The Squid's Ear Magazine


Onda, Aki / Nao Nishihara: Kouya-e-to (Ftarri)

NYC performer Aki Onda and Yokohama sound artist Nao Nishihara began collaborating in 2015 while Nishihara was residing in NY on an Asian Cultural Council grant, returning in 2016 for this live performance exploring the architecture and acoustics of ISSUE's 22 Boerum Place theater, installing handmade instruments and analog equipment within a visually arranged set-up.
 

Price: $15.95



Quantity:

In Stock

Quantity in Basket: None

Log In to use our Wish List
Shipping Weight: 2.00 units

Sample The Album:





product information:

Personnel:



Aki Onda-tapes, feedback, amps, bells, cymbals, found objects

Nao Nishihara-bells, Chinese cymbals, bird and animal calls, wood and metal pieces, self made bowing instrument, "Sloth," Turkish sipsi, nose flute


Click an artist name above to see in-stock items for that artist.




Label: Ftarri
Catalog ID: ftarri-975
Squidco Product Code: 30195

Format: CD
Condition: New
Released: 2020
Country: Japan
Packaging: Cardstock Sleeve, sealed
Recorded at ISSUE Project Room, in Brooklyn, New York, by Bob Bellerue.

Descriptions, Reviews, &c.

"Aki Onda has lived and based his activities in New York for many years. His solo work includes "Cassette Memories," a field recording project using portable cassette recorders that has been ongoing for the past 30 years, as well as concerts, installations and exhibitions in countries around the world. Onda has collaborated frequently with a diverse range of artists including Akio Suzuki, Annea Lockwood, David Toop and Rie Nakajima. Additionally, as a curator and organizer he has planned and produced a variety of festivals and events. In 2020, Onda is bringing to a close his two decades in New York and beginning new endeavors in Mito, Ibaraki Prefecture.

Born in 1976, Nao Nishihara carries out sound-related activities including art and performance using sound, recordings, and musical instrument creation. Nishihara acquired a unique aesthetic and style through exchanges with dancer Min Tanaka and musician Keiji Haino, and the influences of ethnomusicologist Fumio Koizumi and Shoichi Ozawa, who was known for his folklore collection. This is apparent in his performances combining sound-making objects and bodily movement. He enthusiastically carries out installations, exhibitions and performances both inside and outside Japan.

Onda and Nishihara started collaborating in 2015, when the latter stayed for a time in New York. In November 2016, when Nishihara visited New York again, the two took advantage of the opportunity and gave a performance at ISSUE Project Room's theater at 22 Boerum Place in Brooklyn. The edited recording of that performance is contained in the five tracks on this CD.

Onda used tapes, feedback, amps, bells, cymbals and found objects, while Nishihara used bells, Chinese cymbals, bird and animal calls, wood and metal pieces, a self-made bowing instrument and more. The venue, with its marble floors and high, arched ceiling, produces out-of-the-ordinary sound reverberation. To make the best possible use of the space's characteristics, Onda and Nishihara placed various instruments, devices and objects here and there around the room, added physical movement, and produced diverse sounds that were rough and wild at times, subtle and delicate at others.

The CD includes detailed liner notes (in English and Japanese) by Nick Scavo, who experienced the performance live in the venue."-Ftarri


