Postcards
The first love letter to the masters of Japanese ambient and environmental music from Argentina’s The Kyoto Connection resurfaces in the glistening wake of their 2022 debut with the ever-reliable Isle Of Jura
The discrete subtleties of Japan’s ‘80s ambient pioneers richly informs the tingling sound of Jesica Rubino, Rodrigo Trado and Facundo Arena’s first tribute to that influential epoch’s sound as The Kyoto Connection. Emerging into a field previously fertilised by Visible Cloaks studious efforts, and also tended to by likes of Nozomu Matsumoto, the trio’s take errs to its most sublime side with a wealth of soft focus, vaporous tones and ASMR-quality sound sensitivity shaped into a slow burning and quietly emotive journey that evokes comparison with staples by Midori Takada’s templates and fringes on cinematic qualities of Ryuichi Sakamoto.
“The album was composed, produced and recorded by Argentinian producer Facundo Arena over the course of one month in early 2018. A self trained musician and digital synths enthusiast, for this project Facundo wanted to move out of his comfort zone and compose the album purely using plugins and sequencing software on his iPad, running the songs directly onto tape, in this case his trusted 1978 Akai GXC-70D tape recorder.
Why an iPad? Facundo explains “In the 1980’s Japanese ambient producers experimented with hardware sequencers and computer sequencers on the Atari ST. Today thanks to IOS apps like Samplr, Korg Gadget and Fugue Machine it’s possible to experiment like the old days with new ways of composing and recording. Each track was recorded live into the Akai, so there were many takes to get the right result with each take recorded on the same cassette (recorded and erased over and over again) which helped to achieve an ‘old tape saturation’ effect”. The image for the album is taken from an old original 1960’s Japanese postcard featuring the famous Arashishama Bridge.”
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Pressed on heavyweight 180 gram vinyl, with sleeve design by Bradley Pinkerton.
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The first love letter to the masters of Japanese ambient and environmental music from Argentina’s The Kyoto Connection resurfaces in the glistening wake of their 2022 debut with the ever-reliable Isle Of Jura
The discrete subtleties of Japan’s ‘80s ambient pioneers richly informs the tingling sound of Jesica Rubino, Rodrigo Trado and Facundo Arena’s first tribute to that influential epoch’s sound as The Kyoto Connection. Emerging into a field previously fertilised by Visible Cloaks studious efforts, and also tended to by likes of Nozomu Matsumoto, the trio’s take errs to its most sublime side with a wealth of soft focus, vaporous tones and ASMR-quality sound sensitivity shaped into a slow burning and quietly emotive journey that evokes comparison with staples by Midori Takada’s templates and fringes on cinematic qualities of Ryuichi Sakamoto.
“The album was composed, produced and recorded by Argentinian producer Facundo Arena over the course of one month in early 2018. A self trained musician and digital synths enthusiast, for this project Facundo wanted to move out of his comfort zone and compose the album purely using plugins and sequencing software on his iPad, running the songs directly onto tape, in this case his trusted 1978 Akai GXC-70D tape recorder.
Why an iPad? Facundo explains “In the 1980’s Japanese ambient producers experimented with hardware sequencers and computer sequencers on the Atari ST. Today thanks to IOS apps like Samplr, Korg Gadget and Fugue Machine it’s possible to experiment like the old days with new ways of composing and recording. Each track was recorded live into the Akai, so there were many takes to get the right result with each take recorded on the same cassette (recorded and erased over and over again) which helped to achieve an ‘old tape saturation’ effect”. The image for the album is taken from an old original 1960’s Japanese postcard featuring the famous Arashishama Bridge.”