CHIHEI HATAKEYAMA
Mirage
Boomkat Product Review:
Utterly exquisite, decayed and subtly dynamic ambient gestures from Tokyo’s Chihei Hatakeyama, who crosses paths with Lawrence English’s Room40 for the 4th time in this blissed-out suite of studies on the metaphysical relationship between sound and architecture. A must check for fans of early 0PN, AFX’s SAW II, Stars Of The Lid or Leyland Kirby!
The sublime end product of five years of recording, which Cheihei embarked upon after observing he labyrinthine bazaars of Turkey, Mirage is presented as “a meditation on the phenomenology of music and architecture” and particularly acknowledges the interaction of human voices and manmade spaces used for worship and ritual, and how they shape one another within the collective percpetive experience.
Drawing from that experience of Turkey both literally and figuratively, Hatakeyama uses location recordings made during his field trips to frame and environmentally watermark a series of sublime, gauzy sonic postcards that live up to Johan Wolfgang von Goethe’s poetic statement, “Music is liquid architecture; Architecture is frozen music”, by effectively distilling and rendering those places and headspace as scenes torn like pages from a sketchy memory.
And so they appear Mirage-like as flickering, intangible reminisces of serene sound baths in familiar yet unfamiliar spaces, cradling the listener in a metaphysical space that feels calmingly nostalgic and timeless, out-of-place, yet transcendent to most, if not all, cultures who place value in the transformative experience of sound perceived within spaces of special meaning.
Gorgeous.
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Boomkat Product Review:
Utterly exquisite, decayed and subtly dynamic ambient gestures from Tokyo’s Chihei Hatakeyama, who crosses paths with Lawrence English’s Room40 for the 4th time in this blissed-out suite of studies on the metaphysical relationship between sound and architecture. A must check for fans of early 0PN, AFX’s SAW II, Stars Of The Lid or Leyland Kirby!
The sublime end product of five years of recording, which Cheihei embarked upon after observing he labyrinthine bazaars of Turkey, Mirage is presented as “a meditation on the phenomenology of music and architecture” and particularly acknowledges the interaction of human voices and manmade spaces used for worship and ritual, and how they shape one another within the collective percpetive experience.
Drawing from that experience of Turkey both literally and figuratively, Hatakeyama uses location recordings made during his field trips to frame and environmentally watermark a series of sublime, gauzy sonic postcards that live up to Johan Wolfgang von Goethe’s poetic statement, “Music is liquid architecture; Architecture is frozen music”, by effectively distilling and rendering those places and headspace as scenes torn like pages from a sketchy memory.
And so they appear Mirage-like as flickering, intangible reminisces of serene sound baths in familiar yet unfamiliar spaces, cradling the listener in a metaphysical space that feels calmingly nostalgic and timeless, out-of-place, yet transcendent to most, if not all, cultures who place value in the transformative experience of sound perceived within spaces of special meaning.
Gorgeous.
Boomkat Product Review:
Utterly exquisite, decayed and subtly dynamic ambient gestures from Tokyo’s Chihei Hatakeyama, who crosses paths with Lawrence English’s Room40 for the 4th time in this blissed-out suite of studies on the metaphysical relationship between sound and architecture. A must check for fans of early 0PN, AFX’s SAW II, Stars Of The Lid or Leyland Kirby!
The sublime end product of five years of recording, which Cheihei embarked upon after observing he labyrinthine bazaars of Turkey, Mirage is presented as “a meditation on the phenomenology of music and architecture” and particularly acknowledges the interaction of human voices and manmade spaces used for worship and ritual, and how they shape one another within the collective percpetive experience.
Drawing from that experience of Turkey both literally and figuratively, Hatakeyama uses location recordings made during his field trips to frame and environmentally watermark a series of sublime, gauzy sonic postcards that live up to Johan Wolfgang von Goethe’s poetic statement, “Music is liquid architecture; Architecture is frozen music”, by effectively distilling and rendering those places and headspace as scenes torn like pages from a sketchy memory.
And so they appear Mirage-like as flickering, intangible reminisces of serene sound baths in familiar yet unfamiliar spaces, cradling the listener in a metaphysical space that feels calmingly nostalgic and timeless, out-of-place, yet transcendent to most, if not all, cultures who place value in the transformative experience of sound perceived within spaces of special meaning.
Gorgeous.
Boomkat Product Review:
Utterly exquisite, decayed and subtly dynamic ambient gestures from Tokyo’s Chihei Hatakeyama, who crosses paths with Lawrence English’s Room40 for the 4th time in this blissed-out suite of studies on the metaphysical relationship between sound and architecture. A must check for fans of early 0PN, AFX’s SAW II, Stars Of The Lid or Leyland Kirby!
The sublime end product of five years of recording, which Cheihei embarked upon after observing he labyrinthine bazaars of Turkey, Mirage is presented as “a meditation on the phenomenology of music and architecture” and particularly acknowledges the interaction of human voices and manmade spaces used for worship and ritual, and how they shape one another within the collective percpetive experience.
Drawing from that experience of Turkey both literally and figuratively, Hatakeyama uses location recordings made during his field trips to frame and environmentally watermark a series of sublime, gauzy sonic postcards that live up to Johan Wolfgang von Goethe’s poetic statement, “Music is liquid architecture; Architecture is frozen music”, by effectively distilling and rendering those places and headspace as scenes torn like pages from a sketchy memory.
And so they appear Mirage-like as flickering, intangible reminisces of serene sound baths in familiar yet unfamiliar spaces, cradling the listener in a metaphysical space that feels calmingly nostalgic and timeless, out-of-place, yet transcendent to most, if not all, cultures who place value in the transformative experience of sound perceived within spaces of special meaning.
Gorgeous.
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