大陸男対山脈女／ビバ・ヤング・フロリダ magaibutsu Limited MGC-15
記憶を無くして早10年、不便なことは何にもない。複雑さと叙情性をあわせもつ王道プログレ的展開の随所に挟み込まれる、漫才かチンドンやのような脱臼的空間。新手のカートゥーン・ミュージックか壮大なスケ－ルの冗談か。吉田達也がベースと作曲、プログレ大作２曲を含む。Tairikuotoko Vs Sanmyakuonna, which translates roughly to Continental Man Vs. Mountain Range Woman, is a fairly obscure, fairly warped project involving Yoshida Tatsuya (of Ruins and Koenjihyakkei fame) on bass and vocals, rather than his normal drums, along with members of Bondage Fruit and Omoide Hatoba. Much of the music was written or co-written by Yoshida, so some of his compositional quirks will show through to listeners familiar with his other projects.The project involved most musicians playing an instrument which they were not overly proficient in, which resulted in the members stretching their talents beyond their normal breaking points. Though the complexity of the music may suffer some because of this, the quality overall remains consistent, and the music displays the members’ playful senses of humor.
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ルインズ／PALLASCHTOM magaibutsu limited MGC-17 2000/2005 62 min. 19 songs ¥2300
最小編成による最大限のアグレッシヴミュージック。先鋭性とポップ性がまさに独自に結ばれた全 19曲。ラスト３曲は超人的な演奏力と彼等のル－ツが大爆発するプログレ(39曲)、ハードロック(27曲)、クラシック(26曲)のメドレー。米スキングラフトからのリミックス再発版。 It’s a challenge to reconcile who had a larger influence on one another. Was it Naked City that took Ruins to this level of intensity, or was it Mr. Bungle? Or did Ruins inspire Zorn and company to greater heights? No matter what the conclusion, Ruins returned from the wild experiments of Symphonica to their traditional drum and bass roots with a ferocious tenacity throughout Pallaschtom’s hourlong running time. The dynamics and intensity are exactly what you’d expect from a Ruins record: lots of start-stop shifts and odd-metered time signatures played over indecipherable yowls, screams, and chants. Remastered in 2005 and reissued by Skin Graft, several new tracks are included. Of these bonus features, the most noteworthy are the three medleys at the end, which span nearly a hundred recognizable riffs from rock, classical, and prog. ~ Rob Theakston
sample track mp3 : 01 Pallaschtom,02 Gharaviss Perrdoh,11 Blimmguass,15 Quetzalcoatl
sample track mp3 : 01 Pallaschtom,02 Gharaviss Perrdoh,11 Blimmguass,15 Quetzalcoatl
ルインズ/VRRESTO magaibutsu limited MGC-14 1998 51 min. 15 songs ¥2500
４代目ベーシスト佐々木恒とのコンビネーションは間違いなく過去最高。彼の加入により緻密さに加え初期の荒々しさを取り戻した新生ルインズの１作目。MIDIコントローラー、サンプリングディレイ等を駆使し2人とは信じ難い音を放出している。
Vrresto is the first studio album proper by the fourth incarnation of Ruins The line up of Yoshida Tatsuya and Sasaki Hisashi made the most dazzlingly intense and complex music yet released under the Ruins banner – the songs are full of abrupt shifts in tempo and dynamics, and the combination of 6 string bass, drums, 2 voices and some intelligently used MIDI technology means that this usually sounds like much more than a bass and drums duo (and a million miles from drum & bass). Sasaki also has a hand in some of the songwriting, although Yoshida remains the main composer.
sample tracks mp3 : 02 Warrido,03 Ffenniko,06 Beguotto,09 Savollodix,14 Larikoschodel
吉田達也／磨崖仏 magaibutsu limited MGC-02 1991/2001 22 songs 67 min, ￥2000 (price down!)
’91年に独ノーマンズランドから発表され世界中のレコメンファンに衝撃を与えた吉田の１stソロ。全ての楽器が打楽器と化しその上に超絶ヴォイスがからむ。全曲リミックスさらに当時の未発表曲を加えての再発。Reissue at last of the 1991 no man’s land release, completely remixed by the artist (best known as the Ruins) and with 6 extra tracks. Deeply influenced by Magma, but rather more idiosyncratic and minus the gravity and the compositional staying power, these pieces feature hell-for-leather percussion, tuned percussion, piano, bass, organ, voices and other less identifiable instruments. Tempi tend to be fast and furious, even neurotic. Nevertheless, it’s technically impressive and profoundly odd by turns and certainly in a class of its own. There are vocal moments here, and percussion moments that are definitely out there. Strange and personal. Not restful.
sample tracks mp3 : 01 Joneoik,02 Imciniad,04 Onodu,06 Nessang,15 Vonisch
sample tracks mp3 : 01 Joneoik,02 Imciniad,04 Onodu,06 Nessang,15 Vonisch
赤天／シャトードゥアカテン magaibutsu limited MGC-19 2000 20 songs 35 min. ￥2100
さながら現代音楽の極北と思い付きのバカ笑いが鬼ごっこ。ハードディスク・レコーディングを導入し音質大幅アップな赤天５作目は、歯ブラシ・ワイン・水洗便所等の生活音を大胆にとりいれた音響派エクスペリメンタル生活密着ポップ。
sample tracks mp3 : 01 wine,04 tooth brush,13 pet bottlemagaibutsu limited mgc-19 2001The duo of Tatsuya Yoshida (Ruins) and Atsushi Tsuyama (Acid Mothers Temple, Omoide Hatoba)is one of Yoshida’s most endearing projects, performing slight little songs using zippers for percussion and camera brand names for lyrics. And that’s just an example. Ever inventive good fun. Chateau du Akaten is thier fourth release, this time packaged like wine instead of sushi. The lyrics here list record companies, fast food restaurants, baseball teams, US national parks and the 50 states.
