Customer Reviews

Ryoji Ikeda: Op

5 star:		(0)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Those familiar with the past work of Ryoji Ikeda, producer of clinical, ultra-minimal electronics, will find Op. both unexpected and familiar. His delicate, near super-audible textures are familiar, but the exclusive use of string instruments is not. In the past, composers such as Stockhausen and Boulez have oscillated between or combined strings and electronics, but for a non-academic electronic producer to move into conventional composition is a new development.

Op. bears out similarities to French "spectral music" and the wider field of 20th century composition. This is not to say that appreciation of this work is dependent on knowledge of these fields, but the historical parallels do add a valuable dimension. The strongest moments here are the most recessed and intangible, the weakest the most literal and conventional.

This split is between passages of fairly conventional string instrumentation that sometimes appears too literal for Ikeda and more spectral passages that sound almost electronic. In these sections Ikeda's mastery of near silence shines, and pure, sculpted tones glisten coldly like a thin layer of digital ice forming on the music. Op. produces tone pictures suggestive of sharp horizons on intensely cold, cloudless winter days. The prevalent mood is mournful, its beauty bleak rather than seductive.

It is surprising how European and conventional Op. can sound. Set next to the most drawn out, near silent passages, the pizzicato strings seem too clumsy and literal. Ikeda only partially succeeds in transcending the stylistic limitations of the string quartet in the way that, for instance, the Balanescu Quartet have done, even if Ikeda's ambitions are greater.

It will be interesting to see whether electronic or classical audiences respond better to this material; for comparison's sake it would be instructive to see a previously conventional composer produce a totally electronic work. Op. succeeds both as a traditional modernist work for strings and as something more formally experimental. Yet, whilst it feels unified, it suggests an uneasy compromise between the lure of conventional instrumental expression and Ikeda's proven skills at sonic reductionism. He could go much further by doing much less with, or more to, his new sound palette.

Alexei Monroe
Junkmedia.org Review

japanese composer ryoji ikeda, known for his stark electronic composition, often favoring white noise and sine tones, and his work with the japanese theatre/new media group dumb type releases this, Op1 his first acoustic album. two minimal and quietly beautiful compositions for strings, one a quartet, the other for 9 instruments. in addition he has sort of 'demo' versions of the compositions as well. all in all a very interesting release and perhaps a new voice for 'classical' music.