mAtterの新しいTシャツは、イヴ・クラインに捧げられています。彼の創造性と先見性は、私たちのレーベルに大きな影響を与えました。 このTシャツはシルクスクリーンとハンドペイントで作られており、ブルー部分のペイントや一枚一枚の表情が異なることをご了承ください。 * このTシャツは50回の洗濯により、柔らかい質感と独特な色合いが特徴です。 限定 : 50着 [Spec] Body: Comfort Colors / Garment Die Color : Khaki Sizes : S / M / L / XL Size Details: S size : Body Length : 68cm / Body Width : 44cm / Sleeve Length 41.0cm M size : Body Length : 71cm / Body Width : 50cm / Sleeve Length 45.0cm L size : Body Length : 75cm / Body Width : 54cm / Sleeve Length 48.0cm XL size : Body Length : 78cm / Body Width : 58cm / Sleeve Length 52.0cm - mAtter's new T-shirt is dedicated to Yves Klein. His creativity and foresight had a huge impact on our label. Please note that this T-shirt is silk-screened and hand-painted, and that the paint in the blue areas and the look of each piece will vary. * This Tee has a soft texture and unique colouring due to 50 washes. mAtter T-shirts : Dedicated to Yves Klein Limited : 50 We will delivery on 8th August, 2022. [Spec] Body: Comfort Colors / Garment Die Color : Khaki Sizes : S / M / L XL Size Details: S size : Body Length : 68cm / Body Width : 44cm / Sleeve Length 41.0cm M size : Body Length : 71cm / Body Width : 50cm / Sleeve Length 45.0cm L size : Body Length : 75cm / Body Width : 54cm / Sleeve Length 48.0cm XL size : Body Length : 78cm / Body Width : 58cm / Sleeve Length 52.0cm

The sounds of breathing and rubbing of clothes during improvisation by dancer/choreographer Miwa Okuno, the parallel Fender Rhodes performance by Masaya Kato. and the sound of unrecorded empty open-reel, 8mm film, VHS, and other magnetic media. The layer composed of noise, the environmental sounds of amorphous objects such as water and wind, and the pauses between each of these elements are all considered equivalent values, and by reconstructing them into a piece of music, each elements is established as a single “phenomenon” that melds into the space. Furthermore, the “phenomenon“ itself, vaguely formed by the dissolution of the self-identity of various elements, where body is body and material is material, contains the expectation that it will lead to the acceptance and affirmation of the arbitrariness of existence as a poetic sentiment. ダンサー/振付家として活動する奥野美和による、インプロビゼーションの際に発生する呼吸音や衣擦れの音、それに並行し加藤雅也によるフェンダーローズ演奏、未録音の空のオープンリールテープ・映画用8mmフィルム・VHS等の磁気メディアの持つノイズによって構成されたレイヤー、水や風といった非定形物の環境音、そしてその各要素間における間合い、それらすべてを等価値と捉え曲へと再構築させる事でその各要素は空間に溶け合う一つの「現象」として成立し、更に身体が身体であり、物質が物質である、という諸要素の自同律の瓦解により朧げに形作られたその「現象」自体が、詩情として存在の孕む恣意性への受容と肯定に繋がる事への期待が本作には込められています。 - Masaya Kato 詩からの影響を強く受け、日常的な知覚・皮膚感覚から空間と個人の相関を通し身体が身体であり、個が個である前提からどこまで解放され得るのか、という主題を軸として据えつつ、これまでダンス・映像・朗読・演劇などとの共作に参加。青山学院大学在学時より作曲を開始し、これまで2013年に英Somehow Recordings、2015年に米Time Released Sound、2018年に英Whitelabrecsよりアルバムを発表。近年はフェンダーローズやホーナーピアネットといった音叉・金属板から発生する音をピックアップで集音するエレクトリックピアノを多用。 mAtter's artist page link www.matter.jp/masaya-kato-profile - Miwa Okuno ダンサー・振付家。N///K主宰。3歳よりモダンバレエを始め、2002年大東文化大学に入学しモダンダンス部に所属。大学卒業後、北村明子率いるダンスカンパニー〈レニ・バッソ〉に参加。 2009年よりソロ活動を開始し骨と肉の存在に重点をおいた「自由になる為の解体された身体」をテーマに振付を行い国内外にて活動。 横浜ダンスコレクションEX2013にて〈若手振付家のための在日フランス大使館賞〉〈MASDANZA賞〉、同年インターナショナル・コンテンポラリーダンス・コンペティションMASDANZA18（スペイン）にて〈審査員賞〉を受賞。 2017年東京藝術大学先端芸術表現専攻にて修士号を取得。 代表作に、「ハイライト　オブ　ディクライン」（2013年）、「B/O/N/E」(2015年)など。2017年にはPARCO production「この熱き私の激情」（原作：ネリー・アルカン、演出：マリー・ブラッサール、主演：松雪泰子）にダンサーとして出演。 mAtter's artist page link www.matter.jp/miwa-okuno-profile credits releases May 22, 2022 Miwa Okuno (dance) Masaya Kato (sounds) Mixed & Mastered by Masaya Kato - This release page of mAtter www.matter.jp/work#/notes-for-the-mutation-masaya-kato-and-miwa-okuno/ license

mAtterからリリースされたPé - Glasshoppers(MATTER022)のTシャツ。 イランのアーティストであるPéの詩を引用し、シルクスクリーンにて一枚一枚手刷りされています。 詩の内容は ”時間の丘を移動し、すべての丘のへこみにほこりを集める。根を伸ばし、根が動くと、そこには凹みの風景を模した影が落ち、酸のように光を喰らい、あちらの世界やこちらの世界から、光を奪っていく。丘から生まれ、へこみで育まれ、塵に養われ、真空の中で孵る。あっちの世界とこっちの世界、どちらにも属さない生き物。彼らは丘からへこみへと飛び、そして戻ってくる。飛び跳ねて、へこみは埃を集める。” 50枚限定。 *Grasshoppers（バッタ達）ではなく、Glasshoppersです。 *第一弾が入荷しております。サイズによっては、刷り上り後に、発送となります事を予めご了承下さいますようお願い致します。

