|6||Noise Marimba Tape|
|8||Miyama No Kitsune|
Bird Ambience brings several fresh changes for the artist. Until now, Fujita would separate his acoustic solo recordings, the electronic dub made under his El Fog alias, and his experimental improvisations with contemporaries such as Jan Jelinek. The new album sees him unite all these different facets for the first time into one singular vision. He also makes a lateral leap from his signature instrument the vibraphone – on which he created his acclaimed triptych Stories (2012), Apologues (2015) and Book of Life (2018) – to the marimba, which takes centre stage on his new record alongside drums, percussion, synths, effects and tape recorder.
Arranged with a perfect Kanso-like balance, the unhurried pace of Bird Ambience allows each sound and phrase enough time to be mindfully absorbed and savoured. This subtle but affective work carries ethereal remnants of Midori Takada’s minimalism, the static atmospheres of Mika Vainio, To Rococo Rot’s organics and the bucolic electronics of Minotaur Shock. Fujita vaporises contemporary and classical, ambient and dismantled dub, controlled noise and fragments of jazz into an atmospheric, static mist, which he skilfully coerces into new forms.
Over the slow-motion, skeletal glitch jazz drums of opening title track ‘Bird Ambience’, Masayoshi elegantly weaves celestial choral samples, the operatic voice of fellow Erased Tapes artist Hatis Noit and gentle marimba phrases. This exemplifies his sparing but substantial sound, with a composition that’s equal parts beauty and noise, with plenty of space in between. “When I was working on Bird Ambience, I had this very strong but blurred image in my mind that I wanted to capture, but had to find the right sounds. It was like when you try to remember a dream you just had, but it falls away and disappears”, recounts Futija.