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Topic: Toshimaru Nakamura

	Toshimaru Nakamura interview
		Nakamura started out playing guitar, but in 1997 he put it aside and began playing the mixing board.
		Like Nakamura, Kahn is a reductionist; he's cut back from the full drum kit he used to play with Universal Congress Of to a traveling set-up that includes just a couple percussive instruments, some effects, and a laptop.
		Nakamura has been a key player in Erstwhile's recent AMPLIFY festivals, which were held in Tokyo and New York, and he should be all over the boxed set documenting the former event that the label is scheduled to release this fall.
	www.furious.com /perfect/toshimarunakamura.html (3519 words)

	Bagatellen: Toshimaru Nakamura - No-Input Mixing Board
		As the title indicates, Toshimaru Nakamura's instrument of choice is a mixing board sans input.
		Formerly a guitarist, he expressed the desire to move away from any sense of traditional "feeling" in his music and there is a certain alien quality to the pieces here, a thrumming that might seem to owe more to the interaction of galvanized metals than to human thought.
		Part of the magic wrought by Nakamura (shown perhaps to even greater effect in his duo with Sachiko M., Do on Erstwhile) is the ability to conjure up a rich, hitherto unknown world of sound from such an apparently barren fount.
	www.bagatellen.com /archives/reviews/000048.html (282 words)

	Toshimaru Nakamura & Sachiko M - do (Erstwhile)
		But Toshimaru Nakamura and Sachiko M, working in various solo, duo, and group settings, have developed the responsiveness and instincts required to transform such self-imposed instrumental limitations into powerful musical means.
		Thus armed, Nakamura and Sachiko M engage each other in one of the most extraordinary electro-acoustic duels caught on record to date.
		Nakamura refracts most of the sine onslaught, soaking up into a broken stream of crackling digital noise what he can't deflect.
	www.fakejazz.com /reviews/2001/nakamura.shtml (416 words)

	reviews
		Nakamura's rhythmic elements that define his Vehicle record seem to hold more prominence at this point in time, Rowe's predilections, though less quantifiable, are also decidedly shifted.
		Müller and Nakamura, both often delving into experiments with repetitive rhythm in what is often a particularly sparse form of music, seem to perfectly interlock on this level on tint, small looping patterns fade in and out, like a cartoon character walking through the frame.
		Nakamura mixed the first two tracks, which aptly reflect much of the character of his own music: edgy, mutating loops that intersect with sharp blasts of noise and gurgling metallic pulses.
	www.erstwhilerecords.com /catalog/033_040_reviews.html (12953 words)

	Slought Foundation: "Live Concert with Nakamura/Unami" with Nakamura, Unami, et al.
		Coleman met Toshimaru Nakamura in Tokyo in 2001, while he was living there as a guest composer of the Japan-US Friendship Commission.
		Toshimaru Nakamura is one of the most prominent members of the burgeoning onkyo movement.
		Nakamura is also a co-founder of The Improvisation Meeting at Bar Aoyama, a monthly concert series in Tokyo.
	slought.org /content/11305 (442 words)

	culturebase.net \| The international artist database \| Toshimaru Nakamura
		The no-imput mixing board enables Nakamura to produce anonymous sounds from which his own emotions have been filtered.
		Toshimaru Nakamura has been working since 1996 as a composer and sound-designer for the female choreographer and dancer Kim Ito.
		Nakamura, Toshimaru, and Sachiko M. This artist took part in the following project(s) organized/founded by the culturebase.net partner institutions.
	www.culturebase.net /artist.php?3082 (288 words)

	Re:mote Induction: TOSHIMARU NAKAMURA
		Another thought that struck me, as he explained how various songs were 50 or 300 years old, was that on the one hand this was someone preserving their heritage and on the other we were faced with a covers band...
		Toshimaru Nakamura was the artist from the advertising for this night that sounded most interesting.
		And for me he was; more of what I enjoy from Consume than the other bands, and in deep contrast to the other bands.
	members.tripod.com /~rem_ind/audio/toshconsum.htm (809 words)

	Cyclic Defrost - Issue #010 (January 2005) - Toshimaru Nakamura/Brett Larner - After School Activity (Impermanent)
		Nakamura is renowned for building his feedback/ sine wave manipulations up from silence and that’s exactly what occurs on his collaboration with Koto player Brett Larner.
		Nakamura’s sine waves whilst quite minimal are impossibly high pitched, almost unbearably so at times, with Larner very reservedly plucking at his Koto occasionally.
		Nakamura exists in the outer limits of music and sound art, creating quite incredibly pure sounds and manipulations, though without doubt requiring intense concentration and much patience of the listener.
	www.cyclicdefrost.com /article.php?article=769 (159 words)

