EM 005

SHORT SUMMER - Seiji Morimoto  

A characteristic resonance investigation, which is generated between the vibrating objects (buzzer: 400Hz) and different materials.

IMG_2673_farbe IMG_2683_farbe

TRACKLIST:

1. WOODEN BOX (20’00″)

2. TIN CAN (20’00″)

3. PLASTIC TRAY  (20’00″)

EM005
Recorded and mastered by KRIS LIMBACH at emitter19 studio, Berlin June 2011
Design: MICOL FAVINI
© 2013 emitter micro / SEIJI MORIMOTO

http://www.seijimorimoto.com/

in Germany and International available at: Staalplaat and RumpstiPumsti

in Japan available at: Art into Life, Omega Point and Ftarri

REVIEWS:

SEIJI MORIMOTO – SHORT SUMMER (CD by Emitter Micro)
Three pieces here, more or less of equal length: twenty minutes, all recorded in 2011. ‘A characteristic resonance investigation, which is generated between the vibrating objects (buzzer: 400hz) and different materials’, it says in the press release. Morimoto studied musicology and started to play the electronics pieces by John Cage in 1996 and also his own pieces. Since 2003 he lives in Berlin. In his work he ‘focuses on the unstable acoustic phenomena between everyday objects such as water and stones and the technological medium. His work consists of a search for small and differentiated structures, and the attempt to discover this random phenomena through and within the technological medium’. I am not sure how that works but these three pieces are radical. His places one or more buzzers onto objects (wooden box, tin can, plastic tray) to make a heavy resonating sound and by slowly moving his hands and/or the objects there is a gradual change in these resonances. ‘Wooden Box’ and ‘Plastic Tray’ are quite loud exercises, while ‘Tin Can’ is much ‘softer’ but no less radical. A highly minimal sound, and surely one that can easily be dismissed as annoying, even for those who are trained in hearing experimental music, noise or whatever you call it. A study in minimalism, but also a study in the innovation of minimalism, through the use of non musical elements – wooden box, tin can, plastic tray and a buzzer – but very consistently executed in a very human way. Not some buzzers on an object but manually held to generate these small changes. As said, I think this is a highly radical release that could easily appeal to those who like noise, those who like to hear something new and it will leave nobody untouched. I needed a break afterwards. (FdW)

(Vital Weekly, http://modisti.com/14/vital-weekly-927/)