FUJIKEN was composed between 2012 and 2013 in Tokyo where Carl Stone resides for much of the year. The work blends field recordings made through Southeast Asia (Vietnam, Thailand, Cambodia and Japan) with appropriated music mostly from street cassettes, processed and resynthesized. The work has a loose structure and although some sections have been more or less determined as to their materials and methods of manipulation, the overall form as well as the smaller musical details are open and improvised. Field materials tonight might include recorded meandering on the Chao Praya river (Bangkok), a fire outbreak in Phnom Pehn, college sports practice in Toyota City Japan, and whatever else the mood might seek.
Steve Smith, New York Times:
“(Carl Stone’s) music was a powerful stimulant with lingering euphoric effects. Voices stretched like taffy were folded into ghostly choruses; the whine of a stringed instrument became a mosquito arabesque. Noises normally rejected, like surface scrapes and static bursts, provided fertile sonic lodes.”
Jonathan Gold, Los Angeles Times:
” Is Carl Stone celebrated today for his tendency to name his opuses after his favorite restaurants – Kong-Joo and Sukothai instead of Serenade or Sonata in C# minor? Perhaps. It makes the pieces evocative of a specific time and place, and hints at the trans-global origins of the source material, while maintaining an almost absolute level of abstraction. How did he arrive on bricolage as an aesthetic strategy? Feed him a glass of Suntory and he may confess that it may have arisen from a work-study job in the uncrowded Cal Arts music library when he was an undergraduate, a job that put tens of thousands of recordings at his disposal and countless hours in which to listen to them.”
FUJIKEN DEMO EXCERPTS: