■ Jerks and Creeps ■ by Marcos Fernandes & Bill Horist 「ジャーク・アンド・クリープス)」 マルコス・フェルナンデス & ビル・ホリスト Tracklist / 曲目 1- Kobe 2- Osaka 3- Kobe 2 Marcos Fernandes: phonography, electronics Bill Horist: guitar, electronics Haco: electronics, voice (1, 3) Masafumi Ezaki: trumpet (2) Bunsho Nishikawa: electronics (2) Tim Olive: electric bass (2) Recorded by Tetsumasa Kondo at Big Apple, Kobe (1, 3) and by Bunsho Nishikawa at Bridge, Osaka (2), April 2005 Mixed and mastered by Steve Langdon at Langdon Productions Produced by Marcos Fernandes "Jerks and Creeps, recorded during Marcos Fernandes and Bill Horist's 2005 Japan Tour, captures the energy of their live performances and reveals the evolution of a musical language developed over the years through their collaborative improvisations. Horist's extended guitar wizardry and Fernandes' processed field recordings combine and collide with each other and with the playful inventiveness of Haco's voice and electronics (at Big Apple in Kobe), or the minimalist eruptions of Masafumi Ezaki, Bunsho Nishikawa and Tim Olive (at Bridge, Osaka). The music mutates - sometimes slowly and at other times in spurts - constantly transforming itself like some primordial sonic soup." ーAccretions Records (USA) 米国サンディエゴ出身、Accretions RecordsオーナーのMarcos Fernandes（フィールドレコーディング、エレクトロニクス）とシアトル在住のギタリスト (プリペアド・ギター) Bill Horist が2005年に日本ツアーをおこなった時のライヴ録音。ゲストにHaco（ヴォイス/エフェクト）を迎えた神戸での演奏2曲、江崎将史（トランペット）、西川文章（エレクトロニクス）、Tim Olive（エレクトリック・ベース）を迎えた大阪での演奏1曲、計3曲収録。 *Digipak *デジパック仕様 ☁ Details / 詳細 http://www.japanimprov.com/indies2/accretions/jerkscreeps.html ■ Label / レーベル ■ Accretions Records (ALP046) (USA) ♪Sample 試聴 http://www.accretions.com/catalog/jerksandcreeps.php ☁ Reviews (excerpts) / レビュー (抜粋) "Recorded at two stops during their 2005 tour of Japan, Jerks and Creeps finds Seattle-based prepared guitarist Bill Horist and Accretions boss/electronics maverick Marcos Fernandes collaborating with two sets of guests. Horist and Fernandes are highly tactile and imaginative players, who bring a sustained motion and sense of playfulness to these non-hierarchichal soundfields. At the Kobe concert they were joined by vocalist and electronician Haco; the performance is dense and congested, from the opening sounds of spinning metallic bowl to the slurping frequencies at the end of the second piece. Individual noises whiz, whoosh, bang and whistle with a concentrated commotion, and the results have the jostling feel of a cramped, overheated kitchen in a small highway diner. Haco's baying vocals bring a recognizable human element, while Horist's taps and teases occasionally merge from the rough and tumble caterwaul. The single track from Osaka is more austere, despite the presence of additional musicians (trumpeter Masafumi Ezaki, electronics whiz Bunsho Nishikawa and American bassist Tim Olive); only Ezaki's trumpet squeaks are audible through the industrial noise. There's not much to distinguish the two sessions, but that's hardly a knock against the musicians, as the interplay and focus are formidably high throughout." ーRichard Moule (Signal to Noise, 2007) http://www.marcosfernandes.com/press/