	Incursion.org > Music Review 38
		Nakamura performs on a "no-input mixing board", which may seem like a nihilistic concept, but in the end it's the combination of process and output that matters, regardless of any peripherals.
		Nakamura and Rowe seem to work as one in these pieces; their collaboration seems to be a true meeting of minds.
		Their palette is kept relatively minimal, with slowly shifting, pulsating undercurrents (usually in the upper frequency range) and an occasional clamour or surface sound (a harsh grating, a rustling, a crackling) suddenly appearing in the foreground, only to disappear in a moment's breath.
	www.incursion.org /imr/archive/038.html (4125 words)

	Browse by Artist: NAKAMURA/SACHIKO M, TOSHIMARU
		"Toshimaru Nakamura and Sachiko M are two of the most prominent members of the burgeoning onkyo movement.
		Nakamura plays the 'no-input mixing board', connecting the input of the board to the output, then manipulating the resultant feedback.
		Sachiko M was a member of the seminal nineties band Ground Zero, led by her frequent collaborator Otomo Yoshihide.
	www.forcedexposure.com /artists/nakamura.sachiko.m.toshimaru.html (333 words)

	ATON: Reviews, Discography, Audio Clips, and more \|\|\| Music.com (Site not responding. Last check: 2007-11-04)
		Nakamura performs on a no-input mixing board, an empty machine; by reconfiguring wires and reversing outputs, he manages to obtain a wealth of rich sounds much as Sachiko M does with her empty sampler.
		The music is steadfastly electronic-sounding, irregularly rhythmic loops (from Nakamura) supporting and intertwining with a vast array of whistles, scrapes, howls, and blips, all chosen with astonishing grace and agility.
		There is a bit of an industrial edge in some of the harsh tones, but Neumann often supplies surprisingly tonal, even romantic gestures from her strings, though they are usually subtle enough to appear as ghostly tinges.
	www.music.com /release/aton/1 (356 words)

	DMG Search (Site not responding. Last check: 2007-11-04)
		Nakamura produces the music using the internal feedback from his no-input mixing board, Roisz uses that as the basis for her optical moving patterns, and Nakamura has a TV monitor showing Roisz' output, so the whole process is circular and created in real time.
		Nakamura and Roisz are ideal partners, their audio and video feedback combining to become far more than the sum of their parts, resulting in a mind-melting experience in which boundaries are constantly created and then destroyed.
		Sachiko M, Toshimaru Nakamura and Otomo Yoshihide are three of the scene's driving forces (along with Taku Sugimoto), and on Good Morning Good Night are documented together as a trio for the first time.
	72.43.108.54 /Searching/WWW_DMG_Search.cgi?label.erstwhile (7117 words)

	do : Toshimaru Nakamura / Sachiko M : CD Reviews : One Final Note
		Two of the major figures in the Onkyo experimental scene from Japan, Toshimaru Nakamura and Sachiko M play stripped down electronic devices that work in registers of sound both extreme and elemental, ranging from barely audible dog whistle tones to quaking sonic violence.
		M has long experimented with sine-wave improvisation—here she uses a sampler to capture these pure tones in mid-air, manipulating the frequencies in ways that can lacerate your skull or seem to surround you as firmly as walls.
		Nakamura uses a no-input mixing board: he runs a patch cord from the input jack to the output, tweaking the knobs to generate pops and ripping sounds and grinding static, and then sending these signals through various loops and processors.
	www.onefinalnote.com /reviews/n/nakamura-toshimaru/do.asp (494 words)

	Metamkine
		Toshimaru Nakamura : table de mixage bouclée sur elle-même. Improvisations basées sur des stratégies de construction horizontale, sur un long et lent mouvement aux variations minimes et discrètes statique en apparence seulement car il se passe tant de micro-détails dans ce champ sonore.
		Toshimaru Nakamura: table de mixage bouclée sur elle-même. Matières étendues, souffles amplifiés, machines orphelines et instruments retournés sont au programme de ce double CD enregistré en studio et en concert en 2005.
		Toshimaru Nakamura: table de mixage bouclée sur elle-même. Thomas Lehn: synthétiseur analogique.
	www.metamkine.com /?monlabelrec=273 (1233 words)

