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90年代後半から2000年にかけて、ベルギーの名門レーベルSubRosaから4枚のソロアルバムをリリースし、AtomHeartやSeefeelとのスプリット作品やAutecheやFunkstrangらとともにコンピレーション作品に参加、またBill Laswellのリミックスなど様々な活動を繰り広げていた日本人プロデューサーBISK。2000年の4thアルバム「Moonstruck Parade」を最後に長期活動休止。そして2012年、12年ぶり通算5枚目のフルアルバムが完成。



リリースシート PDF
BISKオフィシャルサイト http://bisk.jp/
BISK SoundCloud http://soundcloud.com/aka_bisk
Shhhhレーベルサイト http://www.shhhh.eu/


1994年は20歳の時、東京のテクノレーベルにてコンピレーション作品に参加しデビュー。その後21歳でベルギーの実験音楽レーベルSubRosaと契約。1996年にはファーストアルバム「Time」をリリースし、リスニングテクノをベースとしながらも実験音楽の要素を含んだ独特なサウンドで密かに注目を集める。その後1997年にリリースしたセカンドアルバム「Strange or Funny-haha?」では、グリッチやカットアップを多用しながらテクノの領域を大胆に逸脱する、現在でいうところの「エレクトロニカ」領域を開拓。さらに翌年3枚目の「Ticklish Matters」ではアコースティックサウンドや女性ボーカルなどをフィーチャーし、従前のカットアップ手法をさらに発展させつつ、ドラムンベースやテクノ、現代音楽といった様々な音楽要素を融合させた。当初、「Strange or Funny-haha?」は英WIRE誌の年間ベスト100に選ばれ、米URBマガジンでは「NEXT100(次にくる100人)」にも日本人として選ばれた。また、日本ではほぼ話題に上ることはなかったが、エレクトロニカ黎明期には、PhoeneciaやKid606など、その影響を公言する者も少なくなかった。そんな中、Doctor Rockit(初期Herbert)やFila Brazilliaを髣髴とさせる、サンプリング主体のポップな作品「Moonstruck Parade」のリリースを最後に活動を休止。

Preview :

Sleeve Notes :
I have been making music ever since buying my first synthesizer in 1995. I soon found myself signed by a Belgian experimental music label in 1996, and for four years I was busy releasing four solo albums and some remixes. However, for accuracy’s sake I should also mention that the ten years after that were what I have come to refer to as “The Lost Decade.”
I had always found it thrilling to produce music that combined elements of techno and house, progressive and jazz, and a whole range of other genres – long before it was ever labeled “electronica” or “IDM.” Nevertheless, this kind of cross-genre experimentation has since become cliché. It came to a point where anyone could easily make “strange” music. As a result, I found myself in a situation where I became bored with it all.
Then, rather suddenly and unexpectedly, I found myself once again thinking about producing audio works. Ironically, this idea hit me in March of 2011, just as the great Tohoku earthquake hit Japan. In the days before the disaster my head had been filled with thoughts like, “I should really start making music again,” and “any time is a good time.” I began holding vague plans to achieve my goal, only to have any clear possibility of that day ever arriving suddenly stripped away by the disaster. There was an overwhelming sense here that everyday life as we knew it would be gone tomorrow.
Then, by chance, Turgut, the owner of Shhhh…, listened to some audio I had uploaded into Soundcloud. As a result, my goal has finally become a reality. It has taken ten years, but I am finally releasing my fifth full-length album.
This album is comprised of various types of music that I have seen come and go over the past decade. It combines techno, house, and jazz, as well as what some might call contemporary electronica. The methodology of BISK in 2012 is to take these various musical elements and attempt to find my own way to reshape them into new and sublime forms. The result is sometimes strange, sometimes humorous, and sometimes plain-old funky. I sincerely hope you will enjoy it.