Osaka-based producer Takahiro Kinoshita saturates the f outta koto and shakuhachi sounds, reshaping traditional Japanese elements into fuzzed out electro that's part Actress and part Zaliva-D.
'Kaibou Zukan' literally translates as "picture book" and its thirteen tracks are fuzzy sketches of Kinoshita's mindscape during lockdown, assembled from mutated samples of Japanese traditional instruments pulled like taffy into synth-like plonks, woozy pads and uneven dancefloor rhythms. It's the texture of the music that's made the biggest impression on us though, like Actress, Kinoshita puts a wrecking ball to his source material, turning even the most unassuming sound into an oversaturated thizz of uneven noise and hard-swung rhythm.
Downtempo bumpers like 'Shibun Goretsu' bear up to positive comparison with Zaliva-D's recent (and brilliant) "Misbegotten Ballads", while eerie vignettes like 'Kido Ai Raku' and opening track 'Owaranai Osaka' sound more like videogame music cues thrown thru a pedalboard full of hotwired FX. When Kinoshita really get going though, the music begins to take on a tongue-in-cheek thud: 'Shishimai' and 'Saisenbako' are quietly peaked house bangers, as though heard through a few concrete walls. Weird, and all the better for it.
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Osaka-based producer Takahiro Kinoshita saturates the f outta koto and shakuhachi sounds, reshaping traditional Japanese elements into fuzzed out electro that's part Actress and part Zaliva-D.
'Kaibou Zukan' literally translates as "picture book" and its thirteen tracks are fuzzy sketches of Kinoshita's mindscape during lockdown, assembled from mutated samples of Japanese traditional instruments pulled like taffy into synth-like plonks, woozy pads and uneven dancefloor rhythms. It's the texture of the music that's made the biggest impression on us though, like Actress, Kinoshita puts a wrecking ball to his source material, turning even the most unassuming sound into an oversaturated thizz of uneven noise and hard-swung rhythm.
Downtempo bumpers like 'Shibun Goretsu' bear up to positive comparison with Zaliva-D's recent (and brilliant) "Misbegotten Ballads", while eerie vignettes like 'Kido Ai Raku' and opening track 'Owaranai Osaka' sound more like videogame music cues thrown thru a pedalboard full of hotwired FX. When Kinoshita really get going though, the music begins to take on a tongue-in-cheek thud: 'Shishimai' and 'Saisenbako' are quietly peaked house bangers, as though heard through a few concrete walls. Weird, and all the better for it.
Osaka-based producer Takahiro Kinoshita saturates the f outta koto and shakuhachi sounds, reshaping traditional Japanese elements into fuzzed out electro that's part Actress and part Zaliva-D.
'Kaibou Zukan' literally translates as "picture book" and its thirteen tracks are fuzzy sketches of Kinoshita's mindscape during lockdown, assembled from mutated samples of Japanese traditional instruments pulled like taffy into synth-like plonks, woozy pads and uneven dancefloor rhythms. It's the texture of the music that's made the biggest impression on us though, like Actress, Kinoshita puts a wrecking ball to his source material, turning even the most unassuming sound into an oversaturated thizz of uneven noise and hard-swung rhythm.
Downtempo bumpers like 'Shibun Goretsu' bear up to positive comparison with Zaliva-D's recent (and brilliant) "Misbegotten Ballads", while eerie vignettes like 'Kido Ai Raku' and opening track 'Owaranai Osaka' sound more like videogame music cues thrown thru a pedalboard full of hotwired FX. When Kinoshita really get going though, the music begins to take on a tongue-in-cheek thud: 'Shishimai' and 'Saisenbako' are quietly peaked house bangers, as though heard through a few concrete walls. Weird, and all the better for it.
Osaka-based producer Takahiro Kinoshita saturates the f outta koto and shakuhachi sounds, reshaping traditional Japanese elements into fuzzed out electro that's part Actress and part Zaliva-D.
'Kaibou Zukan' literally translates as "picture book" and its thirteen tracks are fuzzy sketches of Kinoshita's mindscape during lockdown, assembled from mutated samples of Japanese traditional instruments pulled like taffy into synth-like plonks, woozy pads and uneven dancefloor rhythms. It's the texture of the music that's made the biggest impression on us though, like Actress, Kinoshita puts a wrecking ball to his source material, turning even the most unassuming sound into an oversaturated thizz of uneven noise and hard-swung rhythm.
Downtempo bumpers like 'Shibun Goretsu' bear up to positive comparison with Zaliva-D's recent (and brilliant) "Misbegotten Ballads", while eerie vignettes like 'Kido Ai Raku' and opening track 'Owaranai Osaka' sound more like videogame music cues thrown thru a pedalboard full of hotwired FX. When Kinoshita really get going though, the music begins to take on a tongue-in-cheek thud: 'Shishimai' and 'Saisenbako' are quietly peaked house bangers, as though heard through a few concrete walls. Weird, and all the better for it.
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Osaka-based producer Takahiro Kinoshita saturates the f outta koto and shakuhachi sounds, reshaping traditional Japanese elements into fuzzed out electro that's part Actress and part Zaliva-D.
'Kaibou Zukan' literally translates as "picture book" and its thirteen tracks are fuzzy sketches of Kinoshita's mindscape during lockdown, assembled from mutated samples of Japanese traditional instruments pulled like taffy into synth-like plonks, woozy pads and uneven dancefloor rhythms. It's the texture of the music that's made the biggest impression on us though, like Actress, Kinoshita puts a wrecking ball to his source material, turning even the most unassuming sound into an oversaturated thizz of uneven noise and hard-swung rhythm.
Downtempo bumpers like 'Shibun Goretsu' bear up to positive comparison with Zaliva-D's recent (and brilliant) "Misbegotten Ballads", while eerie vignettes like 'Kido Ai Raku' and opening track 'Owaranai Osaka' sound more like videogame music cues thrown thru a pedalboard full of hotwired FX. When Kinoshita really get going though, the music begins to take on a tongue-in-cheek thud: 'Shishimai' and 'Saisenbako' are quietly peaked house bangers, as though heard through a few concrete walls. Weird, and all the better for it.