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LONGSTONE 
Kinka-zan 
(Risaikuru Remixed) 





01 - Schlomo 

remix by Richard Sanderson 

02 - Koganeyama-jinja Part 1 
remix by Longstone 

this is the shrine that is the oniy coiiection of 

buiidings on Kinka-zan isiand 

it's quite o quiet piace with o iot of deer 

03 - "...I feel that when I die I will be in perfect 
condition../' 

remix by Project Mycelium 
ceiio by Pete Scott 
04- A Map On Fire 
remix by Peter Marsh 
05 - Langstane09032016 
remix by skitter 



06 -Teiju 
remix by c.reider 

07 - Surface Tension 
remix by Iris Garrelfs 

08 - Koganeyama-jinja Part 2 
remix by Longstone 

09 - Nana-Korobi Ya-Oki ^ 

remix by Dave Clarkson 
Background: 

Initially, I had the idea of presenting a bleak 
soundtrack from the source material but guickly 
discarded this rather obvious (for myself anyway) 
template in favour of something different and more 
challenging. Online research into Japanese 
philosophy, together with my own experiences of 
visiting Tokyo, Kyoto and Nora in 2005 guided 
myself to concentrate on composing a musical 



landscape which I think flows in the wake of the 
Risaikuru piece. I hope the music I've generated is 
successful at conveying the feelings of resilience, 
spirit, gentleness and acceptance. 

About the Track: 

Nana-Korobi Ya-Oki is a long track made up of four 
short pieces. 

(i) For Miyagi 

(ii) Spirit of Goman $ctS 
(Hi) Happily Kawaii H 


(iv) Enso PJtS / For Miyagi (reprise) 



For Miyagi is a musical love letter dedicated in 
support of those lives turned upside down. 

Spirit of Goman is a call to perseverance, patience, 
tolerance and dignity. A sign of maturity and 
strength. 

Happily Kawaii is a celebration of all things cute, 
soft and fluffy. 

Enso / For Miyagi (reprise). Enso PJ^S is a word 
meaning "circle”. It symbolises the absolute, 
enlightenment, strength, elegance, the universe, 
and the void; it also may be token to symbolise the 
Japanese aesthetic itself 


The whole piece features about 75% of the Risaikuru 



samples provided in different contexts; slowed or 
speeded, heavily 'reverbed', fragmented and 
sequenced and some used dry. 

The remix was composed using Audiomulch, Sound 
Forge and Wavelab software. In addition to the 
samples provided, instrumentation includes Korg 
synthesiser, percussion and found objects. 

Sections (i) and (ii) feature my good friend and 
Spectral Bazaar cohort, Ruth Davies, on cello. 











Kinka-zan ( Risaikuru remixed ) 


It seemed very appropriate that Risaikuru should be 
recycled one more time by a selection of excellent 
artists remixing, reworking and re-imagining the 
original sounds. 

The original Risaikuru album emerged from a visit to 
the town of Onagawa in 2013 two years after it had 
been devastated by the 2011 tsunami. 

At that time, the town was just starting it's plans to 
rebuild: the debris and rubble had been removed, 
random building remains had been demolished 
and much work was going on to recycle a lot of that 
rubble into a sort of soil that was being used to raise 
the level of the ground before new buildings could 
be built. 

The landscape and soundscape were like nothing I 



had experienced before. The space where a town 
once stood is something unbelievable to behold - a 
truly humbling experience, totally alien to someone 
bought up in the U.K. 

Some parts of town on higher ground had remained 
intact. Temporary housing had been built on the 
pitch of the baseball stadium and a selection of 
businesses, shops and restaurants had set up in 
random temporary locations such as shipping 
containers, wooden huts or odd buildings on 
surviving outposts. The town's railway station had 
been washed away, along with the lines. The fish 
market was one of the few structures to survive but 
needed to be demolished so a temporary 
replacement had been constructed. The sea 
provided a lot of income for the town so the fish 
market was important for people to start working 



again. To read a little more about this visit and the 
original Risaikuru album project, I refer you to the 
PDF booklet that can be downloaded for free from 
the Linear Obsessional web site. 





