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TUNES OF NEGATION Reach The Endless Sea

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SHACKLETONのニュープロジェクトTUNES OF NEGATIONのアルバムが到着しました。JANDEKもみとめるする女性シンガー、ヘザー・リーや、ベルリンの鍵盤/パーカッショニスト、タクミ・モトカワ、ビブラフォン奏者Raphael MeinhartによるバンドTUNES OF NEGATION。

SHAPEDNOISEたちの〈COSMO RHYTHMATIC〉からSHACKLETONの新プロジェクトTUNES OF NEGATIONのデビューアルバム。タイトルは13世紀のイスラム・スーフィズムの詩人ジャラール・ウッディーン・ルーミーの詩にインスパイアされているようです。ポリリズム、ミニマルや対位法、霊的な民族音楽を取り入れたこれまでのスタイルをさらに推し進め、圧倒的な進化を遂げているのではと思います。濃厚、ディープ・サイケデリア。 (サイトウ)

▼ Tracklisting

A. The World Is Stage / Reach The Endless Sea sample
B1. Tundra Erotic sample
B2. Nowhere Ending Sky sample
C. Rückschlag / Rising, then Resonant sample
D. The Time Has Come sample

As it has become a somewhat common occurrence in his discography, Shackleton’s Cosmo Rhythmatic debut as Tunes Of Negation opens with a song. Its structure and, most importantly, themes, can be integrally traced within his rhizomatic net of creations, consistent with a process that’s regularly wandered through spiritual depths by means of sonic perseverance. Sung by Heather Leigh, the double – cantos continuum of “The World Is A Stage” and “Reach The Endless Sea” deal with time, or rather its illusory, treacherous nature, as well as spiritually investigating ideas of immortality, memory, and grief.

Ultimately, it is a meditation on the non-finitude of life and spirit, and the limits of perception in dealing with it. It could be argued that the whole record, as well as Shackleton’s whole body of work, represents an attempt to break those limits and trespass beyond human experience, incorporating an immense vocabulary of music traditions in order to ditch linear narratives and the established grammar of electronic music.

Shackleton’s usual arsenal of resonating woods and metals, ceremonial polyrhythms and astral melodies acquire a freer, more spontaneous character by the intervention of keyboardist Takumi Motokawa and mallet player Raphael Meinhart, whose symbiosis with the producer generates a truly beautiful and multi-directional flow of energy. The sacral austerity of the music is paralleled by its sheer, seductive, harmonic power, one that draws new trajectories in time and space with its seemingly endless layers of arpeggios, beats, and drones.

For all their complexity and propulsion, these are indeed Tunes of Negation. The title, inspired by a poem by 13th Century mystic Jalalu’l-Din Rumi, is a description of what Shackleton himself hopes to achieve with the music, to “aid transmutation and enter into the light”.

Music written and composed by S. Shackleton except track 3 by S.Shackleton and T.Motokawa. Words for tracks 1 and 2 by S. Shackleton and H.Leigh.
S. Shackleton does the programming, electronics, synthesizers, and all related stuff.
T. Motokawa plays harmonium, keys, percussion, gongs.
R. Meinhart plays mallets and percussion.
Guest vocals on tracks 1 and 2, Heather Leigh.
Artwork by Zeke Clough.
Mastered and Cut by Rashad Becker @ Dubplates and Mastering.

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