T.I.S.A.R: Toshimaru Nakamura – Egrets

This month, by way of rounding off 2010, I invited a group of my close friends to write some reviews of music they had heard for the first time during the year. It didn’t have to be released in 2010, but had to be new to them at the very least. I present then, over the coming weeks of January, two thousand and ten, through the vacant gaze of mid twenty somethings…and on this occasion, I’m getting my review out of the way first.

Toshimaru Nakamura – Egrets (Composite Review)*

Good avant-garde, rustling through clanking noises and fleeting the no-input going – Zen as mixing board. A pair of network of electronic and increasingly unharmonious relationship with the duets. Although where improv looms, there are few musical instruments that he bore. ‘Yura’ had a conversation with him, headlines conceptually pleasing, as the no-input mixing board with head-splitting sine wave modulations and now – “Scary onkyo feedbacker comes of age” is years ago.

Blubbery bass part of a rich tradition in experimental – as tones while Henriksen’s filtered brass love for the look. The instruments exhalations drone along in a creamily peripheral hardware and audio equipment board handcraft a user-friendly harmonious in a Chicago fashion. David Sylvian’s are repositioned as musical instruments. Egrets is simultaneously challenging and highly guitar shop. It’s a sonically rich collection, instrument affection, he was musical frustrated, and aimed at a wider listening public, perhaps at some of those controllers of sound without anything in the way fainthearts who held back from purchasing 2007’s Vorhernach.

A content-free Nakamura’s sizzle-and-splat session with German trumpeter Axel Dörner. Methodology that has reminded many commentators of the Egrets’s opener, a short no-input mixing board solo, as if Nakamura unpredictability of its controls, is strongly reminiscent of diving underwater in bright sunlight. “Semi” is the work and ideas of John Cage. In its a duet with old sparring partner Tetuzi Akiyama, illumination of the secret inner sound world of whose acoustic guitar rings forth in hifi splendour, machinery, the no-input mixing board also belongs to stepping in and out of tonal references. Akiyama traditions that explore the glitches and faults within plays not a single unnecessary note: a pure, electronic devices. And in its exploration of feedback glass-of-water performance beautifully matched with Nakamura’s turbulent chirruping. Much it could be seen as a musical metaphor – Nakamura’s recent output has many mystical techniques and and guided Akiyama’s pensive guitar tracts with flickering, occasionally possibly even the source flicker and an ascetic, almost bird-like M-type 3000 yard of consciousness in the high frequency sounds. Maybe it’s more accurate no-input mixing board’s stare.

Perfect Sound MicroHouse, the sound of a partying, fermenting brilliantly produced – it’s to do something. By cutting natural Forever, Nakamura’s sonic explorations seem to have evolved the guitar another essential release on Sylvian’s very fine phenomenon that Nakamura has somehow made audible. Egrets maybe from a series of rejections; of volume; of ‘obvious’ represents privy to. Pole. For the feedback generated by Nakamura not frightening the horses, as it sounds, approaches plugging his ‘Nimb’ entries into the Norwegian trumpeter Arve Henriksen, known for his sound. The slowly pulsing waves of “Nimb Number mixing works, both as a celebrate the increased control and unpredictable qualities shimmering chords. Hopefully Egrets is Nakamura’s stepping up abstract efforts meaning into it.

Dread. Toshimaru Nakamura not your trumpet technique. The piece also ending on delicately placed chiming electronics that make you has made a typical disc numbers 42-45 welcoming hand album. There are play and start again as soon density of action suggests it is one, the disc is finished. Egrets sees Toshimaru Nakamura extending the scene, defining four new not just improvised, but a newcomers without compromising his compellingly constructed “Onkyo” breadth of imagination and sensitivity to the unexpected. Viewed – the radical turn-of-the-century and quite seems to put in context, with a curious ear, its synthesis of his intentional self forward a bit more consonant.


* This review was made using the cut up technique of William Burroughs, but done via a generator rather than my hands and scissors. It is a composite of ten reviews, distiled in to the best, most amusing/insightful random groupings I could find.


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