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OTOMO YOSHIHIDE

RIO/Avant-Prog • Japan


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Otomo Yoshihide biography
Otomo Yoshihide (Guitar, turntable and electronic samples/manipulations) was born on August 1st, 1959 in Yokohama, Japan. He spent his life (till a young adult) living in Fukushima, which resides about 300 kilometres north of Tokyo. From a young age Otomo possessed an inherent interests in electronic devices, influenced greatly by his Engineer father. By Junior School Otomo begin constructing electronic devices, ranging from radios to electronic oscillators. His hobbies at the time included creating sound collages, using an open-reel tape recorder. Spanning from his initial musical experience; upon reaching High School he promptly formed a Rock and Jazz band, with him playing guitar. It was only a matter of time before Otomo's musical taste broadened towards the Avant/improv jazz side of the spectrum. He began to enjoy greats such as: Ornette Coleman, Erick Dolphy and Derek Bailey. His greatest influences (at the time) came from alto sax player Kaoru Abe and guitarist Masayuki Takayonagi (who later became Otomo's mentor).

Moving to Tokyo in 1979, to attend University. Otomo's interest was peaked by a seminar detailing ethnomusicology (directed by Akina Ebato). From here on in a more involved study was conducted by Otomo within this subject, focusing particularly on: Japanese popular music during World War II and the Evolution of Chinese musical instruments during the Cultural Revolution. 1981 went on to be a big year; both visiting Hainan, China to research ethnic music and first beginning to play as a professional improviser.

1987 saw the beginning of Otomo's wide spread live performances throughout Japan; consistently over a 3-year period. Never conforming to musical boundaries, he collaborated with an impressive range of different styles.

Now 1990, Otomo was to form one of his longest standing groups, Ground Zero, his first real band. Ground Zero was to remain his core musical creativity for the coming eight years till they disbanded in 1998. Ground Zero also took Otomo's live performances out of Japan for the first time, hitting Hong Kong in 1991. From this day forth Otomo continued to perform outside Japan in each coming year; stamping himself as a decisive figure in the Japanese Improv scene.

Post Ground Zero's break up, Otomo's style was to take a radical change in both sound and ideologies. He became a prominent figure in the Japan's "onkyo" (a somewhat controversial term) scene (better known as a branch of EA...
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EpisomeEpisome
Tzadik 2006
Audio CD$9.21
$5.48 (used)
Piano SoloPiano Solo
Otoroku 2013
Vinyl$23.95
Music(s)Music(s)
Multiple Formats · Widescreen
La Huit 2011
DVD$14.25
$21.26 (used)
Les Hautes Solitudes: A Philippe Garrel FilmLes Hautes Solitudes: A Philippe Garrel Film
Import
Imports 2002
Audio CD$27.94
$15.50 (used)
DreamsDreams
Tzadik 2002
Audio CD$9.00
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OTOMO YOSHIHIDE discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

OTOMO YOSHIHIDE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.91 | 2 ratings
Silanganan Ingay
1989
0.00 | 0 ratings
Terminal-Zero
1991
4.00 | 1 ratings
We Insist?
1992
1.00 | 2 ratings
The Night Before The Death Of The Sampling Virus
1993
0.00 | 0 ratings
The Blue Kite
1994
0.00 | 0 ratings
Monogatari: Amino Argot (with Carl Stone)
1994
0.00 | 0 ratings
The Day The Sun Turned Cold
1994
0.00 | 0 ratings
Summer Snow
1995
0.00 | 0 ratings
Hu-Du-Men
1996
0.00 | 0 ratings
Twins!
1996
0.00 | 0 ratings
Memory Defacement
1997
0.00 | 0 ratings
Sound Factory (1997)
1997
0.00 | 0 ratings
Vinyl Tranquilizer
1997
3.82 | 2 ratings
Cathode
1999
0.00 | 0 ratings
Plays The Music Of Takeo Yamashita
1999
0.00 | 0 ratings
Shabondama Elegy
1999
3.00 | 1 ratings
Bits, Bots and Signs (with Voice Crack)
2000
0.00 | 0 ratings
Music For Dance Art Hong Kong's Memory Disorder
2000
2.50 | 2 ratings
Anode
2001
1.00 | 1 ratings
Blue
2002
3.33 | 3 ratings
Ensemble Cathode
2002
0.00 | 0 ratings
Ajar (with Keith Rowe and Taku Sugimoto)
2002
3.00 | 1 ratings
Loose Community (with Park Je Chun and Mi Yeon)
2003
0.00 | 0 ratings
See You In A Dream (with Saga Yuki)
2005
0.00 | 0 ratings
Episome (with Bill Laswell and Tatsuya Yoshida)
2006
4.00 | 1 ratings
Prisoner--A Film by Adachi Masao: Original Soundtrack
2007
0.00 | 0 ratings
Sora (as Otomo Yoshihide Invisible Songs)
2007
0.00 | 0 ratings
Ultra Miracle Love Story
2009

