This new experimental album "Zuwaigani" consists of field recordings from Japan, Harp, Synth and Spoken Words. You'll get to hear my recording from the summer in Japan in 2015, a Carmac 34 strings lever harp being played by me experimentally, some poems in made-up language & Japanese & English read by me, other poems by Basho Matsuo "Okuno-Hosomichi" on the last track. Cover design by a calligrapher Juju Kurihara (the master of the Sosekido ) and a graphic designer @is_marigrafica.
"Sonic Kitchen" is out from ADAADAT records. This album consists of tracks which had been unreleased in 2013 with new editing. Many thanks to Bjorn! http://www.adaadat.co.uk
Radio Appearance at Sound Projector.
Also a compilation from ADAADAT, TRADE & DISTRIBUTION ALMANAC - Volume Four .
"Another fine package from Kayaka, the Japanese creator whose delightful, distinctive and good-humoured work has endeared itself to use since 2011 and a run of obscure CDRs, some of them featuring her bass clarinet playing but most of them exhibiting her cut-and-paste skills in constructing new music out of old records, samples, and effects. Her new release has found a home on the London-based Adaadat label, one of the primary sources for imaginative weirdness and quirked-out genius in the UK just now. The nine tracks on Sonic Kitchen (ADAADAT ADA0040) were created in Berlin in 2013, and once again Kaya Kamijo produces a dense, foggy quagmire of overlaid sounds, adding as many layers and rhythms as she thinks she can get away with, before the production collapses under the weight of its own varnish. If indeed she was a cook in a “Sonic Kitchen”, she’d be the kind of baker who can produce an iced cake 30 feet high and covered with filigree icing, producing an impossibly tall and spindly balletic sculpture that apparently defies gravity. Or she’d build a replica of the Brooklyn bridge out of Porterhouse steaks, that you can only eat using a lawnmower. Either way I’d like to think she would serve something more imaginative and appetising than the split hot-dog sausage that appears on the cover.
"The lead track on Sonic Kitchen (Adaadat), “Dream”, is a minimal mix of looping organ, glitch percussion and electronic pulse. Beat-centric pop music, it seems pretty straightforward. Then it gears up, and other elements, including atmospheric keyboard abstractions, and long saxophone and piano solo samples, are dropped in according to effective if as-yet inscrutable logic.
"Silvestre (OSTROGA OTR-025) was made in Galicia during 2012, and may reflect something of Kayaka’s experiences travelling / dwelling in that part of Spain, not that you would know as the odd music we hear is not especially “Spanish” in tone and more resembles a psychedelic version of gamelan crossed with other exotic world music, what with its quarter-tones, irregular rhythms, and assorted non-Western idioms. A one-woman production, I expect it’s been realised with her intuitive and mysterious approaches to playing her electronic devices, creating percussion loops out of unlikely sources, and blowing her clarinet – which she does with the colour-sense of a Henri Matisse cut-out and the free brushstrokes of a Franz Kline. What a unique sound she wrings from that woodwind stick – if only she’d lived at a time when Rudy Van Gelder could’ve captured that sound at Englewood Cliffs along with a crisp rhythm section. But there may be some field recordings and found music too; it’s hard to be sure, due to the hazy mix and dreamy tone of the album. Yes, it’s a pleasant dream too. Each track stands alone as a piece in its own right, creating a unique mood or tone-poem, evoking beautiful landscapes and nature-visions, quite often populated with colourful beasts such as the “brushcodile”, the “salamandra del portal”, or the charmingly eccentric “cows on a river”. If those cows aren’t standing on the surface of said river of their own volition, I’d be deeply disappointed. Gentle, understated, but Silvestre is daringly innovative in places and emerges as uniquely her own work. For more of her bass clarinet work, may we recommend Bass Clarinet Songs if you can find a copy." - by Ed Pinsent - the Sound Projector