POLANDを拠点に活動するマルチインストルメンタル・デュオ GIORGIO F AZERの新作！ mAtterレーベル初のヴォーカル作品！ GIORGIO FAZER - GDY ROZUM ŚPI 01. Prolog - 02:44 02. Gdy rozum śpi - 05:12 03. Białe gwiazdy - 04:53 04. Powrót - 04:01 05. Barabasz - 04:21 06. Zmartwiony - 04:05 07. Noc przed - 04:49 08. Rozwiązanie - 04:55 09. Czas decyzji - 04:10 10. Wyschnięta rzeka - 04:18 11. Epilog+SUPLEMENT - 06:30 Artist : GIORGIO FAZER Title : GDY ROZUM ŚPI Catalog No. : MATTER020 Format : CD Edition : 300 copies *CDジャケットは活版印刷で印刷していますので、一枚づつ風合いが異なりますことを予めご了承下さいませ。 - これまでゴダールやバスキアなどの作品や展示を手がけてきたmAtterレーベルからポーランドを拠点とするマルチ・インストルメント・デュオGiorgio Fazer をリリース 彼らはミュージシャン、プロデューサー、ユーザーエクスペリエンスデザイナー、非公認演劇研究者、ビジュアルアートジャンキーであり、オルタナティブ・エレクトロニック 音楽集団”JAAA!”のメンバーでの活動は、本国ポーランドでも有名であり、2020年には２つの映画作品の音楽を担当し、両作品とも受賞しサウンド・トラックも高評価を 獲得しています。デザインと歴史、そして美術史的な観点からもポーランド的な緻密なコンポジションとオルタナティブな手法を用いながら、ポストロックにもアンビエン トにも収まらない非常にユニークなサウンドを獲得しています。またCDジャケットは活版印刷で擦られており、独自の風合いは一枚づつ違った表情を見せます。

Artist : Grotta Veterano Title : Bleiweisova Cesta Catalog No. : MATTER019 Format : USB FLASH DRIVE Edition : 100 copies RELEASE DATE : 4 June, 2021 - Dear friends, for me, Bleiweisova Cesta, it is a sort of sound memory. One street, the snow in the cold light in the morning, everything is slowly covered in white; everything is slowly covered in white while columns of hot smoke rise to the sky and gradually fade away, the words are muffled and the silence makes all will vain. No concept at all, I swear, this is traditional sonic exploration, disguised as an impressionist painting, in an indefinite era, with a modern palette. have a beautiful listening. “私にとってBleiweisova Cestaは、音の記憶のようなものです。一つの通り、朝の冷たい光に照らされた雪、すべてがゆっくりと白に覆われていく。全てがゆっくりと白に覆われていく一方で、熱い煙の柱が空に向かって立ち上り、この世界がゆっくりと白銀の世界に覆われていく。熱い煙の柱が空に向かって昇っていきは徐々に消えていく。 言葉はくぐもっていて、静寂がすべての意志を無駄にします。この作品にはコンセプトは全くありません。誓って言いますが、これは印象派の絵画を装った伝統的な音の探求です。印象派の絵画のように見えるこの音楽は、この混沌とした時代に、現代的なパレットを使用して描かれています。美しいリスニングをお楽しみください。” Grotta

予約受付中 mAtterレーベルのTシャツ・プロジェクト第一弾として発表されたMichal Martychowiecの作品をフュチャーしたT-shirtsになります。こちらはMichalの作品 “Shadow and other signs of life”という実際にウサギの足跡から作られた作品を使ってTシャツというメディアにて、再構築されています。 Michal Martychowicはポーランド出身でロンドンとベルリンを拠点にコンセプチャル・アーティストとして、様々なメディアを使い各国で展示を行なっています。彼の作品がTシャツとして登場するのは初です！ こちらは初回生産を小ロットで行なっているので、今後はmAtterのリリース物でもレア・アイテムになること間違いなしです！ シルクスクリーンで一枚一枚プリントしておりますので、多少のスレがございますが、そのような意図を持って製作されております。 *こちらの商品は予約受付商品の為に、8月前半よりデリバリー開始となります。予めご了承下さい。 Michal Martychowiec web site http://michalmartychowiec.com/ mAtter web site https://www.matter.jp/

