|4||Evening / Civil Twilight to Nautical Twilight||9:14|
|5||Night / Disco||12:14|
Japanese ambient innovator Nozomu Matsumoto renders a sublime LP edit of his witty and uncanny soundtrack for installation by Nile Koetting at Maison Hermès, Tokyo as the follow-up to cult 2018 side ‘Climatotherapy’ for The Death of Rave. It’s undoubtedly one of this year’s most necessary and strangely apt ambient excursions, bridging the dimensions of Satie, Eno, Midori Takada, James Ferraro, and 0PN.
Arranging gorgeous, beatless ambient tropes with classic punk lyrics recited by a synthetic voice, ‘Sustainable Hours - soundtrack for installation by Nile Koetting’ is a charming, emotive and gently perplexing addition to the Japanese and contemporary ambient spheres. Expanding broadly on ideas and feelings of his 2018 debut ‘Climatotherapy’, here Matsumoto yields a strangely riveting, insightful perspective on well- worn cultural memes with a subversive subtlety and uncanny effect that perfectly plays into and eludes classification.
Nile Koetting’s 2016 installation for Les Liaisons ambiguës, a group show at the Ginza Maison Hermès Le Forum, curated by Reiko Setsuda, comprised a selection of devices - a wireless LAN system, Dyson humidifier, air purifier, aroma diffuser, 5.1ch home theater speaker, line array speaker system, and a robot - purchased by the artist after recommendation by Amazon.com’s algorithm. The items were placed in an “organic environment” (as on the LP cover) intended to reflect a sense of timeless space inspired by punk’s ethos of “No Future”, with Nozomu’s soundtrack of meditative pads and playfully perpendicular but poignant placement of drily synth-voiced punk lyrics acting as a sort of Situationist détournement of chronology and context.
With the original six hour installation soundtrack available in its immersive entirety on credit card USB, this vinyl LP features the work contracted to five shorter pieces, each playing with the seduction of classique corporate and new age ambient’s putative therapeutic properties in a gently subversive manner that recalls Sam Kidel’s ‘Disruptive Muzak’ as much as the way James Ferraro and Oneohtrix Point Never adapt the kind of early digital music used in Kankyo Ongaku works by likes of YMO’s Haruomi Hosono. But most crucially there’s an underlying wit and soul to Nozomu’s conception of ambient music that essentially resonates with the ironies and psychic anxieties of the modern mindset and makes this soundtrack very special in its own, strangely blue light. It’s arguably a low key instant classic.