A physical work of beautiful noise as it is one that vacillates in its own improv juices. The compositions are jagged and oblique, but fun to listen to over time…
The work of Ken Ikeda is always outside the norm of any classification, here revealing his most experimental work yet. Kosame is at once a physical work of beautiful noise as it is one that vacillates in its own improv juices. The compositions are jagged and oblique, but fun to listen to over time, restless as it becomes especially on “Kiro | Return (帰路).” The title track with its tongue-play whispers doesn’t fail at being under the radar just enough to seem ultimately ambiguous alongside jangly keys and an atonal, anxious string strumming throughout. “Mikazuki | Crecent (三日月)” samples the airy sounds of a balloon being blown somewhat comically and digital water trickling. But the liner notes say something about drinking champagne, so imbibe away! Kosame has several distorted futuristic sounds and on “Seijaku | Stillness (静寂)” this is very evident, mixed with an awkward blend of random traditional Japanese themes deeply laden. Some of this is processed, some is from prepared quena, shamisen, charango and a host of other numbered instruments. On “Stillness,” Ikeda (a graduate of Berklee’s College of Music) infuses the sounds of boiling water with just the right amount of jitter off the teapot’s top. His music is of science, of longing and of expecting the unexpected. (Toneshift, 2010)
Kosame is out now on Spekk. [Listen | Purchase]