Sound as a Moment, Sculpted in Time by Nick Scavo

"In November 2016, Aki Onda and Nao Nishihara staged a performance a few days after the devastating results of the United States presidential election. The five recordings on this CD are constructed from edited material from this context: an abstract spatialization of the unique arrangement the two artists had installed in the performance space. I remember the nearly 90-minute performance well, not only for the expanded sculptural setting the artists had set up--where handmade instruments, analogue equipment, various found and everyday objects, and lighting were carefully organized--but also for the discernable anxiety permeating the room as the audience dealt with the news. The event took place at ISSUE Project Room's 22 Boerum Theater in Downtown Brooklyn, well known for its exceedingly resonant acoustics, intensified by marble floors and a high vaulted ceiling. The acoustics of the space are anxiety-inducing and stark; a dropped coin will ring for long durations of time, swelling and trailing off into silence. The audience was seated within the performance space, surrounded by elements of the installation and, in turn, surrounding the primary action of the performers. Strange apparatuses hung from a long, thin wire running from wall to wall, while the space was scattered with Nishihara's self-made wooden and metal machines and Onda's unique collage of analogue electronics equipment, bells, and glass pieces. The scene established a vast, ambling expanse that was a kind of homemade alternative vision--a space wherein the anxieties of the time could be hyperbolically suspended, sculpted, and rearranged on an elemental level. The arrangement was a careful visual scene that framed their sonic explorations, and the artists used this sculptural space as a "stage" for an inventive, open-ended, and spontaneous approach to the boundless possibilities of sound as a spatial phenomenon. Overlapping sonic events occurred within the discrete relationships between these objects, made more pronounced through their enclosure in that space, at that time. Here, the drama and intensity of the preceding days was also an event, a massive global drama finding sudden and microscopic cadence with the movement of objects and generation of sound.

Onda and Nishihara have individual relationships with this performative approach, each bringing their own respective practices together as a shared vocabulary. Aki Onda has a long history of performing within expanded sculptural settings, including his numerous performances with Akio Suzuki, David Toop, Rie Nakajima, Annea Lockwood, and others. This approach suggests roots in Fluxus art, specifically the work of Takehisa Kosugi as evidenced in Theatre Music, a piece that featured a cardboard rectangle imprinted with a spiral of smudge-marks from footsteps. In Kosugi's piece, the installation of the object was paired with the simple instruction of a word-score: "keep walking intently." This also recalls Alvin Lucier's Chambers, itself a word-score piece that asks the performer to "collect or make large and small resonant environments" (seashells, subway stations, canyons) followed by the simple directive: "find a way to make them sound" (blowing, cracking, exploding). The intent focus on sonically activating a framed and arranged setting forms the basis for the sounds on this album. During the performance, Nishihara used kinetic sound machines that autonomously operated as individual "performers," including pulley-machines that clicked and moved themselves across a room-length wire, as well as a small wheeled cart that was in fact an assemblage of various sound making objects held together with rope. These devices also reference early Fluxus history, including the work of artist Joe Jones, who often used invented machines in his performances. These machines included "The Longest Pull Toy in the World" (a pedaled vehicle that pulled handmade instruments on wheels) or small drone machines such as those used in 1969 when he opened his own "Music-Store" in New York City (where anyone could press the numerous door buttons of the shop to play the machines).

Although referencing these various historical precedents, Onda and Nishihara depart from any tactical or directive method, instead favoring the open-ended and nonhierarchical exploration of their specific sculptural arrangement. This approach, highly cultivated in strands of each of the artists' respective practices, frees sound from its usual striated contexts while also emphasizing specific sonic and physical relationships through distinct visual and technical cues. Both Onda's various found objects, as well as Nishihara's "musician machines" (such as a kick drum triggered by a rope attached to his toe) behave as individual characters, performers, and sonic sources throughout these five recordings. There is a vast expanse of distinct objects scattered across the sculpture--everything from a box fan sitting on a microphone, producing sub-bass frequencies, to a table of Onda's extensive array of objects and hidden effects units that process acoustic sources. The movement of the artists' bodies are also a consistent and dynamic sound source, providing an almost ceremonial feel as stamped feet, claps, and other motions participate in the sonic array. The first recording opens with the long bell-tones of another of Nishihara's tools--a long, fishing-pole-like rod with a metal sphere on the end. Nishishara would lightly hit the metal end of the tool against the resonant surfaces and marble floors of the performance space, producing sweeping, bell-like tonalities that would reverberate wildly, often reflecting off of other objects arranged in the space. The woodblock clicks and electronic noises heard in the second recording come directly from one of the "machine performers" dragging itself along a taut wire, while Onda presents broad, empyrean territories of bass and unknown tonalities from his electronics, further blurring boundaries between "outside" and "inside" sound sources as gongs and cymbals are processed and morphed into similarly gnarled shapes. These overlapping sounds build to dramatic heights as the "timekeeping" clicks of the music machines set a rhythmic stage for other sound sources to collide, ascend, and transform--building and releasing tension like a magnificent improvisational group composed of objects.

