Koji Asano – Polar Parliament (Solstice)

0

Japanese composer Koji Asano is a prolific artist, having released 47 albums on his Solstice label since 1995. For each new release, it seems Asano draws from a new sonic palette, writing for oboe trios, baroque ensembles, string duos as well as utilising purely electronic sound and field recordings. On his 46th release, Polar Parliament, Asano has delivered a minimal electronic album.

Listening to this album is an investment of time and head-space. It is not an album you are going to spin in the car, or listen to while washing dishes or perusing the web. Polar Parliament is an introspective album that requires the listener’ undivided attention, as the pieces clock in at “27:34′ and “39:26′ respectively.

Duration is pivotal to both “27:34′ and “39:26′, as it allows Asano to subtly unravel new musical detail, be it inconspicuous panning, low end textures or rhythmic articulation. This compositional tactic (if you will) allows Asano to develop gradual change without ever overtly obstructing the immersive state of the listener. Having such a subtle and slow-building rate of change, as heard on “27:34′, I believe, helps the listener foster a sense of place through the sounds heard. For instance, in my experience, the relentless hissing chug sound that becomes the foundation throughout “27:34′ generated imagery of a continually moving train, which moved in a similar fashion to the never ending spaceship at the beginning of Star Wars (episode IV). Asano’ piece opened up a door that allowed me to envisage the look of the train and the landscape it was powering through.

On “39:26′, Asano utilises a similar compositional template as heard on “27:34′. The foundation Asano lays gurgles continually throughout, though the listener’ perspective of this sound constantly shifts as it is pushed into different areas of the mix and also undergoes timbral variations. Asano litters the shifting foundation with an assortment of buzzing low end interferences that signal intermittently and rhythmic clutters that concisely stagger around the stereo field. “39:26′ finds Asano displaying more activity than on “27:34′, yet both pieces share a common mood and sense of stasis.

As mentioned above, works such as Asano’ Polar Parliament are an investment of time and head-space from the listener. I feel that without such dedication from the listener, pieces such as those heard on Polar Parliament, more often than not will be rendered banal. The experience I had with Polar Parliament was quite the opposite though; it was something I was grateful to have listened too. Asano’ treatment of sound and innate sense of restraint was pivotal in delivering such an experience.

Luke Bozzetto

Share.

About Author

Leave A Reply