07.27
The purpose of this album is to address the issue of music or sound in its relationship to the art of butoh dance. Historically, if a new music form or genre comes into existence, then soon a corresponding dance is created. Whatever the means of this process may be in its culture, the new art form is reflective of its unique time, place, and participants. One modern dance form of Japanese origin, simply called butoh, was first created in 1959 by Tatsumi Hijikata and Kazuo Ohno. Butoh has traveled over continents and time to become proliferated by many dance companies and “masters” or teachers of the art. Yet little information or discussion is ever made to the music of butoh. Sometimes the topic is engaged as to whether butoh needs sound at all. Yet the large percentage of butoh performance contains audio of some kind.
The intent of this album is not to classify or create a genre of butoh music into a limited sound vocabulary that is intended as “correct” by this recording. Nor is it to exert Noisepoetnobody as an expert opinion on the subject. This work is presented as a foundation for the experimentation and discussion of dance and music in these quickly changing times. Times changing so quickly that an internationally recognized dance forgot or possibly refused to have a cohesive sonic identity. Of all the commonly accepted characteristics of butoh, this may be its most unique. By providing sound and choreography as an album release its creators invite dancers around the world to complete this artistic vision by attempting there own version of its movements according to the directions of butoh instructor Vanessa Skantze. Public and private performance of this dance is highly encouraged. Only by individuals inspired by this project to perform there own interpretation of the choreography can this art work be complete. In that respect this is the first album of its kind ever produced.
Over the years Noisepoetnobody has sonically contributed to literally hundreds of butoh performances and instructional gatherings. His choice of sound source varies but primarily revolves around homemade devices plucked, struck or bowed. These instruments are fitted with piezo transducers or commonly called “contact mics” then electronically processed in real time to fit the subtle nuances required by the dancers. However, for this album Noisepoetnobody utilizes his more recent found love for vintage style analog and modular synthesizers. In a purist fashion only the sounds of real analog oscillators and filters modified by control voltage are used. The end result is a dynamic torrid of sound that leaves the listener awash in a moody ocean of dissonance, odd timings and harmonic droning.
The River available from Lens Records
The River is only to be released as a limited edition 12” of 500 units pressed on half clear/half black vinyl. The foil embossed jacket cover contains photography of dancer/choreographer Vanessa Skantze as well as the full butoh choreography extensively documented. Although cut at 45 RPM, The River can be played at any turntable speed with equally impressive results depending on the taste or needs of the consumer. The product intentions related to butoh dance and its superb retail packaging insure it to become a coveted collectors item and quite possibly an important link in the future history of butoh dance itself.