Not widely known outside of his native Japan and experimental circles in New York, Nishihara is an active researcher and practitioner of sound art, recording, performance, and instrument production. Having studied closely with Min Tanaka and Keiji Haino, Nishihara possesses a philosophy that emphasizes the physicality of sound and body, whether it be how a "sound can be a human," coming from Haino, or how the "body is flexible and doesn't exist," from Tanaka. This exchange between sound becoming a body, or a body vanishing into sound emphasizes their innate reciprocity. Perhaps also loosely inspired by Tanaka, Nishihara performs his bodily movements in "the style of a clown or street performer from the medieval era." Especially here, Nishihara attests to his other influences, from the ethnomusicologist Fumio Koizumi and Japanese folk culture researcher Shoichi Ozawa. This kind of appreciation for an insurgent spirit is certainly present through these recordings, especially in his playing of various slide whistles, flutes, and wind instruments throughout the album's final two pieces. During the performance, Nishihara portrayed this sentiment through various character poses, such as an arched stance with a drum on his back. At one point he surprised the audience with a lit candle in the middle of the drum head as Onda faded the lights completely to black. Given the political circumstances of the original performance, occasionally these poses would contort into intense, nearly macabre depictions of a kind of madness or sinister force--a harlequinesque character that formed a diabolical narrative throughout Nishihara's motions. Scenes such as these, although imbued with visual affect during the performance, are given abstract space to recede into a more mysterious sonic space, one loosely referencing the visual, but separated into a shadowy atmosphere and speculative space where the sound's liberated presence reigns. Onda has a keen understanding of how this liberated atmosphere forms a kind of open communication process in dialogue with other performers. Onda cultivates situations where improvising artists trace their own particular performative methods across a given site, treating a recording as a kind of abstract "scenography," where objects and sounds are arranged. Here, in the suspended space of the recording, Onda and Nishihara's site-specific sculpturearrangement is given an even broader plan to spread out and dissolve into a seemingly infinite number of forms, as the sounds develop into a cascading flow.

These five recordings are a striking display of Onda and Nishihara's handling of the covalent relationships between objects: exchanges between the minute actions of a given space and the immense dramas of world activity. An astounding plea for the intimacy of materials at the most fundamental level, the record itself is an abstract sculpture, one composed of multiple sonic grains orbiting around their specific environment--installed in the here and now--at the precise moment the record is played."


Artist Biographies

"Aki Onda is a composer, performer, visual artist, and curator. Onda was born in Japan and currently resides in New York. He is particularly known for his "Cassette Memories" - works compiled from a "sound diary" of field-recordings collected by using the cassette Walkman over a span of last quarter-century. He creates compositions, performances, and visual artworks from those sound memories.

Onda often works in interdisciplinary fields and collaborates with filmmakers, visual artists, and choreographers. His on-going projects include "Nervous Magic Lantern" with Ken Jacobs, improvisation trio with Michael Snow and Alan Licht, visual-sound installation/performance with Raha Raissnia, and site-specific happening with Akio Suzuki.

Onda has performed at The Kitchen, MoMA, P.S.1 MOMA, ISSUE Project Room (New York), Time-Based Art Festival (Portland), Images Festival (Toronto), ICA (London), Louvre Museum, Palais de Tokyo, Fondation Cartier (Paris), Argos, Bozar, Wiels (Brussels), International Film Festival Rotterdam, Nam June Paik Art Center (Seoul), Sound Live Tokyo (Tokyo) and many others.

Onda is also active as a curator. He is a director of TPAM (Performing Arts Meeting in Yokohama) in Japan, and organized major performances and exhibitions throughout North America."

-Aki Onda Website (http://www.akionda.net/shortbio.html)
2/16/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

Yokohama, Japan-based sound practitioner Nao Nishihara describes his interest as works concerning sound, with sound activities such as research, sound art, music, performance and so on. His work has been featured in exhibitions at the National Gallery Singapore and the Hiroshima City Museum of Contemporary Art. Since 2015 he has collaborated with NY-based sound artist Aki Onda.

