Utauhone

by Jan Urila Sas

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1.
3 06:24
2.
She Wolf 06:28
3.
Palm 15:22
4.
1 12:47
5.

about

Jan Urila Sasが(半)自作楽器「清正」を用い録音されたノイズ作。

ラップスチールにインダストリアルな改良を加えた「清正」を用い録音された5曲はいずれも光と影が混濁し、本人が制作時にイメージしていたという冥界とこの世の狭間の世界を思わせます。

様々な電気信号から発せられるノイズに満ちた音塊は一聴するとその痛烈な凶暴性が前景化しますが、その中にふと垣間見える優しさと暖かさ、哀しみは本作の代えがたい魅力のひとつになっています。

そして、20世紀前夜に生まれた音楽の原始主義を思わせるほとばしるようなエネルギーは、Jan Urila Sasの制作への関心や意欲が飽くなきものであることを窺わせます。

ジャケットはデザイナー・須山悠里によるもの。具象と抽象の間をいくようなモノクロのイメージをあしらった、レコードに刻まれた音と呼応する質感を持ったものになりました。


A noise work recorded by Jan Urila Sas using his (semi-)self-built instrument, Kiyomasa.

All five tracks, performed on Kiyomasa—a modified lap steel guitar with an industrial edge—conjure a world suspended between light and shadow, evoking the liminal space between the underworld and the realm of the living that the artist reportedly envisioned during the recording process.

At first listen, the harsh, aggressive bursts of noise—born from a range of electric signals—dominate the sonic landscape. Yet, woven within are fleeting glimpses of gentleness, warmth, and sorrow. These subtle emotional textures are what give the work its irreplaceable allure.

The raw, surging energy throughout the album recalls the primitivism of early 20th-century music, hinting at Jan Urila Sas’s relentless drive and deep engagement with the creative process.

The album artwork, designed by Yūri Suyama, features a monochromatic image that straddles the line between abstraction and figuration—its texture resonates with the sound etched into the record itself.

janurilasas.bandcamp.com/track/utauhone-live

credits

released October 7, 2024

license

all rights reserved

tags

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