	STAALPLAAT - catalog
		Keith Rowe and Toshimaru Nakamura are two of the most important musicians in the world today.
		Nakamura is also a co-founder of The Improvisation Meeting at Bar Aoyama, a monthly concert series in Tokyo, which recently changed its name and location to Meeting At Off Site, and has toured Europe quite frequently over the last few years, to widespread acclaim.
		A music which recreates the uncanny and pregnant suspension of time in live performance; and which is itself the physical manifestation of an exquisite sense of proportion.
	www.staalplaat.com /search/catalog/11899 (448 words)

	Connecting Meaning (Site not responding. Last check: 2007-11-04)
		Nakamura developed the technique of no input mixer feedback; a process which utilizes a mixer having no ousie sound source inputed into it, except itself and various pedals in between.
		Nakamura uses only two pedals, or at leasthe did when i saw him, and a heavily modified mixer.
		What he created was something very minimal, to the point of barely being audible, which was constantly evolving from a point of sound that never really seemed to go away.
	www.cm.aces.utexas.edu /sp03/jsmith/connecting.html (436 words)

	Keith Rowe / Toshimaru Nakamura \| Between
		Together and separately, Rowe and Nakamura are Erstwhile’s most recorded artists and, with this album, the first grouping to have a second release on the label.
		At the time, it sounded revolutionary and extraordinary; Nakamura’s use of no-input mixing board to subtly shape and modulate a series of hisses was comparatively new and unheard.
		Nakamura’s ability to produce a seemingly endless variety of subtly differing hisses takes time to appreciate, but it is an investment of time that is worthwhile; to appreciate the nuances of Nakamura is to begin to hear in a different way.
	www.allaboutjazz.com /php/article.php?id=23386 (494 words)

	Avantgarde Music. Toshimaru Nakamura: biography, discography, reviews, links (Site not responding. Last check: 2007-11-04)
		Japanese guitar improvisor Toshimaru Nakamura first came to the forefront of the avantgarde with A Paragon of Beauty (Art Union, 1995).
		Turning to the construction of electronic sound sculptures, Nakamura realized two collaborations with sampler/vocalist Sachiko M, Un (Meme, 1999) and Do (Erstwhile, 2001), that basically defined the aesthetic of the "onkyo" movement: abstract minimalistic textural studies that toy with both the acoustic and psychological level.
		Nakamura's first solo album, No-input Mixing Board (Zero Gravity, 2000), was the first part of a trilogy, continued on No-input Mixing Board 2 (A Bruit Secret, 2001), Vehicle (Cubic Music, 2002), No-input Mixing Board 3 (Alcohol, 2003).
	www.scaruffi.com /avant/nakamura.html (296 words)

	Otomo Yoshihide's Japanorama (Site not responding. Last check: 2007-11-04)
		Slowly the manic precise vibraphone tones of percussionist Furuta Mari emerged from the giant insect fog swarm but Ishikawa Ko's high pitched wind drones and Toshimaru Nakamura's electronic feedback howls were so organically fused with Otomo's diamond destruction that the three were one.
		Toshimaru Nakamura seemed quite angry at the lack of respect for Taku and launched into a much more aggressive and pulse laden feedback session than his dronier Liverpool outing.
		Yagi Michiyo's koto solo was more compact and much more melodic than in Liverpool, where she had frantically detuned her large flat bedded string instrument by shifting the blocks that support the strings.
	www.webinfo.co.uk /crackedmachine/motomo.htm (811 words)

	microsuoni: Improvised Music from Japan
		Toshimaru Nakamura's main instrument of late has been what he calls the "no-input mixing board." Rather than input external sound sources into the mixer, he treats it as a self-contained instrument by controlling its internal feedback--the result being a truly original performance style.
		This is Nakamura's homage to the "side guitar" playing he once aspired to.
		Don't be misled, however, by the album title, or by the track title "Rhythm Guitar." This is still the Nakamura of the no-input mixing board: the sound, consisting mainly of feedback from the guitar, is uniquely abstract.
	www.microsuoni.com /labels/imj.html (2005 words)

	REDCAT: About - Media/Press Room
		Instead, this "no-input mixing board" as he calls it, is set up to loop outputs to inputs, running in outboard effects to produce a delicately constructed web of feedback tones and other "accidental" sonic raw materials.
		Since 1998 Nakamura has also organized, hosted and performed in a monthly improvised music gathering with guitarists Taku Sugimoto and Tetuzi Akiyama in Tokyo, which has become an important meeting point of the Tokyo improvised music scene.
		Toshimaru Nakamura and Mark Trayle: Live no-input mixing board and lap-top performance.
	redcat.org /about/press/1.20.05ceait.html (863 words)

