coppé featured on sunset hours ! coppé produced by atom™ : fly me 2 da mooooooon : !!!

coppé produced by atom™ : fly me 2 da mooooooon : !!!

coppé track called : figment of imagination : from VOID release gets featured as the opening track on wire tapper 35 !!

Music Videos (Youtube)

To call something “Void” implies it is hollow, empty or invalid. So it is a little confusing at times to fathom why someone as vibrant, colorful and generous with her musical portion sizes as Coppe’ would call a bumper-sized 24 track collection by such a name (especially as I am sat here right now fondling the ridiculously luscious, spot-gloss gatefold wallet which houses not only a 22 track CD, but also an additional delicious 2 track 5″ sized actual vinyl.)

何かが「Void（空虚） 」であるという事は、虚しい、空っぽ、無効であるということだ。だからこそ、コッペの様に元気でカラフルで、惜しみなく音楽を世に出す人が、なぜ24曲も収録されているこのコレクションにそのようなタイトルをつけたのか不思議でならない。（今まさに私はその作品を手にしているのだが、驚くほど見事なスポットグロスの見開きジャケットには22曲も収録されたCDが収められただけでなく、素晴らしい２曲入り5インチレコードもついてくるのだ。）

However, after 18 years, 14 albums and numerous collaborations with some of the Electronic world’s biggest players (Plaid, The Orb, DJ Vadim, Nobukazu Takemura, Atom™, Kettel to name but a few), Void instantly strikes the listener as an album of emotional highs and lows, woven together in a purposely sparing patchwork.

しかし、18年の活動の中で14枚のアルバムとエレクトロニック界の大物達との数々のコラボレーション（Plaid、The Orb、DJ Vadim、竹村延和、Atom™、Ketteなどを含む）を経て、Voidにはあらゆる感情のハイとローがざっくりしたパッチワークの様に意図的に編み込んだような印象をリスナーに与える。

For anyone familiar with Coppe’, even when at her most BPM firing, amen-chucking aggressive, she’s still more adorable than a kitten in a slipper. But this is always brought into equilibrium with her trademark saccharine vocals, ambience and knack for a memorable (albeit often bonkers) lyrical hook. Since founding her Mango + Sweetrice label in 1995, she has made a career of giving Electronica an abundance of personality, humour, and a charming does of Japanese etiquette, without resorting to any Asian pop-culture clichés.

コッペを知っている人には、彼女が最もBPMをあげてぶっとばしている時でさえも、スリッパに入っている子猫よりかわいらしいことを知っているはずだ。しかし、常に彼女のトレードマークである甘い声、アンビエンス、そして記憶に残る（ほとんどがクレイジーな内容だが）歌詞のフックがその均衡を保つのだ。1995年に自身のレーベルMango + Sweetriceを設立してから、自身の性格、ユーモア、チャーミングな日本人のエチケットを、アジアのポップ・カルチャーにみられるクリシェに頼らず、エレクトロニカに取り入れる事で彼女は地位を築いた。

Void ventures into much darker terrain (for her) though, and for the first time the album actually sounds like it may have come at a time of personal strife which made the collection more of a chore to pull together, rather than Coppe’ merrily throwing ideas back and forth with her loyal band of collaborators like a game of volleyball.

しかし、Voidは（彼女にしては）ダークな領域に踏み込み、彼女のアルバムとしては初めて、個人的な葛藤に直面していた時期なのかもしれないと思わせる。これまでの様に、コッペがいつもの信頼できるコラボレーション相手達とバレーボールの如くアイディアを喜んで交わしているというよりは、ひとつの作業として完成したコレクションのような印象がある。

New recruits to her band of collaborators on Void include the likes of Kit Clayton, Henry ‘Shitmat’ Collins, Jilk, and even renown lyricist, poet and author Chris Mosdell, who have all certainly helped stretch her sonic pallet like dough and knead it in to a unique tear & share bake.

Voidにおける新しいコラボレーションにはKit Clayton、Henry ‘Shitmat’ Collins、 Jilk、そして著名な作詞家、詩人、作家であるChris Mosdellらが名を連ね、彼らによってコッペの音楽のパレットがパン生地のように伸び、ユニークに焼き上げられている。

Starting with a selection of eerie, wordless soundscapes (Kit Clayton’s dense “Introduction” and the minor key haunting of “Dismay”), the album’s title track finds its way to the front of the queue, and delivers its off-kilter anti-pop, as Coppe’ coos about the pros and cons of desiring someone out of reach amidst shuffling beats and raindrop like plinks and plonks.

