Category: score

I read about St GIGA in David Toop’s OCEAN OF SOUND: “Devised in 1990 by Hiroshi Yokoi, a pioneer of twenty-four-hour FM radio transmission in Japan, St GIGA was the first Japanese satellite station.”

In accordance with Yokoi’s conception, St.GIGA’s broadcasts initially followed no externally fixed (or artificial) timetable. Rather, they were based upon the cyclical motif of a 24-hour “tide table“[4] where broadcast themes were approximately matched to the current tidal cycle according to the rule of twelfths throughout the 24-hour broadcasting period. Under this innovative schedule, the station broadcast a variety of primarily ambient music programs including Music Tide (音楽潮流, Ongaku Chōryū), various jazz programs, and Tide Table (タイド・テーブル, Taido . Teburu) (featuring live sound-broadcasts of the ocean shore). The beginnings and ends of programs were not clearly demarcated and instead utilized the unprecedented “Tide of Sound” (音の潮流, Oto no Chōryū) method where songs of one genre would gradually flow into and intersperse with the songs from the prior genre until the new genre became predominant. The intent, according to Yokoi was to allow the listener to relax in a wave of sound “like a baby sleeps in the womb.”[4]

On Archive.org, I found a single sixteen-hour block of St GIGA broadcast.

Eliane Radigue’s OCCAM OCEAN XVI performed by Hélène Breschand. Must try and track down a physical copy at some point.

meditations on the passing apocalypse. meditations on the destruction of hyperfixation. meditations on the augmentation and annihilation of the physical form. an aquapocalyptic narrative. let us become something else. let us release all once we held dear. let us experience the light of the dawn, a black light / green blade revealing our entrails underneath our flawed casing.
a story of ascension told through fractured remnants of virtual dungeons and hyperfictional hymns. a necrotic-rush of vortical [wave]-drifts and abysmal bass. a wave of post-musical electro-thanatoid anti-rhythm production, [void]punk-nihilism updated into an androgynous [xeno]future.

I was sure I had this on CD, but I can’t find it, or find a copy on Amazon, so I’m pinning this up here so I can find it when I need it.

Easing down to sleep.

hanami, which in Japanese means flower viewing, and it is precisely at the beginning of spring when all the cherry trees come into bloom and create an intoxicating and entrancing spectacle in the Japanese streets.

Proper weird Seventies sf film vibe: could have been the soundtrack for the original end of PHASE IV. Future ghosts in ancient structures.

This is a nice way to finish up the day.

Masaya Ozaki is a New York/Iceland-based composer born in Niigata, Japan. His work examines the idea of space as a transient entity, the subtleties behind small moments, the sensitivity of the ephemera, and the future of sound in an exceedingly materialistic world. He often finds inspiration in nature, the fragility of human interactions, and the momentums behind them. Masaya’s artwork materializes as field recordings and compositions for ensembles, film, dance, visual, and experimental arts.
‘’This Album is a reflection of my current life in Iceland…. Where does the self begin and where does it end ? ‘’

Thank god for Pool Of Light and a bit of peace.

In their newest release, TOC weave a tapestry of ambient melodies and minimalist compositions, inviting audiences to embark on a transformative auditory voyage. Drawing reality surrounding them and the enigmatic depths of the human experience, their music transcends boundaries, evoking emotions both profound and ephemeral.

The title reflects a theme of dreams, ideas, fantasies, goals, and potential paths that exist somewhere but have not, for whatever reasons, materialized into this reality. They instead are contained, swirling and simmering. They must exist, if not tangibly here, then elsewhere. I picture them like glass orbs filled with gaseous starry substances that are sitting high up on some wizard goddess’s shelf in one of the worlds that overlays ours.