朝が来て、夜へと還っていく…
瀬戸内の島で出逢った一台のピアノと共に紡ぐ24の小曲集
瀬戸内海の島々を舞台に開催された、瀬戸内国際芸術祭2013。
なかでも[高見島「海のテラス」の空間音楽として]大きな反響を呼んだ
「島のピアノで」が、本人の手により再構築され待望のCDリリース。
瀬戸内海に浮かぶ小さな島の小学校に眠っていた、一台のアップライト・ピアノ。
その優しい音色がHideyuki Hashimotoの指先によって、静かに目を覚ます…。
窓を開放し、鳥の声をはじめ周囲の自然音など島の空気と共に紡いだ24の小曲集。

前作、「9 Songs」より２年ぶり、KASHIWA Daisuke７枚目のフルアルバムになります。
絵本作家・イラストレーター・映像作家である、たむらしげる氏の著書「水晶山脈」にインスパイアされた、流麗なメロディと壮大でノスタルジックな世界観、天然鉱物に魅せられた透明感あふれる美しい作品郡で、9年前にリリースされ世界中で圧倒的な評価を受け、今なお聴き継がれている「program music I」の続編となる、新たなる音の物語です。
今作は、生楽器、生演奏、生録音にこだわり、より躍動感と空気感をダイレクトに伝える作品となっており、「program music I」では非常に特徴的であったデジタルエディットは排除されています。
ドラムにJimanica、ダブルベースにHiroki Chiba、ピアノにYuki MurataとKanae Okamura、チェロにTaizan Aotsuki、ヴァイオリンにMaiko Isobe、コーラスにpiana、と個性とセンス溢れる一流の演奏家達を迎え、各々の持ち味を十二分に引き出し、打ち込みでは決して得る事のできない生き生きとした表現を獲得しました。また、全ての楽曲に、KASHIWA Daisuke自身でミックスとマスタリングを施し、繊細かつダイナミック、細部まで決して妥協の無い圧倒的な世界観を獲得しています。
1stアルバムのリリースより、活動10年目を迎え、音楽家として深く成長を遂げた「KASHIWA Daisuke」の新たなる音物語、目を閉じて、存分にお楽しみ下さい。

The light shines in the darkness, and the darkness has not overcome it.”
KITCHEN. LABEL presents haruka nakamura PIANO ENSEMBLE’s new album entitled “Hikari” in a special 2CD box set edition to be released on 8th August 2017. “Hikari” is the final set of the trilogy of albums (Ongaku No Aru Fuukei and CURTAIN CALL) to feature the current PIANO ENSEMBLE lineup before they go on a indefinite hiatus after their last show at the grand St Mary’s Cathedral in Tokyo on 21st July 2017.
Since the release of “Ongaku No Aru Fuukei” in 2014, haruka nakamura PIANO ENSEMBLE has held a tour with 17 concerts in Japan and 4 around Asia, with high profile and sold-out concerts at venues such at Memorial Cathedral of World Peace in Hiroshima, Meguro Persimmon Hall in Tokyo and Hyogo Performing Arts Center in Kobe among others. Recorded in late 2016 and early 2017, “Hikari” includes a new suite of pieces from evolved and fully-formed versions of the group’s favourites and also previously unrecorded items from its concert programs. The album’s repertoire is the ensemble’s most complete yet and documented at the peak of the ensemble’s form.
Part one of “Hikari” begins with music recorded once again at the acoustically profound sonorium hall in Tokyo. As ever, haruka nakamura’s attention to the purity and precision of each and every note is matched by counterparts ARAKI Shin (Saxophone and Flute), Akira Uchida (Saxophone), Rie Nemoto (Violin) and Isao Saito (Drums). haruka nakamura’s piano melodies might appear uncomplicated, but this transparency of sound creates a mesmerising cumulative effect with “SIN” representing the ensemble at its most buoyant.
Part two and the centrepiece of the album features 3 extended tracks recorded at Meguro Persimmon Hall (Tokyo), Waseda Scott Hall (Tokyo) and Lutheran Church (Fukuoka). 9-piece female choir group CANTUS, baobab and 14 year old vocalist Urara all took part in these recordings where the pieces “CURTAIN CALL” and title-track “Hikari” showcase the album’s collection of sacred hymns and spiritual high points. The ensemble is also joined by long time associate AOKI,Hayoto (Guitars & Harmonica) along with Hiroki Chiba (Contrabass), Sakanoshita Norimasa (Guitar) and Ami Misawa (Cello). The album ender and new piece “Todai”, thereby closing a divine circuit with its concluding distances. If music is meant to be a transporting experience, then the album “Hikari” is haruka nakamura PIANO ENSEMBLE at their transcendent and luminescent best.
This album is recorded by Katsunori Fukuoka (Flysound) and is mixed and mastered by Gen Tanabe (studio camel house). “Hikari” is packaged in a hardcase box and features a 36 page book containing exclusive photos, liner and composer’s notes (In Japanese). The album also includes a digital download for 2 bonus tracks Hajimari No Sanbika (Waseda Scott Hall) and Yuube No Inori (sonorium). Total runtime: 85 mins.

