Friday, 17 December 2010

These New Puritans - Beat Pyramid (UK, 2008)

1 ...Ce I Will Say This Twice; 2 Numerology (AKA Numbers); 3 Colours; 4 Swords of Truth; 5 Doppelgänger; 6 C. 16th ±; 7 En Papier; 8 Infinity Ytinifni; 9 Elvis; 10 £4; 11 MKK3; 12 4; 13 Navigate-Colours; 14 H.; 15 Costume; 16 I Will Say This Twi...

I dunno, this has grown very dear to me as of late. Britspeak's a soft spot. Not sure if it will meet the acquired taste of this blog's readership (wink) but it's a temporary mood enhancer that I'm more than open to self-prescribe these days. No really, it's brilliant but I can see that this record is some sort of singularity amongst my previous postings. Whatev's, enjoy, enjoy or don't. Also, regardless of whether you're celebrating something or not during these next few days, I'd like to thank you for having stopped by, for having listened and commented. See you next year! Maybe- (not)
Autechre - Garbage (UK, 1995)

1 Garbagemx36; 2 PIOBmx19; 3 Bronchusevenmx24; 4 Vletrmx21

You may have heard the fourth track as part of this abomination of a mix, in truth it belongs to a collection of material (with a tongue-in-cheek title) that supposedly didn't make the final cut of Autechre's Amber release. While retaining the warm synthy sound of Amber in places, Garbage also tentatively hints at the more beat-oriented full-length successor Tri Repetae. Atmospherical, trippy, brooding, hypnotizing, postapocalyptical, et cetera perge perge. I'm sure you can come up with something more eloquent to describe this.

Wednesday, 1 December 2010

Byetone - Death of a Typographer (Germany, 2008)

1 Intro Bios (Intro); 2 Plastic Star (Session); 3 Straight; 4 Rocky (Soft); 5 Black Is Black; 6 Capture This (I); 7 Capture This (II); 8 Grand Style; 9 Heart

In case you're, like me, late to this. Highly recommended if you fancy the stuff of his Raster comrades Senking and Alva Noto. A bit poppish at times.

Tuesday, 30 November 2010

Richard Chartier / Boca Raton - Kapotte Muziek (USA/Netherlands, 2005)

1 Untitled (Chartier); 2-5 Tables 1-4 (Boca Raton)

This is release #13 in a series which has artists such as Asmus Tietchens, Merzbow and Thurston Moore remixing source material of Dutch group Kapotte Muziek.

Friday, 29 October 2010

Vladislav Delay - Multila (Finland, 2000/2007)

1 Ranta; 2 Raamat; 3 Huone; 4 Viite; 5 Karha; 6 Pietola; 7 Nesso

Friday, 22 October 2010

Merzbow - Vibractance (Japan, 1998)

1 Vibrating Sand; 2 Sonar; 3 Flame; 4 Wind / Reactance

Sunday, 17 October 2010

Venetian Snares - Moonglow / This Bitter Earth (Canada, 2004)

Monday, 4 October 2010

Vladislav Delay - The Kind of Blue EP (Finland, 1997)

1 Siru; 2 Kenno

01 HTRK Hate Rock Trio
02 CELER Mouthfeels of Capreae
03 PJUSK Rav
04 UUSITALO Nokkonen päiväunilla
06 GOLDFRAPP Hairy Trees
08 KIM CASCONE Spectral Space II
09 MLADA FRONTA Mn 54.94
10 SENKING 9'59"
12 ALVA NOTO R/Re/Repeat (+ I-Sound)
13 SISTOL Fucked-up Novelty
14 GESCOM Interchangeable World II
17 COH 71:00
20 SOLAR FIELDS Mirror's Edge 'Kate' Puzzle Theme (Edit)
21 UUSITALO Social Children/Big Hearts Come Later*
23 HTRK Fascinator

Sunday, 3 October 2010

Big Black - The Rich Man's Eight Track Tape (USA, 1987)

1 Jordan Minnesota; 2 Passing Complexion; 3 Big Money; 4 Kerosene; 5 Bad Houses; 6 Fists of Love; 7 Stinking Drunk; 8 Bazooka Joe; 9 Cables (Live); 10 Heartbeat; 11 Things to Do Today; 12 I Can't Believe; 13 My Disco; 14 Grinder; 15 Ready Men; 16 Pete, King of the Detectives

