HIDEKI UMEZAMA Vinyl & CDs

Review: Portraits GRM offer a split release between Beatrice Dillon and Hideki Umezawa, riffing on 'basho' and Baschet respectively. Dillon's 'Basho' is shaped on the mortar of a Japanese philosophical concept: conceived by Japanese philosopher Kitaro Nishida, basho describes a post-physical plane in which experiences and thoughts interconnect, dissolving subject-object distinctions. Dillon and Umezawa's music both resist fixity, reactivating the listener's attention by way electronic sounds stripped of origin. Umezawa's 'Still Forms', however, contrasts Dillon's firm-footed techno curtails with an entirely beatless piece, exploring the sonic potential of Baschet sound structures: experimental instruments developed in the 1950s by Bernard and Francois Baschet. Electroacoustic cognitions branch out like newly grown synapses on this fresh 12".