*こちらの商品は3/27日先行発売の商品になりますので、発売日にお手元に届くように発送させていただきます。予めご了承ください。 Featuring DVD + CASSETTE TAPE (includes Download Code) DVD : 44:35 TAPE : SIDE A: What We Leave Behind - 22:38 SIDE B: What We Leave Behind - 22:11 Realisation: Stephan Crasneanscki Reel-to-reel Tape Transfer: Simone Merli Mixed by Tyler Friedman at Sakha Studio, Berlin Mastered by Stefan Betke at ~Scape Mastering, Berlin Produced by Soundwalk Collective with Marcus Gammel [Deutschlandradio] CAT NO : MATTER016 FORMAT : DVD and Cassette Tape (including Download Card) - DVD: 44:35 min. Format: PAL Region Code: All This DVD is region free and can be played on any computer (MAC and/or Win.) DVD drive. No region switching is necessary for television screen viewing, it can only play back on a PAL or multi-system DVD player. - Jean-Luc Godard’s longtime sound engineer, Francois Musy and I drove for 10 hours, from Switzerland, where Godard lives, to Cantal, in France, where the warehouse with his archive is. The idea was to create a sound composition from the recordings in the archive for Deutschlandradio and Radio France Culture. Once in the warehouse, in front of that endless series of boxes full of books, tapes, notes, cut-outs, the full map of his ean-Luc Godard’s longtime sound engineer, Francois Musy and I drove for 10 hours, from Switzerland, where Godard lives, to Cantal, in France, where the warehouse with his archive is. The idea was to create a sound composition from the recordings in the archive for Deutschlandradio and Radio France Culture. Once in the warehouse, in front of that endless series of boxes full of books, tapes, notes, cut-outs, the full map of his thinking, I felt that all this fragmented material will be the genesis of our sound composition. This is how the idea of What We Leave Behind came about. Sound is its own entity and should be used this way. Each sound has its own value, its own color. The sound of wind rippling through the leaves, a far-off airplane covering a voice, a ringing telephone, a slamming door. Listening to the tapes in Godard’s archive, you could feel this. Some had to be played back on a Studer J37s, the same tape recorder used on Sgt. Pepper’s Lonely Hearts Club Band. Many were full of fragments that didn’t make the final cut, that were never meant to be heard and that now, through this new sound composition, were resurrected. The edits and cuts, the microphone checks, before and after every clap, everything that was left behind, was now a reflection, rather than an omission. They speak to the passing of time. They are timestamps. The question is, when do we stop, when is a story finished, when do we need to stop? In one of the boxes I found some pages of Paul Klee that Godard has underlined in red: “Art plays an unknowing game with the ultimate things and yet reaches them nonetheless! Art does not give the visible but, instead, makes visible”. Stephan Crasneanscki, 2018 Jean-Luc Godardの長年のサウンドエンジニア、Francois Musyと私は、ゴダールが住んでいるスイスから、彼のアーカイブの倉庫があるフランスのカンタールまで、10時間運転しました。私のアイデアは、DeutschlandradioとRadio France Cultureのアーカイブ内の録音から新しい作品を制作することでした。倉庫に入ったら、本、テープ、メモ、切り欠き、彼の思考の完全な地図でいっぱいの箱にあるその無限のシリーズの前で、私はこれらすべての断片化された材料が私たちの作品になると確信しました。これが、「What We Leave Behid」という考え方が生まれた理由です。音はそれ自身の存在であり、音として使われるべきです。それぞれの音はそれ自身の価値、色を持っています。葉の向こう側に波打つ風の音、声を覆う遠くの飛行機、鳴っている電話、叩いているドア。ゴダールのアーカイブのテープを聞いて、あなたはこれらは感じる事が出来るでしょう。 多くのテープは、Sgt.Pepper's Lonely Hearts Club Bandで使われていたのと同じテープレコーダーであるStuder J37で再生しなければならなかったものもありました。 ここにある多くのテープは最終カットをしなかった断片でいっぱいであり、そしてそれは決してこれまで聴かれることがなかったのですが、今、この新しい作品を通して復活しました。マイクチェックやシューティング前、終わりのクラップ指示を削除する事よりむしろ反映しています。彼らは時間の経過について語っています。それらはタイムスタンプであり、問題は、いつ停止するのか、いつストーリーを終了するのか、いつ停止する必要があるのか、ということです。１つの箱の中に、ゴダールが赤で下線を引いたPaul Kleeの言葉です。“Art plays an unknowing game with the ultimate things and yet reaches them nonetheless! Art does not give the visible but, instead, makes visible”. Stephan Crasneanscki, 2018

Artist: France Jobin + Ricard Chartier Title : DUO A SIDE DUO.1 - 09:00 DUO.5 - 08:00 B SIDE DUO.2 - 13:40 C SIDE DUO.3 - 11:50 D SIDE DUO.4 - 17:22 Catalog No. : MATTER015 Format : Vinyl (2LP) including DOWNLOAD CARD Edition : 300 copies 徹底的に処理された微細なグリッチ音と幾層にも引き伸ばされたドローンは、静かに、そして美しく、その場の空気感を変容させていきます。今作品は美麗な旋律や決定的なカタルシスは排除されながらも、エレガントな雰囲気を立ち上がらせ、空間と時間の境界線上で描かれた、複雑で繊細な”intemporelle（アンタンポレル）”を指向しています。それはまるで品のあるフレングランスのように、どこからともなく聴く者を魅了してくれる作品に仕上がりました。音楽作品に留まらず、サウンド・インスタレーション作品を発表してきた二人のサウンド・アーティストの共作により、更に濃厚なサウンド・オブジェクト・ピースとして成立しました。 DUO is the first collaborative project from minimal composer France Jobin and Richard Chartier. DUO creates an “intemporelle“ and pervading atmosphere, where sounds intermingle within an intricate and delicate system delineated by spatial and temporal boundaries. composed by France Jobin and Richard Chartier. mastered by Stephen Mathieu thank you to Yukitomo Hamasaki and Shuhei Miyagi design by Richard Chartier More Information https://www.matter.jp/work/#/duo-france-jobin-richard-chartier/

Artist: Luigi Turra Title : Fukinsei SIDE A 1.Imperfection I 2.Imperfection II 3.Asymetrie I 4.Asymetrie II SIDE B 1.Abrasivite I 2.Abrasivite II 3.Abrasivite III 4.Abrasivite IV 5.Abrasivite V Catalog No. : MATTER014 Format : Vinyl including DOWNLOAD CARD Edition : 300 copies ”完全にはない無限の可能性”である不均斉は、均等ではないその歪みや完全を超えた不完全な美を示す、日本の美しい文化を司る要素の一部であり、またその歴史的な表現に影響を受け、西洋の楽器や、ラップトップによってエディットされた音で、表現されています。ギターの響き、サインウェーブ、ヴォイス・サンプル、しかしそこに配置されているものは、グリッド状に配置される音ではなく、響きと” 間” に集中しています。 松岡正剛氏の著書「神仏たちの秘密」には、 “不足によってこそ、完全や満足という物ではあらわせないことが出現するとみなす。不足をいかに美しくするかということによって、人々の中に満足の美というものを感じさせるのです。「枕草子」はそれを「小さきもの」と言いました。イサムノグチは「不完全こそが美だ」と言いました。”　とあり、この緊張感と音によって静寂と向かい合う作品を提案したいと思います "Asymmetry or irregularity. The idea of controlling balance in a composition via irregularity and asymmetry is a central tenet of the Zen aesthetic." mAtter presents Fukinsei (不均斉), the fourth solo work of Luigi Turra over the last 11 years and is published two years after the sophisticated "Alea" (released by LINE). Fukinsei takes a more radical approach to the research of the perception of sound through silence and it does so through a modern electroacoustic implant which expresses a brilliant crossover between contemporary sound and ancient Japanese music tradition. Stylized Shakuhachi sounds interact with harsh textural noises, while bright sounds of diapasons and whispers of the human voice are broken by raw guitar notes to crush and sculpt with abrasiveness every aesthetic convention of symmetry and regularity. A work by an Artist without compromises, tense and dynamic, that in its radical language supports the changes in the surrounding reality and becomes aware of the adaptation of the here and now. Seigo Matsuoka’s Book "Secrets of the Shinto and Buddhism” wrote below “It is considered that emerging things that can not be expressed in terms of completeness or satisfaction will emerge due to lack. By making how to make the shortage beautiful, let people feel the beauty of satisfaction. Sei Shonagon wrote “ Small Kimono” on a Book “ MAKURA NO SOSHI (The Pillow Book). Isamu Noguch said “imperfection that is Beautiful.” We would like to propose this work that confronts silence by various sounds and the tension. More information https://www.matter.jp/work/#/funkisei-luigi-turra/