言葉のない奇妙なサウンドスケープ（Kit Claytonの難解な「Introduction」と「Dismay」の心から離れないマイナーキー）に始まり、続くアルバムのタイトルトラックは、型にはまらないアンチポップな楽曲で、変動するビートと雨がピチャピチャ降るようなサウンドに乗せ、手の届かない人を切望することの善し悪しについてコッペが囁く。

“U Give Me A Heartache” restrains momentum for a moment longer as its heartbeat pulse and mantra-like lyrics keeps the burnt fingers feeling rolling. Just as you think Void is going tumble into a bleak, dark soup of sparse electronica, suddenly the bossa nova piano & IDM-pop of “Strawberry + Tuna” kick in and lifts the mood. While the vocals remain on the rather restrained side, the bounce and charm of the tracks production instantly unfold the album like an origami flower, and many different layers and shapes continue to unfold from here on.

「U Give Me A Heartache」でもしばらく勢いを抑え続け、心臓の鼓動とマントラのような歌詞が、火傷した指先がまだ燻っている感覚にさせる。ここからVoidは、どんよりとした暗いスパルスエレクトロニカに流れ込むのかと思いきや、突如ボサノバのピアノとIDMポップ調の「Strawberry + Tuna」がムードを高める。ボーカルは已然抑え気味であるものの、トラックの飛び跳ねるような魅力が一気にアルバムを折り紙の花のように開花させ、ここから様々な形へと変化を遂げていく。

The meditative, dreamlike pitch-shifting on “Figment Of Imagination,” and the gritty, sexier Arabic tones of “Underwater Fireworks” provide yin to such yangs as the angular modern jazz of “Azuki Bean Esspresso” and the blinding “He. Who. Me. Yo”—a track so dense and packed to the rafters with blinding IDM glitches (thanks to the lightning touches of collaborator, underground Japanese producer Nanonum), Autechre fans may be forgiven for thinking she’s making a conscious attempt to successfully rain on their parade.

「Figment Of Imagination」の瞑想的で夢のようなピッチの変動と「Under Fireworks」の情熱的でセクシーなアラビックな音色を陰とすれば、「Azuki Bean Esspresso」のアンギュラーなモダンジャズや、眩いばかりの「He. Who. Me. Yo」が陽となる。素晴らしいIDMの技が満載のこのトラック（日本人のアンダーグラウンドプロデューサーであるNanonumのコラボレーションの結晶である）は、Autechreのファンに彼女が意図的に彼等を潰しにかかっていると思わせても仕方が無いぐらいだ。

Brooding, sombre moments such as a the cut & pasted piano-hymn “Introvert” co-produced by Jilk, the new wave of Henry Collin’s backdrop on “Sleeping Pill,” and the beautiful, sparkly balladry of “Swan Song” (with Chris Mosdell collaborating on lyrics), are all given a flip side to such tracks as the gentle sway of “Hadaly’s Waltz” (and its preceding “Rad Bacarrat Waltz” intro), the hazy dub of “Only U!” and the unashamed midi-pop of “Fire + Ice,” with Coppe’ tearing through her usual whispers for an all-out pelt.

Jilkとの共同プロデュースで、ピアノの聖歌をカット＆ペーストした「Intorvert」、Henry Collinsを背景にしたニューウェーブの「Sleeping Pill」、そして美しく輝かしいバラードの「Swan Song」（歌詞はChris Mosdellとのコラボ）、そしてこれらの対極と言えるのが「Hadaly’s Waltz」（その直前の「Rad Bacarrat Waltz」も含む）、「Only U!」のくすんだダブと、いつもの囁きをぶち破って全力投球な堂々としたミディポップの「Fire + Ice」である。

Gluing them all together are a selection of ambient, spooky interludes such as “Akira” (made from the sound of her pregnant friends ultrasound scan) and “Mama + Coppe’ Duet”, which finds mother and daughter in a surprisingly dark guttural exchange of traditional chant over a claustrophobic backdrop of a drippy basement sounds.

これらを全て繋げているのが「Akira」（妊婦の友達の超音波で制作）と「Mama + Coppe’ Duet」などの不気味なアンビエントのインタールードである。「Mama + Coppe’ Duet」では、水がしたたる地下室のような音をバックに、母と娘が驚くほどダークでガラガラな声で伝統的な聖歌を歌っている。

Throw in a few extra surprises such as producer & rapper Luna 9 taking centre stage on “Golden Crushes” as Coppe’ whispers seductively behind him over a fine slice of glitch-hop (recalling the glory days of late 90s Funkstörung), and you have a 22 track album that pretty much covers all bases without losing sight of its agenda or heart.

