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Úvodní stránka » NEWS » Shinichi Atobe
Shinichi Atobe — Heat (Sept. 6th,  2018)

Shinichi Atobe — Heat (06 Sep 2018)

                        Shinichi Atobe — Heat (Sept. 6th, 2018)Shinichi Atobe — Heat (Sept. 6th, 2018)Shinichi Atobe が神楽坂の新ベニュ
✹    Když jsem poslouchal So Good, So Right 2, došlo mi, jak by bylo krásné na to tancovat na pódiu Paláce Akropolis. Jednou rukou bych dělal rychlé rytmy, druhou pomalé. Bylo by to peklo, vyžadovalo by to maximální soustředění, ale snad bych to hravě zvládl. Byl bych mrtvý, kdybych si říkal, že Heat není zatím jedno z nejlepších alb roku; skutečnost, že limitovaná edice o 400 exemplářích může být vyprodána na Boomkatu za necelých 24 hodin, je důkazem toho, jak dobře se Shinichi Atobe spojuje se svým publikem. Mnoha způsoby, z nichž nejzákladnější je čistě emocionální, melodicky hořkosladká úroveň. Album Heat je vybaveno všemi zvukově dotekovými kameny, které od hudby očekáváme a těží z nejlepších okamžiků z téměř 20~ti let, o kterých jsme se dozvěděli, že existují. Bez jakéhokoli jiného způsobu, jak to lze experimentálně říci, je Teplo prostě tak a tak dobré a tak a tak správné. Není mnoho informací o Shinichi Atobem, pověsti říkají, že je to japonský producent, ale upřímně řečeno, nemůžeme říci nic nad to, co je známo. Neohlášené album od japonského producenta zní stejně tajemně, jako kdykoli předtím, ale jeho kdysi chladné techno se zahřálo, prohloubilo a společný, dokonce slavnostní duch se dostal do popředí. Mimochodem, Philip Sherburne mu dal za předchozí album „From the Heart, It’s a Start, a Work of Art“ dokonce o fous lepší známku 8.1. Někteří lidé se ptají, kde by mohli získat oranžovou verzi vinylu, protože nikde nemohou získat informace.
✹    jcb91 píše však něco nečekaného: „Is it just me or does the EQing seems all over the place on this one? The highs pierce through the mix in an unpleasant way and all of the mids seem really muffled and quiet. The shaker on ‘So Good, So Right’ are so harsh.“ Mne zatím nejvíce oslovila kompozice Heat 4. Snad proto, že úspěšně kombinuje úspěšný matematický model: čtvrťová nota — 1 doba a šestnáctinová nota — čtvrt doby s bublavým podkresem. Jestli tam někdo slyší i Tenuto a Legato, je už jen na něm samotném, mne však baví ta hravost.
✹    Já vím jen to, že po 15~ti letech se Shinichi Atobe stal nejuznávanějším jménem v elektronické hudbě. Další text už bude v ENG a mne se líbí zejména ta poslední věta: Přesvědčte nás o tom, že život sám potvrdí Heat jako elektronické album letošního roku a my vám koupíme zmrzlinu ....
✹    Now that we know he’s not a one~trick pony, we can hope for further elaborations on his sound. He hasn’t abandoned his world but taken us to a new corner of it, and out of the murk, we can see more clearly than ever how vast it is. Unexpected new album from Shinichi Atobe. An hour of deeply inspirational House music for the ages. Could have been produced 20 years ago, could have been produced earlier this year — we’ll probably never know. Mastered and cut by Matt Colton. Cover image by Mat Thornton.RIYL DJ Sprinkles, good times. Limited Edition 2LP. Heat is a surprise new double album from Shinichi Atobe for DDS. It follows on from last year’s „From The Heart, It’s A Start, A Work Of Art“ set and continues a run of highly enigmatic, acclaimed and completely unparalleled productions that follow their own timeless logic. There’s no sonic fiction involved — this material really does just turn up on a CD sent by air mail from Japan to Manchester, sparse info, no messing, pure gold. What’s that cover art about? Prob something to do with the balmy, slightly fuucked, sunstroked material within. So Good, So Right, the 10 minute opener, will force you to forget about all the shite around you for a while. There are also several tracks called Heat, they’re all killer. This music takes you elsewhere almost immediately; that fan on your desk is basically a summer breeze. In fact, this whole album is absurd; completely effortless; a total classic. Convince us that there’s a more life affirming electronic album this year and we’ll buy you an ice cream....
