There is a notional thread running through the third release from the Japanese Symbolic Interaction label; “What’s modern Japanese style?” – forget soundscapes to movies that haven’ been made yet, this extremely coherent compilation featuring Japanese, Swedish, Italian and British artists is described as, “Interesting sound tracks for Ryokan (a Japanese style hotel).†Indeed, the compilation presents such a homogeneous sound throughout that I was convinced that it had to be the work of one artist.
Compilation albums are often a fraught listening experience; the hit/miss ratio can be quite high when due attention is not given to the sequencing of album tracks. The Silence was Warm is a release best enjoyed in the confines of your bedroom, or on headphones. The title, despite being somewhat misleading under the trade practices act (the music is mostly subtle and understated, but there is virtually no silence), is a perfect summation of the music contained within. Let it caress you into an indolent state on a Sunday afternoon.
Library Tapes (David Wenngren) opens proceedings with the crackle and hiss of old vinyl and a simple Satie-esque piano etude. Teho Teardo (guitar, rhodes, electronics) and Martina Bertoni (cello) of Modern Institute from Italy explore the beautiful resonance of the cello combined with suspenseful keys, reminding me of Bohren und der club of gore, all deep breaths and poignancy. Interestingly enough, Teho has an impressive international noise network background, starting out in a band called Meathead, working with Mick Harris from Scorn and remixing Cop Shoot Cop. I think he’ mellowed somewhat, by the sound of “Cars’. Summer Night Air from Newcastle, the home of the famous brown ale, approaches the Ryokan from a similar angle to Brian Eno and Robert Fripp. Paul from Summer Night Air candidly describes his music as, “C,F,A,C,G played on synthetic keyboard strings (with a little bit of guitar) through silly amounts of delay and reverbâ€, I like it!
The Japanese contributors to The Silence was Warm certainly deliver the goods; Headphone Science’ stately, deceptively simple drum programming brings to mind soaking in a Japanese hot tub (but not too hot). “Lost’s by Tanaka Munechika reminds me of watching debris caught in the vortex of an emptying bath slowly spiralling until it is lost from view. Label boss Kentaro Togawa rounds out proceedings with the emotional intelligence of “Riverside Sunshine’, all simple guitar progressions and cinematic grandeur.
Oliver Laing
