Toshimaru Nakamura
no input mixing board #8

Full-length CD
300 Copies
Co-Released by ORAL Records and The Dim Coast
The first in a series of collaborative releases
ORAL 53 / the dim coast 3

Music, editing and mixing : Toshimaru Nakamura
Studio recording : Steve Bates, Montreal, June 2012

Letterpress by Middle Press.

Hello, Dear…ah, anyone who takes this up in front of your eyes and ears. Here’s my new (in 2013) solo album. I hope you find it worthy enough to take your time and have a listen. It was recorded in one day. Compared to my previous releases, “Maruto” on Erstwhile Records (2 years to produce), “Egrets” on Samadhisound (5 years), it came to life quite quickly. Almost like it popped out. But it took three men’s great support to realise it this way. Eric Mattson was an initiator. He ignited this project by inviting me to Quebec City, made me talk and play music, and kept me in a good mood with a lot of tricks. Steve Bates kindly offered me a newly furnished studio, his time and work (then he became the one who encouraged me the most to put out this record). And David Sylvian drove up from his home in New Hampshire to join us. We worked collaboratively for two days. After David left, the studio looked completely different from when I arrived. Around my no-input mixing board was a mess of cables, microphones and loud speakers, a set up suggested by David, and there I was very tempted to stay for another day to do some more recordings by myself. The result of all this is here. Thanks very much to Eric, Steve and David.

- Toshimaru Nakamura

Track Listing:

nimb #48............18:16
nimb #49............10:39
nimb #50............13:15

For those who prefer digital download, 'no-input mixing board #8' is available via Bandcamp here:

TOSHIMARU NAKAMURA is a Japanese musician, active in free improvisation and Japanese Onkyo. He began his career playing rock and roll guitar, but gradually explored other types of music, eventually working on circuit bending, producing electronic music on a self-named “no-input mixing board.” No external sound source is connected to inputs of the mixing board. The Larsen effects that result are manipulated with great finesse. Since the mid-1990s, Nakamura has given numerous concerts in Japan and elsewhere and has collaborated with Otomo Yoshihide, Keith Rowe, John Butcher and Nicholas Bussmann, Taku Sugimoto, Tetuzi Akiyama, Jason Kahn and Sachiko M.

Images: Ben Owen


The Wire (Issue 354, August 2013)
Nakamura's work is pretty much synonymous with no-input mixing board techniques, although principles of feedback music have long been explored through the 20th century (see Eliane Radigue and Arcance Device). This system always involves an output being routed back as an input, creating the feedback loop. While this sound by itself is often a shrill tone, the modulation of this signal through additional filters, effects and electronics can give that source a vast and dynamic array of possibilities. Piercing frequencies bristle throughout: "NIMB #49" mutates those tones into gnarled sawtooth patterns that build towards a crushing, pink noise volatility. "NIMB #50" thrusts those high tension tones to the foreground with waves of static and speaker cone abuse jockeying for position in the stereo field. Images of Nakamura wearing headphones while playing this system tell you this is going to be loud; let the aggravated tinnitus and ganglian knot at the base of my skull support this cautionary tale. - Jim Haynes

Vital Weekly (886):
"...Nakamaru is a man who plays the no input mixer, which means nothing goes in, but in and output are connected and thus feedback is the result. There are various people doing this, and the one who I once saw, Marko Ciciliani, was great, simply because what he did was different than from the ones I hear on a disc. He was quick with fiddling knobs and had a rhythmic pattern. Nakamaru is more the man for long parts of high end sound with slow minimalist moves. Maybe he uses a bit of sound effects, maybe it's distributed over a number of speakers, each with their own characteristics, but it's different than say Ciciliani, but equally great. Maybe this is more the kind of music to play at home, where you can sink down in the music and occasional noise he puts on. Especially if you play this loud, and there is no reason why you shouldn't, the sound is quite immersive. It hisses, growls and howls, and cracks down under it's own weight. Nothing for the weak of hearth, I'd say. Top heavy onkyo music. Caution! (FdW)