Friday, 24 September 2010

Einstürzende Neubauten - Malediction (Germany, 1993)

1 Blume (French Version); 2 Blume (English Version); 3 Blume (Japanese Version); 4 Ubique Media Daemon; 5 3 Thoughts; 6 Ring My Bell
Hildur Guðnadóttir - Mount A (Iceland, 2010)

1 Light; 2 Floods; 3 Casting; 4 Shadowed; 5 Self; 6 Growth; 7 In Gray; 8 My; 9 Reflection; 10 Earbraces; 11 You

I'm afraid I cannot not post this. Recently released reissue of her 2006 debut LP (whose original cover artwork is displayed here).
Sonic Youth - Washing Machine (USA, 1995)

1 Becuz; 2 Junkie's Promise; 3 Saucer-Like; 4 Washing Machine; 5 Unwind; 6 Little Trouble Girl; 7 No Queen Blues; 8 Panty Lies; 9 Becuz Coda; 10 Skip Tracer; 11 The Diamond Sea

Sunday, 29 August 2010

Frank Bretschneider - Aerial Riverseries (Germany, 2002)

42 untitled pieces based on photographs by Olafur Eliasson
Hildur Guðnadóttir – Iridescence (Iceland, 2009)

Saturday, 28 August 2010

Alvin Lucier - Still Lives (USA, 2001)

1. Music for Piano with Slow Sweep Pure Wave Oscillators, for piano
2. On the Carpet of Leaves Illuminated by the Moon, for koto
3. Still Lives, for piano (I. Sunlight Diamond; II. Hammock; III. Barbecue Grill; IV. Lamp Shade; V. Two Floor Tiles; VI. Ferns; VII. Bread Knife; VIII. Chopsticks)

Friday, 27 August 2010

Goldfrapp - Felt Mountain (UK, 2000)

1 Lovely Head; 2 Paper Bag; 3 Human; 4 Pilots; 5 Deer Stop; 6 Felt Mountain; 7 Oompa Radar; 8 Utopia; 9 Horse Tears
Madlib the Beat Konducta - Vol. 1-2: Movie Scenes (USA, 2006)

1 The Comeback (Madlib); 2 The Payback (Gotta); 3 Face The Sun (Africa); 4 Open (Space); 5 Tape Hiss (Dirty); 6 Sir Bang (Bounce); 7 Third Ear (More); 8 Stax (Strings); 9 Electric Company (Voltage-Watts); 10 Left On Silverlake (Ride); 11 Painted Pictures (Art); 12 Gold Jungle (Tribe); 13 Offbeat (Groove); 14 Pyramids (Change); 15 Eternal Broadcaster (Authentic); 16 Spanish Bells (High Dreams); 17 The Rock (Humps); 18 Box Top (Cardboard Dues); 19 West Zone (Coastin); 20 Filthy (Untouched); 21 Friends (Foes); 22 Toe Fat (Ghettozone); 23 Money Hugger (Gold Diggin); 24 The Comeup (Come Down); 25 Two Timer (The Pimp); 26 Chopstyle (Suey Blast); 27 Black Mozart (Opus II); 28 Understanding (Comprehension); 29 Snake Charmer (Heads Up); 30 Old Age (Youngblood); 31 Fukwitus (The Eights); 32 African Walk (Zamunda); 33 Whutkanido (Can Do It); 34 The Forest (Greens); 35 Outerlimit (Space Ho)

Sunday, 8 August 2010

Conoco - Kemikoski (Finland, 1999)

1 Keppi; 2 Ventola; 3 Koski
CoH - Super Suprematism (Russia, 2007)

tracks labeled 1 to 10

"More than past albums, “Super Suprematism” demands silence and patience. It sounds like [Ivan] Pavlov is taking cues from his one time collaborator Richard Chartier (see 2005’s “Chessmachine”) or label mate Ryoji Ikeda. Pavlov seems to have tired of the simple, metric pulses that dominated his earlier work. Rhythm seems spontaneous and subconscious… It is not consistent enough to say there is a ‘tempo’. The buzzing energy and life found in much of his early work is not here. It could not be played as a noise record. It might piss someone off, but there is no aggression. Where past work would sometimes disorient the mind with chaotic density, this album gently and slowly drags you into an ordered yet truly bizarre world. The transitions and movements of the songs are slower. 2005’s “Post-pop” was already moving in this direction.

