DiN is proud to announce the release of Tetsu Inoue‘s ninth solo album, Yolo. Based in New York and with over 40 albums to his credit, including collaborations with such left-field luminaries as Bill Laswell, Atom Heart, Peter Namlook and Jonah Sharp, Tetsu Inoue has established himself as a musician equally comfortable in the contrasting worlds of ambient, sound installation, and computer music.|
- Tane [6:11]
- Remote [6:14]
- Paticular Moments [4:57]
- Curve [5:36]
- O Shape [5:32]
- Flow [5:11]
- S equation [4:15]
- Sour Cloud [2:34]
- Super Nature [5:16]
- Spirit Of Data [5:58]
Intriguing and mysterious, Yolo, dissects a combination of Max random synthesized sounds and field recordings into fragments and particles which are then sieved through in microscopic detail.
Inoue moves the focus with a speed that is at first disorientating but demonstrates the concise precision that has made his deserved reputation as an artist that is not afraid to explore and expand. In many respects it‘s like a diary of intimate impressions, internalized and deeply processed; a collection of fading super-8 memories moving jerkily in and out of the frame of the imagination.
There is no lengthy exposition or superfluous effect to be found on any of the tracks. Rather there‘s an insistence and urgency to cut to the chase. The music is composed and built-up from intricate details, cross-hatched and etched, forming complex portraits or abstract tones and vivid color.
Bristling with detail he nevertheless achieves all this with a graceful economy of language that is as spare and as telling as a haiku. The music of Yolo is a series of events connecting with each other though not necessarily connected; a patchwork that constantly mutates and renews itself. The faintest traces of harmony and melody drift in and out like smoke on the wind, gracing the underlying thrum of particular moments with a forlorn beauty.
This is a strikingly crafted album that will appeal to fans of his previous work and draw in new converts with a music that is both substantial and timeless.
Always on the cutting edge of ambient electronica, Tetsu Inoue does it again with Yolo, 10 pieces of music composed down to the granular level.
"Tane" starts scratchy and abrasive, but interesting just the same, and once it smoothes out it is pretty in its own way. It’s probably not one to pull out at your next party, but for discerning ears with a penchant for sonic exploration it works. Inoue is known for, among other things, recording on FAX with Pete Namlook (including the classic 2350 Broadway series, named after Inoue’s studio address). "Tane" reminds me more of some of the experimental glitch on Michael Bentley’s label The Foundry.
"Remote" is lower key, almost symphonic, but still has bits of static running through it. I like it.
"Particular Moments" continues the trend of abstract ambience with just the right dash of quirky experimentation.
"Curve" is just a tad busier at first before settling in, and Saul Stokes’ music immediately comes to mind. At this point the disc really gets into a groove as the static elements drop out and the rough edges become smooth.
"O shape," "Flow" and "S equation" are all quite relaxed, but each retains Inoue’s sense of adventure.
"Sour Cloud" has a bit of a soft mechanistic growl to it before adding light shimmers. Each piece is a unique sonic creation to be appreciated both on its own merits and for how it fits into the whole.
Sometimes experimental EM artists make unlistenable noise for the sake of being different, but thankfully that is not even remotely the case here. Yolo is eminently listenable throughout.
Phil Derby / Electroambient Space
"Yolo" is an album with remarkable and varied sonic textures that mix the space weightlessness with industrial coldness, or the meditative airs with
electronic experimentation. More than specific melodies in the traditional sense, there are chords and melodic atmospheres that come and go, thus contributing to weaving an unreal environment.
The result is an impressive voyage through hypnotic sonic worlds, that appear to have been taken out of
Tetsu Inoue will probably be known to many ambient fans for both his solo and collaborative work, but unfortunately I'm not familiar with most of his work. Yolo is apparently his ninth solo release. Not knowing what to expect I soon realized after hearing the first track that this is an unusual yet intriguing experimental ambient work.
There's no need to adjust your hi-fi. The kaleidoscopic and electrostatic haze of glitches, crackles, and other sonic snippets and assorted interference is purposeful. This is present on all tracks to a greater or lesser extent.
The opening track "tane" is mainly comprised of it, but becomes vaguely musical around the middle with plonky notes before fading out to what could be an attempt to tune a radio.
In contrast, the second track "remote" mixes droney ambience, wraith like piano notes, and vinyl like scratches to make us imagine an old scene partially beheld through some kind of fog.
Sometimes there are peculiar crumpled up rhythms.
In "curve" burbling bubbles of sound play out neither rhythmically nor melodically, yet not discordantly either.
Across the album there are lots of pleasant sounds, some of which venture towards musicality. It's rather like hearing textured ambient music as though it's played on an old crackly 78 LP or through a poor radio reception. Drones tend to feature a lot, usually short ones which vary or get replaced. The amount of detail in both the foreground and background will probably be appreciated best on a good pair of headphones.
I can't say that Yolo is an album to play for enjoyment per se. However, it is one of the more accessible experimental ambient albums to have come my way.
Tetsu is a true sonic explorer and although we may not always want to follow him everywhere, parts of the journey holds our interest just long enough.
Clean electonica presented with abstract serenity. Deep chimes, electronic blips and digital dissections work among synthetic waves and swells - sounding almost random at time, then close to melodic - not quite either. Esoteric, beatless passages twinkle with clear tones, thrumming as dense banks of sound pass by - I'm reminded of dust motes and bright particles suspended in shafts of light, carried in concert by air currents yet independent, irregular. Promotional notes point out that Tetsu Inoue makes use of "random synthesised sounds and field recordings" which are fragmented and "sieved through in microscopic detail" - the resultant music feels strangely engineered whilst appearing natural and intuitive.
Graceful, glitchy, modern and clean - scientific precision suggests a spacey sound that might complement a computer construct of the universe as much as the real thing. Tranquil and drifting, yet Yolo stops short of restful - constant shifting intricacies and disconcerting moments keep the listener attentive uncertain.
As with the music - the cover artwork presents an image that might well be an unstructured collection of dots - do these make patterns? They seem to form curves and constellations as the mind seeks to locate order in the layout. Simple blue points on a white background are reversed into while points against blue within - held up to the light, this arrangement is even more indeterminate. Sleeve notes are minimal - a track list with times and other brief details - clinical and concise.
Released on DiN Records as DiN 22 - this is actually Tetsu Inoue's ninth solo release.
A nice phrase from the DiN press release says - "The music of Yolo is a series of events connecting with each other though not necessarily connected; a patchwork that constantly mutates and renews itself." This prolific musician has been involved with over forty albums and has collaborated with Bill Laswell, Atom Heart, Peter Namlook and Jonah Sharp.
Ambient fans that enjoy an experimental approach. Yolo will suit lovers of beatless abstraction looking for something very contemporary.
With over 40 (!) albums under his belt, Inoue surely doesn't need much introduction. "Yolo" features ten tracks of warm electronica combining Eno-style ambient and the more humane form of glitch and digital processing, not that far from what artists like Fennesz or Taylor Deupree have explored in the last few years.
Samples and melodic patterns (possibly generated by a guitar or a piano) are carefully combined in watercoloured, slightly melancholic pieces. The minimal cover suggests heavy snowfalls, and listening to "Yolo" in a chilly winter afternoon is like watching the outside world from a bubble where nothing can get to hurt you.
Though not really the kind of music I normally crave for, "Yolo" was definitely a welcome moment of rest.