Liberating thought and human experience from oppressive boundaries of rationalism, Holotone presents the much anticipated Koichi Shimizu’s vinyl release. The multidimensional “Wholetone” EP is now in the ethers and made available through readymadedistribution.com and Holotone Bandcamp. catalogue.

The vinyl features four tracks composed by Japanese native Koichi Shimizu. Work is masterfully produced from conception to birth, all tracks produced by Shimizu (except track B02 / 3 produced with sYn, Federico Nitti). The EP is mixed by Koichi Shimizu, Bangkok 2016. Mastering by Holotone label owner Daniele Antezza at Artefacts Mastering Studio, Berlin 2016. Artwork & Graphic Design by Martina Scala/Cubert, Berlin 2016.
Digital format available on Holotone Bandcamp. A discount of 45% is currently offered on the purchase of the entire Holotone digital catalogue.
Artist: Koichi Shimizu
Release Name: Wholetone EP
Cat. nr: HTN002

Koichi Shimizu – “Wholetone EP” [HTN002]

Mélanie l’Heuremaudit

If time was a measurement unit for sound and if we do not mistake time as a thing’s spatial trajectory but rather imagine an infinitely small piece of elastic, a mathematical point, getting gradually drawn out into a line without stopping – if we concentrate solely on the movement itself and if we define time as this indivisible movement itself, as pure mobility, then Koichi Shimizu’s EP, N°2 of the Holotone catalogue, would be a discrete drop of Camembert sliding from the melting clocks framed at the venerable Louvre walls in Paris.

But the “The Persistence of Memory“ hangs at a wall of the Museum of Modern Art (MoMA) in New York City, alas.

A kind in elastic and a duration, a vibrating spectacle and nothing strange a single hurt color and an arrangement in a system to pointing. But the question is what is a principle and what is only a consequence. To begin with, although the points determine paths, they are strictly subordinated to the paths they determine. All this and not ordinary, not unordered in not resembling. The difference is wildly spreading in thin red lines of flight, swerving clinamen forming groaning roots of sounds, moving and rhythmically shaking the soil deep down below from Khazad-dûm to Eagle Nebula, sparking clicking beams of ionizing fireflies. Tangled growth of warping vines are trailing fickle melodies and repetitions through the undergrowth, gently thrusting trunks roar globular clusters into super-sonic implosion. A trailing flute wafts a seducing melody infrathin –

the 1st track “Oriens” is an interstellar jungle book, setting the tone and style carrying over to the 2nd track “Rumble” but on changed stages.

A ronin behemoth rumbling through the barren veldt. A stoic march, rattling zaps of energetic noise swashing out of its portruding harness with every stride. All across the sky flashing darts of lightning bleeps brighten serene choirs of melting ozone layers, the atmosphere swells as space slowly folds vast a conical super-structure of iridescent metal shimmering heat pulsating waves of gaseous sough and astral projection:
A soft screaming comes across the sky. It has happened before, but there is nothing to compare it to now.

Koichi Shimizu is a peculiar case. A sound engineer and composer born in Japan, studied in New York City and based in Bangkok. His scope outranges the usual radar, spanning film, installations, concerts, music production – In Apichatpong Weerasethakul’s film “Syndromes and a Century”, for which Shimizu did the sound design, there is a particular passage called “Black Hole“:
A digressive, wayward camera journey capturing still lifes of the film’s scenes; hushing trees, a statue, the construction area of a hospital and several protagonists observed from a vantage point of impersonal, inhuman gaze. Integral for this undertow to gain traction is the eerie sound companion with its surreal, hypnagogic pull. In various instances the music and the sounds of the film overlap shots and passages while tranquilly permeating the spatial and temporal dissociated sceneries into one another, transforming them into a whole.

The passage ends with a close-up on the black hole of the strangely-shaped ventilation pipe at the hospital’s construction area swallowing up white fog: A qualitative multiplicity consists in a temporal heterogeneity, in which “several conscious states are organized into a whole, permeate one another, [and] gradually gain a richer content”. Think you’re escaping and run into yourself. Longest way round is the shortest way home, falling through a soft Riemann-hymen into a tunneling crystalline chrysalis, giraud’esque bizarreness crisscrossed with tonal axes and thresholds, with latitudes and longitudes and geodesic lines, traversed by gradients marking the transitions and the becomings. The thunder- thump of 100 buddhas pummeling their bellies and a chanting moose’s vibrant voice are cracking the nacreous walls, triggering showers of sharp bleeping needle-slivers, trickling drops, hissing dust, hazy organic flashes, soaring silver orbs and sweet humming sirens, guiding the sailor into a charybdic maelstrom.

Shimizu and his partner in crime sYn/Federico Nitti (among others things visual artist for Inner8 and Shapednoise) deliver with the EP’s 3rd track “FK” a phantasmagoric stream, ever falling ever morphing, changing without ceasing, there is no essential difference between passing from one state to another and persisting in the same state. We would think that if there is heterogeneity, there has to be juxtaposition. But, in qualitative multiplicities, there is heterogeneity and no juxtaposition. The track, recorded as an improvisation, manifests in intuitive knowledge. Intuition then consists in entering into the thing, rather than going around it from the outside, the concept of play, a strategy without finality, what might be called blind tactics, the unity of chance and necessity in calculations without end.

Think you’re escaping and run into yourself. Longest way round is the shortest way home.

The digital bonus track “Wholetone“ is different. It is much higher, it is rather flying than falling, building than digging. A fear induced ecstasy of heights, tightrope balancing above the clouds in a brilliant cold blue sky. Steely stroboscopic flashes and an ethereal melody climbing to a blissful abolishment bathed in celestial murmur and infinite jest.

Koichi Shimizu’s contribution to the Holotone Catalogue N°2 sounds like journeys from a ticket that exploded. Self organizing bodies without organs laying the blueprint for a soft machine spreading and fizzling towards available spaces or trickling downwards towards new spaces through fissures and gaps, eroding what is in its way. Drawing the tonal line from a cube to a tesseract, entering the Holotone realm.

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