赤 天／純米吟醸 magaibutsu limited MGC-11 1997 25 songs 25 min. ¥1500 (price down)
赤天の４枚目は、前作での方法論を押し進め、今度は酒・米・そろばん・相撲・温泉といった日本の伝統文化に目を向けている。また、カメラやジッパーをパーカッションとして使用した音響的実験性も特筆もの。The 4th album accelerates the methodology from the 3rd, focusing on the Japanese traditional culture such as sake, rice, abacus, sumo, and onsen. The acoustic experiments of using cameras or zippers as the percussion should also deserves special mention.
sample tracks mp3 : 01 sake,13 composer,18 camera,19 telephone,20 zipper,23 sanadamushi
MGC-09 1996 26曲 25分 ¥2000
結成１年目にして３枚目。生活密着プログレコンビニパンクとしての赤天サウンドが完成の域に達した傑作。野鳥・石仏・ラーメン・競馬・大根おろし等二人の日常の関心事をテーマにし、より凝縮された演奏をバックに日本語で歌われる。
sample tracks mp3 : 01 ocean,02 uguisu,10 daikon oroshi,19 Tensova
現代日本のオルタナティブ音楽シーンで最も先鋭的なドラマー／作曲家／インプロヴァイザーの一人。1961年 岩手県生れ。高校のブラスバンドでドラムを始める。80年代初頭から都内のライブハウスを拠点に演奏活動を開始。パワフルでポリリズミックでスピード感溢れる演奏スタイルで、パイディア、あぶらだこ（ヘルプ）、YBO2、ZENI-GEVA、ジョン・ゾーン・のトーチャー・ガーデン等々、数多のグループに参加して活躍。85年には自身とベーシストの２人だけによるバンド『RUINS』を結成。そのソリッドなリズム・セクションによるエネルギーの爆発に高音から低音までをカバーする吉田のオペラチックなヴォ－カルを乗せた革新的な音楽性とサウンドは、国内はもとより海外でも高く評価され、頻繁に海外ツアーもおこなっている。90年代はルインズ以外にも高円寺百景、大陸男対山脈女、是巨人、ズビズバ、赤天等つぎつぎと違うコンセプトに基づくバンドを立ち上げほとんどのレパートリーを作曲。セッション参加もふくめて国内外の様々なレーベルから100を超える作品を発表している。内外のミュージシャンとの共演も多数。近年では菊地雅章、藤井郷子等ジャズフィールドでの活動も目立つ。また国境を超えサムラママスマンナ、アシッドマザーズゴング、ペインキラーのメンバーとしても活動している。また、音楽活動のかたわら石仏、石像、巨石、石の山。石とあれば写真を撮り続ける写真家でもある。
主な共演者：John Zorn, Fred Frith, Bill Laswell, Derek Bailey, Charles Hayward, Lars Hollmer, David Moss, Billy Bang, Eugene Chadbourne, RonAnderson, 灰野敬二、大友良英、菊地雅章、坂田明、梅津和時、千野秀一、広瀬淳二、林栄一、藤井郷子、勝井裕二、沢田譲治、ＮＵＬＬ、古館徹夫、天鼓、山本精一
A real octopus, Tatsuya Yoshida began the drums at the beginning of the 1980s. Twenty five years later, he has become a truly polyrhythmic monster with syncopated respiration. An initiate in progressive music from his high-school days, Tatsuya Yoshida listened to Genesis, Emerson Lake and Palmer, Camel and This Heat. Although he cites his main influence as Christian Vander and Magma‘s Kobaïan operatic choruses and interlaced phrasing, Tatsuya Yoshida also mines other seams to create a new, complex and concentrated style, incorporating the expressiveness of prog rock, the freedom of jazz and the energy of punk.
The foundations of Japanese independent and alternative music were born in the eighties. Tatsuya Yoshida was already playing in the group YBO2 beside Masashi Kitamura and K.K. Null (Zeni Geva) when, in 1985, he formed a duo, Ruins, with just bass and drums. Four bass players came and went: Hideki Kawamoto, Kazuyoshi Kimoto, Ryuichi Masuda and Hisashi Sasaki. With the departure of his last bassist, Tatsuya Yoshida set out on a quest for a new member, but abandoned his mission, unable to find a candidate up to the job. The music Ruins was creating had become so complex that electronic machines were now Tatsuya Yoshida‘s ideal partner.
Ruins then became Ruins Alone. Like syrup or strong alcohol, Ruins makes music that makes you grimace. Ruins is a lab of Tatsuya Yoshida, a direct interface between his brain and his drumsticks. You could get fifteen rock records out of one Ruins album, just by adding a bit of fizzy water. Each composition could be developed in many different directions.Tatsuya Yoshida plays in numerous groups; he needs to, to sustain sufficient space for his overflowing creativity.
When not doing music, Yoshida compulsively photographs stones. He travels the world in search of the mineral beauty of monumental statues and the millennial energy of rocks.