-Nao Nishihara Website (http://nishiharanao.blogspot.com/2017/07/up-coming.html)
2/16/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.


Track Listing:



1. Tamashii 5:23

2. Buriki-No-Tokage 13:36

3. Tenki-Ame 5:26

4. Tomari-Gi 6:58

5. Nora 14:00

Related Categories of Interest:


Improvised Music
Free Improvisation
Electro-Acoustic
Electro-Acoustic Improv
Sound, Noise, &c.
Recordings Utilizing the Natural Resonance of a Space
Percussion & Drums
Asian Improvisation & Jazz

Search for other titles on the label:
Ftarri.


Recommended & Related Releases:
Onda, Aki
Brisbane September 25 2004 (CASSETTE)
(Room40)
As part of a 2004 performance series at Fabrique in Brisbane, Australia, Lawrence English invited experimental cassette and field recording artrist Aki Onda to present his unique approach to reusing and rupturing recordings using cassettes, Walkmans, delay pedals and fender twin amps, improvising this extended work & its coda, blurring concrete and inexplicable sources in remarkable ways.
Other Recommended Releases:
Johansen, Per Oddvar / Seijiro Murayama
Dented Time
(Ftarri)
Bringing together two masterful percussionists -- Norwegian drummer Per Oddvar Johansen and Paris-based Japanese drummer Seijiro Murayama -- for a distinctive drum duo, each musician using a minimal set that combines a snare drum with small objects and cymbals, for an album of six improvisations and two composed pieces, all showing restraint in rhythmic interaction.
Hirose, Junji
SSI-7
(Hitorri)
Known mostly as a saxophonist on the Japanese improvised music scene, Junji Hirose has also released a series of albums using self-made analog noise instruments, here using a device where balls and small objects are placed on a large, shallow, round metal plate and moved by a compressor, here in four tracks with different objects and one with no objects at all.
Frasch, Heather / Ryoko Akama
Linking
(Ftarri / Meenna)
US sound artists Heather Frasch and UK Ryoko Akama, who together run the mumei journal exploring the relationship between text and sound, in works commissioned by Bruno Duplant based on written texts, each interpreted, recorded and edited by the other using objects, field recordings, electronics, cello & voice, with one piece from Frasch and two versions from Akama.
suzueri (Elico Suzuki)
Fata Morgana
(Ftarri / Hitorri)
Tokyo sound artist Elico Suzuki attached or arranged "gadgets" including a small electric fan, a motor and a radio, to an upright piano whose upper and lower panels were removed and insides exposed, using their inherent sounds and those created by touching them to the piano strings to generate overlapping and evolving sound, ending each piece with force through the keyboard.
Murayama, Seijiro
Mi-Tai
(Ftarri / Hitorri)
Eight improvised performances on percussion from Paris-based drummer/percussionist Seijiro Murayama recorded in 2019 using acoustic sources from snare drums, mallets, brushes, voice, steel tables, gong and voice, captured in four locations around France and in Mishima City, Japan, each exploring new compositional methods and ways to improvise within them.
International Nothing, The
In Doubt We Trust
(Ftarri)
The duo project of Berlin-based clarinetists Kai Fagaschinski and Michal Thieke, (Magic I.D., Christof Kurzmann, Splitter Ochester) in their 5th album of timbre-rich, harmonically fascinating and slowly evolving reed interactions, returning to their core duo after their previous quartet album, here presenting a large rich and beautifully weaving work.
Suzuki, Akio / John Butcher
Immediate Landscapes
(Ftarri)
At the same event in Scotland that John Butcher recorded his excellent "Resonant Spaces" album, he also joined forces with sound artist Akio Suzuki on a variety of objects and sound devices to record the first 5 tracks of this unusual album of very free improv, the last track by the duo recording at the 2015 Ftarri Festival at SuperDeluxe in Tokyo.
Murayama, Seijiro / Eric La Casa
Paris: Public Spaces
(Ftarri/Swarming)
Twelve recordings constructed from 2012 field recordings of public locations in Paris by Eric La Casa and Seijiro Murayama, including subway stations, parks, open gardens, tunnels and fountains; a fascinating portrait of communal sound in this great city.
Szilard
Spokes
(Palaver Press)
Jeremy Young, aka Szilard, in his debut full-length release as a solo performer on guitar and sine waves, with texts from Charles Baudelaire's "Les Fleurs Du Mal" (1857) read by Aki Onda, Ella Joyce Buckley, Liam Singer and Catherine Metayer.



