堀川ヨシ – 『Vapor』（2013年）
ラフィ・マーサー
Field recordings mix with beats, textures blur into rhythm, and sound itself becomes subject matter. Japanese producer Yosi Horikawa’s Vapor, released in 2013, is one of the most inventive albums of recent decades and a modern favourite for testing systems. Horikawa is known for turning ordinary sounds — dripping water, snapping twigs, shifting gravel — into rhythmic and melodic material, blending them with electronic production into something uncanny and joyous.
Tracks like “Bubbles” and “Letter” are as much about spatial placement as melody. You hear marbles bouncing, pencils scratching, rain falling, all arranged with surgical precision across the stereo field. The low end is tight and physical, the high end crystalline. On a capable system, the room becomes playground and laboratory at once.
On vinyl, the textures deepen. The organic sources feel tactile, the beats warm, the atmospheres enveloping. Played in a listening bar, Vapor is pure delight — listeners smile as they recognise sounds, then nod as they become groove. It is not a gimmick but a reminder: sound itself is music, and production can be both playful and profound.
Drop the needle and your system is asked not just to reproduce music but to reveal the world.
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