Masayuki Imanishi/Marco Serrato. Caura

tst002 Imanishi_Serrato

Masayuki Imanishi: field recordings, speaker, contact microphone
Marco Serrato: double bass

Recorded in Osaka, Japan and Sevilla, Spain, december 2018/january 2019

tracklist:
#1 (20:03)
#2 (14:57)

Released april 2nd, 2019

Listen here

REVIEWS
The Quietus – Spool’s Out
One of the most beautiful aspects of free improvisation is the lack of inevitability. So much of music is about predicting the next beat, or following a melody along, but the deepest improvisations can practically turn time – in constant forward motion as it always is – inside out. This long distance meetup between Masayuki Imanishi in Osaka and Marco Serrato in Sevilla does just that, rejecting any ideas of what music, jamming, or sound are supposed to be and do. Imanishi wields an array of field recordings, plus “speaker and contact microphone”, while Serrato mans a double bass.
As a listener, feeling around blindly for the duo’s sonic crossover points throughout is where the proverbial ‘action’ happens. Distant engine-like low end rumbles open the record, and the similarities between rippling arco bass and some mysterious crackling field noise trigger all manner of pleasant sensory confusion. Serrato’s throttling bass bowing gives long passages of the record a hefty sense of muddy doom, while Iminashi’s recordings of construction work, city bleeps, and goodness knows what else, seem to come from a dystopic future metropolis. As an experience, Caura triggers all manner of sensory memories, from trudging through a rainy field to jumping at the sound of a car backfiring. As a duet piece, seems to push both parties out of any familiar comfort zones, and right out there into the unknown, which as ever is energizing and frightening in equal measure.

https://thequietus.com/articles/26297-elvin-brandhi-massimo-pupillo-masayuki-imanishi-review

 

The New Noise
Non deve sorprendere che un contrabbassista “estremo” come Marco Serrato prenda parte a progetti di varia natura, imparentati solo alla lontana con quel connubio di doom metal e improvvisazione para-jazz che sono gli Orthodox, la band spagnola in cui milita da anni. È dunque un piacere ascoltarlo nella seconda produzione di Tsss Tapes, l’etichetta fondata a Siviglia dal batterista italiano Francesco Covarino, di cui abbiamo già scritto, occupandoci della sua compilation inaugurale.
In Caura, questo il titolo della casetta, Serrato fa il paio con il giapponese Masayuki Imanishi, dedito a quelle che sembrano essere due azioni in parallelo: da una parte imbastire un background instabile e precario aggiungendo rumori e forme d’onda essenziali, tra field recordings, feedback e l’impiego di microfoni a contatto; dall’altra, invece, attuare – così pare – un processo di trasformazione che, per vie dirette o indirette, coinvolge e riguarda le tracce acustiche inviategli da Serrato, tanto che in alcuni punti pare che Imanishi voglia quasi imitare, doppiare o prolungare il suono originale delle corde, come per un innato istinto di metamorfosi. Qui più evidente e lì più camuffato, ma già di suo parecchio sui generis, il contrabasso di Serrato – che fa uso di tecniche estese, suonando con l’archetto e spesso, suppongo, andando oltre il ponte – diventa il punto di partenza di una improvvisazione elettroacustica lunga all’incirca trentacinque minuti e divisa in due brani rassomiglianti, che sembrano il frutto di pratiche svoltesi in uno scantinato tenuto in malo modo.
Covarino descrive Tsss Tapes e le sonorità che ha in programma di promuovere con tre semplici aggettivi: quiet and weird and free. Caura è molto weird e molto free, ma è anche un ascolto a suo modo inquietante, da vivere accovacciati nell’angolo buio della stanza, ché la quiete è soltanto apparente.

https://www.thenewnoise.it/masayuki-imanishi-marco-serrato-caura/

 

Just Outside
Imanishi uses field recordings but I think that they’re deployed in a realtime improvisatory manner, here accompanied by bassist Serrato. This creates an atmosphere that, going from what I can discern of Serrato’s attack (I don’t believe I’ve encountered him–or Imanishi–prior), has tinges of free improvisation, or even free jazz. Serrato uses plenty of extended techniques, sawing and agitating his bass in a manner that wouldn’t be out of place in a duo with, say, Han Bennink or Jack Wright. But embedded in the swirling, thick swarms of noise generated by Imanishi (from sources difficult to identify), the bass can possibly be heard as an anguished soloist in front of and within this quasi-orchestral morass, especially on ‘#1’. On the second side of the tape, the bass is more out front and Serrato evinces some impressive ideas, harsh and abstract. Imanishi’s contributions are lighter, more ethereal, even a tad spacey for my taste. But as the track progresses, this aspect dissipates and smoother, grainy and complex flow emerges, the bass settling in to scratch and paw behind and beside, and the music achieves a satisfying level of fluttery tastiness.

