Under The Sun

2022年に『IN FREE FALL』でデビューを果たしたドイツ・ベルリンを拠点とするコンポーザー、 MAYA SHENFELDがニューアルバムをリリース。

実験音楽、クラシック音楽、ポピュラー・ミュージックの境界を模索し、時間の知覚、リスニング体験の具現化、ハーモニー、オーケストレーション、対位法をテーマとし音楽制作を続ける女性コンポーザーです。そのプリミティヴでドラマティックなエレクトロニクス使いは、CATERINA BARBIERIに通ずる魅力を感じさせます!

Maya Shenfelds debut release, 2022s In Free Fall, was an illuminating effort which blurred the lines between drone, noise, electronic, and modern composition. Follow-up Under the Sun was composed and produced between a Berlin studio and in Portugal, at one of the worlds deepest marble quarries. The album is thematically preoccupied with the natural world, reflecting on impermanence, particularly with factors such as climate change threatening the earths stability. "Tehom" is one of the albums pieces incorporating field recordings from the quarry, and its distant crashes and scrapes are accompanied by dark, subtle electronic vibrations. The quarry sounds were recorded on an extremely hot day, yet even the noisiest and most dissonant pieces on Under the Sun dont sound as scorched, abrasive, or deconstructed as Shenfelds previous album. The uplifting "Interstellar" gazes toward the cosmos, with rippling, tempo-shifting synth arpeggios and extended melodies. The piece is easily the albums lightest and most optimistic moment, as the rest can feel cold, ominous, and sometimes challenging. Still, the albums more mysterious aspects make it worth hearing. The haunting voices of the Ritter Youthchoir get dissolved into ashes during "Light, refracted" and "Analemma." "Sedek" features Emptysets James Ginzburg, and it sets stark, dulcimer-like clanging against rustling, steely electronics and cavernous booming. ~ Paul Simpson

ベルリンを拠点とするコンポーザーによる2年ぶり2作目。実験音楽やクラシックを下地にポピュラー・ミュージックのエッセンスを交えたサウンドはプリミティヴかつドラマティック。音の粒子に包み込まれるエレクトロ曲"Interstellar"、厳かな立ち上がりから一転してインダストリアルなサウンドを展開する"Analemma"などにズバリ魅せられてしまいます。
bounce (C)野村有正