This is a MIXTAPE, which is excerpted from the works that will be released from mAtter in the future. Each work will be released by various media. mixed by Yukitomo Hamasaki この作品はミックス・テープ作品になります。収録されている楽曲は今後mAtterからリリース予定の作品から選ばれ、ミックスされていました。 featuring ARTISTS (A to Z); Edwin Lo France Jobin Go Koyashiki Lars Lundehave Hansen Luigi Turra Masaya Kato and Miwa Okuno Pe Lang Richard Chartier Stijn Hüwels Tomas Philips Yukitomo Hamasaki CAT NO : MATTER-T001 FORMAT : CASSETTE TAPE with Download Card 60 min. EDITION : 100 copies; Physical Sleeve Design is slightly different from digital release. PRICE : 1,200 JPYEN (including Tax)

artist : Jacob Kirkegaard title : Sabulation DVD: 30:31 minutes Format: PAL Region Code: All * Mac and/or Windows PC can play and watch without Format PAL or NTSC If your country DVD format with NTSC. *本商品はインスタレーション作品のオリジナルデータを元にプレスされている為、マスターデータの都合上、日本国内はNTSC規格の為、通常のDVDプレイヤー(NTSC)での再生はできません。 MACまたはWindows PCに付属するDVD プレイヤーでの再生は出来ます。またお使いのDVDプレイヤーがNTSC/PAL両対応であれば再生可能です。 Book: 56pages Photo Card: Size A5/ 148 x 210mm All sound, video and photos by Jacob Kirkegaard - CAT NO : MATTER013 PRICE : 3900yen FORMAT : DVD, Book and Photo Card EDITION : 300 RELEASE DATE : 2016 June 26 SABULATION インスタレーションであるこの作品はオマーン砂漠のSingin Sandsのフィールドレコーディングとその砂漠に轟く音の映像とサウンドの作品です。また2010年の愛知トリエンナーレにてプレミア上映として出展されました。 Sabulationは、オマーン（変動する砂丘が深く重い音を発する世界でも少ない場所の1つ）の砂漠で、『Singing Sands』の映像記録と録音から制作されます。音は、砂丘に埋設される振動センサーを使って録音されています。 SABULATION Installation. 30-minute sound and video composition from field recordings of singing sands and booming dunes recorded in the Oman deserts. Premiered at at Aichi Triennale, Nagoya, Japan, 2010. Sabulation is created from video and sound recordings of the ‘Singing Sands’ in the deserts of Oman, one of the few places in the world where the shifting sand dunes emit deep tones. The sounds were captured using vibration sensors buried inside the dunes. ヤコブ・キルケゴールはアーティストであり作曲家でもあり、作曲、またはビデオ作品やインスタレーション作品の為に、厳選された環境において生成されたサウンドを録音します。 彼の作品は聴いたことのない音の現象を明らかにし、世界を経験する手段として聴くという行為を示します。キルケゴールは、地下の間欠泉振動、チェルノブイリの空虚な空間、北極における氷河の音、人間の内耳自体が発生する音などを記録してきました。 現在、コペンハーゲンを拠点に活動し、MoMa(ニューヨーク), LOUISIANA(デンマーク)、KW（ベルリン）、The Menil Collection & at the Rothko Chapel i（ヒューストン）、愛知トリエンナーレ（名古屋）、森美術館（東京）、そして最も新しい個展はMuseum of Contemporary Art in Denmarkにて開催されました。キルケゴールはスカンジナビアとヨーロッパではDanish Galleri Tom Christoffersenが、アメリカとアジアではOpalnestに所属しています。またこれまでにTOUCH, Important Records, VON Archives, Posh Isolation labelsから作品をリリースしており、デンマークの現代美術館のLOUISIANANのパーマネント・コレクションなどがあります。 2016年にはサウンド・アーティストとしてオックスフォード大学に滞在制作を行いました。 website > www.fonik.dk Jacob Kirkegaard is an artist and composer who works in carefully selected environments to generate recordings that are used in compositions, or combined with video imagery in visual, spatial installations. His works reveal unheard sonic phenomena and present listening as a means of experiencing the world. Kirkegaard has recorded sonic environments as different as subterranean geyser vibrations, empty rooms in Chernobyl, Arctic calving glaciers and tones generated by the human inner ear itself. Based in Copenhagen Kirkegaard has presented his works at galleries, museums and concert spaces throughout the world, including MoMA in New York, LOUISIANA in Denmark, KW in Berlin, The Menil Collection & at the Rothko Chapel in Houston, Aichi Triennale in Nagoya, the Mori Art Museum in Tokyo, Japan - and most recently with a solo exhibition at the Museum of Contemporary Art in Denmark. Jacob Kirkegaard has gallery representation in Scandinavia and Europe by the Danish Galleri Tom Christoffersen and in USA and Asia by New York based Opalnest. His sound works are released on the TOUCH, Important Records, VON Archives & Posh Isolation labels. His work is represented in the permanent collection of LOUISIANA - Museum of Modern Art in Denmark. In 2016 Jacob Kirkegaard is the sound-artist-in-residency at Oxford University, U.K. website > www.fonik.dk

