title:

vic mars - kanransha

label:

symbolic interaction

format:

cd

release date:

03.12.08

cat. no.:

pgt05

tracks:

ferris wheel (cheju remix)

"the hakobune release that came out on this symbolic interaction offshoot was absolutely magnificent, so i've been looking forward to hearing more in the series. i'm pleased to say it's an excellent cd that features an unusual style of electronic music. almost like a gentle folk sound, but done in a light and airy synthy kind of way, there are all kinds of elements in there. it's a sweet and melodic style and works to create a chilled out atmosphere. when you then add in remixes from cheju, akira kosemura, d_rradio and dollboy you end up with a well rounded and fresh sounding album. very nice indeed." - smallfish, 10.08

"vic mars up next with the 'kanransha' album on japan's symbolic interaction. housed in a slick ejector case and backed up with some fine remixes from akira kosemura, d_rradio, dollboy and cheju, this is making me feel all festive. it must be the bells and the warm childlike charm that oozes from the playful melodies. producer matthew davies successfully combines contemporary electronica with modern classical elements to create some pieces that genuinely pluck at the heart strings. 'three dots ended that' in particular grabs me. a truly joyous winter warmer." - norman records, 11.08

"kanransha and weekend are not only new folk-electronic releases from two of our favourite japan-based labels but share other complementary qualities, both sonic and structural; for example, each release follows the artist's originals with a set of remixes: by akira kosemura, d_rradio, dollboy, and cheju in vic mars' case, and by .tape. (aka dot tape dot), taunus, and greg davis in rist's. both albums also feature some of the prettiest, melodious music you're apt to hear these days. on kanransha (loosely translated as “viewing machine,” the release is the second in symbolic interaction's “pragmatism” series), nagoya-based vic mars (real name matthew davies) largely eschews an overt electronic style for an electro-acoustic hybrid that draws upon the resources of a mini-orchestra of strings, glockenspiels, vibes, horns, flutes, guitars, pianos, clarinets, and electronic beats. what results are ten oft-folk-oriented settings of wide-ranging character, from the suitably reflective “a walk through the trees” and languorous sparkle of “clouds in your sunglasses” to the electronically-spattered interlude “tristwch” and ultra-dramatic “olympus mons.” in “the fountain,” a pretty introduction of glockenspiel tinkles and strings sets the stage after which a stately, march-like rhythm asserts itself. a light-hearted spirit (a child chirping the title strengthens the mood) then imbues the high-spirited marching band melodies of “i like it here.” probably the album's prettiest piece is “ferris wheel,” dreamy lilt of delicate piano themes, softly whistling synth melodies, and tick-tock rhythms, while the most rambunctious is “goodbye to gulliver,” where explosive drum playing, piping flutes, and vocodered voices commingle. electronically generated beats provide propulsive underpinning to the otherwise somber and string-laden “three dots ended that” while gently chugging beats likewise add locomotion to “choose to escape.” If anything, the remixers push the original material's prettiness to a further extreme: schole artist (and manager) akira kosemura elevates “the fountain” with robust sweep and sparkle; d_rradio bolsters the melancholic character of “choose to escape”; dollboy takes the wonderland quality of “i like it here” to another level; and cheju brings forth the serene side of “ferris wheel.”" - textura, 12.08