Toshiya Tsunoda 'O Respirar da Paisagem' (Sirr.ecords, 2003)

It's been a slow month, lot's of other things going on. I hope most of you got a chance to read Tsunoda's words on the erswords blog as mentioned in my previous post. There is more truth behind those sentences than any of the ones written here about the man. I've recently revisited this release from '03 that perfectly showcases Tsunoda's talents and concepts: O Respirar da Paisagem (loosely translated as The Breathing of the Landscape).

The 14 tracks on O Respirar... are broken up into three categories, providing a sort of guide map of these micro/macro explorations, and providing a stream in which to approach this work. Tsunoda's work is very detailed, his releases are often accompanied with extensive liner notes explaining his humbly titled sound pieces: location, process, dates, times, etc... all never without a hint of personal sentiment. It's refreshing really.


On a Boundary Line
Physical vibration is like a wave... Like a wave, an exterior noise will spread indoors. ...Divisions are necessary for our everyday life. Between two divisions, there is a boundary. This boundary is cultural and social, it has an important meaning for us, but does not constitute a barrier for the continuity of physical phenomena.

listen to Deck on a Wharf


Context of the Space
A living space has two principle types of vibration; the vibration through air; and the vibration through solids...I believe we can regard these vibrations as the "context" of structured space. My suggestion is that we must recognize space as a vibratory system.

listen to Heater and Amplifier


Observation and Object
...An object is apprehended in its interaction with an observer. We observe the vibrations of our living space... The act of listening changes our perception of an object, depending on the point from which we observe it.

listen to TTV (air)


listen to TTV (Solid)


small letters in italics excerpted from linear notes by Toshiya Tsunoda

Track Listing

1. A signboard, wind blown
2. Cicada and window
3. 40 Oscillators
4. Pier
5. Road between warehouse
6. Deck of a wharf
7. Ground near an external unit
8. Floor boards
9. Heater and amplifier
10. Inside the warehouse
11. TTV (air)
12. TTV (solid)
13. Scenery of a fishing port
14. Wind frame and wind

Toshiya Tsunoda: Obtaining the Unamplifiable.

It's been a pretty exciting last couple of weeks, 10 days in Montreal meant plenty of time to roam stone-walled allies and tucked away parks, visit numerous record stores (without burning too big a hole in my wallet, surprisingly), eat great food, check out University campuses and spend time with my lady Lucy. Actually, I was even so lucky as to get to experience Stockhausen's Kontakte at the Oscar Peterson hall at the Concordia Loyola campus in all it's 35 minute-four-channel-spastic-pummeling glory. They even turned out the lights to heighten the experience. It doesn't do it justice but you can listen to the whole thing in 4 parts on youtube. Anyway, it's good to be back in Vancouver.


As I was walking around Montreal, I often thought that it was a shame that I didn't bring a recording device with me to capture all the amazing sounds of the city. I was trying to pack light. Complementing my regrets were another set of thoughts that focused around Toshiya Tsunoda. When aimlessly meandering through a city I can't help but think of him. Tsunoda is mainly in the business of field recording, but to call him just a field recorder is like a slap in the face, because really he's so much more than that. The reason Tsunoda ranks up there with, and maybe even surpasses, artists like Chris Watson, Ryoji Ikeda, or Jacob Kirkegaard is because he's able to present to us pure sonic specimens from the ever-present micro-cosmos. Not the cosmos out there, among the stars and such, but the world under your living room rug, or behind your refrigerator, or inside the very bottle of beer that you just consumed, the sonic world that we overlook every minute of everyday of our existence. At the micro level, everything is vibrating, everything emits a sound, and it seems Tsunoda is trying to stress this fact with every subsequent recording. The result is meant to open new experiential dimensions to the listener, dimensions of space, sound formation, and perception that help fortify the delicate art that is listening to this music.

photo from erstwords blog linked below

I would like to direct everybody to these candor words by Toshiya Tsunoda talking about his practice and about experimental music as a genre. Essential reading for fans: erstwords: field recording and experimental music scene.