Tiny Mix Tapes

Ahh, good ol’ high frequencies. If there’s one musical element that can clearly be divided into a distinctive love or hate category, it’s definitely this one. Part of this is clearly related to how these extreme frequencies can actually cause the human body to feel viscerally ill (extreme low frequencies can do the same). For this reason, I often meet fellow experimental music enthusiasts who can handle hours of blaring white noise but cringe when a high frequency sine tone goes on for more than 30 seconds. Neither of those sounds are going to top most people’s easy listening list any time soon, but it’s interesting how our basic physiology determines the way we experience these extremes. We can grow accustomed to both pure tones and noise, but most human beings have a threshold for such sounds after an extended amount of time. But give yourself over to some extreme sonority for a little while, and the experience can be cleansing, even meditative from a sheer sonic level.

Toshimaru Nakamura has in many ways perfected the art of making beautifully introspective music out of these extreme textures. Nakamura’s ubiquitous no-input mixing board can produce everything from guttural rhythmic low-end to beautifully harsh high-frequency drones, and the composer frequently creates gestural works out of the intensity of these sounds. On this preview of his upcoming album no input mixing board #8 , Nakamura produces a marvelously complex drone held together by two beating high tones that sustain into oblivion, while the white noise and different tones beneath subtly shift around. At only two minutes, it’s the perfect introduction to the hypnotic world of extreme timbres.
- M Rubz

При прослушивании нового сольника Тошимару Накамуры (Toshimaru Nakamura) фоном была такая мысль, что он на этом альбоме решил оторваться за все почти двадцать лет то минималистической, то редукционистcкой игры на своем знаменитом но-инпут-миксинг-борде. Многие считают его изобретателем этой техники игры, правда она давно до него известна, и использовалась, например, еще в 80-х Дэвидом Ли Майерсом (David Lee Myers). Здесь он всецело находится на территории «джапаноидзу» и только отдельными моментами проскакивают тихие редукционистские и ЭАИ-мотивы, в целом впечатление такое, что ему захотелось жесткача и погромче. Все эти двадцать лет Накамуре приходилось следовать определенным правилам игры, самим же им придуманным, той же эстетике онкио. Раньше практически на всех дисках не проявлялась его харш-сторона, правда на сольных лайвах он иногда бывал довольно шумным. Может быть нойзовость еще связана с поисками нового, ЭАИ и онкио уже во многом себя исчерпали, многие стали повторяться. А может быть она связана с тем, что продюсером здесь выступил не требовательный и жесткий Джон Эбби (Jon Abbey), а директор Oral Records Эрик Маттсон (Eric Mattson). Правда Эбби запустил недавно новый подлейбл ErstAEU, тоже довольно шумный. 42-минутный альбом записан за один день на студии Стива Бейтса (Steve Bates) в присутствии Маттсона и Дэвида Сильвиана (David Sylvian), известного своим расхолаживающим влиянием на музыкантов и разжижающим их мозг, мне до сих пор не понятно, зачем Накамура записал эмбиентовый «Egrets» для Samadhisound. В «Nimb #48″ в начале и конце узнается старый добрый Накамура, а вот все, что между, как и весь следующий «Nimb #49″, вполне себе джапанойз в духе Merzbow или Aube. Последний «Nimb #50″ находится где-то посередине: и не совсем нойз, и не совсем ЭАИ и онкио. Здесь он все так же умело делает из экстремального, трудно контролируемого материала отличную музыку, только громче, энергичнее и напористее. Я уже замечал о возврате плотности в электроакустическую импровизацию, теперь вернулась громкость, одним словом, вернулась полноценность, а желания создавать себе правила со временем пропало, может быть осталось одно — не играть, бить себя по рукам, вовремя начинать и останавливаться и, главное, никогда не повторяться. Ну что же, теперь всем стало точно ясно, что не повторяться для Накамуры естественная его потребность и жизненный путь. - See more at:
- Курт Лидварт