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last modified Sep 23 2013

スズキジュンゾ-マデリンエルスターの肖像(Utech Records/US/URCD084/CD)

1. 灰色の空が真っ赤な血に染まるとき | When the Grey Skies Turns into Blood Red [15:50]
2. マデリンエルスターの肖像 | Portrait of Madeleine Elster [06:34]
3. 夜 | La Notte [05:27]
4. 聖なる山の麓にそびえる目無し塔の住人たちの踊り | Dance of the Inhabitants of the Invisible Tower in the Ring of Holly Mountain [17:01]

CD-2000円

数 量

Personnel:
スズキジュンゾ : Electric Guitars, Vocals, Percussions, Shruti Box, Harmonica
高橋幾郎 : Drums (Track1,3)

Recording and Mix by Richard Horner at Black Snow Flake Sound, Sapporo/Hokkaido April 2013
All Songs Composed and Produced By Suzuki Junzo

Paintings by Thomas Hooper, lettering by Jamie Lawson and design by Keith Utech
2013 c Utech Records/Suzuki Junzo

Release Date : Dec 2013

Notes:
スズキジュンゾの6枚目、Utech Recordsからは、3枚目となる、ソロアルバム、'マデリンエルスターの肖像'は、2012年作の '碧き亡霊に捧げる頌'、'横八無限大'の流れを汲むエレクトリックギターアルバム。スズキが愛し、また、忸怩たる憧憬を捧げる 'ブルーズ'を換骨奪胎、エレクトリックに歪む弦の響き、ガラス細工のようなフェンダーリヴァーブにまみれた持続音にいくつかの詩篇をのせた全編札幌録音、リチャードホーナー主宰の「Black Snow FLake Sound」にて、もはや、レギュラーの、LSDマーチ、血と雫、光束夜の高橋幾郎もがっつリ参加の「21世紀型電化ブルースアルバム」登場!
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Japanese Psychedelic Troubador Suzuki Junzo's 3rd solo Album from Utech records called 'Portrait of madeleine Elster' coming up in december. This is 21st century drone/spacey electric-blues album in the style of 2012's, His last release from Utech,“Ode to a Blue ghost” and”Eight-Sided Infinity", his crystaline guitar passage soaked on reverb is more focused on distorted sadness. 4 track, joined by Ikuro Takahashi, LSD March, Kousokuya and ex-drummer of Fushitsusha, High Rise.
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YOUTUBE:


REVIEW:

Suzuki Junzo est loin d'黎re un s馘entaire, il parcours chaque ann馥 le globle en solo partant de son Tokyo natal pour des tourn馥s vagabondes se dessinant au gr des rencontres et du hasard.

Dans sa valise, nous retrouvons sa guitare et ses deux albums  paraitre chez Utech Records , un label bas  Milwaukee ayant d駛 sortie quelques efforts de James Plotkin , Philippe Petit , Locrian , Final (Justin K Broadrick) ou m麥e Aluk Todolo , excusez du peu.

Ce label convient parfaitement  Suzuki vu sa capacit  brasser large au niveau stylistique au travers de formations aussi diverses que 20 Guilders et Miminokoto , par exemple. Ces deux albums bien diff駻ents l'un de l'autre d駑ontrent  quel point Suzuki Junzo aime explorer diff駻entes genres et sonorit駸.

Au contraire de "Sings II" qui sortira 馮alement en d馗embre, le quatre titres de "Portrait of Madeleine Elster" s'inscrit dans la lign馥 de "Ode To A Blue Ghost"(2012) o le jeu de guitare s'aventure dans des structures drones, r駱騁itives, hypnotiques et personnelles, laissant libre court  l'improvisation. On retrouve cela avec le titre d'ouverture "When Grey Skies Turn To Blood Red", une session de guitare psych/drone satur馥,  l'intensit progressive, accompagn馥 par la percussion de Takahashi Ikuro .

