Via ID Spectral

When you hear the term “ambient”, in the west – one might consider musicians such as Brian Eno, Aphex Twin or Harold Budd.

However in Japan, there have been a vast amount of producers that have utilised musicality and the soundscape by means of cultural expression.
Hironori Nagatsuma​ is an Ambient/Glitch artist and producer working out of Izunokuni, Japan. He has self-released 10 Compositions albums on his bandcamp page​, ​with the latest surfacing this May. His work focuses on the deconstruction of the voice, coupled with expansive sound design and refined, yet dynamic minimalism. He also displays a keen eye for the visual arts, especially photography, with the release of his work often accompanied by a series of vivid photographs of urban Japan, published on instagram. His music will feature in our upcoming compilation, and will be doing a guest mix of his own music for IDS on Resonance Extra on 25/7/18.

Interview : Hironori Nagatsuma

Your music juxtaposes jarring vocal glitch elements with smooth, airy synths, is there a deeper conceptual message behind the aesthetics of your work?

Each songs are produced to express something. I think the human voice is an excellent instrument that evokes feelings.

In genres such as electronica or noise music – as well as pop, I think that those who like it find some sort of melody in it.

Human voice is used to express melody and emotion.

I totally agree with the expression of an airy synth.

The fact that shapes are not clear, I think those things result from showing various forms depending on the viewpoint.

There is some thoughts in myself that the world is full of variety and interesting place and sometimes we cannot understand each other.

Was there a specific musical experience, or set of experiences, that motivated you to create the music that you do?

Thinking of the connection between sound and emotion, and the analysis of other people’s songs. And creating the sounds that I use for tracks themselves is one of the motivations towards new expressions.

Could you give us a brief description of the electronic/experimental music scene in Japan, perhaps highlighting any differences to the scene here in the UK?

Although it does not change from before, I do not think that the scale of the Japanese scene is so big.

However, recent SNS development has enabled direct connection with artists who I am interested and it is very convenient.

Modular synths are getting popular in my surroundings.

I do not understand UK scenes well. Since we began acquiring music on the Internet, we often know the origin of the artist(s) afterwards.

Do you have a favourite track or album at the moment?

This year’s album is “Oneohtrix Point Never / Age Of”.

More recently, I’ve been listening to old radio programs and radio communication sound on youtube regardless of countries. It is interesting that the atmosphere of the era is confined there.

What was your favourite record when you were younger?

1. Alva Noto – Prototypes 2. Mono Fontana – Ciruelo 3. Charles Koechlin – Paysages et Marines Op.63 4. Rino Cerrone – Rilis Label 5. Rhythm & Sound – Rhythm & Sound

Are there any specific people, musicians or otherwise, that you find especially inspiring?

Artists taking no notice around them relentlessly pursuing their own expressions are stimulated regardless of genre.

If you had to compare your work to that of a visual artist, who would it be? I can not answer because I do not have any knowledge about visual artists.

Is there a direction which you can see your music taking which you haven’t yet explored? The use of acoustic instruments. Or making the simple instrument itself.

Follow Hironori :

Bandcamp : ​hnagatsuma.bandcamp.com/

Soundcloud :​ ​soundcloud.com/hnagatsuma

Instagram : ​www.instagram.com/hngtm/

Twitter : ​https://twitter.com/hnnggttmm