"Estol Voice / Untitled Mix (OSTROGA OTR-022) is a split album where Kayaka turns in six unusual cuts on her half, Estol Voice, apparently layering field recordings of childrens’ songs, chants, dialogues and clapping games on top of her self-made sounds to build elliptical, unpredictable compositions. These clonkoid rhythms she lets loose like crippled turtles in a marsh leave enormous gaps, meander down unexpected pathways, and are characterised by a slightly abrasive and peculiar “grindy” sound arising from her primitive electronics and more of those wonderfully idiosyncratic clarinet blarts. I like the rough-hewn “thrown-together” qualities of these tape assemblages, even if they are a tad less satisfying than the mysterious dream worlds of Silvestre; there is an unfinished quality which adds charm, as much as the lo-fi recording quality and the generally surreal atmosphere she concocts so elegantly. Unlike Silvestre, Estol Voice is much of a piece and effectively uses the same basic approach spread across six songs, with the exception of one cut which features a ploinky electric piano backdrop which, in this context, is about as unexpected as a purple spider dropping down the chimney on a single strand of platinum web. " - by Ed Pinsent - Sound Projector
Bass Clarinet Songs
"Kayaka sent us her Bass Clarinet Songs (SOI 065) in June 2012 and while she sent it from an address in Spain (she used to live in London), the item is released on a tiny Russian label called Spirals of Invention. “This album is simply dedicated to my bass clarinet and last period I stayed in North London in 2012,” she writes. On seven gorgeous and innovative cuts, her woodwind instrument is overdubbed, processed with echo, and overlaid with cluttering and clattering sounds effects – everything from trains arriving and departing, to a whirlwind in the kitchen cupboards, a neighing horse on ‘Lancelot’, and a typewriter on ‘Three Goats’. Truly moving and beautiful music, at times as alien and unsettling as the best electronic tones you could wish for, and through her understated juxtapositions she arrives at a form of sonic surrealism. She plays with the unfettered joy of a child with a large paintbox colouring everything that moves in red and purple shapes, and the world around her becomes magically transformed when she blows her instrument. Kayaka’s sheer love of life is what impresses us most strongly on these instant compositions, and her determined primitive creative strengths make a mockery of more refined musicians with their swanky improvising and composing ways. What a total delight!" - by Ed Pinsent - Sound Projector
Operation Deep Freeze
"Kayaka is the London-based electronic destructo merchant Kaya Kamijo. We last heard from her in June with One Man’s Hands, and now here be Operation Deep Freeze (MANTILE RECORDS #021), a CDR set which may or may not have been produced as a tour-only item. Actually she’s not so much a destructive creator as one who has a very unusual and personal sense of how to assemble and de-assemble her building blocks of sound, resulting in a deliciously ramshackle feel – one ill-fitting brick heaped on top of another, yet creating rollicking rumblers of disorganised noise-music which roll across fields of grass as smoothly as a broken one-man ploughshare team. Of note here: the title track, with its sampled voices and fractured beat-box haphazardness, competing against tasty synth doodles and guitar stabs; ‘Feeding Centipede at a Pond of Blood’, a jumble of idiot-savant proportions which confirms the creator’s ingenious bricolage method with its mixture of TNB-styled rubbly noise, diseased heavy metal guitar, and science-fiction space drones; ‘Like as Two Palms’, with its sickening use of reverb to add extra buffet to a pair of metallic boxing glove beats; and ‘Vulcanized Ghaut’, which comes across like a pitched battle between warring percussion groups (dub, calypso, rock, pop) inside a fetid swamp of sex-craved Theremins in heat. A surreal and very imaginative dollop of exciting home-made computer cut-ups." - by Ed Pinsent - Sound Projector
One Man's Hand
"Kayaka‘s One Man’s Hands (PIGHOLE MUSIC PHO21) is another home-made release, sent direct by Kaya Kamijo in North London who also appended a hand-written note and track list. 15 cuts of rough electronic music, mostly built around crazy mutations and filterings of programmed beats with random synth doodles thrown into the spinning candy-floss wheels, all recorded direct onto cassette tapes. Not essential music, but it is quite experimental in certain interesting ways; I sense the creator is onto something with this very free-wheeling approach. It feels quite hands-on and has a primitive vibe which appeals. I see our noisy friend Horacio Pollard has some connections to the label, and it looks like most of the catalogue is available for download too" - by Ed Pinsent - Sound Projector