One gets the impression that the placement of each sine wave drone, bell and sub bass wash is more perfect than ever. It evokes surfaces and worlds impossibly smooth, clean and polished like the sounds themselves. The drones still possess the familiar warmth that made his piece for Raster Noton’s “20′ to 2000″ series, “Into Memories of S-tone”, so great. “08″ is a perfect example of this.

Certain human emotions have a way of creeping their way into COH, despite it being the purest of avant garde. Anticipation is one. Other albums contain fear, sadness, loneliness, blissful peace, calm. On this album, though, a sensation of emptyness, clearness and stillness, which is not exactly ‘emotion’, seems to be the real point." (quoted from dreary patterns)

Saturday, 24 July 2010

Uusitalo - Vapaa Muurari Live (Finland, 2000)

"This album of [Vladislav] Delay's (here going by alias Uusitalo) is a reinterpretation of previous work, in a "live" format. One of the interesting things about this album is that it's not just a set of remixes, but music that is a refreshing and yet logical outgrowth of his work to date.The pieces themselves carry recognizeable passages from his previous compositions, though the album as a whole ebbs and flows in and out of new ideas and older textures, constructing a kind of unfolded imaginary narrative. Tones and textures meld into rhythms, and back, but with a consistent dream-like sensibility. The rhythmic structures of Vapaa Muurari/Live certainly make this one of Delay's more accessible works, but no problem: it's nice to see the versatility of Delay's ideas. Those looking to get interested in this Finnish artist's work will find this album a good place to start; Vapaa Muurari/Live should pave the way for the more complex and conceptually deeper soundscapes of Multila (on Chain Reaction) and Entain (Mille Plateaux). Those already familiar with Delay will find this work a satisfying addition to his/her own collection." (via)

Sunday, 18 July 2010

Senking - Tap (Germany, 2003)

1 Stand
2 Settle
3 Sort
4 Maybe
5 Fletcher
6 Emergent
7 Exhausted
Fuck Buttons - Street Horrrsing (UK, 2008)

1 Sweet Love for Planet Earth
2 Ribs Out
3 Okay, Let's Talk About Magic
4 Race You to My Bedroom / Spirit Rise
5 Bright Tomorrow
6 Colours Move

Friday, 9 July 2010

Hildur Guðnadóttir - Without Sinking (Iceland, 2009)

1 Elevation; 2 Overcast; 3 Erupting Light; 4 Circular; 5 Ascent;
6 Opaque; 7 Aether; 8 Whiten; 9 Into Warmer Air; 10 Unveiled

I saw her opening for Karin Dreijer Andersson's Fever Ray project in December. I didn't know what to expect and deliberately didn't do any research beforehand. Reading a bit up on her now tells me that she's part of múm and also appears on the final track of Ben Frost's Theory of Machines. Anyway, there wasn't any snow in Hamburg back then, but Hildur, sporting a pair of white feathery antlers on her head, still managed to create a distinctly Scandinavian atmosphere, reflecting the whole antithesis of emotional discharge in a cold, desolate environment (of course, I speak prejudiciously, with exaggeration, seeing as I've never been to Iceland or Sweden, which I'm sure are not that cold and desolate all the time as common foreign conception dictates). Pieces like Erupting Light and Opaque almost overwhelmed my little meagre heart, although we could partly attribute this to my anticipation of and excitement over this specific concert (and the volume although I didn't mind the loudness, it greatly added to the intensity). I'm not sure if it was the best possible introduction to Karin's set, considering the difference in mood and emotion. While Fever Ray is more concerned with deep, organic sound (that bass was pleasantly physical, markerschütternd), Hildur's cello play is brooding, sharp, devastating. It's more real in a way, if we think of Karin's music as, well, feverish and oneirological.
For some inscrutable reason I hadn't listened to the whole of Without Sinking until now, when someone indirectly reminded me of it, having brought my interest to the two previously posted works as well.

