Jikken Weekend, also known as Experimental Music Concert, is a small artist/composer group based in Tokyo. They mainly hold performance events at l-e, a small venue/art space in Osaki. Two CD compilations of their works have been released on the Taku Sugimoto’s label Slub Music, Experimental Music Concert (2015) and Experimental Music Concert Vol.2 (2017). Early on, many of the members of Jikken Weekend were participants of Sugimoto’s composition workshops.

Aside from that, the members are almost unknown, even to Tokyo’s experimental music scene. In recent years, some of the original members have left, and some new names have joined in. It is said that some of their latest compositions are not suited to audio recording.

So, this cassette can be seen as a chance to check in on Jikken Weekend’s recent work. Hirohiko Yamada, Toshihisa Hirano, Hisayo Kobayashi and Mamoru Nakajo are original members. Similar to their previous releases, each of them brings their own compositions in for recording, while they also contribute as musicians in other pieces. Besides these four, other musicians in the recording sessions include other members from Jikken Weekend, l-e buddies, and even some Korean mystery guys including Ryu Hankil and lo wie. One piece on this cassette was recorded in Seoul.

All this is just a bit of background information for the cassette. But what does Jikken Weekend’s music sound like? You are welcome to have a listen and a read.

----- Zhu Wenbo, edited by John Wilton

Jikken Weekend(实验音乐演奏会)是一个东京的小团体。他们主要在品川区大崎一带的小场地 l-e 活动。他们的作品此前曾有过两张CD发行：2015年的《实验音乐演奏会》以及2017年的《实验音乐演奏会 vol.2》，都是在杉本拓的厂牌 Slub Music 出版。事实上这个小组织的很多成员起初都是杉本拓的作曲工作坊的学员。

除此之外，这些名字无论是作为作曲家还是乐手，都几乎是不为人所知——甚至是在东京的实验音乐场景中也是如此。后来有些人已经离开这个团体，有些新的名字加入了进来。据说，有一些新的作曲已经不适合用录音的方式来记录了。

因此，这张磁带可以视作这个团体最新工作的一些片段。山田寛彦, 平野敏久, 小林寿代, 中条護都是Jikken Weekend的原始成员。延续前两张CD的方式，他们每人都带来了自己的作品，同时也在其他人的作品中担任乐手。磁带里的其他乐手还有 Jikken Weekend 的其他成员，l-e 的伙伴，甚至还有韩国的神秘人，比如柳汉吉与 lo wie。磁带里也包括一首在首尔的录音。

这些即是磁带的一些背景故事。Jikken Weekend 的音乐到底是怎样？欢迎来读，来听。

朱文博

Recorded by Hirohiko Yamada and Toshihisa Hirano  Mastered by Toshihisa Hirano 

A1, B1, and B2: Recorded at l-e, Tokyo, December 21, 2019 A2: Recorded at namsan/flat, Seoul, October 13, 2018 

A1 combs Composed by Hirohiko Yamada  Mamoru Nakajo, Reiko Shioda and Hirohiko Yamada: Melodion

A2 Don’t Look Away Composed by Toshihisa Hirano  Ryu Hankil, lo wie, Yijinkee, Inkyung Kim, Takuya Sakamoto, Mamoru Nakajo, Reiko Shioda and Guests: Humming Toshihisa Hirano: Conductor 

B1 from the faucet Composed by Hisayo Kobayashi Hisayo Kobayashi: Water jug, LED light 

B2 DJ (Digest Jockey) Reiko Shioda, Hirohiko Yamada, lo wie and Ryu Hankil: Speaking about 2019 news Toshihisa Hirano, Hisayo Kobayashi and Takuya Sakamoto: Reading about 2019 topics Mamoru Nakajo: Conductor 

The world of human civilization is only valuable to us. The construction of this human civilization is based on a system that extracts as much as humans needs from the essential and excludes the rest. Civilization has evolved over time, and it has become a gigantic filter through repetition of extracting the necessary ones from the increasingly micro ones and excluding the rest. The human culture is the sum of history that quantifies countless things while changing the aesthetic standards of the time. The culture, the capital, the politics, the society, and the technology are harmonized as a chord which is named as “the human culture”. In other words, the culture and civilization are the filtered things of the time, and the vaster ones still remain as unknown and unthinkable areas.

For example, in the coffee production, after the harvest, the distribution, grinding and filtering, high quality coffee can be highly valued as an element of culture, but leftover coffee as a by-product is not seriously considered. Now, in order to advance civilization, the function of the filter is more compact and requires a higher pressure or Q (Quality-Factor) value.

I’m listening to the recordings now. I can experience the areas without Q value that are sometimes serious and sometimes humorous. These conditions and structures they had created make them experience that even the standard of value judgment can be neutralized. It reminds me of the possibility that the by-product leftover after brewing coffee could spark a change in a direction we couldn’t have imagined.

----- Ryu Hankil

人类文明的世界只对我们自己有意义。这种人类文明的构建基于一种系统，它尽可能地依据人类的需求去提取，而将其余部分排除在外。文明随着时间而发展，如今已成为一个巨大的过滤器，不断地从越来越微观的事物中提取，并排除其它。 人类文明是历史的总和。它对无数事物进行量化，并随着时代而改变审美标准。 文化、资本、政治、社会、技术，它们和谐地组合在一起，成为“人类文明”的和弦。 换句话说，人类的文化与文明是时间的过滤物，但在其之外依然存在着大量的未知与难以置信。

举例来说，在咖啡生产中，经过收获、运输、研磨与过滤的高质量咖啡会被认为具有丰富的文化价值，而咖啡的其余部分只是副产品，不会被认真对待。 而现在，为了文明的推进，过滤器的功能更加紧凑，需要更高的压力，或曰品质参数。

我正在听这个录音。我可以感受到，它无关于品质参数。有时很严肃，有时很幽默。 他们创造的条件和结构，甚至连价值判断标准也可以被抵消掉。 它提醒我一种可能性：即使是萃取咖啡的副产品也可以引领改变，去到一个我们完全不曾想过的方向。

柳汉吉