Masaya Ozaki
Mizukara
Boomkat Product Review:
Enigmatic, lower case ambient by Japan-born, Brooklyn/Iceland-based Masaya Ozaki, chiming with LAAPS’ Arovane and Taylor Deupree releases, or the rustic rustle of Craig Tattersall
In a sequence of four mid-durational works and one vignette, Ozaki invites a closer listening of their music’s etheric nuance. Slow piano keys are a constant, whilst the soundsphere subtly shifts between aleatoric electro-acoustic gestures and textures, said by the artist to reflect “my current life in Iceland” and question, “where does the self begin and where does it end?”. The music models its existential answers with a tender frailty and fine grasp of the ephemeral, often in collaboration with his Icelandic peers, who lend strings, field recordings, voice and electronics to enrich the mix.
It initially settles like dusk on the mind with the fading ambient glow and incidental haptics of something, we’re not sure what, being prepared in the background of ‘Evening Regions’, whilst ‘Opið Rými’ showcases their ginger feel for findign their way across a detuned or seemingly prepared piano, and the naif poetic whimsy of ‘Siskin’, voiced by Lindy Lin, reminds us to Fönal’s Finnish psych delicacies. In the closing parts the brooding shape of ‘Frá Vatni’ pulls Asalaus’ extended vocal tekkerz and sodden field recurring textures into a mired headspace and ‘Skerpla’ gives an after-the-rain resolution of dewy keys and electronics.
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Boomkat Product Review:
Enigmatic, lower case ambient by Japan-born, Brooklyn/Iceland-based Masaya Ozaki, chiming with LAAPS’ Arovane and Taylor Deupree releases, or the rustic rustle of Craig Tattersall
In a sequence of four mid-durational works and one vignette, Ozaki invites a closer listening of their music’s etheric nuance. Slow piano keys are a constant, whilst the soundsphere subtly shifts between aleatoric electro-acoustic gestures and textures, said by the artist to reflect “my current life in Iceland” and question, “where does the self begin and where does it end?”. The music models its existential answers with a tender frailty and fine grasp of the ephemeral, often in collaboration with his Icelandic peers, who lend strings, field recordings, voice and electronics to enrich the mix.
It initially settles like dusk on the mind with the fading ambient glow and incidental haptics of something, we’re not sure what, being prepared in the background of ‘Evening Regions’, whilst ‘Opið Rými’ showcases their ginger feel for findign their way across a detuned or seemingly prepared piano, and the naif poetic whimsy of ‘Siskin’, voiced by Lindy Lin, reminds us to Fönal’s Finnish psych delicacies. In the closing parts the brooding shape of ‘Frá Vatni’ pulls Asalaus’ extended vocal tekkerz and sodden field recurring textures into a mired headspace and ‘Skerpla’ gives an after-the-rain resolution of dewy keys and electronics.
Boomkat Product Review:
Enigmatic, lower case ambient by Japan-born, Brooklyn/Iceland-based Masaya Ozaki, chiming with LAAPS’ Arovane and Taylor Deupree releases, or the rustic rustle of Craig Tattersall
In a sequence of four mid-durational works and one vignette, Ozaki invites a closer listening of their music’s etheric nuance. Slow piano keys are a constant, whilst the soundsphere subtly shifts between aleatoric electro-acoustic gestures and textures, said by the artist to reflect “my current life in Iceland” and question, “where does the self begin and where does it end?”. The music models its existential answers with a tender frailty and fine grasp of the ephemeral, often in collaboration with his Icelandic peers, who lend strings, field recordings, voice and electronics to enrich the mix.
It initially settles like dusk on the mind with the fading ambient glow and incidental haptics of something, we’re not sure what, being prepared in the background of ‘Evening Regions’, whilst ‘Opið Rými’ showcases their ginger feel for findign their way across a detuned or seemingly prepared piano, and the naif poetic whimsy of ‘Siskin’, voiced by Lindy Lin, reminds us to Fönal’s Finnish psych delicacies. In the closing parts the brooding shape of ‘Frá Vatni’ pulls Asalaus’ extended vocal tekkerz and sodden field recurring textures into a mired headspace and ‘Skerpla’ gives an after-the-rain resolution of dewy keys and electronics.
Boomkat Product Review:
Enigmatic, lower case ambient by Japan-born, Brooklyn/Iceland-based Masaya Ozaki, chiming with LAAPS’ Arovane and Taylor Deupree releases, or the rustic rustle of Craig Tattersall
In a sequence of four mid-durational works and one vignette, Ozaki invites a closer listening of their music’s etheric nuance. Slow piano keys are a constant, whilst the soundsphere subtly shifts between aleatoric electro-acoustic gestures and textures, said by the artist to reflect “my current life in Iceland” and question, “where does the self begin and where does it end?”. The music models its existential answers with a tender frailty and fine grasp of the ephemeral, often in collaboration with his Icelandic peers, who lend strings, field recordings, voice and electronics to enrich the mix.
It initially settles like dusk on the mind with the fading ambient glow and incidental haptics of something, we’re not sure what, being prepared in the background of ‘Evening Regions’, whilst ‘Opið Rými’ showcases their ginger feel for findign their way across a detuned or seemingly prepared piano, and the naif poetic whimsy of ‘Siskin’, voiced by Lindy Lin, reminds us to Fönal’s Finnish psych delicacies. In the closing parts the brooding shape of ‘Frá Vatni’ pulls Asalaus’ extended vocal tekkerz and sodden field recurring textures into a mired headspace and ‘Skerpla’ gives an after-the-rain resolution of dewy keys and electronics.
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Boomkat Product Review:
Enigmatic, lower case ambient by Japan-born, Brooklyn/Iceland-based Masaya Ozaki, chiming with LAAPS’ Arovane and Taylor Deupree releases, or the rustic rustle of Craig Tattersall
In a sequence of four mid-durational works and one vignette, Ozaki invites a closer listening of their music’s etheric nuance. Slow piano keys are a constant, whilst the soundsphere subtly shifts between aleatoric electro-acoustic gestures and textures, said by the artist to reflect “my current life in Iceland” and question, “where does the self begin and where does it end?”. The music models its existential answers with a tender frailty and fine grasp of the ephemeral, often in collaboration with his Icelandic peers, who lend strings, field recordings, voice and electronics to enrich the mix.
It initially settles like dusk on the mind with the fading ambient glow and incidental haptics of something, we’re not sure what, being prepared in the background of ‘Evening Regions’, whilst ‘Opið Rými’ showcases their ginger feel for findign their way across a detuned or seemingly prepared piano, and the naif poetic whimsy of ‘Siskin’, voiced by Lindy Lin, reminds us to Fönal’s Finnish psych delicacies. In the closing parts the brooding shape of ‘Frá Vatni’ pulls Asalaus’ extended vocal tekkerz and sodden field recurring textures into a mired headspace and ‘Skerpla’ gives an after-the-rain resolution of dewy keys and electronics.
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