Artist : Stijn Hüwels CD: title : SIX PIECES FOR GUITAR 01. untitled I 02. untitled II 03. untitled III 04. untitled IV 05. untitled V 06. untitled VI E.P A side - We Were An Island B side - Osmanthus Fragrans *we need the time for cutting vinyl because we will be cut after ordered one by one. - CAT NO : MATTER012 -R PRICE : 3500yen (including Tax) / without shipping cost FORMAT : 7inch vinyl (with download code) + CD + 6 paper pieces + liner notes EDITION : 50 RELEASE DATE : 2016 Feb 01 - all music by Stijn Hüwels composed & recorded spring/summer 2015 & 2016 mastered by Ian Hawgood Stijn Hüwels is a Belgian musician and sound artist, mainly using processed guitar, loops and field recordings. His instrumental work is often characterized by a profound fascination for minimalism. Shortly after releasing his first album, 'Untitled', in 2011, Yukitomo Hamasaki of mAtter contacted Hüwels to inquire if he would be interested in making an album for his label. Even though the Belgian had been making music for several years, he didn’t feel the urge to release it. But things change and after a few they got in touch again. Yukitomo was still into the idea of releasing an album and so it happened after all. While the album has a title (Six Pieces For Guitar), the separate pieces themselves don’t. It’s not that these instrumental ventures don’t have any trademarks that distinguish themselves from each other, of course, but Hüwels wanted to accentuate the creative listening process. Even though the music is created in fairly solitary circumstances, by a musician who may or may not have had a preconceived idea of what he wanted to convey, the kind of music Hüwels makes never smothers the listener’s freedom. The inclusion of field recordings, something that has always distinguished the musician’s releases, is of course something entirely personal (just like the tools used) in the music’s conception, but this is not necessarily the case anymore once it finds its audience. This is not the kind of music that is based on prefixed ideas, obvious pointers and tight construction motifs. Instead, it follows a flow of ideas and an exploration of sound and textures that are not only about the thinking process, but also about the qualities of the material itself. As such, it allows for multiple interpretations. The soothing guitar waves, dreamy looping technique and ghostly sounds are already descriptions that might reveal a certain attitude towards the music, but it can get more personal. And what might sound melancholic and meditative to the first listener, might have different, even divergent associations for the next one, depending on the identity, mood, age, experience and even geographical location. And that’s what it was about for Hüwels: finding that delicate balance where his approach can be identified as his own, but where the music can still function as a trigger. Like any other art form music can leave a lot unexplained, in the middle, to be filled in by the listener. text by Guy Peters

artist : Stijn Hüwels title : SIX PIECES FOR GUITAR 01. untitled I 02. untitled II 03. untitled III 04. untitled IV 05. untitled V 06. untitled VI - CAT NO : MATTER012 PRICE : 2100yen FORMAT : CD + 6 paper pieces + liner notes EDITION : 300 RELEASE DATE : 2016 Feb 01 - all music by Stijn Hüwels composed & recorded spring/summer 2015 mastered by Ian Hawgood Stijn Hüwels is a Belgian musician and sound artist, mainly using processed guitar, loops and field recordings. His instrumental work is often characterized by a profound fascination for minimalism. Shortly after releasing his first album, 'Untitled', in 2011, Yukitomo Hamasaki of mAtter contacted Hüwels to inquire if he would be interested in making an album for his label. Even though the Belgian had been making music for several years, he didn’t feel the urge to release it. But things change and after a few they got in touch again. Yukitomo was still into the idea of releasing an album and so it happened after all. While the album has a title (Six Pieces For Guitar), the separate pieces themselves don’t. It’s not that these instrumental ventures don’t have any trademarks that distinguish themselves from each other, of course, but Hüwels wanted to accentuate the creative listening process. Even though the music is created in fairly solitary circumstances, by a musician who may or may not have had a preconceived idea of what he wanted to convey, the kind of music Hüwels makes never smothers the listener’s freedom. The inclusion of field recordings, something that has always distinguished the musician’s releases, is of course something entirely personal (just like the tools used) in the music’s conception, but this is not necessarily the case anymore once it finds its audience. This is not the kind of music that is based on prefixed ideas, obvious pointers and tight construction motifs. Instead, it follows a flow of ideas and an exploration of sound and textures that are not only about the thinking process, but also about the qualities of the material itself. As such, it allows for multiple interpretations. The soothing guitar waves, dreamy looping technique and ghostly sounds are already descriptions that might reveal a certain attitude towards the music, but it can get more personal. And what might sound melancholic and meditative to the first listener, might have different, even divergent associations for the next one, depending on the identity, mood, age, experience and even geographical location. And that’s what it was about for Hüwels: finding that delicate balance where his approach can be identified as his own, but where the music can still function as a trigger. Like any other art form music can leave a lot unexplained, in the middle, to be filled in by the listener. text by Guy Peters

* Please Download by PC (OS: MAC / WINDOWS) . You will be able to DOWNLOAD with e-mail (download link) , after complete your payment procedures. ARTIST :: Yukitomo Hamasaki TITLE :: the GARDEN LABEL :: mAtter Type of Format :: mp.3 01. untitled (the GARDEN #1) 02. untitled (the GARDEN #2) 03. untitled (the GARDEN #3) 04. untitled (the GARDEN #4) 05. untitled (the GARDEN #5) 06. untitled (the GARDEN #6) Mastering : Yu Miyashita (UNDERARROW) www.underarrow.com Sleeve Photo : Michal Martychowiec *An Art piece of cover : Michal Martychowiec "Pictura et imago"　 2009 www.michalmartychowiec.com "the GARDEN" by Yukitomo Hamasaki "The GARDEN" is a work based on the methodology of field recording. However, the natural and urban sounds in this work were not recorded by the artist himself. Instead, all sound materials were recorded or downloaded from various websites in the Internet. Yukitomo considers the inside of the Internet as one of the new fields for “behaviors”. The field recording sound, both natural and social sound, can be regarded as traces of “behaviors.” In other words, the “behaviors” include all phenomena in our community, on the earth. The “behaviors”, which are done in the real world, are done in the online world as well. The Internet can’t make natural sound by itself. However, we can listen natural sounds in the Internet world. The real and online world is not contrasting structure, and the Internet world is the new field, new locality and new domain/territory/region for the “behaviors.” In “the GARDEN,” all sound materials were selected arbitrary from the online world, and there are no relationships between each sound. All natural sounds in this piece were recorded in various time and space, and all performed sound were created based on various thoughts, tastes, genres and cultural background. Then, all these sounds were edited to compose as one piece. “The GARDEN” is the work with removing personal ID and locality of sound files, then, reconstructing them in the new context based on the aesthetic of the artist The working method of “the GARDEN” followed models of planting process of Japanese and European gardens. The gardeners gather stones and plants from various places in the natural world. The stones and trees in the gardening process have similarity with the sound files, which are edited and processed in the composing process. Like sound files in “the GARDEN,” the temporal and spatial meanings of building materials are detached and modified in the gardening process. The garden is constructed as the new land as the result of bricolage of natural materials coming from various time and space, which is conducted by the aesthetic of creator.　 The process of making gardens is directed by the form of personal aesthetic ultimately and has the similarity with the concept and working method of this work. The title, "the GARDEN," comes from this reason. In addition, we’d like to mention that some ironies were included in this work, which was started to produce after March 11th of 2011 in Japan.

