[pe158]Pet The Tiger
Hail The Traveler
[pe156]Philip Gayle
Mammoth Flower
[pe155]Seeded Plain
Badminton, The Volleys
[pe154]Bryan Day & Dereck Higgins
Woven Territories
[pe153]John Krausbauer & David Maranha
[pe152]Evan Lipson
Echo Chamber
[pe151]Guro Skumsnes Moe & Philippe Petit
[pe150]Brasilia Laptop Orchestra
10 yEars aLive
[pe149]Bill Brovold
[pe148]Illusion of Safety & Z'ev
Temporary Presence
[pe145]Pet The Tiger
Gaze Emanations
[pe144]Ashtray Navigations & Anla Courtis
Protozoic Rock Express
[pe143]Alan Sondheim
Future Speed Future
[pe142]Albert / Day / Kreimer
[pe141]Bill Brovold's Stone Soup
Michael Goldberg Variations
[pe140]Michael Gendreau
Polvo Seran, Mas Polvo Enamorado
[pe139]Hélène Breschand & Elliott Sharp
Chansons du Crépuscule
[pe138]Alan Sondheim / Azure Carter / Luke Damrosch
[pe137]Collision Stories
Those Missing Will Complete Us
[pe136]Ghost In The House
Second Sight
[pe135]Henry Kaiser / Alan Licht
Skip to the Solo
[pe134]Peter Aaron / Brian Chase Duo
[pe133]Alan Sondheim / Azure Carter / Luke Damrosch
[pe131]Many Arms & Toshimaru Nakamura
[pe130]Ben Bennett / Jack Wright
[pe128]Music For Hard Times
City of Cardboard
[pe127]Tetuzi Akiyama & Anla Courtis
Naranja Songs
[pe126]Massimo Falascone
Variazioni Mumacs
[pe125]Auris + Gino
Fantasy Remover
[pe123]Azure Carter & Alan Sondheim
Avatar Woman
[pe122]Various Artists
The Unscratchable Itch: A Tribute To Little Fyodor
[pe121]Nels Cline / Elliott Sharp
Open The Door
[pe120]Pretty Monsters
[pe119]Cactus Truck
Brand New For China!
[pe118]Belcher / Bivins Double Quartet
[pe117]Normal Love
Survival Tricks
[pe116]Ron Anderson / Robert L. Pepper / David Tamura / Philippe Petit
Closed Encounters of the 4 Minds
[pe115]Philip Gayle
Babanço Total
[pe114]Dino Felipe
Sorta' Bleu
Radio Friendly
[pe111]Little Fyodor
Peace is Boring
[pe110]Courtis / Yamamoto / Yoshimi
Live at Kanadian
[pe109]Bob Marsh
[pe108]Tartar Lamb
60 Metonymies
[pe107]Shelf Life
[pe106]A Tomato a Day
The Moon is Green
[pe105]D + D
[pe104]The Mighty Vitamins
[pe103]Smut / OVO
Split 7"
[pe102]Bill Horist / Marron
[pe101]Richard Trosper
The Ocean
No Sleep till Babylon
Damn It!!
[pe97]Emily Hay / Marcos Fernandes
We Are
[pe96]The Machine Gun TV
Live In Japan
[pe94]Mike Pride
The Ensemble is an Electronic Device
[pe93]Jorge Castro
[pe92]Yagihashi Tsukasa
[pe91]Eftus Spectun
The Tocks Clicking
[pe89]Amy Denio
[pe88]Eric Cook
[pe87] Onid & Isil
Devotional Hymns for the Women of Anu
[pe85]Che Guevara Memorial Marching (and Stationary) Accordion Band
[pe84]Day / Boardman
One to Seven
[pe83]Knot + Over
Vertonen 9
[pe81]Blue Collar
Lovely Hazel
[pe79]Jesse Krakow
Oceans in the Sun
[pe78]Diaz-Infante / Forsyth / Scherzberg
A Barren Place of Overwhelming Simplicity
[pe76]Khoury / Shearer / Hall
[pe75]Renato Rinaldi
The Time and the Room
[pe74]Masami Kawaguchi
Live in December
[pe72]Watch the Stereo
[pe71]Modern Day Urban Barbarians
The Endless Retreat
[pe70]The Bunny Brains
Holiday Massacre '98
[pe69]Jack Wright & Bob Marsh
Birds in the Hand
[pe68]Free From Disguise
[pe67]Jad Fair & Jason Willett
[pe66]Baker / Baker / Bloor
Terza Rima

Yagihashi Tsukasa - Automatic
CD-R (Chiba, Japan)


Yagihashi Tsukasa - Pen & Paper, Effectors
Recorded April - June 2004

(Dead Angel) Shades of Aube -- here Tsukasa, who plays alto sax on the Kumisuru disc reviewed elsewhere in this issue, serves up twelve cryptic blocks of sound made from the heavily-processed sound of pen on paper. One would expect such a simple and minimal sound transmission device would result in a static series of monochromatic sounds, but no, the pieces are distinctly varied. The pieces were recorded from April to June of 2004 in Chiba, Japan, and I suspect the cover drawings are samples of the original source material. Those familiar with Aube's early strategies with the use of one unusual sound source to create many varied soundscapes will recognize the technique at work here, although Tsukasa's preference for reverb and unpredictable movements drag the pieces out of the realm of pure noise and into the borderlands of improv. No matter what you call it, this is definitely not pop music, and the tones can get harsh -- turn this up too loud and some of the more grotesque sounds may turn your speakers into toast. For bonus points and an additional good time, play this on your boombox while walking down the street and see what happens. - RKF

(Aiding & Abetting No. 275) So here's the deal. Tsukasa recorded himself drawing and then effected all that noise to the nth degree. That's it. Twelve tracks of a guy drawing. Hoo boy. If ever there was a question as to what is music and what is not, this album illustrates it better than anything else. I won't wade into that argument--I know what I believe. But I also believe that just about everyone who hears this will agree that is is art. And not just the drawings, which might be best described as "abstract Steadmanianism" (if the two included on the sleeve here are any indication), but the sounds themselves. After a while, a primal rhythm begins to flow from the deep scribbling. There is structure and purpose. And the added processing doesn't hurt, either. Folks like me will hear this and orgasm immdiately. I mean, this is some of the coolest shit I've ever heard. You want melody? Go somewhere else. This is for the true believers, those who treasure unique sounds and those who make them. - Jon Worley

(Chain DLK) I suppose somebody has done that before somewhere, but this is the first solo pen-on-paper+effects disc I come across, and somehow I am not surprised it's from a Japanese artist on Public Eyesore, home of all things strange and rare. Recorded in 2004, "Automatic" features twelve tracks of quite interesting and varied improvisation, given the limited instruments Yagihashi used (by the way, the cover art features two of the resulting drawings, I think). The pen squeals and screeches through an array of delays, distortion, and whatnot; sometimes it sounds more electronic, sometimes it could be mistaken for a sax (maybe not surprisingly, since Yagihashi also plays alto sax) or a trumpet, of course in the played-as-an-object style (think of the Creative Sources roster). My main problem with the disc is that it's frankly too long for me to sit down and enjoy it from start to end; but the central section is really good and successful, beyond the initial curiosity effect. - Eugenio Maggi

(Ampersand Etcetera) On the cover are a pair of drawings – doodles of lines darting across the page, shaking with a wave, circling, shimmering. In effect they are scores for 2 of the 12 pieces, as what Tsukasa does is record his pen on paper and then effect (manipulate?) it. Scrabbling percussive scraping squeaking echoed ambient music – the different effectors lead to subtle variation in timbre, tone and texture. And there seems to be occasional whistling? Freeform sound that ebbs flows and shifts in the way that a drawing being drawn would. From the edge, but strangely mesmerising. - Jeremy Keens

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