Le titre "La Notte" fait de m麥e, dans un esprit plus minimaliste, troquant la saturation de cordes stridantes par des notes nonchallantes  double reverb. Cette "Notte" laisse entrevoir quelques paroles en japonais donnant au morceau une allure d'incantation somnambule. "La Notte" devient ainsi aussi sombre que celle du film du m麥e nom (cf: Antonioni). Notons au passage que Suzuki San est un grand cin駱hile.

L'opus se clture par une longue plage plus a駻ienne, toute aussi minimale et nonchallante, sur fond de souffles du vent, d'harmonica et bruitages lointains. Ce morceau, comme les trois autres, dressent le portrait de son auteur (ou de Madeleine Elster), une musique "nomade", vagabonde, dot馥 d'une puissance "cin駑atographique" absorbante. (Marc Gerard of SHOOT ME DEAD MAGAZINE)
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When receiving Junzo's other album release, 'Sings II' , I olluded to this album being the darker, guitar noise release, whilst perhaps aq
slight oversimplification. 'Sings II' is all about the song whereas this is all about the guitar.
Whilst the first track 'When Grey Skies turn to blood red' follows on form his solo album last year. with its wild guitar worlls of sound complimented by Takahashi Ikuro's Wild rolling drums, but thereis more to the album than that.
Tha title track sees Junzo playing undistorted and melancholic, exploring silence and feeling in a similar vein to the likes of Tom carter and Marcio Bassett. The result is spellbinding and you wish it would never end.
The Twin themes underspin the album. lifting the listener to a strange, sonic nirvana. when he lets go like this, Junzo suspends time and space.
(Ned Netherwood from WasIstDas)
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Suzuki Junzo has spent much of his career shifting between gentle, almost jazz influenced guitar playing and full on unhinged distortion, both as a solo artist and with projects such as Astral Traveling Unity. That hopping between extremities remains solidly in place on Portrait of Madeleine Elster, which is almost evenly split between gentle, jazz influenced playing and maximum, room clearing distortion. Its best moments, however, are when the two worlds overlap with one another and create an entirely different beast.

It is only on the title song that Junzo's playing stays muted and calm throughout. Gently strummed electric guitar is the only major element, occasionally drifting into jazz improvisation at times and then pulling to subtle strums. On "La Notte," Junzo's guitar becomes more distorted and raw in its sound, but staying under his control. The whole song ends up enshrouded by a lo-fi rehearsal room ambience, and guest Ikuro Takahashi's (LSD March) drumming has an erratic, extremely unique quality to both the sound and the rhythms.

Takahashi also appears on "When the Grey Skies Turn Blood Red," but his playing is obscured somewhat by Junzo's decidedly unsubtle, balls out guitar noise. Squealing, shrieking, buzzing feedback is the name of the game, and it does not relent for the nearly 16 minute piece. The drums have the same odd tuning to them, and when they can be heard the hybrid of free jazz improvisation and grindcore style blastbeats supplement the guitar squall wonderfully.
The closing composition, "Dance of the Inhabitants of the Invisible Tower in the Ring of Holy Mountain," makes for an ideal centerpiece of the album, and also perfectly encapsulates Junzo's sound and style. Beginning with a slightly ragged strummed guitar motif, layers are piled atop it at the perfect pace. Distorted harmonica, what sounds to be bowed guitar and possibly electronics all slowly enter the mix, resulting in an intense, dramatic crescendo that began with the simplicity of a single electric guitar strum.
Even though Portrait of Madeleine Elster is heavily built upon these opposing approaches of gentle and harsh, it is the overlap that leads it shine most. During its noisiest passages there remains, sometimes deeply buried, a sense of true beauty. At the same time, the gentle strums and deliberate notes have a distorted, raw coating to them that keeps the playing from becoming too placid, accenting it with just the right amount of grime. It is this tension between the two that give this album the strength and power it has, and it is a sound like no other.
(Craeig Dunton on BRAINWASHED)
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