This project is based on the sound itself : the aesthetical sound is more important than the musical style.
Recorded in my home studio, the album takes the listener inside the piano.
Revealed by the damper pedal, the mechanical sounds of hammers, pedals and other « noises » showing us an organic piano.
The album is an invitation to an oniric world where music and sounds merged.

Encores 2 is the second in a series of extended players meant as companions to the universally acclaimed album All Melody. While Encores 1 focused on an acoustic pallet of sounds with just a solo piano and harmonium, Encores 2 explores a more ambient landscape from the All Melody sessions, the pinnacle of which is the astral 12 minute showpiece Spells. Recorded through a well Nils Frahm found in an ancient house on Majorca, Encores 2 is at once unique but familiar; orbiting the universe of All Melody while inhabiting its own world.

这就是天才的作品，除了惊叹，还有完全的心服口服。你没法去分辨它的肌理，也没办法仔细描摹。它的出现，就是为了制造一次“闭嘴”，一次毫无保留的成熟。丰润的细节抚摸身体的每一道曲线，力道拿捏得恰到好处；而音乐本身变幻无形，飘扬或者徘徊于夜树的阴影。它像是樱桃林的一阵熏风，掀起衣角，穿过发隙，成为倒数第二个美梦的终结点。把Acoustic元素和Vocal运用到如此程度，加上柔滑的Electronic效果点缀，从Pop和Classical汲取足够的养分，然后扩张，发散——我已别无他求。

“暗闇の先にある、なにか。
陽は沈み、それを追い求めた。
光への軌跡を記録した106分。
いま、音楽は確かに此処に或る。”

haruka nakamuraが過去４年間に渡り追求し発展させてきたPIANO ENSEMBLE編成のニューアルバムが遂に完成。

2010年にシンガポールのKITCHEN. LABELからリリースされ、大きな賞賛を浴びたharuka nakamuraの2ndアルバム『twilight』。そのアルバムに参加したARAKI Shin (サックス、フルート)、内田輝 (サックス)、根本理恵（ヴァイオリン）、齋藤功（ドラム）らで編成された＜haruka nakamura PIANO ENSEMBLE＞は、過去４年に渡り『twilight』の楽曲や新曲を即興演奏を中心に昇華させながら各地で公演を続けた。ほぼ楽譜の無い、その瞬間に輝き消えていく音たち。ARAKI Shinの素晴らしい管弦アレンジなども加わり、やがてこのPIANO ENSEMBLEはharuka nakamuraの最も主軸な演奏形態となっていった。そして2014年、その軌跡を集約した公開録音が東京のコンサートホールsonoriumで全３回に渡り行われ、haruka nakamuraの通算4枚目となるアルバム『音楽のある風景』が誕生した。

賛美歌や宗教音楽への指向とチェンバー・ミュージックをリンクさせたharuka nakamuraの音楽性を完璧に捉えるためには、チャペルや礼拝を彷彿させるその会場での公開録音は絶好のロケーションだったと言えるだろう。haruka nakamuraのピアノが率いるぴたりと息のあったアンサンブルと空間自体の輝くようなソノリティーが融合したパフォーマンスは、クラシックの厳格さにコンテンポラリーな即興演奏をミックスしながら、細部まで美しくエレガントに、心揺さぶるエモーショナルな共鳴を生み出している。

本作には『twilight』収録楽曲の再構築ヴァージョン４曲に加え、新曲３曲（「SIN」「四月の装丁」「永遠」）、そしてアルバム初収録となる2曲（「nowhere」「光」）の全９曲が2枚組CDに収録されている。「光」「永遠」では女子聖歌隊CANTUSをフィーチャー。さらにボーナストラック「CALL」のダウンロードクーポンも封入。

「音楽のある風景」は、過去４年間の集大成だけではなく、これまでのharuka nakamuraの最高傑作とも言える作品となった。

can you quietly be a big fan? if so here is a case. Daisuke has been making interesting ambient acoustic instrumentals / field recording for some time. he's released a full length on ahornfelder records. and has a CD that is a collaberation between him and sawako (12k / anticipate) out soon on schole records japan. has played on shonoshobo tours. magic book compilations. it goes on and on. sometimes, i think, the way things are recorded, are as important. as what is recorded. a great collection of small pieces of recordings by daisuke.