* Please Download by PC (OS: MAC / WINDOWS) . You will be able to DOWNLOAD with e-mail (download link) , after complete your payment procedures. ARTIST :: Ákos Garai TITLE :: Three Shaded Leaves (for Bernhard Günter) LABEL :: mAtter Type of Format :: mp.3 & SOUND DOCUMENTATION as PDF 35 pages 01. Leaf 1 02. Leaf 2 03. Leaf 3 Liner Notes :: Dedication is always presuming a special relationship between the "sender” and the "addressed” persons. Often, it is a kind of "master and slave” connection which can be defined with such words as honor, respect, and responsibility. My first encounter with Bernhard Günter’s music was back in 1997. Two of his excellent pieces, namely "Details Agrandis” and later "Impossible Grey” have changed my entire idea of what I call music and musicality. Thanks to these radical masterpieces of monochrome heaven, my listening activity has turned into a new state of mind where sounds do not distract the listener’s attention from music; rather, every sound event, and movement carries the same importance and evidence in the composition. In his own album titles, Bernhard Günter has often dedicated his work to others (for Morton Feldman, Mark Rothko, Jim O’Rourke) as a kind gesture. Thus, I decided to dedicated "Three Shaded Leaves” to Bernhard himself as a kind of expression of my highest appreciation to this great artist and musician. 18th August 2009 Ákos Garai

* Please Download by PC (OS: MAC / WINDOWS) . You will be able to DOWNLOAD with e-mail (download link) , after complete your payment procedures. ARTIST :: Yu Miyashita TITLE :: Navy See Res in Brighton LABEL :: mAtter Type of Format :: mp.3 01. In 02. Ash Lug Sun 03. Navy See Res 04. End or First 05. Schlock Ops 06. Sepia Walks Me 1 07. Endwise 08. Sage Asks Pulse 09. Remove Faith 10. Sepia Walks Me 2 11. Out Yu Miyashita Debuted from German Mille Plateaux in 2011. Miyashita is also known for his releases from Japanese labels such as mAtter, original context art label run by Yukitomo Hamasaki and SIGNAL_DADA, alternative-electronic music record label run by shotahirama. The music video "Lucio Arese | Yu Miyashita - Mimic" (2012) has been selected, nominated and screened at various festivals across the world to include Ars Electronica Animation Festival (Linz, Austria), Athens Video Art Festival (Athens, Greece), International Film Festival Of Cinematic Arts (Los Angeles, USA), Saatchi New Director's Showcase (Cannes, France), SIGGRAPH (Singapore).

* Please Download by PC (OS: MAC / WINDOWS) . You will be able to DOWNLOAD with e-mail (download link) , after complete your payment procedures. ARTIST :: Pe Lang TITLE :: interweave LABEL :: mAtter Type of Format :: mp.3 1. µ|oop I 2. spectral.1 3. copyhabit III(long_) 4. spect3.V3.0 5. nacht 5.3_silence 6. optionen9.2 Pe Lang Pe Lang, born in 1974 in Switzerland, lives and works in Zurich and Berlin. He has exhibited and performed in several important museums, galleries and festivals, including Transmediale, Berlin; AV Festival, Newcastle; Elektra, Montreal; Sonic Acts XII, Amsterdam; Great North Museum, Newcastle; Växjö Kunsthalle, Sweden; Dissonanze, Rome; bitforms gallery, New York; ISEA 2008, Singapore; Netherlands Media Art Institute, Amsterdam; and Cybersonica, London. Awards 2013_Japan Media Arts Festival, Art Division, Jury Selection, Tokyo, Japan 2012_Residency, Exploratorium, museum of science, art, and human perception, San Francisco, USA. 2011_Sitemapping/Mediaprojects Award, Bundesamt für Kultur (BAK). 2010 _Swiss Art Award. _Grand Prix Fenêtre. 2009 _ Swiss Art Award. 2008 _Sitemapping/Mediaprojects Award, Bundesamt für Kultur (BAK). 2007 _CSEM Artists in labs residency (BAK: 9 Month stipend 2007 at the swiss center for electronics and microtechnology CSEM). _Premio-Award (Video-software «Jitterbug»-project). 2005 _Sitemapping/Mediaprojects Award (Software development), Bundesamt für Kultur (BAK). www.pelang.ch

* Please Download by PC (OS: MAC / WINDOWS) . You will be able to DOWNLOAD with e-mail (download link) , after complete your payment procedures. ARTIST :: Pe Lang TITLE :: nacht LABEL :: mAtter Type of Format :: mp.3 1. nacht 1 2. nacht 1.1 3. nacht 2 4. nacht 3 5. nacht 5.3_silence 6. optionen9.2 Pe Lang Pe Lang, born in 1974 in Switzerland, lives and works in Zurich and Berlin. He has exhibited and performed in several important museums, galleries and festivals, including Transmediale, Berlin; AV Festival, Newcastle; Elektra, Montreal; Sonic Acts XII, Amsterdam; Great North Museum, Newcastle; Växjö Kunsthalle, Sweden; Dissonanze, Rome; bitforms gallery, New York; ISEA 2008, Singapore; Netherlands Media Art Institute, Amsterdam; and Cybersonica, London. Awards 2013_Japan Media Arts Festival, Art Division, Jury Selection, Tokyo, Japan 2012_Residency, Exploratorium, museum of science, art, and human perception, San Francisco, USA. 2011_Sitemapping/Mediaprojects Award, Bundesamt für Kultur (BAK). 2010 _Swiss Art Award. _Grand Prix Fenêtre. 2009 _ Swiss Art Award. 2008 _Sitemapping/Mediaprojects Award, Bundesamt für Kultur (BAK). 2007 _CSEM Artists in labs residency (BAK: 9 Month stipend 2007 at the swiss center for electronics and microtechnology CSEM). _Premio-Award (Video-software «Jitterbug»-project). 2005 _Sitemapping/Mediaprojects Award (Software development), Bundesamt für Kultur (BAK). www.pelang.ch

