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詳細 2016年2月14日 22:07更新

Since its first release in 1982, Touch has created sonic and visual productions that combine innovation with a level of care and attention that has made it the most enduring of any independent music company of its time. As Boomkat said in April 2008, when Touch's archive became available for download:

"This is what we’ve been waiting for – the chance to finally present the epic Touch catalogue in digital format. The UK label has long been a favourite of ours and it’s hardly surprising with the sheer volume of quality releases, they almost seem infallible even, with rarely a dud record emerging from their hallowed company. Established in 1981 and adorned with some of the most gorgeous cover-art ever to grace a sleeve, Touch became widely known for its look, fashioned in part by the photography of Jon Wozencroft (who co-runs the label). These simple but devastatingly effective images became synonymous with their respective releases and the label became just as widely appreciated in the art world as in the world of experimental music. It's the music itself though that has set Touch apart from so many other similar labels, and their roster still speaks for itself; Fennesz, Biosphere, Hafler Trio, Oren Ambarchi, Philip Jeck, Rosy Parlane, Jóhann Jóhannsson, BJ Nilsen, Chris Watson, Mika Vainio, Ryoji Ikeda – it reads like a veritable who’s who of contemporary experimental music. Many of these artists seem to have gravitated towards Touch to create their finest works – Fennesz with the seminal ‘Venice’ or Oren Ambarchi with the genre-bending ‘Grapes From the Estate’ whereas others simply found a home they could grow with over many albums; Philip Jeck and Chris Watson for instance, but it is to Touch’s credit that they have managed to build a team of worldwide recording artists this flawless. To conclude, the Touch catalogue is a selection of work we have deep respect for and somehow manage to keep going back to again and again, it’s just that good. Take the time to explore deeper and you won’t be disappointed…"

From the start Touch never considered itself to be a record label, but more an audiovisual arts publishers releasing anything that interested the founders: manifestos, literature, visual art etc. Jon Wozencroft speaking about Touch, *surface magazine, Autumn 2000: "When we launched it, we envisioned Touch as the world’s first 'audiovisual' label. We repeat, endlessly, 'Touch is not a Record Label!'. We depend more or less on a long-developed support system with the artists with whom we work and the key people who act as our antennae. It’s all based around collaborations. We publish music and artworks in small editions just as a printmaker or photographer might make an edition of their work to sell in a gallery. Except we have to put up with the vagaries of the distribution system open to us, and its perception of where we should 'fit' – or not."

In 2006, the label commenced its Touch 25 celebrations. Having survived for 25 years makes Touch one of the oldest active UK 'indie labels'.



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