Starting to describe this album without gushing is a challenge in itself. However restraint and control is necessary to mirror the precision within Tiny Musical; if indeed this is a possible act. The constituents Akira Kosemura, {musician, graphic designer and record label manager (Schole)}, adds here are Piano, pianica (melodica), guitar, electronics programming and field recordings. Maneki Takasaka contributes acoustic and classical guitar.
Tiny Musical has a deceptively melancholy feel, in a sense, perhaps its restraint and quiet, delicate and recurring rhythmic and tonal, honed recordings, and yet a sense of heightened awareness within the crisp nature of the recording as well as the sharp prescience of piano’s intonation. The tracks where piano and guitar are foregrounded outweigh the electronic sections in sheer grace and feel. Glim an almost totally electronic piece intrudes within the album and breaks the pace. Yet pieces like Shorebird have undertones, glimmer and crackle within its amorphous liquid electronic flow pleasing to the ear of long term electronic ambient enthusiast.
This controlled minimal style finds its way to our ears via the efforts of Lawrence English (Room 40), with whom Kosemura has collaborated during the Airport Symphony of the Queensland Music festival of 2007 displaying the tune Terminal. Kosemura’s first album, It’s on everything, appears on room 40’s sister label, Something Good. Control as a sense of beauty, exuding and intoning within boundaries, not spilling out but containing sanctity within is an art form for the brave at heart. Sharing a sense of this is sheer generosity.
Innerversitysound
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