“The so-called 'Left-Hand Path' - that of Kaulas, Siddhas and Viras - combines the... Tantric worldview with a doctrine of the Übermensch which would put Nietzsche to shame... The Vira - which is to say: the 'heroic' man of Tantrism - seeks to sever all bonds, to overcome all duality between good and evil, honor and shame, virtue and guilt. Tantrism is the supreme path of the absolute absence of law - of shvecchacarī, a word meaning 'he whose law is his own will'." ― Julius Evola, The Path of Cinnabar.

“It is necessary to have “watchers” at hand who will bear witness to the values of Tradition in ever more uncompromising and firm ways, as the anti-traditional forces grow in strength. Even though these values cannot be achieved, it does not mean that they amount to mere “ideas.” These are measures…. Let people of our time talk about these things with condescension as if they were anachronistic and anti-historical; we know that this is an alibi for their defeat. Let us leave modern men to their “truths” and let us only be concerned about one thing: to keep standing amid a world of ruins.” ― Julius Evola, Revolt Against the Modern World: Politics, Religion, and Social Order in the Kali Yuga.

“We are born into this time and must bravely follow the path to the destined end. There is no other way. Our duty is to hold on to the lost position, without hope, without rescue, like that Roman soldier whose bones were found in front of a door in Pompeii, who died at his post during the eruption of Vesuvius because someone forgot to relieve him. That is greatness. That is what it means to be a thoroughbred. The honorable end is the one that can not be taken from a man.” ― Oswald Spengler, Man and Technics: A Contribution to a Philosophy of Life.

Friday, June 12, 2009

Sabu Orimo - Susabu

Most who follow my blogs know I almost never write or blog about MUSIC. There are various reasons for this, the foremost being that I think most music sucks and most music that I like, most other people think sucks... que sera sera. That said, one of the few genres of music that I like is traditional Japanese shakuhachi music. This is not quite "traditional" Japanese shakuhachi music, but it is on the family tree. The instrument he is playing is a "hocchiku" style shakuhachi, much longer and wider bore than the traditional shakuhachi and with a completely unlaquered bore giving it a distinctive RAW sound. I'd read reviews of Sabu Orimo's playing online for some time before I finally tracked down a pirate download of one of his recordings, all of which are only released on extremely limited edition CDrs from extremely small underground labels in Japan. Below I've posted an online review, and below that I've posted the link to download SUSABU.
I generally don't support bootlegging other people's recordings, but this is fantastic stuff and otherwise virtually unobtainable, even in Japan. For the record; this is someone else's upload - I am just sharing the link and additional info here.
Totally awe-inspiring recordings by this 23 year old shakuhachi blower, released in an ultra limited run. Sabu ? although being young for one who can exerts such sounds from his shakuhachi in an utterly unique way ? is found to describe his playing as “Japanese old stone age style” and “noise shakuhachi”. This should already give you a hint at the sonic realms he set out to shred to pieces. His first solo effort, “Susabu” is a real tour de force. While confining himself to blowing only natural bamboo flutes without any superficial aids such as additional effects, Sabu rips through his instrument with a disemboweling force that brings to mind fellow howlers like Masayoshi Urabe, Abe Kaoru and Thomas Ankersmit to some extent. Although Sabu has not yet attained the grandeur and delicate touch of such masters like Watazumido, he nevertheless displays already the budding potential his talent beholds. “Susabu” consist out of 9 tracks, some of which are well balanced and meditative in its origin, while others rip through the dead space with the urge and power of a person cursed with a fire-breathing locomotive breath. Sabu however does not limit his sonic palette to the shakuhachi but includes ecstatic vocal outburst, growls, howls and hisses which explains to some extent his new approach to the sonic outcome of shakuhachi playing. A modern day master in the making, Sabu is someone to watch out for and this CD by him will definitely stun you with disbelief because he transcends the idea of what a solo shakuhachi recording should sound like. A major new player on the scene…..limited release so act fast. (Tiliqua Records)Amazing new limited edition solo album by this young Japanese shakuhachi avantistwho describes himself as playing "Japanese old stone age style" and "noiseshakuhachi". Orimo plays with natural bamboo flutes using no F/X whatsoever buthe tears through the instrument with distorting force, blowing teeth through thevalves with the kind of power-thinking more commonly associated with saxophonistMats Gustafsson or Masayoshi Urabe. Susabu consists of nine pieces recorded inMarch of 2006. Some tracks here work locomotive growls and roars into trulyferocious forms, while other juggle meditative tonal puffs, long, elegiac single notesand pregnant iceberg silences ala Kaoru Abe. The point where Orimo's strainingagainst the instrument finally breaks into screaming vocals and barked ecstaticwows is truly spine-tingling. Pretty much explodes the idea of what you wouldexpect a "solo shakuhachi" record to sound like. A major discovery and highlyrecommended. (Volcanic Tongue)Two solo albums on the tiny Japanese label Subjective Spirit Sound contain some ofthe most remarkable shakuhachi playing I've heard in years. Sabu Orimo is a playerstill in his twenties, with a fine lineage: both his parents were musicians in Punkgroups. He studied shakuhachi with Atsuya Okuda and plays exclusively ji-nashi"hocchiku" flutes: large, natural bamboo with no lacquer or special treatment toaffect the sound. His concert posters proclaim "Noise Shakuhachi Solo Live", whilehis label describes him as playing "Japanese old stone age style".Susabu consists of nine pieces all recorded on 28th March 2006. The opener is apassionate treatment of the honkyoku "San-an", full of hectic flurries, gasping andviolent stamping noises. It recalls the master Watazumido, but if anything is evenmore uninhibited and earthy. But Orimo's control is firm - he often swivels intosilence, and the piece closes with great calm after the storm. A version of "Koku" ismeditative and beautifully paced. Here you can clearly discern Okuda's influence, andat seventeen minutes it's the same length as Okuda's own recording.Orimo also plays the honkyoku "Sanya" and "Honte No Shirabe", but almost half ofthis album appears to be improvised. Susabu's title track is in two parts, betweenwhich Orimo probably needed to lie down in a darkened room. "Susabu Part 1" is afull-blooded outburst, culminating in an almighty thump. In "Part 2" Orimo snortsdown the flute like a trumpet, and roars as if possessed. The recording equipmentreels under the onslaught - this is a demented howling you expect more on a lo-fiPunk record. It's a shock, but somehow integrated into the story that Orimo istelling. His sound has such integrity that he can carry the listener with him; as withAlbert Ayler’s saxophone, you feel that if he needs to extend his emotional rangethis wide, then so be it.Susabu concludes with an extremely low-pitched and restrained track titled"Tsukiyo". In spite of all this, it's Ichion, Orimo's second album, recorded two weekslater, that is one of my favourite records of 2006. Four of the five tracks are playedon a long and low flute. Here what's remarkable is how little Orimo does and howgood his timing is. Three minutes can be devoted to exploration of one quiet note.The outside world creeps in around the edges: on "Yure" we can hear it's pouringwith rain. Five minutes in, Orimo makes his move. Gusts of wind whip through thebamboo, then he returns to stillness. These are extraordinary performances thatseem to dig deep into Japanese tradition. (The Wire)

Download: http://www.mediafire.com/?o2m4ntednjo

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