* Please Download by PC (OS: MAC / WINDOWS) . You will be able to DOWNLOAD with e-mail (download link) , after complete your payment procedures. ARTIST :: Go Koyashiki TITLE :: TOUCH LABEL :: mAtter Type of Format :: mp.3 1.One Plus One 2. Mil 3. Double 4. Spot 5.No.9 6. Dom 7.Talk To Me 8. Frame 9. Silhouette mastering : uhitokiyosue Go Koyashiki Musician/Film Composer. With the background of having learned Berklee method and music history, Koyoshiki composes strings ensemble and chamber music. After having played in a few bands with various genres as a guitarist, Koyashiki started to shift his

* Please Download by PC (OS: MAC / WINDOWS) . You will be able to DOWNLOAD with e-mail (download link) , after complete your payment procedures. ARTIST :: Pleq TITLE :: Absorbed By Resonance LABEL :: mAtter Type of Format :: mp.3 1. Gap In Time 2. The Glow Of Minerals 3. Absorbed By Resonance 4. Last Month's 5.Getting Through 6. White Moth In The White Coat 7.Critique Of Pure Reasone All tracks written and produced by Bartosz Dziadosz at the turn of 2009 and 2010. All tracks written and produced by Bartosz Dziadosz at the turn of 2009 and 2010. These commodities are the prints by handmade - one by one cover design by mAtter Never once does absorbed by resonance surge into the limelight or press itself onto the listener; it is through the silence – rather than the music - surrounding / radiating / flowing from it instead that it establishes its presence, like micro-melodies in a slightly darkened room. Remarkable are the moments, when pleq does raise the volume: first, it will seem almost like a tiny mistake, like a case of negligence in defining the dynamics between tracks; and yet, within this fragile continuum, the brutal impact on the listener resulting from these instances represents a subversive move to thwart conventional listening habits – no worries, though, it never gets too much. Pleq's ingredients are loops (sampled? self-performed? guitars?), recorded and/or sampled noises as well as reticent electronics and he uses them to create outwardly static, but in reality highly vivid and constantly varying miniatures; one could regard his approach as a continuation of the typical mille-plateaux sound, although the emphasis would need to be on the term „continuation“: sonic aesthetics are focused on warmth and coherency; disrupting noises serve as tiny hooks; rhythms are highly discrete, far more ambient than propulsive - a unison of noise and tone operating under the premise of not disturbing the subtle ambiance. Paradoxically, the relative importance of the two building blocks within this unison seems essentially inverted. Take for example „#6“, which works with a noisy loop and sounds like the lead-out groove of an old vinyl record, with the looped music somewhere far away in the distance, a warm, rotating pad and a few splinters of high-frequency electronics working their way forward, piercing the surface. Especially because of its highly personal characteristics, this extremely beautiful work could easily be overlooked; really, absorbed by resonance would have an ideal vinyl-release. Although it has to be said: The artwork of the digital version is successful, too. In its own way, again

ARTIST :: Pleq TITLE :: Absorbed By Resonance LABEL :: mAtter Type of Format :: CDR 1. Gap In Time 2. The Glow Of Minerals 3. Absorbed By Resonance 4. Last Month's 5.Getting Through 6. White Moth In The White Coat 7.Critique Of Pure Reasone All tracks written and produced by Bartosz Dziadosz at the turn of 2009 and 2010. These commodities are the prints by handmade - one by one cover design by mAtter All tracks written and produced by Bartosz Dziadosz at the turn of 2009 and 2010. These commodities are the prints by handmade - one by one cover design by mAtter Never once does absorbed by resonance surge into the limelight or press itself onto the listener; it is through the silence – rather than the music - surrounding / radiating / flowing from it instead that it establishes its presence, like micro-melodies in a slightly darkened room. Remarkable are the moments, when pleq does raise the volume: first, it will seem almost like a tiny mistake, like a case of negligence in defining the dynamics between tracks; and yet, within this fragile continuum, the brutal impact on the listener resulting from these instances represents a subversive move to thwart conventional listening habits – no worries, though, it never gets too much. Pleq's ingredients are loops (sampled? self-performed? guitars?), recorded and/or sampled noises as well as reticent electronics and he uses them to create outwardly static, but in reality highly vivid and constantly varying miniatures; one could regard his approach as a continuation of the typical mille-plateaux sound, although the emphasis would need to be on the term „continuation“: sonic aesthetics are focused on warmth and coherency; disrupting noises serve as tiny hooks; rhythms are highly discrete, far more ambient than propulsive - a unison of noise and tone operating under the premise of not disturbing the subtle ambiance. Paradoxically, the relative importance of the two building blocks within this unison seems essentially inverted. Take for example „#6“, which works with a noisy loop and sounds like the lead-out groove of an old vinyl record, with the looped music somewhere far away in the distance, a warm, rotating pad and a few splinters of high-frequency electronics working their way forward, piercing the surface. Especially because of its highly personal characteristics, this extremely beautiful work could easily be overlooked; really, absorbed by resonance would have an ideal vinyl-release. Although it has to be said: The artwork of the digital version is successful, too. In its own way, again

