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Ken Ikeda - TZUKI (MOON)
CD Album
£5.99
Out Of Stock
Digital
£7.99

Ken Ikeda

TZUKI (MOON)

Touch

Released: 30th October 2000 | 12 track ambient album
Touch is proud to present the first release by Japanese sound artist Ken Ikeda. Having been recently featured in the Hayward Gallery's 'Sonic Boom' exhibition for his collaboration with the Japanese video artist Mariko Mori, tzuki [Moon] is Ken Ikeda's first CD release in his own right... hypnotic sound-fields strangely reminiscent of early Durrutti Column. 'This work has as its purpose taking samples from old movies and, by erecting a memorial for the blanks between frames, communicating with the god of images and attracting that holy being. I will be happy if, by saying a mass for our ancestors, I can reconstruct the time of darkness and the energy of the universe and so reach the far ends of the space between frames. Honouring the place our outer eyes cannot see is most necessary for our present-day materialistic society and for our virtual value standards.' 1964 Born Tokyo 1983-6 Berklee College of Music, Boston 1994 Group exhibition 'Desert of Desires', Spiral Garden, Tokyo Music composition for Tadanori Yokoo exhibition, Park Tower Hall, Tokyo 1995 Video Festival 'West Film', Australia Music composition for CD-ROM 'Angel Love' by Tadanori Yokoo Music composition for Mariko Mori exhibition'Made in Japan', Shiseido Gallery, Tokyo 1996 Music composition for Mariko Mori exhibition, Deitch Projects, New York Music composition for David Lynch exhibition 'Dreams', Parco Gallery, Tokyo 1997 Music composition for Hiroshi Sugimoto's video 'Accelerated Buddha', Sonnabend Gallery, New York Music composition for Mariko Mori exhibition'Mirage', Gallery, Koyanagi, Tokyo Group exhibition '504', Zentrum fur Kunst, Braunschweig, Germany 1999 Solo exhibition 'PICTURES', SCAI THE BATHHOUSE, Tokyo Music composition for Mariko Mori exhibition'Dream Temple', PRADA Foundation, Milan, Italy 6th International Contemporary Art Festival '99, Tokyo 2000 Group exhibition 'Twilight Sleep-Japanese Contemporary Videos at Age of Visual Images', Institute Giapponese di Cultura, Roma, Italy Pusan International Contemporary Art Festival, Pusan, Korea'
"On Ken Ikeda's first CD release, he redirects his efforts from gallery and installation work (including collaborations with video artist Mariko Mori) into the terrain of ambient home listening. Tzuki - on the surface a breathtaking update of Eno's and Aphex's best chill-out soundtracks - is a s nuanced and precise as the most ambitious microsound exploration, just more soothing. Melodies slow to a crawl, like the heartbeat of a nearly-frozen body or the creep of a Northern river's ice-flow; there are no hooks, only nooks and crannies where sound pools and trickles through. Sour-toned timbres - staples of Japanese electronica from Ken Ishii's early ambient works through Susuma Yokota's most recent recordings - characterize most of the tracks here, lending Ikeda's sound the quality of light refarcetd through a melted lens. Sleep to it? By all means. Sleep on it? Not if you know what's good for you."
Phillip Sherburne, XLR8R
"Following various exhibitions and collaborations Ken Ikeda releases his first CD through Touch. Tzuki (Moon) featuring 12 tracks comes in a simple card sleeve with card inlay, all sides show the environmental photography of Jon Wozencroft. The CD is started by the short, gentle Manifest Destiny glimmers of warm, shiny tones - flashing like momentary beams of light. A steady humming background backing these flashes. The shift to Evolution is smooth, though the way in which the tones are brought together as notes to form a pulsing melody is clear. Layering occurs which effects a couple of suggestions within the feel of the whole - individual notes wander, a humming field flows with steadiness, glints flash as stars in this night sky. A fade offers clear demarcation between Evolution and Yawakai Hada. The tone remains consistent within the flow of the body, but there is a greater bass element. With which pulses are extended to form a more string sound, brushes of a bow on a string back and forth. All against the perpetually engaging hum that Ikeda works with. The title track Tzuki (moon) comes next - the hum doppling to provide suggestion of hesitant density. The depth of sound suggests a certain wind instrument effect or ringing tone. This results in a more shrill and extended sound, in some ways perhaps hinting of an oriental influence. Contextually the sound of Tzuki is consistent but exhibits a different feel from the material that preceded. The sound fades out slowly leading to In Between Frames with its bouncing ball plinkiness and sparkle of electrified string. This has a more playful and vibrant feel, but is unfussed/unhurried with that. strong but simple feeling. Infinitely Gray is working on more levels building a suggestiveness rather than presence - creating space between sounds. That creates a vibrancy and resonance that engages the listener. With the looping of a humming note we enter the Borderland, chords playing on top with a feeling of air released by each depression of keys. The humming note becoming distinguished as a steady pulsing stream, contrasting the clear peaks and troughs of the chord layer. By contrast 444 takes on a more rapid pulsing form. Layering into a rhythmic for which almost suggests, in its play of tones, the sounds of Caribbean drums. The echoing layer of pulses is accompanied by the play of flat notes. With a more sustained droning tone we are Looking For The Moon. Additional sounds create a more off sound, almost like a cat mewling. With this there are bubble notes and the now subdued drone layer. While most of the album is enjoyable this piece exhibits some of the down sides - perhaps becoming a little too self-involved and detached from the listener. In plinking, explorative tones we have the introduction to Hydantol. Expanding there is a rounded bass hum and clear melodic line. Little clipping sounds, tinged with a squelchiness provide little details within the easy flow. Hydantol is subdued, a relaxed movement that washes over you. Ikeda continues with Flicker which has some of the same sensibility, though perhaps knocked out by a degree. More dispersed sounding as it hums in extended, distorted pulses. Tzuki concludes with Motion Picture which again captures some of the more melodic and playful moments of the album. Though with its sound there is perhaps more a suggestion of nostalgia, perhaps melancholy in the tone of the keyboard lines. The piece fades out bringing Tzuki to a wandering conclusion."
Remote Induction