Customers Who Bought This Item Also Bought:
Coltrane, John Quartet
Song Of Praise, Live New York 1965 Revisited
(ezz-thetics by Hat Hut Records Ltd)
Recorded during an extended stay at the Half Note in NYC from saxophonist John Coltrane's Quartet with pianist McCoy Tyner, double bassist Jimmy Garrison and drummer Elvin Jones, originally recorded for radio broadcast, here reissued and resequenced to demonstrate Coltrane's evolution in presentation & performance, while also mapping a future to his music.
Sun Ra Arkestra
Nothing is ... Completed & Revisited
(ezz-thetics by Hat Hut Records Ltd)
Reissuing and remastering Sun Ra's 1966 Arkestra album Nothing Is, the complete live recording from St. Lawrence University in NY with a classic ensemble including saxophonists Marshall Allen, Pat Patrick & John Gilmore, bassist Ronnie Boykins, drummer Cliffor Jarvis, &c., an incredible concert with an exemplary set of Sun Ra compositions and performances.
Tamura, Natsuki
Summer Tree
(Libra)
A stunning album of solo trumpet performance from Natsuki Tamura, who's name in Japanese translates as 'Natsu' meaning 'summer' and 'Ki' means 'tree', performed as layers of remarkable technique led by clarion playing over trumpet drones, sonic turbulence and percussive interaction on a wok, each layer using his extended vocabulary without studio manipulation.
Ayler, Albert
La Cave Live, Cleveland 1966 Revisited [2 CDs]
(ezz-thetics by Hat Hut Records Ltd)
Never-before released recordings of tenor saxophonist Albert Ayler's 1966 band recording in his home town of Cleveland at club La Cave, recorded over two nights in a superb sextet with brother Donald on trumpet, Frank Wright on tenor sax, Michel Samson on violin, Clyde Shy on double bass and Ronald Shannon Jackson on drums, performing Ayler's compositions and Don Cherry's "D.C.".
Wegmann, Judith / Marlies Debacker / Lukas Biner / Nicolas Wolf
Things In Between
(ezz-thetics by Hat Hut Records Ltd)
Featuring two pianists--Judith Wegmann and Marlies Debacker--and two percussionists--Lukas Briner and Nicolas Wolf (a duo who play concerts in the dark under the name of Night Shadow Noise)--in collective improvisations of two pianists or as a quartet of duel pianists and drummers, for seven exciting and sophisticated recordings of instant composition.
Taylor, Cecil
Music From Two Continents feat Stanko, Rava, Frank Wright, Lyons, Borca, Barker, Hampel
(Listen! Foundation (Fundacja Sluchaj!))
A truly wild concert of free jazz from Cecil Taylor's transatlantic orchestra, captured live at the 1984 Jazz Jamboree in Warsaw, Poland, bringing together impressive improvisers from the US--William Parker, John Tchicai, Jimmy Lyons, Karen Borca, Frank Wright, & Henry Martinez--with European Free Jazz leaders Tomasz Stank, Enrico Rava, Conrd Bauer & Günter Hampel.
Sandell, Sten / Lisa Ullen
Double Music
(Clean Feed)
The first duo album by pianists Sten Sandell and Lisa Ullén, recorded in their home country of Sweden, performing eight freely improvised piano works which include the two-part "Double Music" and two-part "Onyx", each recording contrasting complex interplay of discord and harmony with beautiful passages of introspection and intellectual depth; a remarkable merging of masterful talent.
Lopez, Cecilia
Red (DB)
(Relative Pitch)
Argentinian sound artist based in NYC Cecilia Lopez engages fellow Brandon Lopez Trio double bassist Lopez and drummer Gerald Cleaver for a performance of improvisation, installation and architecture, using woven wire nets filled with instruments and hung from Roulette Intermedia's ceiling to act as a complex feedback organism with which the trio interacts.
