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Japanese youth culture subverted the word "gaijin" (foreigner, outsider) in order, as can be found throughout cultures ffrom Kingston to the Paris banlieue, to avoid comprehension by the object of the term. This artist's adoption of the moniker is an apt description of his style, which sits just outside numerous genres and movements without ever quite fitting in.
Jingai began composing aged 14, assembling multitrack pieces in concrete fashion using cannibalised household items- two tape decks became a recording system with an infinite number of available tracks, Dansette manipulation stood in for timestretching and spacial echoes and reverbs were built by utilising the hallways and corridors of his home environment.
Jingai's music has retained this resourcefulness, despite a considerable increase in the level of available tools. Reverbs, though now digitally produced, are consistently modelled on real acoustic spaces; the roots of all synthesized sounds are kept to their most basic, to force creativity of sonic sculpture; and structure and form is derived from an organic process of re-use and development.
Japanese youth culture subverted the word "gaijin" (foreigner, outsider) in order, as can be found throughout cultures ffrom Kingston to the Paris banlieue, to avoid comprehension by the object of the term. This artist's adoption of the moniker is an apt description of his style, which sits just outside numerous genres and movements without ever quite fitting in.
Jingai began composing aged 14, assembling multitrack pieces in concrete fashion using cannibalised household items- two tape decks became a recording system with an infinite number of available tracks, Dansette manipulation stood in for timestretching and spacial echoes and reverbs were built by utilising the hallways and corridors of his home environment.
Jingai's music has retained this resourcefulness, despite a considerable increase in the level of available tools. Reverbs, though now digitally produced, are consistently modelled on real acoustic spaces; the roots of all synthesized sounds are kept to their most basic, to force creativity of sonic sculpture; and structure and form is derived from an organic process of re-use and development.
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