Té

Country: United Kingdom
Formed: 1967
Styles: J. Rock Math Rock Post-Rock

Biography

Originally from Tokyo, Te (often spelled Te' for character problems) took shape in 2004 around Kono (Guitare), Hiro (Guitare), Masa (Basse) and Tachibana (Battery). Their first demo was soon over and a first ep was released the same year on Zankyo Records. Quatuor 100% instrumental, the performances of Té enchant the spectators from the first live performances, which is worth comparisons with the greatest names of the Post-Rock / Indie Rock. We're talking about the band in the specialized Japanese press, and Tower Records Japan's store chain is putting them in the spotlight. In September 2005 released their much-anticipated debut album He reached tenth place in the top Tower Records Japan, a real performance for an instrumental band. They then embark on a Japanese tour with the Swiss Koch Schuetz Studer who invite them in return to make some dates in Switzerland. The small inde-American label Status Quo then offers them to publish their first album on the North American continent, Te accepts and a remastered version of their opus renamed for the occasion If That Is What Is Being Thought, Liberated Sound Talks The Dept Of "Musical" World released in April 2006 with two bonus tracks, while a second ep is published in Japan on 06/06/06, before a tour with Mono and Downy, but also 65daysofstatic. In 2007, the band suddenly released a third ep and their second album A third opus, the band is not waiting in 2008 and performs regularly in concert for two years before returning to the band with the band's first three records, Collection , edited by Denovali Records. Té nevertheless separated from his bassist Masa, replaced by Matsuda in early 2011. The Japanese released in 2012 as usual an ep, as well as the album It is necessary to wait three years and the release of the sixth effort of the group to give news, the record also followed by the ep .

Discography

『閾』

『閾』

2016

其れは、繙かれた『結晶』の断片。或いは赫奕たる日輪の残照。

其れは、繙かれた『結晶』の断片。或いは赫奕たる日輪の残照。

2015

思想も共感もいらず、ただ幻聴を誘発する『起因』としての音楽。

思想も共感もいらず、ただ幻聴を誘発する『起因』としての音楽。

2014

ゆえに、密度の幻想は綻び、蹌踉めく世界は明日を『忘却』す。

ゆえに、密度の幻想は綻び、蹌踉めく世界は明日を『忘却』す。

2012

音の中の『痙攣的』な美は、観念を超え肉体に訪れる野生の戦慄。

音の中の『痙攣的』な美は、観念を超え肉体に訪れる野生の戦慄。

2012

Collection

Collection

2010

敢えて、理解を望み縺れ尽く音声や文字の枠外での「約束」を。

敢えて、理解を望み縺れ尽く音声や文字の枠外での「約束」を。

2010

まして、心と五感が一致するなら全て最上の『音楽』に変ずる

まして、心と五感が一致するなら全て最上の『音楽』に変ずる

2008

それは、鳴り響く世界から現実的な音を『歌』おうとする思考

それは、鳴り響く世界から現実的な音を『歌』おうとする思考

2007

美しき旋律も、音を語る言を持たずしては心にも『留』めがたし

美しき旋律も、音を語る言を持たずしては心にも『留』めがたし

2007

言葉を用いて奏でる者は才能に在らず、ただの記憶に『過』ぎぬ

言葉を用いて奏でる者は才能に在らず、ただの記憶に『過』ぎぬ

2006

ならば、意味から解放された響きは『音』の世界の深淵を語る

ならば、意味から解放された響きは『音』の世界の深淵を語る

2005

己が分を知りて及ばざる時は速やかに止むるを『智』と言うべし

己が分を知りて及ばざる時は速やかに止むるを『智』と言うべし

2004