INOYAMALAND : COMMISSIONS: 1977-2000 (2LP/with Obi)


  • INOYAMALAND : COMMISSIONS: 1977-2000 (2LP/with Obi)


 世界が注目する日本を代表するアンビエントミュージック/環境 音楽のパイオニア、INOYAMALANDが遂にワールドリリース決定! 近年CHEE SHIMIZUが再発したことでも知られる故吉村浩によ る、1982年作品「MUSIC FROM NINE POSTCARDS」の再発を手掛け た〈EMPIRE OF SIGNS〉の第3弾作品(菅谷昌弘作品が第2弾とし て同時にアナウンス)。

★Spencer Doran(VISIBLE CLOAKS)とMaxwell August Croy(EMPIRE OF SIGNS)によるINOYAMALANDへのインタビュー入 りのライナーノーツ付き

A1. Hair Air
A2. Cycle
A3. Soushiyou To Shiteiru
A4. Garasudama

B5. Aa Egypto
B6. Skyfish
B7. Bananatron
B8. Fairy Tale

C1. Morn
C2. Kodama
C3. Ougon No Sara
C4. Candy Floss
C5. Watashikara Ubawanaide
D6. Anatano Yushoku No Tameni
D7. Candy (alt.)
D8. Sekai No Owari

Makoto Inoue and Yasushi Yamashita’s Inoyama Land project spans nearly four decades, still active to this day. A portmanteau of their family names, the “Land” of Inoyama hovers between imagined mythical space and concrete reality, extending beyond physical releases into installations, site-specific sound design and theatre scores. After their famed Haruomi Hosono-produced 1983 release Danzindan-Pojidon, the duo became involved in the budding environmental music business that was taking shape in Tokyo during the development boom of the asset bubble – working directly with figures like Hiroshi Yoshimura (with whom they developed sound design for the International Stadium in Yokohama) and Takashi Sekiguchi (Bamboo from Asia). This collection expands upon their sound heard on Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990 (LITA 167) to illuminate material that is even lesser known outside of Japan – some of it presented publicly for the first time.

Working initially with Munetaka Tanaka’s Sound Process Design (an acoustic consulting company formed by Tanaka with Satoshi Ashikawa, before Ashikawa’s tragic death in 1983), their commissioned work mirrors the sound world first fleshed out on Danzindan: chiming synthesizers, pastoral hues, childhood memory – all pulsing with a distant, emotional resonance. This material – culled from limited CD issues of the material on Tanaka’s Crescent label, Kazunao Nagata’s Transonic Records and self-released CDRs – presents a window into this process, illustrating how Inoue and Yamashita’s idiosyncratic musical identity gelled perfectly with all of the disparate environments of their commissions. Included is music written for the Kankaku (Sense) Museum in Miyagi, an exhibit on slime molds at the National Museum of Nature and Science in Ueno park, the 1977 stage performance Collecting Net (which also included music that would later become Danzindan-Pojidon) and their score for a Tokyo re-staging of New York avant-theatre pioneer Richard Foreman’s post-modern stage piece Egyptology.


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