驚きはまだ続き、「Golden Crushes」ではグリッチホップな曲にプロデューサー兼ラッパーのLuna 9がセンターステージに立ち、コッペが彼の後ろから誘惑するかのように囁く（90年代のFunkstorungの絶頂を呼び起こすかのようである）など、全22曲のアルバムは根本的な目的やハートを忘れること無く、全てを網羅している。

When you’ve stopped yourself from stroking the 5″ vinyl long enough to actually play it, Side B presents more sparkly meditative IDM ambience with Cai Murphy on “Liquid Brain.” But it’s Side A that presents the biggest surprise of all. An all-out acoustic, guitar rendition of the classic jazz standard, “I Fall In Love Too Easily.” While it purposely fades into a cacophony of vinyl crackles just to mess with your ears when on the turntable, it’s a heartbreaking rendition and a welcome reminder of what a powerful, rich tone Coppe’ possess behind all the usual effects pedals and kaos pads.

5インチのレコードを大切に撫でて満足した後にやっと再生すると、B面のCai Murphyとの「Liquid Brain」でさらにキラキラした瞑想的なIDMのアンビエンスを堪能出来る。しかし、最も驚きを感じるのはA面だ。かの有名なジャズスタンダード「I Fall In Love Too Easily」のギターを用いた完全アコースティク・カバーを収録している。レコード特有のパチパチとした音にフェードインし、あえてリスナーの耳にいたずらしつつも、このカバーは胸が張り裂けるようで、いつものエフェクトペダルやカオスパッドの裏に隠れたコッペの力強く、豊かな音色を思い知らされる。

Any album longer than 45 minutes or 10 tracks these days is pretty much written off as too long or too demanding on all that precious time of ours spent shuffling our playlists. While Void‘s total 24 tracks may seem like a slog initially, by dividing the CD up into neat categories of tracks, no song being longer than 4:30 and giving us an actual vinyl we need to manually play like the old days to complete the experience, one can’t help but be seduced into taking the time to pour over the vast but digestible contents.

プレイリストばかりをシャッフルする時代になった現在、45分を超えるアルバムや10曲以上収録されているアルバムは長過ぎるだの、そんなに聞いている時間が無いだのと言われがちだ。Voidには24曲が収録され、数字だけ見ると長そうと思われるが、CD収録曲は綺麗にカテゴリー分けされ、4分30秒を超える曲も無い上にさらにレコード盤もついてくることで昔のように物理的に音楽を再生することを存分に味わうと、長いながらもすぐに飲み込めるこのアルバムにむしろ時間をかけて味わいたいと思わずにはいられない。

By also turning a plain white sleeve into a sexy little collectors set with only the gloss varnish itself shaping the design of the album’s logo, it’s another crafty ploy to expose all the colorful booty within the void. Sonically and literally, it is her “White Album.”

また、シンプルな白いスリーブにグロスだけでアルバムのロゴを形作り、セクシーなコレクターズセットに仕上げたことで、空虚の中にあるカラフルな要素を際立たせている。サウンドもデザインも、これは彼女にとって文字通り「ホワイトアルバム」なのだ。

To newcomers, it is easy to hear why she has frequently been dubbed “The lost daughter of Björk & Aphex Twin” or “Godmother of Japanese Electronica.” But regardless of comparisons or marketing taglines, releases of this scale in generosity and scope are increasingly rare and rightfully earn to be cherished.

初めて聞いた人にとっては、彼女が「BjorkとAphex Twinの間の子」や「日本のエレクトロニカ界の女神」と言われる所以が理解出来るだろう。しかし、どう比較されようが、キャッチコピーを付けられようが、このような規模のリリースは益々少なくなってきており、名実共に貴重な作品と言える。

While Coppe’ may be one of the few women in the world proudly keeping the 90s IDM vibe steaming ahead into the 21st century, her charisma and wide-eyed approach to any sub-genre make for a welcome detour into her universe. It is a place where the digital & analogue, Green & Blue and Strawberry & Tuna all make for delicious and logical counterparts, and where even a plain white void can make for a bonkers, beautiful and entrancing 65 minutes.

コッペは今でも90年代のIDMのバイブスを21世紀に引き継いでいる数少ない女性アーティストの一人かもしれないが、彼女のカリスマと、どんなサブジャンルにも積極的に取り組むアプローチは、彼女の作り上げる宇宙への喜んで通るべき回り道だ。そこはデジタルとアナログ、Green & BlueとStrawberry & Tunaの全てが美味しくて納得のいく相手となり、シンプルな白いvoidすらも狂おしく、美しく、魅力的な65分を作り上げるのだ。

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(via. igloo magazine)
translated by sublingual services inc.