Thursday, 8 July 2010

John Zorn - Chimeras (USA, 2003)

Autechre - Anvil Vapre (UK, 1995)

Tuesday, 29 June 2010

Senking - Silencer (Germany, 2001)

1 Upbeat
2 Bateau
3 Rachel
4 Cups
5 Run
6 Scatt
CoH - Patherns (Russia, 2006)

1 Path #1
2 Path #2
3 Path #3 [Dynamo Baby, Bore Me Numb]
4 Path #4

György Ligeti - Six Bagatelles for Wind Quintet (Romania, 1953)

1 Allegro Con Spirito
2 Rubato - Lamentoso
3 Allegro Grazioso
4 Presto Ruvido
5 Adagio - Mesto (Béla Bartók In Memoriam)
6 Molto Vivace - Capriccioso

Thursday, 24 June 2010

Yellow Swans - Mort aux Vaches (USA, 2009)

(link courtesy of bleak bliss)

1 I Riti: Ritual March, "The Funeral Of Achilles" for Percussion (1962) (Fragment)
2 Ko-Lho, for Flute and Clarinet (1966): I, II
3 Pwyll, for Flute alone (1954)
4 I Riti: Ritual March, "The Funeral Of Achilles" for Percussion (1962)
5 Ixor, for Bb Clarinet (or other Reed Instrument) (1956)
6 Rucke Di Guck, for Piccolo and Oboe (1957): I, II, III
7 Hyxos, for Alto Flute, Gongs and Cowbell (1955): I Tranquillo, II Con Moto, III Tranquillo
8 Quattro Pezzi, for Trumpet alone (1956): I, II, III, IV
9 I Riti: Ritual March, "The Funeral Of Achilles" for Percussion (1962) (Fragment)

Friday, 11 June 2010

ΣLCTRNC MX 5, mostly

01 ASOBI SEKSU Nefi+Girly
02 PARA ONE Sunless
03 GLIM Sloth
04 LALI PUNA People I Know
06 VENETIAN SNARES Make Ronnie Rocket
07 DJ SHADOW Monosylabik
09 KANGDING RAY Downshifters/The Distance
13 NOTO Kristallgitter
14 AUTOBAM Telemetry

15 POM POM #33/A1
16 RIVAL CONSOLES Electorate
17 KIM CASCONE Polygon Witch
18 FRANK BRETSCHNEIDER Multimath duplex, polycopter, memory
19 ELLEN ALLIEN & APPARAT Floating Points
21 COH In Spaces Between
22 FAT SEGAL Tenthousand Needles
23 ALVA NOTO Autoshape
24 EINSTÜRZENDE NEUBAUTEN Draußen ist feindlich
25 BJÖRK Pluto
26 COH Heitkamp
27 VENETIAN SNARES Pressure Torture
28 AUTECHRE Vletrmx21

Thursday, 6 May 2010

Saturday, 20 March 2010

Grachan Moncur III - Some Other Stuff (USA, 1964)

01 Gnostic
02 Thandiwa
03 The Twins
04 Nomadic

Friday, 12 March 2010

Fabrication 2 is available over here! :-)

At times, reminiscent of Kenji Kawai's soundtrack for the original Ghost in the Shell film.

01 Pilentze Pee (Pilentze Sings)
02 Svatba (The Wedding)
03 Kalimankou Denkou (The Evening Gathering)
04 Strati Na Angelaki Doumasche (Haiduk Chant)
05 Polegnala E Pschenitza (Harvest Chant From Thrace)
06 Messetschinko Lio Greilivko (Love Chant From The Rhodopes)
07 Beri Yvane (Dancing Song)
08 Erghen Diado (Song Of Schopsko)
09 Sableyalo Mi Agontze (The Bleating Lamb)
10 Pritouritze Planinata (Chant From The Thracian Plain)
11 Mir Stanke Le (Harvest Chant From Thrace)
12 Schopska Pesen (Diaphonic Chant)
13 Polegnala E Todora (Love Chant)
Tomáš Dvořák - Machinarium

Suffice it to say that, if you have a few hours to spare, you should get your hands on the actual game to fully appreciate the music.

01 The Bottom
02 The Sea
03 Clockwise Operetta
04 Nanorobot Tune
05 The Mezzanine
06 Mr. Handagote
07 Gameboy Tune
08 The Furnace
09 The Black Cap Brotherhood Theme
10 The Prison
11 The Glasshouse With Butterfly
12 The Castle
13 The Elevator
14 The End (Prague Radio)

Bonus EP
01 The Robot Band Tune
02 Pipe Wrench Dubstep
03 Game In The Brain
04 Defusing The Bomb
05 By The Wall

Sunday, 28 February 2010

Tusco Terror - Scummer (via)

Farben - Textstar (Germany, 2002)

