Label: Blank Forms Editions

遂にリイシュー！！オリジナルは1980年にALM RecordsのサブレーベルALM-UranoiaよりLP出版された、小杉武久氏 & 鈴木昭男氏による伝説的デュオ録音[New Sense Of Hearing]。恩田 晃氏の尽力により遂に正規再発！！自身らのサウンド集大成と表現した超重要作であり、小杉氏はボーカル、ヴァイオリン、無線送信機を、鈴木氏はアナラポス、グラスハーモニカを担当。1979年4月2日東京エオリアンホールで録音されたオリジナルテープからのリマスタリング。



Available from Blank Forms for the first time since its original 1980 release on ALM-Uranoia, New Sense of Hearing documents a collaboration between Takehisa Kosugi and Akio Suzuki, two luminaries of Japanese experimental music in the lineage of Fluxus. Blank Forms’s high-quality reissue of the sought-after, long out of print LP, is produced by musician-artist Aki Onda and mastered from the original tapes recorded on April 2, 1979, at Tokyo’s Aeolian Hall.

Described by Suzuki as the “culmination” of their sound, New Sense of Hearing features the two musicians improvising together in that empty Tokyo theater, Kosugi on vocals, violin, and radio transmitter and Suzuki on the Analapos, his namesake glass harmonica, spring cong, and kikkokikiriki, all apparatuses of his own invention.

Suzuki and Kosugi first met at the city’s Minami Gallery in 1976 on the occasion of “Sound Objects and Sound Tools,” an exhibition of Suzuki’s homemade instruments. Two years later, at the Festival d’Automne in Paris, Suzuki invited Kosugi to join him for a suite of performances as part of the exhibition “MA: Espace – Temps au Japon,” organized by architect Arata Isozaki and composer-writer Tōru Takemitsu. Suzuki and Kosugi performed together at the Musée des Arts Décoratifs, Paris, nearly fifty times, honing their approach to mutual improvisation, before traveling with the exhibition to Stockholm and New York—critic Tom Johnson wrote in the Village Voice that he had “seldom seen two performers so completely tuned in on the same types of sounds, the same performance attitude, the same philosophy, the same sense of what music ought to be.” For New Sense of Hearing, the duo reunited in Japan and produced an extraordinary dispatch from their collaboration of arioso violin, echoing vocals and bangs, and metallic twangs. As Johnson observed in 1979, Kosugi and Suzuki are “in a very subtle artistic world where there can be no direct relationships. . . . Only coincidence.”