Soshi Takeda - Same Place, Another Time
Same Place, Another Time
Soshi Takeda
January 20, 2022
January 20, 2022
January 25, 2022
January 10, 2022
December 23, 2021
December 16, 2021
December 6, 2021
December 1, 2021
November 11, 2021
November 2, 2021
October 26, 2021
October 20, 2021
September 13, 2021
August 1, 2021
July 10, 2021
June 30, 2021
March 25, 2019
March 25, 2019
May 9, 2019
May 10, 2019
May 13, 2019
May 28, 2019
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June 11, 2019
June 24, 2019
June 25, 2019
June 27, 2019
July 2, 2019
July 2, 2019
July 12, 2019
July 30, 2019
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August 29, 2019
September 5, 2019
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September 24, 2019
September 30, 2019
October 4, 2019
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October 10, 2019
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October 14, 2019
October 26, 2019
October 30, 2019
November 4, 2019
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November 6, 2019
November 11, 2019
November 20, 2019
November 25, 2019
November 27, 2019
December 2, 2019
December 5, 2019
December 20, 2019
December 21, 2019
December 24, 2019
January 7, 2020
January 10, 2020
January 17, 2020
January 19, 2020
January 22, 2020
January 23, 2020
January 31, 2020
February 4, 2020
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February 17, 2020
February 19, 2020
February 20, 2020
February 29, 2020
March 7, 2020
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March 20, 2020
March 20, 2020
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April 6, 2020
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May 1, 2020
May 1, 2020
May 1, 2020
Liam Murphy
May 22, 2022
Tracks in this feature
Tracks in this release
Swirling sombre instrumentation hits instantly as Familiar Trees of the North West begins. Painted Girl seems content to let the samples droop and melt from the very start, brimming over each other and creating a weighty sense of dissonance. Pitched saxophone licks barely make it out onto centre-stage before they are swallowed by the more melodious euphoria or the slow marching percussion. The artwork contrasts the sound. Expecting some sort of fresh organic instrumentation illustrating the vitality of the Engelmann Spruce – possibly with field recordings and situational sound included – Painted Girl hits with what sounds like a representation of the soul of a weathered, gradually rotting tree reaching up into a lonely sky.
This somnambulist feeling flows throughout the project, gossamer percussion seems to whisp away as soon as it makes an impact. Piano notes waver and bend with age, still delivering an austere atmosphere of sorrow despite their slightly defunct sound. Western Redcedar works itself into a drunken fury after a few melancholy bars. A chorus of sedated trumpets climb out of slow-moving percussion, a jazzy break that would usually sound slick and cunning drawn out into an uncanny slur. After this it suddenly spreads into a slightly more light-footed tempo, but the ever-present drums begin to seem like obstructive trunks jutting out in front of us as we make our way through the moist undergrowth, the haze of the Pacific Northwest baring down upon us.
The EP is a brilliant piece of work. Very much a vaporwave-adjacent sound, the artwork conjures images of rolling countryside before the listener, and in that the tracks almost ameliorate like some elusive forest spirit. As if we’ve strayed to far into the forests of the US Northwest, stepping between these common trees, drawn by some spirit in the middle distance, every now and again craning our next towards the greying sky just visible through the canopy.