Longstone

https://longstone.bandcamp.com

LongstoneLongstone are an experimental, electronic music collective formed in 1996 in Cheltenham, England, coalescing around the core duo of Mike Ward and Mike Cross.Risaikuru (2022 deluxe reissue), released 08 July 20221. Risaikuru part one (Onagawa)2. Risaikuru part two (Enoshima)3. Risaikuru part three (Senseki-sen)4. Risaikuru - soil machines radio edit5. Risaikuru - sho cluster radio edit6. Risaikuru - tide line radio edit7. Risaikuru - Senseki-sen radio edit8. Koganeyama-jinja part one9. Koganeyama-jinja part two10. Risaikuru live - Intro11. Risaikuru live - Kabuki12. Risaikuru live - Enoshima13. Risaikuru live - Ishinomaki14. Risaikuru live - OnagawaThis is the deluxe 2022 reissue of Longstone's 2014 Risaikuru. It features a remastered version of the original release and collects all the associated radio edits and remixes along with Longstone's live performance of Risaikuru (at The Monague Arms, London, 2015) into one place. It also includes Risaikuru part three (Senseki-sen) composed especially for this release that again takes the original source material as an initial inspiration. Also included is a .pdf version of the 48 page book.Here are the original release notes along with some reviews:リサイクル risaikuru : a musical interpretation of two photographs taken in Miyagi prefecture, Japan April 2013.1. ( Onagawa ) soil created from recycled tsunami rubble being used to help reconstruct the town.2. ( Enoshima ) a tsunami tideline of scattered objects high up on the central hill of a tiny inhabited island .For Longstone's risaikuru project, each member of the group viewed and musically interpreted the included photographs independently.The resulting recordings, along with original location recordings taken from Onagawa and Enoshima, were then collected togetherand themselves recycled into a cohesive composition.All songs Longstone 2014Design Steve MoodyPhotographs Mike Ward REVIEWS (of the original 2014 release)"Risaikuru" Featured in Louder Than War's Albums of the Year 2014-https://louderthanwar.com/louder-than-war-albums-of-the-year-part-one-200-101/"リサイクル risaikuru is Linear Obsessional’s first vinyl release, an elaborate package that includes two photos and copious liner notes. It’s the best release the label has ever offered (out of 56 releases), and due to its subject matter, it’s an important one as well.The typical news cycle is incredibly brief, no matter the magnitude of the situation. Some stories are kept alive longer than they deserve (for example, celebrity crime), but others fall by the wayside as soon as their apparent immediacy has ended. The 2011 earthquake, tsunami and nuclear meltdowns took 16,000 lives, caused $235 billion in damage, and fell swiftly from the public’s eye. So, Japan’s fine now, right? No – but the nation is recovering, and the residents remain hopeful.2008’s Kabuki was Longstone‘s first expression of love for Japanese culture. Three years later, Sakura was a direct reaction to the disaster, with proceeds donated to a local charity. The band – typically Mike Cross and Mike Ward with a handful of friends – has now completed an “accidental trilogy”.Over the past sixteen years, Longstone has remained consistently avant-garde, using everything from found objects to Speak and Spell in its performances. This has kept them fresh and uncategorizable. Previous works have been dotted with drone, sampled dialogue, and even dancefloor glitch. risaikuru means recycle, and fits the approach. Ward toured the affected provinces and snapped some photographs, two of which became the inspiration for this project. On their own, these photos are unremarkable, seeming simply to portray dirt. But delve deeper, and one learns that these are images of the rubble line and of the soil that is being used in the recovery process. Each member of the band then recorded their own musical reaction to the photos, and their individual contributions were melded with local field recordings to form this panoramic pair of pieces, subtitled “Onagawa” and “Enoshima”. The otherworldly nature of the recording is a direct result of the sound sources and the composition process.Are we defined by disaster, or by our reaction to disaster? Art generated through tragedy leads one to believe the latter. Longstone uses recycled guitar boxes, “junk percussion” and previously recorded Black Tailed Gulls to mirror the work of the recovery process: salvage what is still usable, and stitch it together. While listening to the album, one can imagine those tiny discoveries – a tea cup, a child’s toy, and of course, a photograph – becoming part of artistic endeavors, while a plank, a carton and a hammer are used in physical endeavors. One of the most moving stories to come from post-tsunami Japan is that of thousands of wallets being returned to the families of the owners, money intact: an incredible show of respect that may not be limited to Japanese culture, but that surely defines it.The tsunami itself is suggested by the atonal chords that silence the gulls near the beginning of the opening track and are echoed a few minutes into Side B. After this, a quieter period, marked first by ominous, extended tones and later by tentative percussion. While the percussive noises intimate the sounds of recovery, the Sho chord woodwind and bells intimate something deeper: the recovery of music, and along with it, hope. Add the tempos that emerge at various times, culminating in a final electronic segment on Side B, and one begins to view the disaster through a different lens. The world may have forgotten that Japanese recovery efforts are still going on; but it has also missed out on the indomitable spirit of the survivors, who have managed to stay positive in the wake of physical and emotional devastation.Authentic, heartfelt and wondrous, risaikuru is one of 2014’s essential releases. We recommend the physical edition, as it provides the full scope of the project, along with additional reading material. "Richard Allen - A Closer Listenacloserlisten.com/2014/10/16/longstone-%E3%83%AA%E3%82%B5%E3%82%A4%E3%82%AF%E3%83%AB-risaikuru/"Reduce, reuse, recycle. Take things that have been reduced to wreckage, rubble, debris and reuse them, recycle them into new forms. New homes from old rubble. New music from old sounds. Create a new future from the debris of the past.In March 2011, a huge earthquake shook Japan’s northern coast, triggering a tsunami, which flooded 217 square miles of the country, overwhelming towns and cities along the coast and causing a meltdown at the Fukushima Daiichi nuclear reactor. In all, more than 18,000 people were killed in the disaster in Japan. Most died by drowning.When Mike Ward heard saw the devastation caused by the Tsunami on TV, he knew he had to do something. His band, Longstone – who had already released a Japanese-themed record, Kabuki, back in 2009 – put together the album Sakura, with all proceeds going to a charity based in the town of Onagawa.In 2013, Mike visited Onagawa. Struck by the heroic efforts of local communities to rebuild their lives and towns, the idea for what would become Risaikuru, the third album in an accidental Japanese trilogy, was born.That idea was to “combine photography with music to highlight the themes of reconstruction, recovery, recycling and positivity that were found in and around Onagawa.”Having returned to England, Ward and Longstone’s co-founder Mike Cross gathered together a bunch of collaborators and invited them to use Ward’s photos from his trip as points of departure for musical reflections and improvisations.These became Risaikuru, which is out now in a lovely limited vinyl run from Linear Obsessional records.There are contributions from Chris Cundy, who uses soprano saxophones and reed organs to mimic the sounds and range of the Sho, the Japanese bamboo flute. Kev Fox plays two guitars built from old cigar boxes. Stuart Wilding squeezes dissonant and percussive sounds from an old piano frame, its strings adorned with all sorts of recovered or disused objects. Mike Ward added location recordings from Onagawa and

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