Rie Nakajima and Keiko Yamamoto are joined by violinist Billy Steiger and percussionist Marie Roux in a dozen deconstructions of Japanese folk music, for this pacy, engaging debut album. Rie’s baby orchestra of rice bowls, toys, clock workings, balloons and motors is by turns haunted, teased, adorned and laid waste by Keiko’s chanting, rumbling, whispering and stamping on the floor. The production by David ‘Flying Lizards’ Cunningham deepens and spooks the mix, which brims over with energy and wit, intimacy and presence, grace and mystery.
"Suddenly we are closer to music being made than we have been for many years or longer even, so alarmingly close as to feel warmth and discomfort, as if studying the sole of a foot from a few centimetres away or holding a private whisper within an enclosed hand and feeling its trembling desire to be free; but also so far away distant as to feel each vibrant, pungent ingredient within its box or jar or bowl or packet or bottle or air-tight translucent container or brown paper bag painstakingly stirred, shaken, scattered, poured into the heated cauldron of what we call recording, its imaginary rooms and its production, though my better self prefers not to speak about or analyse the notion of ‘the studio’, this being a working up of spaces that are social, a vision of something beyond us but not quite beyond us because its existence as a listening object is real enough to make us pause and question how it was lost or never found." - David Toop
Keiko Yamamoto / voice, melodica, flute, recorder, floor percussion, toy dog (1-7, 9-12)
Rie Nakajima / objects, whistles, flute, cards, taisho koto, xylophone, piano, abacus, drain horn (1-12)
Billy Steiger / violin (2,4,7-9,11,12)
Marie Roux / percussion, thumb piano (2,4,7,9,11,12)
All composition by Nakajima/Roux/Steiger/Yamamoto apart from Yobu, Hebi, Iroha, Kitsune and Are Kore (Nakajima/Yamamoto) and Futari (Nakajima/Steiger). Words by Yamamoto except 5 and 11. Iroha is a Japanese classical alphabet. Sojarobai is a working song from Miyazaki, Japan. Produced by David Cunningham. Cover image by Marie Roux. Sleeve design by Ayako Fukuuchi.
Available as 320k MP3 or 24bit FLAC
1. Yobu - 1:24
2. Oni - 5:01
3. Hebi - 1:29
4. Leave the Fur Behind - 5:53
5. Iroha - 4:22
6. Kitsune - 0:55
7. Komori - 7:12
8. Futari - 0:44
9. Banana - 5:06
10. Are Kore - 1:14
11. Sojarobai - 4:21
12. Nogitsune - 5:21
More info at Mana.
O YAMA O explores a certain domestic and democratic quality of everyday life, born through associations to folk music of Japan and a folding of myth, tradition, and routine; the non-spectacular and the sublime.
Formed of musician and artist Rie Nakajima and Cafe OTO co-founder Keiko Yamamoto, the group has performed since 2014 at venues and festivals such as noshowspace, Ikon Gallery, Wysing Arts Centre, Supernormal, Borealis Festival, Mayhem, and allEars Festival.
Nakajima’s performance often focuses on the use of found and kinetic objects, using modest items such as rice bowls, toys, clockwork, balloons and small motors as instruments to create a “micro orchestra”. Elements are layered into impressive and immersive atmospheres. Yamamoto alternatively floats and charges through this with body and voice; chanting, incanting, thundering, whispering, stamping on the floor.
Their debut album consolidates their musical conversations into keenly paced studio music, the duo working with additional instrumentation and a resolved focus on melody to provide vivid portraits of folkloric Japan in song.
They move between pop and the philosophical, defined by the overall space afforded to texture and movement. In small, delicate sound an intimate musical climate is established that reflects on life, telling stories of improvised clockwork, whispered dreams, small movements of the hand and the rhythm to be found in the shuffle of a deck of cards.
Grandly theatric and dramatic flourishes add solidity to these illustrations, operas driven by the swooping energy and power of Yamamoto’s voice can be playful or emotionally charged, particularly when the duo arrange themselves in ensemble with violinist Billy Steiger and percussionist Marie Roux. Production by David Cunningham creates the shadowy presence of a leftfield Flying Lizards dubwise depth that adds subtle strangeness to the atmosphere. The result is something raw, full-bodied; full of energy, grace and mystery.