http://olewnick.blogspot.com/2019/04/eric-la-casaeamon-sprod-friche.html


Vital Weekly
The four releases I reviewed by Masayuki Imanishi  were all solo affairs, but here he teams up with another player for what is surely a duet of improvised music. I don’t think I heard of Serrato before. He plays the double bass, while Imanishi gets credit for “field recordings, speaker, and contact microphone”. It also says “recorded in Sevilla and Osaka by Masayuki Imanishi and Nacho García, December 2018/January 2019”, but I am not sure if that means that this is one or two concert recordings or perhaps some kind of collaboration through the mail. Perhaps the latter would be an odd thing for the world of improvised music, and certainly how this sounds, but you never know. Throughout the music is quite careful with lots of ‘small’ sounds from Imanishi, who also seems to be providing us with voice/mouth sounds and Serrato’s more traditional approach to the bass, via bowing, strumming and plucking the strings. Sometimes he leaps out to a more abstract playing of his instrument and scans the surface of the instrument to produce some additional sounds. Overall I would think that ‘#1’ is the quieter brother/sister of ‘#2′, which seems to be overall much more present, not allowing for much silence there. I enjoyed that more densely orchestrated piece over “#1’, which I found occasionally a bit too haphazard in the way it went. Too many small sounds but not yet a piece of music, if you get my drift.

http://www.vitalweekly.net/1179.html

 

La Muerte tenía un blog
Desde el sello TSSS TAPES de Perugia, Italia, nos llega esta preciosa cassette limitada a 100 copias de pura experimentación electro acústica entre el contrabajo de MARCO SERRATO y la electrónica moldeada en torno del japonés MASAYUKI IMANISHI, concretamente dentro del campo de la Field Recordings y las modulaciones de altavoces y micrófonos de contacto.
El resultado entre ambos elementos es una fluida aunque áspera Muzak cuyos aspectos individuales son difíciles de desentrañar. Dicho de otro modo, Caura, que así es como se llama el experimento, mezcla la vigorosa forma del contrabajo con el sucio procesamiento de las ondas de longitud ignota para darnos un cóctel no apto para esófagos afectados por disfagias o traqueas alérgicas a fístulas estilísticas.
Desconozco si el título que se le ha dado a la cinta viene por el término usado por Plinio para designar a ciertas zonas de asentamiento hispalense que junto al yacimiento arqueológico de Doña Blanca en Cádiz conforman lo que se llama la Caura Tartésica, o bien es una deformación del término Paura (miedo) en italiano (no en vano, el encargado de la masterización es FRANCESCO COVARINO (para más datos, podéis leer la reseña del recientemente publicado Bestemmia).
Un juego de ping pong entre Sevilla y Osaka con la red puesta en las ondas etéreas, y como resultado dos largas suites que aunque muy lejos de aquellos JACOB, si que guardan esa esencia de mezclar electrónica (en aquel caso DAVID CORDERO) con el contrabajo de SERRATO pero con la diferencia de que si JACOB deformaban el sonido de las cuatro cuerdas para obtener injertos meditabundos, en este caso parece justo al contrario; es decir… es como si MASAYUKI IMANISHI hubiese aportado una tela de noise sobre la que SERRATO hubiese bordado motivos sónicos barrocos. Un telar inacabable donde uno duda qué parte pertenece a cada cual.
En total 35 minutos densos como un vómito ectoplásmico abstracto, donde priman los sonidos graves y los soliloquios tristes que se obtienen con el uso del arco y las vibraciones características de aflojar al extremo las cuerdas. Si MOBY DICK lloró alguna vez, en una psicofonía obtendríamos sin duda algo parecido (sobre todo en ese tramo central donde SERRATO se explaya en solitario). Por su parte IMANISHI domina los estallidos efervescentes del Noise a la perfección y juraría que hay momentos en que emula al contrabajo golpeando un micro contra una superfice.
El resto son sonidos acampanados que parecen subacuáticos; vergeles de pájaros en un trino eléctrico y lo que podría ser el Planeta Tierra meciéndose en un columpio de cadenas ciclópeas oxidadas. Impresionante el tramo final donde se deja en constante movimiento lo que parece un loop de una cuerda destensada vibrando y todo un ecosistema electroacústico rebosando vida alrededor (como JOHN HASSELL pero sin vientos y con una importante necrosis del sonido).
Para mi gusto, una pequeña joya.

http://lamuerteteniaunblog.blogspot.com/2019/08/masayuki-imanishi-marco-serrato-caura.html

 

Radios/Podcasts

WRCT, Radio Free Radio, June 29th, 2019
http://www.wrct.org/playlist/28095/