In October 2015 I was lucky enough to be able to 
visit Onagawa again during a vacation in Japan. This 
time I was able to arrive by train on the recently 
restored branch line and see the amazing new 
Onagawa station building which contained a hot spa 
and community spaces as part of a wonderfully 
attractive design . It was hard to believe that just 
two years earlier this was a bare landscape. 

Leading from the station across the space where 
previously only roads had survived, a new spacious 
avenue of shops was nearing completion heading 
towards the harbour and the sea. 

Many of the old temporary shops and cafes had 
now closed, in anticipation of relocating to this new 
street. Onagawa was evolving and was itself being 
re-imagined by the people who wanted to continue 
to live and work there. On my previous visit I was 



taken to the small Island of Enoshima and although I 
would have loved to visit that peaceful place again 
to see how it had changed it wasn't possible . 
However, I did sail past it on the small ferry on a 
visit to the more famous and slightly more 
accessible Kinka-zan island. The boat left Onagawa 
harbour on a beautiful sunny morning chased by a 
flock of the Umineko seagulls whose voices were 
featured on the original Risaikuru album, as was the 
sound of the ferry I had previously taken to 
Enoshima. We chugged out of the bay and out to 
sea, past the Onagawa nuclear power station (which 
had remained undamaged in spite of the huge 
tsunami that destroyed the town) then on around 
the headland where I spotted Enoshima in the 
distance with the little lighthouse perched on the 
peak of it's small mountain. 





Kinka-zan is a holy island in the old shinto faith of 
Japan. It's main inhabitants are the staff of the 
Koganeyama-jinja, a shrine nestling in the mountain 
trees and the deer that wander around everywhere. 





Some friends had told me that my visit to Onagawa 
had coincided with a special and rare festival to be 
held on Kinka-zan and advised I might like to add a 
trip to my itinerary. It was a steep walk from the 
small harbour to the shrine complex and deer could 
be seen grazing on the hillsides as we passed . More 
deer were wandering between the shrine buildings 
looking for tourists to give them food. Just as in the 
famous city of Nara, the Kinka-zan deer are 
considered sacred but as they can get frisky with 
humans at certain times of year a custom developed 
for cutting of the stags antlers in the autumn. Now a 
very rare ceremony held once a year in only two 
places in Japan, it was about to take place on Kinka- 
zan in a little outdoor arena situated on some 
shallow grassy slopes between the shrine and the 
sea. A small crowd had gathered along with some 



Shinto priests, a unit of policemen, some scientists, 
vets and the young men in bright blue tunics who 
were to participate in the event. 

After some shinto blessings, held on a platform 
above the arena, the men in blue descended and a 
small group of stags were released onto the field. 
One by one the stags were caught by hand, or with 
the aid of a small lasso, as they charged around the 
arena. They were then held while a man in 
ceremonial costume removed the antlers - after 
which they were taken from the arena to be 
weighed and inspected by vets before trotting off 
onto the mountain again. The setting was amazing 
with views of the sea and other coastlines and it 
was interesting to see old traditions continuing after 
such a huge disaster. 

Returning to Onagawa by ferry, and watching the 



harbour come into view, it is apparent that although 
the new station and shopping street demonstrate 
rapid and exciting progress, in the evolution of the 
new town there is still much to be done. A lot of 
work was still going on raising the ground and laying 
out the new network of roads, a new fish market 
was being built and other smaller projects seemed 
to be happening: but there is still a long way to go. 


Mike Ward 2016 






Remixes compiled by Longstone and Richard 
Sanderson. 

Photographs by Mike Ward. 

CD mastered by Mike Cross. 


Linear Obsessional 2016 
LOR079 

www.linearobsessional.org