Location: Japan
Genre: Electronic House Techno
Album release: September 6th, 2018
Record Label: DDS
Duration:     59:16
Tracks:
1. So Good, So Right 12:18
2. Heat 2   8:02
3. Heat 4   8:18
4. Heat 1   9:58
5. Bonus   3:02
6. Heat 3   9:37
7. So Good, So Right 2   8:01
℗ 2018 DDS
Review
by Kevin Lozano, SEPTEMBER 19 2018 / Score: 8.0
✹    The price to send a package via airmail from Saitama, Japan to Manchester, England is a little over $20. Not too long ago, a CD made this 5,853~mile journey, arriving at the offices of DDS records, the label run by the electronic duo Demdike Stare. The disc contained Japanese producer Shinichi Atobe’s fourth LP, Heat. There was no other info attached: no artist statement or supplemental details, just an hour of new music from one of dance music’s most reclusive producers. Or that’s how the story goes. But whatever route the seven tracks took to arrive at DDS’ doorstep, one thing rings true: The cost of postage pays for itself. Atobe’s latest is a priceless addition to a formidable catalog, and it stands apart from anything he’s done before.
✹    Up until four years ago, Atobe had exactly one release to his name — 2001’s Ship~Scope, an EP of ambient techno so evocative it could elicit tears from a sympathetic listener. Then in 2014, Demdike Stare followed a tip from Atobe’s previous label, the Berlin dub~techno pioneers Chain Reaction, and tracked him down. Since then, Atobe has entrusted DDS to release both new and archival music from his collection, which now includes three albums of material, each building upon the dreamy logic of Ship~Scope. Cold and swirling and sad, Atobe’s recent releases have been every bit as enigmatic and alluring as their creator.
✹    But Heat does not sound like any of this previous work — it’s a house record first and foremost. Heady and soulful and smooth in a way that harks back to Mr. Fingers, Heat is an open book compared to the black boxes of Atobe’s past albums. Its thesis is clear from the moment a humid synthesizer melody introduces the opener, „So Good So Right“: This is a record, as its title suggests, primarily interested in the warmer end of dance music. These are tracks to make you sweat. It’s a new climate for Atobe’s music, downright tropical. The plush hand drums and purring bassline on „Heat 1“ swing and sway like palm fronds moving with the ocean breeze; the slippery and bubbly synths on „Heat 2“ move like bodies writhing on a waterbed.
✹    Even as Atobe paints with brighter, more vivid hues on Heat, a blueness works at the lower registers of the album. There is a rich, emotional world here, one where melancholy freely intermixes with joy: On „Heat 4,“ hi~hats chirp and crawl around hissing ghostly ambient noise like crickets on a foggy night, but right beneath the creepiness is the softest, supplest low end.
✹    Working in this hot and heavy mode, Atobe transports all the exacting rigor and creativity of his techno to the creation of house melodies whittled to dancefloor perfection. Patience is what connects the soulfuness of Heat to Atobe’s back catalog. But in the beatific piano chords and the crispy kick drums, it’s easy to hear the communal spirit of Heat: These are songs oriented towards public consumption, not private listening. That change in setting and intent might shock anyone who has been following Atobe’s records over the years. But when Heat locks into its groove, it taps into the contemplative spirit that powers all of his music. Atobe’s work has always been about the rewards that come with careful, repeated listens. The beauty of Heat is the way it allows its listeners to experience those gifts together. ✹    https://pitchfork.com/
Interview
✹    http://www.electronicbeats.net/mining-the-mystery-of-shinichi-atobe-with-matt-colton/
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Shinichi Atobe — Heat (Sept. 6th,  2018)

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