OTOMO YOSHIHIDE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Live at Aketa-no-Mise: Otomo Yoshihide Solo
1989
0.00 | 0 ratings
Live at OTIS!
1998
0.00 | 0 ratings
Les Hautes Solitudes--A Philippe Garrel Film: Imaginary Soundtrack (with Taku Sugimoto and Sachiko M)
2002
0.00 | 0 ratings
Miira Ni Naru Made/ My Dear Mummy - German Version (with Masahiko Shimada)
2002
0.00 | 0 ratings
Turntables and Computers (with Nobukazu Takemura)
2003
0.00 | 0 ratings
Guitar Solo: 12 October 2004 @ Shinjuku Pit Inn, Tokyo + 1
2005
0.00 | 0 ratings
Modulation with 2 Electric Guitars and 2 Amplifiers
2007
0.00 | 0 ratings
Core Anode
2008
0.00 | 0 ratings
Difference Between The Two Clocks (with Xavier Charles)
2008
0.00 | 0 ratings
Guitar Duo (with Seiichi Yamamoto)
2008

OTOMO YOSHIHIDE Videos (DVD, Blu-ray, VHS etc)

0.00 | 0 ratings
Turntables Solo
1992
0.00 | 0 ratings
Multiple Otomo
2007
0.00 | 0 ratings
Ensembles 09: Pre-opening Live at Shinjuku Pit Inn
2009

OTOMO YOSHIHIDE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Early Works I ('81-85)
1994

OTOMO YOSHIHIDE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
Problem
1988
0.00 | 0 ratings
Who Is Otomo Yoshihide?
1991
0.00 | 0 ratings
Otomo + Mao
1995
0.00 | 0 ratings
Untitled (with Yamatsuka Eye)
1996
0.00 | 0 ratings
Lupin The Third - Ending Theme (with Charlie Corsey)
1999
0.00 | 0 ratings
Digital Tranquilizer Ver. 1.0
1999
0.00 | 0 ratings
RE-CYCLING RECTANGLE
2000
0.00 | 0 ratings
Turntable Solo
2004
0.00 | 0 ratings
Heart, Beating in the Dark: Original Soundtrack
2006
0.00 | 0 ratings
With Records (with Mikito Ozeki and Mats Gustafsson)
2008

OTOMO YOSHIHIDE Reviews


Showing last 10 reviews only
 Silanganan Ingay by OTOMO YOSHIHIDE  album cover Studio Album, 1989
2.91 | 2 ratings

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Silanganan Ingay
Otomo Yoshihide RIO/Avant-Prog

Review by Diego I

3 stars A very strange album, very, very crazy and weird, radical, Otomo Yoshihide take very seriously the concept of music in opposition, riffs, sound effects, scratch, world music samplers, mixed genres without ambiguities, ┐the songs? (if that way can you call that mix of sounds, melodies, voices, screams, etc.) short, concise, no more than 4 minutes of extension, proves that music is not written in stone, totally new, totally radical, Silanganan Ingay (which means in filipine noise generated at birth) is a bet on the new music, on the never listened music... I have to give 3 stars not because deserves on the way that excite my feelings, just because the effort...

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 Cathode by OTOMO YOSHIHIDE  album cover Studio Album, 1999
3.82 | 2 ratings

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Cathode
Otomo Yoshihide RIO/Avant-Prog

Review by Apsalar

4 stars For me Otomo Yoshihide's Cathode is one of the most groundbreaking releases on John Zorn's Tzadik label. One should note I am 'not' a blind follower of Tzadik, finding large chunks quite dull, so 'tis quite a statement on my behalf. Cathode defines yet another era of Otomo's sound, putting aside his guitar based cacophony to focus on an atonal and electro-acoustic sound. In truth this record doesn't have anything to do with progressive rock, but don't let this deter listeners of avant-garde, minimal electronics, or fans of the sparser side of post-rock. If you are a Japanese improv fanatic it should be little wonder if you find yourself smiling inwardly after browsing over the list of guest musician. For those unfamiliar with this scene, several pivotal figures in their thriving improv scene (sometimes coined as Taomud or onkyo) stamp their mark, in particular: Sachiko M, Nakamura Toshimaru and Yoshida Ami. Cathode encompasses two distinctly differential sounds, effortlessly piecing together a fastidious whole. Throughout this whole an almost symbiotic relationship forms between the electronic and acoustic facets.

