Tenniscoats – Temporacha (Room 40)



Temporacha’ delight is a conjunction of ideas and techniques that essentially reveal the idea of the Tenniscoats as the artists to be a convenience of the form of delivery. It brings the field recording techniques of Lawrence English and applies it to the complex simplicity of Saya and Ueno (Tenniscoats) use of small organ/piano, guitar, harmonica and vocals as tonal/word play. The whole album is a form of field recording. Recordings of performance in differing locations, Wako-Jurin Park and the Koma-Gawa river, brings in the ambient sounds of the area, (road, river, birds, trucks/cars) and the subtle interplay of the sounds travel and interaction with Lawrence’ recording. Distinctions unbounded, the gentle improvised structures of the duo weave in with happenstance creating an intimate atmosphere for the (non) abstracted listener.

However there are moments when this inclination as an act of modern pastoral blurs too greatly the edges of distinct entities. While “Ninichime’ integrates the sound of the road as intermittent sound source, a form of cyclic return, it is a disjunctive presence. Whereas the continuous presence of the water in “Timeless’ acts as a foundation on which to play out a range of differing patterned moments. It could be claimed that the idea of the natural, as appearing natural, is the psychological conditioning of sound on the subject, that the distinction between the sound forms is a learnt one, thus to hear a disjunction in the artificial is a question of experience and knowledge. Other tracks do not have such concerns foregrounded; “Do’ acts more directly from the language play to create its form, “Sitting By’ is predominately a guitar piece with the ambient place concerns receding. “Hajimari / Owari – Dream Is Refreshing’ ends the album with its stutter guitar abruptness and the wavering vocal intonations creating melodic reference, building into a popish frame to be awoken abruptly at the end.

Production on this album is quite key to its appreciation, as well as its conceptual formations, and the recognition that the improvisations hide within their apparent immediacy a knowledge of a vocabulary of sound that is (un)hidden.



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