1 Live At Sahara Tahoe, 1973
2 Farben Says: Love To Love You Baby
3 Suntouch Edit
4 Beautone
5 Farben Says: So Much Love
6 Bayreuth
7 Ff
8 Silikon
9 Farben Says: Love Oh Love

Saturday, 27 February 2010

Kit Clayton - Nek Sanalet (USA, 1999)

1 Nuchu
2 Purpakana
3 Kalu
4 Aspoket
5 Nele
6 Nia-Ikala
7 Surba
8 Inapiseptili
Abe Vigoda - Skeleton (USA, 2008)

01 Dead City/Waste Wilderness
02 Bear Face
03 Lantern Lights
04 Whatever Forever
05 Animal Ghosts
06 Cranes
07 Live-Long
08 The Garden
09 Hyacinth Grrls
10 World Heart
11 Gates
12 Visi Rings
13 Endless Sleeper
14 Skeleton

Tuesday, 19 January 2010

(1942/01/27 - 2010/01/17)

Monday, 18 January 2010

Vladislav Delay - Entain (Finland, 2000)

1 Kohde; 2 Untitled; 3 Poiko; 4 Notke; 5 Ele; 6 Untitled

Tuesday, 5 January 2010

Alva Noto - Xerrox Vol. 2 (Germany, 2009)

01 Xerrox Phaser Acat 1; 02 Xerrox Rin; 03 Xerrox Soma; 04 Xerrox Meta Phaser; 05 Xerrox Sora; 06 Xerrox Monophaser; 1 07 Xerrox Monophaser 2; 08 Xerrox Teion; 09 Xerrox Teion Acat; 10 Xerrox Tek Part 1; 11 Xerrox Monophaser 3

Quoted and translated from an interview Carsten did with German magazine art:
Could you explain this [Xerrox] project to us, seeing as Xerox is actually a copier?
Exactly! The copier is a metaphor. I've altered the name by adding another "r", so that it contains the word "error". In a way it has become corrupted by an error, a mistake. The idea behind this is digital copying. By changing formats, for instance when I rip an mp3 from a CD, I change the file format, everything gets converted into another environment and this entails a change of sound as well. For the common listener this may not even be audible at times, but when I choose a low bitrate, it's instantly recognizable. I think of copying from one format to another as a creative opportunity. You produce a copy of a copy and then copy the copy. This results in a sort of blur, there is interpolation, fragmentations, and errors creeping in. In the digital world it's called "glitch" when bits get squished to the extent that the bitrate of the files ends up so low that they barely know what they're supposed to play. It results in a data noise which still, however, contains the copied melodies.

Monday, 4 January 2010

Toru Takemitsu - Waterscape Cycle

(image from mem'ry)

With the help of Abelian's magnificent post of the second installment in the Complete Takemitsu Edition, I was able to compile the pieces in the so-called Waterscape cycle as described in Peter Burt's The Music of Toru Takemitsu (cf. 177). Additionally, I've included those from James Siddons' list "Works in the Waterscape Series" (in Toru Takemitsu: A Bio-Bibliography, p. 28). Siddons also details to some degree the development of this cycle and the S-E-A motif as the unifying feature of the works it encompasses:

"Takemitsu grouped many of his instrumental compositions into thematic series. Most of the themes come from literature or nature, and some compositions are included in two series. [...] The musical meaning of such themes for Takemitsu is not the verbatim portrayal of rain drops or tree leaves on a primary level as visual images; rather, Takemitsu deals with some aspect of the theme-item that makes an emotional, or intellectual, or sensual impression on the viewer-listener. [...]