The album begins with Modulation #2. Gliding through piercing sine-waves layered over plucked/strummed acoustic guitar, which is performed by Tsuneo Imahori (Tipographica). Both 'Modulation' pieces are heavily treated with sine-wave, but produce polar emotional responses, while M#2 creates a lulling pastoral effect, M#1 possess an urgent demeanour cutting thickly through the dense body of sound. The 'Cathode ' pieces (both #1 and #2), take an acoustic improvisational slant, painting dense soundscape's somewhat similar to the metallic sound of AMM's early output, albeit a tad more sinister, minimal and spherical in scope.

Otomo Yoshihide is an extremely talented composer/arranger; continually reinventing his sound and this is his most mature and groundbreaking solo release to date. For further explorations within this field of recordings, try both Anode and Ensemble Cathode.

Discloser: Some people receive adverse effects from the pitches sine-wave generate. Also please note, these pieces are not ambient in nature, best listened to with full attention.

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 The Night Before The Death Of The Sampling Virus by OTOMO YOSHIHIDE  album cover Studio Album, 1993
1.00 | 2 ratings

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The Night Before The Death Of The Sampling Virus
Otomo Yoshihide RIO/Avant-Prog

Review by clarke2001
Special Collaborator Honorary Collaborator

1 stars This is not music.

I must start with aforementioned statement; this is not music. There are numerous debates and theories what music actually is - and we can define music as organised (by humans) set of sounds. In that, highly debatable, definition, this albums is certainly music. But since there is no ultimate definition of music, anyone is free to make its own definition of music and therefore to claim what is not music - there is no right or wrong. If someone could be judged by his narrow-mindedness that some extreme type of music is not music, there is no point of proving the opposite - since all the angles and aspects have their own approach. Finally, my statement of denying musical component of this work is a loose one rather than a strict one - but however, you have been warned, and there is no better and more concise expression in the same time, even if it isn't absolutely accurate, so: this is not music.

The album contains 77 (sic!) ultra-short tracks clocking between a second and half a minute, and eight tracks between a minute and two and a half minutes. The total time clocks at 53:26, but it sounds like it goes for ages, because there is no continuity - or to be more accurate, there is no continuity that an average music listener is used to. This work certainly contains continuity, theme, concept and I dare say focus as well, but I'm really suspicious by the story, if there's any. Maybe the knowledge of Japanese would help ( I caught some hints of Mandarin Chinese too), but frankly, I don't think so.

This is the exploration of the malfunction of CD player - but that exploration is executed in such an extreme, mutilated way that I wouldn't get the idea with the side notes. I appreciate the brave author and his tendency towards the extreme, but if album is to be judged by a listener who should get the impression of CD skipping in the player, then the idea failed.

The listeners is suggested to play the tracks in the shuffle mode, but again I failed to catch any recognisable pattern that could be used as an artistic statement (not necessarily musical).

The whole idea of malfunction during the reproduction process is not new in the music; CD skipping was beautifully incorporated in BALANESCU QUARTET's Luminitza, for example, not to mention the countless examples of skipping vinyl, including such a notorious pop-efforts such is QUEEN's Hot Space, to use a vulgar example. The whole album was recorded/produced on a DAT recorder, and that is obvious - because it contains only short sound slices that could be taken from TV/radio announcements or commercials, some ambient sounds and some shouts of crowd, all that with far too often and far too extreme overdubbing with bursts of white noise hissing over the undecipherable shouts. Some of those shouts (and other sounds) are looped into a rhythmical pattern, and quantised very badly, but I guess that was the intention.

The track "Nintendo" is somewhat musical, almost conventional because of melodic sequence. Some other tracks are simply replying the same samples with modulated pitch (and/or tempo), and some are abruptly utilising the milliseconds of generated silence thrown in randomly, creating the new rhythmical pattern over the original material, and that is somewhat interesting, but not enough to focus one's attention. The most polite thing I can say is: this album is perfect core fore developing an electronic album full of layered, gated samples in complex patterns. And this disc is a fine source of samples too, if you are preferring the extreme side of electronic.

To summarize, this album sounds like an electronic version of THE BEATLES Revolution 9, but without any possible improvements offered by technology.

As I said before, this is a bold statement. But it is hollow too. Maybe I will find out some unique pattern inside all this mess after repeating listenings, but I don't feel inclined to do repeat listening of this thing at first place. This record, no matter how unique might be, is suffering from syndrome so typical for many post-modernistic artworks: the root (idea) is masked by too aggressive presentation, distracting the person who is within perception of the art rather than focusing. In a word - the centre can not hold.

That being said, there are too many parameters to rate this art as "failed" rather than "good". With all the respect for the artist, despite my curiosity to check something else by him, despite the detailed and longish review, despite the fact the album made me thinking, this is poor. No further excuses. Avoid.

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