Hopefully the overwrought and existential character of song titles like “Prelude for Piano and Malaria” and “Achtung, God” won't scare off too many listeners, because Joshua Neil Geissler's latest Worrytrain collection, a provocative fifteen-piece collection that sits perfectly well alongside recordings by Rachel's, Lech Jankowski, and Max Richter, certainly deserves to be heard. Like those artists, Geissler couples classical composition-related elements with daring electronic treatments, and doesn't hesitate to alternate a restrained melancholy setting with an ear-splitting dose of dissonance (thankfully, the latter occurs infrequently).
In truth, the album's material generally splits into three areas: solo piano pieces, string settings, and agitated experiments. The first is represented by four pieces, of which “Prelude for Piano and Malaria,” a painterly rumination refracted through a prism of echo and decay, and “The Trenches Choir,” a somber etude joined by creaking strings, are representative. The second group features the lovely, Rachel's-like “For Auschwitz,” which is exactly the kind of somber piano- and string-drenched setting one would expect it to be, the meditation “Achtung, God,” and a firestorm of impassioned string clusters entitled “The Moth Screamed Harvest.” The final, less conventionally musical set includes “Exorcism for Cello and Malaria,” a ritualesque stream of howls and moans that seems like a perfect soundtrack for an exorcism, and, the album's most daunting piece, “Thundertrance Interlude,” whose writhing blasts would do Merzbow proud. In keeping with the more than 1500 species and sub-species of silkmoths distributed around the world, “Saturniidae” contains multiple stylistic worlds in one song, including a dramatic violin and piano waltz at the beginning that's obliterated by a squealing noisefest that detonates thereafter. Despite the harrowing nature of “Thundertrance Interlude,” quieter yet still emotionally intense moments of reflection dominate the album, making Fog Dance, My Moth Kingdom often feel like a welcome shelter from the cacophonous storm of the modern world.
November 2007

Released by the Italian label ARK Records the second solo album by the pianist composer Luigi Rubino, founder of the Ashram, neoclassical band of Naples, and pianist of the progressive ethereal folk group Corde Oblique.
«Il soffio e la voce” consists of 14 new tracks. A sequence of pastel shades that reveal an ever-changing horizon. Melancholic melodies draw the the fragility of being ... a suspended sound story in a dreamlike dimension that escapes from the chaos around us to show us the cathartic and inner way through which we can find ourselves.

Erased Tapes will release a compilation of work from musicians Ólafur Arnalds and Nils Frahm.
Collaborative Works collects tracks from three vinyl EPs: Loon, Stare and Life Story Love And Glory. They stretch back to 2012, the year Arnalds and Frahm first linked up as collaborators. In addition to the tracks from these records, the new compilation features seven cuts from Trance Frendz, which were spontaneously recorded during a 45-minute session and originally intended to be used with a short film. Collaborative Works hits stores on October 30th.

从10月3日开始，你将可以在“Living Room Songs”网站上，每天免费下载到Ólafur Arnalds当天在自己雷克雅未克公寓客厅中创作的一首歌曲，也可以及时观看演奏视频。Living Room Songs计划总共包含7首歌曲，除了网络免费下载以外，在今年也会发行实体的CD/LP和高质量数字音乐等多种格式。
事实上，Ólafur Arnalds早在09年4月就做过类似的事情。那时他推出了“Found Songs”计划，在一周的时间内，每天推出一首歌歌曲的即时创作，并在twitter上发布免费下载，还邀请网友给每首歌进行插画创作。最终全世界有超过10万网友下载了他的歌曲，也为后来的实体专辑《Found Songs》打下了很好的基础。
这次的“Living Room Songs”计划，则在“Found Songs”的基础上，加入了客厅创作的概念，并且引入了影像的记录。减少了和歌迷之前的隔阂感，少了一些神秘，多了几分互动。

Since 2012 Erased Tapes peers Ólafur Arnalds and Nils Frahm have spent many hours together in their studios across Berlin and Reykjavik, freely improvising and occasionally capturing the music for their fans. The duo's sound is an astoundingly rich, tonally pure example of synth-driven experimentation, conceived and performed by two prolific collaborators.
During a session at Nils's Durton Studio in Berlin last summer the two specially invited photographer Alexander Schneider to capture one of their unique improvised sessions. Lasting long into the night, the pair gradually and organically formed several individual songs – each contributing to the narrative of a larger, transformative piece of music. Recorded in eight hours with no overdubs or edits, 'Trance Frendz' is a captivating journey through grand soundscapes and droning crescendos which crash and recede back, making way for delicate piano notes and swirling synthesizers.

Nils Frahm is a German musician, composer, and record producer based in Berlin. He is known for combining classical and electronic music and for an unconventional approach to the piano in which he mixes a grand piano, upright piano, Roland Juno-60, Rhodes piano, drum machines, and Moog Taurus.