1. |
HAMON
04:29
|
|||
【MV / HAMON】https://vimeo.com/159182190
by Ippei Matsui (http://www.ippeimatsui.com)
|
||||
2. |
AUTOPOIESIS
05:29
|
|||
“Sometime in the early to mid 00s, I was on tour in Japan. I was playing at the now closed venue Bridge in Tennoji. It was one of my favourite venues in Japan, mostly as Tennoji still holds those secrets of Japan’s 20TH century history; the nocturnal, dreamlike sensibilities that reach out to us from beyond, much like say Chris Marker’s San Soleil does.
The concert was most memorable though for one reason - Ytamo. Before I performed, Ytamo, (who at the time I had not heard of) commandeered a piano and created one of the most unusual and soothing pieces of music I had ever heard. These were songs that felt as if they were on the edge of consciousness, they flowed with grooves that seemed to suggest a deep hypnosis. It was quite honestly audio magic.
Now the better part of a decade on, I have the pleasure to have a hand in making her latest recording available. MI WO orbits in a more aquatic space than her earlier works. Shimmering electronics abound, melodies like the tides and rhythms that vibrate with oceanic gravity.
Originally created to accompany an exhibition by Argentine artist Natali Katz, MI WO sees Ytamo expand her palette considerably. She melts together the core of her song explorations with a rich sonic texturing that is both compelling and evocative.
It’s my great privilege to share this with you.”
Lawrence English, 2016
-
TinyMixTapes - "The album is stunningly diverse in its instrumentation, with tracks like “100 Bird Stories” and “Hen” melding highly synthesized tones with more organic-sounding percussion"
|
||||
3. |
COLORFUL WAVES
03:55
|
|||
“Sometime in the early to mid 00s, I was on tour in Japan. I was playing at the now closed venue Bridge in Tennoji. It was one of my favourite venues in Japan, mostly as Tennoji still holds those secrets of Japan’s 20TH century history; the nocturnal, dreamlike sensibilities that reach out to us from beyond, much like say Chris Marker’s San Soleil does.
The concert was most memorable though for one reason - Ytamo. Before I performed, Ytamo, (who at the time I had not heard of) commandeered a piano and created one of the most unusual and soothing pieces of music I had ever heard. These were songs that felt as if they were on the edge of consciousness, they flowed with grooves that seemed to suggest a deep hypnosis. It was quite honestly audio magic.
Now the better part of a decade on, I have the pleasure to have a hand in making her latest recording available. MI WO orbits in a more aquatic space than her earlier works. Shimmering electronics abound, melodies like the tides and rhythms that vibrate with oceanic gravity.
Originally created to accompany an exhibition by Argentine artist Natali Katz, MI WO sees Ytamo expand her palette considerably. She melts together the core of her song explorations with a rich sonic texturing that is both compelling and evocative.
It’s my great privilege to share this with you.”
Lawrence English, 2016
-
TinyMixTapes - "The album is stunningly diverse in its instrumentation, with tracks like “100 Bird Stories” and “Hen” melding highly synthesized tones with more organic-sounding percussion"
|
||||
4. |
HUMAN OCEAN
05:34
|
|||
【MV / YTAMO - HUMAN OCEAN】
by Masaki Yanagida
https://vimeo.com/138047925
|
||||
5. |
HEN
04:31
|
|||
“Sometime in the early to mid 00s, I was on tour in Japan. I was playing at the now closed venue Bridge in Tennoji. It was one of my favourite venues in Japan, mostly as Tennoji still holds those secrets of Japan’s 20TH century history; the nocturnal, dreamlike sensibilities that reach out to us from beyond, much like say Chris Marker’s San Soleil does.
The concert was most memorable though for one reason - Ytamo. Before I performed, Ytamo, (who at the time I had not heard of) commandeered a piano and created one of the most unusual and soothing pieces of music I had ever heard. These were songs that felt as if they were on the edge of consciousness, they flowed with grooves that seemed to suggest a deep hypnosis. It was quite honestly audio magic.
Now the better part of a decade on, I have the pleasure to have a hand in making her latest recording available. MI WO orbits in a more aquatic space than her earlier works. Shimmering electronics abound, melodies like the tides and rhythms that vibrate with oceanic gravity.
Originally created to accompany an exhibition by Argentine artist Natali Katz, MI WO sees Ytamo expand her palette considerably. She melts together the core of her song explorations with a rich sonic texturing that is both compelling and evocative.
It’s my great privilege to share this with you.”
