A note from Yui
I stayed in Iwate, where I was born, for a few days and created some sound materials using limited materials and old media. Over ten years ago, Iwate was devastated by the Great East Japan earthquake. Many old things that remained in my memory became rubble, dismantled, and new scenery was there. I bounced every song from “1982” straight onto an old tape recorder.
This album that comes out of my interest in sonic "degradation and
rebuilding". I treated the guitar and synthesiser in a lot of new ways, so using a lot of tape recorders and/or pedal effects. I wanted the guitar to be an extension of the ambient textures rather than technology and imperfection.
The raw and the processed.
We benefited greatly from the evolution and democratization of computer and audio technology in the early '00s. I was fascinated by sounds that could not be created by humans, such as real-time audio synthesis and granular synthesis. Now, 20-odd years later, I am fascinated by sounds that cannot be created with a computer. It was a unique acoustic texture created by deterioration and wear, including accidental wear, due to old technology that is disappearing. It's like a memory of my old days in Iwate.
Yui Onodera - 1982 (2024) [24B-48kHz]\01. 1982 I.flac
Yui Onodera - 1982 (2024) [24B-48kHz]\02. 1982 II.flac
Yui Onodera - 1982 (2024) [24B-48kHz]\03. 1982 III.flac
Yui Onodera - 1982 (2024) [24B-48kHz]\04. 1982 IV.flac
Yui Onodera - 1982 (2024) [24B-48kHz]\05. 1982 V.flac
Yui Onodera - 1982 (2024) [24B-48kHz]\06. 1982 VI.flac
Yui Onodera - 1982 (2024) [24B-48kHz]\07. 1982 VII.flac
Yui Onodera - 1982 (2024) [24B-48kHz]\08. 1982 VIII.flac
Yui Onodera - 1982 (2024) [24B-48kHz]\09. 1982 IX.flac
Yui Onodera - 1982 (2024) [24B-48kHz]\10. 1982 X.flac
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