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RM 4221CD
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A note from Yuko Araki: "This might sound a little antithetical, but I am interested in making noise music that is free from unnecessary noise. I do realize how this sounds, but it is absolutely at the core of my new recording. I want to create maximum impact and dynamics in the music through using only the essential elements and materials. I am a huge fan of noise music, and in many cases I enjoy the excessive nature of that music. For my own work though I am interested in reducing this, boiling it down, to the very critical parts that can allow the music to profoundly affect those who choose to listen to it. I want to use what I have at my disposal with intent and with force. I also wanted to deepen my connection to, and place in, this music. To this end I have started to explore how it is I fit into the work. I explored how is my body part of this project beyond being a gestural interface between the various machines I use to make it. I've started to think about voice a lot and this has come into the process of the recording. I'm not so much interested in the way voice can speak to stories or singing for that matter. I'm more interested in how voice might haunt the music. I invited another artist, Taichi Nagura from the band Endon, to contribute some voice to this album too. He is featured on 'Sloshing' and his voice absolutely captures this quality I am interested in exploring. It's as if he is trapped in that piece, fight for and against the other materials in the sound. This tension captures, for me at least, the relationships I think are so powerful about making, and also listening to music."
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CD
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RM 4137CD
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Yuko Araki is one of a number of young female artists emerging from Japan that are redefining the outer boundaries of noise, post-industrial techno and experimental electronics. Raised as a pianist, Araki's teenage obsession with metal opened a gateway towards various types of intense sonics. Exploring a range of diverse music projects over the past decade, her solo work resolved in 2019 after she developed an approach to freeform analog noise. Working with a reductive set of tools, her methodology was to create work that created a sense of timbral density and complexity through a weaving together of competing elements. End Of Trilogy pushes this approach outward, taking in almost kosmiche sensibilities, creating a sound that glints with the unsteady radiation of a dissolving pulsar. The album is an offering of competing states of tension and release. It merges polychromatic pulses against waves of sheering noise and uneasy ruptures of sound. End Of Trilogy is a record of unpredictable momentum and tempered ferocity. Even at its most intense. Yuko Araki's work maintains a sense of playfulness, and a determination not to succumb to mere sonic nihilism. Drawing on techniques borrowed from 70s prog-rock and even free jazz, she dissolves expectation and, in the process, reveals an utterly personal approach to noise and experimental electronics. End Of Trilogy is not merely a conclusion, but rather an interrogation of what comes next.
Multi-instrumentalist/composer based in Tokyo, Yuko Araki started playing piano when she was a small child and in her teenage years was inspired by hardcore and metal music, but she soon became really eclectic and took on a diverse range of projects, including drummer of the oriental/tribal dream psych band Kuunatic and founding members of the neo classical noise duo Concierto de la Familia and her solo project: harsh noise drones layered by analog synthesizers, cymbals and samples of Japanese traditional instruments creating abstract rhythms and dissonant harmonies that sound like a noise orchestra. Her exceptional sensibility in processing extremely heavy and dense sounds makes the result sounding like nothing else you heard before: a thousand leaves oscillation sound at the same time rooted in Japanese noise but also totally different. Intergalactic noisescapes.
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