ARTIST :: Shinkei + mise_en_scene TITLE :: scytale LABEL :: mAtter Type of Format :: CD 1.Cryptology 2.Cuts 3.Remodelled I 4.Remodelled II 5.Cryptology [agrandissement] _remixed by Luigi Turra 6. Dreaming Assent_remixed by Michael Hartman 7.Abstr.B.,No2_remixed by Yukitomo Hamasaki(mAtter) Mastering : Taylor Deupree (12K) at 12K MASTERING - On Scytale, David Sani (Shinkei) and mise_en_scene (Shay Nassi) join forces for four microsound settings, which are in turn supplemented by remix treatments from Luigi Turra (Sani and Turra co-founded the Koyuki label in 2008), Michael Hartman, and mAtter label head Yukitomo Hamasaki. It's headphones material in the truest sense of the word, with lowercase sounds blended into generally long-form soundscapes heavy on the ebb and flow of overlapping whirrs, clicks, signals, and rumbles. At times the material suggests real-world identification—a thrum of crickets appears to stream alongside fireplace crackle during “Cuts”—but in this context it's impossible to determine whether the sounds are derived from natural sources via field recordings or are purely computer-generated creations. Not that such concerns matter much anyway, as the recording's immersive universes still comes across as hermetic either way. It goes without saying that melody and rhythm are absent, and narrative arc too; these pieces are primarily concerned with textural design, and as such the focus is firmly centered on the constant flow of shape-shifting sounds. On the remix front, Turra's “Cryptology [agrandissement]” opens peacefully with the sound of wind softly blowing before returning to the insectoid noises and rumble of the original. If anything, Turra's treatment burrows even more deeply into the microuniverse as moments of silence emerge alongside barely audible episodes. Hartman's “Dreaming Assent” remix alternates boldly between stark twilight moments and relatively aggressive passages, while Hamasaki's “Abstr.B., No2” seems to reverberate through a hollowed-out concrete tunnel while a steamship's horn resounds far off in the distance. textura

ARTIST :: Andy Graydon TITLE :: Geomancy LABEL :: mAtter Type of Format :: CD + DVD picture + sound : Andy Graydon mix : Andy Graydon mastering : Naph at NATURE BLISS STUDIO photography : Andy Graydon sleeve design : mAtter CD : Untitled (geomancy) 01. untitled_12'12 02. untitled_02'11 03. untitled_04'38 04. untitled_03'32 05. untitled_04'40 06. untitled_03'09 07. untitled_21'47 - DVD 01.Farwanderer [2009] _08'43 02.Surroundings (the ship,the shoal,the shore) [2005] _06'47 03.Focal Plane (ten frames aligh on the) [2006] _23'29 04.Untitled (aina) [2008] _ 26'22 Geomancy is a new dvd+cd collection of works about place and displacement, location and identity, and with the environment (or the "field" of field recordings) as a complex envelope of forces and meanings which light and sound can both trace and transform. The CD contains a new long-form sound work, "Untitled (geomancy)". The piece was created from field recordings that were subject to a series of material and digital transformations: the original recordings were cut to a series of acetate phonograph records for an installation work in 2008, and these well-worn records, revealing a new landscape of their own in both sound and texture, became the basis for the composition. The DVD collects four of Graydon's super 8 films on video. "Farwanderer", a story of finding identity in displacement, is the keystone work, revealing themes that are central to much of Graydon's film work. "Surroundings" evokes a restless sense of place more directly in images and music. "Focal Plane" is based on a live image and sound performance piece, and deals with the coming to life of an environment from the most fundamental elements of light, shape, motion -- and how these are always something less and something more than they seem. "Untitled (Aina)" is a visual field recording of sorts, showing environments on the islands of Hawaii where natural and human processes are set in friction or resonance, and accompanied by sound from the original acetate records used to create the "Untitled (geomancy)" sound composition - Andy Graydon Andy Graydon (b. 1971, Maui, Hawaii) is an artist and filmmaker based in Berlin. His work focuses on the interaction of sound, image, and environment. In his recent work Andy is interested in creating what he calls "Science Fiction Ecologies" by engaging with the speculative and transformational qualities within an environment. Taking the form of videos, sound works, media objects and installations this work explores the boundary zones between performance and exhibition, presence and deferral, liveness and mediation. Graydon has presented work nationally and internationally in programs such as Ausland, Berlin, the Worldwide Video Festival, Amsterdam, and the Portland Art Center, Oregon. Recent exhibitions and performances in New York City include work at The New Museum of Contemporary Art, LMAKprojects gallery, Diapason, Art In General, Participant Inc gallery, Galeria Galou, The Dumbo Arts Festival, Millennium Film Workshop, White Box gallery, and Tonic. In 2005/2006 he was the visiting artist at the Center for Computer Music, Brooklyn College, CUNY. Recent sound releases are available on Non Visual Objects (Vienna), Winds Measure Recordings (Brooklyn), 12k/Term (New York), EKO (Paris), On;(do) Music (Miami), The NY Society for Acoustic Ecology, and forthcoming from White_Line Editions (UK). Collaborations include performances and recordings with John Hudak, Kato Hideki, Kenneth Kirschner, sawako, Amnon Wolman, David Grubbs, Ben Owen, Zach Layton, Andre Golcalves, Brendan Murray, mpld, and Richard Garet. He is the co-founder and curator of three media and performance series in New York City: Becoming, Sonogrammar, and the upcoming LMAKseries. www.andygraydon.net

* Please Download by PC (OS: MAC / WINDOWS) . You will be able to DOWNLOAD with e-mail (download link) , after complete your payment procedures. ARTIST :: Go Koyashiki TITLE :: slit LABEL :: mAtter Type of Format :: mp.3 slit slit 01. untitled_02'23 02. untitled_05'33 03. untitled_05'37 04. untitled_06'57 05. untitled_04'52 06. untitled_01'29 07. untitled_04'18 08. untitled_02'24 09. untitled_03'29 10. untitled_05'30 mix : Go Koyashiki+uhitokiyosue mastering : Go Koyashiki+Isao Kumano at Phonon studio This work focus on to RHYTHM and Glitch that he has edited and composed using Sine-Waves and Filed-Recordings with Max/MSP. Go Koyashiki Musician/Film Composer. With the background of having learned Berklee method and music history, Koyoshiki composes strings ensemble and chamber music. After having played in a few bands with various genres as a guitarist, Koyashiki started to shift his