A1 Snowy Night Tale  
A2 Fog  
A3 It's Magical  
A4 Old Automation  
A55 Book Of Life  
B1 Harp  
B2 Mountain Deer  
B3 Sadness  
B4 Misty Avalanche  
B5 Cloud Of Light  

Notes

Standard black vinyl version.
Issued in a cellophane sealed sleeve with LP title sticker and barcode sticker (barcode on cellophane wrap only).
Includes 12" thick paper insert.
Comes with a free digital download code (sticker on inner sleeve) and digital download card for the "Erased Tapes Collection IX" compilation

©+℗ 2018 Erased Tapes Records Ltd.
Made in the EU.

Barcode and Other Identifiers

  • Barcode: 4050486115046

Masayoshi Fujita - Book of Life

$21.00Price
  • The following review was written by Drastic Steps. You can read more of his reviews and stream his DJ mixes HERE:

     

    The vibraphone is not a popular instrument, but it is essential for chiseling sounds from silence. Allow the vibraphonist-composer the fullest measure of sound manipulation, (with 21st century machinery) you have Masayoshi Fujita and his three magicians [flute (mio suzuki), cello (anna muller & sebastian selke), and violin(ansgard benecke)] stich a collage of poise and pause, “pushing air” through grandeur and humility. The erased tapes LP version comes with a magenta insert, that carries short poems for each track. “Fog knows everything,” says a line for track A2 (fog). The composition evolves from the bare silence of undulating reverberations of notes as if to fog the space with the beauty of beyond, which only the fog knows. However, for one to believe “fog knows everything” the fog must reveal, willy-nilly, the things it holds. Thus the fog of undertones that sits near the ground reveals the melodic accents of overtones with the softest touch mallet, thus taking me along a patient journey through the fog, revealing as much as hiding, alluding the incomplete nature of “knowing.” In a poster, I got from an RSD release of Nick Drake’s songs, it said this is for people “who have time to be silent.” Book of Life, I contend, should be understood as such an album. The title track (A5) is the mischievousness of sound. I relistened it to explore the delightfully entertaining inquisitiveness it evokes in the careful listener. The highs are almost screeching. The sound is unmoored, complex, and free. I that a flute or a bow scraped against a violin string? Luscious drops of vibraphones nest all the “noise,” of metallic distortions and scratching. The track strives to showcase the book of life with its torn edges, etchings, use, and misuse. It shows the inner torment in the market-driven loneliness of urban existence, the endless hustle and bustle, on which “the hidden moon throws a faint light."

    My training in North Indian Classical, however, drew me closer to A3 ("it's magical"). It could be a mashup of Yaman and Poorvi, but unlike both Raagas, it is a tad bit restless in its demeanor from the start. The composition at points also reminded me of what the siblings Zoe Rahman and Idris Rahman have been doing with Tagore’s Bengali Songs. The beauty of strings and flute play the rhythm with somber sobriety, with a sense of a shy afternoon “with the wind blowing it up form the valley.” During my mixes, I have allowed Ali Akbar Khan to play along with Masayoshi Fujita (or Nils Frahm). It is lovely to see this happening in Erased Tapes' curation. If you have time to be silent, procure this album even if that means you are getting one from 2018. As the artists  wrote here in the insert be ready to go “veiled in the fog of the light," "melting into it.”