	The History of Rock Music. Dan Nakamura: biography, discography, reviews, links (Site not responding. Last check: 2007-11-04)
		Dan Nakamura (not related to Toshimaru Nakamura) is a San Francisco-based disc-jockey and virtuoso of the mixing board.
		Dr Octagon (Bulk, 1995 - DreamWorks, 1996), a collaboration with Kool Keith and Q-Bert, and Instrumentalyst (Dreamworks, 1996), which is its instrumental version, glorified Nakamura's acrobatic art of hip-hop beats, electronic arrangements, downtempo and trip-hop atmospherics and heavy-metal guitars.
		Nakamura and Prince Paul formed Handsome Boy Modeling School and recorded the sample-heavy So How's Your Girl (Tommy Boy, 1999) and White People (Elektra, 2004) with a star-studded cast of rappers and djs.
	www.scaruffi.com /vol5/nakamura.html (198 words)

	Peter Blamey : Salted Felt - Listen, Review and Buy at ARTISTdirect
		One thinks of Toshimaru Nakamura's no-input mixing board, but the Japanese and the Australian follow noticeably different paths.
		Nakamura likes to contemplate microtonal changes in the sustained high-pitched feedbacks he gets out of the machinery.
		The short duration of the tracks -- betwen a minute and a half and seven minutes -- and of the album itself, clocking in under 40 minutes, also contribute to keep the experience focused and to the point.
	www.artistdirect.com /nad/store/artist/album/0,,2514933,00.html (299 words)

	South Island Tour by Toshimaru Nakamura and Tetuzi Akiyama: Public Programmes @ The Physics Room (Site not responding. Last check: 2007-11-04)
		About the Artists: Toshimaru Nakamura and Tetuzi Akiyama are two of the leading lights of the “new wave” of Japanese improvisers advancing their cause under the collective banner of Onkyo”;, which can loosely be interpreted to mean “less is more”.
		Given the number of creative artists engaged in this type of practice in the South Island (witness the 2000 Lines of Flight Festival, to be repeated this year), such a tour has both an established audience and a body of local artists poised to absorb the experience of witnessing these performances.
		Tetuzi Akiyama in duels with Greg Malcolm, Toshimaru Nakamura, Bruce Russell
	www.physicsroom.org.nz /publicprogrammes/2002/japanimpov (430 words)

	Splendid Magazine reviews eRikm, Günter Müller, Toshimaru Nakamura: Why Not Béchamel
		Their work eschews the formal sense of melody, form and rhythm, but does so in a manner that seems wise, logical and appropriate.
		With a combined experience of over three decades, eRikm (3k.pad system and computer), Günter Müller (minidisc, iPod, percussion and electronics) and Toshimaru Nakamura (on his notorious no-input mixing board) cycle through a series of improvised works from another world, where the journey is the only grounding factor.
		That is, sounds are organically coaxed from machines, gently handled and cultivated and allowed to realize their potential rather than being stubbed out before their time.
	www.splendidezine.com /review.html?reviewid=11023303071634955 (529 words)

	www.jazzweekly.com \| Reviews
		Resident collaborators are customarily guitarist Taku Sugimoto, best known abroad for duets with, British tabletop guitarist Keith Rowe and Swiss computer specialist Günter Müller; and Tetuzi Akiyama on turntables and air duster, a former guitarist who concertizes with saxophonist Masahiko Okura and synthesizer manipulator Utah Kawasaki as well as Sugimoto.
		Wheezes and rumbles arising from Akiyama naked turntables and Nakamura's no-imput mixing board start to move into human hearing range as does the extreme pitches produced by Wastell's cello.
		Soon, what could be the sound of crickets chirping in a field is superceded by what's likely the cellist deliberately hitting his contact mic.
	www.jazzweekly.com /reviews/ASSUMED_STILL.htm (1002 words)

	JANUARY 2004 (Site not responding. Last check: 2007-11-04)
		Working with feedback loops is a dangerous business though, and Nakamura often has to break out of the cycle by stopping the loop altogether, which is what he does here at the 14-minute mark.
		One suspects that had such a moment occurred in a studio session the pair might not have selected it for release, but this was a concert situation - and proof that live improvised music doesn't have to be voluble and virtuoso to be breathtakingly dangerous.
		The performance by Messrs Rowe, Ambarchi, Akiyama, Nakamura, Sugimoto, Stangl and Otomo, and the subsequent 38-minute improvisation (which sounds alarmingly similar in places to the Cardew - must be a moral in there..), are pleasant enough but hardly as intense and exciting as the material recorded at the festival proper.
	www.paristransatlantic.com /magazine/monthly2004/01jan_text.html (8606 words)

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