Product Description
Content Introduction: Yaporigami Decoded Sphere - An Exploration of Sacred Rhythms and Melodies - On Sale February 29, 2020 Yaporigami, who has released numerous works both domestically and internationally, including with Mille Plateaux in Germany and Detroit Underground in the US, and who composed the music for Jeremiah Mosese's film screened at the 2019 Venice International Film Festival, will release their new album "Decoded Sphere," an exploration of sacred rhythms and melodies, on February 29, 2020, via Virgin Babylon Records. All tracks are in 6/4 time, and by shifting your focus, the music can sometimes sound melodious, and at other times resonate as hard IDM, revealing new meanings, interpretations, and worlds through its various layers. Media Reviews and More: Yaporigami, who has released numerous works both domestically and internationally, including on labels such as Mille Plateaux (Germany) and Detroit Underground (USA), and who composed the music for Jeremiah Mosese's film screened at the 2019 Venice International Film Festival, is set to release a new album exploring sacred rhythms and melodies via Virgin Babylon Records. All tracks unfold in 6/4 time, and by shifting the focus of the listener, the music can sometimes sound melodic, sometimes resonate as hard IDM, revealing new meanings, interpretations, and worlds through its various layers. (C)RS
About the Artist: Self-liner notes by Yaporigami: When we perceive this world through our own filters (or rather, that's the only way we can perceive it), what emerges are our individual worldviews. This album is titled "Decoded Sphere," reflecting the meaning of "representations of the world seen through each person's colored glasses." It's a very obvious fact, but when I take a step back and think about it from a broader perspective, I'm often overwhelmed by the sheer number of universes and the fact that there are as many different worlds as there are people. I've recently become very drawn to music that you can easily listen to casually, but when you concentrate on it, you feel an infinite sense of structure emerging. For example, if we take the Bible as an example, it has layers that function as a story, but also layers that, if read by a devout person like Luther, can be interpreted in an overwhelmingly hardcore way. I'm very interested in creating music with this kind of pyramidal structure. To talk a little about the temporal structure, all the songs on the album are in 6/4 time. In most cases, the rhythmic elements are developed in "6/4 x 2" and the melodic elements in "8/8 x 3". It's not my intention for the words I'm writing now to function as a way to keep my thoughts "here". Rather, my intention is for the words to travel from "here" and function to bring forth new meanings, interpretations, and worlds. To conclude, I quote Ionesco: "To make words say things they have never meant before." That's how I wanted this album to function.
