Double CD in gatefold wallet
2008 second edition, without postcards
Track list:
Matrix [For Rooms] (1999-2000)
1-01 0 0 0 0 0 0 0 0 0 1 (12:00)
1-02 0 0 0 0 0 0 0 0 1 0 (5:30)
1-03 0 0 0 0 0 0 0 1 0 0 (4:30)
1-04 0 0 0 0 0 0 1 0 0 0 (5:30)
1-05 0 0 0 0 0 1 0 0 0 0 (4:30)
1-06 0 0 0 0 1 0 0 0 0 0 (5:30)
1-07 0 0 0 1 0 0 0 0 0 0 (4:30)
1-08 0 0 1 0 0 0 0 0 0 0 (5:30)
1-09 0 1 0 0 0 0 0 0 0 0 (4:30)
1-10 1 0 0 0 0 0 0 0 0 0 (7:57)
.Matrix (1999-2000)
2-01 1 1 1 1 1 1 1 1 1 0 (3:02)
2-02 1 1 1 1 1 1 1 1 0 1 (2:24)
2-03 1 1 1 1 1 1 1 0 1 1 (1:00)
2-04 1 1 1 1 1 1 0 1 1 1 (1:27)
2-05 1 1 1 1 1 0 1 1 1 1 (3:34)
2-06 1 1 1 1 0 1 1 1 1 1 (2:42)
2-07 1 1 1 0 1 1 1 1 1 1 (4:55)
2-08 1 1 0 1 1 1 1 1 1 1 (5:22)
2-09 1 0 1 1 1 1 1 1 1 1 (0:59)
2-10 0 1 1 1 1 1 1 1 1 1 (5:32)
Matrix is the final element in a trilogy of CDs that began with +/- in 1996. When it was first released, +/- came like a bolt out of the white. Nobody had used digital recording processes to produce sound as pure, as intense and as exhilarating. Since releasing 0°C in 1998, Ryoji Ikeda has progressively refined and enhanced the distinctive sonic fields and microsounds that have strongly influenced post-digital composition, resisting the transitory cycle suggested by the term ‘Glitches’, creating compositions that probe deeply: our relationships to time and space, sound and light. Much of the time since 1998 has been spent touring with the Japanese performance group, Dumb Type, whose landmark show [OR] is shortly to be followed by a new presentation for which Ikeda has composed the sound, Memorandum. In January 2000, Ryoji Ikeda toured the UK with Zoviet*France. A closer connection to the 20 new recordings that make up Matrix can be found on the recent Touch 00 sampler, Matrix for an Anechoic Room, which came out in Spring 2000. That’s the only forewarning of what awaits you on putting the first CD into your player. The layers of sound that make up Matrix [for rooms] transform both the listener and the listening environment into another dimension. The dimensions change as you move about the space, or simply turn your head around the sound like surveying the angles of a building. Matrix has much in common with the work of La Monte Young, Tony Conrad, Alvin Lucier…, but poised closer to the imminent and auto-interactive virtual world we are promised, Ryoji Ikeda’s new work pushes the parameters of the drone to ask timely questions concerning our relationship to own perception, and to our existing living spaces.