A unifying theme in the rain series is the image of the rain running into rivers, which in turn empty into the ocean, creating, in Takemitsu’s own English expression, “a sea of tonality.” The image of flowing water in these works goes back to an idea Takemitsu got while in a subway train in Tokyo in 1948. The roar of passing trains caused Takemitsu to think of sound as a flowing continuum, like flowing water; his Japanese term for this is “oto no nagare" [literally "stream of sound"]. This concept appeared in Takemitsu’s creative work in 1960 when he wrote in a program note for W148 Water Music, “When I see and listen to flowing water [it reminds me of an old Japanese word, Tao [‘the Path’]…. I may have received some influence from Voltaire’s thought. My image of Tao (road) is not a continuous road but many disconnected dots. Listeners will experience a feeling of stillness, motion, time and space. These spaces and times are not the same as those in physics. They are rhythm of nature and time of mind.]”; but it took on more importance in 1983 when this program note appeared in the score of W98 Rain Coming: “It is the composer’s intention to create a series of works which, like their subject [rain], pass through various metamorphoses, culminating in a sea of tonality.” Thus the works in the rain series are preludes to those in the waterscape series, about rivers and the ocean [...]. Another observation about Takemitsu’s theme-ideas that may be made in the foregoing quotations is his interest in how things change over time. The phrases “gradation in coloration” and “pass through various metamorphoses” indicate this interest in mutability, as does the program note for W112 Seasons that explains that the work is not about the four seasons themselves but the change of seasons between them. Many other examples of Takemitsu’s interest in change, mutability, borders [...], and time/space relations are found in his titles, program notes, and essays on his compositions.

About 1980, the “sea of tonality” in the waterscape works was defined by Takemitsu as the three-note ascending motif Eb-E-A (conjunct semitone and perfect fourth); when the E-flat is read in the German pronunciation, ‘Es,’ the English word ‘sea’ results. Takemitsu extended his sea motif upward: (two major thirds and a minor third above the A of ‘sea’). “Into that sea of vibrations,” wrote Takemitsu of W52 Far Calls. Coming, far!, “pours the solo violin.”

An important companion theme within the waterscape works is the imagery of the novel “Finnegan’s Wake” by James Joyce. When Takemitsu turned his attention to the novel in the early 1970s, its themes of life, death, and time flowing like a river into the ocean were consonant with his already-developing ideas of “oto no nagare,” and thus the novel easily slipped into an influential position in Takemitsu’s creative thought. The most easily seen aspect of this influence is the several titles that are words or phrases from this novel: W21 A way a lone (and W22), W52 Far Calls. Coming, far!, W107 riverrun (the opening word of the novel, uncapitalized), and possibly W54 For Away." (quoted from Siddons' Toru Takemitsu: A Bio-Bibliography, p. 14f)

As a prelude to the following, you might want to listen to "Water Music," a link to which one of my readers kindly left in the comments.

01 Garden Rain, for brass ensemble (1974)
02 Waterways, for piano and orchestra (1975)
03 Waves, for clarinet, horn, two trombones and bass drum (1976)
04 Bryce, for flute, 2 harps, and 2 percussionists (1976)
05 Marginalia, for orchestra (1976)
06 Far Calls. Coming, far!, for violin & orchestra (1980)
07 A way a lone I, for string quartet (1981)
08 A way a lone II, for string orchestra (1981)
09 Toward the Sea I, for alto flute and guitar (1981) - 1. The Night
10 Toward the Sea I, for alto flute and guitar (1981) - 2. Moby Dick
11 Toward the Sea I, for alto flute and guitar (1981) - 3. Cape Cod
12 Toward the Sea II, for alto flute, harp and string orchestra (1981) - 1. The Night
13 Toward the Sea II, for alto flute, harp and string orchestra (1981) - 2. Moby Dick
14 Toward the Sea II, for alto flute, harp and string orchestra (1981) - 3. Cape Cod
15 Rain Tree, for three percussion or keyboard players (1981)
16 Rain Coming, for chamber orchestra (1982)
17 Rain Spell, for flute, clarinet, harp, piano and vibraphone (1982)
18 Rain Tree Sketch I, for piano (1982)
19 Star-Isle, for orchestra (1982)
20 Wavelength, tape (1984)*
21 The Sea Is Still, tape (1986)*
22 Rain Dreaming, for harpsichord (1986)
23 riverrun, for piano and orchestra (1987)
24 I Hear the Water Dreaming, for flute and orchestra (1987)
25 Toward the Sea III, for alto flute and harp (1989) - 1. The Night
26 Toward the Sea III, for alto flute and harp (1989) - 2. Moby Dick
27 Toward the Sea III, for alto flute and harp (1989) - 3. Cape Cod
28 Quotation of Dream - Say Sea, Take Me!, for 2 pianos and orchestra (1991)
29 Rain Tree Sketch II, for piano (1992)
30 Archipelago S., for 21 players (1993)
31 Between Tides, for violin, cello & piano (1993)

*unlocatable; if anyone has these (you're obviously one of the few lucky souls in possession of the fifth volume of said Takemitsu edition), feel free to leave a comment :-)