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)