Kiyoshi Mizutani: feedback
Kiyoharu Kuwayama: handmade electronics, contact mic & mix

Track listing: Interlude 1 - 9

and/OAR (via either/OAR) is very pleased to present what is without a
doubt among the very best of both artist's electronic-based work.
Throughout much of this highly charged release, brooding clouds of
swarming tones and drones envelope the listener, either inducing a
hypnotic trance or a deep contemplative listening state.

This work is the result of a mail exchange. At first, Kiyoshi created the
feedback sound in the studio using a suspended microphone, mixer and
some effects. Sometimes drum sticks, steel and wooden chair were used
to influence the sound. Kiyoshi's recorded sound was sent to Kiyoharu who
then processed the materials and edited and mixed the sound with his
own materials.


Kiyoshi Mizutani started his sound career with the noise project Merzbow
until the late 1980s, After leaving Merzbow, Kiyoshi started releasing solo
work under his own name - gradually shifting away from noise to mostly
recording and releasing straight environmental sound documents. Apart
from Kiyoharu Kuwayama and Masami Akita (Merzbow), Kiyoshi has also
collaborated with Daniel Menche and Hideaki Shimada.

Apart from and/OAR, Kiyoshi has had his work released by such labels as
Ground Fault, CMR, Monochrome Vision, Auscultare Research, E(r)ostrate,
Artware Production, Engraved Glass, Flenix, among others.


Kiyoharu Kuwayama (aka Lethe) is known for creating and recording work
in highly resonant spaces or charged atmospheres (abandoned
warehouses, Shinto temples, etc). Kiyoharu is also known for his
involvement with the duo Kuwayama - Kijima (Kiyoharu Kuwayama: cello,
and Rina Kijima: violin) who are formidable players, so well attuned to
each other that their improvisations cannot be distinguished from highly
complex compositions. With a particular interest in ambient sound and
locations that inspire improvisation, they take advantage of the natural
reverb of each location (under a bridge at night, an abandoned
warehouse), and even change their position while playing to create
beautiful and charged performances.

Apart from and/OAR, Kiyoharu has had various work published by
recording labels such as Trente Oiseaux, Intransitive, Locust, ICR, Alluvial
Recordings, Monochrome Vision, Invisible Birds, 20City, among others.

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catalog number: either/6
artist: KIYOSHI MIZUTANI & KIYOHARU KUWAYAMA
title: Interlude
format: CD
status:
available
VITAL WEEKLY  (OCTOBER 2011)
There is, like with most releases by Kiyoharu Kuwayama not a lot of
information on the cover (or websites) with details about the recording, but
more than some other times. Kiyoharu Kuwayama plays "handmade
electronics, contact mic & mix" and Kiyoshi Mizutani just gets credit for
feedback. Mizutani was in the 80s a member of Merzbow, and after
leaving Merzbow he did a couple of releases, ranging from the heavy
noise field to field recordings, including collaborations with Daniel Menche
and Hideaki Shimada. Kuwayama is perhaps best known as Lethe and has
created a bunch of releases that deal with large spaces in which he plays
cello, metal objects and electronics. This release with Mizutani is one that
was generated through mail, which I think is a rarity in his catalogue.
Mizutani recorded feedback using a suspended microphone, mixer and
effects, influencing the sound with drum sticks, steel and wooden chair.
Kuwayama then processed this material and did further editing. The
result is excellent. The feedback produced by Mizutani is never 'loud and
dirty' as one could easily think these things would be (think harsh noise
walls), but refined and varied. The sustained sounds move through your
home space in an excellent way, and Kuwayama treats them with great
care. The ten pieces flow into each other and form a great unified
wholeness, which reminded me of the best of Arcane Device. A highly
varied disc of music, excellent treatments and fine composition.
(Frans de Waard)
IMPROV SPHERE  (OCTOBER 2011)
Interlude est le résultat d'une collaboration par mail entre Kiyoshi Mizutani
et Kiyoharu Kuwayama (Lethe), le premier aux larsens, et le second à
l'électronique "fait maison". Le duo offre une musique étrange et
inattendue, une musique calme et sereine faite de nappes, de drones, et
de fréquences tenues longuement. Comme une sorte de noise tonale,
une noise qui aurait trouvé ses repères et se complairait à l'intérieur de
son cadre. Car la musique de ce duo n'est jamais agressive, elle est bien
au contraire plutôt méditative et contemplative. Une musique où Lethe
fait très attention aux propositions de Mizutani et tâche de ne jamais
jouer contre lui, mais toujours avec, dans une sorte d'osmose
complaisante et autosuffisante. Pendant une heure, le duo livre une suite
de courtes pièces aux ambiances toujours différentes, aux sonorités
statiques ou organiques, ultra basses ou très aiguës. Des univers qui
changent à chaque fois de tonalités mais qui en même temps se
ressemblent toujours, car on est à chaque fois dans une atmosphère
caractérisée par l'étrangeté et l'altérité, chaque pièce forme en effet un
univers surprenant, autre, et singulier; un univers auquel on n'est pas
habitué et qui semble surgir de nulle part. Vagues de larsens et drones
statiques participent à des atmosphères littéralement inouïes, renforcées
par la distance qui a séparé les musiciens durant l'enregistrement.

10 pièces qui naviguent entre une planète industrielle et liquide, une
planète régie avant tout par des sons autosuffisants, une planète où la
lumière est dérisoire, car l'ambiance est souvent sombre et obscure,
froide mais vivante. Que dire de plus, Interlude est surtout un album
curieux pour les gens curieux d'expériences nouvelles, un disque assez
accessible et pas trop extrême.  
(Julien Heraud)