Kimmel.Ali.Harris
Vivary
(Amalgam)
A diverse set of electroacoustic improvisations, including pointillistic interplay, free explorations merging contemporary compositional cues, pieces composed around specific parameters and evolving experimental soundscapes, from the Michigan trio Kimmel.Ali.Harris of Jeff Kimmel on clarinet & electronics, Ishmael Ali on cello, guitar & electronics, and Bill Harris on drums & synth.
TtD (Nasuno Mitsuru / Tatsuya Yoshida)
Teneleven the Duo
(Fourth Hand Record)
Concentrating the Teneleven quintet to a duo in the core of drummer Tatsuya Yoshida (Ruins, Koenji Hyakkei, Korekyojinn) and bassist & electronic device guru Mitsuru Nasuno (Altered States, Fushitsusha, Ground Zero), for eleven tracks of energetic interactive rock improvisations, alternating between "TdD" pieces of burning improvisations and introspective "Afterglows".
Mayas', Magda Filamental (w / Davies / Caddy / Theriot / Davies / Parkins / Thieke / Abdelnour)
Confluence
(Relative Pitch)
Composed by pianist Magda Mayas for an octet of superb avant improvisers including Rhodri Davies, Zeena Parkins, Michael Thieke, Angharad Davies, &c. and performed live at the 2019 Music Unlimited 33, in Wels, Austria, this extended work uses a graphic score to interpret 12 photographs taken over an hour observing the merging waters of the Rhone and the Arve rivers.
Cranes: Matthias Muller / Eve Risser / Christian Marien
Formation < Deviation
(Relative Pitch)
Darkly powerful sonic interaction through transformative use of their instruments, the trio of trombonist Matthias Müller, drummer Christian Marien and pianist Eve Risser obscure their sources through non-traditional techniques, energetically and mysteriously evoking industrial mechanisms with riveting nuance and inventiveness, an exceptional achievement.
Bonaldo, Lucio
Concrete Union
(Creative Sources)
Using percussion, cymbals, various objects, computer and sound sculptures made by Bruno Girardi, Italian percussionist Lucio Bonaldo, known for the group L'imbroglio, presents a set of recordings performed live and direct, captured between 2018 & 2019, including a Sonorization of a literary passage taken from "Traviso" by Alberto Cellotto, and "Altken", an overdubbed work.
Miele, Lucio
Kalpa
(Creative Sources)
A solo album from Italian percussionsit Lucio Miele, presenting six works of layered percussion with live electronics and, on three tracks, recitation from actor Simona Fredella, each piece sound-oriented with an incredibly diverse set of percussive variety, detailed atmospheric settings and diverse rhythmic foundation; a remarkable and sometimes hair-raising album.
MOVE (feat. Sjostrom / Kaufmann / Pultz Melbye / Narvesen / Gordoa)
MOVE on MOERS
(Listen! Foundation (Fundacja Sluchaj!))
A live recording of insightful collective improvisation recorded in 2019 at the Moers Festival in Germany, from Harri Sjostrom on soprano saxophone, Achim Kaufmann on piano, Adam Pultz Melbye on double bass, Dag Magnus Narvesen on drums, and Emilio Gordoa on vibraphone, in an extended exploration of subtle hues through effortlessly intense and inventive interaction.
Costa, Carlo
Silos
(Neither/Nor Records)
While on vacation in Rome in 2018, NY percussionist Carlo Costa took his portable recorder inside a grain silo in the countryside north of the city, eschewing traditional percussion for found bricks, pipes, rocks and branches found nearby, recording in the resonance of the silo with the sounds of cicadas and other ambiance permeating the silo as he unfolds this engrossing, thoughtfully paced improvisation.



The Squid's Ear Magazine

The Squid's Ear Magazine

© 2002-, Squidco LLC