Koji Asano | Voucher Universe

Go To Artist Page

Recommended if You Like
John Cage

More Artists From

Other Genres You Will Love
Avant Garde: Electro-Acoustic Classical: Piano solo Moods: Featuring Piano
Sell your music everywhere
There are no items in your wishlist.

Voucher Universe

by Koji Asano

52nd full album, featuring mainly Piano tuning sound composition
Genre: Avant Garde: Electro-Acoustic
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Continue Shopping
available for download only
Share to Google +1

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
1. Voucher Universe, Pt. 1
37:36 album only
2. Voucher Universe, Pt. 2
35:47 album only
Downloads are available as MP3-320 files.


Album Notes
Koji Asano's another challenging release -even this 52nd full album-, using only Piano tuning sound to compose this entire 2 track album.

Review by Salvador Francesch
What begins as a pulsating notes becomes a dream secuence.

Thus I would define the latest release but composer Koji Asano Voucher Universe. A different turn of events in this presentation. We can still trace where from this idea ensues in Asano's long output of sound creations. We have heard the whirling before, the circularity, the obsessional behaviour, the persistence. But this time around he offers a significant different set of tonalities which by en large is quite pleasing to the ear. It sounds like a mixture of organ without really being an organ. I see no need to delve into the nature of the sound except to remark that it is almost pleasing and that it has a strange resonance with a film soundtrack from the fifties. The scene is, a woman is prisonner in basement while the mean guy is preparing to experiment with her. She is in a dream state and we are watching and sensing the element of danger.

Whoever this is not a soundtrack and we are not in a film. Instead we are sinking into an inner space, as I said first as a pulsating force and then as Asano likes to develop in a very slow motion we are descending into an atmosfere that is astral as well as hipnotic.

For hipnotic I would say the second piece really takes off as a whirling force to consider and appreciate. But first this:

I have heard the album four times now and a slow profile comes to the fore around the end of minute 18 where the circularity after the pulsating tones take shape and completely takes the listener to what I call the Hall of Mirrors where the sound reflects itself over and over. I took some notes like:

Resonating spheres self integrating into a labyrinthian space.

Suggest dream secuences where one wants to wake up but the mind is entangled in a non-scape dream.

Reberberations of spaces and mirrors.

This is an interesting album that totally reflects the obsessiveness of Asano's psychological space.

To define his persistent tones, and sound persuasions is to understand perhaps the need to seek perfection in Japanese craftmanship. May be I am going to far, but I am trying to accentuate Asano's pulsating nature with walls, obssessions, circles, corridors, and the clashing of thoughts. I find this recording strange, interesting but strange. Strangeness in the sense that reveals Asano's mind and this refers to the hermetic spaces he inhabits.

This is an evolving music that portrays circles of spaces inside a dream state where images keep recurring, drowning, surfacing, reverberating, self reflecting. In one line, a dictionary of the vocabulary of Koji Asano.

This is not the first time that a mention drowning in Asano's compositions, as it is a recurring theme in many of his compositions, only the disguise, the presentation is different but the drowning remains. We have heard, walls of drowning, drowing dreams as is the case here, drowining masses of people, drowning corridors, drowning wardrobes. Drowning is the key which is close to obsession in this cases, why? First of all, the lenght of the pieces, mandatory composition language and invariably his pieces last the lenght of 70 minutes average. When they are divided in two pieces – a later development - invariably is around half the lenght of 70 minutes with less or more variations. All of this means something, why? Because it is consistent, and it has nothing to do with the composition, it has to do with the mind structure of the composer. Even... even if we consider the meditational aspects of meditation, something seriously to consider, is not motive enought to justify the parametres of his compositions, his motives, intentions, interest and inclinations.

This is not a composer in pursuit of beauty, harmony, textures that interplay with each other exposing a mind at work in a creative process, it is something else, but what it is I cannot say except that by now, we all know that Asano's revelations have much to do abyssness and little with surface explorations. Perhaps it is much to asume that he likes to fall into an abyss. He is not a Nietschean artist that would come close to the edge of the abyss and explores the unknown. He actually likes to fall into the abyss and sink into the darkness within, in trying desperately to surface with some sparks of light, instead he cares for darkness alone, the nature of it, and how it leads to despair.

Did I like the disk? I find it interesting because it gives me hope that sometime Asano may combine the lightness and intensity of his baroque compositions with his clashing walls. This disc is a posible glimpse of what would happen from the compositional point of wiew if the light of the baroque could be combined with the circularity of his obssessions. I conclude that this is a good recording, difficult , but interesting, enticing, enigmatic, hipnotic, mirror like dreamscapes that seek to surface to take some air.



to write a review