine]

Various Artists — The Harmonic Series II (Important Records)

Music and mathematics have always been intertwined. The Pythagoreans of ancient Greece lived by the ethos “all nature consists of harmony arising out of numbers.” It was they who, perhaps via the monochord, truly uncovered the mathematical relationships within the musical scale and how harmonics are produced. The concept of the harmonic series exists in both mathematics and music, but the former originates from the latter, as both derive their name from overtones (aka, harmonics). In music, the harmonic series is the combination of tones each having a frequency that is the integer multiple of the tone with the lowest frequency, the fundamental. If one considers an octave of music, these natural harmonics are slightly out of tune with the notes of the chromatic scale, which has twelve semitones adjusted to be equally spaced apart (equal temperament). Just intonation is a musical philosophy that eschews equal temperament, focusing on tuning systems that favor intervals using the integer multiples, which are considered pure and enabling of unlimited harmonic possibilities.

Math wizards, keep your slide rulers in your shirt pockets; all this talk about integers and intervals may feel cold and clinical, but this calculus is visceral. Just intonation is concerned with how humans interpret our sonic surroundings with our entire beings. We vibrate too. Ironically, just intonation as a tuning system isn’t common in the modern Western musical canon. It is, however, widely used in non-Western musical systems. Important Records, in order to educate the masses and expose the more natural sonic emanations available through just intonation, has commissioned a series of compilations featuring works created outside of the world of equal temperament. The first volume appeared in 2009 and included a pan-generational pantheon of sonic provocateurs. Tenured artists and composers like Pauline Oliveros (RIP), Ellen Fullman and Michael Harrison appeared alongside younger musicians such as Greg Davis and Duane Pitre, who curated the compilation and wrote the extensive liner notes. 

This second volume expands on the first in a couple of ways. While the original volume encompassed a single compact disc, this set spans three vinyl long-playing records. Furthermore, each of the artists has an entire side of wax to play with, resulting in longer pieces than those presented in the first volume. Pitre has assembled a cabal of forward-thinking sound artists to present their means of engagement with microtonality. He makes his appearance on the first disc, opposite Kali Malone whose “Pipe Inversions” is a cerebellum-warping slow dance for pipe organ and bass clarinet (courtesy of Isak Hedtjärn). The breathy tones that emanate from both instruments mix like wispy, stratospheric clouds that gather to create a rich harmonic fog. Pitre’s “Three for Rhodes” on the other hand is a dynamic exercise in tonal interplay, with short chord bursts that scatter like color powders in a Holi parade or a Color Run. 

Catherine Lamb and Tashi Wada wrestle on the second disc. Lamb, who is an accomplished violist, instead chose the synthesizer to realize “Intersum.” She threads her tones through a cloth she has woven from environmental sounds, evoking a cityscape that has been evacuated. The lonely metropolis begins to populate itself with gorgeous wafts of sound, and eventually bursts with a multi-hued sense of being. Wada merges eight violins, each played by Marc Sabat, into a pulsating and powerful beast. “Midheaven (Alignment Mix)” becomes a frothy fury at its midpoint before slowly peeling off layers and becoming a single violin drone. 

On the final slab of vinyl, Byron Westbrook and Caterina Barbieri both employ synthesizers to create microtonal tapestries. With “Memory Phasings,” Westbrook builds tension before snapping an imaginary spring, causing a collapse of shattered chord fragments. Following the narrative of a suspenseful cinematic epic, he builds and releases tension multiple times across the piece, setting traps for us to repeatedly jump out of our skins. Barbieri, on the other hand, uses the synth to build an immense drone construction, pitting deep bass tones against colorful high register patterns that slowly bounce up and down. This interplay between the high and low frequencies mirrors our own world: harmony arises from the vibrating of many objects, large, medium and small. This is what Important Records wanted to reveal with The Harmonic Series, and with this second volume they’ve collected six distinct personalities who together represent the limitless possibilities of vibration. 

Bryon Hayes

[seanmorroww]

Tashi Wada with Yoshi Wada and Friends - “Niagara (Laurel Halo "Lilith" Mix)”

Nue Remixes: Laurel Halo / Julia Holter [RVNG Intl, 2019]

[radiophd]

tashi wada -- flame of perfect form

[ironpour]

undefined

I’m a sucker for some bagpipes, I guess that’s in my blood though

[nofatclips]

Les Jeux to You by Julia Holter from the album Aviary - Directed by Geneva Jacuzzi

[cr0ss0veronlymusic]

Tashi Wada with Yoshi Wada & Friends - Fanfare

[jacobwren]

What Is Not Strange? by Tashi Wada

[ruinedholograms]

FRKWYS | 12. Ariel Kalma + Robert Aiki Aubrey Lowe - We Know Each Other Somehow | 13. Suzanne Ciani + Kaitlyn Aurelia Smith - Sunergy | 14. Tashi Wada + Yoshi Wada and Friends - Nue | 15. Visible Cloaks + Yoshio Ojima + Satsuki Shibano - Serenitatem