Satoshi SuzukiとNatsuki Nakajimaは、自然界の音素材に対し、コンピュータによるスペクトル分析を用いることで、人間の手では作曲できないような新たな音楽を生み出しました。

日本では、虫や鳥の音といった静かな音風景に浸り鑑賞する文化があり、それは奈良時代から現代に至るまでの様々な俳句や随筆の中で描かれてきました。SatoshiとNatsukiは、このEPの5つの楽曲の制作のために、その種のサウンドスケープの中から重要な音素材をひとつずつ選びました。"koe"はミンミンゼミの鳴き声、"Myaku"はヒグラシの鳴き声、"Era"はアマガエル、"Zui"はシジュウカラ、そして "h.a.k.u."はスズムシです。次に、Spectral Lab という独自に開発されたソフトウェアを用いて、これらの音素材の倍音構造からリズムやハーモニーをMIDIデータとして抽出しました。


Satoshi Suzuki and Natsuki Nakajima used computer-based spectral analysis of natural sounds to create a new type of music that would be impossible for humans to produce alone.


They have drawn on the Japanese culture of being immersed in the quiet soundscape and appreciation of the sounds of insects and birds. These soundscapes have been depicted in traditional haiku poetry and essays over the past 1,500 years.


Satoshi and Natsuki chose one sound from the different soundscapes for each track of the CD: the frantic buzzing of cicadas for "koe"; the quieter sounds of the evening cicadas for "Myaku"; the Japanese tree frog for "Era"; the Coal tit for "Zui"; and bell crickets for "h.a.k.u.".


Next, using Spectral Lab software which was developed especially for this project, they extracted the rhythms and harmonies from the overtone structure of the material as MIDI data, producing sounds that are totally original.


The music depicts the gentle sounds of nature in a whole new way. The sounds are orchestrated, or multilayered, by the artists. The result resembles familiar soundscapes to a certain extent, and yet is unlike anything heard before. 


This unique work creates an emerging aesthetic that combines the precision of the digital technology and the vitality of nature’s diversity. As a result, it uncovers an eerie ambivalence in our lives. It is timeless and new. It is soothing and disconcerting. It quivers with fraught tensions. It resolves the unresolvable contradictions between nature and technology.

All tracks produced by  Satoshi Suzuki and Natsuki Nakajima

Photographs by Kenji Agata