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alm 59

31 october 2009

photography & artwork: delphine ancelle-b.


the first track we heard from POLLYPRAHA was on the compilation the japanese artist YUI ONODERA put out in 2006 on his own CRITICAL PATH label. months later, we were offered this "jule" suite, three tracks between metallic strings sounds and processed field recordings, showing POLLYPRAHA's contemporary music influence (steve reich or gyorgi ligeti for instance).


tracklisting :
1. jule 0
2. jule #
3. jule 1



reviews :

Vital Weekly
Four new releases in the ever expanding horizon of Taalem, and curious enough all four are by Japanese musicians. [...]
I never heard of any of the other three artists/bands. Pollypraha I know nothing about. Its not easy to say if what he does is the result of bending strings along sound effects or some sort of elaborate processing through computerized means. It seems so on 'Jule 0', the opening tracks. A great piece. In 'Jule #', he plays around with field recordings, but in a less exciting way. In 'Jule 1' the strings return, albeit a bit darker and subdued, but a great piece it is again. A fine release of two excellent drone pieces and one fine piece of field recordings. (FdW)

Pollypraha is the music project of Takeyuki Hakozaki. In 2007 he had a debut release with ‘I Want to Rock and Roll All Night and Party Everyday’ and this will be his second proper release.
The music on ‘Jule’ is divided into three parts, ‘Jule 0’, ‘Jule #’ and ‘Jule 1’. The first track has a very beautiful classical approach to it, a kind of ambient classical. The second track goes a rather different route, as this is mostly a soundscape track based on field recordings. The ambience it evokes is like we are walking through a cave with a little stream of water next to us. It has a somewhat claustrophobic feel to it, like there’s no way out. The last track is more of a drone track that lets you wander though you mind.
A very nice and warm release. Pollypraha is definitely a project to look out for in the future. With these three tracks he gives the listener different mood variations. Highly recommended. (Fabian)

Temporary Fault
Can’t remember if I already reviewed the second-to-last batch that Jean-Marc - boss of this label devoted to contemporary ambient and relative derivates - had sent me earlier (hopefully yes and, in any case, thanks JM!). Yet I managed to listen to these four several times, in different conditions. Speakers are highly recommended for all these 3-inch CDs. [...]
A mixed bag that starts with an excessively tonal, if well crafted piece, continues with several minutes of absolutely useless processed liquid sounds (it could be an underwater recording, but it’s just ugly) and – luckily - ends with the best track, a calmly resonating stasis that, at low volume, is pleasant enough. Declared influences: Reich and Ligeti. I didn’t hear a second of them. Let’s not swear at the gods, please. (Massimo Ricci)

Programme exclusivement japonais pour cette nouvelle livraison de CD-Rs trois pouces du label parisien Taâlem (disponibles également sous forme de fichiers FLAC), qui frappe une fois encore par sa cohérence éditoriale. Car les points communs ne sont pas que géographiques entre les quatre projets présentés ici, mais tissent au contraire une véritable petite toile enchevêtrée de références qui sous-tend l'ensemble de ces sorties. [...]
Plus sombre, Pollypraha, alias Takeyuki Hakozaki, ajoute à des sources sonores similaires quantité de field recordings, écoulements caverneux et glissements lumineux se répondant pour faire des trois titres de Jule un voyage vertical des plus passionnants. [...] (Jean-François Micard)

Chain D.L.K.
Here Takeyuki Hakozaki's Pollypraha offers 'Jule,' it's sophomore effort. With 'Jule 0' we begin with soft, ringing layers dancing slowly throughout each other, evoking a very soothing feel and (at least for this listener) oceanic imagery in slow motion. This could very easily be the soundtrack to the right piece of film. As we continue on to 'Jule #' we continue the aquatic journey beneath the surface, looking up toward the world above. The longer you watch, the more you realize you're sinking, farther and farther from the surface, drowning slowly, yet beautifully. As 'Jule 1' begins, we step through the light, warming our salt-water soaked bodies, as we enter a plane of existence where everything is beauty in slow motion. Through feeding back of textures, watery field recordings and droning textures, this release transcends. (Barton Graham)