Yumiko Tanaka / Ivar Grydeland
Continental Crust
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01 Downgoing Slab (2:59)

02 Semi Rigid Lower Mantle (9:09)

03 Young Oceanic Crust (12:00)

04 Eurasian Plate (From 7 different views) (12:22)

05 Mid-Atlantic Ridge (10:54)

06 Bonus Track (4:58)

Ivar Grydeland - acoustic guitar

Yumiko Tanaka - futozao shamisen, taisho-goto & voice

About Continental Crust
Continental Crust by Yumiko Tanaka and Ivar Grydeland is slightly folk-inspired acoustic sound improvisations captured in Osaka in April 2004.

Liner notes
This music was composed and recorded at the venue Bridge in Osaka on April 17th 2004. Bridge is located high above the ground in the middle of the amusement park called Festival Gate - right between slot machines and the big roller coaster. I don't think Festival Gate is Osaka's hot spot, the park is nearly empty, but Bridge is a nice and spacious venue. With relatively small acoustic instruments we tried to fill Bridge with sound and music that we find interesting. Meanwhile, we could see the roller coaster passing by every now and then - we could also hear it, and feel it. The whole building would shake each time it passed by, like a small earthquake. Maybe this wasn't the perfect recording situation, but listening to the music now I feel it gained an identity of it's own. The music on this CD somehow made me think of plate tectonics.

Ivar Grydeland, Oslo, November 2004


Grydeland on acoustic guitar and Tanaka on futizao shamisen (a small banjo-like instrument) and percussion somehow combine in these surreal circumstances to create improvisations of great intimacy and light. The instrumental voices are fundamentally small, however resonant, and the musicians take varied tacks to the space at hand, sometimes building dense overlays of rapid twanging lines, as on «Young Oceanic Crust» and elsewhere allowing isolated sounds to bend and waver as they decay, as in «Eurasian Plate from 7 Different Views.» The musicians have forged profoundly personal approaches to their instruments, to the extent that it's ironically difficult to tell them apart, whether it's a modified acoustic guitar or a shamisen that's carrying a particular line, but the difficulty is hardly problematical. This is music about submerging identity, whether in the free interaction of sound, floating high in space in an aged amusement park or diving in the oceanic imagination to the earth's shifting plates. It's music of compelling delicacy and rigor-especially striking when Tanaka plays and sings the traditional «Hidakagawa Iriaizakura» in the midst of an extended improvisation-but it feels resilient, not fragile, with a poetry all its own.»



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