Andrew Wegman Bird is a Grammy nominated indie rock multi-instrumentalist, singer, and songwriter. Since 1996, he has released 15 studio albums, as well as several live albums and EPs, spanning various genres including swing music, indie rock, and folk music.

Hiroshi Yoshimura was a Japanese musician and composer. He is considered a pioneer of ambient music in Japan. His music lies mostly in the minimalist genre of kankyō ongaku, or environment music—soft electronic melodies infused with the sounds of nature: babbling brooks, steady rain, and morning birds.

nymph tones is a follow up to "carepackage" taking everything ive learned over the years about synthesis, sampling and asmr to create a stimulating yet cozy nautical playground full of brain candy, magic, and aquatic critters <3

Mythology has a recurring theme: creating ambiguity by rearranging worlds and creatures that normally don’t belong together. Centaurs, Minotaurs, Hydras and so on: mockery and mystery intertwine into entities that are in equal parts magnificent and ridiculous. Referencing this idea in the present, Loris S. Sarid conjures 12 compositions simultaneously showing traits of dreamlike trap, candy-flavoured New Age and Spoken Word. The lines between spiritual and mundane, drama and parody are bent and questioned, used as raw material and treated with the same importance. Binding the work together is the sense of feeling peacefully lost inside a shuffling iPod, buried in a quiet zen garden inside a noisy shopping mall or vice versa. What connects Ambient music, which often anonymously swims into endless sleeping playlists with monthly subscriptions to well-being, to the mainstream output of commercial music? "Ambient $" doesn’t explore the social aspect of this question, but rather celebrates the beauty of its paradoxes. This album is the morning choir of forgotten NFTs, brewing lyrics in their binary exile. The television homily of a wrestler turned priest, turned influencer chef, then hermit and then rapper. Randomness is reclaimed as a human quality, and the aesthetics of mass music consumption are repurposed into a rather inexpensive guide to streaming-service-enlightenment.

Nobukazu Takemura (竹村延和 Takemura Nobukazu; born August 28, 1968, in Hirakata, Osaka) is a Japanese musician and artist. He became interested in music at a young age by listening to the radio, and began to make music at home with a tape recorder and keyboard. During high school, after a record store job that exposed him to jazz and hip-hop, he had regular gigs in the clubs of Osaka and Kyoto as a battle DJ before launching his music career. Takemura's music career has seen him cover a wide range of genres and styles within short periods of time. Beginning his career in hip-hop and jazz, Takemura later entered into a prolific period as an electronic musician, exploring genres such as glitch, drum and bass and minimalism. Takemura's most recent work has included chamber music and performance art.

"Translação"

Uma viagem instrumental orientada por quatro temas num ambient-jazz modesto.

Afinal estamos sempre às voltas.



baixo, bateria, trompete, teclado, voz, percussões, gravação e capa por Israel Machado



gravado no quarto, em Faria

masterizado à má fila

março 2024

Arranged By – タニウチ ヒデキ* (tracks: 1 to 18), 平野義久* (tracks: 19 to 28)
Arranged By, Performer – ナイトメア* (tracks: 29, 30)
Band – Calx (3) (tracks: 1 to 18)
Bass – サカタ マコト* (tracks: 1 to 18)
Bassoon – 菅原惠子* (tracks: 19 to 28)
Chorus – 東京混声合唱団* (tracks: 19 to 28)
Clarinet – 山根公男* (tracks: 19 to 28)
Composed By – タニウチ ヒデキ* (tracks: 1 to 18), RUKA (tracks: 29), 咲人* (tracks: 30), 平野義久* (tracks: 19 to 28)
Conductor – 蓿島公二* (tracks: 19 to 28)
Drums – シミズ トシキ* (tracks: 1 to 18)
Flute – 金子奈未* (tracks: 19 to 28), 旭孝* (tracks: 19 to 28)
Guitar, Synthesizer – タニウチ ヒデキ* (tracks: 1 to 18)
Horn – 藤田乙比古* (tracks: 19 to 28), 下田太郎* (tracks: 19 to 28), 岡村陽* (tracks: 19 to 28)
Lyrics By – RUKA (tracks: 29), 咲人* (tracks: 30)
Oboe – 庄司知史* (tracks: 19 to 28)
Percussion – 草刈とも子* (tracks: 19 to 28)
Piano – 細田真子* (tracks: 19 to 28)
Producer [NVTM] – 千石一成*
Producer [Vap] – 斉藤誠*, 永江徳和*
Saxophone – 福井健太* (tracks: 19 to 28)
Strings – 加藤高志ストリングス* (tracks: 19 to 28)
Synthesizer – 杉本洋祐* (tracks: 19 to 28)
Trombone – 中川英二郎* (tracks: 19 to 28), 山城純子* (tracks: 19 to 28)
Trumpet – 辻本憲一* (tracks: 19 to 28), 後藤慎介* (tracks: 19 to 28)

Co-producer – コシミハル*
Composed By, Producer – 細野晴臣*
Computer [Programmer] – 木本靖夫*
Design – 藤井陽一郎*
Mastered By – 小泉由香*
Mixed By – 細野晴臣* (tracks: 1 to 3, 6, 7, 10), 田中信一* (tracks: 4, 5, 8, 9)
Recorded By – 中谷英巳*, 原口宏*
This seems to be a limited not in regular CD shops release for the Universiade 1995, Fukuoka (a sporting event). It did not go on sale in retail stores. Soundtrack-like it opens with clockwork sequencing with analog drums. Later some trad. Japanese music on synths and some impressionistic tracks. Miharu Koshi contributes a melody. I think HH's company Medium, had extra copies which found their way into a couple shops after the event was over. Out of print.

2003 release composed by the Scandinavian black metal act for the original motion picture soundtrack of the film Svidd Neger. 16 tracks. Jester. 2003.

Another Anglo-Japan connection, Changing Hands is Jansen/Barbieri's best work for some time, together with Nobukazu Takemura. Unique in its creative process, tapes were sent back and forth between London and Tokyo. Some of Changing Hands is unnecessarily long, but most works fine including the sexy groove of "Subtle Bodies," "Children Gathering Around the Lake," and the wintery "Memory and Listening."