5 star review on birmingham gig
photo by james barrett !!!

Coppe’ – Hare & Hounds, Birmingham – Music-News.com  
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LIVE REVIEW
Coppe’
Hare & Hounds, Birmingham
added: 7 Oct 2011 // gig date: 6 Oct 2011 
reviewer: Ross Cotton

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Coppe’s vast career spans over 15 years, nestled in between the birth of IDM and Trip-Hop, the oriental electronica ‘Godmother’ resembles a hint of both but not quite either, in her own expansive joy-pop world.

Raising funds for the Japanese Earthquake and Tsunami appeals, local experimental organisers Sound Kitchen and Bit Phalanx teamed up with Coppe’ to bring a night of weird and mind blowing electro acts, leaving many scratching their heads, and others consuming the oddball-ness through potty prances of delight.

Founding member of Bit Phalanx, Leigh, explains, 摘arlier this year, Kelli [Ali], who sang with Coppe’, [her voice reminiscent of a sweet-high pitched theremin, from a lost bygone Bjork era that never truly was], introduced me to Coppe’, says Leigh, who’s attire crosses between an eccentric eyeliner-wearing Shakespeare and a bizarre curly-moustached modern-day musketeer, complete with multi-coloured hair pompoms.

鼎oppe’s been going for years and I’ve only just discovered her, so it’s been great discovering all her music; our collaborations have just grown, he says.
典he album we’ve done, all profits from that go to charity, as does the tour. I’m hoping this is going to be a very long journey with Coppe’!, Leigh concludes.

While the journey of this set list would start unpredictably with a none-human act under the name of Mr Hopkinson’s Computer. A very much alive laptop which won the crowd’s hearts with covers of Radiohead’s Fake Plastic Trees and Pixies’ Where is my Mind. Complete with microphone and windows as eyes, the Microsoft hardware provided a satirical realisation of one possible future of digital music.

Though it had to be Baby I Got Your Money that exceeded expectations, as guest vocalist Audrey 3000 was phone-called in to collaborate in one of the most weirdest karaoke experiences that you could ever imagine.
And in his own Stephen Hawkins-esque voice, Mr Hopkinson’s Computer thanked us for being a great audience.

Next came T-Toe, a solo artist who fused together dub-step raves with rapping and trombones.
This unlikely mix brought an authentic light-hearted experience of high voltage wacked-out sounds, with obscure, playful lyrics. 典he itch won’t go away, sings T-Toe, who dedicates his song Eczema to all those sufferers in the audience.

Yet perhaps his track about the London riots was the most exuberant, as T-Toe almost spoofs The Streets, leading to humoured chav imitations. 展hat is you doing rude boy, why be you kicking shit up, he sings, developing a deranged techno dance that soon evolved into incoherent screams and shouts or animal impersonations, I’m not sure which.
While his insanity grew and grew, it slowly made you wonder whether this act was in fact T-Toe’s actual bouncy personality.

A stripped-down version of Modified Toy Orchestra followed as an exclusive Casio set. The duo took the once happy pop-fuelled MTO and drained them into an alien, mind-bending coldness. Opening up an alternative world through their onstage experiment, Brian Duffy and Darren Joyce gave us an insight into the next stage of the toy circuit-bending journey, revealing a much darker, robotic theme of things to come.

Gracing the stage with her flamboyant, pink ‘No More Nukes’ costume, Coppe’ was of course the only finale that would ever seem fitting enough for this eclectic line-up. Her vibrant culture-oozing sounds spread high spirits over the Hare, as she delved into none-stop animated bliss.

Basking in Oriental, Hawaiian and Indian genre-styles to name a few, Coppe’s concoction of electro-beats, bongos, flutes and neon-glowing-psychedelic-colours braved a trippy hippie experience of utter delight, which gave a mind-expansion to those who have never witnessed Coppe’ live before.

And of course, the enchanting guest vocals from theremin-sounding 90s legend Kelli Ali were more than enough to top off a vividly-energetic evening, as both Kelli and Coppe’s voices trickled off each other and faded back in purified harmony.

釘irmingham used to have a really thriving scene about 8 years ago says Bit-Phalanx founder Leigh. I’m really happy that there’s an organisation like Sound Kitchen who are really pushing electronic music in the Midlands again.

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