It's been a long time since criterion of originality meant a lot for me when assessing music. It was replaced by "playability", which seems more valuable these days. Who makes original music today? However, there're still many people of fresh free mind who keep surprising us with their innovative works. Koji Asano, who lives and works away from his home land, definitely belongs to this sort of people. Behind almost every record by him there is an idea that makes it one and the only in the entire catalogue (approaching 40 items!) he has perpetrated so far. Free style, from electro-acoustic through piano works, computer music, field recordings, experimental electronics to para-noise outbursts!
Koji, what have you been listening to recently?
Recently I've been listening to Mahler's "Symphony No.1" by Lorin Maazel, also found very interested in Katharina Klement's works, her works are so impressive. I just met her at Composer Forum in Mittersill, Austria.
Have you ever listened to the entire Alvin Lucier's "I am sitting In My Room"?
I have never listened to that piece yet.
I'm asking because I've heard opinions that music based on, let's say, scientific research is done more for an academic interest rather than for music's sake...
Well, I don't know, at least I could say that my music is maybe not based research or academic, or technological adventure.
Do you listen to your records after they're released? What do you feel then?
Basically I don't. But sometimes I have to listen in some occasions, like when an independent film director is using my music for his/her movie, or theatre performance using. etc. And I found another point of view, new side in my old works, which I didn't notice when I composed.
All your records I've happened to listen to were just your ideas realised using recording equipment only, and put straight onto discs. So, they didn't get anything like a post-production process, did they?
Maybe it sounds so, but actually most of records are done by mainly
post-production process, except acoustic works like string ensemble.
Studio works are very important part to me. So, when I realise my idea
with using instruments, or any materials, then next I start post-production
working for a long time. I use the most part of my energy for post-production
process. I mean, pre-production is just an idea. It's important how you
construct and finish that idea. That's how I see post production. Although
pre-production process should be fresh and exciting, it would be gone
and lost if you fail to finish, or if you couldn't done well the whole
construction.
I see you as an opposition to Aube - you
both use usually one sound source, but Akifumi's records are all about
post-production. How do you find his work?
Well, first of all, I have never listened to his works at all, so I can't compare my works with his. I used to work with one sound source sometimes, but not so much recently, I would say. But I'm quite open about the sound source or the way I compose, I don't really persist in one way. I like variety methods and new ideas, to make something fresh for myself.
How did you get into noise scene? Are you in touch with the Japnoise scene?
Well, not really. Maybe not at all now. Also, not so much with Improvisation scene.
After leaving Tokyo, can we assume that Koji Asano Ensamble doesn't exist any longer? Tell us about this project, please!
That ensemble doesn't exist any more, because I started work with individual players. Actually, I made that ensemble just for one concert in Tokyo and CD. So, if I need to organise original ensemble for new piece in the future, maybe it would be the same name but with other players.
Have you ever collaborated with other musicians after this ensemble?
Yes, Paragon Ensemble from Scotland, Banda Municipal de Barcelona from Barcelona and recently I composed 2 pieces for Die Reihe Ensemble from Vienna. Also I have some releases with solo or duo piece with some players
Would you agree that your music has evolved into more acoustic areas? The earlier stuff was more electric, wasn't it?
Well, that's true. Recently, more acoustic. Especially I work more with scores, with classical players. On the otherhand, I still work lots with electric, or mix with acoustics. I mean you can do electric works with computer whenever you want, but acoustics are not.
Has it ever happened that you couldn't realise your idea because of technological limitations or other unfavourable conditions?
I would say it never happen for me with technological limitations, because I don't really use technology. Sure, I use computer, but enough great for me. Also, I compose scores, through which I can express enough ideas on paper, no problem. I don't really feel limitation to realise music, music is very free, nice. I think music is great. So I don't complain. Even with other unexpected condition, I accept it. It's like airplane schedule. I just feel mainly natural limitations, such as life is short or, you can't compose well if you are in hospital, like that.
While we're at it I'd like ask you about your live performances. What's the main idea behind them? Do you reproduce the material that's on the records in way or the other, or do you play something completely different?
The main idea about live performance is to share my music with people. Because I compose pieces for CD so personally. I know few people are listening to my CDs, though, I feel like I'm composing for the universe. And those few people who listen to my CD would be having also very personal experience, I imagine. So, sometimes I should share my music directly with live people, like communication through live producing music. And the style is something between reproducing of my works, mixing with additional improvisation sounds.
Have you been to the Sonar festival in June? If so, what were your general impressions about the new music?
I was there in 1998 and 1999. It was very good.
What are you planning for the rest of 2004?
Preparing few releases, but maybe it won't appear until next year. And I'm going to play at Hertzoscópio - Experimental & Trans-Disciplinary Arts Festival 2004 in Lisboa, on November 26th.
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October 2004
photo courtesy of Koji Asano and Kurt Hörbst