MASHA for Bronwen Parker Rhodes film of the same name (2011)
Takatsuna Mukai – Violins, Synth, Programming
–You can check out more of Bron’s amazing documentary works on bronfilms.com
La-La (1997)
Takatsuna Mukai – Direction, Sound
Martyn Jacques – Vox
Adrian Stout – Double Bass
Kevin Bass – Drums
-From my ultra-rare 😉 3-track CD Folie a Deux from 1997. This track features Martyn and Adrian from the London accordion gypsy trio The Tiger Lillies, and Kevin Bass of Pig/Moonshake/Laika/Snowpony fame.
I still consider it to be one my best ‘Directed Improvisation’ tracks to this day.
Iz Labinskih Rudnika
From Blizu Rudnika mime theatre (2006-7)
Text:Giuseppina Martinuzzi (1844 – 1925)
Voices:
Erika Cuk (IT)
Valentina Floris (IT)
Koraljka Kos (HR)
Chiara de Palo (IT)
Nataša Stanić (HR)
-Composing and producing voice pieces has been one of my life long obsessions, and this piece and the next (Spiral) are two examples in this direction.
Texts of Blizu Rudnika(close to the mine) are from books written by Giuseppina Martinuzzi, a late 19th-early 20th century educator from the mining town of Labin, Istria, Croatia. She was the first person to provide education to the miners and women in the region.
This piece is from Studio Lila(Hr) production of a mime piece based on Martinizzi’s writing, premiered in 2007 in the courtyard of her birthhouse in Labin. As the region is bilingual (Italian/Croatian), her books were written in the two languages. Each line, or sometimes a single word, was separated,directed,and composed not only in terms of delivery but also in terms of the number of overdubs, effects, panning etc to create a piece purely from the rhythm and tone of the languages, to which choreography was made.
SPIRAL (2004)
Luciana Bocchino – Voice
Annie Stubbs – Voice
Janey Slater – Voice
Takatsuna Mukai – Tibetan Bell, Production
-Spiral was a collaboration between myself and London based group Devotion, formed around Annie Stubbs (Lustmord, SPK, Chris & Cosey)
My function was to give general directions of the voices, and to provide a base pitch from the tibetan bell, so that multiple takes could be layered in the post production without tuning issues (the final edit has two takes layered so that it has six voices) This is basically the same method I used for La-La (see above), but for voices only in this case.