Lawrence English, 2016
-
TinyMixTapes - "The album is stunningly diverse in its instrumentation, with tracks like “100 Bird Stories” and “Hen” melding highly synthesized tones with more organic-sounding percussion"
|
||||
6. |
YOU ME
04:18
|
|||
“Sometime in the early to mid 00s, I was on tour in Japan. I was playing at the now closed venue Bridge in Tennoji. It was one of my favourite venues in Japan, mostly as Tennoji still holds those secrets of Japan’s 20TH century history; the nocturnal, dreamlike sensibilities that reach out to us from beyond, much like say Chris Marker’s San Soleil does.
The concert was most memorable though for one reason - Ytamo. Before I performed, Ytamo, (who at the time I had not heard of) commandeered a piano and created one of the most unusual and soothing pieces of music I had ever heard. These were songs that felt as if they were on the edge of consciousness, they flowed with grooves that seemed to suggest a deep hypnosis. It was quite honestly audio magic.
Now the better part of a decade on, I have the pleasure to have a hand in making her latest recording available. MI WO orbits in a more aquatic space than her earlier works. Shimmering electronics abound, melodies like the tides and rhythms that vibrate with oceanic gravity.
Originally created to accompany an exhibition by Argentine artist Natali Katz, MI WO sees Ytamo expand her palette considerably. She melts together the core of her song explorations with a rich sonic texturing that is both compelling and evocative.
It’s my great privilege to share this with you.”
Lawrence English, 2016
-
TinyMixTapes - "The album is stunningly diverse in its instrumentation, with tracks like “100 Bird Stories” and “Hen” melding highly synthesized tones with more organic-sounding percussion"
|
||||
7. |
100 BIRDS STORIES
06:31
|
|||
“Sometime in the early to mid 00s, I was on tour in Japan. I was playing at the now closed venue Bridge in Tennoji. It was one of my favourite venues in Japan, mostly as Tennoji still holds those secrets of Japan’s 20TH century history; the nocturnal, dreamlike sensibilities that reach out to us from beyond, much like say Chris Marker’s San Soleil does.
The concert was most memorable though for one reason - Ytamo. Before I performed, Ytamo, (who at the time I had not heard of) commandeered a piano and created one of the most unusual and soothing pieces of music I had ever heard. These were songs that felt as if they were on the edge of consciousness, they flowed with grooves that seemed to suggest a deep hypnosis. It was quite honestly audio magic.
Now the better part of a decade on, I have the pleasure to have a hand in making her latest recording available. MI WO orbits in a more aquatic space than her earlier works. Shimmering electronics abound, melodies like the tides and rhythms that vibrate with oceanic gravity.
Originally created to accompany an exhibition by Argentine artist Natali Katz, MI WO sees Ytamo expand her palette considerably. She melts together the core of her song explorations with a rich sonic texturing that is both compelling and evocative.
It’s my great privilege to share this with you.”
Lawrence English, 2016
-
TinyMixTapes - "The album is stunningly diverse in its instrumentation, with tracks like “100 Bird Stories” and “Hen” melding highly synthesized tones with more organic-sounding percussion"
|
||||
8. |
SENSORIAL AREA
06:38
|
|||
“Sometime in the early to mid 00s, I was on tour in Japan. I was playing at the now closed venue Bridge in Tennoji. It was one of my favourite venues in Japan, mostly as Tennoji still holds those secrets of Japan’s 20TH century history; the nocturnal, dreamlike sensibilities that reach out to us from beyond, much like say Chris Marker’s San Soleil does.
The concert was most memorable though for one reason - Ytamo. Before I performed, Ytamo, (who at the time I had not heard of) commandeered a piano and created one of the most unusual and soothing pieces of music I had ever heard. These were songs that felt as if they were on the edge of consciousness, they flowed with grooves that seemed to suggest a deep hypnosis. It was quite honestly audio magic.
Now the better part of a decade on, I have the pleasure to have a hand in making her latest recording available. MI WO orbits in a more aquatic space than her earlier works. Shimmering electronics abound, melodies like the tides and rhythms that vibrate with oceanic gravity.
Originally created to accompany an exhibition by Argentine artist Natali Katz, MI WO sees Ytamo expand her palette considerably. She melts together the core of her song explorations with a rich sonic texturing that is both compelling and evocative.
It’s my great privilege to share this with you.”
Lawrence English, 2016
-
TinyMixTapes - "The album is stunningly diverse in its instrumentation, with tracks like “100 Bird Stories” and “Hen” melding highly synthesized tones with more organic-sounding percussion"
|
YTAMO Japan
KusabueMiwo is a small web shop focusing on releasing YTAMO musics or someting beautiful..
painting by Tomoyo Kawase
Streaming and Download help
If you like YTAMO, you may also like:
Bandcamp Daily your guide to the world of Bandcamp