From Toshimaru Nakamura
There used to be several small streams in west Tokyo, where I live. Some of them were natural rivers flowing from springs in this area. Others were from further west.
Towards the east, down to the sea of Tokyo Bay, there are others which were man-made, created to distribute water. Now, most of these rivers are covered by concrete lids and many parts of them are converted into pathways with nicely lined-up trees and benches. Some stretches of these rivers even have an artificial brooks on top of the lids to recreate the landscape of the old days. Sort of a “double decker river”.
Sitting on one of those benches, I think of the water flowing below, in the dark.
Played, recorded, edited, processed and mastered by Toshimaru Nakamura at his home in Tokyo from April to June, 2021
Re-Verbed (No-Input Mixing Board 9) is the latest edition from Tokyo based artist Toshimaru Nakamura.
The No-Input Mixing Board is a unique instrument pioneered by Nakamura. As its name suggests, it is a mixing console within which external no input exists. The instrument is fuelled only by its own feedback. Initially used by Nakamura as a more tonal instrument, creating incredibly high frequency outputs, over time the mixing board has become decided more rhythmic and harmonic. It is this sonic territory that is the focus of this edition.
Re-Verbed (No-Input Mixing Board 9) is by far one of Nakmura’s most musical recordings. The board’s tonality is front and centre; low pulses and cavernous pulses fizzle and murmur with a subtle but frenetic energy. Drifting into decidedly dub oriented directions, Nakamura allows the instrument to breathe; specifically he finds new dimensions to the ways interference can be brought into harmony within the pieces. While the instrument might suggest a sense of indeterminacy, Nakamura’s intimate relationship with it means he can maintain an unerring sense of control over it.
Re-Verbed (No-Input Mixing Board 9) is evidence of his intense capacity to create profound work with this most unusual of devices. A conjuring of something truly unique from literally nothing.
Letterpress impression. Limited to 200 copies. Co-Released by Oral and The Dim Coast. “Here’s my new (in 2013) solo album. I hope you find it worthy enough to take your time and have a listen. It was recorded in one day. Compared to previous releases, “Maruto” on Erstwhile Records (2 years to produce), “Egrets” on Samadhisound (5 years), it came to life quite quickly. Almost like it popped out. But it took three men’s great support to realise it this way. Eric Mattson was an initiator. He ignited this project by inviting me to Quebec City, made me talk and play music, and kept me in a good mood with a lot of tricks. Steve Bates kindly offered me a newly furnished studio, his time and work (then he became the one who encouraged me the most to put out this record). And David Sylvian drove up from his home in New Hampshire to join us. We worked collaboratively for two days. After David left, the studio looked completely different from when I arrived. Around my no-input mixing board was a mess of cables, microphones and loud speakers, a set up suggested by David, and there I was very tempted to stay for another day to do some more recordings by myself. The result of all this is here. Thanks very much to Eric, Steve and David.”- Toshimaru Nakamura